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Limited edition no 281 Print titled the royal arch dundee signed Douglas Philips .

Arch dial painted clock face from long case clock with pendulum and weights

An early 19th century oak longcase clock, having a moonphase arch painted dial, eight day movement, with pendulum and two weightsCondition report: Baseboard reduced in height and unable to stand.Requires restoration.See extra images of dial, weights and pendulum.

Twelve 19th century fairings to include 'The attentive maid', 'The broken hoop', 'The wedding night', 'The Welsh tea party', 'Kiss me quick' and 'Oyster Day''The attentive maid' – a small match-head sized chip to underside of left-hand front base, historic firing 1.5cm crack vertically to green skirt, some paint rubbing and loss and probable female head away and re-affixed with restoration and new colours etc.; 'The Welsh tea party' – some gilt rubbing to plinth base, paint loss to back of one hat otherwise original condition; 'Now ma-am say when' - a 1cm arch-shaped flat piece of porcelain away from the end of the title, small match-head sized chip away to underside of plinth base (rear left) otherwise seemingly in original condition; 'The girls of the period' - female with blue dress paint rubbing / losses and half of right-hand handlebar missing, some further paint rubbing commensurate with age otherwise looks pretty original; 'If old age could' - some kiln grit in glaze otherwise good; ‘Cancan’ – some minor gilt rubbing otherwise OK; ‘Three o’clock in the morning’ – very minor flat chip away to underside plinth base (rear right), some minor paint rubbing and loss otherwise good condition; ‘Open your mouth and shut your eyes’ – figure in blue jacket raised hand some glazing away probable restoration to object in boy’s mouth (different colour), restoration also to boy’s right hand leg; ‘Oyster Day’ – restoration to left-hand standing female right hand and arm, small restoration to top of right-hand fence support as visible from back, some minor paint rubbing; ‘Kiss me quick’ – broken neck to flask on tray, minor firing crack to left of female’s shoe, some paint rubbing otherwise OK; ‘The wedding night’ – female head completely away and re-affixed and coloured out, new colour on back of neck/shoulders also; ‘The broken hoop’ – taller figure with restoration and later colour to both legs. To a certain degree there are mostly minor paint losses to some of the fairings.

A pair of stained hardwood bedside cabinets each with a single drawer over arch-panelled cupboard door, 40 cm w x 40 cm d x 65 cm h 

A Mahogany Striking Table Clock, signed Robt Scott, London, circa 1820, arch pediment, fish scale side sound frets, brass inlaid front, brass ball feet, 8-inch convex painted dial with Roman numerals, twin fusee movement with an anchor escapement and striking on a bell, movement backplate engraved around the outer border, 43cm high over handle Condition report: Case with small chips to the edges in parts, case with small cracks to the front just below the 4 and 8 o'clock positions, pediment with small cracks, dial has been re-painted but to a high standard, movement is complete, movement in going order.

An Ebonised Striking Table Clock, signed Richd Bottomley, London, circa 1780, inverted bell top case with carrying handle, glazed side panels, 7-inch arch brass dial with a silvered chapter ring, dial centre with a mock pendulum aperture, date aperture, arch with silvered disc signed, twin fusee movement with an anchor escapement and striking on a bell, movement backplate elaborately engraved with scroll and floral decoration, 53cm high over handleCondition report: Case with small cracks, chips and scratches in parts, some moulding is loose around the pediment, front door lock has come off and needs securing, movement has been converted from a verge to an anchor escapement, minute hand has come off and needs securing, hand collet and pin are misisng.

An Oak Thirty Hour Longcase Clock, signed John Boot, Sutton, Ashfield, circa 1770, flat top pediment, arch trunk door, 11-inch square brass dial, dial centre with engraved leaf decoration, date aperture and signed on a recessed silvered plaque, four pillar movement with an anchor escapement and striking on a bell, 204cm highCondition report: Case is faded in parts, case back edges with chips, case with cracks to the base, some moulding is missing to the right hand side of the hood, dial plate with a small crack next to the 2 o'clock position, movement is complete, with two weights and a pendulum.

An Oak Eight Day Longcase Clock with Rocking Ship Automata, signed Creasey Broderick, Boston, early 19th century, arched pediment, arched trunk door, 12-inch arch painted dial, seconds dial and date aperture, arch with rocking ship automata, four pillar movement with an anchor escapement and striking on a bell, 202cm highCondition report: Base with scuff marks in parts, case has been reduced in size, dial with small scratches, movement is complete, with pendulum and two weights.

A Walnut Eight Day Longcase Clock, signed Benjamin, Brandreth Middlewich, Fecit, circa 1750, flat top pediment, arch trunk door, 11-3/4-inch arch brass dial with chapter ring signed, dial centre with seconds dial and date aperture, arch with engraved disc of "Father of Time", four pillar movement with an anchor escapement and striking on a bell, 214cm highCondition report: Case with cracks and chips in parts, surface scratches in parts, hood door has come off and needs securing, some of the wooden dial surround is missing and some of the surround needs securing, seconds hand is missing, movement is dirty and needs cleaning, with pendulum and two weights.

An Oak Eight Day Longcase Clock, signed John Simcock, Daventry, circa 1760, arched pediment, arched trunk door, 11-3/4-inch arch brass dial with a silvered chapter ring, seconds dial, date aperture, arch with silvered disc signed, four pillar movement with an anchor escapement and striking on a bell, 232cm highCondition report: Caddy top has come off and needs attention to secure it correctly, trunk door with later inlay, trunk with one small piece of moulding missing to the top right hand corner, base with some cracks, trunk door is locked, small wooden blocks on each of the side cheeks, later seatboard, movement needs cleaning, with pendulum and two weights.

A Mahogany Eight Day Longcase Clock, signed Jas Shaw, Halifax, early 19th century, swan neck pediment, arched trunk door with mahogany crossbanding, 14-inch arch painted dial, seconds and date dials, arch with moonphase aperture, four pillar movement with an anchor escapement and striking on a bell, 228cm highCondition report: Hood with finials missing, case with small scuff marks, and cracks in parts, plinth with cracks, dial painted surfaces with minor chips in parts and the decoration slightly rubbed, movement seatboard is bowed, seatboard is possibly later, with pendulum and two weights.

A Mahogany Eight Day Longcase Clock, signed Jno Kent, Manchester, early 19th century, swan neck pediment, arch trunk door, inlaid case, 14-inch arch painted dial, dial centre painted with galleons and a portrait of Nelson, seconds dial, four seasons spandrels, arch with moonphase aperture, four pillar movement with an anchor escapement with striking on a bell, 239cm highCondition report: Case with small cracks and chips in parts, trunk door is bowed, base with a crack, sdie cheeks with wooden blocks added, late seatboard, movement looks complete, with pendulum and two weights.

An Oak Thirty Hour Longcase Clock, signed Barber, Winster, numbered 712, 18th century, flat top pediment, arch trunk door, 11-1/4-inch square brass dial with a silvered chapter ring signed, dial centre with engraved scroll decoration, date aperture, four pillar movement with an anchor escapement, two movement pillars are latched, outside countwheel striking on a bell, movement front plate engraved with number 712, 211cm high Condition report: Hood with some small chips in parts, case sides with some scuff marks, dial is discoloured in parts and with small scratches, movement is complete, with pendulum and one weight.

A Walnut Eight Day Longcase Clock, signed John Mason, Bawtry, Fecit, circa 1760, flat top pediment, trunk door with later inlaid D-ended panels depicting birds and flowers, glass lenticle, 12-inch arch brass dial with a silvered chapter ring, dial centre with a silvered disc signed, date aperture, arch with moonphase aperture, four pillar movement with an anchor escapement and striking on a bell, possibly later case, 225cm high Condition report: Case slightly faded in parts, veneer is slightly lifting in parts and small pieces of veneer is missing, later inlay, possibly later case, dial with small staining marks, movement looks complete, with pendulum and two weights.

A Mahogany Stick Barometer, signed Jas Burgess, Long Sutton, circa 1820, broken arch pediment, exposed mercury tube, single vernier scale signed, thermometer tube, turned cistern cover, 97cm high Condition report: Bottom of the case with a chip, case with small scratches in parts, dial is discoloured, mercury is visible in the tube.

A Mahogany Inlaid Wheel Barometer, signed G.Kalabergo, Banbury, circa 1820, broken arch pediment, thermometer tube, 8-inch dial signed, 97cm highCondition report: Case with edges rubbed in parts and small chips, mercury tube is complete.

An 18th century oak and mahogany longcase clock with eight day movement, the painted arch dial signed Smith, Walton.

An ex dressing table mirror having floral marquetry inlaid frame and arch top bevelled plate

A 19th century mahogany chiffonier with framed mirrored upright, the plain retained the top having a single central drawer over to arch panelled doors

A RUSSIAN SILVER AND ENAMEL TRIPTYCH ICON, 84 standard, the pointed arch case with hinged front, the front decorated with blue enamel, the interior with figural panels and shaded enamel borders. 9cm high, 14cm wide overall (open), 7 troy ounces

AN EDWARDIAN SILVER EASEL MIRROR, by Henry Matthews, Birmingham 1908, rectangular with arch-top and bevelled glass plate. 36.5cm high, 23cm wide

W. Mason, London, double fuse bracket clock, 8-day movement, alarm striking on single bell, brass arched dial, silver chapter ring, secondary dial to arch with strike silent, all contained in mahogany case of classical design, fretwork brass panels lined in fabric.height 65cm (25")

Mid 19th century beech and elm Thames Valley design child's open armchair, back with double Gothic arch, turned arms, saddle seat, ring turned legs with "H" stretchers, also one other Victorian ash and elm single child's chair.width 38cm (15"), height 60cm (24")Qty: 2Condition report: Both chairs in good order.

An emperor sized stepped arch cream padded fabric headboard, together with associated fabric valence and quilted bed cover. The headboard: 201cm wide x 156cm high.Just Headboard, Valence and a matching quilted bed cover (3). Provenance: The contents of a Chelsea Mansion furnished by Nicky Haslam and Collette van den Thillart. Further information on the Dawsons website article hereCondition report: The headboard with light scratches and some staining (as per photographs) would benefit from a clean. Also holes to legs of headboard when previously fixed to the wall (which would be covered by a bed base). The backing board with some minor holes (previously with electric lights) and fabric torn from one side (not affecting overall appearance). Quilted bed spread and matching valence in good order with no apparent holes/tears.

A set of four sage coloured Regency style wirework veranda chairs with high arch backs. (4) 58cm wide x 65cm deep x 115cm high. Provenance: The contents of a Chelsea Mansion furnished by Nicky Haslam and Collette van den Thillart. Further information on the Dawsons website article hereCondition report: Minor discoloration to joins on seat area and feet, as per photos. Back/arms clean condition, as per photos. All structurally sound.Recent manufactorure, possible designed to order for interior designers, Collette van den Thillart.

A large gilt wall mirror with arch top, 270 x 121 cm

A George III mahogany crossbanded oak longcase clock, 33.5cm arched painted dial inscribed Jno. Stubbs, Kegworth, Roman and subsidiary Arabic numerals to quarters, the arch painted with a cottage, the centre with an architectural folly, date aperture, 30 hour movement striking on a bell, the case with swan neck pediment, shaped rectangular door to waist, plinth base, 216cm high, c.1820

A George III oak and mahogany longcase clock, 35.5cm arched painted dial inscribed William Kirk, Stockport, rolling moon phase to arch, painted with a battle and a pastoral idyll, Roman and subsidiary Arabic numerals, subsidiary calendar and date dial, painted with figures allegorical of the four seasons and antipodal globe-form maps of the world, twin winding holes, eight-day movement striking on a bell, the case with a japanned swan neck pediment, shaped rectangular door to waist flanked by brass mounted reeded quarter-columns, skirted base, bracket feet, 229.5cm high, 59.5cm wide, 29cm deep, c.1780

A George III ormolu mounted mahogany petite sonnerie table clock by Marriott, London, of small size, 9.5cm enamel dial with Roman and Arabic numerals and strike silent dial to arch, brass foliate spandrels, twin winding holes, the quarter striking 8 day movement with verge escapement striking on the hours on one bell and the quarters ting tang on two bells, the back plate engraved and chased with foliate scrolls and cartouche inscribed Marriott, London, the case with pagoda top, flame finial and pierced sides, acanths scroll feet, applied overall with ormolu leaves, scrolls and husks, 40cm high overall, c.1785John Marriott, clock maker of Fleet Street, London was apprenticed until 1755 and free of the clock makers company from 1768 until his death in 1824. He made clocks for the Turkish and Chinese export market including many musical. A fine musical and automaton clock by Marriott is now in the Palace Museum, Beijing.

A Chippendale Revival mahogany display cabinet, broken-arch pediment above a pair of astragal glazed doors, the projecting serpentine base with two long drawers, carved with blind fretwork, shaped undertier, tapered square legs, spade feet, 180cm high, 76cm wide, 46cm deep, stamped T. Edmands, T. Willson, 68 Great Queen Street, London, c.1890

A George II style 'Gothick' Windsor elbow chair, pointed arch back, shaped splats pierced with Gothic tracery, bowed mid-rail, elm saddle seat, cabriole forelegs, Crinoline stretcher, pad forefeet, 114cm high, 71cm wide, the seat 41cm wide and 41cm deep

A late 19th century walnut accented dentist cabinet, the bookcase superstructure with broken arch pediment above a pair of glazed doors enclosing two adjustable shelves, the projecting base with a retractable cylinder door enclosing a pair of small drawers and pigeonholes, marble worktop opening to form a writing surface, above three long drawers and a cupboard door enclosing a shelf, shallow trays to side, the mechanism concealed behind the neighbouring panel door, plinth base, 222.5cm high, 78.5cm wide, 66.5cm deep, c.1890

A Victorian rosewood and brass marquetry musical bracket clock, 18.5cm arched gilt brass dial with silvered chapter ring inscribed with Roman and subsidiary Arabic numerals, the arch with Chime/Silent, Slow/Fast and Cambridge/Westminster setting dials, three winding holes, eight day movement chiming on eight bells and striking on a gong, the architectural case flanked by Corinthian columns, bun feet, 72cm high, 43cm wide, c.1880

A William IV oak cased wall clock, 25.5cm square painted dial inscribed Whitehurst & Son, Derby, Roman numerals, the spandrels painted with a flower, chain-driven movement striking on a bell, the back-plate numbered 4776, the pointed-arch case quite plain, 212cm high, 34.5cm wide, 17cm wide, c.1835The illustrious John Whitehurst FRS founded his Derby firm in 1737 and on his death in 1788 the business passed to his nephew John Whitehurst II (1761-1834) who in 1809 took into partnership his own son, John Whitehurst III trading as John Whitehurst & Son until 1834. John Whitehurst III continued the firm until his own death in 1855 after which it was run by Roskell of Liverpool until closed in 1862. The numbered sequence runs from 1809 to 1862. Essentially this type of clock consists of a typical hook-and-spike wall clock (usually supplied to mills or servants? quarters of larger houses) mounted in a tall case so it could be positioned somewhere more prominent, see Craven, M. John Whitehurst, Innovator, Scientist, Geologist and Clockmaker (Stroud 2015) pp. 226-228.

An 18th century walnut longcase clock, 30cm arched brass dial inscribed James Pepper, Biggleswaid (sic), Tempus Fugit to arch, silvered chapter ring with Roman and subsidiary Arabic numerals, subsidiary seconds dial, date aperture, twin winding holes, eight-day movement, the case with domed cresting, arched rectangular door to waist, skirted base, shaped bracket feet, 220.5cm high, 53cm wide, 25.5cm deep, c.1750

An 18th century walnut longcase clock, 30cm arched brass dial inscribed Peter Vitu, London, Strike/Silent to arch, silvered chapter ring with Roman and subsidiary Arabic numerals, subsidiary seconds dial, date aperture, twin winding holes, eight-day movement, the case with outswept cresting, arched rectangular door to waist centred by a lenticel, skirted base, shaped bracket feet, 208.5cm high, 46cm wide, 25.5cm deep, c.1750

An oak longcase clock, 29cm arched brass dial inscribed Willm. North, Leckonfield (sic), the arch with date dial, silvered chapter ring, Roman and subsidiary Arabic Numerals, subsidiary seconds dial, twin winding holes, eight-day movement striking on a bell, the case carved in the 17th century taste, arched rectangular door to waist centred by a Green Man mask, bracket-form plinth base, 212cm high, 52.5cm wide, 27.5cm deep

An 18th century oak low 'dog kennel' dresser, shaped rectangular top with inverted gadrooned edge, above an architectural central niche, the dog-tooth arch carved with bestiary-inspired crocodiles supported by bobbin-turned pillars, flanked by panel doors incised carved with a flowerhead boss, divided and flanked by figural carved pilasters, inverted gadrooned shallow block feet, 78cm high, 194.5cm wide, 53cm deep

An Edwardian Mantel Clock retailed by " W. Greenwood" (label on rear door). 8-day Junghans movement chiming a gong. Contained in a stained walnut case. 6 inch arch dial. 16 ins high x 12 ins wide x 7 ins deep. Pendulum present.Condition report: Original condition. Movement not tested. Finial missing from top of case. AF.

A 19th Century mahogany longcase clock painted arch dial by Jas Rough Kilcaid, enclosed by a beaded pillared door and broken swan neck pediment over a long conforming trunk door on canted bracket plinth base, eight day striking movement, height 212cm, S/D

An early 19th Century mahogany longcase clock with an eight-day movement, the shaped hood with flaming torch gilded finials over half reeded pillars enclosing the 12 inch painted broken arch dial, with subsidiary seconds dial and date aperture and gilt painted corner spandrels, signed James Warren, Canterbury, height 234cm

MILSOME - SOUTHAMPTON - an 18th century 8-day longcase clock, with 12" arch-top enamel dial and 2 subsidiary dials, H220cm, complete with pendulum, 2 weights and winding key

A Victorian mahogany inverted break-front sideboard, with raised carved back, 3 frieze drawers, and arch panel cupboards under, L184cm, H150cm, D58cm

An arch-top bevel-edge wall mirror, with painted swag decoration, W62cm, H114cm

HARBEN & CO OF LEWES - an 18th century oak 30-hour longcase clock, arch-top brass dial with engraved floral swag decoration, Roman numeral hour markers and subsidiary seconds and date dials, dial 39cm x 28cm, case height 206cm, with pendulum and weight

JACOB MOSELEY OF NEATH - a 19th century Welsh mahogany-cased 8-day longcase clock, arch-top white enamel dial with Roman numeral hour markers, subsidiary seconds and date dials with hand painted farmyard and cattle decoration, spiral turned pillar supports with brass eagle finials and satinwood inlaid case, dial 48cm x 33cm, case height 203cm, with pendulum and weights

THOMAS HAYNES OF STAMFORD - a 19th century mahogany arch-top 8-day longcase clock, hand painted and gilded white dial with Arabic numerals and subsidiary seconds dial, case with gilded pillar supports, dial 43cm x 31cm, case height 202cm, with pendulum and weights

A arch-top pine 2-door cabinet, with fitted rail and loose shelves, W105cm, H200cm, D55cm

FRANS FRANCKEN II (Antwerp, 1581 - 1642)."Adoration of the Magi.Oil on copper.It has a 19th century Dutch frame.Measurements: 23,5 x 17,5 cm.This work represents the moment in which the three kings, accompanied by their entourage, present their gifts to the child Jesus. This one, in his mother's arms, seems to play with the incense that Gaspar, kneeling before him, presents him. The scene is set outside, with a reference to the manger on the right, transformed into classical architecture, defined by a semicircular arch and a column. The kings' robes, with richly coloured and richly embroidered cloaks, such as Balthasar's adornments of precious stones and jewels, show the luxury of this procession. The scene takes place almost in semi-darkness, as can be seen in the opening to the landscape in the last shot. However, the luminosity is clear and the focus is on the figure of the child Jesus, who radiates the light that falls on the rest of the figures. The grandeur of the work can be seen in the multitude of figures. It is a composition full of movement and dynamism, where each of the figures is studied individually and as a whole, showing different postures and planes. This mastery of the profusion of figures and the mastery of a complex composition are inherited from Frans Francken.The work is part of the Flemish Baroque style and its stylistic characteristics can be related to the circle of Frans Francken II. The most prolific of his family of painters, he trained with his father, Frans Francken I, and in 1605 joined the Painters' Guild of Saint Luke in Antwerp, thus embarking on a career that lasted until 1640, during which time he specialised in cabinet painting. His contribution to this genre was of great importance and influenced artists such as Teniers. His style is based on that of Jan Brueghel de Velours, although it is also strongly influenced by his father and his uncle, Hieronimus Francken. His early works reveal debts to Mannerism and 16th-century painting, both in the structure of the compositions and in the rhythm and expression of the figures. They also include clear references to the work of Italian artists such as Raphael, Veronese and Zuccaro. Similarly, the use of prints by Dürer and Lucas of Leyden for some of the figures has been demonstrated. In addition to cabinet painting, Francken painted mythological and biblical subjects, some altarpieces and, in collaboration with other artists, painted figures in landscapes or interior scenes by Tobias Verhaecht, Joos de Momper II, Pieter Neefs and Paul Vredeman de Vries, among others. He is now represented in the world's leading art galleries, including the Prado Museum, the Louvre, the Royal Museum of Fine Arts in Antwerp, the Kunshistorisches Museum in Vienna, the Hermitage in Saint Petersburg and the Royal Collection in London, among many others.

An early 20th century arch top mantel clock, in black and gilt chinoiserie decorated case, 6 high, and a pair of matching candlesticks

A LATE VICTORIAN SILVER NAVETTE SHAPE BASKET WILLIAM HUTTON & SONS LTD, LONDON 1900 with a gadrooned rim, interlocking arch piercing 28cm (11in) long 350g (11.25 oz) Condition Report: Marks are partially obscured Slightly wobbles No splits No engraving Light scratches and wear commensurate with age and use Condition Report Disclaimer

AN EDWARDIAN SILVER MOUNTED DRESSING TABLE MIRROR THE GOLDSMITHS & SILVERSMITHS CO. LTD, LONDON 1905 With a vacant cartouche to the asymmetric arch-top upright frame, flower and scroll embossed and pierced, the mirror bevelled, the easel back velvet covered 38.5cm (15 1/4in) high   Provenance: Anonymous sale Sotheby's Colonnade, London, 26th September 1996, lot 357 (£799.85 total)

A WILLIAM AND MARY WALNUT CABINET ON CHEST C.1690-1700 cross and feather banded with burr veneers, the cushion frieze drawer above a pair of doors with arch banding, enclosing an arrangement of eleven drawers around a central cupboard, enclosing three further drawers, the base with two short and two long drawers, on later bun feet, the back with a printed auction description from Sotheby's or Christie's, lot 175 6th February 1959 171.4cm high, 108.5cm wide, 51.3cm deep

A GEORGE II WALNUT BUREAU BOOKCASE C.1730 cross and feather banded, the broken arch cornice with turned finials, above a pair of bevelled mirror panelled doors enclosing adjustable shelves, drawers and pigeonholes, above candle slides, the interior with pigeonholes and drawers, with a central mirrored cupboard enclosing a further drawer, above an arrangement of two short and three long drawers, on bun feet 243.4cm high, 107cm wide, 59cm deep Provenance From the collection of the late Peter Meyer.

A LATE GEORGE III SCOTTISH MAHOGANY LONGCASE CLOCK BY THOMAS IVORY DUNDEE, EARLY 19TH CENTURY the brass eight day movement with an anchor escapement striking on a bell, the arched twelve inch dial with Roman and Arabic numerals, with date aperture and subsidiary seconds dial, the spandrels painted with elegant ladies, the arch signed 'Thos Ivory Dundee', the case with brass finials and inlaid with stringing 222.5cm high Provenance Dreweatt Neate, 13th July 1994, lot 207. From the collection of the late Dr. Gordon Pack.

17thC English jointed oak wainscot chair with shaped pediment dated 1682, turned finials and Tudor rose style motif, the single piece central panel decorated with an arch and geometric foliate design, the upswept and shaped arms with geometric pokerwork or punchwork decoration, the seat with shaped apron to the front and sides supported by bobbin turned front legs and square back legs united by four simple straight stretchers.Provenance: Originally from The Manor, Ashby St Ledgers

A Victorian style gilt framed rectangular wall mirror, with floral scroll capped detailing and arch top, on a bevelled mirror plate, 78cm x 112cm.

Early 19th century inlaid mahogany eight day longcase clock, the arch painted with a maiden and a ship over floral spandrels and subsidiary seconds and date dials, inscribed Jon Denbigh Merton Park, the twin train movement striking on a bell, dial 31 cm, H225 cm high

A George III oak, satinwood and olivewood crossbanded 8-day longcase clock by D Hastings, Alnwick, circa 1770, scrolling swan neck pediment inlaid with foliage brass decoration, centred with a brass eagle on globe finial, over arch glazed hood enclosing with a 12 and a quarter inch brass dial, mounted foliage spandrels and silver chapter, engraved with makers name, Roman numerals and Arabic minute numerals, subsidiary dial, twin 8-day keyholes, flanked by brass top fluted columns, above a moulded panel door with shell decorated satinwood strung throughout, enclosing a pendulum and two weights with keys, flanked by quarter fluted columns, moulded plinth apron, raised on ogee feet. 237cm H x 47cm W x 23cm D