We found 42009 price guide item(s) matching your search

Eight day longcase clock, the painted 14¼" arch dial with scene of Queen Mary`s Escape, the seasons at the spandrels, in oak case with scroll cresting.

Eight day longcase clock with painted 13" arch dial, indistinctly signed "Perth", in mahogany case with turned and spirally fluted columns and scroll cresting.

Junghans early 20th century mantel clock with arch brass dial in carved case with moulded base, 45cm.

Edwardian mahogany and inlaid bedroom suite comprising wardrobe with single mirror door and base drawer, 108cm wide; marble-top washstand with two panel doors and arched marble back, 102cm; dressing chest of two short over two long drawers with low back, two jewellery drawers and turned arms supporting an arch-top mirror, 93cm; also a pair of bedroom chairs with bergere seats and backs.

George III mahogany globe stand altered to form an occasional table, on three fluted legs with inverted arch suspended dished understage, on turned understretchers, 79cm high.

Two pairs of 19th century brass arch-top spar bed ends with swag decoration and drop-in rails, 137cm high x 90cm wide x 204cm long approximately.

Victorian walnut and inlaid mirror back credenza, the arch top with carved scrolling pediment above bowfront marble top, the central cupboard flanked by two corner cupboards, raised on plinth, 154cm wide.

Art Nouveau style hall chair with high upholstered back, shaped finials, scrolls arms and upholstered, tapered seat, on turned legs with arch and straight understretchers.

A mahogany shell-inlaid wheel barometer, signed P Caminada, Fecit, circa 1820, broken arch pediment, shell and floral inlay, thermometer box, 8-inch silvered dial, 99cm high

A late 19th c. Mahogany bow fronted Dressing Chest, arch top, bevel plate mirror, drop top having two drawers either side, over two long graduated drawers, the drawers having hardwood linings and brass ring handles, standing on bracket feet. 39 1/4'' wide x 67'' high x 20 1/2'' deep.

"Walnut cheval mirror, shaped arch top, acorn finials to stand"

"Edwardian mahogany swing dressing table mirror, arch top with inlay, set on three drawer stand"

An 18th century clock movement by John Chalford the dial with automaton painted arch depicting tavern scene with man drinking beer with moving arm

Massive oak and gilt brass Georgian style repeating bracket clock and wall bracket, circa 1890, the neo-classical architectured case with a gilt frieze, balustrade and pineapple finials over canted corners with figural pilasters, fretwork sides and top spandrels, the brass arched face with a silvered chapter ring, retailer`s label Byrne, Liverpool , and subsidiary rings in the arch for chime/silent, slow/fast and chime on eight bells/chime on four coils, German triple fusee and chain movement chiming the quarter with a repeat cord on an eight bell carillon or four coils and hour strike on a coil (with pendulum and winding key). Overall height 60cm; together with its neo-classical parcel gilt oak wall bracket, width 46cm. *See clocks and watches proviso.

Mahogany longcased clock, Watkin Owen Llanrwst , break arch brass face with painted rolling moon, roman chapter ring, subsidiary seconds and date aperture, 8-day movement, in a break arch hood with dentil cornice, blind fret frieze and fluted columns on a quarter column trunk and set out plinth with ogee bracket feet, height 237cm overall (two weights, pendulum). *See clocks and watches proviso .

Mahogany long case clock , Brown, Liverpool , break arch brass face signed on a silvered dome in the arch, silvered chapter ring, subsidiary seconds, date aperture, ringed winding holes, 8-day movement, in a break arch hood with glass frieze and fluted columns on cavetto shoulders, quarter column trunk, canted corner plinth and ogee bracket feet, height 244cm. *See clocks and watches proviso .

Oak mule chest mid 18th century, the plank top over four break arch raised and fielded panels over two short drawers with shaped brass plates, the interior fitted with a lidded box, length 150cm.

A PAIR OF 19TH CENTURY BRASS DOOR PORTERS, of tied fluting and scroll design with ringed stem and loop handle, 38cm high, together with a bell shape brass door porter with double arch handle, 25cm high (3)

A 19TH CENTURY SCOTTISH MAHOGANY LONGCASE CLOCK, the circular dial with Roman numerals and subsidiary seconds dial, signed James Howden, Edinburgh, of eight day movement striking on a bell, the circular cushion moulded door with a gilt bezel, the trunk with canted corners, flanking a shallow arch door, on a deep plinth with bracket feet, 203cm high

A SET OF FOUR EARLY 19TH CENTURY ASH LADDER BACK CHAIRS, c. 1810, with solid elm seat, ogee arch seat rail, on rounded legs and pad feet joined by a turned front stretcher

[Spenser (Edmund)] The Faerie Queen: The Shepheards Calendar: Together with the other Works of England`s Arch-Poet, Edm. Spenser, 1617, Mathew Lownes, early calf (re-backed)

An early 20thC oak architectural wall thermometer, a late 18thC mahogany long case clock, the hood with swan neck pediment and placement finial, the enamel dial with rose painted spandrels and Arabic numerals, with stylised peacock to arch.

A late 18thC oak longcase clock by William Rippin, Holbeach, the hood with swan neck pediment, and enamel dial, the arch depicting two highland soldiers a/f

A late 18thC oak cased longcase clock, the hood with swan neck pediment, the enamel dial by E. Clark, Coningsby, the spandrels painted with shells, the arch with shell motif.

Claddagh cross, approx. 40mm x 25mm, set with green heart shaped stone below white gold arch set with six white stones, complete with 18” oval diamond cut belcher chain, tested 9ct gold (8.5g)

A French engraved gilt brass oval carriage clock with push-button repeat and alarm. Retailed by Goldsmiths and Silversmiths Co. Ltd, London, late 19th century. The eight-day two train bell striking movement with silvered platform lever escapement and numbered 782 to backplate, the rectangular white enamel Roman numeral dial with blued steel spade hands and signed GOLDSMITHS & SILVERSMITHS, Co. LTD, REGENT ST. LONDON to centre above subsidiary alarm setting dial to lower margin, the oval bevel glazed case with elaborate scroll outline hinged carrying handle above foliate scroll engraved surround to the top glass, cavetto moulded cornice and decorated frame surrounds for the curved glass panel infill, on tall ogee moulded skirt base engraved with band of repeating trefoil arch foliate motifs, 14.5cm (5.75ins) high excluding handle; with a green leather covered outer travelling case.

A Victorian carved mahogany mantel timepiece. French, London, mid 19th century. The four pillar single fusee movement with pendulum holdfast and signed French, ROYAL EXCHANGE to the shallow-arch top backplate, the 4.5 inch circular cream painted Roman numeral dial with gilt brass hands and repeat signature within hinged cast brass glazed bezel, the shaped outline case with foliate scroll carved decoration to front borders, glazed rear door and on moulded skirt base with bun feet, 30.5cm (12ins) high. Santiago James Moore French is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working from Royal Exchange and Sweetings Alley, London circa 1810-40.

An oak and red serpentine descending rack gravity timepiece Attributed to M.E. Gravity Clock, London, circa 1900. The single train French made movement with platform lever escapement powered by its own weight moving down a vertical toothed rack, the circular white enamel Roman numeral dial with red Arabic quarters within the outer minute track and with fixed brass glazed bezel, set into a red serpentine stone mounted ovoid case mounted onto a vertical toothed upright within break-arch pedimented case with four slender column uprights and on rectangular cavetto moulded platform base, 37cm (14.5ins) high.

A brass mounted mahogany bracket clock. Incorporating movement by James Humfrey, Leicester, early 19th and later. The five pillar twin fusee bell striking movement with anchor escapement, the shallow arch shaped backplate with herringbone engraved border, pendulum holdfast and signed Ja’s Humfrey, LEICESTER towards lower margin, the 7 inch circular convex white painted Roman numeral dial now bearing signature TH. HARRIS, BATH to centre and with decorative pierced blued steel moon hands within cast brass convex glazed bezel, now in a shallow break-arch top case with brass carrying handle above moulded brass uprights to front angles and fillet inset recessed quadrant panels beneath dial, on moulded skirt base with bun feet, 38cm (15ins) high excluding handle; with a purpose-made mahogany wall bracket of stepped ogee moulded outline 24.5cm (9.5ins) high, the clock and wall bracket 62.5cm (24.5ins) high overall.

A Victorian Gothic Revival brass inlaid rosewood small mantel clock. Unsigned mid 19th century. The five pillar twin chain fusee striking movement with anchor escapement and 5.25 inch shaped-top single sheet silvered brass Roman numeral dial with foliate scroll engraved infill to apron and around STRIKE/SILENT selection dial to arch, the gabled case with spire finials above cornice with ripple moulded frieze, the front with projecting canted angles incorporating turned columns, the sides with ogee arch top side windows, on conforming skirt base with block feet (some losses to case), 32.5cm (12.75ins) high.

A Victorian carved walnut Gothic Revival quarter chiming bracket clock. J.W. Benson, London, late 19th century. The substantial four pillar triple chain fusee movement with anchor escapement and Brocot type pendulum regulation, chiming the quarters on four graduated gongs and sounding the hour on a further larger gong, the 8 inch single sheet silvered brass shaped-top Roman numeral dial signed J.W. BENSON, LUDGATE HILL, LONDON to centre, with regulation square at 12 o’clock and subsidiary STRIKE/SILENT selection dial within foliate scroll engraved infill to arch, the gabled case with leaf-capped pyramid spire finials and stepped crenulations to ridge, the front with central hanging arch above the foliate carved shaped-top glazed front door inset with a shaped silvered brass fillet, flanked by projecting crenulated cluster columns capped with conforming hanging arches, the sides with pointed arch tracery frets, on repeating arch panel plinth base with moulded skirt and block feet, 75cm (29.5ins) high; complete with original wall bracket with conforming moulded platform above pierced and carved shaped side supports fronting shaped back panel, 34.5cm (13.5ins) high, the clock and wall bracket 110cm (43ins) high overall.

A late Victorian brass mounted quarter chiming bracket clock. Unsigned, late 19th century. The four pillar triple chain fusee movement with rise/fall regulation, chiming a choice of two melodies for the quarters on a nest of eight graduated bells and striking the hour on a gong, the 7.5 inch brass break-arch dial with matted centre within applied silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers and Arabic five minutes to outer track, the angles with foliate festoon and scroll cast spandrels beneath arch applied with subsidiary FAST/SLOW dial above further CHIME/SILENT and WESTMINSTER/CHIME ON EIGHT BELLS selection dials within conforming cast mounts, the bell-top case with basket of flowers and scroll cast mount to upstand and pineapple finials, conforming mounts to upper quadrants of the front door flanked by reeded Corinthian columns to front angles, the sides with rectangular cast brass sound frets decorated with foliate scrolls and Arabesques, on tall moulded base with leaf moulded upper border and lobed feet, 59cm (23ins) high excluding later top finial.

A Victorian walnut balloon-shaped bracket clock. Charles Cordeux, Clifton circa 1880. The five pillar twin chain fusee gong striking movement with fine beat adjustment to the deadbeat escapement, Harrison’s maintaining power and shouldered plates, the 10 inch circular silvered Roman numeral dial signed CHA’s. CORDEAUX, CLIFTON to centre and with steel spade hands within cast brass glazed bezel with canted inside edge, the waisted arch-top case terminating with acanthus carved outswept scrolls to sides and elaborate applied foliate decoration to centre flanked by integral curved supports with further foliate decoration and shaped apron between, 81cm (32ins) high; with a later walnut wall bracket with moulded platform over leafy-scroll applied shaped support, 23cm (9ins) high, the clock and bracket 94cm (41ins) high overall. Charles Cordeux is recorded in Moore, A.J. THE CLOCKMAKERS OF BRISTOL 1650-1900 as first working from Rodney Place, Clifton 1852-63, then Carlton Place 1863-80 and finally 12 Victoria Street 1881-99. The deadbeat escapement (with fine beat adjustment) and maintaining power suggests that the current lot was ordered by a client for whom good timekeeping was important, this coupled with the relatively large scale of the clock would also perhaps suggest semi-public or institutional use.

A French malachite inset Belge noir marble perpetual calendar mantel clock with moonphase. Henry Marc, Paris, Late 19th century. The eight-day bell striking movement stamped with oval trademark H’Y MARC, PARIS and numbered 50133 to backplate, the two piece white enamel Roman numeral dial with visible Brocot escapement to the recessed centre, regulation square at twelve o’clock and blued steel Breguet style moon hands within a bevel glazed cast brass bezel, set above a conforming two-piece calendar dial with day of the week and date of the month subsidiary dials flanking cloud painted moonphase aperture to the recessed centre, the outer ring annotated with the months and the equation of time to inner edge within conforming glazed bezel, the case with moulded shallow arch pediment and scroll shaped ears fronted with gilt incised stylised foliate decoration and moulded borders above break-arch waisted front with conforming gilt line infill around the malachite inset panels between the two dials and with sides terminating with scrolls at the base, on cavetto moulded shallow plinth with decorative shaped apron further inset with malachite panels and incorporating bracket feet, 46cm (18ins) high.

A fine French gilt and patinated brass champlevé enamel mounted Gothic Revival mantel clock. The movement by Samuel Marti et Cie, Paris, late 19th century. The eight-day two train gong striking movement with S. Marti et Cie, MEDAILLE DE BRONZE roundel and stamped 3260 CH’LES MT to backplate, the silvered dial with sky blue ground polychrome rosette to centre, Gothic Roman numerals to chapter ring and blued steel cruciform hands within a foliate chased arcaded bezel, the elaborate case with foliate bud finial and coronet collar to the sky and cobalt blue enamelled cupola above pierced arcade buttresses flanking recessed shaped panels to upstand set onto a hipped roof with conforming enamel tile decoration and further finials set on canted pedestals to angles, the front of trefoil-arch outline with dial set into lattice decorated enamel ground with rosettes to lower angles, the apron with applied cast arcade surrounding panels polychrome enamelled with representations of saints with engraved detail to hands and faces, the angles cast with cluster columns complete with foliate capitals, each side with vacant arched tympanum above rectangular panel overlaid with a Gothic ogee arch enclosing a further figural representation, on cavetto moulded base with rounded projecting corners and turned feet, 52cm (20.5ins) high.

A French gilt brass mantel clock in the Greek Revival taste. The movement by Samuel Marti et Cie, Paris, late 19th century. The eight-day two train bell striking movement with S. Marti et Cie, MEDAILLE DE BRONZE roundel and stamped 5277 to backplate, the dial cast as a shield with concentric geometric and laurel band convex centre within chapter ring applied with raised black Roman numerals, the case with seated cherub surmount to the elaborate double scroll surmount above lotus leaf moulded break-arch cornice and female terms flanking dial, the sides applied with stylised seated winged griffin supports, the break-fronted wide plinth base with geometric mouldings and inset with relief cast figural frieze panels and with stalks to the front angles, on block feet with central cartouche between and flanked by scroll pierced side supports, 41cm (16ins) high.

A rare Viennese mahogany ‘Lanternl-uhr’ spring-driven wall timepiece. Unsigned, circa 1830-40. The four pillar movement with canted upper angles to plates enclosing five-wheel train with large spring barrel with wind up ratchet mounted on the backplate, five-spoke wheel crossings and recoil escapement with wood rod pendulum, the 8.25 inch circular silvered brass Roman numeral dial with blued steel hands and outer minute track within engine-turned bezel, the boxwood strung nine-panel case with triangular pediment above glazed pin-hinged front door with slender surround and conforming side windows to hood, the inset trunk with concave throat mouldings above arch glazed lift-out front panel and further apertures to sides, the square base section also glazed to front and sides and with tapered concave-sided foot beneath, 120cm (47ins) high.

A fine French Empire gilt and patinated bronze portico mantel clock. N. Jennart, Brussels, early 19th century. The two train outside countwheel bell striking movement with silk suspension for the female mask sunburst bob pendulum, the convex white enamel Roman numeral dial signed N. Jennart, a Bruxelles to centre, with fine gilt hands and milled bezel, the gabled case with ball finials above gadroon moulded cornice and applied opposing trumpeting Fortuna figural mounts flanked by standing putti to the angles of the pediment, the front pilaster uprights applied with stylised pedestals surmounted with griffins supporting a baton passing beneath the dial and draped with a lambrequin apron flanked by squirrels, each side with pierced infill to the top of the pointed arch aperture, on inverted Gothic arch tracery decorated plinth base with female mask rosette applied angles and skirt base with turned feet, 42.5cm (16.75ins) high.

A French Louis XV style brass mounted floral marquetry decorated rosewood mantel clock. A.D. Mougin, Paris, circa 1900. The eight-day two train gong striking movement stamped with AD. MOUGIN, DEUX MEDAILLES trademark and numbered 5271 6 to the circular backplate, the blue on white enamel circular Roman numeral dial with Arabic five minutes to outer track and blackened steel hands set behind a moulded cast brass convex bevel glazed bezel, the waisted case with foliate scroll cast fixed handle to the shallow arch upstand above leafy spray inlaid decoration around dial and rococo foliate scroll border mounts to angles, the sides with conforming floral marquetry, on cast feet, 42cm (16.5ins) high.

A monumental oak eight-day quarter chiming longcase regulator with moonphase. Unsigned, circa 1900. The substantial four pillar triple train movement with Harrison’s maintaining power, deadbeat escapement and mercury jar compensated pendulum, chiming a choice of three melodies on either eight bells or four gongs and striking the hour on a further larger gong, the 14 inch silvered brass break-arch dial with subsidiary seconds dial within applied chapter ring with raised gilt Arabic numerals, the angles with cast brass bird and urn pattern spandrels incorporating subsidiary CHIME/SILENT and WHITTINGTON/CAMBRIDGE/ WESTMINSTER selection dials to the upper pair, the arch with rolling moonphase calibrated for the age of the moon to upper edge and with pair of globe lunettes beneath the upper border with scroll engraved infill, the Art Nouveau influence break-arch case with leafy scroll carved crest above moulded cornice and line-incised border to the glazed dial aperture flanked by foliate carved baluster pillars to hood, the trunk with inverted breakfront ogee moulded throat above rectangular glazed door flanked by triform half-pilasters with globular capitals and foliate bases, the plinth centred with an inverted break-arch panel flanked by swollen acanthus carved uprights to front and sides terminating with a shaped skirt, 259cm (99ins) high.

A Scottish Regency mahogany eight-day longcase clock. G. Lumsden, Edinburgh, circa 1825. The four pillar rack and bell striking movement with 13 inch circular white painted Roman numeral dial with subsidiary seconds and calendar dials and signed G. LUMSDEN, EDINBURGH to centre, the drum-head case with giltwood canted fillet to the glazed hinged dial surround above waisted section and raised throat mouldings, the trunk with shallow-arch top caddy moulded door flanked by canted angles, on shaped panel outline fronted plinth base with moulded skirt, 201cm (79ins) high. A George Lumsden is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Pittenweem, 1818-49.

A Regency brass mounted ebonised bracket clock. Ralph Gout, London, circa 1820. The five pillar twin fusee bell striking movement with anchor escapement and pendulum holdfast to the border engraved shallow arch-top backplate signed Ralph Gout, LONDON towards lower margin, the 8 inch circular convex white enamel Roman numeral dial with repeat signature to centre and decorative pierced blued steel hands within a cast brass convex glazed bezel, the chamfer top case with brass pineapple finial above cavetto moulded cornice and brass bound ripple-moulded frieze with fillet inset recessed quadrant panels around dial flanked by brass inset canted angles, the sides with brass ring handles above rectangular fishscale sound frets, on brass bound ripple-moulded skirt base with generous ball feet, 46cm (18ins) high excluding finials. Ralph Gout is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London 1770-1836. He was apparently declared bankrupt in 1796, however must have been able to continue in business after this date. The current clock is perhaps noteworthy in that it has survived in original unrestored condition with no apparent damage to the enamel dial.

* A George III eight-day longcase clock movement and dial with moonphase. Samuel Fletcher, Dewsbury, dated 1778. The four pillar rack and bell striking movement with 13 inch brass break-arch dial with subsidiary seconds and calendar dials to the foliate engraved centre signed Sam’l Fletcher, Dewfbury to the calendar dial, within applied silvered Roman numeral chapter ring with Arabic five minutes to the outer track and pierced steel hands, the spandrels applied with unusual rococo scroll cast spandrels, the arch with rolling moonphase calibrated with the age of the moon to the edge of the disc and with engraved lunettes beneath inscription Abram and Honour Greenweed 1778 to a silvered plate forming the upper border of the arch. Samuel Fletcher is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working in Dewsbury circa 1780. The inscription to the arch of the current lot indicates that this clock was a made to commemorate a wedding. Online records (National Archives) suggests that a Abraham Greenwood (from a long established Dewsbury family) lived in the town at the time this clock was made. As he was a wealthy merchant and landlord he would have certainly had the resources to order a longcase clock to commemorate his marriage.

A rare George III gilt brass miniature bracket clock case and dial. Moore, London, second half of the 18th century, the movement later. The current French eight-day backwound movement with silvered platform lever escapement and numbered 13602 to backplate, the original 2.5 inch brass break-arch dial painted with blossoming foliage and applied with white enamel Roman numeral disc signed MOORE, LONDON to centre and with Arabic five minutes to outer track, with gilt beetle-and-poker hands and conforming enamel STRIKE/SILENT roundel to arch, the gilt brass break-arch case with hinged carrying handle and vase turned finials above decorative applied moulding to edges and conforming glazed door to front, on moulded base with splayed bracket supports with pointed pad feet, 15cm (6ins) high excluding handle. The current lot can probably be best described as a particularly rare early carriage clock due to the use of brass in the case and its small portable nature. The painted floral decoration which forms the background infill to the dial is often seen on clocks destined for the export market, the brass case also is more usual for a clock made for an overseas client (particularly Chinese); however the English annotations to the dial confirm that this particular clock was supplied for domestic consumption. Unfortunately the lack of forename makes attribution to a specific maker problematic as there were many with the surname ‘Moore’ working in London during the latter half of the 18th century.

A George III brass mounted ebonised table clock. John Ellicott, London, mid 18th century and later. The twin chain fusee movement with five substantial disc-knopped pillars and thick plates, now with deadbeat escapement, chiming the quarters on the original nest of six graduated bells and with passing strike on a single larger bell, the backplate retaining original backcock apron and engraved with symmetrical foliate scrolls around a central cartouche signed John Ellicott, London, the 7 inch brass break arch dial with calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track and repeat signature to lower edge, with fine pierced blued steel hands and rococo scroll cast spandrels to angles, the arch with subsidiary Strike/Silent selection dial flanked by conforming mounts, the inverted bell-top case with recessed brass fillet inserts to the front door aperture and upper quadrant sound frets flanked by caddy moulded angles, the sides with conforming circular over concave topped rectangular windows, on shallow cavetto moulded skirt base with cast brass squab feet (movement with alterations), 47cm (18.5cm) high excluding handle. John Ellicott F.R.S. is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as born 1706 to John Ellicott senior, a Cornish clockmaker who had gained his Freedom of the Clockmakers’ Company in 1696 and died 1733. John junior worked from Swithin’s Alley, Royal Exchange, London and was elected member of the Royal Society in 1738. He published works on horology in 1739 and 1753 and is particularly noted for the development of the cylinder escapement and a form of compensated pendulum; he also maintained a private observatory at his home in Hackney. John Ellicott was later appointed as Clockmaker to George III, and took his son, Edward into partnership in 1760 which lasted until his death in 1772. The current lot was originally made as an hour-striking clock with verge escapement and pull quarter repeat on six bells. The movement was modified in the mid to late 19th century to chime the quarters every hour (using the bells and part of the mechanism for the original pull-quarter repeat facility) and to strike a single blow on the larger bell every hour. At this time the escapement was also converted from verge to deadbeat. These modifications were very well executed hence the clock presents as a good decorative example. Conversely the movement perhaps has the potential to be converted back to original specification as much of the original mechanism remains.

A George III ebonised table clock. Dowson and Peene, London, circa 1760. The five pillar twin fusee bell striking movement with verge escapement and symmetrical foliate scroll engraved backplate, the 7 inch brass break-arch dial with calendar and false bob apertures and silvered arched nameplate Dowson & Peene, LONDON to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track, the angles with rococo scroll cast spandrels beneath arch with subsidiary Strike/Silent selection dial flanked by conforming mounts, the inverted bell top case with brass carrying handle above cast brass upper quadrant frets and raised mouldings flanked by caddy moulded angles to the front door, the sides with circular over concave-topped rectangular brass fishscale sound frets, on shallow cavetto moulded skirt base with squab feet, 47cm (18.5ins) high excluding handle. The partnership Dowson and Peene is recorded in Baillie, G.H. Old Clocks and Watches and their Makers as working from Gray’s Inn circa 1800, however as the current lot can be stylistically dated to around 1760 the partnership must have been working earlier than the record suggests.

A mahogany domestic longcase regulator. Barraud, London, early 19th century and later, the case circa 1760. The five pillar movement now with deadbeat escapement, Harrison’s maintaining power, wood-rod pendulum and striking the hours on a gong, the 12 inch cream painted Roman numeral break-arch dial with subsidiary seconds dial to centre, STRIKE/ONE/SILENT selection lever at 12 o’clock and with gilt floral spray painted decoration to spandrels beneath arch signed BARRAUD, London, now in a break-arch case with foliate scroll pierced blind fret to frieze and brass stop-fluted Corinthian pilasters to hood above break-arch door to trunk, on plinth base with moulded double skirt, 230cm (90.5ins) high. Paul Philip Barraud is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as becoming a Liveryman of the Clockmakers’ Company in 1796 and appointed Master in 1810. He is listed as a fine watch and chronometer maker who worked in partnership with W. Howells and G. Jamisen for making Mudge’s timepkeepers. He had two sons; Frederick Joseph (worked 1806-25) and John (worked from 1813), with whom he formed a partnership in 1811 which lasted until his death in 1820. The firm was continued by his son taking John Richard Lund into partnership in 1838. The business was finally wound up in 1925. The going train of the current lot was upgraded from a relatively standard eight-day longcase movement to regulator specification and the strike train converted from bell striking to gong striking during the mid to late 19th century. The dial has been expertly re-touched however images of the dial prior to restoration are included with the clock, and serve to suggest that the Barraud name is original to the dial. The case is a good early George III London-made mahogany example in sound condition.

A George III mahogany eight-day longcase clock. Thomas Ogden, Halifax, circa 1760. The five finned pillar rack and bell striking movement with 13 inch brass break-arch dial with recessed subsidiary seconds dial, ringed winding holes and calendar aperture to the foliate scroll engraved matted centre within applied silvered Roman numeral chapter ring with foliate half hour markers, Arabic five minutes to outer track and signed Thos. Ogden, Halifax to lower edge, the angles applied with female mask and scroll cast spandrels beneath arch with circular aperture with rocking Chronos figure within silvered ring engraved TEMPUS FUGIT flanked by dolphin cast mounts, in a pagoda top case with break-arch cavetto cornice and foliate carved fret to frieze above brass stop-fluted columns flanking door to hood, the trunk with geometric break-arch door flanked by conforming quarter columns to angles, on shaped raised-panel fronted plinth base with shallow moulded skirt, 249cm (98ins) high. Thomas Ogden is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Halifax as born in 1692 and dying in 1769. As with many leading makers of the period Ogden was a Quaker and is thought to have also supplied other makers; his work tended to be distinctive, of high quality and often incorporating complications such as spherical moons or astronomical features.

An eight-day longcase clock movement with 7 inch dial. The dial signed for Richard Colley Junior, London, mid 18th century. The four pillar inside countwheel bell striking movement with 10.75 x 7 inch brass break-arch dial with matted centre within silvered Roman numeral chapter ring with lozenge half hour markers and Arabic five minutes to outer track, the angles with Indian mask and scroll cast spandrels beneath arch centred with a silvered boss engraved Rich’d: Colley, Junior, London flanked by conforming mounts (strike train added). Richard Colley junior appears not to be recorded, however his father is listed in Baillie, G.H. Watchmakers & Clockmakers of the World as an eminent maker who died in 1736. Evidence in the movement indicates that the current lot was originally made as a timepiece only, wound via the now vacant hole to the dial centre. When the strike train was added (early in the clock’s life) the going greatwheel was moved to the right to allow room; both the left hand dial feet also had to be relocated from their original positions to facilitate the conversion.

A fine George III brass mounted ebonised quarter chiming musical table clock. Paul Rimbault, London, late 18th century. The substantial six pillar triple fusee movement with verge escapement and chiming the quarters on eight bells and playing a choice of two tunes including ‘Oh Worship the King!’ on the same eight bells with fifteen hammers on the hour, the symmetrical foliate scroll and strapwork engraved backplate with external fly with adjustable vanes for regulating the speed of the music and conforming decorative backcock apron, the 7 inch wavy-outline arched Roman numeral painted dial signed PAUL RIMBAULT, LONDON to centre and with scroll pierced blued steel hands within spandrels decorated with delicate floral sprays on a dark ground, beneath arch finely painted with a landscape view of a church beside a river with a sailing boat and bridge beyond, the inverted bell top case with figural surmount cast as ‘Britannia’ set on a pedestal applied with side scrolls over foliate festoon mount to the concave section of the superstructure flanked by cast vase finials to corners, with pierced and engraved foliate brass frets to upper quadrants of the brass fillet inset front door flanked by ribbon bow and entwined husk drapery cast mounts incorporating relief portrait medallions to front angles, the sides with hinged handles above arched fishscale frets and with conforming mounts to rear canted angles, on brass-bound shallow cavetto moulded skirt base with brass bracket feet, 48cm (19ins) high excluding figural surmount, 60cm (23.5ins) high overall. Paul Rimbault is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working from Denmark Street, London 1770-85. He was related to John Stephen Rimbault who is recorded working from Great St. Andrew’s Street, London 1744-85. Both makers probably had Huguenot roots and appear to have specialised in the production of complex musical clocks which often incorporated automata within the arch of the dial. The current lot can be traced back within the vendor’s family until at least mid 19th century and it is possible that the clock has remained in the same family since it was made; this is perhaps supported by the fact that it survives in good, relatively unrestored original condition. With a dial width of seven inches the current lot is also perhaps of a more manageable size than many musical clocks from this period which tended to be of larger proportions, however it still remains a highly decorative thus impressive object.

An unusual padouk wood musical alarm table clock. Berguer London, probably early 19th century. The five pillar twin chain fusee movement with verge escapement and alarm playing a choice of two peels or a lively melodic tune on eight bells, the backplate engraved with an urn within a rococo scroll cartouche and decorative border incorporating leafy sprays to angles, with a 7 inch brass break-arch dial with alarm disc to the matted centre and blued steel hands within an applied silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers and Arabic five minutes to outer track and signed Berguer, London to lower edge the angles with female mask and scroll pattern spandrels beneath arch with CHIME/SILENT dial flanked by conforming scroll cast mounts, in a case with brass carrying handle to a moulded panel following the profile of the break-arch top with brass pineapple finials, the front door with ebonised fillet mouldings to the glazed aperture and brass inset angles, the sides with circular foliate scroll engraved brass sound frets above concave-topped windows, on moulded base with brass bracket feet, 39.5cm (15.5ins) high. Four makers with the surname Berguer (probably brothers) are recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London during the first quarter of the 19th century; Frederick 1805-24, John 1809-24, Francis (Holborn) 1820 and Joseph 1820. Two generations of makers with the same surname are also recorded working in Chaux-de-Fonds, Switzerland during the 18th century hence it is probable that the London-based makers at the start of the 19th century were first generation immigrants. The fact that the signature to the chapter ring suggests that the maker of the current lot was probably an immigrant may account for the unusual specification of the movement (which plays music as an alarm only) as well as the individual nature of the detail design of the case. These variations perhaps echo those seen on clocks made in London by an earlier generation of Huguenot immigrant makers working during the early years of the 18th century.

A George II brass mounted ebonised small table clock. James Snelling, London circa 1730. The five (formerly six) pillar bell striking movement with foliate engraved backplate centred with a figural representation of Britannia and inhabited by ho-ho birds, the 6 inch brass break-arch dial with recessed shaped silvered nameplate engraved James Snelling, LONDON and blanked-off false bob aperture inscribed Green Castle 1776 to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to outer track, the lower angles with female mask and scroll cast spandrels, the upper angles with star-centred silvered subsidiary Strike/Silent opposing regulation dials flanking a central calendar dial within applied foliate cast infill to the arch and with cherub mask and scroll decoration to panel beneath, the inverted bell top case with brass carrying handle and pierced gilt frets to the upper quadrants of the brass-fillet inset front door, the sides with concave bottomed rectangular above break-arch glass apertures with conforming brass fillet inserts, the rear door with further break-arch window, on moulded base with block feet, (movement with losses and other faults), 39cm (15.5ins) high. James Snelling is recorded in Baillie, G.H. Watchmakers and Clockmakers of the World as being admitted as an apprentice in 1703, gaining his freedom of the Clockmakers’ Company in 1712. He was appointed master in 1736 and died 1751. Baillie notes him as an ‘Eminent’ maker. The placing of three subsidiary dials in the arch of the dial of the current lot was perhaps made popular during the 1720’s by makers such as DuChesne, DeCharmes and Quare. The relatively complex dial, combined with neat proportions of the case results in an particularly attractive clock which perhaps deserves restoration of the movement.

A “Verascope Richard” viewer, for stereoscopic slides c 1900, mahogany case, screw adjustment, French maker’s mark, and 33 black and white photo slides with views of Trafalgar Square, Admiralty Arch, Windsor Castle, Kew Gardens, New York, Harvard Univ, Niagara Falls, Atlantic City, etc, mostly identified. Generally GC

Hugh Collinson "The Pickworth Arch, Leicestershire" signed oil on board 40 x 60cms, (16" x 23½").

An Edwardian inlaid mahogany demi-lune display cabinet, projecting cornice, the frieze with diaper stringing, multi-pane glazed door, flanked by glazed panels, cotton brocade lined interior, the base section with central drawer, flanked by cupboards, each with narrow parquetry banding, open arch, shelf under, width 102cms, (40"), depth 52cms, (20½"), height 190cms, (75").

A Regency mahogany chiffonier with arch relief panelled doors

An 18th century mahogany cased bracket clock with integral bracket marked Rob Cornish Dartford, with ornate cast brass dial with Roman Numerals and twin weight driven movement, with stepped arch top, height including brackets approx 46cm (af) (illustrated)

An 18th century mahogany cased eight day longcase clock by John Page of Ipswich, the arched brass dial featuring a strike/silent dial to the arch, subsidiary seconds dial, date aperture, twin winding holes and name plate all within the chapter ring, with twin weights, pendulum and winder, height approx 240cm (illustrated)

A George III feathered mahogany cased striking eight day longcase clock, the arched brass dial with moonphase to the arch above the silvered chapter ring, engraved subsidiary seconds dial, twin winding holes and date aperture, the trunk flanked by fluted quartered pilasters and terminating on ogee bracket feet, with twin weights and pendulum, approx height 7ft 8in (234cm) (illustrated)

An early 19th century feathered mahogany cased striking eight day longcase clock, the painted arched dial featuring a moonphase to the arch, the dial painted with foxes, goats and dogs, and featuring painted subsidiary dial and date aperture, the Gothic trunk door flanked by bobbin turned pilasters, terminating on outswept bracket feet, with pendulum, two weights and winder, approx height 7ft 8in (234cm) (illustrated)