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

A late 18th/early 19th century longcase clock having swan neck and pillared hood with brass finials containing arch top painted dial for Kelvey Gainsboro, on arch trunk and square base

A pair of modern pine wardrobes in the French style having arch top and panel doors on plinth bases

A late 20th century golden oak sideboard of Jacobean influence, having three frieze drawers on central arch panel cupboard, flanked by carved cupboards on stile frame

MEDIEVAL COINS: CATALONIA-ARAGÓN - Croat. FERRAN II. BARCELONA. Anv.: FERDINADUS. D.G. REX. Busto a izquierda. Rev.: CIVI-TASB-ARCH-NONA. Anillos en 1er. y 4º espacio. (Golpes). Cru.Vs-1141. MBC.

Arch Cuthbertson (Born 1924) Bouquet Oil on canvas 84 x 101cm

Arch Cuthbertson (Born 1924) Old man and goat Gouache on paper Signed and dated ’99 lower right 70 x 102cm Illustrated online at www.mossgreen.com.au

A VICTORIAN OAK WALL SHELF with carved break arch pediment over three shelves of graduated depth, fielded panelled backs and carved supports, 33" wide

A Staffordshire figure in the form of a courting couple sitting within a foliate arch View on staceyauction.com

An oak eight day long case clock, the arch brass dial with Roman numerals - maker J Bettle View on staceyauction.com

Early C19th Mahogany Cased Painted Arched Dial 8 Day Long Case Clock, signed C. Heizman Canterbury with Roman numerals, secondary seconds hand, dial painted with floral corners, arch with cherubs with guitar by a lake, frilled hood, reeded pillars, trunk with arched door & reeded pillars with blonde wood capitals, 3 turned wooden spires to hood, plinth raised on wavy plinth base, brass cased weights

C19th Figured Mahogany 8 Day Long Case Clock with scrolling arch hood mounted with 3 winged eagle ball finials, painted face with water mill & red roof buildings, secondary seconds dial, date aperture

A PART 19TH CENTURY DARK STAINED JACOBEAN STYLE CABINET ON STAND, the body with acorn pendant turnings over three arch panel doors with pilasters, the base with three in line drawers, on four bell turned legs united by a shaped cross-plank stretcher, 162cm high x 172cm wide

A George III brass mounted mahogany quarter chiming musical table clock, circa 1800, the triple fusee movement chiming a choice of two phrases on eight bells. The 19.5cm square break arch dial with Roman numerals, matted centre and calendar aperture, two subsidiary dials in the arch inscribed `chime/not chime` and `a dance/a song`, signed John Taylor, London - H60cm, W37cm, D23cm - with original but altered bracket.

Victorian mahogany two section secretaire bookcase, the upper section fitted four shelves enclosed by a pair of arch shaped glazed doors flanked with carved scroll work to either side, the base fitted secretaire drawer enclosing a fitted interior with pigeon holes and drawers, arch shaped panelled doors below and standing on a plinth base, 128.5cm wide

19th Century Dutch marquetry two section display cabinet, the upper section having an arch shaped moulded cornice, fitted three shelves with a mirrored back panel and enclosed by a glazed door, the base fitted two mirror panel doors and standing on squat scroll feet, 109.5cm wide

George III Scottish ebonised table clock by James Cowan, Edinburgh, the bell top case with later pineapple finials, cast spandrels to the front door with brass lining, the 7” wide brass dial with foliate spandrels, matted centre with date aperture and mock pendulum aperture, strike/not strike above XII, silvered regulation disc to the arch with signature, eight day twin fusee striking movement, back plate engraved with birds and foliage, 52cm high with handle raised

19th Century English School - Oval miniature on ivory - Portrait of a lady, 6cm x 4.75cm in an ormolu frame together with another - Half length portrait of a gentleman wearing a black jacket and high collared shirt, 17.25cm x 12.25cm, in an arch shaped ormolu frame

Roger Steppens (b.1956) - Oil on board - The Mayflower Arch, Plymouth Hoe, signed, 27cm x 19.5cm A.R.

Large cast metal lion rampant in arch top frame with "3 sun" base plate and large "crown" surmount lion, 145cm high, arch frame, 180cm high

A 19th century French ebonised bonheur du jour, the whole decorated with brass strapwork, cast brass embellishments and tortoise shell inlay, the arch top upper cabinet having two ormolu finals and two hinged doors enclosing a shelved interior with two drawers beneath, the serpentine stand with leather inset top and decorative brass edging over a full width drawer, all supported on four cabriole legs with ormolu caryatid mounts, 78cm wide

A Victorian mahogany longcase clock with painted arch dial

A Victorian oak mercury stick barometer. Chadburn and Son, Liverpool, circa 1870. The bevel-glazed canted bone vernier scale calibrated in barometric inches and with the usual observations opposing mercury Fahrenheit scale thermometer beneath arch signed CHADBURN & SON, 71 LORD ST. LIVERPOOL to upper margin, with vernier adjustment square to the top of the plain rectangular section trunk terminating with a moulded domed cistern cover to the rounded base, 90cm (35.5ins) high. The firm of Chadburn and Son are recorded in Banfield Edwin BAROMETER MAKERS AND RETAILERS 1660-1900 as working from 71 Lord Street, Liverpool 1857-75.

A fine and rare George III mahogany free-standing mercury pillar barometer. Nairne and Blunt, London, late 18th century, The arched silvered scale fitted to a rotating brass table to allow rotation around the large bore mercury tube, with rack and pinion adjusted vernier and pivoted mirror behind to allow accurate observation of the level beneath signature NAIRNE & BLUNT, LONDON to arch, the fluted column upright with flared capital and moulded base with lift-off front section secured by a clasp formed as a dummy keyhole to reveal interior with mercury tube of smaller diameter packed by cotton wadding, the two stage plinth incorporating up-sliding cover for the sealed boxwood cistern above moulding to waist and double skirt to base, 167cm (67.75ins) high overall. The collaboration between Edward Nairne and his former apprentice Thomas Blunt is recorded in Banfield, Edwin BAROMETER MAKERS AND RETAILERS 1660-1900 as established in 1774 and lasting until 1793. Edward Nairne was born in 1726 and apprenticed to the celebrated instrument maker, Matthew Loft, in 1741. Latterly he worked from 20 Cornhill and published numerous booklets on navigational, pneumatic and astronomical instruments. In 1776 Nairne devised a marine barometer with a restriction to the bore of the mercury tube which served to dampen the oscillation of the mercury, he was elected Fellow of the Royal Society in 1776 and died 1806. Thomas Blunt was apprenticed to Edward Nairne in 1760 with whom he formed a loose partnership in 1774, perhaps for mutual convenience as his premises were next door to Nairne`s at 22 Cornhill. Blunt designed some of the components for the `New Barometer` devised by the Portuguese Scientist J.H. Magellan for measuring altitude, and latterly became instrument maker to George III. In 1793 he took his son, also named Thomas, into partnership and subsequently relocated to 136 Minories in 1814, he died in 1822. The current lot is highly unusual as it takes the form of a free-standing pedestal designed to be fixed to the floor with a scale that can be rotated for viewing from any angle, the mirror attached to the rear of the scale enables the level to be sighted precisely. The non-portable and accurate nature of the instrument coupled with a finely executed case suggests that it was probably commissioned for a wealthy patron perhaps for use in a private laboratory.

A George III mahogany eight-day longcase clock with moonphase. Joseph Smith, Bristol, circa 1760. The five pillar rack and bell striking movement with 12 inch brass break-arch dial with subsidiary seconds dial and calendar aperture to the matted centre within applied Roman numeral chapter ring with Arabic five minutes to outer track, the angles with fine cast female mask and scroll spandrels beneath rolling moonphase with foliate scroll engraved lunettes and signed JOSEPH SMITH, BRISTOL in a downward curve to upper margin, in a case with break-arch frieze to the box upstand and fluted pilasters to hood, shaped top caddy moulded door flanked by fluted canted angles to trunk, on conforming plinth base with raised panel to front and on bracket feet, (pediment lacking, other faults), 210cm (82.5ins) high. Joseph Smith is recorded in Moore, A.J. THE CLOCKMAKERS OF BRISTOL 1650-1900 as working from several addresses in Bristol 1725-75. He is generally considered to be a fine and diverse maker with examples ranging from eight-day longcase clocks with tidal dial to watches with champlevŽ dials. He was perhaps the most prolific maker of high quality bracket clocks in Bristol during the middle of the 18th century as several examples are known including a very rare miniature walnut model with 4 inch dial and a quarter chiming clock with moonphase (illustrated in Barder, R.C. Georgian Bracket Clocks on page 112). A mahogany table clock by Joseph Smith was sold in these rooms on 17th February 2010 (lot 41).

A George III brass miniature lantern alarm timepiece. Benjamin Maude, London, circa 1780. The posted movement with verge escapement and alarm sounding on a bell mounted within the domed bell bearer above the frame with ball feet, turned corner posts and vase finials flanking original foliate pierced frets to sides, the 5 inch brass break-arch dial with alarm disc and blued steel hand to the matted centre within applied silvered Roman numeral chapter ring with short cruciform half hour markers and unusual female mask and scroll cast spandrels to angles, the arch with circular silvered boss signed Benj`n Maude, London flanked by mask and scroll mounts, the rear with integral hanging loop extension to top plate and threaded feet to take steel wall spikes, 19cm (7.5ins) high; in a later, (probably 19th century) stained figured birch hooded wall case with rounded pagoda pediment and cavetto moulded break-arch cornice, 37.5cm (14.75ins) high overall. Benjamin Maude is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as apprenticed in 1760, gaining his freedom by 1782 and working in London until his death in 1819.

A George III brass lantern clock made for the Middle Eastern market. Robert Ward, London, late 18th century, The posted countwheel bell-striking movement with verge escapement, the 8 inch brass break-arch two-handed dial with matted centre within applied silvered chapter ring with `Turkish` numerals and scroll cast spandrels to angles, the arch with circular silvered boss signed Rob`t Ward, London within herringbone border and flanked by conforming mounts, the frame with ball feet, columnar uprights and urn finials flanking pierced and engraved side frets beneath bell housed within the domed bearer above, with engraved brass side doors, hanging hoop and spurs, (side doors replaced, backplate lacking), 38cm (15ins) high. Robert Ward is recorded in Loomes, Brian Watchmakers & Clockmakers of the World as admitted to the Clockmakers` Company 1768, and working from Abchurch Lane 1779-1808. He seemed to specialise in musical clocks and clocks for export to the Middle East.

A brass inlaid mahogany bracket timepiece. Barwise, London, early 19th century, The four pillar single fusee movement with anchor escapement and pendulum holdfast to the shouldered backplate, the 6 inch circular convex white Roman numeral painted dial signed BARWISE, LONDON to centre and with blued steel Breguet hands within a cast brass glazed bezel, the shallow-arch top case with curved reeded moulding terminating in scrolls to arch above brass ring side handles, foliate scroll inlaid shaped panel beneath dial and conforming quarter moulding to the skirt base with disc feet, 34.5cm (13ins) high.

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.

An Edwardian brass mounted mahogany bracket timepiece. Kay and Co. Ltd, Worcester, early 20th century, The four pillar single fusee movement with anchor escapement and pendulum holdfast to backplate, the 6 inch circular silvered brass Roman numeral dial signed KAY & Co. Ltd., WORCESTER to centre and with blued steel spade hands within a cast brass bevel glazed bezel, the arch-top case with recessed brass fillet inset shaped panel beneath dial and arched fishscale sound frets to sides, on moulded base with adjustable brass bun feet, 35.5cm (14ins) high.

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 ebonised and brass mounted quarter chiming bracket clock. J. and H. Jump, London, circa 1880. The substantial four pillar triple chain fusee movement chiming the quarters on a nest of eight bells and striking the hour on a gong, the 8.5 inch brass break-arch dial with matted centre within an applied silvered Roman numeral chapter ring with Arabic five minutes and winged cherub-head cast spandrels to angles, beneath arch with subsidiary Strike/Silent and Chime/Change dials with foliate engraved infill between and shaped silvered nameplate J. & H. JUMP, LONDON to upper margin, the single brass-edged pad top break-arch case with carrying handle above bird inhabited foliage pierced arched side frets and brass mounted front angles, on cavetto moulded skirt base with brass ogee bracket feet, 44.5cm(17.5ins) high excluding handle. The current lot is by Joseph and Henry Jump who are recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working in London 1875-81. The Jump family were fine makers who succeeded the Vulliamy family, they are perhaps best known for their complex shagreen mounted tombstone shaped carriage clocks.

A George III inlaid mahogany eight-day longcase clock with moonphase. D. Collier, Eccles, early 19th century, The four pillar rack and bell striking movement with 14 inch square white painted Roman numeral dial with arched calendar and `axehead` moon apertures and signed D. Collier, Eccles to the seated lamb painted centre, the spandrels painted with female figures emblematic of the four seasons, the case with pierced swan neck crest above cavetto cornice, baton inlaid frieze and turned columns to hood, oval paterae inlaid frieze to throat over gothic ogee arch shaped trunk door flanked by reeded pilasters to angles, on crossbanded plinth base with canted angles and ogee bracket feet, 224cm (88ins) high.

A George III oak eight-day longcase clock. Benjamin Lockwood, Swaffham, late 18th century, The five pillar rack and bell striking movement with 12 inch brass break-arch dial with recessed subsidiary seconds dial, calendar aperture and signed Benj. Lockwood, Swaffham to the foliate scroll engraved silvered centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track and rococo scroll cast spandrels to angles, the arch with conforming subsidiary STRIKE/SILENT selection dial flanked by scroll cast mounts, in a case of good colour with `whales tail` pieced fretwork crest above three-quarter columns to hood, caddy moulded break-arch door to trunk, on a reduced plinth base with moulded skirt, 215cm (84.5ins) high. Benjamin Lockwood is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as born in Swaffham 1737 and worked up to 1795. The `whales tail` crest to the hood is a regional characteristic often seen in clock cases made in East Anglia during the latter half of the 18th century.

A Regency brass inlaid mahogany bracket clock. Unsigned, early 19th century, The five pillar twin fusee bell striking movement with pendulum holdfast to the shouldered backplate, the 8 inch circular cream Roman numeral convex dial with unusual lozenge pierced blued steel hands and cast brass glazed bezel, the break-arch case with brass ring handles above arched fishscale sound frets to sides and stylised foliate spray brass inlay to a shaped panel beneath dial, on skirt base with ripple moulded band and disc feet, 40cm (15.75ins) high.

A George III mahogany small bracket clock. Richard Cannon, London, late 18th century. The five pillar twin fusee bell striking movement with verge escapement and engraved backplate decorated with an urn of flowers and foliate scrolls within a circular reserve and fitted with a pendulum holdfast hook, the 5 inch brass break-arch dial with matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes and female mask and scroll cast spandrels, the arch with circular silvered boss signed Rich. Cannon, London the break-arch case with brass carrying handle above brass fishscale inset arched side frets and moulded skirt base with brass bracket feet, 29cm (11.5ins) high excluding handle.

A Fine George III Scottish military commemorative ebonised musical bracket clock Turnbull and Aitchison, Edinburgh, circa 1778. The substantial six pillar triple fusee movement with verge escapement, striking the hour on a bell before playing a lively tune on eight bells with fifteen hammers every hour, the foliate scroll engraved backplate with oval reserve signed Turnbull & Aitchison, Edinburgh within a leafy border with eagle surmount, the 8 inch black velvet covered break-arch dial with blued steel ring-turned collets to the winding holes and separately applied silvered Roman numerals with Arabic five minutes and dot minute markers between, the arch applied with shaped plaque inscribed in raised silvered lettering COL. BIRD 15 REG. HOBL. WILLM. FALCONER LT. GRENAD. KILLD. action of Brandywine SEPT. 11 1777 around a memento-mori motif on a black background, the bell top case with five pineapple finials above caddy moulded angles and brass handle over circular and concave-topped rectangular foliate pierced frets to sides, on moulded base with cast brass paw feet, 52cm (20.5ins) high. Provenance: The property of a private collector. Possibly commissioned by Anthony Adrian Keith-Falconer the 7th Lord Halkerton, 5th Earl of Kintore for his newly acquired seat, Keith Hall, circa 1778. Thence down the family line to Arthur George Keith-Falconer 12th Lord Halkerton, 10th Earl of Kintore before possibly passing to his widow Helena Zimmerman, (previously Duchess of Manchester) on his death in 1966. Thence by family descent until sold at Sotheby`s, London, January 21st 1995 (with provenance as property of the Dowager Countess of Manchester thence by descent). Subsequently at Hayfield House, Saratoga, California prior to acquisition by the current owner. The clockmaking partnership of Turnbull and Aitchison (probably William and Robert) is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as being active 1768-80. The current lot commemorates the loss of the 4th Earl of Kintore`s youngest son, Willem, at the Battle of Brandywine in 1777. The clock also commemorates the death of his commanding officer Lieutenant Colonel John Bird who was killed at the subsequent action of Germantown. The battle at Brandywine Creek was the first significant action between the British and American forces during Sir William Howe`s Philadelphia campaign of 1777. In late July Howe had landed his force of around 17,000 troops at the Northern end of Chesapeake Bay with the intention of marching on Philadelphia. The American force of 20,600 troops under the command of General George Washington positioned themselves near the strategic crossing of Brandywine Creek at Chadd`s Ford with further divisions covering other crossing points nearby. Lord Howe, (relying on better intelligence provided by sympathetic locals) decided to commit to an outflanking manoeuvre. As a diversion, around 5,000 troops, mainly Hessian Guards under the command of Lieutenant General Wilhelm von Knymphausen, were deployed to confront Washington`s forces at Chadd`s Ford. The rest of Howe`s forces, under the command of Major General Lord Charles Cornwallis, headed north, intending to cross Brandywine Creek at Trimble`s Ford before attacking the rear of Washington`s right flank. After crossing, Howe allowed his troops a two-hour rest from their exhausting 17 mile march (to take afternoon tea according to American accounts) before advancing on to outflank the American forces. Howe`s hesitation allowed the Americans enough time to consolidate some of their troops on higher ground at Birmingham Meeting House which subsequently slowed Howe`s advance enough to allow many of the enemy troops to withdraw safely. Meanwhile Knyphausen, on the east bank of the Brandywine at Chadd`s Ford advanced into the weakened American centre forcing their retreat. Careful damage limitation, co-ordinated by Gilburt du Motier, Marquis de Lafayette, ensured that the battle was not turned into a rout of the American forces who managed to retreat and regroup at Chester. The victory at Brandywine allowed the British and Hessian forces to take Philadelphia with little resistance on 26th September 1777. At Brandywine 15th Foot were attached to Lord Cornwallis`s column and were under the command of Major General Charles Grey. Grey`s troops were engaged in perhaps the bloodiest part of the battle attacking General Sullivan`s position at Birmingham Meeting House. The 15th Foot were short of musket balls hence only the sharpest of shooters was allowed to fire `live` at the battle with other troops firing small charges of powder only, this lead to the regiment being nicknamed `The Snappers` It is probable that Lieutenant Grenadier Willem Falconer was attached to this force hence probably lost his life near the Birmingham Meeting House. Colonel John Bird survived Brandywine but was possibly wounded as he is recorded as `lying sick` at Bringhurst House, Germantown when the American forces attacked on 4th October. He apparently arose from his bed to lead his troops but was subsequently mortally wounded and died after the battle at Bringhurst House. He is buried at DeBonneville cemetery, Philadelphia in a grave with the inscription; Here lie the remains of General James Tanner Agnew a British Officer who was killed at Germantown on the 4th October 1777 and of Lieutenant Colonel John Bird a British Officer at Germantown on or about the 4th October 1777. The bodies of the above were removed from the lower Burial Ground Germantown by order of General Howe and placed in this cemetery with the consent of Doctor George de Benneville in May 1778. Requiescat in Pace. This stone was erected in their memory by His Britannic Majesty`s Government, October 4th 1903. The fact that the current lot commemorates both the death of Lieutenant Falconer as well as his commanding officer, Colonel John Bird, is unusual. The Keith-Falconer family perhaps chose to include his name on such a personal object of remembrance as a mark of respect for his heroism and influence on their son.

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, the 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 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 III brass mounted ebonised table clock. Abel Panchaud, London, circa 1780. The five pillar twin fusee bell striking movement with verge escapement, trip hour repeat and symmetrical foliate scroll engraved backplate, the 7 inch brass break-arch dial with calendar aperture and signed Abel Panchaud, Oxford Street to the silvered centre within applied Roman numeral chapter ring with Arabic five minutes and foliate scroll cast spandrels to angles beneath arch with subsidiary Strike/Silent selection dial flanked by conforming mounts, the triple pad top break-arch case with hinged carrying handle and brass fillet mouldings to top above arched fishscale sound frets to sides and moulded brass inserts to front angles flanking the fillet inset aperture of the front door, on cavetto moulded base incorporating further brass strung moulding and on cast ogee bracket feet, 41cm (16ins) high excluding handle. Abel Panchaud is recorded in Baillie G.H. Watchmakers & Clockmakers of the World as working in London 1764-84.

A George III mahogany table clock. Charles Wilson, London, circa 1770. The five pillar twin fusee bell striking movement with backplate engraved with a pagoda within open foliate scrolls, the 7 inch brass break-arch dial with calendar and recessed shaped signature plaque Cha`s Willson, London to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track and scroll cast spandrels to angles beneath arch with STRIKE/SILENT selection dial flanked by conforming mounts, in a bell-top case with brass carrying handle and ball finials above front door with gilt foliate frets to upper quadrants and brass fillet inset dial aperture flanked by caddy moulded angles, the sides with circular over concave-topped bevel glazed windows, the rear door with break-arch window, on cavetto moulded shallow skirt base with brass bracket feet (escapement with alteration, movement with losses), 47cm (18.5ins) high. A Charles Wilson is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as being apprenticed in 1734.

A fine George III mahogany longcase clock with dual Julian and Gregorian calendar indication and deadbeat escapement. George Lindsay with movement attributed to the workshop of George Graham, London, circa 1752. The substantial fully latched five pillar rack and bell striking movement with plates measuring 8.5 x 7.25 inches, deadbeat escapement and currently of month duration with five-wheel trains, the 12 inch brass break-arch dial with dual Julian and Gregorian date of the month apertures and subsidiary seconds dial 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 angles applied with fine female mask and scroll cast gilt spandrels beneath arch centred with a silvered boss signed George Lindsay, LONDON flanked by dolphin cast mounts, the case with convex sided upstand incorporating brass foliate engraved sound fret infill to frieze and mahogany ball finials above break-arch cavetto cornice and free-standing large diameter columns flanking the hood door, the trunk with break-arch one-piece mahogany door over plain plinth base with moulded double skirt and squab feet, the interior of the case inscribed in pencil 1752 KV, 241 (95ins) excluding top finial, 251cm (99ins) high overall; with a period copy of Thomas Baskett and the Assigns of Robert Basket An Act to amend an Act made in the last Seffion of Parliament (intituled, An Act for regulating the Commencement of the Year, and for correcting the calendar now in Ufe.) 1752. (2). George Lindsay is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London from circa 1743 until his death in 1776, as well as being a watch and clockmaker Lindsay also produced scientific instruments. In 1743 he published an advertisement for a `Generally Portable` microscope, in another hand written trade pamphlet Lindsay refers to himself as `Watch & Clockmaker to his Royal highness ye Prince of Wales at ye Dial near Catherine Street in ye Strand`. He was later appointed watchmaker to George III, a position he held until his death in 1776. The movement of the current lot with its distinctive substantial bulbous knopped pillars, teardrop shaped pivot cocks for the under dial work and other more subtle details such as the elongated collet for the escape wheel and the suspension cheeks being screwed to the lower edge of the backcock nib, indicates that it originated from the workshop of George Graham. The overall arrangement of the strikework and the impressive nature of the snail/hour wheel assembly is typical of Graham`s work and can be directly compared with numerous examples of his work such as number 777 sold Christie`s King Street, June 1994 (lot 483). The presence of a deadbeat escapement and larger than normal plates is noteworthy suggesting that the current lot may have been devised with further refinements in mind. Originally the movement was made to run for eight-days only and was fitted with bolt and shutter maintaining power (dial has vacant slot at 3 o`clock for the shutter lever and movement has related vacant holes in the plates) however the duration has been increased with by inserting another wheel into each train and reversing the winding pulleys. The bolt-and-shutter maintaining power was removed at this time as it is would be no longer required in a long duration movement. These improvements were probably done early in the clock`s life perhaps even by Lindsay himself however there is no immediate evidence to confirm this. The provision of two date apertures (to give the date of the month according to both the Julian and Gregorian calendars) to the centre of the dial indicates that the current lot was made at the time when the `new` calendar was adopted by Act of Parliament in 1752. By this time the Julian calendar had become inaccurate (due to the error in the estimation of the length of the day) causing difficulties in respect to the synchronisation of the vernal equinox and subsequent calculation of Easter. In order to correct the error twelve days were added to the British calendar at midnight on September 2nd 1752 and the rules for calculating leap years were altered. The Roman Catholic Church had adopted the new calendar in 1582 with most of Continental Europe (under Catholic rule) following shortly afterwards, Great Britain was the last major Western European state to implement the new calendar.

An unusual George II black japanned table clock with Dutertre`s duplex escapement. Indistinct original signature, circa 1740. The five pillar twin fusee bell striking movement with escapement composed of two escape wheels of varying diameter mounted on the same arbor which alternately engage with cranked pallets fitted with a standard verge type short bob pendulum, the backplate finely engraved with a grotesque mask within Ho-Ho bird inhabited foliate scrolls and a narrow ropetwist border, the 7 inch brass break-arch dial with calendar aperture to the matted centre within applied silvered Roman numeral chapter ring and Indian mask and scroll cast spandrels to angles, the arch with original signature boss bearing re-engraved script Tho Tompion, LONDINI (indistinct traces of original script visible on close examination) within a herringbone border and flanked by conforming mounts, the inverted bell-top case with foliate cast brass carrying handle above front door with scallop shell and scroll cast brass frets to upper quadrants, the sides with ruby glazed windows above blanked break-arch apertures, the rear with conforming glazed upper quadrants over break-arch aperture, the exterior decorated in raised polychrome and gilt with chinoiserie designs within foliate borders throughout, the cavetto moulded base with later brass bun feet, (finish rubbed, other relatively minor faults) 44cm (17.75ins) high excluding handle. The escapement in the current lot appears to be an early/contemporary application of the duplex arrangement as designed by the French horologist Jean Babtiste Dutertre (worked 1715-42), and was perhaps conceived as attempt to improve on the tic-tac escapement. The principle benefit is that the wear rate is greatly reduced as the pallets only engage once with each tooth for each rotation rather than twice (once from either side) for the standard tic-tac arrangement. In essence one wheel provides the entry action of a recoil arrangement and the second controls the exit. This division of the function of the escapement between two wheels allows the teeth on each wheel to be of a heavier profile than on the single escape wheel of a tic-tac escapement, further improving reliability and longevity. Dutertre`s design is illustrated in Reid, Thomas A TREATISE ON CLOCK AND WATCH MAKING plate IX/48 and is briefly described in Appendix B. The overall style, design and layout of the movement suggests London work from the second quarter of the eighteenth century. The engraving to the backplate is unusual being centred with a grotesque mask within a shaped reserve however the Ho-Ho bird foliate scroll infill is more typical of decoration found on London made clocks of the period. Overall the current lot has survived in original condition (including the escapement which is unaltered and has always been with the clock), however the erasing of the original signature to the boss in the arch is a shame as the name of maker of this unusual form of escapement has been lost, although further research and examination could result in a positive attribution.

A fine George I green japanned eight-day longcase clock with lunar calendar. Edward Cockey, Warminster, circa 1720. The five finned pillar movement rack striking the hours on a bell mounted vertically above the plates, the frontplate with extension to carry the motion work for the lunar calendar, the 12 inch brass break-arch dial with calendar aperture and subsidiary seconds dial to the basket of flowers and foliate scroll engraved and chased matted centre within applied Roman numeral chapter ring with stylised fleur-de-lys half hour markers, Arabic five minutes to outer track and signed ED. COCKEY, WARMINSTER to lower edge, the angles applied with fine urn-centred scroll cast gilt spandrels beneath arch with a central rotating foliate engraved disc with circular aperture to reveal a lunar disc representation of the age of the moon and blued steel pointer for the fixed silvered outer scale calibrated for the lunar month and flanked by dolphin and foliate cast gilt mounts, the case with wide break-arch pediment fronted by a deep foliate scroll pierced blind fret frieze above three-quarter columns attached to the gilt foliate spray decorated hood door, the trunk with rectangular door decorated in raised polychrome and gilt with pagodas and figures within an oriental landscape bordered by further gilt foliate scroll borders, the conforming plinth base adorned with Ho-Ho birds and foliage to front and with moulded double skirt, 229cm (90ins) high. Provenance: The property of a private collector. Born in 1669, Edward Cockey senior was the son of Lewis Cockey (a bellfounder and clockmaker working in Warminster) from whom it is believed that he subsequently learned the trade. Edward was clearly a talented and well-connected clockmaker who in 1707 made an extremely complicated astronomical clock for lord Weymouth for the Great Hall at Longleat. Weymouth is thought to have subsequently commissioned Cockey to make another example as a gift to Queen Anne for her drawing room at St. James`s Palace (now in the National Maritime Museum, Greenwich). Edward Cockey junior was born in 1701 and, although initially thought to have followed in his father`s footsteps, apparently chose to become a wine merchant instead. There is a record of the death of an Edward Cockey clockmaker in 1768 (which probably relates to Edward junior). The dial of the current lot, with decorated centre and lunar calendar to arch, coupled with the finely proportioned case (which has survived with the original finish intact) exhibits Edward Cockey`s individual and innovative approach to both function and aesthetic quality.

A black japanned bracket clock. The dial bearing signature Peter Nichols, Newport, late 18th century, The five pillar twin fusee bell striking movement with verge escapement and backplate engraved with two oriental figures within a stylised temple with urn surmount and flanked by Ho-Ho birds perched on foliate scrolls, with a 7 inch single sheet silvered brass break-arch Roman numeral dial with circular calendar aperture and bearing signature PETER NICHOLS, NEWPORT to centre and Arabic five minutes to outer track, the angles engraved with medallion and husk swag decoration incorporating further foliate scrolls and perched Ho-Ho birds flanking STRIKE/SILENT selection dial to arch, in a bell-top case with brass carrying handle and pineapple finials to the upstand above front with raised mouldings around dial aperture, the sides with circular above concave-topped side windows, the whole now decorated with raised stylised floral sprays within gilt line bordered panels, on conforming cavetto moulded short skirt base with brass bracket feet, (decoration probably early 20th century and with possible alteration to dial fixing), 46cm (18ins) high excluding handle.

A George I green japanned eight-day longcase clock. James Stevens, London, circa 1720. The four pillar inside countwheel bell striking movement with 12 inch brass break-arch dial with border-engraved calendar aperture and star decorated subsidiary seconds to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and signed James Stevens, London to lower edge, the angles with twin cherub and crown cast spandrels beneath arch applied with a rococo scroll cast cartouche centred with a silvered boss decorated with a mask and flanked by winged cherubs and putti holding flaming torches beneath upper border engraved with a curved herringbone decorated band, in a green ground gilt decorated case with domed caddy surmount above cavetto cornice and three-quarter columns to hood door, the trunk with rectangular door decorated in raised polychrome and gilt with oriental figures and pagodas within gilt foliate trail decorated borders, on conforming plinth base with moulded double skirt (case with restoration), 236cm (93ins) high. James Stevens is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London circa 1710.

An Austrian small ebonised table timepiece with alarm. Unsigned, late 18th century, The four finned pillar short duration movement with verge escapement, short bob pendulum and standing barrel for the going train and crown wheel and further small standing barrel for the alarm, the 4.5 inch brass break-arch dial with alarm disc and false bob aperture to the foliate scroll engraved centre within applied silvered Roman numeral chapter ring with orb half hour markers and arcaded minutes ring annotated with Arabic five minutes, the angles applied with scroll cast spandrels beneath silvered boss decorated with a stylised basket of flowers within scroll engraved infill, the inverted bell-top case with dolphin cast brass carrying handle above engraved brass lozenge shaped frets over break-arch windows to sides and conforming upper quadrant frets above carved giltwood dial surround to front door, on cavetto moulded base with brass disc feet, 33cm (13ins) high excluding handle.

A George II brass mounted ebonised table clock. James Vaulove, London, circa 1720. The five pillar twin fusee bell striking movement with rise/fall regulation and decorated with a Ho-Ho bird to the symmetrical foliate scroll engraved backplate, the 6 inch brass break-arch dial with calendar aperture and false bob aperture now blanked with the silvered signature plaque Jam:s Vaulove, London to the matted centre within applied silvered Roman numeral chapter ring with Arabic minutes to outer track, the angles with applied gilt Indian mask and scroll pattern spandrels beneath subsidiary silvered regulation dial flanked by conforming mounts to arch, in a case with gilt brass handle to the brass lined inverted bell top above foliate cast frets to the upper quadrants of the front door and raised gilt moulding around the dial aperture, the angles with brass inserts to edges the sides with conforming gilt bordered break-arch sound frets, on a stepped two stage moulded brass bound skirt base (movement with faults and losses), 43cm (17ins) high excluding handle. James Vaulove appears to be unrecorded however the design of the case with raised brass mouldings to the apertures and brass bound double skirt base displays the high style influence of Huguenot makers such as Claude DuChesne working at this time.

A fine George II walnut table clock. Robert Ward, London, mid 18th century, The five pillar twin fusee bell striking movement with foliate scroll engraved backplate and 7 inch brass break-arch dial with false bob and calendar apertures and applied shaped signature plaque Rob`t Ward, LONDON to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track and scroll cast spandrels to angles, the arch with Strike/Silent selection dial flanked by conforming mounts, the burr walnut veneered inverted bell-top case with brass carrying handles and flambeau finials (not illustrated) above gilt foliate frets to upper quadrants of the front door and raised mouldings to apertures, the sides with circular ruby glazed windows over concave-topped rectangular brass fishscale frets, the rear door with break-arch window, on cavetto moulded shallow skirt base now with foliate cast brass scroll feet, (escapement with alteration), 48cm (19ins) high. Robert Ward is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London circa 1751.

A George III ebonised table clock with pull quarter repeat on six bells. Robert Higgs, London, mid to late 18th century, The five pillar twin fusee bell striking movement with verge escapement, pull quarter repeat on six bells and fine foliate scroll engraved backplate signed Robert Higgs, LONDON to a symmetrical foliate cartouche surmounted with a reclining Classical female, the 7 inch brass break-arch dial with calendar and false bob apertures and plaque signed Higgs Y Evans, LONDRES to the matted centre within applied silvered Roman numeral chapter ring and scroll cast spandrels beneath arch with subsidiary Strike/Silent selection dial flanked by conforming mounts, in a bell top case with hinged brass carrying handle and cast artichoke finials above circular over concave topped rectangular glazed apertures to sides and engraved pierced brass frets to the upper quadrants of the front door with brass fillet inset dial aperture, on cavetto moulded base with brass bracket feet, (with restoration), 45cm (17.5ins) high. Robert Higgs is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as apprenticed in 1743 and gaining his Freedom in 1750. He worked from Sweetings Alley and took his brother Peter into partnership in 1770, by 1775 the firm had merged with that of James Evans to form the partnership of Higgs & Evans. James Evans worked from 1773 and specialised in producing clocks for the export market, in particular Spain. The presence of the signature plaque Higgs y Evans, LONDRES to the dial of the current lot suggests that it was supplied for export utilising an earlier movement and dial by Robert Higgs which may have been held as old stock or possibly bought back in from a client who was looking to upgrade.

A George III mahogany eight-day longcase clock. Bonsall, Beaston, mid 18th century, The four pillar inside countwheel bell striking movement with 12 inch brass break-arch dial with subsidiary seconds and calendar dials and signed Bonsall, Beaston to the foliate engraved centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track and female mask and scroll cast spandrels to angles beneath arch with silvered boss flanked by dolphin cast mounts, in a broken-arch pedimented case with dentil moulded frieze above Corinthian pilasters flanking dial aperture to hood, the trunk with shaped-top caddy moulded door above plinth base fronted with a conforming raised panel, on ogee bracket feet, 244cm (96ins) high.

A late Victorian silver bedside clock, the circular white enamel dial with Roman numerals, the rectangular case with break arch top flanked by spire finials, on bun feet, Birmingham 1900, height approx 8.5cm, with a key (dial cracked).

An early 20th Century chinoiserie cheval mirror, the arch moulded frame on block supports and outswept legs.

An early 20th Century Queen Anne style walnut hanging corner cabinet, the arch moulded top above a crossbanded door with a moulded edge, height approx 92cm.

A late Victorian Gothic Revival satinwood overmantel mirror, the moulded drop finial pediment above a frieze with applied flowerhead mouldings, the rectangular plate glass flanked by arch moulded panels, approx 72cm x 110cm.

An Early 20th Century Indian Carved Teak Figure of Ganesh Beneath Arch, 60 cm High.

AN ENGLISH OAK LONGCASE CLOCK, W. BOTHAMLEY, SPALDING, CIRCA 1780 29cm brass dial with Arabic and Roman numerals, the moon phase in the arch with a date aperture, signed W. Bothamley Spalding, the four pillar anchor escapement movement striking the full hour on a bell, the arched glazed door flanked by columns, the hood surmounted by a later addition of a figure of Atlas flanked by winged nude figures, the trunk with an arched door, on a plinth base, on a shaped bracket, distress, restorations 241cm high 1

AN ENGLISH MAHOGANY LONGCASE CLOCK, ANDREW HENLY, TYME, CIRCA 1780 27,5cm brass dial with Arabic and Roman numerals, subsidiary seconds dial surrounded by brass spandrels, a sun in the arch surrounded by spandrels and dragons, the four pillar anchor movement striking the full hour on a bell, the hood surmounted by ball-and-spire finials above a pair of Doric columns, the sides with pierced fretwork panels, the trunk with an arched panelled door on a plinth base, on bracket feet, distress 234cm high 1

A GERMAN EBONISED BRACKET CLOCK, CIRCA 1880 14cm brass dial with a silvered chapter ring, Roman numerals, date aperture and an aperture with a mini pendulum, three subsidiary dials in the arch, an on-and-off alarm, alarm and a moon dial, the clock striking and playing a tune on six bells, the stepped hood surmounted by a brass finial, the panelled door on a stepped plinth base, on brass bun feet, paper label indicating sold in Dresden by Aug. Friedemeyer Königsbruecke Strasse 69, signed Zacharias Conrath, A. Breslau on the backplate, distress, restorations 42cm high 1

A C19th Victorian satin wood, duchess Dressing Table, arch top mirror with applied crest, in carved and pierced supports,Two flights of small drawers, separated by spindle supported gallery, the moulded top base having mould `D` shaped top with single frieze drawer, on turned and fluted legs, lower shaped tier

An American New Haven Clock Company steeple clock, the pointed arch case with reverse painted glazed door housing a painted dial with mercury weighted pendulum to an eight day movement (ILLUSTRATED)

A painted cabinet, the upper section with Gothic arch doors enclosing two shelves on a similarly decorated base with two cupboard doors enclosing two further shelves on bracket feet