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A Lenzkirch figured walnut mantel clock the square brass dial with silvered Roman chapter ring and Arabic five minutes with matted centre and mask spandrels, the twin train movement with ting/tang strike, the architectural topped case with moulded pilasters, 34cm high

A 19th Century French polished slate and rouge marble mantel clock, the dial with gilt Roman chapters and twin train Marti movement with coiled gong strike, the case of architectural form, 51cm high

A French brass mantel clock with Arabic chapter ring and Marti drum movement with outside count wheel coiled gong strike within an architectural case, 28.5cm high

A 19th century Minton stoneware covered font, in the Gothic style with architectural decoration, stamped Minton with Magdalene in a cartouche, dated circa 1882, height 13ins

AN EMPIRE STYLE MAHOGANY WALL MIRROR, with a rectangular plate within an architectural surround, 19th century, 48" high

A large 19th Century oak and walnut crossbanded free standing Corner Cupboard of architectural inspiration, the arched panelled door opening to reveal Classical style painted alcove above three shaped shelves flanked by outset stop fluted columna verticals with outset capitals, 215cm high x 135cm wide

***AMENDED DESCRIPTION - PLEASE NOTE WATERCOLOUR HAS BEEN WITHDRAWN*** Three architectural prints.

A George III inlaid mahogany stick barometer, signed Stenson Derby With an 18cm silvered register with thermometer and vernier scale, the case with an architectural broken pediment centred with a classical urn, slender sides with a visible mercurial tube with a mahogany globular cistern cover, 96cm.

A gilt brass French carriage clock With a 6cm white enamel Arabic dial with blued moon hands, platform lever escapement, strike and repeat on a gong, the architectural case with a baluster and fluted handle, rectangular bevelled glass viewing platform above fluted columns, with bevelled glass panels, the back panel with minor chips raised upon a shaped plinth and bracket feet, 14 x 10 x 9.5cms. (illustrated)

A Victorian oak mantle clock With a 11.5cm white dial signed Fattorini & Sons, Bradford, patent automatic alarm with a two train bell striking movement contained within an architectural case, 44x27x13.5cms.

A Victorian slate noir and brass mounted mantel clock With an eleven centimetre dial with Roman numerals, the two train movement with visible brocot escapement striking on a coiled gong, the architectural case with a shaped pediment above a plaque cast with winged cherubs supporting an urn, pendant side handles raised upon a stepped variegated plinth, 48 x 49 x 17cm.

Architectural salvage - five star burst coloured lamp covers; another.

Architectural salvage - eight aluminium warehouse lights.

Architectural salvage - two box section and bar ceiling electroliers.

ARCHITECTURAL ANTIQUES. THE PRINCIPAL ELEMENTS OF A MAGNIFICENT OAK ROOF, EARLY 20TH C comprising four trusses, including grotesque carved ribs, corbels with cast iron anchors, and six rafters, corbels 100cm h; 24.5 x 74cm (max) ++In good reclaimed condition, sound, unrestored/original finish

BUCKLER (E H) ILLUSTRATIONS OF THE COLLEGIATE CHURCH OF SOUTHWELL IN A SERIES OF TEN VIEWS..... FROM DRAWINGS BY E H BUCKLER WITH AN ARCHITECTURAL DESCRIPTION BY THE REV J F DIMOCK folio, fine hand coloured lithographs, wrappers, 1853, rare

WINKLES (P) ENGRAVER) WINKLES'S ARCHITECTURAL AND PICTURESQUE ILLUSTRATIONS OF THE CATHEDRAL CHURCHES OF ENGLAND AND WALES three vols, plates, vignette titles and folding plans, half maroon morocco gilt, aeg, 1826-42 and another copy, contemporary stamped blue cloth, spines gilt (6)

An 18th century architectural watch case, probably prisoner of war work, the facade with central doorway painted with a figure holding flowers and a parasol, a pair of columns to either side, flanked by three-storey towers, each storey with three windows with painted designs, the base with central arrangement of four drawers, the whole with inlaid chevron banding 53 x 39.5cm (21 x 15in)

A mid 17th century Italian ebony collector’s cabinet on later stand, with architectural moulded central drawer and cupboard, the cupboard and drawer fronts inset with pietra dura panels depicting a lion and a bear, north Italian village scapes and marble veneers, similarly decorated lower drawers, on an 18th century ebonised stand, together with one additional framed pietra dura panel 157 x 113 x 48cm (61 x 44 x 19in)

A Biedermeier satinwood display cabinet of architectural design, with drawer to base, column sides, on block feet 161 x 88 x 53cm (63 x 34 x 21in)

A late 19th / early 20th century French ormolu and champleve enamel architectural mantel clock, the 4 inch dial with ring of Roman numerals in arch case, with turned corner pilasters with cherub mounts on a stepped base and eight short turned feet, the movement back plate stamped 'Japy Freres No. 6', striking on a single bell, behind an opaque glass hinged door, 42cm high

A very rare French Renaissance gilt brass circular horizontal tambour timepiece B. Bouchas, Valence, dated 1558 The circular gilt brass movement with three slender square section Classical column pillars pinned through the backplate, slender fusee and verge escapement regulated by un-sprung two-arm steel balance, the backplate applied with a simple two-piece balance cock and a pair of latches with yoke-shaped interconnecting spring for securing into the case, the dial with recessed wavy sunburst engraved centre and sculpted gilt brass hand within Roman numeral chapter ring with half-hour markers and touch pieces to inner edge, the moulded bezel engraved with fine scrolling foliage forming the upper surface of the fine architectural flange mouldings of the drum-shaped case, the lower edge with conforming foliate scroll chased mouldings integral to the friction-fitting base cap drilled for a winding hole and engraved with a scroll cartouche containing inscription A. BOUCHAS, A. VALANCE, 1558, diameter 7.2cm (3.75ins) approx. The general form and layout of the movement of current lot has its roots in the earliest German portable spring driven 'tambour' timepieces with the earliest documented example signed by Peter Henlein of Nuremburg and dated 1510 (residing in the collection of the Germanisches Nationalmuseum, Nuremburg). Such movements are naturally inherently simple in their construction and lack decorative detailing. The current lot shares this simplicity as well as other features such as the particularly 'skinny' fusee cone and simple un-sprung balance retained by a small undecorated cock. The movement is also fitted into the case in the same manner as the early German models by sliding it in from beneath (ensuring runners applied to the inside of the case align with slots cut to the edges of the movement plates) before securing via the sprung latches fitted to the backplate (engaging with slots cut into the runners). The current movement however has one very significant difference when compared with its early/contemporary German counterparts: it is predominantly worked from brass rather than being of more typical iron construction. The change from iron to brass (as the principal material employed in the construction of clock movements) appeared to first occur in France, with movements dating as early as the current lot being entirely made of this material. In Germany makers seem to continue to use iron for wheelwork and movement frames (particularly for the larger clocks) for longer - up until the last quarter of the 16th century. Brass was then slowly introduced, firstly for spring barrel walls, fusee's and movement plates; with the wheelwork and movement frame posts completing the transition by around 1600. The reason why the French adopted brass earlier than German makers was probably simply due to the fact that it was more accessible to them - with the principal European foundries at this time being located mainly in the Burgundian territories of the Low Countries (particularly around Dinas in modern-day Belgium). Germany on the other hand were leaders in the production of high quality iron (although they were also significant producers of copper and brass) which, combined with the strong traditions of the guild systems in centres such as Augsburg and Nuremburg, resulted in the transition to brass taking longer. The current lot can be perhaps be described as one the earliest documented dated examples of a Renaissance tambour timepiece to have a movement made almost entirely from brass - hence is probably of documentary importance for this reason. To place the timepiece in a wider historical context - 1558 witnessed the execution of Mary, Queen of Scots and the subsequent accession of Queen Elizabeth I to the throne (whose Coronation took place on 17th November).

A rare William and Mary scumbled pine thirty-hour longcase clock John Drew, London, circa 1690 The single-handed posted countwheel bell striking movement with rectangular section corner uprights and anchor escapement regulated by seconds pendulum, the 10 inch square brass dial with pierced iron hand and concentric ring of turned buttons to the matted centre within applied Roman numeral chapter ring with stylised sword-hilt half hour markers and signed John Drew, Londini Fecit to lower margin, the angles applied with winged cherub mask and scroll cast and pierced spandrels with foliate engraved infill between the painted pine case with moulded cornice and brass foliate-pierced repousse frieze over solomonic turned Doric columns flanking the glazed hood dial aperture, the sides with rectangular windows and conforming quarter columns applied to bargeboards at the rear, over trunk with convex throat moulding and 43 inch rectangular door centred with an oval lenticle and applied with half-round edge mouldings above plinth base with moulded double-skirt (formerly with alarm), 203cm (80ins) high. John Drew is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born circa 1663 and apprenticed to Joseph Knibb in 1676 gaining his freedom of the Clockmakers' Company in 1684. He lived in Johnson's Court, St. Dunstan's Parish and took many apprentices including Isaac Lowndes in 1699/1700. In 1712 Drew was appointed Beadle to the Clockmakers' Company (a position normally reserved to destitute clockmakers) and received charity in July 1713 but died the following month. His widow, Eleanor (nee Ferentine), continued to receive Charity from the Company until her death in 1715. The current lot is a rare survivor being a clock probably made for ºckstairs' use in a wealthy household with the original provision of an alarm serving to alert the staff. The case echoes the fine proportions and architectural detailing seen on high-status walnut or marquetry cases of the period and may have probably originally had an ebonised finish which has subsequently been over painted with a 'scumbled' finish.

A fine and very rare Charles II night timepiece Joseph Knibb, London circa 1670-75 The rectangular six finned and latched pillar single fusee movement with backplate measuring 7.75 by 5 inches and horizontal silent verge escapement regulated by short bob pendulum, the sides with black japanned metal dust covers, the top with similar shutter extended at the rear to provide a platform for the light source, the frontplate with integral cast arched extension to the upper edge to carry the revolving hour disc driven by motionwork behind and incorporating two smaller revolving discs each pierced with Arabic hour numerals visible through circular apertures cut within the outer concentric band of the principal disc, the 9 inch square gilt brass dial with break-arch centre panel painted with a scene of horsemen dismounting within a pastoral landscape beneath pierced arched sector to reveal the revolving chapter hour disc painted with cherubs in flight on a sky blue ground behind, the upper margin with pierced Roman numerals I, II and III for the quarters and incorporating scalloped inner edge with each division denoting the minutes, the lower margin signed Joseph Knibb Londini fecit over an engraved perspective pavement flanked by vertical panels engraved with delicate floral trails and paired Corinthian columns, the upper angles decorated with tied foliage flanked by grotesque lion's masks, in a gilt brass mounted ebony veneered table-top case with triangular tympanum applied with square panel outline mouldings to upper surfaces and with fine gilt mount modelled as an elaborate Baroque shield flanked by cherubs to front, the lintel with generous gilt festoon swags of fruiting foliage over rectangular glazed front door applied with raised moulding to the aperture and flanked by solomonic twist Corinthian columns with finely detailed capitals and bases, the sides with rectangular blind panels and conforming quarter columns applied to bargeboards at the rear, the base with projecting plinths for the columns at the angles, the rear with flat surface applied with geometric border mouldings behind the pediment over rectangular door with conforming panel decoration (movement with restoration, case now with removable superstructure, some restoration and adaptations), 52cm (20.5ins) high. Provenance: Formerly the property of H. Alan Lloyd, sold on instruction of his widow at Sotheby's, London, 2nd December 1974 (lot 33); sold again at Antiquorum, Geneva in their sale titled THE ART OF BRITISH HOROLOGY 21st October 1995 (lot 13) for a hammer price of CHF 50,000 (approximately £32,000 including 10% buyer's premium). Literature: Illustrated in Lloyd, Alan H. OLD CLOCKS (first published 1951) Plates 46 C. and D. Joseph Knibb was born the fifth son of Thomas Knibb of Claydon, Oxfordshire in 1640. He is generally thought to have been apprenticed in around 1655 to his cousin Samuel Knibb in Newport Pagnell, before moving to Oxford circa 1662 (the same year that Samuel moved to London). Joseph initially struggled to trade in Oxford due to restrictions placed by the City authorities which were only relaxed on payment of a fine in 1668. It was about at this time that Joseph Knibb would have issued his copper trade tokens (an example of which was sold in these rooms 10th February 2009, lot 104 for £1,600 hammer) as well looking to undertake work to convert the turret clocks of St. Mary the Virgin and Wadham College to anchor escapement with long pendulum. In 1670 Joseph moved to London handing over the Oxford business to his younger brother, John. The reason for this move was probably to administer the estate of Samuel who is thought to have died by the summer of 1671. Joseph Knibb presumably took on Samuel's former workshop as by 1675 he was recorded as working from 'The Dyal' near Sargeants Inn in Fleet Street. By 1693 he had moved to 'The Clock Dyal' Suffolk Street, near Charing Cross. As Joseph became established in London his work became more individual/distinctive, often demonstrating an inventive and refined approach both in the detailing and specification of the movements and choice of case design. He is perhaps best known for his experimentation with alternative striking such as Dutch, Roman and double-six grande sonnerie as well as long duration clocks. In 1697 Joseph Knibb sold up the London business (presumably to Samual Aldworth, former apprentice of John Knibb of Oxford) and retired to Hanslop in Buckinghamshire where he died in December 1711. The current lot is one of four documented night clocks by Joseph Knibb with the other three being illustrated in Lee, Ronald A. The Knibb Family * Clockmakers pages 151-3. All of these examples are timepieces only and utilise the same ingenious system to indicate the time: The hour numeral traverses the 180 degree arched aperture in the dial plate past minute divisions denoted by small scallops cut into the upper edge and the quarters by large pierced Roman numerals above. This is enabled by having the Arabic hour numerals pierced in two secondary discs applied to the rear of the principal hour disc. As the hour disc revolves (once every two hours) these secondary discs are alternately advanced in one numeral increments via pins to the rear of each engaging with a flag attached to the lower part of the movement frontplate. This system ensures that the next hour appears to the left of the dial as the last disappears to the right (hence requires one of the secondary discs to be pierced with the odd hour-numerals and the other the even). This mechanism can also be seen on a longcase night clock, dating to around 1669, attributed to the Fromanteel workshop which is illustrated and described in Darken, Jeff (ed.) HOROLOGICAL MASTERWORKS pages 90-93. The existence of this slightly earlier clock suggests that this system was probably developed by the Fromanteels prior to Joseph's arrival in London in 1671. The advantage of this type of dial layout is that it negates the need to provide a separate chapter ring for daytime use as seen on other examples by makers such as Edward East and John Hilderson (see Dawson, Percy G., Drover, C.B. and Parkes, D.W. Early English Clocks pages 513-5, plates 759-63 for an example by John Hilderson). The engraved decoration and layout of the dial of the current lot is generally similar to the three other examples illustrated by Lee but has some detail differences - most noticeably in the design of the upper spandrel ornament. These differ in that the other three have decoration composed with a dog rose over pomegranate and other fruit whilst the current lot is engraved with foliate scrolls terminating with grotesque lions masks. The dog rose and pomegranate design is of a type seen on other standard clock dials by makers such as Edward East, as well as examples by Knibb made during his formative years in Oxford (including an ebonised architectural longcase clock which was sold in these rooms on Tuesday 11th March 2014, lot 143, for a hammer price of £230,000). From this it is perhaps appropriate to speculate that the dial of the current lot was most likely engraved by a different hand - probably the same individual responsible for an almost identical dial for a hour-striking night clock by Henry Jones illustrated in Early English Clocks on page 521 (plate 770). The case of the current clock is essentially 'of the period' and can be directly compared to one housing a standard table clock movement and dial by Edward East illustrated in Early English Clocks page 174 (plate 235). However alterations including the top being cut just below the lintel to make it removable (presumably to allow the lamp to vent when used at night) and the provision of an additional baseboard for the movement to sit-on would indicate that the case is not original to the movement and dial.

A German gilt metal mounted walnut 'swinging cherub' mantel timepiece Lenzkirch, Germany, circa 1905 The small single train going barrel movement with inverted wheel train regulated by upside-down anchor escapement connected via a brass wire cranked armature to the back-and-forth swinging pendulum pivoted beneath the movement, the backplate stamped with Lenzkirch A.U.G., 1 Million trademark over serial number 13463, the silvered Arabic numeral dial decorated with a rosette to centre and with cartouche numerals within applied gilt bezel, the case of architectural form with concave-sided pediment surmounted by a vase finial and applied with foliate cast panel mount to front over ogee cornice and gilt stud decorated shaped panel around dial, the base with baluster-turned columns flanking recess enclosing the pendulum the with bob cast as a child on a swing fronting foliate gilt surround decorated back panel flanked by incised scroll-shaped side projections capped with gilt finials, on ogee- moulded plinth base with curved side sections and disc feet, 43cm (17ins) high. The Lenzkirch clock factory was founded in 1849 by clockmaker Eduard Hauser and organ maker Ignaz Schpperle who decided to make clock movements and parts of the highest quality using line production in order supply individual clockmakers for finishing and casing. Within a few years the factory was producing complete clocks, however towards the end of the century the business went into decline due to failure in keeping up with new production techniques. This resulted in the firm being sold to the Junghans brothers who continued it as an off-shoot until its final closure in 1932

IMPRESSIVE CHINESE IVORY CARVED TUSK showing figures and animals in an architectural landscape scene, on a carved wooden stand, 65cm wide overall

CHINESE IVORY CARVING possibly hippopotamus tusk, of bridged form and showing figures and architectural features in a landscape setting, on wooden stand, 33cm long

PAIR OF CHINESE GINGER JARS with floral bird and architectural decoration, each 24cm high, one with lid lacking, each on wooden stands CONDITION REPORT: broken and repaired.

JAPANESE GILT METAL AND 24 CARAT GOLD CIGARETTE CASE with architectural landscape scene to the cover, 12.5cm wide, in original fitted box

An early 19th century Continental figured mahogany "secrétaire à abattant" with fully fitted architectural interior

A Biedermeier birch cabinet,c.1830, having an architectural pediment and ebonised mounts,101cm wide48cm deep178.5cm high

A pair of bronze column uplighterseach with a square base and a fluted tapering column, lacking glass,227cm highBy repute from the old London Stock Exchange. Purchased from Charlie Wearn, a well known dealer in architectural salvage in Wendens Ambo, Essex. After the Second World War, Wearn obtained the contracts for demolition of several prominent buildings in London and the home counties. The Old Stock Exchange building was partially demolished and renovated in 1966.

PUGIN, A Welby:1. Who was the Art Arcitect of the Houses of Parliament? a statement of facts, founded on the letters of Sir Charles Barry and the diaries of Augustus Welby Pugin, etc. L, Longman, Green, 1867, 1st edn. with photographic plate. price two shillings. Ppxvi, (i) notes,, 120. Original wrappers; lacking small piece from spine; o/w VG+, 2. Notes on the Reply of the Rev. Alfred Barry to the "Infatuated Statements" made by E W Pugin, on the Houses of Parliament. L, Longman, Green, 1868, Second edition, enlarged.. pp29, (1); Original wrappers; VG,3. Church And State; or Christian Liberty. 1875, 4th Edn; G,4. Catholic Church Architecture: Part the second only. No title page; pp1/2title, 50-153; + 16 plates (2 folding); Plates damp stained;Plus one, and'The Architectural Review',January 1908, No. 134, containing a previously unpublished letter by A Welby Pugin (6)

K. Hall, Dover: a mid 19th Century birdseye maple and ebonised bracket timepiece, with painted roman dial, single fusee movement, the case with architectural tapered cornice above carved decoration and turned borders, pierced brass fretwork panels to sides, on bun feet, 19 1/4in. (49cms) high. See illustration

Marti et Cie: a French brass and cloisonne four glass mantel clock, the roman dial with two train movement striking on a gong, mercury filled pendulum, the case with architectural top and cloisonne pillar sides, pad feet, 13 1/2in. high.

A 19th Century gilt framed overmantel mirror, of architectural form with ball mounts to the cornice and classical scene to the frieze, three bevelled plates flanked by corinthian columns below, 55 1/2 x 35in. (141 x 89cms).

ITALIAN SCHOOL (15th/16th century) Angel Oil and gold leaf on soft wood with integral architectural frame 12 x 31.5 cm overall CONDITION REPORTS: All over crazing, some paint loss, shrinkage cracks, old worm damage to verso.

An early 20th century gilt brass four glass battery electric mantel timepiece by Eureka Clock Co Ltd, London The signed enamelled dial with Arabic numerals, the movement numbered 9306, patent number 14614, possible date of 1906 and Made in England, in Madelaine Model Architectural case. 38 cm high. Note: In a contemporary Asprey sales catalogue, the Madelaine case is the second most expensive Eureka at £8.18.6, twice as expensive as the cheapest model. It is consequently rarer than other Eureka models and this example has the added attraction of retaining its original gilding. See Dr. F.G. Allen Shenton, the Eureka Clock Horological Books 1999, page 95 and Crumb & Keller ed. 150 Years of Electric Horology NAWCC, Chapter 125, 1992, p.27. CONDITION REPORTS: Generally in good condition, expected wear, not guaranteed in working order, stress flake to one glass pane, some nibbles to others.

An early 20th century Chinese silver pepperette formed as Buddha Typically modelled seated; together with another Chinese silver pepperette of architectural form. The former 5.25 cm high. (2) CONDITION REPORTS: Overall good, some general wear, losses to roof of architectural pepperette, general wear.

A Victorian rosewood card/work table The hinged and swivel top above two frieze drawers and sliding fabrics bag, raised on architectural ends supports, width approx 61cm.

An early 20th century architectural onyx and brass mounted mantle clock with classical male bust finial.

A large Victorian black slate mantel clock of architectural form together with two similar black slate and marble mantle clocks, each with an eight day timepiece

A reproduction wall clock with simulated column supports enclosing a 31-day striking movement beneath an architectural frieze

A gouache architectural study of a Bristol city scene with figures walking beside the impressive façade St Nicholas House, High Street, Bristol (home to the Commercial Union Group and remodelled in 1959 by Alec French and partners), signed bottom left E J Thring and further inscribed Alec F French and Partners, Architects, Bristol, 44 x 55 cm approx, mounted

A collection of pictures and prints including an oil painting on glass panel of an eagle and its prey in a mountain eyrie, an oil painting on board, study of a coastal scene with seagulls, signed bottom left T Williams and dated 1908 and further inscribed The Needles, a coloured print after Dame Laura Knight - Spring, 48 x 55 cm approx in wide oak frame, a coloured print of The last Supper in architectural style frame, a small oil painting on board of a landscape, etc

An architectural watercolour by Jeremy Barlow signed bottom left and inscribed bottom right - Pavilion, Richelieu, Paris, with Art for Offices label verso - Jeremy Barlow, The Pavilion, Richelieu, Paris, 38 x 53 cm approx in simple wooden frame

Modern buildings. Their planning, construction & equipment …Profusely Illustrated. G.A.T. Middleton ARIBA ed. Caxton. London: N.D. Cicra 1900-1905. Architectural & Art interest. Near fine. 6 vols complete. 4to. A veritible architectural tour de force. Profusely illustrated with plates, plans, pictures - some in colour. A fine set.

ARCHITECTURAL MANTEL CLOCK, Victorian black slate and marble, with classical figure head mounts, wire gong striking movement, 31cm x 34cm H. (with faults)

ARCHITECTURAL STYLE MIRROR, distressed metal framed of large proportions with an arched top, 109cm W x 207cm H.

Five albums of post cards, to include British seaside views, architectural and town scenes with some portrait and and Continental scenes (qty)

A Victorian Gothic Revival blue and gilt painted architectural ecclesiastical spire, of octagonal tapering form with foliate carved crockets and finial. 162cm high.

Victorian black slate and red marble architectural mantel clock, the cylinder movement striking on a gong, 36cm high.

Victorian Slate Mantle Clock of Architectural Classical Form

Victorian Slate Mantle Clock of Architectural Form

Scratch Built Model of Roman Walls together with a Scratch-Built Architectural Buildings (in Wooden Box)

A George III mahogany bookcase cabinet, having an architectural pediment above twin glazed doors enclosing adjustable shelves, the base with fitted interior and twin satinwood crossbanded doors, d.61cm, w.139cm, h.256cm

A late 19thC French gilt metal and porcelain three-piece Clock Garniture, the mantel clock of architectural form with painted dial, surmounted by a lantern and pineapple finial, the 8-day movement signed "A. D. Mougin deux medailles" in a circle, 14in (35.5cm) high, and a pair of corresponding vases painted with figures in landscapes and floral sprays, 9⅞in (25cm) high (3) THIS LOT WILL BE SOLD ON SATURDAY 12TH SEPTEMBER STARTING AT 10.30AM UK TIME

An Edwardian carved oak barometer and thermometer, of architectural form, 34in (86.5cm) high. THIS LOT WILL BE SOLD ON SATURDAY 12TH SEPTEMBER STARTING AT 10.30AM UK TIME

A BLACK SLATE MANTEL CLOCK OF ARCHITECTURAL FORM, the black chapter ring with gilt Roman numerals and borders, the case with engraved and highlighted scrolling decoration, and brass roundels to the front edges, movement striking on a coil, H 33 cm Buyers - for shipping pricing on this lot, visit www.cuttlestones.co.uk/shipping

A Victorian American mantel clock, with Ansonia brass eight day movement striking on a single gong, the circular cream dial with Roman numerals and recessed centre with brocot escapement in architectural style black slate case, the arched pediment inset with an embossed brass hunting panel over two pairs of fluted columns on line incised stepped oblong base, 35.5cm wide, 33.5cm high