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A ships binnacle compass together with assorted weights and a table top bell.

Assorted brassware to include a three piece companion set, bell etc.

London 1859 John Warner & Sons engraved heading Bell & Brass Founders

Tschuppik, Karl: Translated by C.J.S. Sprigge - The Reign of the Emperor Francis Joseph 1848 - 1916. London G. Bell 1930 in hardback.

A cold painted bronze desk bell in the form of a saddleback pig.

Victorian Good Quality and Heavy Cast Silver Hand Bell, Wonderful Tone. Hallmark London 1860. 6 ozs 11 grams. 4.75 Inches High.

A fine Queen Anne walnut eight-day longcase clock John Knibb, Oxford A fine Queen Anne walnut eight-day longcase clock John Knibb, Oxford, early 18th century The five fully latched and crisply turned finned pillar inside countwheel bell-striking movement with anchor escapement regulated by seconds pendulum, the 11.875 inch square brass dial with delicate border engraved calendar aperture and subsidiary seconds ring to the finely matted centre within an applied silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers and Arabic five minutes to outer track, with fine pierced steel hands and gilt winged cherub mask spandrels to angles within deep herringbone engraved outer border incorporating signature IOHN * KNIBB * OXON to lower margin, the walnut case with three cast brass flambeau urn finials to the domed caddy surmounted foliate fretwork fronted box upstand above moulded cornice and further conforming foliate pierced fret to frieze, generous three-quarter columns with gilt caps and bases to glazed hood door, the sides with rectangular windows and rear quarter columns set against bargeboards, the trunk with convex throat above 41 inch rectangular door fronted with book-matched burr veneers laid in quarters, the sides divided into pairs of panels within crossbanded borders, on ogee moulded plinth base with book-matched veneers within herringbone bordered crossbanded surround to front over applied moulded double skirt, 240cm (94.5ins) high excluding top finial, 253cm (99.5ins) high overall. John Knibb was born in 1650 and was apprenticed to his older brother, Joseph, in around 1664. When Joseph moved to London in 1670 to set up business (presumably in the workshop inherited from his uncle, Samuel) John, his younger brother, took on the Oxford workshop gaining the Freedom of the city on payment of a fine in 1673. Joseph Knibb retired in 1697 selling up most of his workshop before moving to Hanslop, Buckinghamshire where he made a few clocks prior to his death in 1711. John Knibb became a high profile figure within the City of Oxford twice becoming Mayor, he continued in business until his death in 1722. Due to the comparative rarity of clocks signed by John Knibb it has been suggested that his workshop may have generally served to supply Joseph's larger concern in London. The strong similarities between John's best work and those signed by Joseph would certainly support this view. However it is also clear that John was a high profile tradesman in the City of Oxford who trained no less than ten apprentices, therefore it is perhaps more likely that, although the two workshops were closely connected, they generally worked separately to supply clocks to differing groups of clients. The movement of the current lot is fully latched with the usual delicate wheelwork and typical Knibb feature of having no bridge for the hour wheel to the frontplate. The dial plate is unusual in having a broad herringbone border interrupted by the bold signature at the base which echoes that of an earlier (circa 1680) clock by John Knibb in Ashmolean Museum, Oxford. The half hour markers and engraved decoration to the calendar aperture however are 'typical' of John Knibbs later work; the case echoes London work of the period despite being provincially made (probably Oxford) and is veneered in well chosen figured walnut.

A fine Charles II ebonised eight-day longcase clock Lawrence Debnam, Frome A fine Charles II ebonised eight-day longcase clock Lawrence Debnam, Frome, dated 1675 The two-handed posted countwheel bell striking movement with column-turned corner uprights and resting on integral spikes fitted to the underside of the baseplate, the trains both with offset greatwheels each pivoted between a post attached to the baseplate opposing lug fitted to the one of the frame uprights, the going with anchor escapement incorporating solid ºttery brass' escape wheel and regulated by seconds pendulum, the strike sounding on a bell mounted above, the 10 inch square brass dial with iron hands and fine symmetrical scrolling tulip engraved centre issuing from a stylised urn to lower centre and incorporating flamboyant signature Lawrence Debnam, in Froome Fecit to upper margin, within applied Roman numeral chapter ring with stylised fleur-de-lys half hour markers and Arabic five minutes within the outer minute track, the dial plate engraved with the names Jam: Delanc and John Sentance along with the date 1675 beneath the chapter ring at two o'clock, the angles applied with winged cherub mask cast and pierced spandrels, the ebonised pine case with triangular pediment and architectural frieze over fixed glazed dial aperture and conforming rectangular side windows to the formerly rising hood, the trunk with convex throat moulding and 43 inch rectangular door, the plinth base with ogee mouldings to upper edges and on moulded skirt, 221cm (87ins) high. Literature: The current lot is documented in Darken, Jeff (editor) TIME & PLACE, English Country Clocks 1600-1840 as exhibit 5 pages 30-33 (where the movement and dial is extensively illustrated). Lawrence Debnam is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born in Frome, Somerset in 1643 and was working from Cheap Street in the town from at least 1667 and is thought to have died in 1682/3. The presence of James Delance's signature beneath the chapter ring suggests that he was also involved in the making of the current lot. James Delance is recorded by Loomes as born in Downton, Wiltshire in 1655, he is believed to have learnt the clockmaking trade from Lawrence Debnam prior to moving to London in 1677 where he was admitted as a Free Brother to the Clockmakers' Company the following year. Delance remained in London until 1685 when he left the city and returned to Frome where he set up business in Cheap Street - probably succeeding Debnam who died in 1683 at the age of 40. By 1721 Delance had moved to Downton, Wiltshire and was still working in 1736. John Sentance appears to be unrecorded as a clockmaker although it could be considered possible that he was responsible for the remarkable engraved decoration to the centre of the dial. The current lot employs and escape wheel made from work-hardened ºttery brass' formed by hammering a cast solid disc prior to cutting of the teeth. This creates a wheel much more resilient to wear however this process makes it difficult to cross it out hence why it is left as a solid disc when fitted. It is perhaps appropriate to speculate that the current lot is probably one of the earliest West Country clocks to be fitted with anchor escapement with seconds pendulum; as such the maker(s) may have sought to experiment with the metallurgy of the escape wheel in order to ensure longevity of this new technology. This very rare feature appears to have been subsequently used by James Delance (see following lot) and it is testament to both makers that these wheels are still serviceable after over three hundred years of use. The layout of the trains suggests that when originally conceived the current lot was intended to have a duration of thirty-hours, however the maker chose to complete the clock with eight-day continuance and facilitated this by incorporating offset greatwheels each pivoted between a post attached to the baseplate opposing lug fitted to the one of the frame uprights. The frame uses typical 'Bristol' one-piece lantern castings but dispenses with the finials and feet substituting the latter for steel spikes - a feature typical of the early Somerset clocks. Another 'West Country' detail present in the current lot is the keyhole shaped aperture cut into the lower edge of each of the movement pivot plates. The reason for these is unknown however they may be have been intended to allow slight adjustment/tight fitting of the integral locating lugs into the baseplate. The remarkable dial of the current lot is perhaps one of the finest examples of the fully developed Bristol and West Country style made fashionable by makers such as John London of Bristol during the kid 1670's. Indeed the engraving can be compared to a dial by London illustrated in Darken, Jeff (editor) TIME & PLACE, English Country Clocks 1600-1840 on page 38 (exhibit 7 in the exhibition). The exuberant signature is extraordinary in its confidence and execution as such is extremely effective in expressing the pride and individuality of the maker. It is also highly likely that the current lot is the earliest surviving dated provincial clock to have an anchor escapement regulated by seconds pendulum. Indeed the early incorporation of this refinement may be one of the principal reasons why the dial is apparently inscribed by all those involved in its making.

An unusual French satinwood small mantel timepiece with alarm and 'regulator An unusual French satinwood small mantel timepiece with alarm and 'regulator' style centre-seconds dial layout Unsigned, circa 1900 The eight-day back wound movement with silvered platform lever escapement mounted vertically on the backplate beneath alarm bell set within a cut-out to the upper margin, the circular white enamel dial with subsidiary Arabic alarm setting over Roman numeral hour and minute dials to the pale blue ground centre within outer seconds ring, with blued steel hands set within fixed moulded cast brass bezel fitted with convex bevel glass, the arched case with cavetto moulded leading edge following the outline of the front of the case decorated with ebony and box chevron stringing enclosing a shaped crossbanded and ebony strung flame figured panel beneath dial, the sides slightly flaring outwards at the base, the rear with circular pierced brass cover, on cavetto moulded skirt base with elaborate ogee bracket feet, 26.5cm (10.5ins) high.

A fine George III mahogany table clock Matthew Dutton and Son, London A fine George III mahogany table clock Matthew Dutton and Son, London, circa 1795 The substantial five pillar twin fusee bell striking movement with half deadbeat escapement regulated by heavy lenticular bob pendulum with pivoted beam rise/fall regulation to suspension, the backplate engraved with script signature Dutton & Son, London above serial number 347 and pendulum holdfast , the 7 inch single sheet silvered brass break-arch Roman numeral dial with repeat signature M. Dutton & Son, London over calendar aperture to centre and Arabic five minutes to outer track, the arch with N/S strike selection switch and subsidiary rise/fall regulation adjustment dial, the break-arch case with hinged brass carrying handle and three generous moulded rectangular pads to top over brass fillet inset glazed front door and arched brass fishscale grille inset side apertures, the rear with glazed break-arch glazed door set within the frame of the case, on cavetto moulded skirt base with cast brass squab feet, 38cm (15ins) high excluding handle. Matthew Dutton and Son are recorded in Baillie G.H. Watchmakers & Clockmakers of the World as working in London 1815-25. Matthew Dutton's father, William (worked 1746-94), was an important maker who in went into partnership with Thomas Mudge at Fleet Street in 1755, later succeeding him in 1771 when Mudge retired from the business to pursue the development of his marine timekeepers (see previous lot). Matthew worked with his father until 1794 then in partnership with his brother, Thomas until 1804, and with his son, also called Matthew from at least 1815 until his death in 1825. The current lot is a textbook example of the fully developed form of 'triple pad top' top table clock made popular by Mudge and Dutton during the third quarter of the 18th century. When compared with the previous lot the subtle evolution of this type of case can be seen; indeed the principal differences are the use of brass fillet mouldings to the dial aperture and full-arch side frets on the current lot opposed to raised mahogany mouldings and break-arch side panels on the previous example. These differences demonstrate how the Dutton workshop introduced subtle updates to their case design, to ensure that their products appeared up to date and 'modern', without compromising the distinctiveness of their product.

An ebony small table timepiece with silent-pull quarter-repeat on two bells... An ebony small table timepiece with silent-pull quarter-repeat on two bells The movement and dial by Benjamin Wright, London, circa 1690, the case later The four finned and knopped pillar movement with verge escapement regulated by short bob pendulum and silent-pull quarter-repeat sounding the hours and quarters on two bells mounted above the plates, the single line-bordered symmetrical foliate scroll and tulip bud engraved backplate signed Benjamin Wright, Londini Fecit to a lambrequin cartouche to centre, the 6.125 inch square gilt brass dial with single winding hole and calendar aperture to the finely matted centre within applied silvered Roman numeral chapter ring with squat stylised fleur-de-lys half hour markers and Arabic five minutes within the narrow outer minute track, with pierced steel hands and winged cherub mask cast brass spandrels to angles with foliate scroll inlaid infill to margins between, now in an ebony veneered case with hinged tied floral bud, bird's head and dolphin cast handle to the domed caddy surmount over ogee cornice top moulding and glazed front door applied with gilt foliate scroll mounts to jambs, the sides with conforming rectangular windows beneath lozenge-shaped foliate scroll pierced sound frets, the rear with further rectangular glazed door set within the frame of the case, the base with shallow moulded skirt over ebonised disc feet, 31cm (12.25ins) high excluding handle. Benjamin Wright is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born circa 1664, apprenticed to Abraham Prime in April 1678 and gaining his freedom of the Clockmakers' Company in July 1685. He is believed to have worked from Bell Alley, Coleman Street, London and died before January 1709 when his widow, Mary, is recorded taking George Wright as an apprentice. The current lot is designed to sound the hours and quarters on two bells only on demand. This form of quarter repeat mechanism is thought to have been devised for night-time use in the bedroom; whilst striking clocks with quarter repeat facility were generally intended to be utilised downstairs during the day and upstairs at night. As a consequence 'silent-pull' quarter repeating timepieces are rarer as the original owner have to have been extremely wealthy to afford a timepiece reserved exclusively for use in the bed chamber. The design of the repeat mechanism used in the current lot is essentially based on the system used by Joseph Knibb as described and illustrated in Allix, Charles and Harvey, Laurence HOBSON'S CHOICE pages 36-7.

A Victorian malachite inset black marble drumhead mantel clock James McCabe A Victorian malachite inset black marble drumhead mantel clock James McCabe, London, mid to late 19th century The circular five pillar twin chain fusee movement with anchor escapement regulated by lenticular bob pendulum and striking the hours on a bell fitted to the backplate measuring 6 inches in diameter and engraved James McCabe, London, 3242 to centre over pendulum holdfast bracket, the 5.5 inch circular gilt Roman numeral dial with fine engine-turned centre, blued steel fleur-de-lys hands and repeat signature JAMES Mc CABE, ROYAL EXCHANGE, LONDON, No. 3242 to the chapter ring at twelve o'clock beneath Strike/Silent selection switch to upper margin, within fine engine-turned surround set behind bevel-glazed hinged brass bezel, the case with fluted band decorated drum set onto a scroll-outline cradle fronted with shaped malachite panel insert over a cavetto moulded skirt base, 30.5cm (12ins) high. James McCabe senior is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as a 'very fine maker' who worked from Cheapside and Royal Exchange, London 1778-1811. The business was continued under his name by his sons including James junior who was apprenticed to Reid and Auld in Edinburgh, and Robert Jeremy who ran the business up until its closure in 1883.

A rare George II ebonised grande-sonnerie striking table clock The dial... A rare George II ebonised grande-sonnerie striking table clock The dial signed for John Wood, Grantham, mid 18th century The substantial seven knopped and ringed pillar triple chain fusee movement with plates measuring 8.75 by 7.25 inches and chiming the quarters on a nest of six graduated bells followed by full hour strike on a further larger bell every fifteen minutes, with trip quarter repeat, verge escapement regulated by lenticular bob pendulum and backplate engraved with symmetrical foliate scrolls around a vacant matted oval cartouche within herringbone decorated border, the 8 inch brass break-arch dial with shaped false bob and calendar apertures to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track, with pierced steel hands and female mask and scroll cast gilt brass spandrels to angles beneath arch centred with a circular silvered boss with engraved signature John Wood, GRANTHAM flanked by subsidiary Hours/Hours & Quarters/Silent all and Repeat/Silent strike selection dials with applied foliate cast infill mounts to upper margin between, the ebonised case with inverted bell-top superstructure and brass urn and spire finials to the foliate fretwork fronted box upstand over break-arch cornice, plain frieze and glazed dial aperture to the front door, the sides with hinged cast brass handles over slender break-arch windows, the rear with glazed door matching the front set within the frame of the case, on shallow cavetto moulded skirt base incorporating bracket feet, 53.5cm (21ins) high excluding finials. John wood is recorded in Baillie, G. H. Watchmakers & Clockmakers of the World as working in Grantham 1753-97. Grande sonnerie striking table clocks are particularly rare mainly due to the technical challenges of making an hour striking train appropriately geared to sound the hours every fifteen minutes for eight days. Due to the technical skill required such clocks were generally the preserve of the leading London makers such as John Ellicott; with this in mind the movement of the current lot was probably 'bought-in' from one of the leading London workshops - this would certainly account for the matted-over cartouche to the backplate.

A George III mahogany eight-day longcase clock James Wilson, London A George III mahogany eight-day longcase clock James Wilson, London, late 18th century The five pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch brass break-arch dial with subsidiary seconds and calendar dials and signed James Wilson, WESTMINSTER, London to the silvered centre within applied Roman numeral chapter ring with Arabic five minutes to outer track, with pierced steel hands and rococo scroll cast and pierced spandrels to angles beneath arch centred with subsidiary Strike/Silent selection dial flanked by conforming cast mounts, in a case with break-arch cavetto cornice over brass stop fluted columns flanking the glazed dial aperture, the sides with arched brass fishscale sound frets and quarter columns applied to bargeboards at the rear, the trunk with break-arch door flanked by brass stop fluted quarter columns over raised shaped panel fronted plinth base with moulded double skirt incorporating shaped apron, 225cm (88.5ins) high. James Wilson is recorded in Baillie, G. H. Watchmakers & Clockmakers of the World as gaining his freedom of the Clockmakers' Company in 1781 and working in Westminster, London until 1824.

A French porcelain inset gilt brass mantel clock The movement by Raingo Freres A French porcelain inset gilt brass mantel clock The movement by Raingo Freres, Paris, mid 19th century The eight-day countwheel bell striking movement with silk suspension and stamped with RAINGO FRERES, Paris roundel and numbers 391, 5 to backplate, the circular white enamel Roman numeral dial with repeat signature RAINGO FRERES PARIS to lower margin and with steel trefoil hands within foliate cast surround and hinged glazed bezel, in an elaborate rococo scroll cast and chased waisted case with floral spray surmount and spreading base centred with an inset porcelain panel painted with a female portrait, mounted on conforming fixed rocaille cast stand incorporating two cobalt blue ground panels painted with floral sprays, 27cm (10.5ins) high.

A George II walnut quarter-chiming eight-day longcase clock John Richardson A George II walnut quarter-chiming eight-day longcase clock John Richardson, London, circa 1740 The five finned pillar triple train movement with anchor escapement, chiming the quarters on a graduated nest of six bells and striking the hour on a single larger bell, the 12 inch brass herringbone border engraved break-arch dial with rosette decorated recessed scallop-edged subsidiary seconds dial, calendar aperture and ringed winding holes to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track, with pierced steel hands and female mask and scroll cast spandrels to angles beneath subsidiary Strike/Silent selection dial flanked by conforming mounts to arch within generous applied silvered name plate inscribed John Richardson, London forming the upper margin of the arch and continuing down to contact with the chapter ring beneath, in a case with architectural cornice above break-arch frieze and generous three quarter columns applied to the glazed hood door, the sides with break-arch apertures and conforming quarter columns set against bargeboards at the rear, the trunk with break-arch door veneered with three pairs of book-matched panels within a herringbone bordered crossbanded surround, on conforming cavetto moulded plinth base with moulded skirt, 234cm (92ins) high. John Richardson is recorded in Baillie, G. H. Watchmakers & Clockmakers of the World as apprenticed in 1731 and gaining his freedom of the Clockmakers' Company in 1738. His workshop was based at Bell Yard, London and he is presumed to have worked until his death in 1774

A George III mahogany table clock with pull-quarter repeat on six bells... A George III mahogany table clock with pull-quarter repeat on six bells William Glover, Worcester, circa 1780 The five pillar twin fusee bell striking movement with pull-quarter repeat sounding on a graduated nest of six bells and verge escapement regulated by lenticular bob pendulum with pivoted rise/fall regulation to suspension, the backplate engraved with intense symmetrical foliate strapwork, the 7 inch brass break-arch dial with shaped false bob and calendar apertures to the Ho-Ho bird and oriental mask inhabited rococo scroll engraved centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track, with pierced blued steel hands and applied rococo scroll cast spandrels to angles beneath twin subsidiary Strike/Silent selection and regulation dials set within a foliate scroll engraved field and incorporating a recessed shaped signature plate engraved William Glover, Worcester to arch, the bell top case with hinged brass carrying handle and four pineapple finials to superstructure over front door with brass fillet inset glazed dial aperture and scroll pierced upper quadrant frets, the sides with full-height arched glazed apertures and the rear with conforming break-arch glazed rectangular door incorporating further upper quadrant frets and set within the frame of the case, on cavetto moulded skirt base with brass bracket feet, 44.5 (17.5ins) high excluding handle. A William Glover is recorded in Baillie, G. H. Watchmakers & Clockmakers of the World as working in Worcester from 1751 until his retirement in 1758. Another with the same name (believed to be a nephew) is also recorded as coming from London to Worcester in 1758; he opened a shop in Tewkesbury in 1764 and worked until at least 1767. Finally Baillie also notes a third record of a William Glover Working in Worcester 1764-71 who also opened a shop in Tetbury in 1764, it is possible that this is a record of the same nephew. The current lot is very much in the London style but with perhaps a little more engraved decoration than would normally be found on a London clock - this is perhaps to be expected for a clock made in the provinces by a maker trained in the capital.

A George III mahogany eight-day longcase clock Samuel Atkins, London A George III mahogany eight-day longcase clock Samuel Atkins, London, circa 1765 The five pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch brass break-arch dial with subsidiary seconds dial, calendar aperture and oval signature plate engraved Sam'l Atkins, London to the matted centre within applied Roman numeral chapter ring with Arabic five minutes to outer track, with pierced steel hands and rococo scroll cast and pierced spandrels to angles beneath arch centred with subsidiary Strike/Silent selection dial flanked by dolphin cast mounts, the case of fine colour with concave sided 'pagoda' pediment fronted with fine rococo scroll cast brass fret over break-arch cavetto cornice and brass stop fluted columns flanking the glazed dial aperture, the sides with arched brass fishscale sound frets and quarter columns applied to bargeboards at the rear, the trunk with break-arch door over raised panel fronted plinth base with moulded double skirt and squab feet, 243cm (95.5ins) high. Provenance: Formerly the property of William Francis Clarke, Commanding Officer of Naval Intelligence during WWII, Hut 4, Bletchley Park; thence by direct descent to the vendor. Samuel Atkins is recorded in Baillie, G. H. Watchmakers & Clockmakers of the World as an 'eminent' maker born in 1697 and working from Temple Bar until his death in 1768. The current lot is a fine original unrestored 'textbook' example of a London mahogany pagoda-cased longcase clock which retains fine colour and surface to the case.

A rosewood grande sonnerie striking 'Vienna' wall regulator Unsigned A rosewood grande sonnerie striking 'Vienna' wall regulator Unsigned, mid to late 19th century The triple train weight-driven movement striking the hour with every quarter on a pair of graduated gongs, the going train with deadbeat escapement regulated by wood rod pendulum with large brass lenticular bob, the two-piece white enamel Roman numeral dial with pierced steel hands and moulded brass bezel, the case with elaborate break-arch pediment applied with urn finials and turned rosette to frieze over full-height arch glazed door flanked by corbels and short spiral twist columns to the canted moulded uprights, the sides with tall rectangular windows, the base with inverted bell-shaped caddy with pendant finial, 129cm (51ins) high.

A French Louis XIV gilt brass mounted Boulle bracket clock Ducoroy, Paris A French Louis XIV gilt brass mounted Boulle bracket clock Ducoroy, Paris, circa 1700 The rectangular twin barrel movement with four shouldered baluster turned pillars pinned through the backplate signed Ducoroy AParis to lower margin, the strike train with scroll pierced detent gates and high position countwheel for sounding the hours and half hour on a bell mounted within the superstructure of the case, the 8.75 inch circular twelve-piece cartouche numeral dial with centre incorporating cast decoration of seated musicians within chapter ring with enamel Roman hour numerals and rococo scroll cast borders and every minute numbered to outer track, the engraved cut brass and red stained shell marquetry veneered case with cast Roman Emperor bust surmount and gilt urn finials applied to the ogee shaped upstand veneered with foliate strapwork and with acanthus corner mounts over foliate cast frieze emerging from the sides of the gilt cavetto moulded arcade inlaid cornice, the front with heavy cast break-arch glazed bezel enclosing lyre and laurel infill beneath dial within floral trail and panel inlaid surround, the canted front angles applied with fine scroll-cast allegorical male terms and the angled sides with brass bordered rectangular windows over swollen marquetry decorated lower sections, the base with generous gilt brass scrolls flanking shaped apron centred with a lions masked adorned with palmette headpiece, on knopped feet, 71cm (28ins) high. A clockmaker with the name Ducoroy appears not to be recorded in the ususal sources however an 18th century French clockmaker with the name Mynuel Duccoroy is mentioned in Wilson, Cohen, Ronfort, Augarde and Friess EUROPEAN CLOCKS IN THE J. P. GETTY MUSEUM on page 176.

A George III mahogany eight-day longcase clock Samuel Bradley, Worcester A George III mahogany eight-day longcase clock Samuel Bradley, Worcester, circa 1770 The five pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch brass break-arch dial with subsidiary seconds dial, calendar aperture and signed SAM'L BRADLEY, WORCESTER to a shaped silver plaque to the matted centre within applied Roman numeral chapter ring with Arabic five minutes to outer track, with pierced steel hands and twin bird and urn foliate cast spandrels to angles beneath arch centred with subsidiary STRIKE/SILENT selection dial flanked by dolphin cast mounts, in a case with open centred break-arch cavetto cornice incorporating scroll cartouche to apex and foliate scroll pierced blind fret frieze over fluted columns flanking the glazed dial aperture, the plain sides with half columns applied to the rear, the trunk with break-arch caddy moulded crossbanded door flanked by fluted quarter columns over raised shaped panel fronted plinth base with fluted canted angles and moulded shallow skirt incorporating reduced ogee bracket feet, 223.5cm (88ins) high. Samuel Bradley is recorded in Baillie, G. H. Watchmakers & Clockmakers of the World as working in Worcester from 1744 until his death in 1783.

A fine William III ebonised eight-day longcase clock with one-and-a-quarter... A fine William III ebonised eight-day longcase clock with one-and-a-quarter seconds period pendulum Abraham Farrer, Pontefract, circa 1695 The four finned pillar inside countwheel bell striking movement with anchor escapement regulated by one-and-a-quarter seconds pendulum, the 11 inch square brass dial with ringed winding holes, subsidiary seconds dial and scroll border engraved calendar aperture to the rose motif decorated matted centre within applied silvered Roman numeral chapter ring with stylised sword hilt hour markers and Arabic five minutes to outer track, with fine pierced steel hands and winged cherub mask and leafy cast spandrels to angles with generous foliate scroll engraved infill to upper and side margins over signature Abraham Farrer Pontefract to lower border, the ebonised case with twin cherub and crown centred scroll carved crest over complex moulded cornice and three-quarter columns applied to the glazed hood door, the sides with rectangular windows and conforming quarter columns applied to bargeboards at the rear, the trunk with convex throat moulding over 41.5inch rectangular door, the plinth base incorporating hinged front panel to reveal the pendulum bob, on bun feet, (some restoration), 212cm (83.5ins) high. Little is known of the life of Abraham Farrer although a maker with this name is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as having a son, also named Abraham, in 1728. Loomes also cites the records of two deaths - one in 1740, the other in 1752/3, it would perhaps be appropriate to speculate that these refer to the passing of father and son respectively. The movement of the current lot can be described as being very much in the London style and demonstrates a high quality and skilled approach both in its finish and specification. The provision of a one-and-a-quarter seconds pendulum is extremely rare for a provincial longcase however another clock (of month duration) by Farrer with this feature is described in Edwardes, Ernest THE GRANDFATHER CLOCK pages 226-7 with the dial illustrated as Plate 19.

An ebonised miniature thirty-hour longcase timepiece with alarm The movement... An ebonised miniature thirty-hour longcase timepiece with alarm The movement and dial by Conyers Dunlop, London, circa 1740 The posted single-handed movement with verge escapement regulated by short bob pendulum swinging to the rear of the clock and alarm set within the frame behind the going train, the 5 inch brass break-arch dial with alarm disc and pierced steel hand to the matted centre within applied silvered Roman numeral chapter ring and rococo scroll cast spandrels to angles beneath circular boss signed Conyers Dunlop, London flanked by conforming mounts to arch, with domed bell bearer behind, in an ebonised case with ball and spire finial to the shallow domed caddy superstructure over ogee moulded cornice, scroll cast brass infill mounts and break-arch glazed door to hood, the trunk with concave throat moulding over slender caddy moulded rectangular door and ogee moulded plinth base with applied skirt, (case with restoration), 193cm (76ins) high excluding finial; 206cm (81ins) high overall. Conyers Dunlop, the son of renowned clockmaker Andrew Dunlop, is recorded in Baillie. G.H. Watchmakers & Clockmakers of the World as apprenticed in 1725 gaining his freedom of the Clockmaker's Company in 1733; he was appointed Master in 1758 and died in 1779.

An unusual Swiss brass inlaid ebonised mantel clock with alarm Unsigned An unusual Swiss brass inlaid ebonised mantel clock with alarm Unsigned, second quarter of the 19th century The rectangular eight-day movement with anchor escapement regulated by disc bob pendulum with silk suspension, the strike train sounding the half hour and the hour on a single bell before repeating the hour again a minute later, the backplate applied with visible strikework incorporating well-shaped steelwork over a vertically planted bell and incorporating alarm with pull-wind pulley and hammer sounding on the same bell, the circular white enamel Roman numeral dial with pierced steel hands and plain alarm setting pointer set within hinged cast brass bevel glazed bezel, the rectangular ebonised case with hinged carrying handle and rectangular glazed aperture to the double brass line bordered top over conforming front with winding holes set immediately beneath the dial, the sides with rectangular windows within single line strung border, the rear with lift-out access panel, on ogee moulded tall skirt base incorporating brass strung borders to front and sides, 24cm (9.5ins) high excluding handle. The current lot features an unusual striking mechanism where the hour is repeated shortly after sounding on the hour. This system is also often seen on 'Morbier' clocks which were made near the Swiss/France border approximately 30 miles North West of Geneva. Indeed this form of striking may be a legacy of Italian practice where earlier clocks (indicating the Italian six-hour system) were often devised to strike the hour twice in succession and is believed to serve as an audible 'reminder' as to the hour for those who may not be in sight of the clock.

A George II/III green japanned eight-day longcase clock William and John... A George II/III green japanned eight-day longcase clock William and John Kipling, London, mid 18th century The five pillar inside countwheel bell striking movement with anchor escapement regulated by seconds pendulum, the 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, with pierced steel hands and twin bird and urn cast spandrels to angles beneath circular boss signed W:m & Jn:o, Kipling, London flanked by dolphin cast mounts to arch, the green japanned case with concave sided 'pagoda' pediment fronted with anthemion and scroll pierced fret over gilt floral trail and hatched panel painted break-arch cavetto cornice and further scroll pierced fret above figural panel decorated hood door flanked by conforming columns to front angles, the sides with rectangular windows within leafy borders and bargeboards to the rear, the trunk with gilt leaf motif centred hatched panel painted concave throat moulding over shaped 'block top' door decorated in raised polychrome and gilt with figures amongst elaborate pagodas and other structures within silver line borders, the surround with seated figures to upper margin over foliate trails interrupted by hatch panels, the sides divided into pairs of leafy panels, on raised shaped panel fronted plinth base decorated with a European man o' war moored beside a coastal fort over moulded double skirt and squab feet, 250cm (98.5ins) high. William Kipling is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born in Romaldkirk, Yorkshire in 1680/1 and apprenticed through the Blacksmiths' Company to Thomas Johnson in September 1695. He is thought to have succeeded Johnson working from Ratcliffe Cross, London from circa 1705. Latterly William Kipling took his son, John (born 1722) into partnership until the latter's death in 1750, when the business was handed over to Charles Bosley. William is believed to have outlived his son by seven years dying in 1757. The current lot is a fine original unrestored example of an early London pagoda-cased clock which retains much of its original decorated surface to the case.

A Queen Anne ebonised eight-day longcase clock Etherington, London A Queen Anne ebonised eight-day longcase clock Etherington, London, circa 1710 The five finned pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum with rise/fall regulation to suspension, the 12 inch shallow break-arch brass dial with subsidiary seconds dial and calendar aperture to the matted centre within applied Roman numeral chapter ring with stylised fleur-de-lys half hour markers, Arabic five minutes to outer track and signed Etherington, London to lower margin, with fine pierced steel hands and crisply cast gilt brass Indian mask and scroll spandrels to angles within herringbone engraved outer border, the shallow arch centred with applied arched silver rise/fall regulation scale annotated Slo/Fas and divided 0-60 within fine symmetrical foliate scroll engraved field incorporating basket of fruit and strapwork over festoon to centre and conforming herringbone border to upper margin, the ebonised case with brass ball and spire finials to the domed caddy surmounted fine foliate fretwork fronted box upstand over moulded cornice and conforming foliate pierced quadrant frets to frieze and generous three-quarter columns with gilt caps and bases to the glazed hood door, the sides with arched apertures and quarter columns set against bargeboards at the rear beneath further rectangular blind frets, the trunk with concave throat above 42 inch rectangular door centred with a brass lenticle, on ogee moulded plinth base applied with two-tier moulded skirt, (case reduced in depth), 259cm (102ins) high excluding finials; 277cm (109ins) high overall. Provenance: By repute formerly at Marston House, Somerset. Literature: The dial of the current lot is illustrated in Cescinsky, Herbert THE OLD ENGLISH MASTER CLOCKMAKERS AND THEIR CLOCKS 1670-1820 on page 39 (Fig. 40). George Etherington is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as being made a Free Brother of the Clockmakers' Company in 1684 having previously being apprenticed to Robert Rooksby possibly in Newcastle-on-Tyne or York. In 1689 he moved from the 'Dial in Fleet Street' to 'against the New Church in the Strand', London. In 1697 he signed the oath of allegiance and became an Assistant of the Clockmakers' Company in 1701, Warden in 1706 and finally Master in 1709. He attended until at least 1720 and is thought to have died in 1729. George Etherington's work can generally be characterised as distinctive, often impressive and innovative in its decorative form; this very much follows the shift in fashion towards increased scale and heightened decoration which occurred during the Queen Anne period. The current lot is typical of this approach with the very early use of a shallow break-arch dial featuring unusual arched regulation scale within a finely engraved field. The case is also of impressive proportions and was almost certainly made by the same case maker responsible for that accommodating a clock of six week duration by John Lowndes which was sold in these rooms on Tuesday 15th September 2015, lot 204.

A small George II thirty-hour longcase clock movement with nine-inch dial... A small George II thirty-hour longcase clock movement with nine-inch dial Gabriel Smith, Nantwich, circa 1730 The single handed countwheel bell striking movement with four finned pillars, anchor escapement and plates measuring just 4.5 by 3 inches, the 9 inch square brass dial with pierced blued steel hand to the matted centre within applied silvered Roman numeral chapter ring with elaborate foliate half hour markers and signed Gab Smith, Namptwich to lower margin, the angles applied with unusual scallop shell and foliate scroll cast spandrels (no pendulum or weight). Gabriel Smith is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born in Barthomley, Chesire in 1656. He married Ann Whittington in 1682 and worked as a clockmaker, carpenter, bell founder and millwright in Barthomley up until 1722. He subsequently moved to Nantwich where he continued working presumably until his death in 1743 aged 87. The current lot is highly unusual in that the movement is particularly small in its dimensions. The reason why the maker chose to make the movement this size is unknown however it did require him to attach it to the dial via horizontal iron straps applied to the rear of the plate in order to avoid riveting the dial feet within the matted area at the centre.

A fine inlaid oak architectural floor-standing lantern clock case Unsigned A fine inlaid oak architectural floor-standing lantern clock case Unsigned, possibly Bristol, circa 1700 The hood with inverted breakfronted dentil moulded open-centred shallow arch tympanum incorporating geometric parquetry decorated blocks to frieze flanking infill panel inlaid with triple spire motifs over triangular arched aperture bordered by pilaster uprights flanked by shouldered pilasters incorporating panel inlaid plinths, the sides with conforming articulated dentil cornice over double line banded panel, the trunk incorporating Roman Doric column mouldings with capital inset with rosettes to frieze over rectangular double line banded door set within the frame of the case and conforming complex pilaster base, the sides with further double line banded panels, on plinth base with geometric band to upper surface of the complex top mouldings over diagonal star inlaid front and generous skirt base, 217cm (85.5ins) high ; with an incomplete lantern clock, attributed to Benjamin Willoughby, Bristol, circa 1700 , the two-handed posted countwheel striking movement with anchor escapement, finely detailed one piece 'Bristol' pattern uprights with integral finials and feet, and domed bell bearer (lacking dial, frets, doors, backplate, one finial, pinion of report for countwheel, weight and pendulum), 33cm (13ins) high, (2). According to the vendor the incomplete lantern clock included in the current lot was formerly fitted with an unusual dial signed for Benjamin Willoughby, Bristol. The dial was apparently matted with an engraved rose at the centre and applied with a Roman numeral chapter ring; regrettably it appears that this dial has now been lost. Benjamin Willoughby is recorded in Moore, A. J. THE CLOCKMAKERS OF BRISTOL 1650-1900 as apprenticed in London to Robert Dingley in 1676 before moving to Bristol where he worked from Small Street presumably until his death in 1709. The highly unusual architectural form of the hood of the lantern clock case in the current lot can be compared to that of a three-month longcase clock by Thomas Tompion residing in the collection of the British Museum (Museum number 1958,1006.2159). The movement of this Tompion longcase is numbered 132 which would date it to around 1688, however the dial incorporates an arch engraved with a bust of Queen-Anne. This suggests that the dial plate was altered along with the hood during the first decade of the 18th century. From this it would be appropriate to speculate that the current lot also dates to the first decade of the 18th century due to the strong stylistic similarities between the two. In addition to the complex architectural pediment to the hood the trunk of the current lot also incorporates accurately observed Roman Doric column mouldings which again demonstrate a high degree of architectural enlightenment by the maker. The inlaid decoration is unusual being very laborious in its execution requiring the surface to be cut back and sections inserted.

A George I black japanned longcase clock of one month duration Markwick and... A George I black japanned longcase clock of one month duration Markwick and Markham, London, circa 1720 The substantial five finned pillar rack and bell striking movement with five-wheel trains and anchor escapement regulated by seconds pendulum, the 13 inch brass break-arch dial with subsidiary seconds dial, calendar aperture and low winding holes 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 with female mask and scroll cast spandrels beneath silvered Strike/Silent switch and boss engraved Markwick, & Markham, LONDON flanked by dolphin cast mounts to arch, the black japanned case with architectural cornice over gilt floral painted upper quadrant infill to frieze and conforming leafy trail decorated break-arch glazed hood door applied with generous three-quarter columns to front angles, the sides with rectangular windows and quarter columns set against bargeboards at the rear, the trunk with convex throat moulding over rectangular door painted in gilt with oriental garden landscapes within stylised leafy strapwork borders and conforming delicate surround, on ogee moulded skirt base with conforming painted decoration to front and applied moulded skirt, (painted decoration circa 1900), 230cm (90.5ins) high. James Markwick senior is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as apprenticed in 1756 to Edmund Gilpin (through Richard Taylor); he initially worked at Croydon before returning to London where he gained his freedom of the Clockmakers' Company in 1666. In 1673 he took-over the former business of Samuel Betts at behind the Royal Exchange. Markwick had a turbulent relationship with the Clockmakers' Company - in 1676 he was fined for abuse of the Master at the Steward's feast and was often reprimanded for not attending court. James Markwick junior was born in Croydon in 1662 and was apprenticed to his father gaining his freedom (by patrimony) in 1692. He initially went into partnership with his father before gaining outright control of the business on the latter's retirement to Pevensey in Sussex in around 1700 (where he subsequently died in 1716). In around 1710-15 James Markwick junior went into partnership with his son in Law Robert Markham which lasted until the former's death in 1730. The business was subsequently continued by Markham and his successors and specialised in producing clocks and watches for export to the Middle East. The current lot is unusual in that it is signed 'Markwick & Markham' rather than just 'Markwick Markham' suggesting that it was made fairly early on in the partnership.

A fine George III ebonised table clock with pull-quarter repeat on six bells... A fine George III ebonised table clock with pull-quarter repeat on six bells John Jefferys, London, circa 1750 The six pillar twin fusee bell striking movement with verge escapement regulated by short bob pendulum and pull quarter repeat sounding on a graduated nest of six bells followed by the hour on a single larger bell, the symmetrical foliate scroll engraved backplate signed John Jefferys, London beneath a stylised basket of fruit to centre, the 7 inch brass break-arch dial with shaped false bob aperture backed with silvered name plate engraved Jn'o Jefferys London and calendar to the finely matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track, with pierced steel hands and rococo scroll cast brass spandrels to angles beneath subsidiary Strike/Silent dial flanked by conforming mounts to arch, the inverted bell top case with hinged brass carring handle over brass fillet inset break-arch glazed dial aperture and fine foliate scroll engraved and pierced upper quadrant frets flanked by caddy moulded angles to the full-width front door, the sides with further engraved brass circular sound frets over concave-topped brass fillet inset rectangular glazed apertures, the rear with door set within the frame of the case with break-arch window and further scroll pierced ebonised upper quadrant frets, on cavetto moulded skirt base with squab feet, 44.5cm (17.5ins) high excluding handle. John Jeffrys was an important clock and watchmaker (through his association with John Harrison) who was born in Midgham, Berkshire in 1701. In November 1717 he was apprenticed to in London to the watchmaker Edward Jagger gaining his freedom of the Clockmakers' Company in 1726. In 1735 Jeffrys took Larcum Kendall as an apprentice followed by another named Jethro Tull in 1739. In 1751-2 Jeffrys was commissioned by John Harrison to make a watch for his personal use mainly to assist with astronomical observations and interval timing. In order to satisfy Harrison's needs the timepiece was specified to incorporate features such as maintaining power, centre seconds and bimetallic strip temperature compensation for the modified balance. On completion the watch performed beyond expectations leading Harrison to focus his attention on watch-based technology to create a suitably accurate marine timekeeper. John Jeffrys died in 1754 leaving his workshop in the hands of his former apprentice, Larcum Kendall, who continued to assist John Harrison with the development of H4 before producing his own versions (K1 and K2) of Harrison's design in order to satisfy the requirements of the Board of Longitude. The current lot is one of only a small handful of clocks known by Jeffrys and is notable in that the repeat work operates with a slight but precise action which befits the description of him being a 'Repeating motion maker'. In addition to this the signature is executed in the same manner as that of his famous watch further leaving little doubt that it originated from his workshop.

A fine George II japanned eight-day quarter chiming musical longcase clock... A fine George II japanned eight-day quarter chiming musical longcase clock Newman Cartwright, London, circa 1730 The substantial five pillar triple train rack and bell striking movement with anchor escapement regulated by seconds pendulum, the musical train peeling the quarters and playing a choice of two tunes on the hour via a sixteen hammers on eight bells, the 12 inch brass break-arch dial with calendar aperture, subsidiary seconds dial and applied arched signature plate Newman Cartwright, London to the matted centre within applied Roman numeral chapter ring with Arabic five minutes to outer track, with pierced steel hands and applied female mask and scroll cast spandrels to angles beneath arch centred with A Minuett/A March tune selection dial flanked by dolphin cast mounts, in a black japanned case with domed caddy surmount to the blind fret fronted box upstand over moulded cornice and conforming infill to the quadrants above the break-arch glazed hood door decorated with gilt foliate trails, the sides with rectangular glazed apertures and quarter columns applied to bargeboards at the rear, the trunk with floral spray painted concave throat moulding over break-arch door finely decorated in raised polychrome and gilt with a stag being pursued by hounds within an arcadian Oriental landscape with pavillions, the surround further decorated with foliate trails beneath birds to upper quadrants, the sides painted with full height flowering foliage, on cavetto moulded plinth base with conforming landscape scene to front and applied skirt over squat ogee bracket feet (wear and loss to decoration), 234cm (92cm high). A clockmaker with the name Newman Cartwright does not appear to be recorded in the usual sources however a watch dating to around 1720 by 'N. Cartwright, Lombard Street' (with pierced silver pillars) is noted in Britten, F. J. FORMER CLOCK AND WATCH MAKERS AND THEIR WORK. In addition to this a walnut eight-day longcase clock by Newman Cartwright, also dating to around 1720, was sold at Chorley's, Prinknash Abbey on 24th June 2010 (lot 445) for £3,000 hammer. Finally a record of successful proceedings and notice of a meeting for debtors relating to the bankruptcy of Newman Cartwright 'of Lombard Street, Silversmith and Chapman' is recorded in the Gazette printed in late May or early June 1758.

A George III stained pine hooded wall timepiece with alarm William Yardley A George III stained pine hooded wall timepiece with alarm William Yardley, Bishop's Stortford, circa 1760 The posted movement with rectangular section corner uprights and anchor escapement regulated by seconds pendulum swinging to the rear, the alarm mechanism set within the frame behind the going train and sounding on a bell mounted above the top plate, the 5 inch brass break-arch dial with alarm setting disc and single pierced iron hand to the foliate spray and symmetrical scroll engraved silvered centre within conforming applied Roman numeral chapter ring with quarter hour divisions to inner track, the angles applied with gilt Indian mask and scroll cast spandrels beneath arch centred with a silvered boss signed W'm Yardley, B:r Stortford flanked by conforming mounts, the stained pine case with cavetto moulded cornice above door incorporating glazed dial aperture flanked by three quarter columns to front angles, the sides with conforming quarter columns to the rear over complex lower lip mouldings, the bracket with backboard pierced for hanging above lower section fitted with scroll outline side supports united by stepped ogee shaped throat moulding over rectangular backboard with chamfered lower edge, 52cm (20.5ins) high. A W. Yardley is recorded in Baillie, G. H. Watchmakers & Clockmakers of the World as working in Bishop's Stortford in around 1790.

A Charles II ebonised thirty-hour longcase clock James Delance, Frome A Charles II ebonised thirty-hour longcase clock James Delance, Frome, circa 1685 The substantial two-handed posted countwheel bell striking movement measuring 7.75 inches between the plates with generous rectangular section corner uprights and resting on integral spikes fitted to the underside of the baseplate, the going train with anchor escapement incorporating solid ºttery brass' escape wheel and regulated by seconds pendulum, the strike train sounding on a large bell mounted above, the 10.25 inch square brass dial with fine pierced iron hands and symmetrical scrolling tulip engraved centre incorporating a central rose over lambrequin signed Jam's Delance, in Froome to lower margin, within applied Roman numeral chapter ring with stylised sword-hilt half hour markers and Arabic five minutes within the outer minute track, the angles applied with winged cherub mask and scroll cast and pierced spandrels, in an ebonised pine case with substantial ogee moulded cornice and deep open panel fronted frieze (to accommodate the large bell behind) over full-width hood door applied with raised mouldings to the glazed aperture and the sides with conforming rectangular windows, the trunk with convex throat moulding and 42 inch rectangular door centred with an oval lenticle, the sides applied with further mouldings to form tall rectangular panels, the plinth base with ogee mouldings to upper edges and bun feet, (case with restoration), 221cm (87ins) high. James Delance is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born in Downton, Wiltshire in 1655, he is believed to have learnt the clockmaking trade from Lawrence Debnam in Frome (see previous lot) prior to moving to London in 1677 where he was admitted as a Free Brother to the Clockmakers' Company the following year. Delance remained in London until 1685 when he left the city and returned to Frome where he set up business in Cheap Street - probably succeeding Lawrence Debnam who died in 1683 at the age of 40. Delance is recorded as undertaking work on clocks for Lord Weymouth at Longleat from at least 1694 until 1703. By 1721 Delance had moved to Downton, Wiltshire (see following lot) and was still working in 1736. The current lot employs and escape wheel made from work-hardened ºttery brass' formed by hammering a cast solid disc prior to cutting of the teeth. This creates a wheel much more resilient to wear however this process makes it difficult to cross it out hence why it is left as a solid disc when fitted. This very rare feature was probably learnt from Lawrence Debnam as it also seen on the previous lot; it is testament to both makers that these wheels are still serviceable after over three hundred years of use. The well engineered and precisely finished nature of the movement extends to the use of substantial rectangular section corner uprights which appear to have been favoured by Delance as these can be seen on other clocks by him including a fine thirty-hour musical clock by him sold at Christies, King Street THE VITALE COLLECTION OF HIGHLY IMPORTANT EUROPEAN CLOCKS on Tuesday 26th November 1996 (lot 247). The engraved decoration to the dial of the current lot is also of the best 'London' quality and can be directly compared to the dial of a clock by Tompion illustrated in Darken, Jeff and Hooper, John English 30 Hour Clocks, Origin & Development 1600-1800 on page 83 (Plate 2/53). From both the dial engraving and the general quality of approach with regards to the movement it would perhaps be appropriate to speculate that Delance had close connections with the best London makers and may well have spent time in a leading workshop during his time in the capital.

A French porcelain inset ormolu mantel clock Unsigned A French porcelain inset ormolu mantel clock Unsigned, circa 1870 The circular two train bell striking movement with anchor escapement, Brocot rate adjustment and backplate stamped with serial number 324 147 to lower margin, the square porcelain dial with fine gilt ground figural painted centre within stylised Roman numeral cartouche chapter ring and outer minute track, the spandrel areas decorated in black with Anthemions and scrollwork on a Uranium orange ground within fine repeating leaf cast surround, the plinth form case with twin-handled urn surmount incorporating orange ground porcelain body decorated with bands of stylised foliage on a gilt ground flanked by seated chimera sphinxes onto a foliate panel cast cavetto moulded platform incorporating elaborate repeating anthemion cast cornice beneath, the sides with projecting tapered columns with conforming porcelain shafts and geometric cast panel infill behind, the rear with circular foliate fretwork movement access hatch, on complex breakfronted ogee moulded skirt base cast with acanthus leaf decoration over ivy trail band and moulded squab feet applied with leafy motifs, the sides terminating with tombstone shaped panels, 40.5cm (16ins) high; with original giltwood stand 44.5cm (17.5ins) high overall.

A German bronzed spelter figural novelty swinging mystery timepiece 'Diana A German bronzed spelter figural novelty swinging mystery timepiece 'Diana' The movement by Junghans, Schramberg, late 19th century The movement with tic-tac escapement, internal short bob pendulum and stamped with Junghans star trademark to backplate, the white enamel Arabic numeral dial with crossed arrows trademark to centre and blued steel spade hands set behind convex glazed moulded bezel within dumb-bell upright with ribbon tied crest and pivot above gridiron shaft with adjustable spherical weight to base, mounted via pivot onto the outstretched arm of an Art Nouveau female figure in flowing robes, the naturalistically cast base incorporating indistinct signature, on circular cavetto moulded ebonised base, 35cm (13.75ins) high.

A French Louis XV style gilt brass mantel clock garniture The movement by... A French Louis XV style gilt brass mantel clock garniture The movement by Samuel Marti, Paris, late 19th century The circular eight-day countwheel bell striking movement with anchor escapement regulated by disc bob pendulum with Brocot type regulation to suspension, the backplate stamped with Samuel Marti, MEDAILLE DE BRONZE roundel to centre over serial number 4 8, the upper left hand margin further stamped with retailer's mark comprising initials V E flanking a honey bee over further number 2720 , the circular white enamel Roman numeral dial with steel moon hands within foliate cast brass bevel glazed hinged bezel, the waisted case with floral spray surmount to the cavetto shaped upstand fronted with diamond lattice panel infill over ribbon crest and generous continuous rococo scrolls to front angles incorporating leafy garland passing beneath the dial and blind lattice fretwork to apron, the sides cast with formal rectangular panels centred with a rosette over diamond lattice infill, the rear with pierced movement access hatch over conforming decoration, on generous integral scroll feet incorporating pendant leaf-cast motif between, 35.5cm (14ins) high; with a pair of three branch candelabra ensuite, each with drip pans and sconces supported by scrolling branches over upright cast as a quiver of arrows and rosette centred rococo scroll outline pedestal base centred with a leafy rosette over blind fret panel infill, on conforming integral scroll supports, each 36cm (14.25ins) high, (3).

A fine George III brass mounted figured mahogany quarter chiming table clock... A fine George III brass mounted figured mahogany quarter chiming table clock Thomas Wagstaffe, London, circa 1770 The substantial six pillar triple fusee movement chiming the quarters on a graduated nest of eight-bells and striking the hour on a further large bell, with verge escapement regulated by short bob pendulum and holdfast to the fine asymmetric chinoiserie rococo scroll engraved backplate, the 8 inch square single sheet silvered brass dial with fine pierced blued steel hands, calendar aperture to centre within Roman numeral chapter ring with Arabic five minutes to outer track and signed Thomas Wagstaffe, LONDON to lower edge, the shallow break-arch case with generous hinged brass carrying handle and single crisply moulded rectangular pad to top over bird inhabited foliate pierced and engraved brass sound frets to the arched frieze, the full front door incorporating cast brass bezel to the glazed circular dial aperture and conforming brass fillet-bordered lower quadrant frets flanked by brass strung angles, the sides with scroll pierced frets to frieze over generous brass handles and further concave-topped rectangular brass fillet-edged sound frets, the rear again with fretwork frieze over glazed break-arch door set within the frame of the case, on generous cavetto moulded skirt base with cast brass squab feet, 46cm (18ins) high excluding handle. Thomas Wagstaffe is recorded in Baillie, G. H. Watchmakers & Clockmakers of the World as working in Carey Street and 33 Grace-church Street, London 1756-93. Originating from Banbury in Oxfordshire Thomas Wagstaffe and his brother James were fine makers who appeared to have strong connections with the American market - perhaps due to belonging The Quaker Society of Friends. A watch by Thomas Wagstaffe previously owned by Benjamin Franklin was sold by Cowan's Auctions, Cincinnati, on June 17th 2006 (lot 118) for $34,500.

A fine Lithuanian engraved gilt brass horizontal striking table clock signed... A fine Lithuanian engraved gilt brass horizontal striking table clock signed with initials J. G., Vilnius, mid 17th century The single fusee movement with four fine steel baluster pillars secured via decorative nuts through the backplate, verge escapement regulated by sprung three-arm balance and engraved standing barrel for the countwheel hour striking mechanism incorporating decorative floral trail engraved gate and sounding via grotesque mask decorated hammer on a bell mounted beneath the movement, the backplate with fine single-footed flowering tulip pierced and engraved balance cock beside rose engraved countwheel, conforming cocked mainspring barrel ratchet with sculpted steel spring and engraved inscription J G, Wilna within an oblong cartouche, the square engraved gilt brass dial decorated with cupid seated beside a cage containing lovebirds and with sculpted steel hand to centre, within applied pewter Roman numeral chapter ring with stylised fleur-de-lys half hour markers and cast silver coloured metal winged cherub head spandrels to angles, the movement and dial fitting into the case from above and secured by three foliate pierced lugs screwed to the backplate, the exterior with hatched-scroll engraved dial surround over complex top mouldings and lozenge-shaped side windows with applied raised surrounds flanked by stylised female terms to angles, the base with conforming lower mouldings and hinged bottom panel incorporating the bell secured by a sculpted steel strap, on four winged mask and paw cast feet, 11.5cm (4.5ins) wide; 8.2cm (3.25ins) high. Although signed for a maker based in Vilnius, Lithuania the current clock is distinctly Germanic in both its overall form and detailing. This is not unusual as many mid 17th century clocks bearing signatures of makers residing in various important city-states throughout central eastern Europe share similar strong Germanic traits. From this it would be reasonable to suggest that such clocks were either bought-in from makers based in Southern Germany (mainly Augsburg or Nuremburg) or were made locally closely copying German practice. The current lot is notable in that it appears to have survived in good original condition with the only significant alteration being the provision of a sprung balance to improve timekeeping. The movement is well finished with an abundance of engraved details (which even extends to the three lugs for securing the movement into the case screwed into the backplate). The steelwork is also particularly fine with detents and springs finely sculpted with complex mouldings and scroll terminals.

A brass and silver limited edition skeleton timepiece 'The Money Clock A brass and silver limited edition skeleton timepiece 'The Money Clock' Thwaites and Reed Limited, 1979 The eight-day movement with platform lever escapement and passing strike sounding on a bell mounted above the plates shaped as the symbol for GBP Sterling united by five cylindrical double-screwed pillars, the front with silvered Roman numeral chapter ring with fleur-de-lys half hour markers and scalloped outer edge beneath stamped edition number NO.113 , mounted on circular wooden base inset with an 500 gram ingot of 999 standard silver bullion issued by JOHNSON MATTHEY, LONDON and numbered HK 10357 , the clock 16.5cm (6.5ins) high; with authentication certificate and glass dome cover, 20.5cm (8ins) high overall.

A fine George III mahogany quarter chiming eight-day longcase clock Ellicott A fine George III mahogany quarter chiming eight-day longcase clock Ellicott, London, circa 1770 The six pillar triple train movement with deadbeat escapement regulated by seconds pendulum, chiming the quarters on a graduated nest of eight bells and striking the hour on a single larger bell, the 12 inch brass break-arch dial with subsidiary seconds dial and calendar aperture to the finely matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track and signed Ellicott, London to lower margin, with fine pierced blued steel hands and rococo cast spandrels to angles beneath subsidiary STRIKE/SILENT selection dial flanked by conforming mounts to arch, in a mahogany break-arch case with cavetto cornice and plain frieze over brass stop fluted columns flanking the glazed dial aperture, the sides with break-arch windows and quarter columns applied to bargeboards at the rear, the trunk with shaped-top caddy moulded flame figured door flanked by brass stop-fluted quarter columns over raised panel fronted plinth base with further conforming quarter columns to angles and applied moulded double skirt incorporating squat bracket feet with shaped apron between, 231cm (91ins) high. 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.

A German Black Forest Jockeleuhr miniature wall timepiece with alarm... A German Black Forest Jockeleuhr miniature wall timepiece with alarm Unsigned but to a design devised by Jacob Herbstritt, mid 19th century The movement constructed with three wooden plates forming two compartments enclosing going train regulated by tic-tac escapement and short lenticular bob pendulum swinging within the second rear compartment, with transverse alarm mounted to the left hand side sounding on a bell mounted above and circular white enamel Roman numeral dial set into a shield shaped porcelain cartouche surround with gilt and polychrome floral painted crest and scroll decorated surround, the sides with pin-hinged doors, the rear panel with wire hanging hoop to top edge, 11.5cm (4.5ins) high. This type of miniature wall clock was devised by Jacob Herbstritt before 1845 and is essentially devised as a scaled down version of the Black Forest 'Schotten' clock. The enamel-centred porcelain dial of the current lot is a characteristic feature.

A William III walnut and Arabesque marquetry eight-day longcase clock Joseph... A William III walnut and Arabesque marquetry eight-day longcase clock Joseph Windmills, London, circa 1700 The five finned and latched pillar inside countwheel bell striking movement with anchor escapement regulated by seconds pendulum and external countwheel locking detent passing through an aperture in the backplate, the 11 inch square brass dial with subsidiary seconds dial, ringed winding holes and calendar aperture to the rose decorared matted centre within applied silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers, Arabic five minutes to outer track and signed J: Windmills, London to lower edge, with pierced steel hands and winged cherub and foliate scroll cast spandrels to angles with foliate engraved infill to margins between, in a case with architectural cornice and plain frieze over hood door incorporating foliate scroll marquetry surround flanked by three-quarter columns to front angles, the sides with rectangular windows, the trunk with concave throat moulding over 42 inch door veneered with intense symmetrical foliate strapwork marquetry around a central lentical within parquetry banded outer border, the surround further decorated with scrolling foliage, the sides veneered in walnut each divided into three vertical panels with ebony and box triple line borders and crossbanding, on conforming symmetrical marquetry fronted plinth base with scroll border and later skirt base (hood rebuilt) 214cm (7ft) high. The life and work of Joseph Windmills and his successors is comprehensively documented in Neale, J.A. Joseph and Thomas Windmills Clock and Watch Makers 1671-1737. Joseph joined the Clockmakers' Company as a free Brother in on 29th September 1671 - the same year that Joseph Knibb, Daniel Quare and Thomas Tompion also gained their freedom of the Company. He initially worked from Blow Bladder Street in St. Martins le Grand, London before moving to premises at Swan Court, Mark Lane End, next Tower Street by April 1674 where the business remained. Joseph took his son, Thomas, as an apprentice who, after gaining his freedom in 1696, is thought to have immediately gone into business with his father; by 1700 the firm had become a partnership which lasted until Joseph's death in 1724. As a contemporary of Knibb, Quare and Tompion, Joseph Windmills would have had to compete with some of the finest clockmakers that have ever lived during a period of heightened scientific enlightenment. In this environment Windmills excelled, producing clocks of a quality that equalled many of his more famous peers. The dial of the current lot is typical of Windmills at this period with the winding holes, calendar aperture and centre of the seconds dial having ring-turned decoration although the rose to the centre is an embellishment not often used by Windmills. The case can be directly compared to two examples illustrated in Neale A. J. Joseph and Thomas Windmills, Clock and Watch Makers 1671-1737 colour plate IX and on page 129 (Figure 510); both of these exhibit exactly the same cut of marquetry as the current lot.

A Fine German Renaissance gilt brass and iron hexagonal table clock Stamped... A Fine German Renaissance gilt brass and iron hexagonal table clock Stamped with initials M L , mid to late 16th century The posted twin fusee movement with pinned iron-capped brass spring barrels concealed between two horizontal plates in the base beneath posted frame with four fine slender double baluster turned uprights, the going train now with verge escapement regulated by short bob pendulum swinging to the rear, the strike train set behind the going train incorporating twin-arbor warned release and sounding the hours via a vertically pivoted hammer on a bell mounted on top of the clock, the exterior with moulded cornice and geometric panel decorated frieze over twenty-four hour dial with stylised bird and fruiting foliage engraved centre within punch-stamped Arabic numeral chapter ring with touch pieces to the moulded outer margin, set over a shaped scribed panel enclosing further scrolling foliate and centred with a winding square, the sides with twin panel doors engraved with standing figures of Adam and Eve to the right and a pair of allegorical females to the left, the angles with conforming vertical geometric bands and the rear engraved after Hans Sebald Beham with Christ standing on a globe and holding the standard of the crucifixion beneath dove emblematic of the Holy Spirit, the lower margin with small panel decorated with a reclining female, the plinth base with complex moulded dado over foliate engraved panels centred with roundels featuring four profile busts to the sides and indistinct armorial crest to the front incorporating the stamped initials M L , on conforming moulded skirt incorporating leaf engraved ogee moulded foot, (alarm mechanism removed), 22cm (8.625ins) high. Provenance: The beneficiaries of the Estate of an Italian connoisseur collector of horological artefacts and works of art. The current lot can be compared to an example illustrated in Tardy LA PENDULE FRANCAIS, 3'me Partie: Provinces et Etranger on page 314. The hexagonal form echoes that of contemporary French examples however differs in the that trains are laid out with the strike behind the going rather than the usual French system of having one above the other. The use of iron for the wheelwork would indicate a date prior to 1580 although the inclusion of brass for the walls of the spring barrels would suggest that the clock was made closer to 1580 than 1550. The strike train also incorporates twin-arbor warning which although is known to have been in use by around 1480 (see Leopold, J. H. The Almanus Manuscript ) seems to have been rarely adopted until the introduction of the English lantern clock in its fully developed form in around 1600. The rear of the clock incorporates an engraved view of Christ standing on a globe holding the standard of crucifixion with a dove emblematic of the Holy Spirit above. Typically such decoration was often copied from a contemporary engraved source - in this case an engraving executed by Hans Sebald Beham in 1546. The panels to the sides of the case are probably also copied from similar sources however these have yet to be identified. The base also incorporates an armorial crest to the front panel, unfortunately wear and degradation to the surface now renders this crest indistinct however closer examination and specialist research may result in the family for whom the clock was made to be identified.

A fine German gilt brass quarter striking table clock with annual calendar... A fine German gilt brass quarter striking table clock with annual calendar dial Engraved with initials P K F R , dated 155(4?) The posted iron triple fusee movement of 'cruciform' layout centred with longitudinal going train with verge escapement regulated by steel two-arm balance set above the top plate flanked by transverse quarter train opposing conforming strike train, the quarter train with cannon warning arbor applied over the locking detent arbor released via capstan wheel driven by the underdial motionwork operating a sliding shunt and sounding on a bell mounted within the superstructure above, the hour strike train now fitted with countwheel for Italian double six-hour striking and released in-turn by the quarter train via detent engaging with pins to the quarter countwheel and arbor passing across the front of the movement, the exterior with annual calendar dial now with vacant centre within concentric Zodiacal scale engraved for the Julian calendar divided onto five day intervals to inner track within reserve engraved with pictorial representations and respective symbols with divisions for every day to the outer track, the applied ring aligned with the Zodiacal scale and divided in a similar manner with each month labelled in Latin along with its length, the spandrel areas engraved with symmetrical hatched foliate scroll infill over conforming band to apron incorporating pivoted shutter for the vacant alarm winding hole engraved with the initials P K, F R , the opposing side now applied with twelve-hour chapter disc with hatched foliate scroll engraved centre within concentric Arabic numerals 13-24 and outer Roman numerals, the upper spandrel areas with conforming foliate infill, the lower margins engraved to match and now applied with three vestigial subsidiary dials for day-of-the-week, quarter-hours and date-of-the-month, the quarter train side with panel engraved with a Classical female playing a harp within an architectural archway fitted with shuttered winding hole for the quarters and another vacant hole probably originally for remote winding of the going train over hatched foliate scroll engraved panel to lower margin, the opposing strike train side with subsidiary countwheel position dial annotated in Arabic numerals 1-12 over vestigial alarm setting dial within further hatched leafy trail infill, the top with fine ogee-outline cupola with complex rectangular section spire finial over stylised flower buds applied to shoulders and six pierced circular portrait panels each depicting an allegorical profile within hatched leafy scroll decorated panel infill, the slender moulded cornice applied with squat urn finials and engraved with text DIE . STUND . UND . TAG . 155(4?) over the calendar dial opposing WACHET . DAN . IR . WIST . NIT over the hour dial, the angles incorporating square section three-quarter pilasters and plinths decorated with scribed-line panels, on shallow inverted breakfronted cavetto moulded base engraved with stylised interlaced foliate motifs, (losses/replacements to dials and motionwork), 22cm (9.75ins) high. Provenance: The beneficiaries of the Estate of an Italian connoisseur collector of horological artefacts and works of art. Comparative literature: Maurice, Klaus and Mayr, Otto THE CLOCKWORK UNIVERSE, GERMAN CLOCKS AND AUTOMATA 1550-1650 pages 182-85 and 189-90. The current lot employs the archetypical 'cruciform' layout to the movement (where the going train is positioned longitudinally in the centre flanked by transverse quarter and hour strike trains) favoured by the south German makers of the finest 'Masterpiece' table clocks from the mid 16th century until the end of the 17th century. From a practical point of view this layout adds a degree of complexity with regards to resolving the lifting of the strike and quarter trains but has the significant benefit of allowing each face of the case to be fitted with dials/features directly relating to the function of mechanism behind. This benefit is particularly relevant when considering the statutory requirement (specifications) of a 'Masterpiece' as dictated by the Augsburg clockmakers' guild in 1558 as transcribed in Maurice, Klaus and Mayr, Otto THE CLOCKWORK UNIVERSE, GERMAN CLOCKS AND AUTOMATA 1550-1650 on page 67: " Mastepieces of 1558 Small-clock makers: A clock a span high, without weights, to strike each quarter-hour. The astrolabe runs as part of the clock. A small flat clock or spherical clock with the phases of the moon; the latter to move forward in time with the hand ." In order for the current lot to fulfil the above requirements it would have need to have been fitted with an astrolabic dial and one showing the phases of the moon. When considering the layout of the clock it is conceivable that an astrolabe was originally fitted to the centre of the side now applied with the twelve-hour chapter disc, however the inscription to the cornice above - DIE . STUND . UND . TAG would perhaps suggest otherwise as this simply translates as THE HOUR AND DAY. From this it is more likely that that the original dial configuration to this side was limited to time, day-of-week and date-of-month functions alone. The other side retains its original year calendar complete with Zodiacal divisions however the central feature is now missing. A clue to what was originally fitted in this space may again be suggested by the inscription to the cornice above - WACHET . DAN . WIST . NIT. Unfortunately there appears to be no direct translation for this phrase, however when considering the inscription in broadly linguistic terms it may be appropriate to speculate that it relates to day and night indication. If this is the case then the centre of the dial may well have originally been fitted with a dial indicating the variance in the relative length of the day and night throughout the year. Alternatively, as more commonly seen, the centre may have featured a disc pierced for the phases of the moon. In addition to either of these two functions the annual calendar dial would have most likely had hands to indicate the date of the year and the zodialogical aspect of the sun. One slight complicating factor regarding the reconstruction of the moving elements to the centre is the presence of the going train winding square. However examination of the going train fusee and other evidence within the movement and quarter-strike side of the case suggests that the going train may have originally been fitted with indirect winding from the side. This would have left the dial centre (and indeed the motionwork behind) free of obstruction. The distinctly two-dimensional external decoration of the current lot is unusual and differs from the fashion for intense sculpted relief made popular by makers such as Jeremias Metzger during the mid 1550's. However the decorative effect of the pierced and engraved profile portraits to the dome is particularly pleasing. The applied stylised flower heads to the angles of the cupola are also unusual being reminiscent of similar decoration seen on Gothic iron chamber clocks of the period. The movement is particularly well executed with fine delicate wheelwork which is remarkable when considering that each wheel was hand forged, cut and filed. The provision of a fairly complex system of warned striking is also testament to the clockmakers technical ability.

A George III fruitwood table clock Unsigned A George III fruitwood table clock Unsigned, circa 1760 The five pillar twin fusee bell striking movement with fine Ho-Ho bird and grotesque mask centred foliate scroll engraved backplate, the 7 inch brass break-arch dial with calendar and shaped false bob apertures to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track and pierced steel hands within applied rococo scroll cast brass spandrels to angles beneath arch centred with rosette engraved subsidiary Strike/Silent selection dial flanked by Indian mask and scroll cast infill mounts, the bell top case with hinged brass carrying handle over front door with applied raised mouldings bordering the glazed dial aperture flanked by caddy moulded angles, the sides with blanked-off circular over concave topped rectangular apertures, the rear with door matching the front, on moulded skirt base (formerly ebonised), 46cm (18ins) high excluding handle.

A William III walnut and floral marquetry eight-day longcase clock Thomas White A William III walnut and floral marquetry eight-day longcase clock Thomas White, Fairford, early 18th century The five finned pillar inside countwheel bell striking movement with 11.75 inch square brass dial with ringed winding holes, subsidiary seconds dial and elaborate basket of flowers and scroll border engraved calendar aperture to the Ho-Ho bird decorated matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers, Arabic five minutes to outer track and signed Tho. White, Fairford to lower edge, with pierced blued steel hands and twin cherub and crown cast spandrels to angles, in a case with architectural cornice and blind foliate fretwork frieze above floral trial inlaid hood door, the sides with rectangular glazed apertures, the trunk with conforming leafy trail decorated convex throat above 41 inch door centred with a brass lenticle and decorated with intense figural inhabited symmetrical flowering foliage into an ebonised ground, the surround with stylised scrolling foliage above conforming panel outline plinth base with later skirt base incorporating shaped apron, 220cm (86.75ins) high. Thomas White is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born in Fairford, Gloucestershire in 1677; he worked from around 1700 continuing presumably until his death in 1748.

A fine and impressive George II/III mahogany eight-day longcase clock with... A fine and impressive George II/III mahogany eight-day longcase clock with fly-back perpetual annual calendar Tuler for Roger Rice, Bristol, mid 18th century The five pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum and bold engraved signature Juler, Fecit towards the lower margin of the frontplate, the fly-back perpetual calendar mechanism applied to the rear of the arch of the dial plate and advanced by the motionwork via a lever engaging with a lug applied to a cannon wheel fitted over the seconds arbor, the 12 inch brass break-arch dial with subsidiary seconds dial and shaped foliate scroll decorated signature cartouche engraved R. Rice Bristol to the matted centre within applied silvered Roman numeral chapter ring with arcaded minute divisions and Arabic five minutes to outer track, with pierced steel hands and unusual female mask and scroll cast spandrels to angles beneath arch centred with steel pointer and pierced radial solar lunette incorporating mask to the disc and further hatched radial points to a silvered plate behind, the upper margin with curved calendar scale annotated with Arabic numerals for every three days, in an impressive mahogany swan neck pedimented case with giltwood relief carved foliate break-arch band to the blind fret fronted box upstand over wavy-outline glazed dial aperture to the hood door flanked by Corinthian columns with cast brass caps and bases, the sides with conforming half columns set beside bargeboards at the rear, the trunk with shaped-top wavy panel applied caddy moulded door flanked by stop-fluted Corinthian quarter columns, on raised square hipped panel fronted plinth base incorporating wavy surround and flanked by canted angles carved with quoins over deep skirt and squat ogee bracket feet, 254cm (100ins) high to apex of swan neck. Roger Rice is recorded in Moore, A. J. THE CLOCKMAKERS OF BRISTOL 1650-1900 as a probably principally a brass and ironfounder who was known to have been working in 1740 and 1741. Moore further notes that clockmaking was probably a sideline. A maker with the surname Juler appears not to be recorded in the usual sources as working in Bristol at this time, however online sources suggest that there was a Matthew Juler working as a clockmaker in the suburb of Bedminster at some point. The movement of the current clock is of the finest quality with refinements such as thick plates and generous boldly turned pillars, massive greatwheels incorporating concealed winding clicks and locking of the strike train via a tail on the rack hook engaging with the warning wheel. In addition to the extraordinary perpetual annual calendar work the dial is extremely original in its design and execution with bold statements such as the layered sunburst motif in the arch and arcaded minutes to the chapter ring which incidentally is secured to the dial plate with six feet rather than the usual four - again demonstrating the maker's high quality approach. The case compliments the movement perfectly and exhibits iconic Bristol features such as two-tier pediment, wavy-outline dial aperture and conforming border to the trunk door. The base is extraordinary as it develops the regional Bristol style even further by incorporating a shallow hipped pyramid panel to the centre flanked by elaborate carved quoins to the canted angles.

A rare George II ebonised table clock with moonphase Thomas Hatton, London A rare George II ebonised table clock with moonphase Thomas Hatton, London, mid 18th century The six pillar twin fusee bell striking movement with Ho-Ho bird inhabited foliate scroll engraved backplate centred with a basket of flowers, the 7 inch brass break-arch dial with calendar and shaped false bob apertures and vestigial alarm disc 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 and pierced steel hands, the angles with applied Indian mask and rococo scroll cast brass spandrels beneath rolling moonphase calibrated for age of the moon and times for high water to the outer edge of the disc over leafy rosette engraved lunettes and with deep herringbone border to the arch, the bell top case with hinged brass carrying handle over foliate scroll pierced upper quadrant frets to the glazed front door, the sides with conforming shaped frets over break-arch glazed apertures, the rear with door matching the front set within the frame of the case, on moulded skirt base with later bracket feet, (movement with losses), 45cm (17.75ins) high excluding handle. Provenance: George Fludyer, (d.1837) and by descent through the Fludyer Family, finally to Sir Arthur John Fludyer, 5 th and last baronet, who died childless in 1922. Then to his sister Katherine who married Henry Randolph Finch of the Croft, Manton, second son of George Finch, Burley-on-the-Hill, Rutland and by descent. The Finch Family had the title of the The Earls of Winchelsea and Nottingham Burley-on-the-Hill. Thomas Hatton is recorded in Baillie, G. H. Watchmakers & Clockmakers of the World as working from Old Bailey, London from before 1757 until 1774. In 1773 he published the work Introduction to the Mechanical part of Clock and Watch Work.

An Irish George II mahogany table timepiece Phil An Irish George II mahogany table timepiece Phil. Cusack, Wexford, mid 18th century The four pillar single fusee movement with verge escapement incorporating sprung 'silent' pallets regulated by short bob pendulum, the 7 inch brass break-arch dial with shaped false bob aperture to centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track and signed Phil. Cusack, WEXFORD to lower margin, with pierced steel hands and angles applied with rococo scroll cast spandrels beneath arch centred with silvered calendar ring flanked by Indian mask and scroll cast infill mounts, the inverted bell top case with hinged brass carrying handle over complex mouldings to leading edges, the front with full width break-arch glazed door incorporating caddy moulded angles, the sides with break-arch windows and the rear with conforming glazed rectangular door set within the frame of the case also flanked by caddy moulded angles, on shallow moulded skirt base with brass ball feet, (movement with losses), 46cm (18ins) high excluding handle. Phil. Cusack of Wexford appears not to be recorded in the usual sources.

A fine Renaissance gilt brass and silver mounted oval pre-hairspring pendant... A fine Renaissance gilt brass and silver mounted oval pre-hairspring pendant clockwatch Josias Jolly, Paris, circa 1630 The incomplete oval gilt full plate single fusee verge movement with four shouldered baluster pillars pinned through the backplate applied with fine asymmetric floral scroll pierced and engraved balance cock and conforming mainspring barrel set-up ratchet guard, the edge signed Josias, Iolly, AParis , the fine single sheet engraved fire-gilt brass dial with steel hand and centre decorated with scene of the Samaritan woman conversing with Christ at the well within applied silver Roman numeral chapter ring with wheatear half hour markers and fine foliate scroll chased oval surround incorporating a cherub to upper edge over pair of grotesques to sides and a winged cherub mask to lower margin, the two-piece oval section case with delicate leafy wreath engraved decoration to inside of the convex brass front cover incorporating seven-joint hinge block decorated with a winged angel mask opposing conforming fixed convex panel to rear, the waist with gadroon mouldings bordering applied red silk backed scroll pierced and engraved applied silver sound fret collar, the base with inverted finial and clasp opposing pendant cast as a tulip bud to top, (strike train lacking), the movement pillar plate 41mm (1.6ins) by 36mm (1.4ins), the watch 71mm (2.8ins) high to top of suspension post. Provenance: The beneficiaries of the Estate of an Italian connoisseur collector of horological artefacts and works of art. Josias Jolly is recorded in Baillie, Watchamkers & Clockmakers of the World as a Master working in Paris 1609-40. Jolly was a Protestant born in Blois whose surviving work shows significant diversity however he is perhaps now best known for a watch with highly decorated enamel case executed by a member the Toutin school residing in the collection of Walters Art Museum, Baltimore (ex. Demidoff collection). The basic oval form of the current lot is reminiscent of an early 'Puritan' watch, of which an example (signed 'Chapelle' and dating to around 1625) is illustrated in Camerer Cuss, T.P. The Country Life Book of WATCHES on page 15 (plate 7). The addition of the fine decorative pierced silver band (between gadroon mouldings) to the waist of the present watch would have served to allow the sound of the hour bell (formerly fitted within the rear of the case) to be heard as well as cater for the demand for decoration from clients not so concerned with Puritan values. Indeed a similar blind engraved border can be seen on timepiece by Robert Grinkin, London illustrated in Camerer Cuss on page 19 (plate 10). The presence of this band indicates that decoration was as, if not more, important than function. Incidentally the timepiece by Grinkin also exhibits very similar engraved foliate wreath border decoration to the inside of the dial cover. The current lot is particularly rare as it was originally made as a clockwatch. Unfortunately the strike train has now been removed however the going train appears to have survived with no obvious signs of alteration and has a particularly fine fusee. The dial is exquisitely engraved and in fine condition; indeed the general overall condition of the watch would make restoration of the strike train eminently viable and rewarding.

A George III brass mounted ebonised table clock John Holmes, London A George III brass mounted ebonised table clock John Holmes, London, circa 1790 The five pillar twin fusee bell striking movement with anchor escapement regulated by by lenticular bob pendulum with 'T' bar suspension, the backplate signed Holmes, London to centre, the 7 inch single sheet silvered brass dial with calendar aperture and repeat signature Holmes, London to centre within Roman numeral chapter ring with Arabic five minutes to outer track and subsidiary STRIKE/SILENT selection dial to arch above, the break-arch brass edged triple pad top case with brass fillet inset front door flanked by brass edged front angles and arched brass fishscale sound frets beneath hinged brass handles to sides, the rear with conforming arch-glazed door, on cavetto moulded shallow skirt base with brass ogee bracket feet, 37cm (14.5ins) high. John Holmes was born circa 1728 and is believed to have been apprenticed circa 1743-50 to Henry Hindley of York. By 1754 he had moved to London and was working from Hard Court, Holborn before setting up at 156 Strand, by Somerset House, circa 1762. In around 1779 he supervised the construction of the clock at Greenwich Hospital by Thwaites, and in 1791 he was appointed by a House of Commons Select Committee as one of the experts to assess Mudge's marine timekeepers. The current lot can be compared to a related example by Holmes which was sold at Christie's, King Street IMPORTANT CLOCKS AND MARINE CHRONOMETERS Wednesday 20th February 2008, lot 98 (for £6,875). The restrained but elegant design of both the dial and the case of the current lot is reminiscent to those produced by Mudge and Dutton at this time. This similarity in approach is also often evident when comparing longcase clocks originating from these two workshops during the latter decades of the 18th century.

A fine French engraved gilt brass carriage clock Auguste, Paris A fine French engraved gilt brass carriage clock Auguste, Paris, circa 1840 The eight-day two train bell striking movement with Jules-type gilt divided lift sub-frame platform lever escapement with sprung split bimetallic balance, the backplate with vertically planted bell over visible winding clicks and stamped signature AUGUSTE A PARIS to lower right hand corner, the rectangular white enamel Roman numeral dial incorporating repeat signature AUGUSTE A PARIS within the outer minute track at six o'clock, with blued steel moon hands and gilt mask border, the engraved gilt brass bevel glazed multi-piece case with hinged slender baton handle over large top window within foliate scroll border, shallow ogee cornice and rounded uprights further engraved with scrolling foliage, the rear with door decorated with five hatched panels enclosing floral sprays within an intense leafy field, on conforming cavetto moulded skirt base incorporating bracket feet, 14cm (5.5ins) high excluding handle. The working dates for Auguste appear to be unknown however the workshop is noted in Allix, Charles and Bonnert, Peter CARRIAGE CLOCKS, Their history and development as working around 1840 and often housed in cases by 'L. Lange'. Tardy notes an Auguste was working from Rue Grande Prieure, Paris in 1880. A group of clocks with similar escapements are discussed and illustrated by Allix on pages 72 to 74.

A Queen Anne oak eight-day longcase clock Richard Penny, London A Queen Anne oak eight-day longcase clock Richard Penny, London, early 18th century The four finned pillar outside countwheel bell striking movement with anchor escapement regulated by seconds pendulum, the 11 inch square brass dial with subsidiary seconds dial, ringed winding holes and scroll border engraved calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with stylised sword hilt half hour markers, Arabic five minutes to outer track and signed Rich Penny, Whitechaple to lower margin, with pierced steel hands and applied twin cherub and crown cast spandrels to angles, in an oak case with ogee-shaped upstand over moulded cornice, plain frieze and three quarter columns with brass caps and bases to the glazed hood door, the sides with conforming quarter columns to rear, the trunk with concave throat moulding over long rectangular door centred with a lenticle, on ogee moulded plinth base with applied skirt, 205cm (80.75ins) high. Richard Penny is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born circa 1674, apprenticed to John Wise II in 1698 and gaining his freedom of the Clockmakers' Company in 1715. He married Judith Wise (daughter of his Master) in 1698 and is thought to have died in 1741.

A Victorian brass lantern clock Unsigned, mid to late 19th century The five... A Victorian brass lantern clock Unsigned, mid to late 19th century The five pillar twin chain fusee movement with anchor escapement regulated by short lenticular bob pendulum and striking the hour on the bell mounted above the frame, the posted case with dial incorporating foliate scroll engraved centre within silvered Roman numeral chapter ring with fleur-de-lys half hour markers beneath pierced leafy scroll cast frets flanked by vase finials with domed bell bearer above, the sides and rear with brass doors, on ball feet, 42cm (16.5ins) high.

A burr birch cased table clock The movement and dial by Charles Cabrier, London A burr birch cased table clock The movement and dial by Charles Cabrier, London, mid 18 th century, the case later The five pillar twin fusee bell striking movement with verge escapement regulated by short bob pendulum and fine symmetrical foliate scroll engraved backplate, the 6 inch brass break-arch dial with shaped false bob and calendar apertures and shaped signature plate engraved Cha: Cabrier, LONDON to the matted centre within applied Roman numeral chapter ring with Arabic five minutes to outer track, with pierced steel hands and unusual female mask and scroll cast spandrels to angles beneath subsidiary Strike/Silent dial flanked by conforming mounts to arch, now in a Biedermeier period burr birch veneered case with brass carrying handle and scallop shell carved crest to the ogee shaped line panel bordered superstructure over complex wriggle-cut cornice, the front with conforming moulded decoration to the line-bordered hinged glazed dial aperture flanked by scroll-shaped sides and incorporating stylised scroll inlaid motifs to upper quadrants, the sides with inset break-arch windows, the rear matching the front, on conforming line-bordered generous cavetto moulded base with shaped apron and squab feet, (movement with losses), 52cm (20.5ins) high excluding handle. Charles Cabrier senior was probably a Huguenot immigrant who is recorded in Loomes Brian CLOCKMAKERS OF BRITAIN 1286-1700 as admitted by redemption into the Clockmakers' Company in 1697/8. He is thought to have worked in Lombard Street and had a son of the same name who was apprenticed to him in 1717. Charles junior gained his freedom of the Clockmakers Company in 1726 and possibly worked with his father until the latter's death in around 1736. He served as Warden of the Clockmakers' Company in 1750 and was appointed Master in 1759. Records suggest that Charles junior worked ¾hind the Royal Exchange' and had a son who he also named Charles who was made free of the Clockmakers' Company by patrimony in 1756 and is believed to have worked until his death in 1777. The Cabrier dynasty were fine makers who supplied clocks for various export markets including Russia and France. Perhaps their most famous surviving work is a magnificent pair of ormolu mounted japanned musical automaton table clocks reputedly made for the King of Nepal in around 1770 (illustrated in Barder, Richard, The Georgian Bracket Clock 1714-1830 page 161, colour plate 27). The movement and dial of the current lot were probably supplied with an appropriate case for export to central Europe when first made in the mid 18 th century. The clock would have then been re-cased locally in the early 19 th century in order to 'update' the appearance of clock in the fashionable Biedermeier style which was at its height during the second quarter of the 19 th century.

A William IV small ebonised table clock Dwerrihouse, Ogston and Bell, London A William IV small ebonised table clock Dwerrihouse, Ogston and Bell, London, circa 1830 The five pillar twin fusee movement with anchor escapement regulated by small disc-bob pendulum and striking the hour on a bell fitted to the shouldered backplate over pendulum holdfast bracket and engraved signature Dwerrihouse, Ogston & Bell to lower margin, the 4 by 6 inch cream painted Roman numeral arch dial with blued steel spade hands over husk bordered oval signature cartouche inscribed Dwerrihouse, Ogston & Bell, DAVIES STREET to lower margin, the ebonised case with shallow hipped chamfer pediment and cavetto cornice over silvered brass fillet inset arch glazed front door with canted angles, the sides with rectangular brass fish scale sound frets, the rear with rectangular glazed door with conforming canted angles, on moulded skirt base with brass bun feet, 25cm (9.75ins) high. The partnership of Dwerrihouse, Ogston and Bell are recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working at Davies Street, London in 1832.

A fine George I ebony quarter-repeating table clock in the manner of Tompion... A fine George I ebony quarter-repeating table clock in the manner of Tompion and Graham Daniel Quare and Stephen Horseman, number 226, circa 1720 The six finned pillar twin fusee bell striking movement with verge escapement regulated by lenticular bob pendulum incorporating pivoted rise/fall rate adjustment beam to suspension, the pull-quarter repeat train sounding the hours and quarters on a graduated pair of bells on demand, the fine backplate engraved by 'G.515' with basket of flowers and Ho-Ho bird inhabited symmetrical foliate strapwork around a central scroll-bordered reserve signed Dan: Quare & , Ste: Horseman, LONDON beneath serial number 226 flanked by winged figures over eagle-headed scrolls to lower margin, the 7.5 by 6.625 inch rectangular gilt brass dial with shaped false bob and calendar apertures to the finely matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to outer track, with pierced blued steel hands and gilt Indian mask and foliate scroll cast spandrels to lower angles, the upper margin with conforming cast infill interrupted by subsidiary Strike/Silent and regulation dials flanking repeat signature Daniel Quare & , Stephen Horseman, London No. 226, the ebony inverted bell-top case of typical Tompion 'phase III' design with generous hinged gilt brass carrying handle over double cavetto top mouldings and full-width front door applied with raised mouldings to the glazed dial aperture and with foliate scroll pierced lozenge sound fret to the upper rail, the sides with break-arch windows applied with conforming raised mouldings, the rear with rectangular glazed door set within the frame of the case, on cavetto moulded skirt base now fitted with brass ogee bracket feet, 42cm (16.5ins) high excluding handle. Daniel Quare is an important maker who is recorded on Loomes, Brian The Clockmakers of Great Britain 1286-1700 as born in Somerset circa 1647/8; by 1671 he had moved to London as he was admitted as a Free Brother to the Clockmakers' Company in April of that year. Quare initially worked in St. Martin's Le Grand, London (where he married in 1776) later moving to Allhallows, Lombard Street in 1681, before finally relocating to Exchange Alley where he is believed to have taken-on the former premises of Robert Seignior in around 1686. Quare was selected as a member of the Court of Assistants in 1698 later becoming Master in 1708. In 1717/18 he is believed to have taken his former apprentice, Stephen Horseman, into partnership which presumably lasted until Quare's death in 1724. Daniel Quare was a fine and inventive maker who supplied clocks and barometers to significant European Royal and aristocratic clients. As a committed Quaker he refused to sign the Oath of Allegiance in 1697, however as a much respected maker, he was still able to discreetly supply the court of William III. Daniel Quare is believed to have started numbering his clocks and barometers in around 1704 (see Garnier, Richard and Carter, Jonathan The Golden Age of English Horology - Masterpieces from The Tom Scott Collection page 308), this numbering sequence continued into Quare's partnership with Stephen Horseman with the last known clock in the sequence being number 299 - a walnut eight-day longcase clock which was sold in these rooms on Wednesday 20th February 2013, lot 152. The current lot can be best described as a Quare and Horseman version of the standard Tompion/Graham 'phase III' design of table clock as illustrated and categorised in Evans, Jeremy; Carter, Jonathan and Wright, Ben THOMAS TOMPION, 300 YEARS on page 155. Indeed the case is basically identical to a table clock signed by both Tompion and Graham (number 537) illustrated by Evans, Carter and Wright on pages 187, 189 and 368-9. From this it can be deduced that Quare and Horseman sought to obtain the case of the current lot from Tompion's casemaker in order to produce a clock very closely resembling that of their competitor. In addition to obtaining a 'Tompion' case Quare and Horseman also employed one of his engravers to execute the decoration on the backplate as well as the dial. Indeed the elements of symmetrical foliate strapwork on the backplate can be closely compared with that on Tompion and Graham number 537, although the current lot goes further with its decorative motifs by incorporating winged angel figure terms and eagle heads bordering the elaborate signature cartouche. It is perhaps interesting to note that the current lot departs from Quare's preference for break-arch dials which he adopted almost unanimously for his table clocks from circa 1704 onwards (see Garnier, Richard and Carter, Jonathan The Golden Age of English Horology, Masterpieces from the Tom Scott COLLECTION page 278). Perhaps the reason for this was to satisfy the specific request of a client who favoured the rectangular dial layout characteristic of Tompion's work at this time. The fact that Quare and Horseman were able to employ Tompion's case maker and engraver to complete the clock demonstrates a mutual business relationship between the two competing workshops. This 'relationship' is further supported by the existence of a group of seven table clocks signed by Quare which employ movements made in Tompion's workshop which are comprehensively discussed by Garnier and Carter, pages 286-95. The overall quality of the movement of the current lot is of the best Quare and Horseman workmanship with precisely cut steelwork and use of scroll-shaped cocks for some of the underdial work. The clock also appears to have survived in fine original condition with no evidence of alteration or significant restoration.

A French porcelain inset ormolu mantel clock The movement by John-Baptiste... A French porcelain inset ormolu mantel clock The movement by John-Baptiste Delettrez, circa 1870 The circular two train bell striking movement with anchor escapement regulated by lenticular bob pendulum with Brocot rate adjustment, the backplate with J. B. D. within oval cartouche trademark over serial number 30787 13-3 to lower margin, the square porcelain dial with fine floral wreath painted centre within Roman numeral chapter ring incorporating fine gilt scroll infill and outer puce ground minute track within spandrel areas decorated with insects and fine repeating leaf cast surround, the plinth form case with twin-handled urn surmount incorporating puce and gilt bordered floral band painted porcelain waist over spiral fluted laurel cast socle and stepped cavetto moulded platform to superstructure, the sides of scroll outline incorporating musical and military trophy surmounts issuing floral trails and inset porcelain panels to front, the rear with rectangular engraved foliate fretwork door, on breakfronted ogee moulded skirt base cast with ivy leaf decoration and with turned feet, 34cm (13.5ins) high; with original giltwood stand 39.5cm (15.5ins) high overall.

A William III brass lantern clock William Holloway, Stroud A William III brass lantern clock William Holloway, Stroud, circa 1685-90 The posted countwheel bell-striking movement with separately wound trains and verge escapement regulated by short bob pendulum positioned outside the frame at the rear, the dial with a central rose decorated vestigial alarm disc enveloped by stylised leafy tulip sprays issuing from a three-petal flowerhead positioned just above six o'clock and with signature William Holloway, Stroud to upper margin, with iron hand within applied Roman numeral chapter ring with stylised wheatear half hour markers and engraved leafy infill to angles, the generous London-style third period frame with one-piece column turned corner posts beneath armorial pierced frets, vase turned finials and domed bell bearer, the sides with hinged brass doors and the rear with iron hanging hoop over a brass backplate (in unrestored condition, lacking alarm, top finial and with replaced frets ), 35.5cm (14ins approx) high. William Holloway is recorded in Loomes, Brian LANTERN CLOCKS & Their Makers as the son of the clockmaker John Holloway born in 1732 at Market Lavington, Wiltshire. In 1658 he moved, along with his father and younger brother Richard, to Stroud in order to take-on the workshop of the recently deceased John Snow. Holloway was married to Hester Hieron in 1664 and continued working until his death in 1694. William Holloway had three sons one of which, John, continued the business in Stroud after his death; the other two, William and Arthur, moved to London to pursue the trade in the capital. William Holloway was a confident, accomplished and relatively prolific maker who used distinctive castings for his frames which appear almost unique to the Holloway family. His early clocks (1661 to circa 1680) used castings loosely based on the London second period style but were one-piece (i.e. finials and feet were cast integral with the posts) with tall slender finials capped by distinctive acorn turnings. Three examples by Holloway with this type of frame are illustrated in White, George English Lantern Clocks on page 246 (Figures V/78-80). The second type of frame used was much more akin to the standard London third period pattern but again employed one-piece castings and appeared to be short-lived as they are only seen on clocks dating to the first five or six years of the 1680's (see White, page 247, Figure V/81). The third pattern was again based on London third period practice but was much more generous with distinctly bulbous swellings to the finials and feet, two clocks with this type of frame are illustrated in Loomes, Brian LANTERN CLOCKS & Their Makers pages 207 and 209 Figures 13.8 and 13.13. Other traits of Holloways work include the continued use of separate winding for each train long after most other makers had adopted Huygens' single-weight endless rope system. Clocks with separately wound trains are characterised by having hour bell hammers positioned to the right hand side of the movement. Loomes suggests that Holloway may have continued this practice as it allowed straightforward disablement of the strike train by simply removing or not winding the strike weight. Another unusual feature peculiar to Holloway was that he often used four wheel trains in order to give a longer duration. The current lot is a typical of Holloway's final phase of work with generous bold castings and London-style tulip engraving to the dial centre. Unusually the clock is not dated but on stylistic grounds alone it can be placed within a couple of years of 1690.

A French lacquered brass carriage timepiece with alarm Retailed by Hardy... A French lacquered brass carriage timepiece with alarm Retailed by Hardy Brothers, Sydney, circa 1900 The eight-day movement with silvered platform lever escapement and alarm train sounding on a bell mounted on the backplate, the rectangular white enamel dial inscribed HARDY BROS., SYDNEY to centre and with blued steel spade hands over alarm setting disc to lower margin, the five-glass bevel glazed corniche case with hinged carrying handle, 14cm (5.5ins) high excluding handle.