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A Royal Crown Derby Christmas Bell boxed, others including Christmas Tree, Star, round etc (7)

A large silver child's rattle, as a bell, Birmingham 1923

Trevor Bell (1930-), "Close", signed and dated '61, titled on verso, gouache, 54.5 x 43.5cm.; 21.5 x 17.25in. Artists' Resale Right ("droit de suite") may apply to this lot.

Metalware - a copper kettle; trench art shell case; horse brasses; brass lion door knocker; brass bell etc qty

A Georgian Toasting Fork, Iron Fork, Skillet and a Ships Bell

BELL'S QUEEN MOTHER 90TH BIRTHDAY BELL Blended Scotch Whisky in white and pale blue Wade ceramic decanter. 75cl, 43% volume. BELL'S CHRISTMAS 1990 BELL Blended Scotch Whisky in green and cream Wade ceramic decanter. 75cl, 43% volume. 2 bottles CONDITION REPORT: Good.

THREE BRONZE FIGURES OF BEGGING DACHSHUNDS, mounted as a bell pull, height approximately 4.5cm

AN AUSTRIAN BRONZE BELL PUSH, modelled as a Dachshund climbing onto rocks, height approximately 9cm

AN AUSTRIAN BRONZE BELL PUSH, modelled as a Dachshund stalking a riding crop, height approximately 6.5cm

A RARE OLD SHEFFIELD PLATE TABLE BELL WITH GREEN STAINED IVORY HANDLE, C1790 crested, 11cm h Illustrated: Crosskey (G), Old Sheffield Plate, second edition, 2013, figs 294A and 294B. ++Slight wear showing copper on the engraved crest but in very good original condition not replated. The green stained ivory handle original and not cracked or repaired

AN ENGLISH BRASS AND MAHOGANY AIR PUMP, LATE 18TH C with a glass bell jar, 61cm h overall ++Parts replaced, repolished overall

A citrine, pearl and enamel Hamsa pendant, of pierced form like a pendant bell-flower, and tri-coloured metal structure, set with an oval cut pale lemon citrine and seventeen 5-7mm half pearls with touches of royal blue enamel base fields, and suspending five smaller off-round pearls; length including bale 8.4cm; the Hamsa is a traditional form for jewellery throughout the near and middle east, representing the palm of the right hand and signifying protection

A mid-19th century French silver whistle, rattle and teether, French export mark 1839-1879 struck twice only, the main body modelled as a pierrot with pointed hat, his coat suspended with four bell (one missing) all mounted on a turned bone handle, 15cm The tip of the hat is the mouthpiece for the whistle and this is a little misshapen, the mount for one of the four suspended bells has broken off together with its bell

A large George III silver coffee pot, by Thomas Whipham and Charles Wright, London 1764, raised on a circular gadrooned foot below a plain baluster body, leaf based spout and moulded rim, the gadrooned hinged cover with bell finial, wooden scroll handle, 27.5cm, 30.45oz Generally in good condition, cover with sterling mark, possible minor repair to the base of the spout, minor body bruising

A late George II silver two handled cup, by William Shaw & William Priest, London 1758, of inverted bell shape with two reeded scroll handles, later chased, initialled, 11cm high, 8.11oz Small irregularities to the foot, repairs to the base of each handle

An Edwardian silver Queen Anne style three piece bachelor's teaset, by James Wakely & Frank Clarke Wheeler, London 1903, comprising: an octagonal teapot with domed cover having a bell finial, 15.5cm high, together with the companion sugar basin and milk jug, all monogrammed, 18.15oz (3) Bruise to one panel joint of the teapot and the sugar basin, otherwise in good order

A George II silver two handled cup, by Gabriel Sleath, London 1727, of plain inverted bell shape with moulded edge and girdle, raised on a low pedestal foot below two ribbed scroll handles, 15cm high, 13.27oz In very good condition, no repairs, splits or bruises

An 18th century bronze bell, dated 1774, with iron clapper 38 x 36cm (15 x 14in)

A & H Rowley, London, a late Victorian mahogany bracket clock, the Georgian style case with inverted bell top and brass handle, four ball finials, foliate engraved gilt dial with strike/silent to the arch, silvered chapter ring signed below, twin fusee gong striking movement, fretwork side panels and glazed rear door, all on a brass plinth and bracket feet Condition:  Currently the clock is running and striking correctly. The surround to the dial has shrinkage cracks above and below (see image). One side of the case also has lesser cracks.Otherwise has a winding key and lock key.    

A 19th century French white alabaster portico clock, the case of typical pillar form surmounted by a Medici lion, the gilt dial inscribed ‘Le Clercq a St Omer’, with countwheel bell striking drum movement and decorated pendulum, applied decorated frieze and plinth base, 55cm (21.5in) high, all on a wooden stand under a glass dome 65cm (25in)

A George III mahogany linen press , circa 1770 and later, of serpentine outline A George III mahogany linen press , circa 1770 and later, of serpentine outline, the associated pedement above a pair of book-matched flame mahogany doors enclosing a hanging rail above chest base with three long graduated drawers flanked by canted corners inlaid with lion masks and bell-flowers, on plinth base and decorative bracket feet 199cm high, 125cm wide, 56cm deep

A painted velvet and gilt metal mounted bell pull, second quarter 19th century A painted velvet and gilt metal mounted bell pull, second quarter 19th century, the foliate decorated fabric above a circular section grip with recessed stellar motifs, 212cm high; a Victorian beadwork applied bell pull, mid 19th century, with gilt metal ring handle, 153cm high; and a gilt metal bell pull handle, second quarter 19th century

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

A late 19th century French gilt metal mantel clock with 3 inch porcelain dial with ring of Roman numerals over a serve style figural decorated porcelain panel, the arched case with urn finial, over bell flower side mouldings and putti front corner figural mounts raised on four short feet, the movement stamped 'Japy Freres No. 143 72', the case stamped 'Mourey 3 76' (at fault), 41.5cm high

An early 20th century mahogany bracket style chiming mantel clock, the 6 inch arched dial with chapter ring of Arabic numerals under subsidiary dials to the arch for chime, silent and slow/fast adjustment, the arched case with bell flower mouldings and pierced sides, the movement chiming on four rod gongs stamped 'FMS' to the back plate, 40cm high

A late 19th century ebonised calendar clock, the movement month going, the 4½ white enamel dial with ring of Roman numerals over apertures for day, date and month, in a rectangular ebonised wooden case, the movement with single bell and long bob pendulum, paperwork label to the reverse of the back panel titled 'Pendule-Calendrier, Inventuer-Brevete', 45cm high

An Art Deco onyx and marble figural clock garniture, the 4 inch square silver dial signed 'I Rouve', within a ring of stylised Arabic numerals, the fan shaped case housing an eight day spring driven drum movement striking on a single bell, with cold painted spelter female figural mount to the left hand side, along with a pair of fan shaped shallow vases en suite, clock 45.5cm wide, 25.5cm high

A mahogany and marquetry eight day longcase clock, the associated 11½ inch painted arch dial signed 'Mason', with centred subsidiary seconds dial within a ring of Arabic numerals, with floral painted spandrels under a bird and anchor painted to the arch, the associated case with swan-neck pediment over ribbon and swag marquetry frieze above a bell flower framed arched glazed hood door, between fluted front corner hood pilasters, over a marquetry arched long trunk door between fluted corner quarter pilasters, on a marquetry and boxwood strung box base and ogee bracket feet, 238cm high

A George III mahogany musical longcase clock, the 14 inch arched brass dial signed 'Jos Slater, Oswestry' to the arch, flanked by subsidiary chime, silent and strike silent subsidiary dials over a silvered ring of Roman and Arabic numerals, centre by a subsidiary seconds dial and date dial, within pierced leaf scrolling leaf moulded spandrels, the six pillar movement striking on a single bell, the musical chime striking twin hammers on twelve graduated bells, from the 11½ cylinder, the hood with enclosed swan-neck pediment over an arched hood door flanked by tapering fluted front corner hood pilasters, over a dentil moulded and blind fret frieze, above an inverted arch mahogany veneered long trunk door, fitted with a pierced moulded key escutcheon between quarter fluted front corner pilasters, on a single panel box base between blind fret canted front corners raised on short ogee moulded bracket feet, 240cm high

A traditional Bell telephone with bakelite receiver and metal decorated body with circular dial pad.

18/19th century Sheraton style satinwood 8-day long case clock, having a 12" arched top brass dial with 2 subsidiary dials striking on a bell, dial signed Solomon Julliott of London, with swan neck pediment and columns, the case having allover floral swag and urn painted decoration, height 7'9".

FRENCH FOUR GLASS OVAL BRASS MANTEL CLOCK the 8cm white dial with Roman numerals and Arabic seconds, the two train movement striking on a bell, bevelled glass and stepped brass case, 25cm high

19TH CENTURY FINE ORMOLU MANTEL CLOCK maker Le Roy et Fils, in the Louis XV style, the face flanked by two seated putti, the enamelled dial with Roman numeral chapter ring and subsidiary seconds, with pierced gilt metal handles, the face marked 'Le Roy & Fils, Palais Royal Gte Montpensier 13.15 Paris, 296 Regent St London', with pendulum and striking on a bell, the case inset with panels decorated with birds, floral swags and bows against a deep blue ground, all upon a shaped and moulded base, approximately 31.5cm high, 34cm wide, with key and pendulum

GEORGE III EBONISED BRACKET CLOCK maker William Baird, London circa 1801, the arched top surmounted by a brass handle, the body with two pierced brass side panels backed with red silk, glazed rear door, on square plinth with four brass bracket feet, with white painted dial, subsidiary strike/silent dial to the arch, twin train fusee movement, verge escapement, striking the hours on a bell, 46.5cm high

VICTORIAN BRASS LANTERN CLOCK the dial with fine floral engraving and Roman numeral chapter ring, twin fusee movement, anchor escapement, striking on the bell, 39cm high

VICTORIAN BRASS LANTERN CLOCK marked Edwards & Sons Glasgow, the dial with scrolling engraving and Roman numeral chapter ring, twin fusee movement, anchor escapement, striking on the bell, 36.5cm high

GEORGE III MAHOGANY CASED 8 DAY LONGCASE CLOCK by John Brand, Dumfries (fl. 1790-1814), the painted 13 inch arched gilt enamel dial with Roman numerals, Arabic numeral chapter ring showing seconds, subsidiary second and date dials to twelve and six respectively, 8 day movement chiming on a bell, the case with swan neck pediment, above an arched door flanked by columns, on a plinth with bracket feet, 221cms high

20TH CENTURY BRASS SKELETON CLOCK of typical form, with Roman numeral chapter ring, anchor escapment and single train fusee striking on a bell, over a circular marble bass, with glass dome and pendulum, 44cm high overall Note: With original documentation from Browns of Argyle Street, Glasgow

LATE 19TH CENTURY REPEATING BRASS CARRIAGE CLOCK the enamel dial with Roman numerals, the central enamel panel with foliate sprigs on a black ground, flanked by two enamel side panels, lever platform escapement striking and repeating on a bell, 18.5cm high

A fine and rare German Renaissance gilt metal circular horizontal table clock with separate overhead alarm mechanism Hans Gotbub, Strasbourg, circa 1590 The circular gilt brass single fusee movement with four double-baluster turned pillars pinned through the backplate, verge escapement regulated by un-sprung two-arm balance and pinned end cap for the mainspring barrel, the concentric ring engraved backplate stamped *HANS*, *GVOT*, *BVOB* over city stamp for Strasbourg (arranged as a shield surmounted by five stars) and applied with fine symmetrical scroll pierced and engraved balance cock with conforming large foot and decorative mainspring set-up ratchet, the upper surface now fitted with a later circular brass Roman numeral dial with symmetrical foliate scroll engraved centre, cruciform half hour markers and single iron hand, the circumference of the case chased and engraved in relief with continuous scene of a rabbit hunt with two figures and four hounds pursuing a hare through an Arcadian landscape towards a net tied between two trees within cast moulded borders, the underside with ring turned blanking plate, on three later winged cherub feet, the top fitted with separate overhead alarm mechanism made with circular plates united by three rectangular section pillars enclosing a spring and contrate wheel driving the verge for the hammer, housed within a moulded shallow drum-shaped case surmounted by a bell with decorative top washer, the underside with hour hand mechanism release detent set between the three down curved supports engaging with the upper rim of the clock beneath, (restoration to the movement), diameter of clock 9.5cm (3.75ins); 15cm (6ins) high overall. Provenance: From the estate of an esteemed antiquarian horologist, acquired at Christie's, London, 5th July 2002 (lot 2). Literature: Maurice, Dr. Klaus Die deutsche Raderuhr, figure 509. A related hour-striking clock with automaton figure by 'Hans Gutbub' complete with a similar relief decorated frieze depicting a hunting scene and winged cherub mask feet is illustrated in Tait, Hugh Clocks and Watches, BRITISH MUSEUM 0n page 34 (figure 39). The general form and layout of the current lot has its roots in the earliest portable spring driven 'tambour' timepieces such as those made by Peter Henlein of Nuremburg (1485-1542). The fitment of the alarm mechanism as a separate assembly above the dial (so that it can activated by the hour hand) appears to be a system preferred by German makers for their alarm timepieces although early French examples of the Blois school also often used this system (see Cardinal, Catherine and Vingtain, Dominique TRESORS d'HORLOGERIE page 60 figure 54 for a similar example by Nicholas Plantart of Abbeville from the collection of Musee International d'horologerie at La Chaux-de-Fonds, Switzerland). Latterly, for hour-striking clocks, French makers tended to incorporate the bell within a pierced dome above the movement surmounted by the dial whilst German makers preferred to house it in the base. The change from iron to brass as the principal material employed in the construction of clock movements appeared to first occur in France, with movements dating as early as 1550 being entirely made of this material. In Germany makers seem to continue to use iron for wheelwork and movement frames (particularly for the larger clocks) for longer - up until the last quarter of the 16th century. Brass was then slowly introduced, firstly for spring barrel walls, fusee's and movement plates; with the wheelwork and movement frame posts completing the transition by around 1600. The reason why the French adopted brass earlier than German makers was probably simply due to the fact that it was more accessible to them - with the principal European foundries at this time being located mainly in the Burgundian territories of the Low Countries (particularly around Dinas in modern-day Belgium). Germany on the other hand were leaders in the production of high quality iron (although they were also significant producers of copper and brass) which, combined with the strong traditions of the guild systems in centres such as Augsburg and Nuremburg, resulted in the transition to brass taking longer. The current lot being made in Strasbourg naturally demonstrates both German and French influence in its construction and detailing. The predominant use of brass for the movement (rather than a combination of steel wheelwork and movement posts with brass fusee and spring barrel walls) is typically French (as is the ring-turned decoration to the movement backplate); whilst the relief chased and engraved hunting scene to the exterior is distinctly Germanic in its design and execution. Indeed the highly decorative nature of exterior is reminiscent of that seen on the exceptional clocks from the 'Orpheus' series; these incorporate relief panels decorated with Orpheus in the Underworld after engravings by Virgil Solis (see Coole, P.G. and Neumann, E. THE ORPHEUS CLOCKS Hutchinson, London 1972).

A fine Germanic gilt brass hexagonal horizontal striking table clock Signed for 'Marquick', London, early 18th century The hexagonal twin fusee movement with five double baluster finned pillars pinned through the backplate, verge escapement regulated by sprung three-arm balance with Tompion type regulation and rack hour striking sounding on a bell mounted beneath the movement, the backplate with fine large symmetric foliate scroll pierced balance bridge over silvered regulation disc within extensive conforming applied gilt infill opposing signature Markwick, London, the dial with two floral scroll bordered cartouches engraved Marquick, London to the matted centre within silver champleve Roman numeral chapter ring with lozenge half hour markers and Arabic cartouche five minute numerals to outer track incorporating S/N strike/silent switch at twelve o'clock, the angles of the hexagon engraved with delicate leaf infill, the case with cushion top mouldings above shaped side glasses and leafy mounts to angles over cavetto moulded base fitted with hinged bottom panel incorporating the bell secured by a strap and three later rococo scroll cast and pierced feet, 13.5cm (5.25ins) wide approx.; 12cm (4.75ins) high. The engraved name Marquick on the current lot appears to be a misspelling of Markwick. 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 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 general form of the current is typical of comparable examples produced in Germany and other central European centres such as Gdansk during the first quarter of the 18th century. However the design and finish of the balance bridge is of a quality that may indicate that the clock was finished in London. This possibility is further supported by the design of the chapter ring which is distinctly 'English' in its detailing. From this it is perhaps appropriate to speculate that the current lot may have been acquired in a partially unfinished state from a central European workshop by Markwick, who then subsequently finished it for retail to a domestic English purchaser. Bearing this possibility in mind it is likely that the misspelling of Markwick's name was deliberate as it would allow him to 'distance' himself a from the clock if need be (as signing of an import as one's own work would have been frowned upon by the Clockmakers' Company).

A fine small George II Anglo-German gilt brass hexagonal horizontal striking table clock with alarm Signed for Cabrier, London, circa 1725 The hexagonal single fusee movement with four knopped and finned pillars pinned through the backplate, verge escapement regulated by sprung three-arm balance with Tompion type regulation and engraved standing barrels for the alarm and rack hour striking mechanisms sounding on the same bell mounted beneath the movement, the backplate with fine asymmetric Ho-Ho bird inhabited foliate scroll pierced balance cock incorporating conforming broad foot beside silvered regulation disc within applied gilt infill opposing signature Cabrier, London, the silver champleve dial with Arabic alarm setting dial to centre and steel beetle and poker hands within a Roman numeral chapter ring with lozenge half hour markers, arcaded minute ring and Arabic lozenge five minute numerals to outer track, the angles of the hexagon engraved with delicate floral scroll and scallop shell infill, the case with serpentine outline ogee top mouldings above scroll-border decorated cartouche side glasses and grotesque male mask mounts to angles over conforming ogee moulded shaped base fitted with hinged bottom panel incorporating the bell secured by a four-legged strap, pendant finials and three fine baroque 'C' scroll feet, (unrestored with one bent foot and two damaged side glasses) 9.5cm (3.75ins) wide; 8.2cm (3.25ins) high. 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 general form of the current lot together with the use of standing barrels to drive both the alarm and hour-strike mechanisms is typical of comparable examples produced in Germany and other central European centres such as Gdansk during the first quarter of the 18th century. However the design and finish of the balance cock coupled with the script of the signature would indicate that the clock was either made or finished in London. This possibility is further supported by other details such as dial winding (rather than from beneath) and the use of distinctly English ¾etle and poker' hands. From this it is perhaps appropriate to speculate that the current lot may have been acquired in an unfinished state from a central European workshop by Cabrier, who then subsequently finished it for retail to a domestic English purchaser. Other similar horizontal table clocks signed by English makers are known including another inscribed by Cabrier that was sold at Christies THE ALBERT ODMARK COLLECTION OF IMPORTANT CLOCKS AND WATCHES 11th March 2005 (lot 424). A small series of related clocks signed either Kriedel or Ledeirk, London also survive; these were almost certainly supplied directly from Germany for retail in the English market by the German clockmaker Johann Gottfried Kriedel who worked in Bautzen during the first half of the 18th century. Given the apparent ready demand for such small portable table clocks it is surprising that English makers did not look to directly fill this gap with their own models. Perhaps demand was not deemed sufficient to warrant the need to compete with such imports or maybe English makers felt that coach clocks or small lantern alarm timepieces more than adequately satisfied this corner of the domestic market.

A rare German miniature brass mounted iron chamber timepiece with alarm Unsigned, late 16th or early 17th century The single train weight-driven movement constructed with the train set within a rectangular iron strip frame and now with verge escapement regulated by short bob 'cow tail' pendulum swinging in front of the dial, the alarm mechanism positioned within the frame in front of the escapement with hammer arbor passing through the top plate for sounding on a bell mounted above the case, the front with circular brass dial centred with an adjustable alarm disc with crossed-out radial star centre within Roman numeral chapter ring incorporating concentric inner band stamped with Arabic numerals 13-24, touch pieces to circumference and single iron hand, the upper and lower margins applied with integral overlaid pierced brass decoration engraved with dolphins and foliate scrollwork, the brown and stylised leafy scroll painted iron box-form case with onion-shaped crest to front panel and landscape cartouche panel painted decoration to the side doors, the rear with hanging hoop and spurs, (with restoration), 16.5cm (6.5ins) high. Provenance: From the estate of an esteemed antiquarian horologist, acquired at Sotheby's Olympia, London, 19th June 2003 (lot 65). The current lot would have almost certainly been made as a travelling alarm timepiece designed to be quickly and easily set-up in the owner's overnight lodgings - very much in the same manner as English lantern alarm timepieces were used later in the century. The basic construction of the movement follows typical early German gothic practice with the frame formed essentially as a vertical rectangular loop around the train, however the brass dial and surrounding applied decoration demonstrates a degree of high-status sophistication rarely seen on an iron chamber clock. The use of touch pieces and inner concentric Arabic numeral chapters ( 13-24 ) has its roots in early 16th century South German practice as can be seen in Bassemann- Jordan, Ernst von THE BOOK OF OLD CLOCKS AND WATCHES on page 62 (figures 38a - c) which illustrates a drum clock attributed to Henlein of Nuremburg dated 1510 with related dial layout. The stamped numerals (in particular the '2's expressed as 'Z's) is also typical of South German (Nuremburg and Augsberg) work of the second half of the 16th century, whilst the unusual dolphin or mythical boar whale decoration was almost certainly influenced by the engravings of Conrad Gesner of Zurich which appear in his 1551-8 work Historiae Animalium.

A George IV Gothic inlaid mahogany eight-day longcase clock with unusual dual time 'regulator' dial layout and concentric winding arbors Edward Smith, Newbury, circa 1825-30 The four pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum and under dial gearing to allow winding of both trains through the same hole incorporating square for the going train within concentric pentagonal cannon barrel for the strike train, the 12 inch single sheet silvered brass dial with subsidiary seconds and dual small Roman numeral hour dials and signed Edward Smith, NEWBURY beneath inscription REGULATOR to centre within outer Arabic five minute track, with matching blued steel hands set behind hinged convex glazed hinged cast brass bezel, the pointed Gothic lancet arch-top case with spire finials flanking pediment fronted with arcaded border and central rosette over dial and lower inlaid quadrant panels flanked by buttressed pilaster uprights with stepped apron between, the trunk with concave throat over lancet panel inlaid tall rectangular door decorated with rosettes to corners flanked by stepped canted angles inset with further slender lancet panels and applied with split acorn-turned terminals, the crossbanded base with further conforming geometric panel decoration over squat bracket feet with shaped apron between, 217cm (85.5ins) high. Edward Smith is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working in Newbury circa 1830. The dial of the present lot is highly unusual in that it is of 'regulator' format incorporating two subsidiary hour dials. The hour dial on the right can be independently set in relation to the dial on the left hence the clock can display two different times. However, as this clock was made long before the introduction of time zones, it is highly unlikely that the dial was made to display the time for two locations concurrently. It is therefore most probable that the current lot was made for timing purposes with one of the hour dials being 'zeroed' at the start of an event whilst the other displayed the current time. The most likely application of this was probably to record the length of a working shift which would suggest that the clock may have been originally supplied to a wealthy owner of a mill or similar operation for this purpose.

A George III mahogany longcase clock with unusual 'regulator' type dial layout J. Atkinson, Gateshead, Late 18th century The four pillar rack and bell striking movement with anchor escapement regulated by seconds period pendulum and fitted with an iron falseplate cast with SHAW & Co., the 12 inch wide dial with subsidiary seconds over Roman numeral hour dials and signed J. Atkinson, GATESHEAD to centre within outer minute ring annotated with Arabic numerals at the quarters, the angles with delicate raised gilt rococo scrolls onto a mid-blue ground beneath arch painted with an oval landscape view within conforming gilt surround and blue ground, the break-arch case with cavetto moulded cornice and brass stop-fluted columns flanking the hinged glazed dial aperture over break-arch flame figured trunk door and conforming plinth base with applied panel decoration and moulded double skirt, 223cm (88ins) high. Two makers with the surname Atkinson and the initial J. are recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Gateshead during the latter part of the 18th century; James who dates are noted as 1770-77 and Joseph who worked from circa 1775 until his death in 1804. It is probable that James and Joseph were brothers, the current clock is most likely to be by Joseph.

A German iron and brass hour-striking turret clock Rochlitz, Berlin, circa 1897 The movement of flatbed construction with high count lantern pinions and five-spoke crossings to the brass wheelwork, the going train with Harrison's maintaining power regulated by deadbeat escapement with seconds period wood rod pendulum with large lenticular bob, with crossed-out Arabic five minute setting dial opposing dial take-off and lifting pins for the strike locking detent, the countwheel striking train with single-arbor warning and two-arm fly with adjustable flags, on original wrought-iron stand complete with weights, crank winder, take-off and motionwork for the 31 inch circular gilt on black Roman numeral dial and mushroom-shaped bell with hammer assembly (currently mounted on a wooden frame), the flatbed frame 57cm (22.5ins) wide, 20cm (8ins) deep; the clock on frame 124cm (48.5ins) high by 99cm (39ins) wide by 58.5cm (23ins) deep overall. Provenance: The property of a private collector - purchased in Cologne 1997. Originally supplied for the Schlachthof, Neubrandenburg in around 1897. A file compiled by the current owner containing details relating to provenance and other relevant notes are included with the lot. The firm of C.F. Rochlitz, Berlin was founded in 1824 and specialised in making turret clocks. They were awarded many prizes at the various international exhibitions held throughout the second half of the 19th century including Gold medals at Paris 1900 and St. Louis 1904; Silver at Antwerp 1885 and Berlin 1896, and Bronze at Berlin 1879 and Amsterdam 1883. The firm continued within the ownership of successive generations of Rochlitz family until 1984 when it was acquired by Klaus Lumbeck. The current lot was supplied to the Schlachthof (slaughterhouse) at Neubrandenburg, North Eastern Germany on completion of the building in around 1897/8. During the Second World War the town was heavily bombed by the Allies resulting in the loss of many of its historic medieval buildings; the dial of the current lot bears testament to these dark hours in the form of repaired shrapnel holes. After the War the town became part of the Eastern Germany before reunification brought about much needed investment into the area. The old slaughterhouse was duly restored and converted into a large nightclub; the clock complete with its dial, stand and mushroom-shaped bell was removed at this time. The current clock is remarkably complete and of a manageable size making it the ideal candidate for installation into a clock tower or can be set-up and enjoyed as fine display piece.

A fine Victorian iron and brass hour-striking turret clock with four-legged gravity escapement J.B. Joyce and Company, Whitchurch, dated 1884 The movement of flatbed construction with high count lantern pinions and six-spoke crossings to the brass wheelwork, the going train with Harrison's maintaining power and regulated by four-legged gravity escapement with one-and-a-quarter seconds period compensated pendulum incorporating massive cylindrical cast iron bob, with white painted Arabic five minute setting dial signed JOYCE, WHITCHURCH and dated 1884 to centre, overhead dial take-off and cam for lifting the strike locking detent, the countwheel striking train with single-arbor warning and three-arm fly with adjustable flags, complete with crank winder, take-off and motionwork for two dials, weights and purpose-made welded oblong section steel stand fitted with a bell to left hand side, the flatbed frame 99cm (39ins) wide, 51cm (21ins) deep, the clock on frame 195cm (77ins) high by 135cm (53ins) wide by 76cm (30ins) deep overall. Provenance: The property of a private collector. Originally supplied for the church of St Paul, Kings Norton Parish, Moseley Road, Balsall Heath, Birmingham. A file compiled by the current owner containing details relating to provenance and other relevant notes (including a rare original trade publication) are included with the lot. The former firm of J.B. Joyce and Co. can trace its roots back to Shropshire village of Cockshutt where John Joyce is recorded in Loomes, Brian Clockmakers of BRITAIN 1286-1700 as working in around 1690. His descendant, William Joyce, relocated from Cockshutt to High Street, Whitchurch in around 1790. The workshop was then passed down subsequent generations with Thomas Joyce moving into the specialist field of turret clock making from1834. In around 1849 the firm adopted Lord Grimthorpe's design of gravity escapement for their larger clocks eventually settling on a four-legged version (as used in the current lot). The business subsequently expanded to became one of the most respected maker's of turret clocks of the 19th century winning many important commissions globally including Chichester and Salisbury Cathedrals, The Sydney Post Office clock and The Customs House, Shanghai. By 1902 the firm had outgrown its High Street premises hence a new purpose-built factory in Station Road was commissioned by Arthur Joyce. The business continued trading from this site until being sold to Smith of Derby in 1964 who allowed the firm to operate as a subsidiary. The factory was eventually closed in 2012 and is now used as a fine art auction house. The current clock was commissioned as a gift to the church of St. Paul by Thomas H. Barns in 1884 as 'a memento of my late uncle Mr. Thomas Barns..'. At the time of installation the church building was already thirty years old having built by Samuel Briggs in 1852-3 to a design by James Lyndon Perry to serve the district of Kings Norton parish. The tower was supplied with a forty-inch bell cast by C. & G. Mears in 1855 and the clock was configured to drive four large dials - one on each face of the tower. Unfortunately the church and tower was demolished in the 1970's to make way for modern residential development; the bell was re-used mounted in a steel campanile outside the new church hall built on part of the site. The clock as supplied was built to the highest specification utilising Lord Grimthorpe's four-legged gravity escapement and temperature compensated pendulum made with rod composed from zinc an iron tubes configured one inside the other to counter-act expansion through heat. The pendulum bob is particularly heavy and can be very finely regulated with the addition or subtraction of small weights to obtain an accuracy of within a five seconds a month. Now mounted on a purpose built steel stand the clock has been carefully restored under instruction by the vendor with the frame repainted in its original shade of light green and strike train provided with a hammer and bell mounted to the left hand side. As such the timepiece can either be used as a fascinating display piece or restored to its original purpose in a tower utilising the original take-off and motionwork (for two dials) included with the lot.

A Regency iron and brass turret clock movement with separate hour-striking train Benjamin Russell, Norwich, circa 1810 The movement composed of two cast-iron posted strip frames secured by substantial flanged brass nuts at the junctions, the first enclosing the going train with deadbeat escapement regulated by offset seconds period wood rod pendulum with cylindrical bob impulsed by a cranked crutch, with separate arbor fitted with bevel gear for dial take-off, lifting lever for the strike train and silvered brass setting dial engraved with Arabic five minutes and signed B. Rufsell. Norwich outside the frame the second frame enclosing the strike train with traditional twin-arbor warning, external two-arm fly with adjustable flags and large countwheel mounted on the front of the frame, both now mounted side-by-side on a purpose-made angle-iron stand with bell and hammer assembly, driving weights, pendulum and winding key (no dial or take-off work), the combined frames 71cm (28ins) wide, 58cm (23ins) deep; the clock on frame 145cm (57ins) high by 71cm (28ins) wide by 58.5cm (23ins) deep overall. Provenance: The property of a private collector, a file compiled by the current owner containing details relating to provenance and other relevant notes are included with the lot. Benjamin Russell senior worked in Magdellan Street, Norwich from circa 1808 and is recorded as attempting a hoax fire call at his shop on 3rd July 1830 (see Bird, Clifford and Yvonne NORFOLK & NORWICH Clocks & Clockmakers page 152). He probably worked until his death in 1836 leaving the business to his son of the same name who is listed in the local directories as working from 128 Magdelen Street in 1845 and 1854. A related clock by Russell resides in the stable block, Spixworth Hall, Norwich. This second clock is clearly from the same workshop with the frame constructed from strips of wrought-iron secured with distinctive flanged square headed brass nuts. Both clocks feature an offset pendulums but differ in that the Spixworth clock is of more conventional layout in that the strike train is mounted within the same frame as the going train.

A George II miniature lantern timepiece with alarm Robert Le Blond, mid 18th century The posted two-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 5.125 inch brass break-arch dial with alarm disc to the matted centre within applied Roman numeral chapter ring with Arabic five minutes to outer track and rococo scroll cast spandrels to angles beneath circular boss signed Robert Le Blond, LONDON flanked by conforming mounts to arch, with domed bell bearer over later foliate-cast openwork frets and brass doors to sides, the rear with brass backplate, iron hanging hoop and spurs, 22cm (8.75ins) high. Robert Le Blond is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London around 1760.

A George II brass lantern clock Richard Reed, Chelmsford, mid 18th century The posted countwheel bell striking movement with anchor escapement and 8 inch brass break-arch dial with single pierced iron hour hand to the matted centre within applied Roman numeral chapter ring with fleur-de-lys half hour markers and signed Rich'd Reed, Chelmsford to lower edge, the angles applied with female mask and foliate scroll cast spandrels beneath arch centred with a solar mask engraved circular boss flanked by conforming mounts incorporating female sphinxes, the frame with column turned corner uprights beneath vase finials flanking foliate scroll pierced frets and supporting domed bell bearer above, the sides with pin-hinged brass doors, on ball feet, 38cm (15ins) high. Richard Reed was born in Crisall, Essex in 1727. He served his apprenticeship from 1741-8 before setting up in Chelmsford where he remained in business until his death in 1772.

An incomplete George II brass lantern clock made for the Middle Eastern market William Kipling, London, mid 18th century The two-handed posted countwheel bell striking movement previously with verge escapement regulated by short bob pendulum, the 8 inch brass break-arch dial with pierced steel hands and matted centre within applied 'Turkish' numeral chapter ring with conforming five minutes to outer track, the angles applied with crescent-centred foliate scroll cast spandrels beneath arch centred with a circular boss signed W'm: Kipling, London flanked by conforming mounts, the frame with column turned corner uprights beneath vase finials (one lacking) flanking foliate scroll pierced side frets and supporting domed bell bearer above, on ball feet, (distressed, lacking centre movement bar and all wheelwork except for going greatwheel and the verge crownwheel, no pendulum or weights), 39cm (15.5ins) high; with an unusual weight-driven thirty hour wall clock movement, late 18th century, with going train regulated by anchor escapement for a seconds period pendulum set between narrow plates united by four knopped pillars positioned in front of the strike train with conforming pillars and backplate fitted with external countwheel, (incomplete, lacking dial, weights and pendulum), 16cm (6.25ins) high; and a quantity of other items comprising four various thirty-hour longcase/wall clock dials, 18th century, including a 9 inch square brass example with Roman numeral chapter ring signed Sam. Aldworth, London to lower edge; a posted thirty hour longcase clock movement; another plated movement; various bells, weights and other items (qty). Provenance: The estate of a connoisseur collector of regional furniture, works of art and clocks.

A George II small iron framed hook-and-spike wall timepiece with alarm Unsigned, mid 18th century The posted movement with verge escapement regulated by short bob pendulum swinging to the rear and alarm mechanism set behind the going train within the frame 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 centre within applied silvered Roman numeral chapter ring with quarter hour divisions to inner track, the angles engraved with stylised leafy scroll infill beneath arch centred with a rose engraved silvered boss flanked by conforming scroll motifs, the sides with foliate engraved doors, the rear with iron backplate, hanging hoop and spurs, 22cm (8.75ins) high. Literature: The current lot is illustrated and discussed in Darken, Jeff and Hooper John English 30 Hour Clocks pages 260-61 figs. 5/6 and 5/7.

A Queen Anne eight-day longcase clock movement and dial Thomas Bell, London, early 18th century The five finned pillar inside countwheel bell striking movement with anchor escapement and 12 inch square brass dial with subsidiary seconds dial, ringed winding holes and herringbone border decorated calendar aperture to the rosette engraved matted centre within applied Roman numeral chapter ring with stylised fleur-de-lys half hour markers, Arabic five minutes to outer track and signed Th'o Bell, London to lower edge, the angles applied with Indian head and foliate scroll cast spandrels, (lacking pendulum and weights). Provenance: The estate of a connoisseur collector of regional furniture, works of art and clocks. Thomas Bell is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born circa 1677, apprenticed in 1684 to Robert Halstead (later transferring to John Trubshaw) and gaining his freedom of the Clockmakers' Company in 1691. Loomes further notes that he is described 'as of St. Giles, Cripplegate' in 1724 when his son, Robert, was apprenticed to Daniel Chandler.

A Welsh Queen Anne walnut eight-day longcase clock John Thomas, St. Asaph, early 18th century The four finned pillar inside countwheel bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch square brass dial with ringed winding holes, subsidiary seconds dial and calendar aperture to the foliate engraved matted centre within applied silvered Roman numeral chapter ring with elaborate foliate half hour markers, Arabic five minutes to outer track and signed Jn'o Thomas, St. Asaph, 140 to lower edge, with pierced blued steel hands and female mask and leafy scroll cast spandrels to angles, in a case with shaped crest to the domed caddy surmount over moulded cornice, double frieze incorporating band of lattice-pierced blind fretwork and integral three-quarter columns to the glazed hood door, the sides with short rectangular windows and quarter columns applied to bargeboards at the rear, the trunk with rectangular caddy-moulded and crossbanded door veneered with an arrangement of book-matched panels, the base veneered with finely figured timber within a crossbanded border over a moulded skirt, 227cm (89.5ins) high excluding later brass finials.

A George III oak thirty-hour hooded wall timepiece with alarm Henry Tory, Hale, late 18th century The four pillar movement with anchor escapement regulated by eighteen-inch lenticular bob pendulum and separate alarm train set between the plates sounding on a bell mounted above, the 10 inch square single sheet silvered brass Roman numeral dial with alarm disc, pierced blued steel hand and signed Henry Tory, Hale to centre within chapter ring with simple leaf engraved half hour markers and angles with rococo scroll spandrel decoration, the case with shallow cavetto cornice over integral three-quarter columns to the glazed hood door, the bracket support with convex throat moulding above shaped-outline side supports and conforming pendant backboard, 132cm (57ins) high. Henry Tory of Hale Lincolnshire appears not to be recorded in the usual sources however other clocks are known which can be dated to the last quarter of the 18th century on stylistic grounds.

A fine George III ebonised hooded wall alarm timepiece Thomas Ranger, Chipstead, circa 1765 The posted movement with square section uprights and anchor escapement regulated by 23 inch lenticular bob pendulum, the alarm set behind the going train and sounding on a bell mounted above the top plate, the 5.25 inch square brass dial with silvered alarm disc and concentric signature Tho's Ranger, Chipsted to centre within applied silvered Roman numeral chapter ring with lozenge half hour markers, with single iron hand and angles engraved with foliate scroll spandrel decoration within a scribed line border, the ebonised pine case with ogee cornice above tall frieze and three-quarter columns flanking glazed dial aperture to the front door, the sides with conforming quarter columns applied to bargeboards at the rear, the bracket with cavetto throat moulding to table over shaped side supports and double-skinned backboard incorporating aperture for the weights to descend before an intermediate panel enclosing a further recess for the pendulum, the base terminating with an inverted ogee arch to backboard, 77cm (30.25ins) high. Provenance: From the estate of an esteemed antiquarian horologist. Literature: Illustrated and described in Darken, Jeff (editor) TIME & PLACE, English Country Clocks 1600-1840 as exhibit 55 pages 182-83. A clockmaker with the surname Ranger is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Chipstead before 1773. Darken further notes in TIME & PLACE that Thomas Ranger's working dates were probably circa 1740-73. The current lot is a particularly attractive and well thought-out example with the pendulum and weights divided from each other by an intermediate panel fitted in front of the backboard.

A rare George III seven-day weight-driven 'hook-and-spike' wall timepiece with alarm James Woolley, Codnor, circa 1765 The four wheel going train with anchor escapement regulated by seconds pendulum set between tapered plates united by four square section steel pillars, with arched cut-out to lower margin and integral extension to the left hand side for the offset alarm mechanism which sounds on a bell mounted above, the backplate fitted with distinctive backcock incorporating long pendulum suspension arm, the 9 inch diameter circular single-sheet brass Roman numeral dial with alarm disc, pierced iron hand and engraved signature Woolley, Codnor to centre, applied to a caddy moulded square oak dial board fitted with pine box case to rear incorporating iron hanging hoop, spurs and removable back panel, 28cm (11ins) high including bell. Provenance: From the estate of an esteemed antiquarian horologist. Literature: The current lot is well documented featuring in Darken, Jeff and Hooper John English 30 Hour Clocks pages 277-80 figs. 5/29 to 5/32; and Darken, Jeff (editor) TIME & PLACE, English Country Clocks 1600-1840 as exhibit 54 pages 180-1 (where the movement is extensively illustrated). James Woolley is noted in Darken, Jeff and Hooper John English 30 Hour Clocks (on page 136) as 'one of the most renowned of provincial clockmakers' who was born in 1695 and lived until 1786 when he was succeeded by his nephew, John. James Woolley was born to a relatively wealthy family however he appeared to have had a wayward streak which led to him being caught poaching as a boy. His subsequent apprenticeship to the blacksmith Thomas Tantum of Lascoe lead him to become a clockmaker, a career in which he excelled. In 1726 Woolley presented a turret clock to the City of Nottingham and thus was enrolled as a Burgess; this no doubt brought him to the attention of possible clients thus secured his future. Although eight-day longcase clocks by Woolley are known he appears to have specialised in thirty-hour work; however the attention to detail lavished on his movements and the quality of finish seen on many of his dials are why they are so highly regarded by modern day collectors. The current lot is the second of probably only two documented wall clocks of this type by Thomas Woolley, with the other also being offered in this sale as the previous lot. The design and layout of the movement is typically original and possesses many fine details such as the deep domed wheel collets and castellated tooth form for the alarm crownwheel. The provision of an alarm and the fact that it has a duration of seven-days differentiates the movement of the current timepiece from the previous lot. These differences perhaps either demonstrates progression in Woolley's approach or willingness to satisfy the specific demands of a client. The relatively utilitarian appearance of the dial would suggest that the current timepiece was destined for ºckstairs' use of a large household with the alarm designed to alert staff at the beginning of the working day.

A rare small English iron framed hooded wall timepiece with alarm Unsigned, late 17th century The single-handed short duration movement with three-wheel train and verge escapement regulated by short side-swinging bob pendulum with pallet arbor pivoted above the frame between a transverse iron armature at the front and shaped brass cock at the rear, the alarm train set behind the going train with vertical hammer arbor fitted to the inside of the rear upright and sounding on a bell mounted on top of the case, the iron strip frame constructed with central bar riveted at the top to the horizontal full-depth top plate and bent forwards at the base to form a 'J', the front terminating with stepped tenons to take both the front movement bar and the dial, the rear with alarm mechanism set within an angled bracket secured via a tenon through to the top plate and a screw to the central movement bar just above the greatwheel pivot, the rectangular single sheet brass Roman numeral dial measuring 6.5 by 4.5 inches with alarm disc and single iron hand to centre within engraved chapter ring with stylised wheatear half hour markers, the oak wall hung 'salt box' type case with open front, removable top panel and incorporating movement mounting hook and original bell secured to the arched case backboard pierced for hanging at the top, 26.5cm (10.5ins) high overall. Provenance: From the estate of an esteemed antiquarian horologist. Literature: Illustrated in Darken, Jeff (editor) TIME & PLACE, English Country Clocks 1600-1840 as exhibit 8 pages 40-41. The current lot can be directly compared to a small hooded wall alarm timepiece (complete with verge escapement regulated by short bob pendulum swinging to the side) which was sold in these rooms on Tuesday 17th March 2015 (lot 64). The movement of this other example is similarly constructed to the current lot with detail differences confined to the extended rear movement bar (truncated on the current lot), the provision of a single iron armature for the pallet arbor pivots and the presence of passing strike (incomplete). A third clock of this type (but with anchor escapement) signed for George Wood of Nailsworth is also included in this sale (see following lot) suggesting that such timepieces were made in Gloucestershire. This possibility is further supported by the presence of a related but later clock by John Coates of Cirencester also illustrated in TIME & PLACE as exhibit 48 pages 164-5.

A rare George III small English iron framed hooded wall timepiece with alarm George Wood, Nailsworth, dated 1760 The single-handed short duration movement with three-wheel train and anchor escapement regulated by seconds pendulum swinging outside the case to the rear, the alarm train set behind the going train with vertical hammer arbor fitted to the inside of the rear upright and sounding on a bell mounted on top of the case, the iron strip frame constructed with central pivot bar riveted to the wide horizontal top and narrow bottom plates each terminating with pinned tenons to take the dial plate and movement front and back bars, the rectangular single-sheet brass dial measuring 7 by 5.5 inches with alarm disc and single iron hand to centre within engraved Roman numeral chapter ring with stylised cruciform half hour markers, the lower angles signed Geo., Wood opposing stylised engraved doves to upper margin, the rear of the dial with engraved date 1760 to lower left hand corner , the simple oak and elm wall hung box case with open front, removable top panel and incorporating movement top plate locating hooks to inside of the arched backboard, the rear with protruding iron backcock and external pendulum crutch between iron hanging hoop and spurs, 28cm (11ins) high. George Wood is recorded in Dowler, Graham GLOUCESTERSHIRE CLOCK AND WATCH MAKERS as working in Nailsworth during the mid-18th century. Dowler cites two notices seeking the recovery of stolen watches bearing his name, the first dated 23rd December 1740, the second 22nd September 1766. The current lot can be closely compared to an earlier small hooded wall alarm timepiece which is also included in this sale (see previous lot). The movement of this other example is of similar construction to the present clock with significant differences confined to the truncated rear movement bar, narrow top plate and the provision of verge escapement regulated by side swinging short bob pendulum. Both timepieces also share similarly proportioned rectangular single-sheet dials and the same basic design of case. Another comparable movement and dial, dated 1707 and also with side-swinging short bob pendulum (but in later case), was sold in these rooms on Tuesday 17th March 2014 (lot 64). In addition to these an alarm timepiece featuring a similarly configured iron-framed movement by John Coates of Cirencester is also known. This example is illustrated and described in TIME & PLACE as exhibit 48, pages 164-5, however differs from the current lot in that the dial is of traditional design complete with chapter ring and spandrels. The 'saltbox' case is also more akin to the standard hooded wall clock case than that housing the current lot. Ultimately the basic design and layout of the movement of the current lot has its roots in the earliest of wall-hung alarm timepieces made by makers of the first fully developed English lantern clocks. One such timepiece, attributed to Robert Harvey, London, and dating to around 1600 is also included in the current sale (see following lot). It would seem that the presence of the current timepiece together with the example by Coates would suggest that this particularly early design of iron-framed wall timepiece movement persisted in the West Country, particularly Gloucestershire, long after other areas had adopted alternative designs.

An important James I weight-driven wall timepiece with alarm Unsigned but firmly attributed to Robert Harvey, London, circa 1600 The single-handed short duration movement with three-wheel train incorporating later anchor escapement and forged iron backcock for a seconds pendulum swinging behind the frame, the alarm mechanism applied to the rear of the movement with vertical hammer sounding on a bell suspended overhead from a curved stand secured at the back of the top plate via a mortice and tenon, the frame constructed with vertical iron bar at the rear fixed via forged joints to the strip top plate and conforming horizontal bottom bar each terminating with pinned tenons to take the dial plate and the going train front bar, the brass centre movement bar secured in the usual manner via integral locating pins at the base and a wedged tongue at the top, the rectangular single-sheet brass dial measuring 6.367 by 4.25 inches with five-petal rose decorated alarm disc and single iron hand within fine engraved starburst centre comprising alternating triangular and wavy-outline radial motifs, within narrow Roman numeral chapter ring with floating asterisk half hour markers, the upper and lower margins with symmetrical stylised scrolling floral sprays incorporating four-petal rose blooms within distinctive line-bordered hatched margins with simple leaf motifs at each angle, the bell surmounted by early first period lantern clock pattern turned ovoid vase finial, the base now fitted with drilled flange for fixing to a wall bracket, 30.5cm (12ins) high; with an oak wall bracket and two weights (lacking lines and pendulum). Robert Harvey is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born between 1580 and 1583 to John Harvey of St. Botolph without Aldersgate, London. A boy of his name is recorded as being in the household of the clockmaker Peter Medcalfe (to whom Robert's father John was apprenticed in around 1571) and received a bequest of £5 in Metcalfe's Will (proved in 1592). Robert Harvey was made free of the Clothworkers' Company by patrimony in 1604 and is recorded marrying Mary Bankes in 1606. He probably took-over his father's business after the latter's death in 1602 but was most likely not able to gain his freedom until 1604 on account of his young age. Loomes notes that Jeremy Evans has recorded a 'Robert Harvie' repairing the church clocks at Allhallows, Staining 1602-5; St, Giles 1606-8 and St. Benet, St. Paul's Wharf in 1614. Robert Harvey is recorded as taking only one apprentice; a John Bulbey from Beighton, Derbyshire in 1613. He died childless in the summer of 1615 naming his widow, Mary, in his Will and leaving his workshop (and responsibility of his apprentice) to his younger brother, Thomas. Robert Harvey is the earliest recorded maker of 'true' English lantern clocks. Of his clocks only three are known signed by him; A lantern clock signed Robert * Harue * Littell Brittain * London * Feecit (currently residing at Agecroft Hall, Virginia) illustrated in Loomes, Brian LANTERN CLOCKS & Their Makers page 20 (figs. 2.23-25). A lantern clock signed Robert Harue London Feecit illustrated in Loomes, Brian LANTERN CLOCKS & Their Makers page 21-22 (figs. 2.26-31). A weight-driven wall timepiece with alarm signed Robertus Haruie fecit illustrated in Loomes, Brian LANTERN CLOCKS & Their Makers page 41 (figs. 4.2-3). The current lot can be directly compared to the weight-driven wall timepiece signed by Harvey listed above, with which it shares the following significant details: Firstly the construction of the frame. Both share the same configuration of iron rear upright applied with horizontal top and bottom strip plates enclosing brass going train pivot bars and incorporating pinned tenons for attaching the dial at the front. The use of iron for the rear bar which in turn is securely forged to the top and bottom plates creates a simple frame which is both strong and rigid. The pivot bar inserts for the going train are not structural so brass has been used to negate the need to bush the pivots. This simple but effective design demonstrates a high degree of empathy with regards to the selection and use of appropriate materials and appears unique to the current lot and the example signed by Robert Harvey listed above. Secondly the mounting of the bell. Both the current timepiece and the example signed by Harvey have the same unique method for suspending the bell above the frame (via a curved support fixed via a mortice-and-tenon joint to the rear of the frame top plate). Incidentally the finial surmounting the bell on the current lot is of the same pattern as those on the Agecroft Hall clock. Thirdly the engraving to the dial. The five-petal rose to the alarm disc of the current lot can be directly compared to that decorating the centre of the subsidiary minute dial of the other wall clock signed by Harvey. Furthermore the open foliate scrolls enveloping stylised dog-rose blooms seen within the upper and lower panels of the current lot are directly comparable to the two pairs engraved towards the upper margin of the signed example. Finally both dials have line-scribed 'boxes' around the pinned tenons securing the dial to the frame. These details, coupled with the overall þel' and heavy use of line borders, leave little doubt that both were engraved by the same individual (who was probably also responsible for the dials of both of the lantern clocks signed by Robert Harvey). The current timepiece also retains its original iron hand which is essentially identical in form to that on the Avecroft Hall clock. From the above observations it would appear that the both the current lot and the wall alarm timepiece signed by Robert Harvey were made in by the same hand at around the same time. Indeed further evidence within the frame of the present timepiece would suggest that when originally made the similarities were stronger still. For example spare holes in the centre bar and the top plate would indicate that the alarm mechanism was originally in front of the rear movement bar (as per the signed example); other evidence includes a threaded hole to the top plate (indicating the original position of a balance wheel cock) and a square hole to the lower edge of the rear bar (providing evidence for a conforming back-curved yoke with spiked terminals).