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A French inlaid rosewood mantel clock, Laine, Paris, mid 19th century, The circular eight-day countwheel bell striking movement with silk suspension and stamped LAINE A PARIS, 414, 148 to backplate, the rectangular engine-turned silvered brass dial with Roman numeral chapter ring and steel moon hands above curved signature cartouche Laine a Paris to lower margin, the case with tied floral bud cast brass hinged handle above double line inlaid surround to dial aperture incorporating rising upper rail for withdrawing the front glass, the sides with lozenge shaped windows, the rear with lift-out panel, on cavetto moulded skirt base with line panel-bordered front and sides, 21.5cm (8.5ins) high excluding handle

A Victorian walnut four-glass mantel clock, Unsigned, circa 1840, The five pillar twin chain fusee bell striking movement with anchor escapement and pendulum holdfast to backplate, the 4.5 inch square silvered brass Roman numeral dial with symmetrical rococo scroll engraved decoration to spandrels and blued steel spade hands, the case with unusual scallop shell and twin dolphin cast brass hinged carrying handle and bevel-glazed rectangular panel to the tablet upstand above ogee cornice and silvered brass canted fillet bordered front door, the sides with rectangular bevel glazed panels, the rear with rectangular door inset with a brass grille sound fret, the base with ogee outline apron over moulded skirt with plain squab feet, 28cm (11ins) high excluding handle

A French white marble combination mantel clock with aneroid barometer and thermometers, The movement by Vincenti and Cie, Paris, late 19th century, The circular eight-day bell striking movement with Brocot type pendulum regulation and stamped with VINCENTI & CIE, MEDAILLE D’ARGENT, 1885 roundel above number 523, 92 to backplate, the 5 inch circular engraved gilt brass dial applied with raised Roman numeral chapters and with blued steel spade hands set within a hinged moulded bevel-glazed bezel, the drumhead case with twin sarcophagus form upstands flanking dial above central aneroid barometer with conforming engraved gilt brass register calibrated in barometric inches and with the usual observations set behind fixed bevel glazed bezel flanked by rectangular glazed FAHRENHEIT and REAUMUR scale mercury tube thermometers to the tapered side uprights capped with rectangular panels to front, on stepped skirt base with lozenge centred moulded panel decoration to front, 43cm (17ins) high

A French gilt brass mounted marble portico mantel clock garniture, Unsigned, early 20th century, The circular eight-day countwheel bell striking movement with Brocot type pendulum regulation and stamped with circular JUST trademark above 648, 5 8 to backplate, the circular cream enamel Arabic numeral dial with concentric double stylised swag painted centre and fine scroll pierced brass hands within hinged convex bevel glazed cast brass bezel, the drum-shaped case with finial cast with a lyre flanked by open scrolls to the marble block upstand above a pair of columns surmounted with openwork finials flanking tied laurel spray apron and pendulum with cast sunburst mask bob, on rectangular base with gilt toupe feet, 38cm (15ins) high; with a pair of garniture side pieces en-suite, each formed as an ovoid vase with waisted brass neck and tapered body applied with scroll cast cartouche above flared foot and square base with conforming brass feet, each 18cm (11ins) high

A French gilt brass mounted marble portico mantel clock garniture, Unsigned, early 20th century, The circular eight-day countwheel bell striking movement with Brocot type pendulum regulation and stamped with indistinct circular JAPY FRERES trademark and numbered 7690, 5 4 to backplate, the circular cream enamel Roman numeral dial with concentric double stylised swag painted centre and fine scroll pierced brass hands within Arabic five minute outer track and hinged convex bevel glazed cast brass bezel, the drum-shaped case with finial modelled as an oval urn above a pair of columns surmounted with further urns issuing gilt floral sprays flanking tied musical trophy and laurel spray cast apron and pendulum with bob modelled as a basket of flowers, on rectangular base with gilt toupe feet, 41cm (16.25ins) high; with a pair of twin branch candelabra en-suite, each with central column terminating with a nozzle and drip pan flanked by scroll cast branches and on stepped square marble base with cast brass feet, 28cm (11ins) high

* A Regency brass inlaid mahogany bracket clock, Viner, London, early 19th century, The five pillar twin fusee bell striking movement with anchor escapement and signed Viner, London to the decorative border engraved shouldered backplate, the 8 inch circular cream painted Roman numeral convex dial with repeat signature VINER, LONDON to centre, strike/silent lever at twelve o’clock and pierced steel hands set behind convex glazed cast brass bezel, the break-arch case with brass carrying handle and cavetto moulded cornice above stylised double tulip shaped motif centred shaped panel beneath dial flanked by repeating lozenge decorated ebony canted angles, the sides with arched brass fishscale sound frets, the rear with arch-glazed door, on cavetto moulded skirt base with open lozenge centred motif to front and brass ball feet, 42cm (16.5ins) high excluding handle. Charles Edward Viner is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as apprenticed in 1802 and gaining his freedom of the Clockmakers’ Company in 1813. He was elevated to Liveryman in 1819 and is thought to have died in 1840. He was a fine maker who worked from Regent Street and is best known for producing fine complex giant carriage clocks and small mantel clocks.

A William IV brass inlaid mahogany bracket clock, Unsigned, circa 1830, The five pillar twin fusee bell striking movement with anchor escapement and shouldered plates, the 8 inch circular cream painted Roman numeral convex dial with steel moon hands set within cast brass bezel, the shallow-arch top case with square gadroon moulded domed surmount above crest carved with leafy trails terminating with scrolls above shaped brass fillet inset panel decorated with brass symmetrical scroll inlay beneath dial, the front angles with applied rosette and line inlaid slender pilasters incorporating scroll profiles to lower section, the sides with foliate brass ring handles above rectangular brass fishscale sound frets, the rear with rectangular glazed door, on shallow moulded skirt base incorporating brass rosette and baton inlay to front moulding and brass ball feet, 46cm (18ins) high

A William IV brass inlaid mahogany bracket clock, Gray, London, early 19th century, The five pillar twin fusee bell striking movement with anchor escapement and signed Gray, Billiter Square, LONDON to the decorative scroll border engraved backplate, the 8 inch circular cream painted Roman numeral convex dial with pierced steel hands set within cast brass bezel, the shaped-top case with crest comprising central ebony ground brass inlaid panel flanked by leafy trails terminating with carved rosettes above dial bordered with downswept line decorated ebony band to lower edge over swollen rectangular panel inlaid with symmetrical brass scrolls flanked by leafy trail decorated applied slender pilasters to front angles, the sides with brass cornucopia ring handles above rectangular brass fishscale sound frets, the rear with rectangular glazed door, on shallow moulded skirt base incorporating brass rosette and baton inlay to front moulding and brass ball feet, 44cm (17.25ins) high. Although several clockmakers with the surname Gray are recorded as working in London during the early 19th century, there appears to be no mention in the usual reference sources of a maker with this name working from Billiter Square.

A rare early Victorian brass inlaid mahogany striking drop dial fusee wall clock, George Halthide, Hereford, circa 1848, The five pillar twin chain fusee bell striking movement with anchor escapement and shouldered plates, the 12 inch cream painted Roman numeral convex dial signed Halthide, Hereford to centre and with steel spade hands set behind a hinged cast brass convex glazed bezel within turned wooden surround, the case with stylised scroll carved ears flanking brass fillet bordered shaped glazed lenticle above rectangular pendulum access flap within brass line inlaid surround with rosette decorated returns to the quarter-round base, the sides with rectangular doors inset with brass fishscale sound frets, the interior of the case with applied paper label inscribed in ink George Halthide, Hereford, 25th Sept’r, 1848, 65cm (25.5ins) high

A Victorian mahogany striking drop-dial wall clock, Unsigned, mid 19th century, The five pillar twin chain fusee bell striking movement with anchor escapement and shouldered plates, with a 13 inch circular white painted Roman numeral dial and blued steel hands set behind a hinged cast brass glazed bezel fitted with canted silvered brass fillet to inside edge, in a box case with octagonal dial surround above leafy scroll carved and pierced ears flanking ripple-moulded rectangular glazed lenticle over conforming moulded collar and quarter-round base incorporating pendulum adjustment flap, the sides with movement access doors, the top with brass grille inset rectangular sound fret, 85cm (33.5ins) high

A rare Black Forest carved walnut weight-driven ‘Angelus’ cuckoo wall clock, Attributed to Johann Baptist Beha, Eisenbach, circa 1875, The wooden-framed triple train weight-driven movement with anchor escapement and wood-rod pendulum carved with Gothic tracery to bob, the striking train with external countwheel and linkages to two bellows and a cuckoo automaton which appears from behind a pair of doors within the gable of the case to announce the hour with a two-note call followed by the hour repeated on a gong, the third train with further countwheel and linkages to a monk who appears within an arched recess beneath the dial to apparently ring a bell set within the tower at six am., twelve noon and six pm., the circular wooden dial applied with bone Gothic Roman numerals and with pierced hands set within Gothic tracery to the front of the architectural case with arched recess beneath the dial and flanked by projecting spiral twist columns to the canted angles, the top with pierced spire containing a pivoted church bell above crotcheted gable incorporating circular doors for the cuckoo automaton flanked by spire finials and castellated parapet to sides, the base with inverted crotchet finials to the shaped pendant apron, (some losses to the case), 82cm (32.25ins) high excluding pendulum. Johann Baptist Beha was born in Oberbrand, 1815 and was trained as a clockmaker by his father,Vinzenz, before setting-up on his own in Eisenbach in 1845. He specialised in cuckoo clocks and through his continuous development became the leading maker of fine and complex examples. His main export markets were to Russia (where he had a distribution warehouse in St. Petersburg) and the British Isles. He died in 1898 leaving the business to be continued by his sons Lorenz and Engelbert. The design of the current lot appears in a surviving drawing by Lorenz Beha dated 1874 and was produced in very small numbers. The monk automaton is activated alongside the ‘Angelus’ striking which is intended to mark the time of prayer for the Catholic daily liturgy.

A French Charles X inlaid rosewood portico mantel clock, Crasse, Paris, early 19th century, The eight-day countwheel bell striking movement with ‘gridiron’ pendulum and signed Crasse Paris to backplate, the circular silvered dial with repeat signature to the engine-turned centre within Roman numeral chapter ring and elaborate stylised leaf chased ormolu bezel, the case with tablet upstand above ogee cornice and foliate scroll marquetry panel fronted lintel to entablature above two pairs of columns with engine-turned gilt caps and bases flanking dial with pendulum swinging beneath, on conforming marquetry panel fronted plinth base with canted moulded skirt, 49cm (19.25ins) high

A French Louis XVI gilt brass mounted veined red marble portico mantel clock, Unsigned, late 18th century, The large diameter outside countwheel bell striking movement with silk pendulum suspension and 6 inch circular convex white enamel Roman numeral dial inscribed a Paris to centre, with Arabic quarters to outer track and fine pierced and chased gilt hands within a decorative engine-turned bezel, in a break-arch case with surmount cast as a pair of lovebirds within billowing clouds flanked by flambeau finials over ogee moulded break-arch cornice and dial with elaborate tied drapery cast apron over ‘gridiron’ pendulum with sunburst mask cast bob flanked by four marble Ionic columns with gilt caps and bases, the rectangular plinth base with engine turned quarter-round gilt top moulding and cavetto moulded feet, 56cm (22ins) high

A French Louis XVI ormolu mounted marble mantel clock, Gaston Jolly, Paris, late 18th century, The circular eight-day outside countwheel bell striking movement with silk suspension and circular white enamel Roman numeral dial signed GASTON JOLLY, A PARIS within a stylised gilt banner to centre, with fine engraved and pierced gilt brass hands and Arabic fifteen minutes to the narrow outer minute track within engine-turned moulded gilt brass bezel, the case with surmount modelled as a gilt eagle on column base issuing draped floral festoons down to paired white campana and black ovoid finials issuing leafy sprays to sections of moulded entablature flanking the dial, supported on Corinthian columns with black stop-fluted shafts and gilt capitals before rectangular section uprights with projecting scroll shaped sides applied with floral mounts and gilt finials to waist and with elaborate laurel and musical trophy cast dial apron between, the plinth base fronted with central floral trail inset curved panel flanked by conforming rectangular panels and lion’s masks, on milled toupe feet, (pendulum lacking, slight damage to case), 56cm (22ins) high. Francois Pierre Gaston Jolly is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Paris 1784-9.

A French Directoire period ormolu mounted white marble mantel clock, Unsigned, Paris, circa 1795, The circular outside countwheel bell striking movement with anchor escapement and silk pendulum suspension, the circular convex white enamel Arabic numeral dial inscribed A PARIS to centre and with fine engraved lozenge-pierced gilt hands within outer track with Arabic fifteen minute annotations set behind bead cast hinged convex-glazed bezel, the case with marble shallow-urn surmount issuing gilt rose sprays above glazed jasperware medallion-centred laurel cast apron and rosette bob pendulum beneath dial, supported on a pair of tapered stop-fluted baluster uprights with engine-turned mouldings and floral spray surmounts, the plinth base with central gilt repeating strapwork inset rectangular panel flanked by conforming inserts to the rounded angles, on toupe feet, 50cm (19.75ins) high

A French gilt brass mounted Boulle ‘religieuse’ table clock with pull-quarter repeat, The movement signed for Louis Ourry, Paris, late 17th century and later, The two train movement with rectangular plates united by five tapered baluster pillars pinned at the rear and signed Louis Ourry AParis to the lower margin of the backplate, the going train now with Brocot type escapement, the strike train with scroll-cut sculpted steel gate and high position countwheel for sounding the hours on a bell mounted within the superstructure of the case, the pull-wound quarter repeat mechanism with separate hammer for sounding the hours on the same bell and two for sounding quarters on a further pair of bells, the 7.5 inch circular twelve-piece Roman numeral enamel cartouche dial with delicate foliate strapwork rosette decorated matted centre within chapter ring with scroll-chased infill around numerals and every minute numbered to the outer track, with mask applied to the rear of the dial plate incorporating matted infill to the square upper angles to allow secure fitting into the rectangular dial aperture of the case above decorative gilt brass mount modelled as a pair of standing angel-winged nymphs supporting the dial, now in a case with flambeau urn finials to the fine engraved brass, pewter and red shell foliate scroll contra-parti marquetry veneered domed superstructure above cast gilt brass gallery inset frieze incorporating projecting pedestals for the second tier of larger flambeau finials and complex brass bound ebony mouldings to cornice, the front with repeating leaf cast brass surround to the arch-glazed front door with marquetry scroll borders and conforming infill to upper angles flanked by full-height Corinthian strip pilasters with fine cast capitals over geometric strapwork and stylised leafy plant decorated shafts, the sides with tall rectangular windows with cast brass surrounds within foliate borders and flanked by conforming pilasters, the rear with walnut veneered panel door, on moulded base with leaf-cast gilt brass feet, (the case possibly 19th century, clock generally heavily distressed commensurate with being dropped although veneers are generally intact), 58.5cm (23ins) high. Louis Ourry is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working in Paris circa 1680. He is further recorded on the British Museum website as becoming a master watchmaker in 1684. The movement of the current lot is of fine quality and incorporates pull-quarter repeat which is rarely seen on French clocks of this period. The case appears to have been made for the movement and dial and is also of suitably fine quality however the pattern for the marquetry does not appear to match other ‘period’ examples as analysed in Plomp, Reinier Early French Pendulum Clocks, 1658-1700. Further investigation confirms the presence of comparable Napoleon III ‘revival’ examples with the same basic pattern of marquetry, this would suggest that the current case was made in the 19th century to replace the original, probably due to wear and tear.

A French gilt brass mounted ebony ‘religieuse’ table clock, The movement signed for Charles Champion, Paris, circa 1675 century and later, The two train movement with rectangular scroll-top plates united by five tapered baluster pillars pinned at the rear and signed Charles Champion AParis to the lower margin of the backplate, the going train with verge escapement and cycloidal cheeks for the silk pendulum suspension, the strike train with scroll-cut sculpted steel gates and pointer to the numbered countwheel positioned to the top left hand corner of the backplate for sounding the hours on a bell mounted behind the pediment of the case, now with a 10.5 by 9 inch black velvet covered dial with gilt collets to the winding squares and fine foliate-pierced and engraved hands within applied Roman numeral chapter ring with tied starburst half hour markers and every minute numbered to outer track, the upper angles applied with symmetrical scroll cast spandrel mounts, the lower with larger conforming mounts flanking hinged rococo cartouche engraved Charles Champion, AParis, now in a ebony veneered case with elaborate cartouche-centred symmetrical leafy scroll cast arched crest incorporating dolphins and armorial lion terms above rectangular glazed door applied with further cast mounts to angles and rails, the sides with slender break-arch lozenge shaped windows, the rear with walnut panel-veneered door, on shallow moulded skirt base with cast lion’s paw feet, (case with worm damage), 46cm (18ins) high. Charles Champion in recorded in Baillie, G.H. Watchmakers & Clokmakers of the World as appointed Jure in Paris in 1691.

An Italian brass chamber clock, Lorenzo Riviera, late 17th century, The two train weight-driven posted countwheel bell striking movement configured with verge escapement mounted above the top plate and short bob pendulum swinging to the rear, the countwheel cut for Italian six hour striking with each count cut twice in order for the previous hour to be automatically repeated when activated by a second lifting pin positioned soon after the first, the frame with square brass plates united by slender square section column uprights with moulded caps and bases with unusual herringbone engraved and lozenge faceted strike detent arbors pivoted between, the front with rectangular single-sheet brass dial engraved with 4.25 inch Roman numeral chapter ring with quarter divisions to inner track and stylised foliate engraved half hour markers, the centre decorated with a romantic mountain landscape, the upper and lower margins engraved with fine symmetrical foliate scroll strapwork centred with a grotesque mask to top and rococo scroll bordered cartouche signed LORENZO, RIVIERA, FECE at the base, the exterior with domed bell and generous ovoid vase finials above open sides and rear, on turned bun feet, (one finial, hand, escapement and elements of movement lacking, no pendulum or weights), 30cm (11.75ins) high. The current lot appears to be a fairly typical example of an Italian ‘lantern’ clock dating to the end of the 17th century. The movement is particularly well finished with highly decorative collets and engraved steel strike detent arbors pivoted between the frame posts. The dial is finely engraved with the foliate strapwork being very similar to that found on the backplates of English table clocks of the period. Despite such sophistication in the decorative detail, the movement possesses many relatively ‘archaic’ features - most notably the hand arbor being fixed securely to the hour wheel, and strike lifting via a nag’s head engaging with pairs of pins fitted to the going train greatwheel. These details are more typical of 16th century Gothic practice (and require the trains to be ‘run through’ to set the time and synchronise the strike) than 17th century Renaissance work, as strike activation had already been greatly improved by the introduction of a starwheel for lifting fitted (along with the hand) via a friction clutch to the hour wheel behind the dial. This refinement allowed the time to be set and adjustment of strike lifting without having to ‘run through’ the going train, and had been a standard feature on English lantern clocks since the beginning of the 17th century.

An Italian iron and brass small chamber clock, Unsigned, circa 1700, The two train weight-driven posted countwheel bell striking movement with verge escapement mounted above the top plate and short bob pendulum swinging to the rear, the frame with square brass plates united by substantial steel square section corner posts with faceted strike detent arbors pivoted between to the left hand side, the front with rectangular dial applied with 5.5 inch Roman numeral six-hour chapter ring with quarter divisions to inner track and stylised foliate engraved half hour markers, the exterior with domed bell and vase finials above brass side doors and fixed backplate, on turned bun feet, (lacking weights), 28cm (11ins) high. The practice of dividing each day into four periods was probably inherited from the Romans who combined it with the unequal hour system where the day started at dawn with the other periods starting from noon, dusk and midnight. Naturally this system meant that the duration of each period varied throughout the year. The later Italian hour system (in use by the start of the Renaissance) continued with the division of the day into four periods but with each being equal in length and divided into six hours with day now starting at sunset. Early Renaissance clocks were often annotated with tables denoting the time of sunrise and sunset for any given day throughout the year. The six hour dial also had other advantages; one being that it is easier to read the time more accurately on watch dial due to larger spacing between the hour numerals (although early watches were notoriously poor timekeepers!). Clocks using the six hour system also required less reserve in their strike trains compared to one using the more usual twelve hour strike system. This was possibly one of the reasons why many public clocks came to be made to announce the hour twice - once on or just before the hour, and again a minute or so later (presumably to serve as a reminder).

A rare William III eight-day longcase clock movement and dial, William Kenyon, Liverpool, circa 1700, The substantial four (formerly five) finned pillar rack and bell striking movement with thickly turned pillars and escapement set relatively low within the plates, the 12 inch square brass dial with fine foliate border engraved decoration to the ringed winding holes and inset subsidiary seconds ring above open scroll decorated calendar aperture to the Ho-Ho bird inhabited centre within applied Roman numeral chapter ring with stylised fleur-de-lys half hour markers, Arabic five minutes to outer track and signed W’m Kenyon, Leverpoole to lower edge, the angles applied with female head and foliate scroll cast spandrels within a herringbone engraved outer border, now in a late 18th century oak case with cavetto cornice and pierced frieze above slender turned columns to hood and ogee throat moulding over star centred narrow caddy moulded and parquetry banded door flanked by rounded angles to trunk, on crossbanded plinth base with skirt incorporating bracket feet, 200cm (78.5ins) high. William Kenyon is recorded in Loomes, Brian LANCASHIRE CLOCKS and CLOCKMAKERS as believed born in 1667, Loomes further notes that various children, fathered by a William Kenyon, were born between the dates 1708-20. A James Kenyon is also recorded as working at Redcross Street in 1715 then Newmarket in 1725 and was declared insolvent in 1743. An ebonised thirty-hour longcase clock by Kenyon that could be stylistically dated to the 1690’s was sold in these rooms on 4th September 2012 (lot 216) for £5,500 hammer. The centre of the dial of the current lot is particularly noteworthy for the quality of its decoration and appears to retain traces of gilding to the crevices. The subsidiary seconds ring is fitted as a separate item but in a ring-shaped recess so that it sits flush to the plate - presumably to allow it to be removed for silvering. The movement has survived in relatively fine original condition and is of particularly heavy construction with massive pillars. The use of rack striking also further demonstrates the confident and high-quality approach of the maker.

A George II oak thirty-hour longcase clock, Henry Deykin, Worcester, mid 18th century, The single handed plated countwheel bell striking movement with 10 inch square brass dial boldly signed Hen’r Deykin, WORCESTER n.1311 to centre and with fine pierced blued steel hand within applied silvered Roman numeral chapter ring with lozenge half hour markers and female mask and scroll cast spandrels to angles, in a case with small shaped crest to the canted caddy upstand above ogee cornice, plain frieze and slender three quarter columns to hood door, the trunk with rectangular door, on plain plinth base with canted skirt, 211cm (83ins) high. Henry Deykin is recorded in Loomes, Brian LANTERN CLOCKS & Their Makers as born in Worcester around 1715 and apprenticed to his father, Thomas, gaining his freedom in 1736. He succeeded his father in 1777 moving the business from Broad Street to Lich Street before dying in 1779 leaving his business to former workman, William Rouse. Loomes notes a miniature hooded wall timepiece by Deykin signed and numbered ‘891’ to a boss applied to the arch of the dial.

A small hook-and-spike weight-driven wall timepiece with alarm, Whitehurst, Derby, circa 1840, The four pillar plated thirty-hour movement with anchor escapement, fifteen-inch pendulum and alarm mechanism with vertically pivoted hammer sounding on a bell mounted above the plates and stamped with serial number 5894 to backplate, the 6 inch circular brass dial signed WHITEHURST, DERBY to centre, with steel spade hands and brass alarm setting hand within Roman numeral chapter ring with narrow minute ring and dot quarter-hour markers to outer track, the movement fitted with sheet metal dust covers incorporating sliding side panels, the rear with hanging hoop and spurs, 18cm (7ins) high overall. John Whitehurst was born in Congleton, Cheshire in 1713, he was apprenticed as a clockmaker to his father (of the same name) before setting up business in Derby in 1736 - the same year he installed a turret clock to the newly completed Guildhall. He was an accomplished maker and scientist who had a particular interest in geology. He moved to London in 1780 in order to take up position at the Royal Mint as ‘Stamper of the Money Weights’ as well as pursue his scientific interests. He was founder member of the Lunar Society and was elected to the Royal Society in 1783. He died in 1788 leaving the Derby clockmaking business to his nephew also called John (II) who in-turn took his son of the same name into partnership in 1809. The firm traded as ‘Whitehurst & Son’ until 1834 when the business reverted to just ‘Whitehurst’ on the death of John (II). The business continued under the Whitehurst name until 1856 when it was passed onto John Smith and is still trading today as ‘Smith of Derby’. The design of the current lot was devised by John Whitehurst in the late 18th century and continued to be made (albeit varying in detail) until around 1855 (the serial numbering system being implemented in 1809). The current lot dates to the last period of the firm (1834-56) but is faithful to the earlier models in that it utilises a small brass dial rather than the larger white dials more often seen on the later examples.

A decorative brass skeleton timepiece, Unsigned, 20th century, The single fusee movement with anchor escapement set between elaborate waisted scroll pierced plates united by five column-turned pillars, the pierced circular silvered brass Roman numeral dial with rosette-fretted centre within shield shaped cartouche numeral chapter ring and with blued steel spade hands, fitted via four turned bell-shaped feet onto a stepped ogee moulded Carrara marble ovoid base with glass dome cover and bun feet, the clock excluding base and dome 33cm (13ins) high; 44cm (17.5ins) high overall

A Victorian brass skeleton timepiece with passing strike, Edward Scales, Manchester for Thomas Lees, Bury, mid 19th century, The single chain fusee movement with five-spoke wheel crossings to all except the escape wheel, anchor escapement, pierced mainspring barrel and passing strike set between scroll-outline brass plates united by five turned brass pillars and with bell mounted above, the rear stamped EDW. SCALES, MANCHESTER, 254, the front fitted with brass Roman numeral chapter ring engraved Tho.s Lees, Bury to lower margin and blued steel fleur-de-lys hands, 29cm (11.5ins) high; mounted on a moulded rectangular Carrara marble base with glass dome cover, 34cm (13.5ins) high overall. A Thomas Lees is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Bury circa 1790-1814. An Edward Scales is recorded by Baillie as the inventor of a detached lever escapement working in Manchester around 1800 who may be the same maker (or possibly the father of a maker by the same name) listed by Loomes in volume 2 as working in Manchester circa 1848-51.

A Victorian lacquered brass ‘Litchfield Cathedral’ hour striking skeleton clock with trip repeat, Attributed to John Smith and Sons, London, for retail by Rhodes, Bradford, mid 19th century, The twin chain fusee gong striking movement with anchor escapement and five spoke wheel crossings set between characteristic pierced plates united by six turned pillars and modelled as two towers capped with tall faceted spire finals flanking central arched aperture with further taller spire set to the rear, the front with pierced silvered Roman cartouche numeral chapter ring engraved RHODES BRADFORD to the lower margin, with shaped outer minute track and blued steel moon hands, on rectangular brass base plate, 33cm (13ins) high; mounted on original inlaid rosewood stand with symmetrical rococo scroll decoration within line borders to front, rounded angles and bell shaped feet, the upper surface cut with rebate for the original glass dome cover, 41cm (16.25ins) high overall. Manoah Rhodes and Son are recorded in Loomes, Brian Watchmakers & Clockmakers of the World as working in Bradford 1837-66 and later. The current lot can be firmly attributed to John Smith and Sons of St. John’s Square, Clerkenwell, and can be compared to the design published in their 1865 catalogue; a plate from which is reproduced in Royer-Collard, F.B. SKELETON CLOCKS on page 54. A very similar example (but with platform lever escapement) is also illustrated by Royer-Collard on page 57 - which he describes as an early model dating to around 1840. The firm of John Smith and Sons was established in 1780 and became one of the largest manufacturers of both domestic and public clocks throughout the 19th century and is still trading today but as a materials stockholder and broker having made their last clock in 1938.

A Victorian gilt brass mounted ebonised quarter chiming bracket clock, Retailed by J. Langelaan, Southsea, late 19th century, The four pillar twin chain fusee movement with anchor escapement and two-in-one strike train chiming the quarters on four gongs and striking the hour on a further larger gong, the backplate stamped D.R. PATENT over W&H, Sch for Winterhalter and Hoffmeyer to lower margin, the 7 inch arched brass dial with matted centre within applied silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers and Arabic five minutes to outer track, the angles applied with winged cherub head and foliate scroll cast spandrels beneath arch with twin silvered subsidiary rings for CHIME/SILENT and FAST SLOW set within conforming gilt relief infill centred with a cherub mask to apex,. The ebonised bell-top case with large twin handled oval section urn surmount above applied floral swag mounts and conforming smaller urn finials to superstructure, the front with silvered brass canted bezel inset arch-glazed door applied with cast female mask escutcheons to uprights and scroll cast angles to upper quadrant panels, the sides with arched sunburst mask centred brass sound frets, the rear with rectangular grille inset door, on cavetto moulded skirt base applied with grotesque mask centred apron mount flanked by conforming foliate cast claw feet, the rear with applied trade plate J. LANGELAAN, 105 PALMERSTON ROAD, SOUHSEA, 72cm (28.5ins) high overall

A mid Victorian mahogany striking domestic longcase regulator, Job. Davies, Penydarran, circa 1855, The four pillar rack and bell striking movement with thick shouldered plates, deadbeat escapement, Harrison’s maintaining power and wood rod pendulum fitted with heavy brass-faced lenticular bob, the 13 inch circular silvered brass Roman numeral dial with subsidiary seconds dial and signed Job. Davies, PENYDARRAN to centre, with lozenge pierced blued steel hands and outer track divided for minutes, the shallow break-arch top case with cavetto cornice above silvered brass fillet inset circular glazed dial aperture to the hood door flanked by canted angles, the trunk with caddy moulded rectangular glazed door enclosing interior with flame figured backboard flanked by canted angles, on crossbanded panel veneered plinth base with skirt incorporating bracket feet with shaped apron between, 198cm (78ins) high. Job. Davies is recorded in Loomes, Brian, Watchmakers & Clockmakers of the World, Volume 2 as working in Pen-y-darren 1852-68, by 1871 he was working in Dowlais where he remained until 1875.

A Victorian mahogany hour striking longcase regulator, Francis Smith, Blandford, circa 1845, The four pillar two train rack and bell striking movement with Harrison’s maintaining power, deadbeat escapement and wide jaw bracket fitted to the case backboard for suspending the wood-rod pendulum with heavy lenticular bob and large diameter rating screw, the upper edge of the movement plates applied with shaped extensions to accommodate the pallet assembly and strike train fly, the 12 inch square silvered brass dial with subsidiary seconds over hour dials and signed Francis, Smith to centre within outer minute track annotated with Arabic five minutes, in a case with ogee-arch cavetto moulded pediment over plain frieze and reeded canted angles to hood above conforming shaped-arch caddy moulded flame figured door flanked by quarter columns to trunk, on raised shaped panel fronted plinth base with shallow skirt, 193cm (76ins) high; with a copy of Tribe, Tom and Whatmoor, Philip Dorset Clocks and Clockmakers, Tanat Books, Oswestry 1981, dj, (2). Francis Smith is recorded in Tribe, Tom and Whatmoor, Philip Dorset Clocks and Clockmakers as born in London 1805 and working in Blandford St. Mary circa 1842-67. The slightly unconventional/experimental construction of the movement suggests that the current lot was made for practical reasons rather than for retail, hence was possibly used as the ‘shop regulator’ to regulate clocks and watches made/supplied by Francis Smith.

A fine early Victorian mahogany eight-day longcase clock, Vulliamy, London, circa 1840, The five pillar rack and bell striking movement with thick shouldered plates, anchor escapement and wide jaw ‘T’ bar suspension for the wood rod pendulum fitted with heavy brass-faced lenticular bob, the 12 inch circular silvered brass Roman numeral dial with subsidiary seconds dial and signed VULLIAMY, LONDON to centre, with blued steel moon hands and outer track divided for minutes, the case with shallow triangular pediment above brass fillet inset circular glazed dial aperture to the square hood door flanked by canted angles, the trunk with narrow convex throat moulding above rectangular flame figured door with reeded border, on conforming flame veneered plinth base with moulded skirt, 194cm (76.25ins) high. Benjamin Lewis Vulliamy is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as born 1780 to Benjamin Vulliamy and gaining his freedom of the Clockmakers’ Company in 1809; he served as Warden 1821-5 and was appointed Master five times. He was the last of the celebrated dynasty of Royal clockmakers which started with his grandfather, Justin, forming a partnership with George II’s clockmaker, Benjamin Gray. Benjamin Lewis Vulliamy was perhaps one of the most influential horologists of his time publishing many works and undertaking numerous high profile public commissions as well as holding the Royal Warrant. However his horological legacy is perhaps slightly blighted by his tendency to undertake significant alterations to earlier important clocks by makers such as Tompion, including many in the Royal collection.

A George III mahogany domestic longcase regulator, James Vigne, London, circa 1790, The five pillar rack and bell striking movement with Harrison’s maintaining power, deadbeat escapement and wide jaw ‘T’ bar suspension for the large lenticular bob pendulum with fine screw graduated rating nut, the 12 inch silvered brass Roman numeral ogee-arch top dial with subsidiary seconds dial and calendar aperture to centre, pierced blued steel hands and Arabic five minutes to outer track beneath N/S strike/silent lever at twelve o’clock and signed James Vigne, London to arch, in a case with ogee-arch shaped cavetto cornice, brass stop-fluted canted angles and rectangular side windows to hood above conforming shaped-top caddy moulded flame figured door to trunk, on raised panel fronted plinth base with moulded double skirt and later ogee bracket feet, 195cm (77ins) high excluding later feet, 203cm (80ins) high overall. James Vigne is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working from Strand, London from 1770.

A fine George III mahogany longcase clock, Alexander Cumming, London, circa 1790, The five pillar rack and bell striking movement with deadbeat escapement and 12 inch silvered brass Roman numeral ogee-arch top dial with large subsidiary seconds dial and calendar aperture to centre, pierced steel hands and Arabic five minutes to outer track beneath N/S strike/silent lever at twelve o’clock and signed Alexander Cumming, LONDON to arch, the case with ogee-arch shaped cavetto cornice over brass stop-fluted columns and rectangular foliate-pierced side frets to hood and flame figured ‘block top’ door to trunk, on raised panel fronted plinth base with moulded double skirt, 195cm (77ins) high 119cm (86.25ins) high. Alexander Cumming was born in Edinburgh 1733 and initially worked as a clock and watchmaker in Inveraray. In 1757 Cumming, along with his brother James, was employed by Archibald Campbell, the third Duke of Argyll, to install the organ and supply a longcase clock for his new castle at Inveraray. Cumming subsequently moved to London (perhaps shortly after the death of his patron in 1761) and by 1763 had been appointed as a member of the commission to adjudicate Harrison’s marine timekeeper. In 1765 Cumming presented his celebrated barograph clock for King George III before completing his best-known work on horology Elements of Clock and Watch Work Adapted to Practice in 1766. In 1781 he was made an Honoury Freeman of the Clockmakers Company and in the early 1790’s retired to Pentonville from where he continued to write various papers including Observations on the effects which carriage wheels, with rims of different shapes, have on the roads published in 1797. Alexander Cumming died in 1814 leaving his business to his nephew, John Grant.

A George III gilt brass mounted mahogany musical table clock, The dial signed for Edward Ellicott, London, circa 1790, The substantial five pillar back-wound movement playing a choice of five tunes via a pinned cylinder on a nest of eight graduated bells after striking the hour on an additional larger bell, the backplate incorporating projecting feet to the lower corners and engraved with fine open rococo scrolls around a central basket of flowers within decorative line borders, the convex white Roman numeral dial inscribed ED’WD ELLICOTT to centre and with pierced blued steel hands within outer minute track and slender brass bezel fitted to the 8 inch full-arch white painted dial plate polychrome decorated with dancing musicians beneath applied curved tune selection sector inscribed SONG, JIGG, MINUETT, AIR and COTILLION to arch, the break-arch case with concave sided plinth for the central brass vase finial flanked by four further finials and applied symmetrical rococo scroll cast mounts to the sides of the arch, the front with heavy acanthus cast brass arched door flanked by female caryatids applied to the canted angles, the sides with hinged carrying handles above sunburst mask centred scroll cast arched brass sound frets, the rear with arch glazed door, on cavetto moulded skirt base with scroll feet, 54.5cm (21.5ins) high. Two generations of the celebrated Ellicott family with forename Edward are recorded working in London in around 1790. Edward (I) is listed in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as son of John (II) working from Royal Exchange, London 1753-91, he was appointed watchmaker to the King. His son, Edward (II) is listed as free of the Clockmakers’ Company in 1795 and was appointed Master in 1835 but did not live to see out his term. The current lot is an attractive model clearly made in a workshop used to producing clocks for the Export market. The back-winding is typical of examples made for export to China as the Chinese prefer clock dials to be free of winding holes, and the heavy foliate cast gilt brass front door is of a type more often seen on examples exported to the Middle-East (see Barder, Richard C.R. The Georgian Bracket Clock 1714-1830 pages 160-1 colour plates 22-4).

A fine Regency brass inlaid ebonised bracket clock with enamel dial, Grant, London, early 19th century, The five pillar twin fusee bell striking movement signed Grant, Fleet Street, LONDON and with arrow-shaped strike/silent lever to the lancet-shaped backplate, the 6.5 inch fired white enamel circular Roman numeral dial signed GRANT Fleet Street LONDON, No. 602 to centre and with blued steel hands set behind hinged convex glazed cast brass bezel, the lancet-shaped case with brass parquetry star motif within circular panel above dial and recessed brass fillet bordered shaped panel enclosing inlaid stylised tulip-form motif beneath, the front edges with cast slender Gothic column mounts continuing to form moulded lancet-arch above, the sides with brass fruiting vine leaf ring handles above lancet arch shaped brass fishscale sound frets, the rear with conforming lancet-glazed door, on brass bound stepped fillet moulded skirt base with brass ball feet, 40cm (15.75ins) high. John Grant is recorded in Baillie, G.H. Watchmakers and Clockmakers of the World as gaining his freedom of the Clockmakers’ Company in 1781, he later served as Warden and died in 1810. He was a fine maker who was nephew and successor to the famous clock and watchmaker Alexander Cumming. His son, John junior, was born in 1796, became Liveryman of the Clockmakers’ Company in 1817 and is believed to have worked until 1840.

A Regency brass mounted mahogany bracket clock in the manner of Thomas Hope, The movement by Joseph Mason for retail by William Alexander, the case attributed to Banting and France, London, circa 1825, The five pillar twin fusee bell striking movement with anchor escapement, trip hour repeat and signed Wll’m Alexander, London within a foliate cartouche to the border-engraved shouldered backplate, the pendulum with calibrated slider for regulation and conforming concentric engraved decoration to the lenticular bob, the 7 inch circular convex white painted Roman numeral dial with repeat signature WILL’M ALEXANDER, LONDON to centre within cast brass bevel glazed bezel milled with continuous scroll design, the case in the Romano-Egyptian taste with brass pineapple finial to the gadroon-carved upstand incorporating brass mounted cavetto moulded collar and flanked by honeysucle carved ‘acrotoria’ finials, above geometric brass-inlaid ebonised moulded panel outline tapered front with crisply cut horizontal fluted infill to angles and shaped brass fillet inset panel beneath dial, the sides with obelisk outline repeating Gothic arch tracery pierced brass frets on fluted panel inset base with stylised fan carved feet, 51cm (20ins) high. Provenance: The property of a private collector, purchased from these rooms Wednesday 16th February 2011 (lot 119) for £3,200 hammer. Previously (in 1926) with George Boniface Souter the grandson of a major tenant farmer on the Goodwood Estate who died in 1952. Behind the dial of the current lot is the scratched inscription Jos’h Mason, London, Manufacturer who is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working from 2 Walbrook Place, London 1832-9. William Alexander is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working from Newington Causeway, London in 1825 and in Loomes as working 1828-44. The movement and bell bear detailed service inscriptions indicating that regular work was undertaken by the Hunter family, clockmakers of 136 High Street, Clapham from 1828-74, with two further dates up to 1896 by different makers based in Brixton. The case of the current lot belongs to a group of around fifteen known examples which share the same basic form and dimensions differing only in detail. Perhaps the earliest from this series is an example by Atkins and Son formerly in the possession of the Marquesses of Bristol sold by Christie’s, King Street, London at their ‘Ellerslie House’ sale, 24th May 2001 (lot 65). The first Marquis of Bristol employed the firm of Banting, France and Company to supply furniture for Ickworth, Suffolk including the state bed which shares similar details such as the ‘acrotoria’ finials with the ‘Atkins & Son’ clock and the current lot. This coupled with the stamped B.F. initials to the interior of the case of the current lot suggests that this particular form of case was made by Banting and France possibly to special order. The case design with its robust fusion of Ancient Greek, Roman and Egyptian styles demonstrated the strong influence of Thomas Hope who, in his 1807 book Household Furniture published designs considered to be the height of fashion at the time. When considering his designs for smaller pieces of furniture such as for ‘Recesses in the shape of ancient hypogea’ (see Hope, Thomas Household Furniture plate XXVII no. I) the inspiration for the current lot can clearly be seen.

A very rare German Renaissance gilt brass astronomical monstrance table clock case originally fitted with a Universal Astrolabe, In the manner of Jeremiah Metzger, Augsburg, circa 1570, the movement and dial centre later, The high grade English single fusee movement dating to around 1830 with deadbeat escapement, five-spoke wheel crossings, concealed clicks to the fusee and twenty-four hour motionwork to the large diameter frontplate, the dial with later centre engraved with foliate scrolls on a matted ground and incorporating tripartite banner bearing spurious inscription Reighs, Dresden, 1536, set within original narrow twenty-four hour chapter ring with asterisk half-hour markers, button touch pieces and outer track engraved for every minute, the case with ovoid urn finial to the disc-shaped upstand engraved with vestigial subsidiary day-of-the-week dial annotated with respective planets to rear opposing fine foliate scroll cast and pierced rosette within moulded surround to front and with delicate chased open strapwork fret to the circumference, the rear of the principal section with centre cut-out to accommodate the later movement leaving border engraved with lines for stereographic projection around the celestial equator stamped POLUS, MITNECHTLICH to upper margin opposing MITLEGLICH, POLUS at the base, the left and right hand margins with a series of horizontal lines annotated with symbols for the signs of the Zodiac, the outer edge of the ring divided for degrees annotated in five degree intervals for every quadrant set within conforming outer scale to the moulded surround, the edge of the shallow drum casing with continuous border etched in low relief with stylised Arabesque strapwork within tightly moulded bands, the whole raised on a patinated bronze figure cast as Atlas seated on a fine pieced and chased strapwork dome with moulded collar over shallow ogee-shaped foot decorated with conforming continuous Arabesque strapwork, 34.5ins (13.5ins) high; now mounted on a circular turned ebonised wood base, 39.5cm (15.5ins) high overall. The current lot can be closely compared with an example signed by Jeremias Metzger and dated 1564 residing in the collection of the Victoria and Albert Museum (Museum Number 4273-1857). Another similar example is in the Kunsthistoriches Museum, Vienna, and is illustrated in Bassermann-Jordan, Ernst von THE BOOK OF OLD CLOCKS AND WATCHES on page 146 (Fig. 118); whilst a third (which is presumably lost) features in a full height portrait of Anna, Duchess of Bavaria painted by Hans Mielich of Munich in 1556. The presence of a twenty-four hour chapter ring to the main dial of the current lot differs to that of the example by Metzger in the V. & A. which has a relatively simple and fairly conventional twelve-hour dial layout incorporating an alarm disc to the centre. The surviving elements of the dial also indicate that it would have had at least two-hands (hours and minutes) whilst the relatively narrow proportions of the hour and minute rings suggests that space was required in the centre for a reasonably complex feature. The most obvious candidate to occupy this space would be a form of standard astrolabic dial (similar to that fitted to the example in the Kunsthistoriches Museum, Vienna) however the presence of a Universal Astrolabe to the rear of the clock would perhaps render this unnecessary. It is therefore more probable that the dial centre was possibly fitted with a wide concentric band of self-adjusting overlaid sectors giving the lengths of the day and night which, when used, were often positioned within a ring annotated for the signs of the Zodiac with the relative positions of the sun and moon indicated by a pair of hands issuing from a disc engraved with a diagram of aspects to the centre. Close examination of the monstrance clock that features in the portrait of Anna, Duchess of Bavaria by Hans Mielich seems to support the possibility of such a dial layout (which would have been essential for providing the correct time under the system of unequal hours in use during the 16th century). The rear of the case of the current lot is fitted with the remnants of a Universal Astrolabe with enough of the engraving surviving to establish that it was laid-out to a design described and published by the Spaniard Juan de Rojas y Sarmiento in 1551 (although he was describing a design which was already known to exist). The Universal Astrolabe differs from a standard astrolabe in that it projects the celestial sphere from pole to pole (hence ‘from the side’) rather than across the equator as with a normal astrolabe. The inherent advantage of this type of projection is that the relative position of celestial bodies can be plotted for different latitudes whilst standard astrolabes require the position of the stars to be determined and recorded on a template (rete) before their positions for a given time and date can be observed. The Universal Astrolabe is particularly useful for calculating the length of the day for any given time of the year which is particularly relevant when considering the system of unequal hours in use at this time. The Universal Astrolabe originally fitted to the current lot was probably not connected or ‘driven’ by the movement in any way - it was most likely to have bee supplied as a form of accessory to allow independent calculations to be made. The disc-shaped surmount incorporates a dial for days-of-the-week to one side, this would have probably been fitted with a central disc (applied with a pointer to the circumference) as the centre is currently plain with little gilding. The other side is finely cast and pierced with foliate strapwork which resembles the decoration sometimes seen to the exterior of German ‘tambour’ clock watches of the period (see Basserman-Jordan, Hans von THE BOOK OF OLD CLOCKS AND WATCHES page 65, fig. 41a). The fact that this panel is pierced (coupled with the delicate fretwork to the outside edge of the surmount) suggests that it may have also housed a bell - perhaps for an alarm (in addition to the day-of-the-week calendar mechanism). This possibility is supported by evidence in a form of a slot in the case beneath indicating that their was a mechanical connection between the movement and whatever was originally housed within the surmount. The base of the clock would have been fitted with a bell (probably for sounding just the hours). The Atlas figural support appears to be a relatively standard casting as the same basic model appears to have been used on two of the other examples noted above. The unusual low relief ‘Arabesque’ decoration to the ogee-shaped bottom moulding and to the edge of the shallow cylinder of the case can be compared to that on a drum-shaped table clock by Jakob Marquart, Augsburg dating to around 1560 illustrated in Maurice, Klaus and Mayr, Otto THE CLOCKWORK UNIVERSE, German Clocks and Automata 1550-1650 on page 203 (exhibit 39). This decoration reflects the influence of Middle Eastern design borne out of a strong trading relationship with the Ottoman Empire. The current lot is an extremely rare survivor (albeit in partial-form) from the ‘golden’ period of early German Renaissance clockmaking with strong stylistic similarities to an example from arguably the most important workshop of the period - that of Jeremias Metzger of Augsburg. The original fitment of a Universal Astrolabe to the rear of the case appears to be an extremely rare, if not unique feature of possibly documentary importance.

An important Charles II architectural key-wound thirty-hour hooded wall clock, Jonathan Chambers, Shefford, circa 1670, The substantial four finned pillar single-handed movement latched at the front and originally pinned to the rear with thick plates measuring 7.5 by 5.75 inches incorporating integral cast extensions for the strike detents to left hand side and with rounded-arch shaped lower edge, the going train regulated by verge escapement and short bob pendulum with unusual angled escapewheel and arbor to allow offset positioning of the contrate wheel, the backplate fitted with hour wheel on an arbor passing through the movement to the dial, the strike train with outside countwheel and hammer pivot arbor positioned to the centre of the movement fitted with hammer at the front for striking on the inside edge of a vertical bell mounted above the plates, the 9.75 inch square brass dial centred with an engraved five-petal rose motif above drapery lambrequin signed Jonathan Chambers, Fecit to lower margin within applied 1 inch wide silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers, with fine generous pierced steel hand and spandrel areas engraved with unusual symmetrical decoration incorporating a dog rose over pomegranate and other fruit, in a wall mounted pedimented case veneered in a padouk-like timber with fine architecturally correct ebonised mouldings, the rising hood with applied gilt brass cherub mount to tympanum above raised mouldings to the glazed dial aperture and rectangular side windows, the backboard fitted with latch to hold the hood in raised position above horizontal table applied with a pair of tall blocks to support the movement, the underside with ebonised shaped apron flanked by conforming side brackets with a short rectangular veneered back panel behind, (case probably later) 58.5cm (28ins) high. Provenance: From the estate of an esteemed antiquarian horologist, sold at Sotheby’s, Bond Street, London, 22nd October 1987 (lot 197) subsequently purchased by the vendor from Asprey, London. Jonathan Chambers is recorded in Loomes, Brian LANTERN CLOCKS and Their Makers as a clockmaker, yeoman and blacksmith who was working in Shefford, Bedfordshire by around 1665. As a recusant Quaker he was prosecuted for not attending church from 1669 onwards. Chambers died in 1693 leaving his widow Alice to marry fellow clockmaker, Thomas Palmer, the following year. Only two other clocks by Jonathan Chambers appear to be recorded; a lantern clock illustrated in Hana, W.F.J. English Lantern Clocks on page 75 (Plate 29) and a walnut longcase clock sold at Christie’s, King Street, London, 16th December 1987. The current lot is well documented featuring in both Darken, Jeff and Hooper, John English 30 Hour Clocks, Origin & Development, 1600-1800 pages 43-7 and Darken, Jeff (editor) TIME & PLACE, English Country Clocks 1600-1840 as exhibit 3 pages 22-5 (where the movement is extensively illustrated). As already noted the movement is of substantial proportions and is very well made with finely finished steelwork. An unusual feature is the way in which the lifting arms, detents, hour hammer and hand are mounted onto their squared arbors - they are all secured via a pin through a hole drilled to the edge of the boss of the arm/lever rather than being held by a pin across the face of the boss (ie passing through an extended section of the squared arbor). The reason why the maker went to the additional trouble of incorporating this detail throughout is unknown but it does suggest that he was endeavouring to produce a movement of the highest quality. The engraving to the spandrel areas of the dial is particularly interesting as it is clearly by the same hand responsible for very similar decoration seen on series of dials by leading makers such as Edward East, Joseph Knibb and Henry Jones all dating to the 1660’s or very early 1670’s. This series includes an eight-day longcase clock signed by Joseph Knibb of Oxford (which dates to around 1665 and also has rose engraved decoration to centre) which was sold in these rooms on Tuesday 11th March 2014 (lot 143 for £240,000). The presence of this decoration to the dial suggests that it was sent to London to be engraved, this would imply that Chambers had connections with the London clock trade (a possibility that is perhaps reinforced by bequests in his Will being made to two London clockmakers, John Harry and John Westoby). The engraving also provides very strong dating evidence for the clock placing its date of manufacture close to 1670 - making it one of the earliest thirty-hour longcase clock type movements to have survived. It is perhaps appropriate to finally note that Shefford is only three miles south of Edward East’s birthplace at Southill and six miles south of Ickwell Green, the birthplace of Thomas Tompion. Although there is no known connection between Jonathan Chambers and East or Tompion evidence in the dial and movement of the current lot would certainly suggest an awareness of the inventive approach and high standards of such makers as well as, in the case of Edward East, the shared use of an engraver.

A fine and rare Charles II brass lantern clock of impressive large proportions, Thomas Knifton, London, circa 1665, The posted countwheel bell striking movement with remote hour hammer pivoted between lugs riveted to the upper surface of the gallery top plate above verge escapement set within the gallery and short bob pendulum now swinging within the frame of the case at the rear, the dial signed Thomas Knifton at the (crossed keys) in Lothbury, London towards the upper margin of the dial centre and with engraved stylised flowering tulip scrolling infill beneath, the centre with alarm disc and distinctive sculpted iron ‘arrowhead’ hand within applied 7.25 inch circular silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers and leafy infill to spandrel areas, the large ‘Lothbury’ type frame with column-turned corner posts beneath open-work gallery and foliate pierced and engraved frets set between multi-knop vase-shaped finials with domed bell bearer incorporating decorative pierced lobes and fitted with further central finial above, the sides with brass doors, the rear with iron hanging hoop and short spurs, on turned ball feet, 50cm (19.75ins) high. Provenance: From the estate of an esteemed antiquarian horologist, purchased at Sotheby’s, Bond Street, London, 11th June 1998 (lot 343). Thomas Knifton is recorded in Loomes, Brian LANTERN CLOCKS and Their Makers as born in Nottingham 1614 and apprenticed to William Sellwood in 1632 gaining his freedom of the Clockmakers’ Company in 1640. He worked at the Cross Keys, Lothbury in St. Margarets Parish and at one time at the Draper’s Arms. He died in January 1667 in the parish of St. Botolph’s, Bishopsgate from a sudden illness. He was a prolific maker of lantern clocks who was probably succeeded by John Ebsworth who invariably signed his early clocks with the same ‘crossed keys’ device. The current lot was clearly made to impress with the frame being of particularly large proportions. The incorporation of a pierced gallery above the movement top plate is perhaps first seen on a clock originally made with balance wheel (probably dating to the 1640’s) by David Bouquet illustrated in White, George, English Lantern Clocks on page 110 (Figure II/141). Bouquet was a French Huguenot immigrant whose clocks tended to exhibit strong a Continental influence. For balance wheel clocks the gallery naturally provides a convenient enclosed space for the balance to oscillate. Relatively few lantern clocks with true enclosed galleries appear to have been made, however during the 1640’s a pattern of fret was developed which incorporated a pierced gallery to the lower edge in order to give a similar visual impression, this type of fret was often used by Knifton. The scale of the frame is impressive and of a size normally reserved for quarter chiming clocks with the additional space being necessary for the third train. The gallery also provides an additional platform onto which the hour and quarter hammers can be fitted without conflicting with the balance wheel. The development and relative standardisation of this type of chiming lantern clock (contained within a frame of large proportions incorporating a gallery for the balance wheel) is principally associated by George White (English Lantern Clocks page 155) to the workshop of Peter Closon during the 1640/50’s, although other examples are known by various makers including Knifton, Henry Child and Ahasuerus Fromanteel. Technical developments, which included invention of the pendulum in 1658, resulted in a gradual overhaul of lantern clock design during the early 1660’s, with balance wheel escapements being superseded by verge escapements and short bob pendulums and trains wound via Huygen’s endless rope system (rather than by separate lines and weights) which required the striking trains to be ‘reversed’. The provision of a short pendulum required some inventive thinking with regards to the positioning of the alarm mechanism which had traditionally been planted to the rear of the frame on balance wheel clocks. One solution was to place the pendulum within the frame - either between the trains (thus creating the ‘winged’ lantern clock) or at the rear tucked-in behind the countwheel. The other method was to move the alarm inside the frame (a system popular with West Country makers) thus allowing the pendulum to be fitted to the rear of the clock. The current lot was originally made with alarm set within the frame at the rear to allow the pendulum to oscillate unhindered to the exterior. At some point the alarm has been removed and the pendulum moved so that it swings within the area originally occupied by the alarm mechanism. This relatively minor modification allows the clock to hang much closer to the wall. As Thomas Knifton died in 1667 the current lot would have been amongst one of the first lantern clocks made with verge escapement regulated by short bob pendulum. A similar large lantern clock with gallery and short bob pendulum by Ahasuerus Fromanteel is illustrated and described as ‘an important early pendulum clock’ in White, George English Lantern Clocks on page 189 (Figures IV/59-61). The deeply hatched engraving to the dial centre of the current lot is noteworthy as is the unusual ‘arrowhead’ iron hand, both of these features are indicative of Knifton’s bold approach to detail and also arguably date the clock to the first few years of the 1660’s on stylistic grounds

A William III lantern clock, Joseph Foster, London, circa 1695, The posted countwheel bell striking movement with verge escapement and pendulum swinging within the frame of the clock between the trains, the dial signed Jos: Foster in Exchange Alley towards the upper margin of the centre over engraved flowering tulip scrolling infill beneath, with pierced iron hand and applied silvered Roman numeral chapter ring within stylised leaf engraved angles, the standard third period ‘Lothbury’ type frame with column-turned corner posts beneath foliate engraved and pierced frets, vase turned finials and domed bell bearer, the sides with brass doors incorporating ‘winged’ projections capped with further leafy frets, the rear with spurs to the iron backplate beneath iron hanging hoop secured with screws to the top plate, on tuned ball feet, 39cm (15.5ins high). Joseph Foster is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as apprenticed in 1684, gaining his freedom of the Clockmakers’ Company in 1691 and working from Exchange Alley, London until 1707.

A brass second period lantern clock, Unsigned, mid 17th century, The posted countwheel bell striking movement now with anchor escapement to the reversed going train, the dial with unusual tight concentric ring engraved centre and long-tailed iron hand within applied Roman numeral chapter ring with tied-asterisk half hour markers and deep inner quarter-hour track with the first of each quarter division hatched, the frame of second period ‘Lothbury’ type with column-turned corner posts beneath original early pattern shield and foliate scroll pierced frets with the front incorporating engraved initials WD between vase finials supporting a domed bell bearer above, on turned ball feet, 38cm (15ins) high. The dial of the current lot is unusual, in particular the chapter ring which has early style tied-asterisk half hour markers and a relatively deep inner quarter-hour track with the first division after each hour hatched - the reason for this is unknown. The chapter ring also has a noticeable inner-border which again is unusual, however, when this detail is considered alongside the plain dial centre then it is probably appropriate to speculate that the centre may have originally been applied with a pierced cast brass ‘rosette’ - similar to those seen on two lantern clocks illustrated in White, George English Lantern Clocks on pages 140-1 (Figures III/31 and 32). It is likely that such a cast brass rosette was supplied as a raw casting of relatively fixed diameter, hence the inner border to the chapter ring would need to be of appropriate internal diameter to ensure that the rosette ‘filled’ the space. A group of small filled holes to the dial plate near the inner edge of the chapter ring provides further strong evidence of an applied rosette, the concentric ring decoration was probably executed after a rosette was removed (early in the clock’s life) in order to conceal the filled fixings and to decorate the now unadorned dial centre.

A James II/William and Mary lantern clock with alarm, Joseph Windmills, London, circa 1685-90, The posted countwheel bell striking movement with verge escapement and pendulum swinging within the frame of the clock between the trains, the dial signed J: Windmills, London towards the upper margin of the dial centre and with engraved flowering tulip scrolling infill beneath, the centre with alarm disc and pierced iron hand within applied silvered Roman numeral chapter ring and stylised leaf engraved angles, the standard third period ‘Lothbury’ type frame with column-turned corner posts beneath foliate engraved and pierced frets, vase turned finials and domed bell bearer, the sides now with brass doors incorporating ‘winged’ projections capped with further leafy frets, the rear with external alarm mechanism fitted along with spurs to the iron backplate beneath iron hanging hoop riveted to the top plate, on turned ball feet, (with restoration/ rebuilding) 38cm (15ins high). The life and work of Joseph Windmills and his successors is comprehensively documented in Neale, A.J. Joseph and Thomas Windmills Clock and Watch Makers 1671-1737. Joseph joined the Clockmakers’ Company as a free Brother in 1671 - the same year that Joseph Knibb, Thomas Tompion and Daniel Quare 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 worked with his father; by 1700 the business had become a partnership between father and son which lasted until Joseph’s death in 1724.

A fine and rare Charles II panelled oak quarter-chiming thirty-hour longcase clock, John Williamson, London, the movement circa 1683, the case circa 1672, The four finned pillar two-handed plated movement with anchor escapement and long pendulum to the four-wheel going train, the two-in-one hour and quarter hour strike/chiming train utilising large countwheel cut for both the hours and quarters planted on the backplate and with pump-action wheel to the front plate for positioning the hammer pin-wheel set along with the quarter hammer pivots within a separate brass carriage fitted to the inside of the frontplate to either peel on a nest of four bells for the quarters or strike the hour on a further larger bell, the 9.5 inch square brass dial with applied silvered seconds ring to the fine boldly engraved symmetrical flowering tulip and foliate decorated centre incorporating drapery cartouche signed John Williamson, Near Temple Barr, Londini Fecit towards lower margin within applied silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers and Arabic five minutes within the narrow outer minute track, with sculpted blued steel hands and applied winged cherub head cast brass spandrels to angles, in a fine panelled oak case with deeply moulded triangular pediment and tall scroll-lattice pierced frieze to both front and sides above glazed dial aperture and large side windows to hood, the trunk with convex throat over 46 inch full-width single fielded panel door, the base of the same width with simple waist moulding above conforming fixed shorter fielded panel and moulded skirt, 235cm (92.5ins) high. Provenance: From the estate of an esteemed antiquarian horologist, purchased at Sotheby’s, Bond Street, London, 4th April 2001 (lot 300). The movement and dial previously in a purpose-made ebony/ebonised case in a private collection in Derbyshire before passing in the 1950’s to another private collector who in-turn sold it by auction in London in 1976. The current case was supplied for a short-duration movement and dial by John Wise for presentation to a London institution in 1672. The original dial by Wise was retained but the movement had been replaced (probably upgraded to eight-day duration) before being illustrated in Dawson, Percy G.; Drover, C.B. and Parkes, D.W. Early English Clocks on page 494 (plate 733). The clock as it is now is illustrated in Loomes, Brian BRASS DIAL CLOCKS on page 50 (plate 37).. The life and work of John Williamson is described in Loomes, Brian BRASS DIAL CLOCKS where it is noted that he was possibly born in 1651 at Guisley near Leeds and was probably related to the Barber family who worked as blacksmiths and clockmakers in nearby Otley. John Williamson moved to London and was admitted as a free Brother to the Clockmakers Company in December 1682, however records indicate that he only paid one month’s subscription to the Company and by December 1683 he had returned to Leeds to be married. Williamson continued making clocks in Leeds (very much in the London style) until after 1700 when the business is thought to have passed to his former apprentice, William Tipling. The movement and dial of the current lot belongs to a small group of short duration movements made by leading London makers during the late 1670’s and early 1680’s. The dial engraving can be compared to that seen on a key-wound thirty hour clock by Thomas Tompion formerly in the Wetherfield Collection illustrated in Cescinsky, Herbert and Webster, Percy English Domestic Clock (Fig. 77). The two-in-one strike/quarter-chiming train is similar in concept to those originally used by makers such as Fromanteel, William Clement and Joseph Knibb as it relies on a single countwheel cut for both the hours and quarters to control the running of the train. However it differs in that the pump-action that facilitates the switching between the operation of the hour and quarter hammers is achieved by moving the hammer pin-wheel rather than the hammer pivot arbors themselves. This system is inherently simple and is neatly incorporated between the plates by providing a separate cocked pivot plate for the pin wheel and hammer arbors. The case is rare example of one made by a non-specialist maker, with the construction and much of the detail being more typical of craftsman used to making vernacular furniture. It is also notable that the case has survived in fine condition with all of the original structure apparently intact, and is of rich colour. This is entirely commensurate with ‘an easy life’ probably from spending most of its time residing in a London institution. The fact that both the case and movement can be individually accurately dated is highly unusual if not unique. Despite the ten year difference in age between the two the ‘marriage’ of movement and dial into the current case is particularly successful, and allows both to be preserved as a fine useable examples.

A walnut and floral marquetry eight-day longcase clock, The dial bearing signature for Jean Brulefer, London, circa 1695 and later, The later four pillar rack and bell striking movement fitted via sheet-iron falseplate to the 11 inch square brass dial with ringed winding holes, subsidiary seconds dial and scroll engraved calendar aperture to the rosette decorated matted centre within applied silvered Roman numeral chapter ring with unusual scroll engraved half hour markers, Arabic five minutes to outer track and bearing signature Jean Brulefer, London Fecit to lower margin, with fine pierced steel hands and winged cherub head and foliate scroll cast spandrels to angles, in a case with domed caddy surmount above moulded cornice, foliate fretwork frieze and floral trail inlaid hood door applied with spiral twist turned three-quarter columns to front angles, the trunk with conforming leafy trail decorated convex throat above 42 inch door centred with a lenticle and decorated with three shaped marquetry bird inhabited flowering foliage panels into an ebonised ground within figured walnut field, the base with conforming marquetry panel and later moulded skirt incorporating bracket feet, 217cm (85.5ins) high

A George III ebonised table clock, John Neale, London, circa 1760, The five pillar twin fusee bell striking movement with Ho-Ho bird inhabited symmetrical foliate scroll engraved backplate incorporating rococo scroll bordered oval cartouche signed John Neale, Leadenhall Street, London towards the lower margin, the 8 inch brass break-arch dial with calendar aperture and shaped signature plate engraved Jn’o Neale, London to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track and scroll-pierced steel hands, the angles with rococo scroll cast spandrels beneath STRIKE/NOT,STRIKE selection dial flanked by conforming mounts to arch, the inverted bell-top case with brass carrying handle above front door with raised mouldings to glazed dial aperture, the sides with circular over concave-topped rectangular glazed apertures, the rear with break-arch glazed door set within the frame of the case, on cavetto moulded shallow skirt base with moulded squab feet, 53cm (21ins) high excluding handle. John Neale is recorded in Baillie, G.H. Watchmakers and Clockmakers of the World as working from Leadenhall Street, London 1743-58. Baillie also notes that he filed a patent for a ‘Quadrantal Planetarium’ watch.

A George III brass mounted ebonised table clock, Francis Jersey, London, circa 1760, The five pillar twin chain fusee movement with rise/fall pendulum regulation for the verge escapement and signed Fran’s Jersey, LONDON towards the lower margin of the delicate symmetrical rococo scroll engraved backplate, the 7 inch brass break-arch dial with curved false-bob and calendar apertures to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to outer track, the angles applied with rococo scroll cast spandrels beneath arch with twin silvered brass subsidiary dials for rise/fall regulation and Strike/Silent selection flanking applied shaped signature plaque engraved Fran’s Jersey, London to apex and with foliate motif engraved infill to lower margins, the inverted bell-top case with hinged brass carrying handle and pineapple finials above front door with brass fillet inset moulding to dial aperture and scroll cast brass fret infill to upper quadrant angles, the sides with circular over concave-topped rectangular brass fishscale sound frets, the rear with rectangular break-arch glazed door set within the frame of the case, on shallow cavetto moulded skirt base with brass bracket feet, 47cm (18.5ins) high excluding handle. Francis Jersey is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London circa 1770. A mahogany table clock by Francis Jersey was sold in these rooms Wednesday 16th February 2011 (lot 87) for a hammer price of £5,000.

A George III stained fruitwood table clock, James Chater and Sons, London, circa 1760, The five pillar twin fusee bell striking movement with verge escapement, trip hour repeat and signed Chater And Sons, London to the fine symmetrical foliate scroll engraved backplate, the 7 inch brass break-arch dial with false bob and calendar apertures and shaped signature plate engraved Chater & Sons, London to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track and scroll-pierced steel hands, the angles with rococo scroll cast spandrels beneath STRIKE/SILENT selection dial flanked by conforming mounts to arch, in an inverted bell-top case with brass carrying handle above front door with raised mouldings to glazed dial aperture, the sides with circular over concave-topped rectangular glazed apertures, on cavetto moulded shallow skirt base incorporating decorative shaped apron, 47cm (18.5ins) high excluding handle. James Chater senior is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as being admitted to the Clockmakers’ Company 1718, gaining his freedom in 1726 and died 1762, Baillie describes him as an ‘eminent’ maker. He had two sons James junior (admitted 1746, free 1753, worked until 1785) and Eliezer (free 1751, Liveryman 1766, Master 1772, died 1777). James and Eliezer are thought to have worked with their father from 1753-62, after which the firm was continued as a partnership between the two brothers.

A mahogany miniature thirty-hour longcase clock, The movement and dial by Richard Colley, London, circa 1730, the case later. The four pillar plated outside countwheel bell striking single-handed movement with verge escapement and short bob pendulum, the 4 inch brass break-arch dial with matted centre and blued steel hand within applied silvered Roman numeral chapter ring with lozenge half hour markers and symmetrical foliate scroll cast spandrels to angles beneath arch signed Rich. Colley, London to an oval herringbone cartouche within foliate scroll engraved infill, now in a mahogany break-arch case with cavetto cornice above three-quarter columns flanking dial aperture to hood, slender caddy moulded break-arch door to trunk, on plinth base with moulded double skirt, (the case 20th century possibly incorporating earlier elements), 133cm (52.5ins) high. Richard Colley is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as an ‘eminent’ maker who worked from Fleet Street and died in 1736.

A George III black japanned tavern clock, The case signed for Mann and Wall, Coventry, late 18th century, The current six pillar two train rack and bell striking movement with four-wheel trains and anchor escapement, set on a seatboard behind the 25.5 inch circular white painted Roman numeral dial with pierced brass hands and Arabic five minutes to the narrow outer track within moulded gilt painted edge, the case with bold gilt script signature Mann & Wall between foliate painted shaped ears beneath the dial above concave-topped rectangular door decorated in raised polychrome and gilt with oriental figures in an ornamental garden within line-bordered narrow ropetwist painted surround, the sides with faint stylised leafy sprays beneath doors for accessing the movement, the ogee-shaped angled base with further indistinct gilt floral painted motifs, 143cm (56.5ins) high. The partnership between Mann and Wall is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Coventry from 1787. Evidence in the dial (unused single winding hole) suggests that the current lot was originally made as a timepiece only. The current hour-striking movement is a subsequent (possibly early) ‘upgrade’ which has been with the case for a long time, and was made in the late 18th/early 19th century for use in a tavern clock.

A Royal Crown Derby Old Imari Pattern Decorative Table Bell

An early Victorian mahogany longcase clock of large proportions, arched painted dial signed Jas Green Liverpool, black painted white dial with Roman numerals, subsidiary seconds dial and calendar dial, hand painted with flowering roses, 30 hour movement striking the hours on a bell, the hood with broken arch pediment, turned spiral twist columns flanking the face, the case with glazed door flanked by turned urnular and spiral twist columns, on a moulded top box base with oval panel, set on bracket feet, 250cm total height

BUCHANAN`S READ SEAL 15 YEAR OLD Blended Scotch Whisky in green Wade ceramic jug. U.S. import by Sazerac. 750ml, 43% volume, with pouch, in carton. BUCHANAN`S READ SEAL Blended Scotch Whisky, labelled for the Venezuelan market. 0.75 L, 40 G.L., in presentation box. BELL`S CHRISTMAS 2005 BELL Blended Scotch Whisky in cream Wade ceramic decanter. 70cl, 40% volume, in carton. BELL`S QUEEN MOTHER 90TH BIRTHDAY BELL Blended Scotch Whisky in white and blue Wade ceramic decanter. 75cl, 43% volume, in tube. SEAGRAM 1924-2001 COMMEMORATIVE GIFT SET CHIVAS REGAL 12 YEAR OLD Blended Scotch Whisky. 75cl, 40% volume. SEAGRAM`S V.O. CANADIAN Canadian Whisky A Blend. 750ml, 40% volume. MARTELL CORDON BLEU Grand Classic Cognac. 750ml, 40% volume. 3 bottles with framed photo, in wooden presentation box, with outer card box. 7 bottles Very good.

ST. MICHAEL SHERRY AGED 10 YEAR OLD Single Malt Scotch Whisky by Burn Stewart. 70cl, 40% volume. WHYTE & MACKAY SPECIAL DOUBLE LION BRAND Blended Scotch Whisky. 75cl, 40% volume. BELL`S EXTRA SPECIAL Blended Scotch Whisky, labelled for Duty Free Export. 1.14 L, 43% volume. BELL`S FINEST EXTRA SPECIAL Blended Scotch Whisky. 750ml, 40% volume. BELL`S EXTRA SPECIAL 8 YEAR OLD (4) Blended Scotch Whisky. 70cl, 40% volume. 8 bottles Good.

HOUSE OF COMMONS WHISKY Blended Scotch Whisky by Gordon & MacPhail. 70cl, 40% volume, in carton autographed by Jim McGovern, M.P. for Dundee West. TEACHER`S HIGHLAND CREAM Blended Scotch Whisky. 1 L, 40% volume. BELL`S FINEST OLD 8 YEAR OLD Blended Scotch Whisky. 1 L, 40% volume. JOHNNIE WALKER BLACK LABEL Blended Scotch WHisky, aged 12 Years. 1 L, 43% volume, in carton. 4 bottles Very good.

BELL`S 21 YEAR OLD Blended Scotch Whisky. 75cl, 40% volume, in presentation box. BELL`S 12 YEAR OLD Blended Scotch Whisky. 70cl, 40% volume, in carton. BELL`S FINEST EXTRA SPECIAL Blended Scotch Whisky. 1 L, 40% volume. BELL`S DE LUXE 12 YEAR OLD Blended Scotch Whisky. 1 L, 75 Proof/43 G.L., in black carton. BELL`S DE LUXE 12 YEAR OLD Blended Scotch Whisky. 26 2/3 fl oz/75.7cl, 70 proof, in white carton. BELL`S DE LUXE 12 YEAR OLD Blended Scotch Whisky. 75cl, 40% volume in black carton. BELL`S EXTRA SPECIAL 8 YEAR OLD Blended Scotch Whisky. 20cl, 40% volume. BELL`S MINIATURE BELL Blended Scotch Whisky in cream & brown Wade ceramic bell. No capacity stated, 40% volume. 8 bottles Very good.

BELL`S 21 YEAR OLD ROYAL RESERVE Blended Scotch whisky. 75cl, 40% volume. In presentation box. THE ORIGINAL MACKINLAY (2) Blended Scotch whisky. 75cl, 40% volume. In cartons. LANGS SUPREME Blended Scotch whisky. 75cl, 40% volume. In carton. 4 bottles Mackinlays- one of the bottles has a low shoulder fill

12 BELL`S XMAS DECANTERS Blended Scotch whisky. Years included are: 1989, 1990, 1991, 1992, 1993, 1994, 1995, 1996, 1998, 1999, 2001. All in cartons or tubes. 12 bottles Good condition

CHIVAS REGAL 12 YEAR OLD Blended Scotch whisky imported by Food & Beveage (pte) Ltd, Singapore. 75cl, 43°G.L., in carton. BELL`S 12 YEAR OLD ROYAL VAT Blended Scotch whisky. Distributed by Harpers Trading Malaysia, Brunei & Singapore. 75cl, no strength stated, in white carton. DEWAR`S ANCESTOR Blended Scotch whisky imported by Sime Darby. No strength or capacity stated, in carton. DIMPLE Blended Scotch whisky imported by France Scott Ltd, Singapore. 750ml, no strength stated, in carton. 4 bottles Cartons are weathered

CHIVAS REGAL 12 YEAR OLD Blended Scotch whisky imported by Food & Beveage (pte) Ltd, Singapore. 75cl, 43°G.L., in carton. BELL`S 12 YEAR OLD ROYAL VAT Blended Scotch whisky. Distributed by Harpers Trading Malaysia, Brunei & Singapore. 75cl, no strength stated, in black carton. DEWAR`S ANCESTOR Blended Scotch whisky imported by Sime Darby. No strength or capacity stated, in carton. DIMPLE Blended Scotch whisky imported by France Scott Ltd, Singapore. 750ml, no strength stated. 4 bottles Cartons are weathered Dewar`s- label has a rip at the bottom.

BELL`S 20 YEAR OLD ROYAL RESERVE Blended Scotch whisky. Distributed by Harpers Trading Malaysia, Brunei & Singapore. 75cl, no strength stated, in carton. BELL`S 12 YEAR OLD ROYAL VAT Blended Scotch whisky. Distributed by Harpers Trading Malaysia, Brunei & Singapore. 75cl, no strength stated, in white carton. BELL`S 12 YEAR OLD ROYAL VAT Blended Scotch whisky. Distributed by Harpers Trading Malaysia, Brunei & Singapore. 75cl, no strength stated, in black carton. DEWAR`S ANCESTOR Blended Scotch whisky, imported by Sime Darby. No strength or capacity stated. 4 bottles Cartons are slightly weathered

MUNRO`S KING OF KINGS `Rare Old De Luxe Scotch Whisky` in ceramic flagon. Back Label reads, `Imported by Boustead Trading Ltd Singapore, Malaysia, Brunei`. Full bottle size, no capacity or strength stated, in carton. BELL`S OLD SCOTCH WHISKY BELL Blended Scotch Whisky in brown and tan Wade ceramic decanter. Back Label reads, `Imported by Harpers Trading Malaysia Brunei Singapore. 75cl/26 2/3 fl oz, no strength stated, in carton. MUNRO`S KING OF KINGS `Rare Old De Luxe Scotch Whisky` in ceramic flagon. Back Label reads, `Imported by Boustead Trading Ltd Singapore, Malaysia, Brunei`. Full bottle size, no capacity or strength stated, in carton. BELL`S OLD SCOTCH WHISKY BELL Blended Scotch Whisky in brown and tan Wade ceramic decanter. Back Label reads, `Imported by Harpers Trading Malaysia & Brunei. 75cl/26 2/3 fl oz, no strength stated, in carton. MUNRO`S KING OF KINGS `Rare Old De Luxe Scotch Whisky` in ceramic flagon. Back Label reads, `Imported by Boustead Trading Ltd Singapore, Malaysia, Brunei`. Full bottle size, no capacity or strength stated, in carton. MUNRO`S KING OF KINGS `Rare Old De Luxe Scotch Whisky` in ceramic flagon. Back Label reads, `Distilled and Bottled in Scotland Under British Government Supervision`. Full bottle size, no capacity or strength stated, in carton. 6 bottles Ceramic flasks good. Some weathering to all cartons.

Miscellanea, including seven Stuart crystal wine glasses, a Victorian door bell, a French baguette board, a pair of binoculars, a silver plated wine bottle holder with three silver plated wine coasters, a glass inkwell, etc