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Southern Railway brass signal box Bell Plunger with enamel ring BROADSTAIRS. In excellent condition. Stands 4 in Tall.

Great Western Railway Spagnoletti Crossing Keepers single line instrument complete with top mounted bell. Coil bracket stamped GWR and flag moves freely. In very good ex service condition, stands 18in tall.

Southern Railway brass signal box Bell Plunger with brass ring engraved LOCAL ANNERLEY. In excellent condition. Stands 4 in Tall.

3 x 9ct gold drop earrings inc. bell, anchor & rocking horse (2g)

BELL, Clive (1881-1964). Since Cezanne, London, 1922, 8vo, half tone plates, original cloth. FIRST EDITION, with a pencil note by Eden and highlighting. With 12 other art reference books, some PRESENTATION COPIES to Anthony Eden. (13)BELL, Clive (1881-1964).  Since Cézanne. London: Chatto and Windus, 1922. 8vo (195 x 130mm). Half title, half tone plates (some spotting). Original blue cloth, spine with printed label (label rubbed, without the dust-jacket). Provenance: Anthony Eden, 1st Earl of Avon (old armorial bookplate). FIRST EDITION, with a pencil note on p.65 (illegible, probably not in Eden's hand, illustrated) and on p.137, in Eden's hand, regarding "young Oxford intellectuals", and with his highlighting throughout. With 12 other related books including Julius Meier-Graefe's Degas (London, 1923, 4to, monochrome plates, original buckram, NUMBER 225 OF 1,000 COPIES), Constantin Antoniade's Trois Figures de la Renaissance. Pierre Arétin. Guichardin. Benvenuto Cellini (Paris, 1937, 8vo, wrappers, NUMBER 141 OF 155 COPIES, PRESENTATION COPY, inscribed, "A Mr. Anthony Eden, hommage et respectueuse admiration, Antoniade, Genève, Janvier 1938", Austen Chamberlain's Seen in Passing ... Foreword by Lady [Ivy] Chamberlain (London, 1937, 4to, plates, original cloth, the author's wife's PRESENTATION COPY of this account of an architectural travelogue through Europe just before The Second World war, inscribed "Anthony [Eden], [?]from Ivy Chamberlain"), Wilfrid Blunt's The Art of Botanical Illustration (London, 1950, large 8vo, plates, some coloured, attractively bound in full red modern calf gilt by Bayntun Riviere, SIGNED BY THE AUTHOR), Kenneth Clark's Piero della Francesca (London, 1951, folio, plates, some coloured, original red buckram, INSCRIBED in a very small hand [?presumably to Anthony Eden], "With all good wishes from Jane & Kenneth Clark, August 1952"), Huntington Cairns & John Walker's Great Paintings from the National Gallery of Art (Washington, 1952, folio, full-page coloured illustrations, original dark blue buckram gilt, FIRST EDITION, PRESENTATION COPY, the front free endpaper inscribed, "For [?illegible word] Eden, with kind regards from his friends at the National Gallery, [signed respectively by:] David Finley [the gallery's first Director], Huntington Cairns, John Walker, Washington, March 5, 1953"), Raymond Nacenta's The Painters and the Artistic Climate of Paris since 1810 (London, 1960, folio, coloured plates, original blue hessian, PRESENTATION COPY, the half title inscribed, "A Lord et Lady Avon, en souvenir de leur visite 'd'avant-première' à l' Exposition des peintures des collections français, Avec les sincères hommages de Ray. Nacenta, Le 27 Juin, 1962"), Catalogue de l' Oeuvre de Georges Braque. Peintures 1936-1941 ([Paris], 1961, 4to, illustrations, some coloured, original coloured decorated hessian boards, ring-bound internally), Henry Maldiney's La Fondation Marguerite et Aimé Maeght (Paris, "Derrière le Miroir, No. 148," 1964, folio, plates and illustrations by Braque, Chagall, Kandinsky, Miro, Giacometti and others, including 6 original lithographs, some coloured, original pictorial boards) and Denys Sutton's Walter Sickert. A Biography (London, 1976, 4to, plates, cloth, PRESENTATION COPY, inscribed, "For Anthony and Clarissa [Eden], with much affection and gratitude, Denys"). The lot sold not subject to return. (13)

HOGARTH PRESS - John MAYNARD KEYNES (1883-1946). The End of Laissez-Faire, London, Hogarth Press, 1926, 8vo, original cloth-backed paper boards. FIRST EDITION. With 3 other books from the same press. (4)HOGARTH PRESS - John MAYNARD KEYNES (1883-1946).  The End of Laissez-Faire. London: "Published by Leonard and Virginia Woolf at The Hogarth Press," 1926. 8vo (185 x 120mm). Half title, woodcut printer's device on title. Original cloth-backed paper boards, printed spine label (boards lightly stained, without the dust-jacket). FIRST EDITION. Woolmer Hogarth Press 97. With 3 other books from the same press, namely E. M. Forster's Pharos and Pharillon (Richmond [London], The Hogarth Press, 1923, 8vo, original blue cloth-backed decorated paper boards, spine label, FIRST EDITION, Woolmer 29), Clive Bell's The Legend of Monte Della Sibilla (Richmond, The Hogarth Press, 1923, 4to, illustrated by Duncan Grant and Vanessa Bell, original pictorial paper boards by Vanessa Bell (without the dust-jacket), FIRST EDITION, Woolmer 27) and [Dorothy Bussy's] Olivia by Olivia (London [Tavistock Square], The Hogarth Press, November 1949, 8vo, original mauve cloth gilt, fifth impression, with a printed dedication "To the Beloved Memory of V. W."). Provenance: Anthony Eden (modern armorial bookplates loosely-inserted in each book). (4)

LINDLEY, John (1799-1865) & William HUTTON (1797-1860). The Fossil Flora of Great Britain, London, 1831-37, 3 volumes, 8vo, 231 lithographed plates, contemporary calf. FIRST EDITION. (3)LINDLEY, John (1799-1865) & William HUTTON (1797-1860).  The Fossil Flora of Great Britain; or, Figures and Descriptions of the Vegetable Remains Found in a Fossil State in this Country. London: James Ridgway, 1831-37. 3 volumes, 8vo (215 x 135mm). 231 lithographed plates including plate '19 bis.' bound after, rather than before, plate 20 in vol. one, one double-page, a few folding, illustrations (plate 52 in vol. one detached and spotted, plate 105 in vol. II detached, some tissue guards lacking, occasional light spotting and staining). Contemporary dark green calf, spines gilt (neatly rebacked, rubbed and scuffed). Provenance: Sir Lowthian Bell (armorial bookplate); "For retention. BM copy imperfect" (pencil note on title). FIRST EDITION. The only copy in the British Library is incomplete with its first volume lacking a text leaf and its third volume a plate. (3)

BELL, Charles (1774-1842). An Exposition of the Natural System of the Nerves of the Human Body, London, 1824-27, 2 works including an "Appendix" bound in one, 3 folding plates [see note below], later half calf. FIRST EDITION. Sold not subject to return.BELL, Charles (1774-1842).  An Exposition of the Natural System of the Nerves of the Human Body. With a Republication of the Papers Delivered to the Royal Society, on the Subject of the Nerves. London: Printed by A. & R. Spottiswoode, 1824-27. 2 works including an "Appendix" bound in one, 8vo (216 x 133mm). Half title, errata slip, with the recommended correction on page 44 made in the text, 3 folding engraved plates in total [see note], wood-engraved illustrations (plates spotted and browned, plate II torn and repaired on verso with adhesive tape, occasional light spotting and staining, a few darker spots). Later half calf preserving old marbled boards (boards rubbed). Provenance: From the Collection of Professor Jonathan Brostoff, D.M., D.Sc., FRCP, FRCPath (1934-2020); old pencil annotation to front pastedown (erroneously stating "Complete with the 3 folding copperplates") and front free endpaper. FIRST EDITION. A confusing copy. There are two folding plates at the end of the first work, "Plate II, Plan of the Nerves of Respiration" and "Plate III" [i.e. no plate I]. At the end of the "Appendix", dated 1827 and titled "Appendix to the Papers on the Nerves, Republished from the Royal Society's Transactions, by Charles Bell; containing Consultations and Cases illustrative of the Facts Announced in Those Parts", which is separately paginated and signed, there is a folding plate headed "Phil. Trans. MDCCCXXII. Plate XXXI. p.3[?]72". The first work usually has 3 folding plates; it appears, in this copy, that the first of these is lacking. cf. Garrison & Morton 1255. Sold not subject to return.

[PATMORE, Coventry (1823-96)]. The Unknown Eros and Other Odes, London, 1877, 8vo, original buckram (faded), with a one-page autograph letter from the author tipped-in at the front, old bookplate of Anthony Eden. With 5 other books by Patmore. (6)[PATMORE, Coventry  (1823-96)].  The Unknown Eros and Other Odes. Odes I. - XXXI. London: George Bell and Sons, 1877. 8vo (190 x 145mm). Half title (single spot to half title and title, not affecting letters, some very light marginal spotting and staining). Original tan buckram, the covers ruled in blind, spine label (wide strip faded at the head of the upper cover, some other fading, some minor erosion to the head and foot of spine, label lightly rubbed). Provenance: Anthony Eden, 1st Earl of Avon (old armorial bookplate); Richard Garnett (old signature on title). FIRST EDITION of this collection of odes which includes, arguably, the author's most famous poem "The Toys" (Ode XI). Tipped-in at the front is a one-page autograph letter from the author, headed "Hastings Sept. 19, 1877," stating, "Sir, In reply to your request I beg to say that you are at liberty to print the three odes you mention in your proposed selection, and to affix my name to them, I am, Sir, Yours faithfully, C. Patmore." The letter's recipient ("Mr D. Adams"), whose identity we have been unable to establish, is added at the foot of the letter. The signature on the title page is almost certainly that of Richard Garnett (1805-1906), biographer and poet, who edited Coventry Patmore's Florilegium Amantis in 1879. "The Unknown Eros (1877) was received with much less enthusiasm than his earlier work. It contains odes marked by an erotic mysticism, but also some more autobiographical pieces (now the most anthologised), including 'The Azalea', 'Departure', 'A Farewell', directly inspired by Emily's [his first wife's] illness and death, and 'The Toys', inspired by a moment of anger and grief aroused by one of his sons" (The Oxford Companion to English Literature, ed. M. Drabble, 1985). With 5 other books by the same author, namely The Angel in the House. The Betrothal and [The Espousals] (London, 1854-56, Books I - II bound in 2 vols.), Faithful for Ever (London, 1860), The Victories of Love (London, 1863, the bookplate [accidentally] pasted in upside down at the end) and The Rod, the Root, and the Flower (London, 1895), all FIRST EDITIONS attractively bound in uniform full red morocco gilt by Roger de Coverly & Sons, each with Anthony Eden's old armorial bookplate. (6)

A fine late 17th century olivewood marquetry eight day longcase clock with ten inch dialChristopher Gould, LondonThe hood cut with a hessian-covered sound aperture to the top, over a pierced fret backed in red silk, raised on an ebonised cornice and spirally twisted columns, the long door with oval glazed lenticle and three panels of bird and flower inlay within boxwood and ebony borders against a ground of oyster-cut olivewood, the base with matching inlaid panel on bun feet. The ten inch square brass dial with winged cherub spandrels framing the signature along the lower edge Chr. Gould, Londini fecit, silvered Roman and Arabic chapter ring with dots at the half-quarter markers and elaborate half-hour markers, the finely matted centre with narrow subsidiary seconds dial over ringed winding squares and a decorated chamfered date aperture. The eight-day weight-driven movement united by five knopped and finned pillars, with anchor escapement and outside count wheel strike on a bell, an L-shaped securing bracket set to the rear of the backplate and locating into a reciprocal bracket in the oak backboard. Ticking and striking, together with a case key, crank winding key, brass-faced pendulum and pair of brass-clad weights. 1.97m (6ft 5.5ns) high.Footnotes:For biography, see Lot 73This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A walnut veneered table clock, 18th century and laterJacob Massey, LondonThe (re-veneered) caddy topped case surmounted by a floral handle over a moulded cornice and glazed side panels to a moulded base on block feet. The earlier 7.5inch square brass dial framed by an engraved wheatear border enclosing the winged cherub head spandrels and Roman and Arabic chapter ring with matted centre and chamfered and engraved mock pendulum and date apertures, signed in a polished reserve Jacob Mafsy London, below the pierced blued steel hands. The twin gut (now wire) fusee movement with five knopped and finned pillars, knife-edge verge escapement and rack striking on a bell, the floral engraved backplate signed Jacob Mafsy London within a shaped frame and symmetrical pattern of strapwork and scrolls. Ticking with case key. (Case probably later associated). 45cms (17.5ins) highFootnotes:A similar style of striking and chiming (with the striking train being governed by an external rack and the quarter chiming train governed by an internal rack) was used in clocks by both Claude Duchesne and John Bushman. See Dzik, S. and Still, R. (2023) Beneath the Dial: English Clock Pull Repeat Striking 1675-1725. Oxford: Holywell Press, Ltd.For further information on this lot please visit Bonhams.com

An early 19th century brass-inlaid mahogany table clockAdams, 36 Lombard St, LondonThe case with side ring handles and architectural frets with red silk backing on acorn feet, the front panel inlaid with symmetrical patterns. The restored 8 inch signed Roman dial with matching blued steel hands. The twin wire fusee movement with shouldered and footed plates, anchor escapement and rack striking on a bell. Ticking, striking. 49cms (19.25ins) high. For further information on this lot please visit Bonhams.com

A good late 18th century ebonised table clockJustin Vulliamy, LondonThe shallow caddy top case surmounted by a cast brass leaf handle over arched glazed side panels, with glazed front and back doors, both with top quarter frets, the whole on a moulded plinth base and brass bracket feet. The 7.75inch broken-arched dial with silvered Roman and Arabic chapter ring, the matted centre with chamfered date and mock pendulum apertures, all within cast scroll spandrels, the arch with silvered subsidiary Strike/Silent and regulation dials flanking a silvered signature cartouche engraved Just. Vulliamy London, with pierced blued steel hands. The twin gut (now wire) fusee movement with anchor escapement and large lozenge-section ebony rod pendulum, the backplate delicately engraved with a floral and fruit basket motif. Ticking and striking on a bell. 49cms (19ins) highFootnotes:Another clock by Justin Vulliamy with a similar backplate is featured in Dzik, S. (2019) Engraving on English Table Clocks: Art on a Canvas of Brass 1660-1800, Wild Boar Publications, pg. 355 (G4-7).For further information on this lot please visit Bonhams.com

A mid to late 18th century ebonised table clockClement Brotherton, LondonThe inverted bell top case with single handle over circular and shaped glazed side apertures on a moulded base. The arched brass 6.75 inch arched brass dial with strike/silent subsidiary over a Roman and Arabic chapter ring, matted centre and recessed signature plaque, with good blued steel hands. The twin gut (now wire) fusee movement united by five knopped pillars, now with anchor escapement, rack striking on a bell. Ticking, striking, together with a door key. 49cms (19.25ins) high. For further information on this lot please visit Bonhams.com

A fine early 19th century brass-bound ebony mantel timepieceGrimalde and Johnson, Strand, LondonThe case surmounted by a cast brass fern frond handle set on a central knob and brass base plate over a stepped inverted bell top, and arched, brass bound glazed sides and doors, the moulded base on four knurled toupie feet. The silvered 4-inch arched Roman dial with Breguet style moon hands, signed Grimalde & Johnson Strand London. The single gut (now wire) fusee movement with turned pillars and anchor escapement, the steel-rod pendulum suspended from a tear-drop shaped cock, the backplate repeat signed Grimalde & Johnson Strand London. Ticking with a case key and a winding key. 30cms (11.5ins) highFootnotes:An applied label under the movement reads R. Willerton Watch & Clock Maker, Working Jeweller, &c. Southwell.For further information on this lot please visit Bonhams.com

A good late 18th century ebonised single pad top table clockEdward Bird, BristolSurmounted by a cast handle on a brass-framed pad over elaborate moulded cornice, fish-scale side frets and stepped moulded base raised on brass ogee bracket feet. The 7.5 inch painted Roman dial (refreshed) with blued steel spade hands. The twin gut fusee movement with anchor escapement and rack striking (with trip repeat) on a bell, the signed backplate decorated with a pattern of symmetrical foliate scrolls. Ticking, striking and operational trip repeat , together with a door key on a tassle to operate both front and back doors. 46cms (18ins) high.For further information on this lot please visit Bonhams.com

A good late 18th century French white marble and ormolu centre seconds lyre clock with phases and age of the moonGavell Le JeuneThe shaped case surmounted by the oval enamel subsidiary dial giving age and phase of the moon over a rich foliate swag, the sides draped in further foliage, rope twists, and leaf-and-berry mounts, to a shaped base with further floral mounts and cornucopia, over a beaded edge and bun feet. The white enamel chapter ring with red Arabic quarters framing the black Roman hours and red date of the month, with blued steel centre seconds and date hands, the time shown via a pair of gilt engraved hands, the open centre revealing a five-spoke date wheel. The movement with skeletonised plates united by four turned pillars, the pin-wheel escapement mounted on the rear, and with outside countwheel strike on a bell. The arbor to progress the rolling moon running from the strike train via a contrate wheel terminating in an impulse pin to the back of the lunar dial. With pendulum (suspension missing). GavelleFor further information on this lot please visit Bonhams.com

A third quarter of the 18th century English red Chinoiserie lacquered quarter chiming table clock with enamel dialsEardley Norton, London, No.368The bell-top case decorated all over with chinoiserie figures picked out in gold and set around buildings within foliate sprays and lattice work detailing, surmounted by five gadrooned urn finials over side handles and pairs of sound apertures to each side (note only one now glazed, and case in need of attention generally), on a moulded plinth with shaped apron on brass ogee feet. The 6 inch white enamel Roman and Arabic dial with blued steel moon hands below a strike/silent subsidiary. The substantial triple gut (now wire) fusee movement with six heavy knopped pillars, pivoted verge escapement and rack strike on the hour on a bell, chiming the quarters on a nest of eight bells and hammers (note the largest quarter bell broken, the nest stand in need of straightening). Ticking; striking train and chiming train in need of attention. 48cms (19ins) high.Footnotes:Please note that this clock is sold as seen and it offers a wonderful restoration project. Several of the case joints have become loose, the quarter bell stand is bent and has lost the largest bell, but the enamel dials are fine. For a more complete assessment, please see the condition report.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A good, small walnut marquetry inlaid longcase clock with 10.25-inch dial and bolt-and-shutter maintaining powerCharles Gretton, LondonThe square topped hood (originally rising) with overhanging cornice and Knibb-style blind-cut fret supported on spiral columns, the long door inlaid with four shaped panels of bird-and-flower marquetry on an ebonised ground, set with an oval lenticle and resting on an inlaid panelled base with bun feet, the sides of the trunk and base both set with walnut oysters within cross banded borders. The 10.25 inch square brass dial signed at the base within a single line border framing the fancy winged cherubs head spandrels and silvered chapter ring with narrow five-minute band set with half-quarter marks around the large Roman chapters and half-hour markers, the finely matted centre with small subsidiary seconds dial, blued steel hands and chamfered date aperture. The movement united by five knopped and finned pillars, with anchor escapement and outside countwheel strike on a bell. Together with a brass-faced pendulum, trunk door key and two brass clad weights. 1.9m (6ft 3ins) high.Footnotes:See: Radage, D. et al (2016) Charles Gretton, Clock & Watchmaking through the Golden Age. Vancouver: Three O'clock Publishing, p.80 and Fig.2.43, featured as LC15.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A late 19th century French engraved brass carriage clockGrohe 7 Wigmore Street London, No. 2695 and 3801The ribbed handle above an oval escapement viewing window framed by floral engraving over a moulded cornice, the concave pillars supporting three glass panels and a hinged rear door with shuttered and named winding/setting squares within a series of engraved scrolls on a matted ground, the base similarly decorated. The signed white enamel Roman dial set in an elaborately engraved brass mask, and with good blued steel Breguet style hands. The twin spring barrel movement with jewelled English lever platform escapement and half-cut bimetallic balance with timing screws, the backplate numbered 3801 with rack striking on a bell. Ticking and striking. 15.5cms (6ins) highFootnotes:Provenance: Purchased from Tony Woodburn. James Grohé was born in 1803 in Baden, Germany. It is unclear where he served his apprenticeship, but around 1829 he came to the UK and established himself as a watch and clock maker in London. Interestingly, an entry in the 1831 London Morning Post makes brief reference to a James Grohe, who is described as a French and Genevan watchmaker. Baden is an area of Germany, situated between the French and Swiss borders. It is not known exactly where in Baden Grohé originally lived and it is possible he was educated, horologically or otherwise, in France and/or Switzerland.He is recorded as having taken over a watch and clock shop on Wigmore Street in 1834. The shop was originally the premises of the celebrated Charles Haley, who patented a chronometer remontoire escapement in 1796. It appears that Grohé purchased the shop from Haley's son, the previous business being 'Haley & Son.'An 1838 insurance certificate shows him working at 7 Wigmore Street next to Cavendish Square, as a clockmaker. A few months later, he is also recorded as occupying 3 Wimpole St. Cavendish Square and practicing as a watchmaker, possibly indicating separate premises for each trade. By 1843, he is advertising as a clock and watchmaker from the Wigmore address. At some point he married Harriet, a native of Marylebone and a year his junior. By 1845, the couple had two children, Catherine Elizabeth, and Mary Theresa. That same year, Grohé applied for, and was granted, British naturalisation. In 1852, Grohé was still working out of the Wigmore Street premises and advertising as a watch and clock maker. Possibly around this time, Grohé began to be supplied with carriage clock movements by Holingue Frères, Raingo Frères, and later Drocourt, these last movements being supplied in the 1870's. Some carriage clocks are known with the dial signed 'Grohé a Paris', though whether he had an actual shop in Paris remains unknown, no reference having been found of one. One of the carriage clocks, a repeater, was purchased by Queen Victoria in 1855 and is inscribed 'To Princess Helen Victoria by Queen Victoria in 1855', indicating that Grohé's business must have been thriving. The 1861 census records his full name as John James Grohé and describes him as a watch and clock maker, with his residence listed as 7 Wigmore Street. Harriet is also mentioned living at this address, as are three servants; a cook, a porter and a housemaid. By 1864, the 7 Wigmore Street shop had become 'Grohe Pennington & Typke'. It appears that Grohé had sold his business to John Pennington and Herrmann Wilhelm Typke between 1862-1864, possibly moving to 47 Princes Square, Bayswater, immediately after the sale.John Pennington was part of a dynasty of celebrated chronometer makers; presumably he was apprenticed to his father Robert Pennington Jr. though no record of this is known. After his marriage, he self-described as a 'gentleman' rather than a 'chronometer maker' on official documents. In 1846, however, he entered into partnership with his father, exhibiting a novel chronometer balance designed to control middle temperature error, at the Great Exhibition of 1851. His father died in 1854, and John continued the shop for another two years, before moving to various central London locations, eventually settling at 7 Wigmore Street.Herrmann Wilhelm Typke was born around 1821 in Prussia, and moved to the UK around 1849, setting himself up as a watchmaker. It is unknown where he served his apprenticeship, though it seems likely, considering his age when he moved, that it was served in Prussia. By 1859, he had married and was working out of 26 Devonshire Street, Portland Place in Middlesex. This same year he met John Pennington and the two became friends. Two years later, Pennington supported Typke's successful petition for naturalisation, along with several of Typke's neighbours. His petition also reveals that in 1861, he had five children, though their identities remain unknown. Grohé died in 1872, at 47 Princes Square, Bayswater in Middlesex, leaving around £25,000. It might be that Harriet predeceased him, though this is not definite. His will was proved by his two children, Catherine Elizabeth who had married a German merchant, and Mary Theresa, who had also married a German merchant; whether the couples were living in the UK or Germany is not indicated. William Wier Marshall and Frederick Gould, both listed as Esquires, also served as executors, but their relation to Grohé is unclear. Despite his death, entries continued to appear in trade directories under his name. In 1882 he is listed as working out of 24 Wigmore Street. By 1895, his address is listed as 3A Wimpole Street, Cavendish Square, an address he apparently vacated before his death. Around 1910, his entry has changed in trade directories to 'James Grohé, watchmaker, late 3A Wimpole St. & 24 Wigmore St. removed to Smith (Bolton), 26 Duke St. Manchester Sq. TN755 Paddington.' This entry continues to be recorded through 1920. It is known that Pennington and Typke would advertise their business as 'Pennington and Typke, successors to Grohe' until at least 1870, sometimes even signing new pieces simple as Grohé, until the early 1880's. John Pennington died in 1882, and it appears that Typke changed the signature of the business to 'Herman William Typke, Watchmaker, and James Grohe, Watch and Clock Maker.' Oddly though, in the same trade directories that list Grohé, there is a separate entry for Typke which reads 'Typke, Herman William (successor to Grohé)', though both addresses match. A very enthusiastic article did appear in 1893, in which Typke's shop at 24 Wigmore Street is lavishly described, and it is noted that he is a maker to the Queen and Royal Family. This may have been from Queen Victoria's purchase, in 1855, of a carriage clock from Grohé. The article also states that Typke took over Grohé's shop in 1849 (the year Typke moved to the UK), with no mention of the partnership between himself and Pennington. Whether this was a mistake on the writer's part or intentional misdirection from Typke remains unknown. Typke died in 1909, so it is unclear who continued to list James Grohé's details in the trade directories for the next 11 years, or why. University of Leicester (2022)For further information on this lot please visit Bonhams.com

An important third quarter of the 18th century mahogany table clock with phases of the moon, time of high water, automatic representation of the state of tide, and date. Together with an 18th centuryoak box.Designed by James Ferguson, circa 1764, made by Samuel Northcote, Plymouth shortly afterThe bell top case with handle and four cone finials over shaped and circular glazed side apertures to a moulded base on later brass ogee bracket feet, the front door with brass edging and cast seashell quadrants. The 7.5 inch tall rectangular dial set to the arch with a rotating spherical moon, half-silvered/half-blued to represent the state of the moon in the night's sky, set over a hand-painted panel depicting a standing couple with goats by their side looking across the sea to a castle flying the Union flag on the opposite bank; the scene is centred by a painted sea inhabited by a manned rowboat, the sea panel is set on a vertical arm which is geared to the clock movement and automatically raises and lowers itself to indicate the relative height of the tides each day. The silvered Roman and Arabic chapter ring with inner concentric date set over a pair of subsidiary dials; the left hand side with twice I-XII scale around the moon's age 1-29.5 one hand gives the age of the moon, the other the time of high tide; the right hand side dial is divided into eight sections, the single hand geared to rotate and show the ebbs and flows of the ocean, each three-hour sector engraved variously for High Water - Half Ebb - Low Water - Half Flood - High Water - Half Ebb - Low Water - Half Flood, framing the engraved signature Samuel Northcote, Plymouth.The twin gut (now wire) fusee movement now with anchor escapement, and rack striking on a bell, the gearing for the falling and rising sea level is set between the front plate and the dial. The backplate repeat signed Saml. Northcote, Plymouth with interlaced straps and foliage. Ticking, tide automaton, spherical moon and subsidiary dials all apparently working. Together with a pendulum and two case keys. Together with a contemporary oak travelling box, the slightly tapering case with a deep top lid set over a pair of front doors opening to reveal a felt-lined interior, set with iron handles to the sides and a large shaped escutcheon plate and sliding bolt to the front. With the brass ogee feet removed, clock sits within this case. Presumably for travel, padded felt 'cushions' would have been used to give additional protection and provide a tighter fit. The travel case 58cms x 40cms x 24cms. (2)Footnotes:Literature:Ponsford, Devon Clocks and Clockmakers, 1985, pp109-111; Plates 36 and 37. Samuel Northcote senior (c1709-1791) was the son of a painter; two of Samuel's sons survived childhood, Samuel junior (c.1742-1813), who followed in his father's footsteps and James (1746-1831) who became a successful painter, though he had completed, on his father's insistence, a full horological apprenticeship in his own workshop. In his autobiography James says of his father that he was 'valued by all who knew him for his great integrity, abilities, and general knowledge...he was a pious, studious, humble and ingenious man.' Plymouth was a busy port in the 18th century, and Devon was home to many gifted minds. In 1740 Northcote and his good friend Lyne Brett were founder members of the Otter Club - a group of twelve men who would take morning baths in the sea, and once a fortnight meet for supper. Dr John Mudge, (1721-1793) brother of the celebrated horologist Thomas Mudge (1715-1794) was also one of the twelve members. John was a Fellow of the Royal Society and was awarded its Copley gold medal in 1777. Doubtless Mudge would have discussed the latest London experiments and events with his fellow Otters. It is worth noting too, that Thomas returned to Plymouth in 1771 in order to work on the problem of finding longitude at sea. Ponsford illustrates this clock by Samuel Senior in his definitive book and states 'Another bracket clock has a plate in the dial arch which rises and falls to indicate the state of the tide. Signed 'Samuel Northcote, Plymouth, it was made to a design by the astronomer James Ferguson, who visited Plymouth and stayed for several months as a guest of Northcote's friend, Dr John Mudge. The original clock of this kind was contrived by Ferguson in 1764 for Captain Hutchinson, dockmaster at Liverpool, but it was from Plymouth in May 1766 that Ferguson sent a detailed description of it to the Royal Society, together with a large drawing of the dial and its mechanism.' Ferguson himself described it as follows; 'a table clock, showing the hours and minutes, the day of the month, the moon's phases, age, and time of coming to the meridian, with the time of high water every day, and the state of the tide at any time of the day or night, by inspection.'For further information on this lot please visit Bonhams.com

An extremely rare late 18th century mahogany longcase clock with enamel dialSamuel Clare, Warrington The boxed swan neck pediment with verre-eglomised glass panels supported on freestanding brass-mounted Corinthian columns, the long trunk door of excellent figuring flanked by matching quarter columns on a panelled base to ogee bracket feet. The 12 inch dial comprising of two sections - the arch with central bowed signature cartouche flanked by exotic birds within foliate scrolls, the main dial cast to form a chapter ring within raised circular bands and a slightly convex centre, with hand painted bird and scroll corner decoration to frame the Roman and Arabic numerals, subsidiary seconds dial and date aperture with urn above, and pierced hands. The movement with four knopped pillars, anchor escapement and rack striking on a bell. With a pair of lead weights, a pendulum and a door key. 219cms (7ft 2ins) high.Footnotes:This very rare dial is comprised of two pieces of high-fired enamel, both contra-enamelled on the reverse and secured to a skeletonised brass frame via small screws through the front.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A rare mid-19th century French one-piece cased carriage clockBaullier (Père et fils) and Paul GarnierThe typical bevelled glazed case surmounted by a turned handle on baluster uprights with moulded frame on a stepped base with wooden block underneath, the front panel lifting up via an applied knob to allow for winding and hand setting. The silvered one-piece dial with engine turned centre, the Roman chapter ring framed by a watered-silk effect mask, and set with blued steel moon hands. The large twin spring barrel movement with a jewelled English lever platform escapement, the uncompensated monometallic balance with engraved cock, striking on a large flat bell, the backplate stamped Baullier Père et fils and in the centre P. G. Brevete. Ticking and striking. 18cms (7ins) highFootnotes:The Baullier dynasty of clock manufactures were established in 1789. By 1823, the elder Baullier was operating out of 102 Rue du Temple in Paris and advertising as a clock and watch maker. Three years later the firm had become Baullier, père et fils, still operating out of the same location. It seems likely that the younger Baullier was apprenticed to his father, finishing his apprenticeship in 1826. On 15 April 1827, the shop was relocated to 9 Rue Vendôme, and the firm appears to have expanded their offerings to included horological wholesale. Two years later, the firm had expanded again, to include gilt bronze clock cases. Confusingly, they are listed as still operating out of 102 Rue du Temple, as well as 7 Rue Vendôme. Additionally, a clock and watch maker named Baullier was listed as part of the committee for the Parisian 6th district town hall, beginning from this date. Two years after this, a horologist named Baullier served as juror. Sometime before 1836, the younger Baullier appears to have married a woman of very good standing, though as with the rest of the dynasty her first name remains unknown. In 1836, though, she is listed as a wealthy donor to a charity ball, specifically held to raise money for the poor of the 6th district in Paris. Her address is listed as 9 Rue Vendôme. Less then a year later, the name of the firm was changed to 'Baullier, Elder & Co.' and their address was listed as 9 Rue Vendôme. The firm's trades were described as 'clock makers, wholesale orders, gilt bronzes cases and watches of all types'. This title would be in place throughout 1839, though by this point the firm was known by several other names; 'Baullier, elder clockmaker 9 Rue Vendôme', 'Baullier's son & Co. Rue Vendôme', and the first mention of 'Baschet-Baullier 9 Rue Vendôme'. Similar to the Baullier family, Baschet's surname is unknown and very little is known about them. A year later, these titles were all still in use, though Baullier, père et fils 9 Rue Vendôme, had supplanted 'Baullier, Elder & Co.'It appears that Baullier Sr. had transferred the shop to Baullier Jr. and Baschet in 1841, a notice appearing in several trade journals that the latter were now the successors to the former. It is also the first time that Baullier's wife is listed in the trade journals, as a metal engraver working out of 48 Coquillière. Baullier is also listed as working out of this address as a horologist. No mention is given of Baschet trading at this location.Less then a year later, the Baulliers had relocated to 67 Vieux-Augustins, though the shop Baullier and Baschet took over remained at 9 Rue Vendôme. In 1843, mention is again made of a horologist named Baullier serving as part of the committee for the 6th district town hall; it is possibly that the elder Baullier's position on the committee was transferred to his son on the former's retirement, though it is also possible that the younger Baullier had been part of the committee since 1829. This same year, the famed conjuror and horologist began working out of 9 Rue Vendôme (having been at 11 Rue Vendôme the previous year) an address he would work out off until 1846.The following year, the firm exhibited during the 'Industry Exposition of 1844' though their name had again changed, now becoming 'Baschet, Baullier and brother'. They exhibited a selection of pillar clocks and gilt bronze cases. The firm's name was changed in trade journals as well, to 'Baschet, Baullier and brother', with mention being made that all three were the successors of the elder Baullier. In 1846, Baullier and his wife moved to 43 Vieux-Augustins, and the former expanded his offerings to include both horological repair and polishing. The firm expanded in 1847, to offer Carcel lamps (clockwork driven oil lamps) in addition to 'clocks and general horology'. In 1848, Baullier's wife advertised as a jeweller as well as a metal engraver, the couple had also moved again, to 55 Montmartre. Interestingly, Baullier's wife is also referred to as Mme. Hte, likely Madame Haute which was a designation for an aristocrat at the time. Based on her past involvement as a donor to a Parisian ball, it seems that she may have been quite wealthy.In 1849, Mme. Baullier began to specify that she was a metal engraver for horological items, likely meaning an engraver for back/balance cocks, backplates, etc. There is also no longer any reference to the Baullier brother, the firm's name reverting back Baschet Baullier. Two years later the shop would move premises for the last time, to 7 Rue Vendôme. Less then a year later, in Baullier's solo advertisement, working out of 55 Montmartre, he described himself as a shop horologist (a horologist who repairs horological items out of a non-horological shop), possibly indicating his wife owned a jeweller's shop at which he was the horologist. In 1854, the Baulliers were operating out of 49 and 55 Montmartre, moving to 47-49 Montmartre shortly after. In 1856, Baschet, Baullier and Callaud of 7 Rue Vendôme Paris took out a 15-year patent for an 'electric remontoire'. Callaud appears to have been a Parisian horologist who had been working in Paris since at least 1833. As he is only named in the patent, it is possible that he entered into partnership with Baschet and Baullier strictly for the manufacture of clocks with an 'electric remontoir'. The firm continued to advertise in trade journals until 1861, after which point no mention can be found of Baschet Baullier, or Baullier on his own. The advertisements for the Baullier's wife stopped a year previously, and never pick up again. This date, 1860-61, coincides with the very end of the third global cholera pandemic, and the very beginning of the fourth, making it possible that all three manufacturers were victims. In 1884, an obituary was published for Julie Bourlet, née Baullier, a 24 year old horologist. Further, in 1898, a marriage notice is published for Rose-Emilile-Pauline Baullier (no profession) to Jules-Louis-Joseph Abry (watch case manufacturer). What relation these two women have to each other, and the Baullier horologists described, remains unknown.As the clock is marked Baullier, père et fils, the clock would likely have been manufactured between 1826-1840 For further information on this lot please visit Bonhams.com

A good second quarter of the 18th century walnut table clockof small size.William Webster, LondonSurmounted by an unusual knopped brass handle on an inverted caddy framed by a deeply moulded cornice over glazed arched side windows to a moulded base and block feet. The 4.75 inch arched brass dial signed Willm Webster London in the strike/silent subsidiary with tulip shaped pointer over the silvered Roman and Arabic chapter ring with floating lozenge half hour markers, the matted centre with chamfered date and mock pendulum apertures under elaborately pierced blued steel hands. The twin gut fusee movement with five knopped and ringed pillars and knife-edge verge escapement, sounding the hours on a bell and repeating the quarters on six bells and hammers, the backplate intricately engraved with floral strapwork, a winged figure sprouting from the central flower and a bird in each corner. Ticking and striking with a door key. 35cms (13.5ins) highFootnotes:Provenance: The collection of Charles Smith, Topsham.For further information on this lot please visit Bonhams.com

A good late 18th century French ormolu mantel clockThe matte and burnished case cast with a spray of flowers over trailing grape vines and wheat sheaves on an open work frame raised on lion paw feet to a black marble plinth with cherub-cast frieze on turned feet. The 4.75 inch white enamel dial with Arabic minute band framing the Roman numerals and good gilt, matching hands. The spring driven movement with flat-bottomed circular plates united by four pinned pillars, the tic-tac escapement with silk suspension and outside count wheel strike on a bell. Ticking and striking the hours and half-hours. 53cms (21ins) highFor further information on this lot please visit Bonhams.com

A rare first half of the 18th century burr walnut quarter repeating table timepieceWattson, London (sic)The inverted bell top case surmounted by a handle over an intricately moulded cornice and tall arched glazed side windows on a moulded plinth on block feet. The 7 inch brass dial with shouldered arch set with a subsidiary date ring marked 1-9 consecutively, then 11-31 with odd numbers only, flanked by the signature and foliate engraving, four winged cherub head spandrels frame the silvered Roman and Arabic chapter ring with lozenge half-quarter marks and meeting-arrowhead half hour markers, the finely matted centre with engraved chamfered mock pendulum aperture. The single gut fusee movement united by six knopped pillars, knife edge verge escapement, the pull repeat sounding the hours on a (replaced) bell and the quarters on a run of six bells and hammers. The backplate signed in a leafy cartouche framed by symmetrical interlaced foliate scrolls. 47cms (18.5ins) highFor further information on this lot please visit Bonhams.com

An 18th Century brass-bound ebonised two-tune table clock playing on eight bells and sixteen hammers. Together with a later wall bracket.Richard Wilson, LondonThe inverted bell top case with foliate cast handle over a deep cornice, the front glazed door with gilt floral quadrant sound frets, similar to the rear, the sides with fish-scale frets backed in silk, on a plinth base and brass block feet. The eight inch arched brass dial with tune selection in the arch offering A Minuet or A March over two levers for Strike/Not Strike and Chime/not Chime, the Roman and Arabic chapter ring framing the finely matted centre with mock pendulum and calendar apertures. The triple chain fusee movement with thick plates united by knopped pillars, now with deadbeat escapement mounted on the backplate, rack striking on a bell, and playing the tunes on a run of eight bells and sixteen hammers, the backplate signature set within elaborate interlaced foliate scrolls and a line border. Ticking, striking and chiming, together with a pendulum and crank winding key, also with a substantial ebonised double-support wall bracket with moulded edge. (2) The clock case 57cms (22.5ins) high. The wall bracket adding a further 37cms (14.5ins). For further information on this lot please visit Bonhams.com

A late 17th century walnut marquetry inlaid longcase clockWilliam Clarke, LondonThe overhanging cornice on an inlaid entablature raised on (later) spiral columns, shallow convex throat moulding over a long door with three large panels of bird and flower inlay centred by an oval lenticel, on an inlaid base. The 12 inch square brass dial with winged cherub head spandrels framing the wide silvered Roman and Arabic chapter ring with fancy half hour markers, matted centre, ringed winding squares and chamfered date aperture. The weight driven movement with anchor escapement and inside count wheel striking on a bell. Case possibly associated. 2.06m (6ft 9ins) high.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A rare late 18th century figured mahogany longcase clock with high tide and calendar indicationKenyon, LiverpoolThe swan neck pediment with carved floral terminals over freestanding reeded columns to the front and rear, the shaped door with book-matched veneers framed by a walnut border, flanked by quarter columns over a base with applied panel and canted corners to the stepped base with carved ogee bracket feet. The 13 inch arched brass dial with painted rolling moonphase over engraved planets, the Roman and Arabic chapter ring with floating lozenge half hour markers framing the finely matted centre with burnished foliate scrolls emanating from the root of a triangular aperture revealing one of the Deities of the days (Luna, Mars, Mercury, Jupiter, Venus, Saturn and Apollo) painted in colours, under elaborate steel hands; the uppermost corners set with a silvered subsidiary dial giving date of the month (marked in Roman numerals) and high tide indicator. The twin weight driven movement united by four knopped pillars and smooth barrels, anchor escapement and internal count wheel striking on a large bell marked G. Ainsworth WarrN. 224cms (88ins) highThis lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A good early 19th century rosewood gothic style table clockG & W Yonge, LondonThe lancet shaped case surmounted by an elaborate finial on a stepped gadrooned plinth flanked by a further pair of finials on brass mounted cluster columns to a plinth on gadrooned ball feet, the sides with lancet shaped pierced brass frets backed in red silk. The seven inch signed silvered Roman dial with open moon hands. The five pillar, twin wire fusee shouldered movement with anchor escapement and rack striking on a bell, the plain backplate signed to the centre. Ticking and striking, together with a bezel key. 56.5cms (22ins) highThis lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the UK, see clause 13.For further information on this lot please visit Bonhams.com

A fine and very rare large late 19th century patinated and bronzed alloy conical pendulum clockThe figure stamped A. Carrier. The patinated figure of a woman sporting a diadem in crimped and waved hair tied high in a stylised top knot, her classically inspired dress bunched above the waist and cast with flowing creases and a gilt-heightened fringe; with her left arm raised she gazes towards the pendulum rod as it continuously rotates, a sheaf of leaves in her lowered right hand; she stands - without shoes - on a shaped base festooned in heavy laurel and berry swags, further mounted on an ebonised wooden stand with bowed sides and elaborately moulded base. The 5.5 inch black dial with gilt Roman numerals with each minute marked by a single line and with subsidiary dial for running seconds (hand missing) at XII, with gilt Breguet style moon hands. The spring driven movement wound through the dial, with vertical pinion above XII to drive a continuously rotating open arrow hand in which sits the tip of the pendulum rod, the spherical two-part bob applied with five-pointed stars (29 of the original 30 still in position), with a simple hook at the top to locate into the silk suspension to allow for free rotation. Striking the hours on a bell. The figure 1.48m (4ft 10.5ins) high; the pedestal 91cms (3ft) high. Total height 2.39m (7ft 10ins) high. (Farcot)Footnotes:The top of the backplate is punch numbered 125, 450, with an oval stamp between reading B. R & Cie B T S. G. D. G. Paris. The bottom of the backplate is stamped YMT in a circle.An identical model, but with enamel dial featured in The Joseph M. Meraux Collection of Rare and Unusual Clocks, Sotheby's New York, June 28th 1993, lot 499, sold for $23,000. Another similar model by Farcot on a marble plinth also featured in the same sale, lot 494 sold for $134,500.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A late 17th and later ebonised basket top table clockDaniel Parker, Londini The later bespoke case with repousse basket over glazed sides and a moulded base on bun feet. The re-gilt dial with replaced chapter ring enclosing the finely matted centre. The movement with five latched turned pillars and fusees now cut for chain, to a re-instated knife-edge verge escapement, with numbered outside countwheel striking on a bell, the backplate signed Daniel Parker, Londini in a scroll cartouche within a series of foliage and flowers in a single line border. (restorations) 35cms (14ins) highFor further information on this lot please visit Bonhams.com

An early 18th century walnut longcase clockStephen Asselin, LondonThe overhanging cornice with silk-backed fret set on Doric columns, the long door with feather banded border framed by a D-moulded edge on a matching base and stepped plinth. The 12 inch square brass dial with cherub and crown spandrels enclosing the silvered Roman and Arabic chapter ring with lozenge half-quarter markers and signature centred at VI, the matted centre with ringed winding squares and decorated date aperture. The movement with five knopped pillars, anchor escapement and rack striking on a bell. Together with a brass-faced pendulum and two brass-clad weights. 2.07m (6ft 9.5ins) high.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A fine and rare late 18th century Chinese Imperial tribute paste-set ormolu and white marble quarter striking, centre seconds 'Double Gourd' table clockThe movement, pendulum and dial swinging horizontally as one in the open centre of a double gourd frame supported by a large tied foliate mount on a stepped oval socle applied with an open ormolu frieze of overlapping and intertwined scrolls and foliage, the top of the frame surmounted by a shaped ormolu mount depicting a stylised bat among clouds below a pineapple, the front of the frame set with over 160 individually shaped brilliant turquoise square-cut glass stones mounted between cast foliage and beading. The white enamel Roman dial with Arabic quarters centred by a pair of paste-set hands and centre seconds hand, all framed by a multi-coloured bezel of 92 applied blue, red, yellow and clear paste gems mimicking sapphires, rubies, topaz and diamond. The pendulum-rod mounted with a similar running design of oval-cut paste gems and centred by a red-framed long life medallion, suspended on a knife edge mount set behind the finial. A pair of hinged arms mounted to the rear of the frame allow the clock to be secured for transit. The twin spring barrel movement suspended on a knife edge with fine-screw adjustment set behind the top finial, the circular plates united by turned pillars, with deadbeat escapement mounted on the backplate; striking the quarters every fifteen minutes on a large bell and a pair of hammers, the whole backplate framed by an engraved running border and with stylised signature Luloilu(?). Ticking and striking. 68cms (2ft) high.Footnotes:Provenance:The Dimitri Mavrommatis Collection. Literature:Illustrated and discussed in White, I. (2012) English Clocks for the Eastern Markets 1580 - 1815. Ticehurst: Antiquarian Horological Society, Figure 8.41. Comparative literature:Xiuhua, L., Xiaopei, Q. (2002) Clocks and Watches of the Qing Dynasty From the Collection in the Forbidden City. Beijing: Foreign Languages Press.Magnificent Clocks for the Chinese Imperial Court from the Nezu Museum, Christies Hong Kong, 27th May 2008, lot 1501.For further information on this lot please visit Bonhams.com

A very rare, dated, mid 18th century mahogany-crossbanded oak longcase clock with Dutch strike and bolt-and-shutter maintaining powerHenry Hindley, YorkThe inverted bell top with shaped cresting flanked by twin capped pedestals over a stepped multi-part cornice raised on freestanding reeded Doric columns, the long trunk door with mahogany crossbanded edge on a matching panel base and apron. The 12 inch arched brass dial with large subsidiary date dial framed by addorsed dolphin mounts over mask-and-scroll spandrels enclosing the silvered Roman and Arabic chapter ring signed either side of VI, the finely matted centre with running seconds and matted shutters for the maintaining power. The weight driven movement secured to the (replaced) seatboard by twin J-bolts locating into the lower edges of the plates which are united by four typical turned baluster pillars of particularly good colour, the going train with maintaining power engaged via a pull cord below, the striking train with rack striking system on a bell, (originally Dutch striking, now one bell hammer removed). The frontplate with engraved date 1743. The tapering steel rod pendulum with brass faced lenticular bob, and a pair of lead weights. 2.41m (7ft 11ins) high.Footnotes:Henry Hindley was born 'Henry Hindle' in 1699 to Margaret Proctor and Henry Hindle, a blacksmith, in Great Harwood, near to Blackburn. The Hindles were a well-known blacksmith family in Great Harwood, going back at least 150 years. It has been suggested that Henry served his apprenticeship in Wigan and at least two clocks signed Hindley de Wigan and dated to around 1720, are known to exist, which would support this conclusion. It is unknown who his master was; John Burgess, a Wigan clockmaker and gun smith, has been suggested, though there is no concrete proof that this was the case. Henry was the eldest of eleven, possibly twelve children. His sister, Katherine, was around a year his junior, followed by John (1704), Elizabeth (1705), Sarah (possibly another sister, though not confirmed), Mary (1708), Anne (1709), Edith (1711), another Anne (1713), the twins Margaret and Alice (1714), and the youngest of the siblings, Roger, who was born in 1716. By 1731, Hindley was in York, obtaining the Freedom of the City in March of that year. In order to gain Freedom in York, a horologist either had to be apprenticed in York, or pay for their freedom, with gifts being accepted in lieu of payment. Hindley accordingly gifted two specially made eight-day longcase clocks; one for the Mayor of York's home (Mansion House) and another for the Common Hall/Guildhall. He also agreed to maintain both clocks for a year (after which point, he would be paid for servicing them) and was subsequently granted his freedom. At some point, he married a woman named Sarah, and the couple had at least two children, Elizabeth and Joseph. The latter was born around 1728 and would likely have been apprenticed to his father.Hindley originally appears to have lived in Petersgate, before moving in 1741 to the corner of Blake Street and Stonegate. Around the time of his move to York, he seems to have apprenticed his younger brother Roger, though no formal record of this apprenticeship exists. Roger would later move to London, seemingly around the time that Henry moved to Blake Street and Stonegate. His main trade was watch-cap manufacture, and as no finished timepieces are known with his signature, it is assumed he built his career on supplying parts for the trade. He was known to have married, and the couple had at least one son, John. The last known record of this part of the Hindley family is in 1785, where Roger is noted as still an active horologist. In addition to changing residence in 1741, Henry Hindley made the acquaintance of John Smeaton, who would eventually become a London scientific instrument maker and civil engineer, as well as a life-long friend and posthumous promoter of Henry Hindley. During their first meeting, Smeaton references a wheel-cutting engine in Hindley's possession, and of Hindley's own manufacture around this time, which was equipped with an endless screw, and the ability to cut up to 360 teeth. Smeaton was so intrigued with the machine and its manufacture, that he would later deliver a lecture before the Royal Society in 1785, specifically about the machine and Hindley's process for dividing circles. The machine was acquired by a varied string of clockmakers, after Hindley's death, and alternatively run down and restored. It is unknown what eventually became of it.In addition to clocks, around 67 of which are extant (most being longcases, followed by turret clocks and then spring driven clocks) Hindley was known to have made at least two equatorial telescopes. The first was made around 1754, a contemporary opining that the mounting for the telescope was originally made to test the accuracy of Hindley's wheel cutting engine. He advertised the finished telescope for sale in the local newspaper of August that year, though it seemed to generate little interest. The telescope languished until 1761, when it was bought by a landowner, William Constable, to watch the transit of Venus. The second telescope Hindley made appears to have been made on commission for the Duke of Norfolk. Additionally, a pyrometer and rack-driven fusee engine are known to have been made by Hindley. Elizabeth died in 1762, the exact cause being unknown. Sarah followed shortly after, around the end of the same year. Henry continued his business until his death in 1771, reportedly after a 'lingering illness', though he managed to install a turret clock made for St. John's Church in Manchester before his death. One of the last jobs completed before his death, poetically, was the servicing of the clocks he had made for the Manion House and the Guildhall. He was described in his obituary as a 'Clock, Watch, and Mathematical Instrument maker.' Joseph took out a notice the following week, that he would be continuing his father's business. In 1774, shortly after completing work on the Holy Trinity Church's clock in Hull, Joseph also died, apparently in the middle of making an atmospheric steam engine for the same town's waterworks. He was described as a clock and watchmaker, with his obituary declaring him 'a most ingenious man, and esteemed one of the best Mechanics in the North of England.' Joseph had no children, nor did he ever marry, meaning that six months later, all the tools he inherited from his father were sold off, including the famed dividing engine.For further information on this lot please visit Bonhams.com

A fine mid 18th century gilt metal mounted burr walnut table clockRobert Higgs, LondonThe stepped caddy top with substantial brass centre section, flanked by five ball-and-spire finials over a concave cornice supported by a well-cast Caryatid mount to each of the canted corners, terminating in a stepped brass base on cast block feet, the sides with shaped sound frets within brass frames. The seven inch arched brass dial with large date subsidiary over twin smaller subsidiaries for regulation (marked Adelantar and Atrafar) and strike/silent (Tocar/Silencio), the silvered Roman and Arabic chapter ring framing the finely matted centre carrying the shaped signature plaque, with fine blued steel hands. The movement with substantial plates united by six knopped pillars, pivotted verge escapement with rise-and-fall regulation, rack striking on a bell with trip repeat. Ticking, striking, together with a door key. 57cms (22.5ins) high.Footnotes:Provenance:Anthony Woodburn.For further information on this lot please visit Bonhams.com

A good mid-late 19th century French brass table regulator with perpetual calendar and moonphasePhilibert Bally, Paris, and Japy Frères No. 1855The concave cornice over two glazed sides and glazed doors, raised on a moulded brass base. The Roman dial with Breguet style hands and recessed centre with visible jewelled Brocot escapement, signed Pert Bally Paris, the lower dial displaying phases of the moon, month, day, leap year indication and date, personifications of Spring and Autumn painted in delicate colours to either side, all dials sunk into the florally engraved brass mask. The twin spring barrel movement with visible jewelled Brocot escapement, and outside countwheel striking on a bell, the backplate stamped 1855 above the stamps for Philibert Bally and Japy Frères. Striking the half and full hours with a winding key and three bar gridiron pendulum. 42cms (16.5ins) highFootnotes:Antoine-Philibert Bally is first recorded in 1844 at the National Exposition in Paris. It is not known where he served his apprenticeship. In August 1847, he took out a patent for a new method of cutting anchor escapements. He is noted as working out of number 25 Notre Dame de Nazareth at this point. He exhibited at the National Expositions in 1849 and 1851; he also took out another patent in the latter year for his 'étouffoir économique', roughly translated as an 'affordable damper/extinguisher'. In the patent, he is recorded as still working out of number 25 and described simply as a Parisienne horologist. Less then a year later, Bally had taken out another patent, for a mechanical perpetual calendar. He had apparently moved to number 26 and was described as a clock and watch maker. Interestingly, he took the patent out together with Dumouchel, who was described as a Parisienne horologist working out of number 4 Rue de Bretagne. Based on the descriptions, it is possible that Dumouchel had the basic idea for the calendar, and Bally was able to supply the practical knowledge which turned the theory into reality, though this remains speculative. This partnership, if that is what it was, does not appear to have produced more patents; in 1853 Bally took out a patent on his own for a repeating alarm clock, presumably including the new mechanism in his exhibit at the National Exposition of that year. The alarm clock would sound the hour at the appointed time, and then repeat the hour every five minutes until turned off. He is again described as a Parisienne horologist, working out of 25 Notre Dame de Nazareth. This patent seems to have attracted notice; over forty years later, Bally would be grouped together with the likes of Brocot and regarded as an original and inventive horologist. Bally exhibited at the 1855 National Exposition, and his next patent was taken out in 1857, for an eccentric remontoir; unfortunately, the details of this remontoir are not known. His address was listed as 46 Rue de Bondy; it seems likely he moved at some point between 1855-1856. Bally next exhibited at the 1861 exposition, possibly winning bronze, though this is not confirmed. He was still working at 46 Rue de Bondy in 1864, when he patented a new method for turning tallow into stearic acid. Stearic acid has been used as a foodstuff, but also in candle and soap making, the latter most endeavour possibly being how he came upon the method as a working horologist. In this same year, he was advertising the shop as Maison Philibert Bally and boasting a wide range of bronze statues and clock cases, all types of pendulum clocks, candelabras, wood sculptures and a number of different horological curiosities. In April of 1864, he exhibited his stock to the public over two days, before auctioning off a significant amount of it between 25-29 April. The auction appears to have been significant as catalogues were even printed; Catalogue des modèles et surmoulés en bronze de la Maison Philibert Bally, fabricant de bronzes d'art et d'horlogerie. It is unclear if the auction was to divest excess stock or indicated financial need on Bally's part.In 1865, it appears that Bally took out another patent, for a device to improve the precision of bottle making. Unfortunately, no address is listed in the patent application, the application itself being taken out by Vinck, in 33 Boulevard St.-Martin. In 1867, a patent was taken out for an 'Advanced pendulum balance', with Vinck again listed as the representative. This same year, Bally exhibited at the National Exposition, possibly with the pendulum balance. The following year, Bally patented a new type of grande sonnerie movement and his address was listed as 14 Rue d'Aboukir. It appears that this was Bally's new shop, though exactly when he moved in is unclear.In 1872, he took out a patent, again with Vinck's representation, for a new type of candle-lit night clock. This patent was apparently quite a success; Bally was mentioned in an 1875 horology book as one of the preeminent makers of such clocks, the author dismissively noting that Bally 'even made pretensions toward regulating them'. In 1877, a novel bed was patented by a Bally, working out of 83 Rue du Faubourg Saint-Honoré. It cannot be confirmed if this was Philibert, if so, it would suggest another change of address. If this was Philibert, it would be the last patent he took out, as he seems to have died sometime around 1877. One of his patents, the improved bottle making device, came up for renewal in 1879. The renewal was filed by his wife, who was noted as 'the widow Bally'. As there are no other patents filed under Bally's name after this point, or any advertisements placed in trade journals after 1876, it seems likely that he died around this time.The Revue Chronométrique would later remember Bally, around the turn of the century, as a skilled horological innovator, writing several paragraphs about his repeating alarm patent. Regulators appear to have been a preference for Bally; an ebony regulator by him was sold in a house sale in 1892. In the catalogue, the regulator is described simply as being from 'chez Bally'.Firmin-Didot, A. (1857-1880) Annuaire-almanach du commerce, de l'industrie, de la magistrature et de l'administration. Paris: Firmin-Didot frères.(1864) Catalogue des modèles et surmoulés en bronze de la Maison Philibert Bally, fabricant de bronzes d'art et d'horlogerie. Paris: Renou et Maulde.Requier, C. (1898) 'Les Réveils a Répétition', Revue chronométrique: journal des horlogers, scientifique et pratique, No. 496, pg. 11.Anquetin, M. (1875) L'horlogerie : des montres en général, de ceux qui les font, de ceux qui les vendent, de ceux qui les réparent et de ceux qui les portent. Paris: Modeste Anquetin, pg.129. Ministère du Commerce (1851-1880) Catalogue des brevets d'invention. Paris: J. Tremblay.(1864) Le Constitutionnel: Journal politique, littéraire, universel, 19 April, pg. 2. Mannheim, C. (1892) Catalogue des objets d'art et d'ameublement, faïences italiennes et autres, porcelaines de Saxe, de Sèvres, de Chantilly, de Chine et du Japon. Paris: E. Ménard et Cie.La Nature (1905) 'Calendrier Perpétuel Automatique', Revue chronométrique: journal des horlogers, scientifique et pratique, No. 581, pg. 220.National Center for Biotechnology Information (2023) PubChem Compound Summary for CID 5281, Stearic Acid. Available at: https://pubchem.ncbi.nlm.nih.gov/compound/Stearic-Acid.For further information on this lot please visit Bonhams.com

An early 19th century rosewood table clock with pull repeatBarrauds, Cornhill, London, No.1062The lancet shaped case surmounted by gadrooned finials on lobed and quatrefoil pedestals, the sides with gothic-arched silk-backed frets with architectural fretwork, on a lobed plinth and matching feet. The signed 7 inch painted Roman dial with good hands and a cast bezel over a brass-mounted recessed panel. The signed twin gut fusee movement with anchor escapement and a pendulum with facetted brass rod and stirrup type regulation, with rack striking on a bell. Ticking, striking and repeating, together with two case keys. 55cms (21.5ins) high.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the UK, see clause 13.For further information on this lot please visit Bonhams.com

A late 17th century walnut longcase clock with 10 inch dial, bolt-and-shutter maintaining power and green-stained inlayRobert Seignior , London The overhanging cornice with inlaid entablature supported on twisted columns, the long door decorated with six panels of delicate inlay featuring tulips, carnations, roses and other flowers interspersed by green-stained bone leaves in shaped ebony and boxwood borders, with oval lenticle, the matching base on bun feet, the sides decorated with three boxwood lined panels. The 10 inch square brass dial with large winged cherub head spandrels framing the silvered Roman and Arabic chapter ring, finely matted centre with small subsidiary seconds dial, and date aperture, signed along the lower edge. The movement united by five latched, knopped and ringed pillars, with anchor escapement and outside count wheel striking on a bell. Together with a brass-faced pendulum, two brass-clad weights and a trunk door key. 1.97m (6ft 6ins) high.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A good late 17th century ebony table clockDaniel Quare, LondonThe case with typical turned handle on S-scroll uprights on ball pommels over a caddy with four applied mounts, the sides with rectangular glazed panels to a moulded plinth and replaced block feet. The 6.5 inch square dial with winged cherubs heads spandrels framing the silvered Roman and Arabic chapter ring with fancy half hour markers and inner quarter track, the finely matted centre with ringed winding squares and decorated apertures for date and mock pendulum, signed between VII and V, with blued steel hands. The twin gut fusee movement with six knopped and ringed pillars, pivoted verge escapement, the striking train with rack strike on a bell (quarter repeat train now removed). The backplate with single line border framing a symmetrical pattern of interlaced foliate scrolls centred by the signature in a wheatear border 39cms (15.5ins) high. This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

[Brontë (Emily and Anne)], "Ellis and Acton Bell". Wuthering Heights and Agnes Grey, second English edition, second state title dated 1851, half-title, 1f. advertisements at front, lacking 16pp. publisher's advertisements at end, contemporary ink ownership inscription of "Joseph Craven, Prospect House 1850" to half-title, occasional light spotting, modern calf-backed boards, [Smith 3 pp.63-69], 8vo, 1851 [but 1850].⁂ Around September 1850 Smith, Elder & Co. wrote to Charlotte to suggest that they take over publication of Wuthering Heights and Agnes Grey from Thomas Cautley Newby. Charlotte agreed and included a biographical preface regarding Ellis and Acton Bell in order both to clear up the confusions surrounding the authorship of the Brontë novels as well as to reveal the true identity of the Bells.

William Evans, Shrewsbury, Double Fusee Bracket Clock Mid 19th century bracket clock by William Evans, Shrewsbury, double fusee 8-day movement striking on a single bell, white painted metal dial with Roman numerals, convex glass with brass bezel. Mahogany arched case, the moulded cornice with floral decoration either side of a central rosette, chamfered edge, pierced grilles to either side over a cushion moulded base32cm wide, 18cm deep, 40.5cm highCracking to the top and left front of the mahogany case. Clock ticks and strikes on the hour, however we do not guarantee the working order or time keeping of any timepiece.

Late 18th-century longcase clock Late 18th-century longcase clock, 8-day movement striking on single bell, painted arched dial decorated with classical urns and swags of flowers, Roman numerals, oak and mahogany crossbanded case, canopy with swan neck pediment, trunk with single long door flanked by fluted quartered columns, box base.height 221cm (87")Movement requiring refurbishment, original seat board, dial scratched with movement of fingers across surface, replacement turned finials.

John Oliver, Manchester Longcase Clock John Oliver, Manchester, mid-18th century longcase clock, 30 hour movement with external countwheel striking on a single bell, square brass dial with a silvered chapter ring, Roman numerals, single finger with a subsidiary date aperture. All contained in an oak case with a moulded cornice over a plain frieze with three oval cutouts, square glass with columns to each corner of the hood and glazed side panels, long door to trunk with moulded bead and glass bullseye panel, box base 52cm wide, 25cm deep, 200cm high

John Grindall, Dumfries, circa 1889 longcase clock John Grindall, Dumfries, circa 1889 longcase clock, 8-day two train movement striking on single bell, brass arched dial with rolling moon with day date markers, main dial with ormolu spandrels, silvered chapter ring marked with Roman and Arabic numerals for hours and minutes, central dial with secondary date aperture and minute dial finely engraved with scrolling tendrils, mahogany case with brass finials to canopy, glazed single door enclosed by two classical columns with brass mounts, central long door with quartered columns, each with brass capitals, box base with chamfered corners, all standing on bracket feet.width 56cm (22"), depth 24cm (9.5"), height 250cm (98")Clock movement completely refurbished, some slight discolouration to silvering on chapter ring, case with good figuring to mahgoany.

Robert Fletcher, Chester Longcase Clock Robert Fletcher, Chester, early 19th century longcase clock, 8-day movement striking on a single bell with false plate and rolling moon stamped 'Wilson, Birmingham' to the rear, painted arched dial with Roman and Arabic numerals, subsidiary seconds dial and date aperture. All contained in a mahogany case, moulded cornice over boxwood parquetry with an arched glazed door flanked by brass capped columns, trunk with quartered reeded pillars, over a box base with chamfered edge raised on bracket feet206cm highClock ticks and comes with pendulum and two weights. Rolling moon does not function and clock does not strike. Movement has false plate to rear of the dial. Dial and hood do not fit snugly with room to each side, likely a marriage.

Late 19th Century Black Forest Mantel Clock Late 19th century Black Forest mantel clock, French 8-day Japy Freres movement striking on a single bell with an outside countwheel, backplate stamped with makers mark and numbered 3558, carved dial with brass Roman numerals, the carved case with four birds on a rocky outcrop surrounded by leaves and other foliage.49cm wide, 23cm deep, 56cm highClock movement and detached bell require repair and/or restoration, the movement does strike on the hour and half hour, it also ticks but not for a prolonged period. A couple of breaks to the carved leaves on the case. Comes with key.

A quantity of collectables to include a brass ships bell, a lantern, vases, an iron and skillet and a bullet mounting tool (7)

A quantity of green Wedgwood Jasperware to include vases, a table bell, cups, saucers and a trinket box (24)

A GOOD 18TH CENTURY FRENCH TORTOISESHELL AND ORMOLU BRACKET CLOCK with eight day movement striking on a bell, the painted circular dial signed, PICART A REIMS, in a case with ornate cast ormolu mount and matching bracket. Clock with mount 3ft high.

A LARGE COLLECTION OF CABBAGE PATTERN SERVING DISHES including five Wedgwood examples, stamped to the base, 28cm wide, three further Wedgwood stamped examples, decorated with bell flowers, 24.5cm wide, another Wedgwood stamped piece, 28cm wide, and thirteen others (a lot)

AN 18TH CENTURY OAK LONGCASE CLOCK BY WILLIAM GLOVER OF WORCESTER the 29cm brass dial with spandrels, subsidiary seconds and calendar aperture to the eight day two train movement striking on a bell, contained in case with blind fret leaf frieze and turned pillars to hood, the trunk door with arched marquetry, on turned feet, 195cm high

A 19TH CENTURY BOULLE MANTEL CLOCK BY R. FAGE OF PARIS the shaped case with cockerel finial, ormolu mounts and porcelain dial to an eight day movement striking on a bell, 32cm highProvenance: The Estate of the late John Rollo Somerset-Paddon, formerly of Chalk Newton House, Maiden Newton, Dorset, thence by descent.

AN EARLY VICTORIAN MAHOGANY DROP DIAL CLOCK BY EDWIN CLARK OF LONDON the 38cm diameter white painted dial to the fusee movement with shaped back plates, striking on a bell, contained with case with turned bezel, the lower case with brass stringing, 71cm high x 48cm diameter, with winding key and replacement case key

AN 18TH CENTURY OAK LONGCASE CLOCK BY COURTER OF RUTHIN the 30cm wide dial with silvered chapter ring, spandrels, subsidiary seconds and calendar dials to the eight day two train movement striking on a bell, contained with case with blind fret frieze and pillars to hood, the trunk with shaped door and quartered columns, 205cm highProvenance: Purchased Wilkinson's, Period Oak, Paintings, Carvings etc., 19/06/16, Lot 448, £280. The residual contents of Claveys Farmhouse, Mells Green, Somerset.

Mixed group of collectors items to include; Stereoscope and cards, opera glasses, oil lamp, cigarette/ trade cards unpainted lead figures and a Bell Brand pewter tray, 38cm x 50cm

Quantity of Bells Scotch whisky Wade bell decanters including James Watt, Alexander Graham Bell, Christmas, etc (contents unchecked)

Quantity of Bells Scotch whisky Wade bell decanters relating to Royalty (contents unchecked)

19th Century Scottish inlaid mahogany-cased 8-day painted dial longcase clock, J. Breakenrig, Edinburgh, the signed 13-inch break-arched Roman dial with subsidiary seconds and calendar rings, within rose spandrels and beneath arch painted with a young faggot-gatherer on a bridge, the four-pillar movement rack-striking on a bell, the case with swan-neck pediment and gilt ball and spire finial over blind fretwork, fluted hood columns and trunk quadrants flanking a boxwood-strung door on conforming base, 220cm high

Three floral needlework bell pulls, a killim and 2 small rugs