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A George III ebony and ebonised bracket clock, arched brass dial signed James Green in the lunette, pagoda top, chapter-ring with Roman numerals, pendulum and date apertures cast spendrels, double fusee movement with crown wheel escapement striking on a bell, and with repeat function, the case with a moulded casket hood and metal grilles to the door spendrels, height 54cm.

Edwardian painted satinwood occasional table, oval top decorated with a vignette of a courting couple, floral border, the friexer and legs painted with bell flowers and scrolls, similarly painted stretcher, splayed feet, 40x30cm, height 71cm.

English wine flute, late 18th Century, trumpet-shape bowl, over an elongated teardrop, centre knopped folded foot, 15.5cm; an ale flute, slender bell-shape bowl, centre knopped stem with multiple teardrops, stepped foot, 16cm; an ale glass, trumpet bowl, double-knopped multi-airtwist stem, 18cm; and a wine glass, trumpet-shape bowl, slender spiral-twist stem, folded foot, 16cm. (4)Condition report:The tallest ale glass has a firing inclusion mid-way down the bowl and various other internal air bubbles to the bowl.Wine flute - pinpoint firing inclusions, but otherwise ok.Bell-shaped ale flute - generally fine except very light surface markswine glass, slender stem - various inclusions in the glass throughout, otherwise fine

A FRENCH ENGRAVED GILT BRASS GORGE CASED CARRIAGE CLOCK WITH PUSH-BUTTON REPEAT AND ALARMPONS, PARIS FOR RETAIL BY WILSON & GANDER, LONDON, MID 19th centuryThe two-train eight-day frosted gilt movement striking the hours on a bell and with alarm sounding on the same bell, the going train with gilt platform lever escapement regulated by sprung monometallic balance, the backplate numbered 648 over stamped Pons, MEDAILLE D'OR roundel to centre and the frontplate with further number 76 stamped to the inside lower edge, the rectangular white enamel Roman numeral dial inscribed FABRIQUE DE PARIS, WILSON & GANDAR, 392 STRAND to centre, with blued steel moon hands over subsidiary alarm setting dial to lower margin, the gilt gorge case with leafy trail decorated hinged lobed carrying handle over full-width top glass and repeating lappet-leaf and foliate trail engraved complex upper mouldings, with rosette divided matted panel-decorated channelled corner uprights and generous ogee-shaped base further engraved with a band of repeating leaves over rococo scrollwork; with original tooled Morocco covered carrying case.The clock 15cm (6ins) high with handle down, 10cm (4ins) wide, 9cm (3.5ins) deep. Pierre-Honoré-César Pons was born in Paris in 1773 and after studying with the Jesuits in the rue Mouffetard he went to train under the eminent clockmaker Antide Janvier. Unfortunately the unrest of the French Revolutionary period disrupted his training but he was recommended by Janvier to the prestigious Lepaute family who took him on in 1798. Pons completed his training under the Lepautes and developed an interest in precision horology; in 1803 he opened his own workshop rue de la Huchette, near the Place Saint-Michel. In order to satisfy the financial demands of running a workshop, whilst taking time to work on the development of precision horology, Pons acted as supplier of movements to many the eminent horologists of the period such as Berthoud, Breguet and Lepine. During this time he developed several escapements and created improved wheel-cutting and pinion polishing machines. With the encouragement of Ferdinand Berthoud in 1804 Pons presented his 'Observations sur l'échappement libre' to the Academy of Sciences where it was praised by the jury and the Academy congratulated him.Around this time the French clockmaking town of Saint-Nicholas d'Aliermont was in crisis due to the collapse of the industry. Napoleon's minister responsible for Fine Arts, Industry and Commerce, the Count de Champagny, ordered the Académie des Sciences to find someone suitable to turn the industry around. Honoré Pons was approached as he had the necessary skills and had developed the tools and practices most appropriate for the task. After a period of reluctance he accepted on the basis that the state will pay him a generous amount for his machines as long as they were installed and used in the Saint Nicholas workshops. By 1808 Pons was producing fine quality 'blanc-roulants' for an affordable price which received high praise from makers such as Breguet and recognition by the Academie in their report to Napoleon Bonaparte.Over the following decades Honoré Pons expanded the Saint Nicholas operations and became a principal supplied of movements to the Parisian clockmaking trade from his premises in Paris's rue de la Barillerie on the île de la Cité. In 1827 he was awarded a gold medal and in 1839 was awarded the Croix de la Légion d'Honneur by King Louis Philippe. In 1846, at the end of an illustrious career, pons sold his firm to Borromée Délépine and retired, living in an elegant Parisian mansion at 20, rue Cassette.Condition Report: Movement is in clean fully working condition (including the alarm) and appears fundamentally all-original. The dial appears free from visible damage. The case has overall light to moderate gilt wear/rubbing however the engraving id fine and crisp throughout. The glasses appear free form visible chips. The outer travelling case is a little large for the clock so is probably not original; the leather is punctured over the repeat button and the carrying strap is worn. Otherwise faults to the travelling case are generally limited to wear, bumps and scuffs commensurate with age and use.Clock is complete with a winding key. Condition Report Disclaimer

A FRENCH GILT MID-SIZED GORGE CASED REPEATING ALARM CARRIAGE CLOCK PROBABLY BY JACOT, PARIS, FOR RETAIL BY AUBERT AND KLAFTENBERGER, GENEVA, CIRCA 1870 The eight-day two-train bell striking movement regulated by frosted gilt platform lever escapement incorporating sprung bimetallic balance and alarm sounding on the hour bell, the backplate further stamped 629 to lower left-hand corner, the rectangular white enamel Roman numeral dial signed AUBERT & KLAFTENBERGER, GENEVE to centre and with with blued steel moon hands over subsidiary alarm setting dial to lower margin, the gilt brass gorge case with hinged carrying handle over rectangular top glass and channel-moulded uprights, the rear with glazed door, on ogee-outline base.11.5cm (4.5ins) high with handle down, 7.5cm (3ins) wide, 6.5cm (2.5ins) deep. Provenance: Private collection, East Midlands. Details such as the straight uprights of the handle and full-width rectangular top glass can be compared to an engraved example by Henri Jacot illustrated in Roberts, Derek CARRIAGE and other TRAVELLING CLOCKS on page 148 (Figure 9-18). The escapement platform can also be closely compared to one fitted to a grande sonnerie clock by Jacot (number 825) which is illustrated in Allix, Charles and Bonnert, Peter CARRIAGE CLOCKs, Their history and development on page 114 (Plate V/14). Henri Jacot is recorded by Allix as working from 31 Rue de Montmorency, Paris as well as possibly having a factory in Saint-Nicolas-d'Aliermont. The business was awarded Bronze Medals at the Paris 'Exposition' in 1855 and in London 1862; Silver in Paris 1867, 78 and 89 and Gold, again in Paris, 1890. Although Charles Allix notes that Henry Jacot senior died in 1868 and was succeeded by his nephew of the same name further research by Leigh Extence has revealed that after his death Henri's business was actually continued by his brother Julien who was essentially only 'keeping the bench warm' until his son, and Henri's nephew Albert, was able to take over and move the concern forward in 1874. The business is thought to have continued until around 1920.The highly regarded retailer of clocks, watches silverware and objet d'art, Charles Ignaz Klaftenberger, was born in 1802 and entered into partnership with D.F. Aubert in 1835. The firm were appointed watchmakers to Queen Victoria and Prince Albert and traded from retail premises at 157 Regent Street, London. They exhibited at the 1851 Great Exhibition and the partnership appears to have lasted until 1863 after which it would appear that Klaftenberger worked alone until 1881. Klaftenberger only sold the finest carriage clocks supplied by the best makers such as Drocourt and Jacot, with the current lot being a fine example almost certainly supplied by the latter.Condition Report: Movement appears all-original and is in clean fully working condition. The dial is free from any visible damage. The case is generally in fine condition with faults limited to small corner chips to three of the four corners of the top glass and some slight blooming to the lacquer finish.Clock does not have a winding key. Condition Report Disclaimer

A FRENCH GILT BRASS CARRIAGE CLOCK IN ONE-PIECE CASEJAPY FRERES, PARIS, MID 19th CENTURY The eight-day two train bell striking movement with silvered platform lever escapement and stamped with oval trademark JAPY FRERES & CIE, EXPOSITION, 1853, GRANDE, MED. D'HONNEUR over serial number 2054, the recatangular white enamel Roman numeral dial with blued steel moon hands, the satin gilt one-piece caddy-moulded case with hinged carrying handle and cavetto moulded skirt base engraved with initials M. J. to front.13cm (5ins) high excluding handle, 8.5cm (3.375ins) wide, 7.5cm (3ins) deep. Provenance: The estate of Lawrance Hurst. The firm of Japy Freres et Cie was founded by Frederick Japy in 1774 who set-up a modest workshop in Montbeliard as a watch and machine tool maker. Japy expanded his business rapidly and by 1804, the year he was awarded the Legion d Honneur by Napoleon (in recognition for his Brevets in horological machinery), he employed 300 people at his manufactory in Beaucourt. From 1806, he took five of his sons into partnership and the firm expanded adding buildings at Badevel and La Feschotte amongst others to become one of the largest makers of clocks in Europe. The business continued into the Twentieth century but during the inter-war period went into decline and is thought to have finally wound-up in around 1840. A detailed history of Japy Freres et Cie is provided in Allix, Charles and Bonnert, Peter CARRIAGE CLOCKS, Their history and development chapter VI pages 133-48. 

A VICTORIAN CARVED MAHOGANY BRACKET CLOCKWIELAND, WALWORTH, CIRCA 1840The twin chain fusee bell striking movement with anchor escapement regulated by lenticular bob pendulum, with holdfast to the shouldered backplate and the bell inscribed in ink E. Wieland, Walworth, March 1844, Aug. '45 to interior, the 8 inch circular slightly convex Cream painted Roman numeral dial signed WIELAND, Walworth to centre and with gilt moon hands set behind hinged convex glazed cast gilt brass bezel, the shallow arch top case with draped leaf carved crest to top over applied stylised pineapple motifs beneath the dial, flanked by tapered ebonised uprights and canted sides fitted with brass repousse rosette ring handles over gilt gothic tracery rectangular sound frets, the rear with rectangular glazed door set within the frame of the case, on skirt base with canted upper edge and lobed bun feet.41cm (16ins) high, 33cm (13ins) wide, 16cm (6.25ins) deep. Three makers with the surname Wieland are recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in the London area during the late 18th and early 19th centuries; Edward apprenticed 1775, John 1799-1820 and William 1817-24.Condition Report: Movement appears to be in good original working condition with no visible evidence of alteration or significant replacements. The mechanism is secured into the case by angle brackets however an additional support in the form of a wooden seatboard has been fitted. The movement and dial are original to the case. The dial retains old surface with some slight localised flaking around the centre hole and to the VIII numeral. Then signature and numerals have probably been 'strengthened' at some point and the latter exhibits some slight rubbing/wear. The hour hand has been repaired.The case is in sound original condition. The carved decoration forming the crest has a loss at the right-hand edge/corner and the rear door has significant veneer chipping/loss to the upper left hand corner of the frame. The rear door outer edge veneer overlap (that lips the aperture when door is closed) also has noticeable losses. The veneers that border the side frets also have wear/chipping to the overlaps. The right-hand side also has a slender slip of timber missing to the top edge of the canted skirt moulding. Case otherwise is free from notable faults with good sound veneers to the curved top.Clock is complete with a winder and case key. Condition Report Disclaimer

A VICTORIAN BRASS SKELETON CLOCKBROWN AND COMPANY, LONDON, THIRD QUARTER OF THE 19th CENTURYThe elaborate symmetrical scroll-pierced waisted plates united by five double-screwed baluster pillars and enclosing twin chain fusee trains, the going with anchor escapement regulated by half seconds lenticular bob pendulum swinging to the rear, and the strike train sounding the hours on a bell mounted above the plates, the pierced silvered brass dial formed as interloped engine-turned rings incorporating cartouche Roman numerals within floating wavy outer minute track, with blued steel moon hands over shaped delicate leafy spray engraved panel engraved BROWN & Co., 18 QUEEN'S-HEAD STREET, ISLINGTON, LONDON applied to movement frontplate beneath, mounted via four bell-shaped feet onto a stepped D-ended Carrara marble base with ogee moulded skirt and compressed bun feet; with glass dome cover.45cm (17.75ins) high, 35.5cm (14ins) wide, 21cm (8.25ins) deep overall. Brown and Company are recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working in London circa 1881.Condition Report: Movement is in clean working condition with no visible evidence of alteration or noticeable replacements. The dial in clean condition and finely finished. The marble base appears free from visible faults. The dome cover has some very slight fritting around the lower edge otherwise is in fine condition.Clock is complete with a pendulum and winding key. Condition Report Disclaimer

A GEORGE III SCUMBLED PINE HOODED WALL TIMEPIECE WITH ALARMJOHN UFFINGTON, LONDON, CIRCA 1770The posted movement with verge escapement incorporating sprung inserts to the pallets regulated by short bob pendulum, the alarm mechanism mounted on the inside of the brass backplate with verge crownwheel and vertically pivoted hammer sounding on the inside of a bell set above movement, the frame with square section corner posts riveted to both the top and bottom plates, the 7.25 inch brass break-arch dial with Arabic numeral alarm setting disc within engraved Roman numeral chapter ring with Arabic five minutes beyond the minute track, with pierced steel hands and rococo scroll cast spandrels to angles beneath arch signed Jn'o: Uffington, LONDON to centre flanked by conforming mounts, the case finished to resemble mahogany with concave sided 'pagoda' superstructure over break-arch cavetto moulded cornice and hinged glazed front with caddy moulded front angles, the sides with rectangular windows, over shaped front apron flanked by bracket supports incorporating concave over ogee-shaped profiles and with shaped break-arch aperture to the backboard between. 63.5cm (25ins) high, 32cm (12.5ins) wide, 18cm (7ins) deep. Notes provided by the vendor lists John Uffington as born in 1710 and apprenticed in 1727 gaining his freedom of the Clockmaker's Company in 1739. In 1790 he is listed as working from 53 Bunhill Row, Middlesex. John Uffington died in 1797 and was buried in the Bunhill Fields Burial Ground; his two wives and grandchildren are also mentioned on his headstone. A photocopy of his will is included with the current lot.The current lot is a particularly honest survivor which would have most likely been provided for 'backstairs' use in a larger house. The spring inserts to the pallets may have been intended to dampen the sound of the escapement so that it does not intrude on the sleep of the servant household, whilst the alarm would serve to wake them at the start of each working day. 

A GEORGE III MAHOGANY EIGHT-DAY LONGCASE CLOCK WITH MOONPHASETHOMAS BULLOCK, BATH, CIRCA 1770The four pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch brass break-arch dial with subsidiary seconds dial and unusual shaped arched calendar aperture to the coastal view engraved centre depicting a square-rigged ship passing a lighthouse, within applied silvered Roman numeral chapter ring with Arabic five minutes beyond the outer minute track and signed Tho's, Bullock, BA,TH to lower margin, with scroll pierced blued steel hands and rococo scroll cast spandrels to angles beneath arch with rolling moonphase incorporating terrestrial and celestial globe decorated lunettes beneath leafy scroll engraved curved scale calibrated for THE, MOONS, AGE to the upper margin, the case with ogee geometric key moulded cornice over break-arch glazed hinged front applied with three-quarter columns to front angles, the sides with small rectangular windows and quarter columns applied against bargeboards at the rear, the trunk with concave throat moulding over caddy moulded shaped-top door, on plinth base with ogee upper moulding and conforming skirt incorporating integral bracket feet.216cm (85ins) high, 51cm (20ins) wide, 25.5cm (10ins) deep. Thomas Bullock is recorded in Moore, A.J. THE CLOCKMAKERS OF BRISTOL 1650-1900 as working in Bath 1764-1773.Condition Report: Movement is in relatively clean working condition although a precautionary gentle clean/service is advised if intending to put into long-term use. The mechanism appears all original with visible evidence of alteration or noticeable replacements. The dial is in clean condition with the plate showing light to moderate wear to the engraved decoration through previous repolishing; there are a few spots of discoloration to both the brass and the silvered finishes. The moon disc is in good condition having had some re-touching done in the past; it is connected to the movement hence is operational. The hour hand is a well-made replacement and the minute hand has been repaired. The movement retains its original seatboard which rests on the cheek uprights of the case at the correct level. This, coupled by the fact that the case is essentially a 'textbook' example of the Bristol/Bath type, would indicate that the movement and dial are original to the case. The case is generally in sound original condition. The top board to the hood has been replaced and the trunk door has a crack running from top to bottom (probably a repaired break in the panel). The trunk door retains its original hinges, the lock is a replacement. The front lower left hand corner of the plinth bas has a veneer patch repair and the sides have horizontal veneer cracks. Faults to the case are otherwise limited to minor bumps, scuffs, shrinkage and other age related blemishes.Clock has pendulum, two lead weights, a case key but no winder. Condition Report Disclaimer

A GEORGE II WALNUT EIGHT-DAY LONGCASE CLOCKTHOMAS JENKINSON, SANDWICH, CIRCA 1730The five-pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch square brass dial with subsidiary seconds dial and calendar aperture to the richly matted centre within applied silvered Roman numeral chapter ring with diamond lozenge half hour markers, Arabic five minutes beyond the outer minute track and signed Thomas, Jenkinson, Sand:,wich to lower edge, with pierced steel hands and mask and scroll cast spandrels to angles, in a case with architectural moulded cornice and plain frieze over hinged glazed front applied with Solomonic twist-turned three-quarter columns to front angles, the sides with rectangular windows and plain quarter columns applied to bargeboards at the rear, the trunk with concave throat moulding over caddy moulded rectangular door fronted with quartered veneers within crossbanded borders, on conforming plinth base with concave upper moulding and plain skirt.218cm (86ins) high, 49.5cm (19.5ins) wide, 26cm (10.25ins) deep at the cornice. Thomas Jenkinson is listed in Loomes, Brian Clockmakers of Britain 1286-1700 as being recorded by Michael Person as born around 1656 and apprenticed in 1711 to Joseph Booth of Sandwich, Kent. Jenkinson gained his freedom in 1719, was married to Sarah Bing in 1723 and worked in Sandwich until his death in 1755.  Condition Report: Movement is in relatively dirty condition but appears to be essentially all-original with no visible evidence of alteration or noticeable replacements. The dial again is a little dirty with some oxidation and discolouration to the finishes however appears to be all-original, except for the hands, and in good condition. The movement retains what is probably its original seatboard which rests on blocks around ¾ of an inch thick applied to the top of the cheek uprights. This would suggest that the movement and dial are probably not original to the case although they would appear to be well suited. The case is generally in sound condition. The hood appears to be free from significant faults. The trunk has some warping to the frame around the trunk door aperture otherwise is presentable albeit a bit dirty/neglected in appearance. The backboard is probably a replacement and the base has been restored/rebuilt with well-matched veneers. Overall a nice decorative example which would benefit from a clean/service and a freshening-up of the finish to the case. Clock has pendulum, case key, a pair of brass cased weights but no winding key. Condition Report Disclaimer

A GEORGE III GREEN JAPANNED TABLE TIMEPIECETHE DIAL INSCRIBED FOR TIMOTHY PROSSER, MONMOUTH, LATE 18th CENTURYThe four finned pillar single fusee movement with verge escapement incorporating sprung 'silent' pallets regulated by short bob pendulum, the backplate engraved with generous asymmetric foliate scrolls around a basket of fruit within a repeating leaf border, the 7 inch white painted Roman numeral break-arch dial with false bob aperture to centre and with scroll pierced steel hands beneath arch inscribed Timothy Profser, MONMOUTH, The green japanned case with hinged brass carrying handle to the bell-top superstructure decorated in in raised gilt with pagoda pavilion within a garden landscape to front and with leafy sprays to angles, over double-cavetto top moulding painted with gilt bands with repeating leaf motifs, the opening front with glazed dial aperture within frame decorated with relief-work gilt floral sprays divided by trellis panels and incorporating scroll-cast brass fretwork inserts to upper quadrants, the sides with conforming painted infill around the glazed circular over concave-topped rectangular apertures, the rear also decorated and incorporating a break-arch window to the rectangular door set within the frame of the case, on ogee-shaped skirt base decorated with gilt leafy band to the cavetto top moulding and scrollwork to the cut-out shaped apron flanked by integral bracket feet, with a gilt line painted black japanned wall bracket, of tapered ogee form with projecting lip over gilt-line panels and conforming gilt repeating leaf decorated pendant, (2).The clock 51cm (20ins) high with handle down, 30cm (29.75ins) wide, 18cm (8ins) deep; the clock and the wall bracket 69cm (27.25ins) high overall. A Timothy Prosser is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working in Monmouth 1830-44. The current timepiece can be dated on stylistic grounds to around 1780 (from details such as the foliate engraved backplate and form of the green japanned case); hence the signature therefore must either relate to an earlier unrecorded maker of that name (perhaps father or uncle) or was added by the later maker prior to selling on.Condition Report: The movement is in clean working condition and appears all-original with no visible alteration or noticeable replacements. Spare holes in the movement frontplate would suggest that the present dial is a replacement (although the movement appears to be original to the case). The dial has been refinished hence we can offer no assurances as to whether Prosser was actually the maker of the timepiece. The present dial finish shows some slight wear to the signature and numerals.The case is in sound original unrestored condition however shows overall wear and grime build-up to the finish; the apron has some retouching to the gilt scrollwork. Both the front and rear doors retain their original locks and hinges but there are no case keys present. Faults are limited to bumps, scuffs, wear, grime build-up, discoloration/patination and other age-related blemishes. The bracket is later in date (20th century) and has some lifting/flaking to the finish most noticeably to the pendant at the base.There is no winding key or case key present with the current timepiece. Condition Report Disclaimer

A QUEEN ANNE WALNUT EIGHT-DAY LONGCASE CLOCKCHARLES GRETTON, LONDON, CIRCA 1705The five finned pillar inside countweel bell-striking movement with anchor escapement regulated by seconds pendulum, the 12 inch square brass dial with subsidiary seconds dial, ringed winding holes and border-engraved calendar aperture to the matted centre within applied Roman numeral chapter ring with foliate half hour markers, Arabic five minutes beyond the minute track and signed Cha: Gretton, London to lower margin, with fine sculpted steel scroll hands and twin cherub and crown cast spandrels to angles within a continuous wheatear engraved outer border, the walnut veneered case with ogee moulded cornice and line-bordered frieze over hinged glazed front applied with Solomonic twist three-quarter columns to the front angles, the sides with rectangular windows and conforming quarter columns set against bargeboards at the rear, the trunk with cavetto throat moulding over door with re-worked break-arch top and inlaid with floral sprays above and below the central lenticle, with triple-line inlaid crossbanded border and cross grain half-round edge mouldings, the base with ogee top moulding and conforming triple-line inlay to front, on moulded skirt base incorporating shaped apron and integral bracket feet.126cm (85ins) high, 50cm (19.75ins) wide, 25.5cm (10ins) deep. The life and work of Charles Gretton is thoroughly documented in Radage, Dennis; Warner, Meinen and Radage, Laila CHARLES GRETTON, THROUGH THE GOLDEN AGE. Charles Gretton was born in Clayplole, Lincolnshire in 1648 and by 1662 he had moved to London entering into an eight year apprenticeship under Humphrey Downing on the 30th June of that year (turned over from Lionell Wythe). Humphrey Downing died in 1666 but it is thought that Gretton continued his apprenticeship under his widow, Cordelia, gaining his freedom of the Clockmakers Company in 1672 and se-up business in Fleet Street. In 1677 Charles Gretton married Mary Phillips and established himself at the sign of the 'The Ship' in Fleet Street (either number 174 or 175 next to Fetter Lane). Gretton was appointed an Assistant of the Clockmaker's Company in 1889 and then Warden in 1697; the same year he signed the 'oath of allegiance'. In 1700 Charles Gretton served as Master as well marrying his second wife Lucy Uffman (his first wife Mary died in 1694). In 1701 he put £50 forward to the Clockmakers' Company in order to establish a trust to assist the orphans of deceased members and was nominated to serve again as Master in 1705/06. Lucy, his second wife died before 1711 as this is the year that Charles Gretton married his third wife, Dorethea Wilson shortly after which he moved to his newly acquired second premises at two Chancery Lane. At this time his premises at 'The Ship', Fleet Street was passed onto the management of his nephew, Thomas Moore who paid taxes on the building until 1723. In 1716 Charles and Dorothea moved again to Chancery Lane where they remained until Dorothea's death in 1727. By this time Charles Gretton had retired from active clockmaking and went to go and live with his daughter, Ann, in Milk Street where he remained until his death in 1731.During his carreer Charles Gretton He took on many apprentices including Henry Sully (Freed April 1705) and Joseph Antram (Freed October 1706) both of whom went on to become famous clockmakers in their own right. By the time of his death and internment at St. Dunstan's in the West Gretton had become a wealthy and highly respected figure within the City of London as well as the clockmaking community. His Will mentions no less than nine properties as well as £1,300 deposited in the Bank of England contributing the £2,600 monetary component of his legacy. Despite the best efforts of the authors to track-down known examples of his work the current lot is not recorded in CHARLES GRETTON, THROUGH THE GOLDEN AGE however the dial can be closely compared to that of clock 'LC63' illustrated on pages 214-5.Condition Report: The movement has survived in its original form with no visible alteration however the collets and pinion lengths would suggest that the trains have been re-pinioned most likely at some point during the 19th century. Although the movement will run and strike the mechanism is in dirty/neglected condition hence a clean/service is required. The dial has survived in good original condition but has lost its silvering and has deposits of metal polish throughout. The matting and engraving show very slight wear/rubbing and the spandrel castings are of good quality. The hands appear original, are well-made and are in good condition having only a small loss to the stem of the hour hand within the looped section.The movement retains what appears to be its original seatboard (albeit with old losses along the rear edge) which rests on cheek uprights of the case at the correct level with no evidence of alteration or adjustment. From this it is most likely that the movement and dial are original to the case. The hood has old replacement top board and the front frieze fret has been substituted for veneer otherwise is in good original unrestored condition with faults limited to age related bumps, scuffs, shrinkage and relatively minor historic repairs. The trunk is structurally sound however strips have been let-in to the rear edges of each side suggesting at some point the backboard has become loose where it joins the sides causing damage to occur (this may have been due to localised worm damage in the sides although non is evident). The exterior of each side has banded veneers inserted over these strips. The backboard has a vertical crack necessitating a brace to be applied across the back. The backboard panel stops short around three inches below the plinth top mouldings with the section beneath backed with an additional panel.The trunk door has been modified by lowering and reshaping the top of the panel with a break-arch; the upper section of the surrounding frame has been infilled to fill the top of the rectangular aperture. The trunk door retains its lock but the hinges are replacements. The marquetry decoration to the door are 19th century additions; the base has been partly re-veneered and has some consolidation/replacements within the structure. The skirt is a later replacement. Trunk is otherwise is in sound unrestored condition but with age related shrinkage, bumps, scuffs and a few small historic repairs.Clock has pair of most likely original brass-cased weights (although one has been sleeve-repaired), pendulum, crank winder and a case key. Condition Report Disclaimer

AN AUSTRIAN OAK CASED TABLE CLOCK WITH TRIP-HOUR REPEATKOTL, VIENNA, THIRD QUARTER OF THE 18th CENTURYThe four baluster-pillar twin standing barrel bell-striking movement with verge escapement and silk pendulum suspension, the 6 inch brass break-arch dial with vestigial alarm disc, concentric band decorated winding holes and scroll-bordered shaped false bob aperture to the matted centre within applied Roman numeral chapter ring with fleur-de-lys half hour markers, Arabic five minutes beyond the arcaded minute ring and signed Kotl, Wien to lower margin, with pierced steel hands and winged cherub mask spandrels to angles beneath arch centred with a Schlagt/Nicht Schlagt selection dial flanked by leafy scroll engraved infill, the case with elaborate scroll cast hinged carrying handle to the inverted bell-top superstructure with brass flambeau urn finials to angles, over front door applied with repeating leaf decorated gilt gesso surround to the glazed dial aperture and with scroll pierced and engraved upper quadrant frets enclosing conforming gilt border to the dial mask behind, the sides with lozenge-shaped apertures over break-arch windows and the rear with rectangular glazed door set within the frame of the case, on cavetto moulded skirt base with disc feet, (alarm mechanism removed).44cm (17.25ins) high with handle down, 28cm (11ins) wide, 16cm (6.25ins) deep. Antoni Kotl (junior) is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Vienna during the 18th century with a striking and repeating bracket clock by him residing in the Feill collection.Condition Report: Movement is in working condition and appears complete and fundamentally original except for the alarm which is no longer present and will require a pendulum. The bell hammer is currently broken (but is present with the clock) and the strike/silent function appears to have been adapted and is not currently functioning correctly. The movement is somewhat dirty/discoloured hence a clean/service is advised. The dial has lost its silvering to the chapter ring and selection dial to arch and is generally dirty/tarnished otherwise is in sound original condition. The movement and dial are original to the case.The case is in sound original condition; the handle and horizontal top pad to the superstructure is currently detached (just requires gluing back on). The right hand side top mouldings are also detached with one having a small break - again all bits are present hence should be a straightforward repair. Otherwise faults to the case are very much limited to minor shrinkage, bumps, scuff and wear as well as some light historic worm damage (not particularly visible and long gone).Clock does not have a pendulum, however a case key and winder are present. Condition Report Disclaimer

Y A FRENCH LOUIS XV STYLE BOULLE BRACKET CLOCK WITH WALL BRACKETTHE MOVEMENT STAMPED FOR C. KUHLING, LATE 19th CENTURYThe rectangular countwheel bell striking movement with anchor escapement regulated by sunburst mask cast pendulum and stamped 371, C, 9.10 over C. KUHLING to backplate, the 9.5 inch circular twelve-piece cartouche numeral dial with cockerel inhabited Berainesque foliate strapwork cast centre within applied blue-on-white enamel Roman numeral hour chapters and foliate cast borders within Arabic five minutes to the outer minute track, with sculpted blued steel hands, the engraved cut brass and brown shell marquetry decorated case with cast gilt standing figure of winged Fortuna to the domed concave-sided superstructure veneered with leafy scroll decoration and applied with martial trophy adorned foliate mounts to angles, the front with mask-centred leafy arched cast crest over brass-framed waisted-arch glazed door enclosing marquetry tile decorated floor and foliate back panel to interior and incorporating cast panel with twin cherubs and an hour glass to apron, the surround decorated with foliate scrollwork, the sides with recessed gilt brass framed glazed apertures within conforming marquetry borders out-swept at the base, on generous scroll-cast gilt brass feet with conforming apron mount around a lattice decorated cushion panel between, resting on a matching ogee-shaped wall bracket inlaid with Vitruvian scrollwork over foliate radial gadroons issuing leafy sprays flanked by mask terms to angles, the underside with an acanthus cast pendant mount terminating with a floral finial.The clock 87cm (34.25ins) high; including wall bracket 117.5cm (46.25ins) high overall, 47cm (18.5ins) wide, 25cm (9.75ins) deep.Condition Report: Movement is in relatively clean working condition with no visible evidence of alteration or noticeable replacements. The dial has repaired/filled edge chip to the V numeral otherwise appears to be in good condition with no additional visible faults of any significance.The case is generally in sound presentable condition having been cosmetically restored at some point in the not-too-distant past. There is some slight lifting to the brass and a small few areas where brass has been lost and filled with creamy golden-yellow composition. The rear door has some lifting to the brass to the internal panel and slight shrinkage. Faults are otherwise limited to some slight blooming and movement to the shell veneers. The bracket appears to retain all the brass marquetry albeit with some pinning to the rear edge strip and there is very little lifting.Clock is complete with pendulum, case key and a winder. Condition Report Disclaimer

A GEORGE III MAHOGANY TABLE CLOCKJOHN GREEN, LONDON, CIRCA 1775The five pillar twin chain fusee bell-striking movement now with anchor escapement regulated by lenticular bob pendulum, the 7 inch gilt brass break-arch dial with calendar and false bob apertures and applied with shaped silvered plate signed John Green, LONDON to the finely matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes beyond the minute track, with pierced steel hands and rococo scroll cast spandrels to angles beneath arch centred with a subsidiary Strike/Silent selection dial flanked by conforming mounts, the mahogany bell-top case with hinged brass carrying handle to superstructure over double cavetto top mouldings and hinged front with raised mouldings around the glazed dial aperture and etched glass panel infill to the upper quadrants, the sides with circular over concave-topped rectangular apertures and the rear with break-arch glazed door incorporating conforming quadrant panels set within the frame of the case, on cavetto moulded skirt base incorporating shaped apron and integral bracket feet.47cm (18.5ins) high with handle down, 28cm (11ins) wide, 18cm (7ins) deep. Several makes with the name John Green are recorded in Baillie, G.H Watchmakers & Clockmakers of the World as working in London during the latter half of the 18th century, however the most likely maker of the current lot is one of that name listed as working from Goswell Street in 1799.Condition Report: Movement is complete. The going train has been converted from verge escapement with short bob pendulum to anchor escapement. The conversion has been done with minimal intervention to the plates hence re-conversion could be done leaving minimal evidence of the present configuration. The strike train appears complete, all-original and in sound condition although is presently fully wound and not operational through to being jammed. It is likely that this is due to the under-dial work requiring adjustment hence would probably not add significant cost to the expense of a clean/service which the movement requires as a matter of course. The movement and dial appear original to the case and is secured into the case by brass angle-brackets. The dial is in fine clean condition with faults limited to slight mellowing of the silvering. The case is generally intact and in sound structural condition. The handle is original with good strong gilt finish; the bell-top superstructure and top mouldings are in good condition with faults limited to a few small bumps and slight historic shrinkage. The front door is lacking the raised moulding bordering the aperture to the right-hand side including the small horizontal section abutting the arch. The curved section for the arch is currently detached but present with the clock. Both the front and rear doors retain their original locks and hinges. Both sides are in good condition. The rear door is missing the fillet moulding to the right hand upright bordering the aperture; there is no glass and the frame has some movement to the lower left hand joint of the frame. The etched/frosted glass panels are 19th century replacements; one circular panel is incomplete and detached. The bottom mouldings have slight bumps and bruises and the base skirting has losses to the veneer at the rear left corner. The front right corner also has a small loss. Generally a sound clock which will respond well to cost effective restoration. Clock has a pendulum but no winder or case keys. Condition Report Disclaimer

A GEORGE III MAHOGANY EIGHT-DAY LONGCASE CLOCKTHOMAS HUNTER JUNIOR, LONDON, CIRCA 1775The five pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch brass break-arch dial with recessed silvered subsidiary seconds dial and calendar aperture to the centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track, with scroll-pierced steel hands and cast rococo scroll cast spandrels to angles beneath arch with circular silvered signature boss engraved Tho's Hunter Jun'r. London flanked by conforming scroll cast mounts, the case with concave sided 'pagoda' upstand incorporating shaped fretwork panel to fascia over cavetto moulded break-arch cornice and hinged glazed dial aperture flanked by brass stop-fluted columns, the sides with rectangular windows and conforming quarter columns set against bargeboards at the rear, the trunk with concave throat moulding over flame-figured mahogany break-arch door applied with complex mouldings to edges, the base with concave top mouldings over rectangular raised panel, moulded double skirt and block feet.244cm (96ins) 56cm (22ins) wide, 28cm (11ins) deep. Thomas Hunter junior is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as apprenticed 1734 gaining his freedom in 1742, he worked from New Broad Street Buildings, was appointed Warden in 1762 then served as Master in 1765, he died in 1785.Condition Report: Condition overview:Movement is in clean working condition with no evidence of alteration or noticeable replacements. The dial is in fine clean condition and appears all-original. The movement and dial rest on old, probably original seatboard directly onto the cheek uprights of the case suggesting that the movement and dial are original to the case. The case is in generally in fine condition of the appearance of being recently cosmetically restored. Faults are very much limited to minor bumps, scuffs, shrinkage and other blemishes commensurate with age.Clock has pendulum, two brass-cased weights, a case key but no winder. Condition Report Disclaimer

A GEORGE III BRASS MOUNTED MAHOGANY QUARTER-CHIMING TABLE CLOCK WITH FIRED ENAMEL DIAL INSERTSJOHN TAYLOR, LONDON, CIRCA 1780 The six pillar triple chain fusee movement with verge escapement regulated by short bob pendulum, striking the hour on a bell and chiming the quarters on a graduated nest of eight bells, the rococo scroll engraved backplate centred with an obelisk set on a pedestal within double-line border, the 8 inch brass break-arch dial plate applied with circular enamel Roman numeral circular centre with Arabic five minutes to outer track, with pierced and engraved brass hands set within rococo scroll engraved surround continuing up into the arch to envelop the subsidiary enamel Strike/Silent dial inscribed John Taylor, London to centre, the brass mounted bell top case capped with urn finials to the flame veneered superstructure and double cavetto top mouldings, over front door with inset gilt brass fillet moulding to the glazed dial aperture, rococo scroll cast upper quadrant frets flanked by canted angles adorned with fine female caryatid and tied rose drapery cast mounts, the sides with hinged handles over break-arch sunburst cherub mask and rococo scroll cast sound frets, the rear with rectangular glazed door set within the frame of the case, on cavetto moulded shallow skirt base with generous leafy scroll cast feet.56cm (22ins) high overall, 35cm (13.75ins) wide, 24cm (9.5ins) deep.  Several makers with the name John Taylor are recorded working in London during the late 18th and early 19th centuries, however the most likely maker of the current lot is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as being admitted to the Clockmaker's Company in 1796 and may be the same maker who is subsequently listed as working from Clerkenwell 1805-24. 

A QUEEN ANNE BURR WALNUT EIGHT-DAY LONGCASE CLOCKTHE DIAL SIGNED FOR JOHN KIRTON, EARLY 18th CENTURYThe five finned pillar inside countwheel bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch square bras dial with ringed winding holes elaborate herringbone, foliate scroll and basket of flowers border-engraved calendar aperture and subsidiary seconds dial to the matted centre within applied silvered Roman numeral chapter ring with stylised basket-hilt half hour markers and Arabic five minutes beyond the minute track, with pierced steel hands and cast gilt brass twin cherub and crown pattern spandrels to angles beneath and added arch centred with a herringbone border engraved silvered boss inscribed John Kirton, London flanked by dolphin cast mounts, in a case with generous architectural cornice over hinged glazed dial aperture applied with three-quarter columns to front angles, the sides with rectangular brass grille sound frets and conforming quarter columns applied against bargeboards to the rear, the trunk with concave throat over 42 inch rectangular door fronted with fine book-matched burr veneers within a herringbone border, the sides with twin herringbone panels within crossbanded borders, the base with ogee top mouldings over conforming burr-veneered fascia and moulded skirt.225cm (88.5ins) high, 53cm (21ins) wide, 29cm (11.5ins) deep. A John Kirton is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as apprenticed in 1696 and gaining his freedom of the Clockmaker's Company in 1706.Condition Report: Movement is in very dirty non running condition however appears complete (except for one pulley) and fundamentally original with some historic repairs replacements only. The dial has added arch and a casting crack/fault towards the lower right-hand corner otherwise appears to be in sound original condition with old surface showing discolouration and tarnishing. The movement and dial are fitted with an old seatboard however this rests on blocks applied to the cheek uprights of the case; this detail coupled with the added arch to the dial indicates that the movement and dial are not original to the case. The case is generally in sound condition with good solid original structure. The hood has replaced lip above the top mouldings and top board (probably originally had a caddy superstructure). The upper quadrants above the arch of the dial probably originally had fretwork hence present veneers are most likely later. The hood door is loose hence will become detached form the right hand column when opened (just requires re-gluing) and the fillet mouldings to the arch are missing (arch also has repaired break). The trunk door retains original locks and hinges and is generally in good condition. The base appears original except for the skirt. Otherwise case is in very good original condition with faults limited to relatively minor age related, bumps, scuffs, shrinkage and a few minor veneer repairs.Clock has pendulum, two weights, case key but no winder (a pulley is also missing). Condition Report Disclaimer

A GEORGE II EBONISED TABLE CLOCKTIMOTHY VERNIER, LONDON, CIRCA 1740The five pillar twin chain fusee bell striking movement with verge escapement regulated by short bob pendulum incorporating scroll engraved apron to the backcock, the backplate with pendulum holdfast hook and boldly signed Tim:'y Vernier, LONDON within a generous herringbone engraved border, the 6 inch gilt brass dial with calendar and shaped false-bob apertures to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes beyond the minute track, with scroll pierced steel hands and applied lambrequin decorated mask and scroll spandrels to angles beneath arch centred with a silvered boss engraved Tim:'y Vernier, LONDON within turned surround flanked by conforming Indian mask and scroll cast mounts, the inverted bell-top case with hinged bras carrying handle over ogee and cavetto top mouldings, the front with break-arch glazed door bordered with raised mouldings to the aperture and with scroll-pierced frets to the upper quadrants flanking the arch, the sides with stall break-arch windows edged with conforming raised mouldings and the rear with full-width door matching the front, on ogee moulded skirt base with block feet.40cm (15.75ins) high with handle down, 24cm (9.5ins) wide, 16.5cm (6.5ins) deep. Timothy Vernier is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working during the middle of the 18th century.Condition Report: Movement is in relatively clean working condition ad is fundamentally original. The verge escapement has a replaced (or re-pinioned) contrate wheel; the crownwheel appears original. The bell stand has been repaired. The dial has a casting crack at the junction with the arch which has been repaired by riveting a bracing plate to the rear. The hour hand appears to be a replacement otherwise dial appears to be in sound original condition albeit with overall discoloration/tarnishing. The case is in good original condition. The interior has some scooping-out of the side uprights at the rear to allow additional clearance for the pendulum swing. The front door retains original lock and hinges, the rear has its original hinges but the lock is missing, The quadrant frets are present but there is a small loss form one of those to the rear. The right-hand side window has replaced mouldings to the arch and rear edge (of incorrect profile). Faults to the case are otherwise limited to age related bumps, scuffs, shrinkage and surface wear giving the clock an overall patinated appearance. Clock has pendulum, winder but no case key. Condition Report Disclaimer

A GEORGE II WALNUT EIGHT-DAY LONGCASE CLOCKWILLIAM CREAK, LONDON, CIRCA 1740The five pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch brass break-arch dial with calendar aperture and subsidiary seconds dial to the matted centre within applied Roman numeral chapter ring with Arabic five minutes beyond the minute track, with pierced steel hands and brass twin bird and urn cast spandrels to angles, the arch with circular herringbone border engraved silver signature boss inscribed William Creak, LONDON flanked by dolphin cast mounts, in a break-arch case with generous arched cavetto cornice and fretwork frieze over hinged glazed dial aperture with applied with three-quarter columns to front angles, the sides with break-arch windows and conforming quarter columns set against bargeboards at the rear, the trunk with concave throat moulding over book-matched burr-veneered and herringbone banded break-arch door with complex edge mouldings, the sides with twin crossbanded panels, the plinth base with cavetto top mouldings over burr panel veneered herringbone and crossbanded fascia and a moulded skirt.229cm (90ins) high, 54cm (21.25ins) wide, 26cm (10.25ins) deep. William Creak is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as a 'fine maker' who worked in London from 1754-63. Other sources indicate that he was working from 1740-75 and his workshop was located in the Royal exchange from 1754. Creak supplied musical and automaton clocks for export to the Middle East and China and often incorporated similar complications into examples made for the domestic market.Condition Report: The movement is complete and appears fundamentally all-original with no visible alteration or noticeable replacements. The mechanism is reasonably clean and working however a precautionary gentle clean/service is advised. The dial is also in good relatively clean unaltered condition with faults limited to some patchy discolouration to the silvering and mellowing of the finishes in general. The movement and dial retain what appears to be the original seatboard however there are packing slips (around ¾ inch thick) hence we cannot offer any assurances that the case is original to the movement and dial although they would seem to be perfectly suited.The hood is in good condition; the frets have been replaced otherwise faults are very much limited to minor historic bumps, scuffs, shrinkage and wear commensurate with age. There are two socket holes to the top suggesting that a pair of finials were fitted at some point. The trunk also is in fine condition with particularly nice figured veneers. The trunk door retains its original lock but the hinges are replacements. The front of the door has some shrinkage cracking to the veneers and there is some visible historic movement/bowing to the frame around the door (does not detract from the clock as is a evidence/result of the genuine age of the piece). The plinth has been restored with replacement veneers with the colour of the burr figured fascia panel being darker than the rest of the case; this probably be improved in the hands of a good restorer/finisher. The backboard has opening to the vertical joint between the two boards which form the panel; two horizontal batons have been applied across the back to further brace the panel.Clock is complete with two weights, pendulum, crank winder and two case keys. Condition Report Disclaimer

AN EBONISED TABLE TIMEPIECE WITH SILENT PULL-QUARTER REPEAT AND MOONPHASEUNSIGNED, PROBABLY DUTCH, THIRD QUARTER OF THE 18th CENTURYThe four pillar single fusee movement with verge escapement regulated by bob pendulum and pull-quarter repeat sounding the hours and quarters on a graduated pair of bells positioned vertically above the plates, the 6.5 inch brass break-arch dial with calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes beyond the minute track, with pierced steel hands and cast mask and scroll spandrels to angles beneath arch centred with a 'penny moon' providing a visual indication for the age of the moon within outer silvered ring calibrated for the lunar month flanked by conforming grotesque mask and scroll cast spandrels, the ebonised inverted bell-top case with generous hinged cast brass carrying handle over double cavetto top mouldings and brass fillet inset glazed dial aperture and upper quadrant panels to the front door, the sides with circular over concave-topped glazed apertures, the rear with brass fillet inset break-arch glazed rectangular door, on cavetto moulded skirt with squab feet.43cm (17ins) high with handle down 26cm (10.25ins) wide, 17cm (6.75ins) deep. The current lot will sound the hours and quarters on demand only hence is of a type traditionally described as a 'silent' pull quarter repeating clock. It is thought that such clocks were made for use exclusively in the bed chamber to allow the owner to establish the time during hours of darkness (by pulling the repeat cord) without having to go to the trouble of striking a light. Due to clocks and timepieces being very expensive at that time the original owner would have been a particularly wealthy individual to be able to afford a clock for use just in the bed chamber. Indeed many full hour-striking bracket/table clocks fitted with repeat-work have a facility to silence the strike train so that they can be 'taken upstairs' at night (thus negating the need to own more than one spring clock) this is why such clocks were traditionally made with a carrying handle.The design/layout of the repeat mechanism in the current lot is based upon the system first devised by Edward Barlow and/or Daniel Quare in around 1676 which, in practice, seems to have been first put to use by Joseph Knibb (see Dawson, Percy G., Drover, C.B., and Parkes D.W. Early English Clocks pages 343-4).Condition Report: The movement is fundamentally in working condition however it is a little dirty/neglected hence a clean and overhaul is advised. The repeat work is a little lazy and presently out-of-sync with the hands. The going train is operational however the pendulum requires a silk line for suspension. The plates have a couple of filled holes which are most probably form 'rethinking' by the maker at the time the clock was made rather than being evidence of subsequent alteration. The calendar and moon phase linkages are present although the latter requires adjustment. The dial is in good original condition with pleasing overall slightly mellowed appearance. The hour hand is a replacement and the left-hand winding square is a dummy. The movement rests on what appears to be its original seatboard however one of the securing bolts (threaded into the lower pillars is missing)The case is generally in sound condition retaining old surface and mellow colour to the brass elements. At some point the superstructure has come apart on lifting the case; this is evidenced by some cracking to the veneers, visible re-setting of the angles and later metal strap bracing to the inside. The appearance of the veneer cracks (although they are by no means disfiguring) can probably be improved by a good finisher. Both the front and rear doors retain their original locks and hinges and are in good condition with faults limited to a small veneer loss the rear door (at the base of the arch) The sides are also in good condition with one small veneer chip only to the right-hand side (bordering the circular aperture). The rear has some historic worm damage to the frame just below the left-hand corner of the door (historic and non-structural). The base of the case has a blanked slot indicating that a pendulum with a larger bob was once fitted requiring a slot to be cut into the case (the present pendulum has a very small bob); we do not consider this evidence of the movement and dial being 'married' to the case. The rear edge has had a slight chafer cut between the two later block feet (the front feet appear original). Otherwise faults to the case are limited to minor age-related bumps, scuffs, shrinkage and wear.Clock has a pendulum but no case key or winder. Condition Report Disclaimer

A GEORGE III EBONISED BRACKET CLOCK WITH TRIP-HOUR REPEATJ. DUMBELL, PRESCOT, CIRCA 1800The five pillar twin chain fusee bell striking movement with anchor escapement regulated by lenticular bob pendulum, the 6 inch break-arch cream painted Roman numeral dial signed J. DUMBELL, PRESCOT to centre and with Arabic quarters beyond the dot minute track, with pierced steel hands and raised gilt leafy floral spray panel decorated spandrels beneath subsidiary STRIKE/SILENT selection dial flanked by conforming decoration to arch, the ebonised break-arch case with hinged brass carrying handle over complex top mouldings and hinged glazed front incorporating brass fillet insert to the glazed dial aperture, the sides with arched brass fish scale sound frets and the flush rear with arch glazed door set within the frame of the case, on cavetto moulded skirt base with brass ogee bracket feet.35.5cm (14ins) high with handle down, 24cm (9.5ins) wide, 18cm (7ins) deep. The present clock was probably made by Joseph Dumbell who is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Liverpool 1800-29.Condition Report: Movement is in working condition with no visible evidence of alteration or noticeable replacements; the backplate shows evidence (threaded hole) of having a pendulum holdfast clip fitted which is no longer present (pendulum rod also has corresponding evidence). Although it is in working order a gentle clean/service is advised. The dial retains old/original surface with overall slightly uneven yellowing and faint crazing. The black numerals have been strengthened and there are a few touched-in chips around to the centre. The dial and movement are original to the case.The case is generally in sound original condition with nice old surface patination. The curved top is free from shrinkage cracking however there is a filled chip to the horizontal section abutting the base of the arch to the left-hand side (a minor fault). The mask around the dial (behind the front door) has a small veneer patch repair to the lower left-hand corner of the arch. The rear door has a replaced lock otherwise both doors retain their original locks and hinges. The front door has what appears to be a casting fault to the lower left-hand corner of the brass fillet mouldings. The lower rail of the rear door has been re-veneered and the glass is a replacement. The sides have relatively minor shrinkage cracks and the left has a small veneer chip to the arch of the fret. The base of the case has had slips of oak screwed to each side of the baseboard (just behind the skirt) to strengthen the panel due to a left-to right shrinkage crack; the rear edge also has a similar thinner strip attached. The rear right hand corner of the skirting has a veneer patch.Clock has pendulum and a key for the rear door but no front door key or winder. Condition Report Disclaimer

A MAHOGANY EIGHT-DAY LONGCASE CLOCKTHE MOVEMENT AND DIAL BY JOHN BUSHMAN, LONDON, CIRCA 1720, THE CASE LATERThe five pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch brass break-arch dial with subsidiary seconds dial and calendar aperture to the matted centre, within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes beyond the outer minute track, with pierced steel hands and female mask centred scroll-pierced spandrels to angles, beneath arch centred with a silvered boss engraved John, Bushman, London flanked by dolphin cast mounts, now in a Victorian flame figured mahogany case with swan neck pediment over hinged break-arch glazed front flanked by free-standing baluster turned uprights, the trunk with concave throat moulding over short rectangular caddy moulded door, on plinth base with cavetto top moulding and shallow moulded skirt.211cm (83ins) high excluding finial; 54.5cm (21.5ins) wide, 26.5cm (10.5ins) deep. John Bushman (Buschmann) is recorded in Loomes, Brian The Early CLOCKMAKERS of Great Britain as a `High German` watchmaker born circa 1661 and made brother of the Clockmaker`s Company in September 1692. He married Mary Wyatt in the Parish of St. Margaret, Westminster in December 1690, was made an Assistant of the Clockmaker`s Company in 1720 and was believed to be working until 1722. Baillie records that he was born in Hagen, Germany. From this is possible that he was related to the Buschmann dynasty of clockmakers who worked from Augsburg throughout the 16th and 17th centuries.  

AN EARLY VICTORIAN SILVERED BRASS MOUNTED EBONISED BRACKET CLOCK WITH TRIP-HOUR REPEATJAMES MCCABE, LONDON, CIRCA 1845The five baluster pillar twin chain fusee bell striking movement with anchor escapement regulated by lenticular bob pendulum, the backplate signed James McCabe, Royal Exchange, London over pendulum holdfast bracket, the 8 inch circular silvered Roman numeral dial further signed James McCabe, ROYAL EXCHANGE, London, and numbered 2515 to centre, with STRIKE/SILENT selection switch at twelve o'clock and steel trefoil hands set behind hinged cast silvered brass glazed bezel incorporating canted fillet to interior, the case with generous cast pineapple finial to the stepped radially reeded hipped 'chamfer-top' superstructure over slender ogee cornice, fluted frieze and brass fillet bordered quadrant panels around the dial each decorated with stylised foliate motifs, the sides with foliate decorated silvered brass rosette ring handles over pierced rectangular sound frets, the rear with rectangular glazed door stamped with further serial number 2515 to the lower edge of the aperture, on moulded skirt base with conforming fluted band to upper margin and brass ball feet.50cm (19.75ins) high, 20.5cm (12ins) wide, 17cm (6.75ins) deep. Provenance: The inside of the base of the case with pasted paper label inscribed in ink This clock was presented to my father by Mr. E.C. Jones, Political Agent Angria's Kolaba at Olibagh on the 25th December 1847. Signed E.U. Hearn. James McCabe junior succeeded his father of the same name was one of the most successful English clock and watchmakers of the 19th century. He was apprenticed to Reid and Auld of Edinburgh and was admitted to the Clockmaker's Company as a Free Brother in 1822. Around this time McCabe entered into a short lived partnership with Strahan (probably Charles who gained his freedom of the Clockmaker's Company in 1815). From 1826 James McCabe managed the business alone from 97 Cornhill until 1838 when he was forced to temporarily relocate to 32 Cornhill due to a major fire at the Royal Exchange.  The pasted paper label applied to the inside of the present clock indicates that it would have most likely been supplied by McCabe to either the East India Company or the Government India Office. This suggestion is further supported by the silver on black appearance of the case which would seem to follow Indian rather than European fashion. Contemporary records also support the presence of a 'Political Agent' serving to administer Justice in the Bombay district of Kolaba around this time; indeed the Indian Maharastra Gazetteer online records note that:'Between 1819 and 1830, for purposes of civil and criminal justice, the three sub-divisions of Sankshi, Rajpuri, and Raygad were under Ratnagiri. In 1830 Ratnagiri was reduced to a sub-collectorate, and these three sub-divisions passed from Ratnagiri to Thana. Till 1840, when they lapsed to the British Government, the two sub-divisions of Underi and Revdanda were under the Angria chiefs. Under Act XVII. of 1844, these two sub-divisions were embodied in British territory and brought under British laws. Justice was administered by a Political Agent till, in 1853, the agency was abolished and the judicial administration of the two sub-divisions transferred to Thana. Since 1853 the Kolaba district has formed part of the charge of the Thana District Judge.' Condition Report: Movement is in fine clean fully working condition with no visible alteration or noticeable replacements. The mechanism is of fine quality and well finished. The dial is in fine condition and is original to the movement. The silvering has one or two very light spots of discolouration. The case is in good condition with noticeable faults limited to slight lifting of the silvered brass inlaid scroll motifs set into the quadrants around the dial. The silvering to the mounts has overall light to moderate tarnishing and the inlaid motifs are a little rubbed. The ebonised finish has some slight localised degradation in places otherwise is generally in very condition.Clock is complete with pendulum, winding key and two case keys. Condition Report Disclaimer

A WILLIAM IV CARVED AND BRASS INLAID MAHOGANY BRACKET CLOCK WITH WALL BRACKETTURNER, LONDON, CIRCA 1830The five pillar twin fusee bell striking movement with shouldered plates and anchor escapement regulated by lenticular bob half-seconds pendulum with holdfast to the centre of the backplate, over engraved signature Turner, LONDON and serial number 591 to lower left hand corner, the 8 inch circular convex cream painted Roman numeral dial inscribed TURNER, Fenchurch St., London to centre and with blued steel moon hands set behind a hinged convex-glazed moulded cast brass bezel, the case with trefoil-shaped pediment upstand set on a horizontal tablet and fronted with stylised foliate relief-carved decoration within a moulded surround, over cavetto cornice and applied leafy sprays to the upper quadrants above the dial and conforming scrollwork beneath the dial, the front angles canted and inset with brass slips and the sides with brass cornucopiae ring handles over repeating gothic arch cast rectangular sound frets, the rear with rectangular glazed door, on cavetto moulded skirt base incorporating brass panel inlay to front; with original wall bracket with conforming line inlay to the front of the table over down-curved support further inlaid with a rosette over a tapered lozenge.The clock 49.5cm (19.5ins) high; the clock and wall bracket 69.5cm (27.25ins) high, 31cm (12.25ins) wide, 18.5cm (7.25ins) deep overall. Provenance: Property removed from 8 Great Pulteney Street, Bath. William Turner is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as a watch and chronometer maker working from Fenchurch Street 1825-40.Condition Report: Movement is in clean working condition with no visible evidence of alteration or noticeable replacements, The dial has been re-finished but to a high standard hence now presents very well. The case is generally in fine original condition with faults very much limited to minor bumps, scuffs, shrinkage and wear commensurate with age and use. The bracket is in comparable condition to the case.Clock has case key but no winder. Condition Report Disclaimer

Y A GEORGE IV BRASS INLAID ROSEWOOD BRACKET CLOCK WITH TRIP-HOUR REPEATGRANT, LONDON, CIRCA 1825The eight-day five pillar twin fusee bell striking movement with shouldered plates and anchor escapement regulated by lenticular bob pendulum, the backplate with pendulum holdfast beneath signature GRANT, Fleet Street, London, the 8 inch circular convex cream painted Roman numeral dial further signed GRANT, FLEET STREET, LONDON to centre and with steel moon hands set behind a hinged convex glazed cast brass bezel, the case with brass pineapple finial to the stepped hipped 'chamfer-top' superstructure and cavetto top moulding incorporating fluted frieze, over recessed brass fillet edged quadrant panels to the fascia around the dial flanked by brass inset canted angles, the sides with foliate ring handles over rectangular brass fish scale sound frets, the rear with rectangular glazed door set within the frame of the case, the skirt base with fluted band above the cushion top moulding over line inlaid front panel and brass ball feet.48cm (19ins) high including finial, 28.5cm (11.25ins) wide, 17cm (6.75ins) deep. Provenance: Property removed from 8 Great Pulteney Street, Bath. John Grant junior is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working from Fleet Street 1817-67. His father of the same name (1781-1810) was an exceptional clockmaker, described by Cedric Jagger as 'one of the finest of the London clockmakers at the end of the 18th Century' (see Jagger, Cedric Royal Clocks, pages. 101-103.); he was apprenticed to his uncle, Alexander Cumming (1733-1814), and it is possible they may have been in business together at some point.Condition Report: The movement is in fine clean working condition with no visible evidence of alteration or noticeable replacements. The dial retains old/original surface; the numerals and black text appear to have been 'strengthened' (overpainted). There is evidence of sensitive touching-up of scratches to the dial centre, also to chips around the winding holes and to the edge of the disc. The case is generally in very original condition with no significant faults; the surface is a little dry/faded and the brass elements have patchy discolouration/oxidation. On closer examination some well-executed restoration to the veneer overlaps bordering the brass side frets and to the lip of the rear door can be seen.Clock has pendulum and a winding key but no case key. Condition Report Disclaimer

AN UNUSUAL GEORGE III MAHOGANY LONGCASE CLOCK OF SMALL PROPORTIONSJ. WHITHAM, SHEFFIELD, LATE 18th CENTURYThe four pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 10 inch white painted Roman numeral break-arch dial signed J. Whitham, SHEFFIELD to centre, with scroll pierced steel hands and gilt-bordered polychrome rose spray painted decoration to spandrels, the arch centred with a painted roundel depicting Chronos within gilt bead surround and flanked by gilt leafy scroll decoration, the case with central concave upstand to the open swan neck pediment flanked by finial platforms and inset with gilt on black decorated verre eglomise panels, over complex moulded break-arch cornice centred with a keystone and ogee moulded glazed hinged dial aperture flanked by free-standing fluted Corinthian columns, the sides with bold baluster outline bargeboards applied to the rear edge, the tapered trunk with plain frieze over inswept throat and rectangular reeded door decorated with oval line panel to centre, the lower section swept outwards and resting on architectural mouldings onto a stepped plinth base with further moulded skirt.193cm (76 ins) high excluding finial, 48cm (19ins) wide, 25cm (9.75ins) deep. Jonathan Whitham is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Sheffield 1770-90.Condition Report: The movement is in good clean working condition with no visible evidence of alteration or noticeable replacements to the mechanism itself. The frontplate is drilled with two additional dial feet holes to the upper corners, these appear to have never been used hence are most likely to surplus drillings from the time the clock was made (maker decided to use one top pillar instead of two). The dial retains old slightly crazed surface with a filled hole inline with the seconds arbor which would appear to date from the time the dial was made (ie. we believe is not indicative of alteration). The dial has a well-executed patch of restoration between the XI and XII numerals as well as some noticeable scratching just below and to the right of the centre arbor. The lower dial feet fixing points have some slight stress marks/flaking Faults to dial are otherwise limited to slight rubbing, crazing, light scratching wear and other age-related blemishes.The movement retains its original seatboard however a section is missing from the rear left hand side of the panel. The cheeks of the case are applied to the inside of the trunk - this would appear to be an original feature; the movement is currently a little wonky when in the case (leans to the right) however we are the opinion that the case is most likely original to the movement and dial.The case is generally in good original condition however the finish is somewhat uneven and dull hence would benefit from the attention of a good finisher to revive it. The central glass insert to the hood is cracked and the gilt painting is a little rubbed; the painting itself is a little naive hence may have been re-done at some point in the past. The backboard has a horizontal crack which has been stabilised by securing a thin overlain panel behind the movement and baton across the back. The cornice mouldings have been trimmed to a 45-degree angle at the rear edge to allow clock to stand across a corner. Faults to the case are otherwise limited to age related bumps, scuffs, shrinkage and wear.Clock is complete with two weights, pendulum, case key and a winder. Condition Report Disclaimer

Y AN IMPRESSIVE GEORGE IV BRASS INLAID MAHOGANY QUARTER-CHIMING BRACKET CLOCK WITH WALL BRACKETFRENCH, LONDON, CIRCA 1825The substantial six pillar triple chain fusee movement chiming the quarters on a graduated nest of eight bells and sounding the hour on a further larger bell, with anchor escapement regulated by lenticular bob pendulum with holdfast to the movement backplate beneath bold engraved signature French, Royal Exchangel, London to centre, the 9 inch slightly convex cream painted Roman numeral dial signed French, Royal Exchange, LONDON to centre, with minute track to outer margin and steel spade hands set behind a hinged convex-glazed caddy-moulded cast brass bezel, the case with large gilt brass pineapple finial to the transverse scroll-shaped crest surmounting the ogee gothic-arch outline superstructure applied with brass strung ebony band to upper edges, flanked by obelisk finials capped with further pineapple finials over front decorated with stylised foliate trails to pediment and lower quadrants, flanked by inset gilt brass free-standing Corinthian columns to front angles over apron panel inlaid with opposing lyre motifs, the sides with brass repousse cornucopiae ring handles over rectangular brass gothic tracery sound frets, the rear with demi-lune over rectangular glazed arched door set within the frame of the case, on skirt base inlaid with stylised leaf decorated panel to fascia over ball feet; the wall bracket with conforming inlaid decoration to the front of the table and to the down-curved square-section tapered support.The clock 79cm (31ins) high; the clock and wall bracket 105cm (39.5ins) high, 39cm (15.5ins) wide, 23cm (9ins) deep overall. Santiago James Moore French is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working from Royal Exchange and Sweetings Alley, London circa 1810-40.Condition Report: Movement is in fine clean fully working condition with no visible evidence of alteration or noticeable replacements. The movement rests on its original seatboard and is the movement and dial are definitely original to the case. The dial retains old surface but the black numerals and script have been retouched and the dial and has been cleaned/freshened-up. The case is in fine original condition with no significant faults; blemishes are very much limited to slight veneer shrinkage and a few light bumps and scuffs. The colour/finish is perhaps a little faded/dry hence would probably benefit from a polish. The bracket is original to the clock and is in similar condition albeit of slightly darker colour and some slight unevenness to the polish/finish.Clock is complete with pendulum, winder and a case key. Condition Report Disclaimer

A IMPRESSIVE GEORGE III GILT MOUNTED MAHOGANY TWELVE-TUNE MUSICAL TABLE CLOCK OF LARGE PROPORTIONSEARDLEY NORTON, LONDON, CIRCA 1780The massive eleven pillar triple chain fusee movement playing a choice of twelve tunes via a 14 inch pinned cylinder on thirteen bells with sixteen hammers transversely mounted across the top of the mechanism, before sounding the hour on a further larger bell vertically mounted between the T-shaped plates each measuring 11 inches high by 18.75 inches wide at the projections, the going train with deadbeat escapement incorporating pallets visible through an arched slot cut into the backplate and regulated by 11.75 inch lenticular bob pendulum with holdfast applied just below the signature Eardley Norton London, scribed within a rococo scroll-bordered cartouche within fine rococo scroll engraving covering the entire backplate and incorporating number 1022 stamped to the right hand projection, the 12 inch brass break-arch dial applied with circular slightly convex fired white enamel Roman numeral hour disc signed EARDLEY NORTON, LONDON to centre within inner concentric calendar and with Arabic five minutes beyond the outer minute track, with fine scroll-pierced steel hands and generous rococo scroll cast spandrels to angles, beneath arch applied with a further enamel plate incorporating subsidiary STRIKE/SILENT and CHIME/NOT CHIME selection dials set within fine gilt painted stylised neo-classical scrollwork infill and the upper margin with tune selection panels inscribed MINUET five times, MARCH three times, GAVOT, AIR, DANCE and HORNPIPE, the substantial gilt brass mounted mahogany case with generous pineapple finial over concave-sided platform fronted with a fine scroll-pierced and engraved gilt brass fret over drapery swag decorated upstand, with slender cushion-capped cavetto cornice and break-arch glazed front door bordered with brass fillet mouldings to the dial aperture and with conforming engraved gilt brass sound frets to the upper quadrants, the front angles with substantial brass stop-fluted Ionic columns with gilt caps and bases and the sides with large hinged carrying handles over rectangular panels bordered with complex mouldings and inset with brass fillet-edged arch-glazed apertures (the right hand side opening to access the movement), the rear with matching frets to the concave sided upstand and upper quadrants of the break-arch glazed door flanked by caddy moulded angles, on substantial ogee moulded skirt base applied with musical trophy centred gilt drapery swag mount to front over generous acanthus decorated bracket feet.96.5 (38ins) high, 66.5cm (26.25ins) wide, 37.5cm (14.75ins) deep. Eardley Norton was thought to have been born into a farming family from Rigsby, Lincolnshire, however he was apprenticed as a clockmaker 25 May 1743 to Robert Dawson of Alford. Latterly he moved to London where he is listed as working at 49 St. John's Street, Clerkenwell between 1760 and 1794. He was member of the Clockmakers' Company being freed in 1770 and remained a member until his death in 1792. He applied for a patent for a new type of striking mechanism for both clocks and watches on 31 August 1771. Norton enjoyed Royal patronage being perhaps best known for his silver mounted four-dial astronomical clock (made in collaboration with James Ferguson F.R.S.) commissioned by George III for Buckingham House (later Palace) which still remains in the Royal Collection (RCIN 30432). He married Mary Swinnerton of Oswestry and later retired to Stonegrove House (no longer existing), Little Stanmore, Middlesex, in the parish of Whitchurch. On his death, his business was taken over by the partnership of Gravell and Tolkien. He is buried at St. Lawrence's church in Little Stanmore. A related (albeit smaller) musical movement is illustrated and discussed in Ord-Hume, Arthur W.J.G. The MUSICAL CLOCK on pages 250-51 (plate XII/10) where it is noted that Eardley Norton was one of a small number of makers who utilised the 'carriage-change system' to select tunes whereby the entire bell and hammer assembly is moved along the barrel by a leaf spring, rather than the usual arrangement where the barrel being is shunted along beneath the hammers. The 'carriage-change system' was perhaps first used by Roger Dunster and then by John Ellicott junior and provincial makers such as John Taylor of Ashton.The impressive size and quality of the current lot would suggest that it was a one-off commission no doubt for a very wealthy client as a centrepiece for an important interior. Condition Report: Movement is complete and is in clean fully-working condition including the tune selection and chime/silent and strike/silent selection dials. The movement appears to be in its original format with no visible evidence of alteration however we are aware that work has been done hence it is likely that the musical work (train, barrel and hammer assembly/carousel) have been largely re-instated but to their exact original configuration/specification. Any work that has been done has been executed to the highest standard.The dial presents as in immaculate condition but again it is likely that the enamel panels have had some restoration undertaken (again to the highest standard).The movement and dial are original to the case which is in fine condition having been cosmetically restored. The cast pineapple finial and post are most likely additions and the slender cavetto mouldings bordering the top edge of the upstand have been replaced on both sides. The mask around the dial has had a repair (insert) to the right-hand side upright (behind the veneer overlap) however the size, arch profile etc of the aperture appears to be original hence this repair is not indicative of alteration (or suggestive that the movement and dial are not original to the case). The glazed dial aperture is about 1 inch larger than the mask aperture but this would appear to be an original feature. Faults to the case are otherwise limited to minor shrinkage, a few small veneer patch repairs, re-gluing of joints and replacements to some of the small lesser mouldings; and other minor bumps, scuffs and blemishes commensurate with age.Generally a very impressive fully operational example fully restored clean condition and is complete with pendulum, winder and case key. Condition Report Disclaimer

A FINE GEORGE III BRASS MOUNTED EBONISED QUARTER-CHIMING TABLE CLOCKTHOMAS GRIGNION, LONDON, CIRCA 1760The substantial six pillar triple chain fusee movement with thick plates measuring 8 by 6.25 inches, chiming the quarters on a graduated nest of eight bells with eight hammers and sounding the hours on a further larger bell, the going train with verge escapement regulated by engraved lenticular bob pendulum incorporating pivoted rise/fall regulation arm to suspension and pendulum holdfast hook to the backplate, finely engraved with a basket of fruit and symmetrical foliate strapwork around a central panel signed Tho's Grignion, Covent Garden, London, the 7 inch brass break-arch dial with calendar and shaped false-bob apertures to the finely mated centre within applied silvered Roman numeral chapter ring with Arabic five minutes beyond the outer track, with fine pierced steel hands and rococo scroll cast spandrels to angles beneath arch with twin subsidiary dials for regulation and Strike/Silent selection within foliate engraved infill and applied with a silvered shaped nameplate Tho's Grignion, Covent Garden, London to upper margin between, the bell-top case with generous hinged brass carrying handle and brass fillet mouldings to superstructure flanked by cast pineapple finials over double cavetto top mouldings, the hinged glazed front with brass fillet mouldings to the dial aperture and fine foliate engraved upper quadrant frets, the front angles inset with moulded brass slips and the sides with circular over concave topped glazed apertures incorporating conforming brass mouldings, the rear with break-arch glazed door with mouldings and frets matching those to the front but set within the frame of the case, on cavetto moulded skirt base faced in brass over cast ogee bracket feet.47cm (18.5ins) high with handle down, 28.5cm (11.25ins) wide, 20.5cm (8ins) deep. Thomas Grignion was born in 1713 the son of the Huguenot clockmaker Daniel Grignion (born 1684). Thomas presumably trained under his father but neither gained their freedom of the Clockmaker's Company. Daniel Grignion was based close to the eminent Quaker clockmaker Daniel Quare and worked for him in some capacity (most likely some form of informal journeyman) hence after Quare's death in 1724 he made use of the goodwill associated with Quares name. Thomas joined in partnership with his father in around 1730 and then worked alone in the business from around 1750. Daniel Grignion died in 1763 and Thomas in 1784.Although relatively little is known about the Grignion family surviving examples of their work is generally of unusually high quality. Condition Report: Movement is in fine original working condition. The verge escapement appears unaltered and there is no evidence of the clock having being converted to anchor escapement at some point in the past. The wheel trains appear fundamentally all-original with no noticeable replacements or significant alteration. There are two very small pivot holes to the top of the quarter train suggesting that a smaller internal fly was originally considered but was most likely found to be insufficient hence movement was completed with the external adjustable fly by the maker. The frontplate also has a spare hole to the upper right this is most likely intended for the right dial pillar which, again, was re-thought at the time of making as would have found to have limited the travel of regulation rise/fall lever. The dial is original to the movement and is in good original condition with particularly fine matting. The functions of the subsidiaries (chime/silent and regulation) are connected and are operational. The silvering and finish to the brass components have mellowed slightly and the minute hand has been repaired.The movement rests on its original seatboard (although there is a loss to the rear left hand corner of the board next to the pendulum cut-out) and the movement and dial are original to the case. The case is generally in sound original condition but would benefit from sensitive cosmetic attention. At some point the inverted bell-top superstructure has become detached and has been re-glued; and the top section is also currently a little loose. The superstructure has been re-attached by screws inserted inside from beneath which have travelled to cause a slight lift to the veneer on each side of the exterior convex section. The front convex section has a horizontal shrinkage crack. The pineapple finials are 190th century additions and both sides of the case now have non-original concentric-pierced frets to the upper apertures (would benefit from replacement with glass or engraved brass frets). Both the front and rear doors retain their original locks, hinges and engraved brass quadrant frets and are in sound condition. The surface has relatively heavily applied ebonised 'polish' hence would benefit from the attention of a good finisher to flatten-out some of the somewhat gloopy texture. The brasswork is generally a little dull/tarnished. Otherwise faults to the case are limited to slight shrinkage, and other age-related bumps, scuffs and blemishes. Clock has pendulum, crank winder and a case key. Condition Report Disclaimer

A FINE REGENCY BRASS MOUNTED EBONISED QUARTER-CHIMING BRACKET CLOCK WITH INTEGRAL WALL BRACKETJOHN THWAITES AND COMPANY, CIRCA 1813The substantial six pillar triple chain fusee movement chiming the quarters on a graduated nest of eight bells and sounding the hour on a further larger bell, with anchor escapement regulated by lenticular bob pendulum swinging within the wall bracket beneath and scroll border engraved backplate boldly signed John Thwaites & Co., Clerkenwell, London to centre, the frontplate stamped with serial number 5097 to lower right hand corner, the 8 inch slightly convex cream painted Roman numeral dial signed John Thwaites & Co. Clerkenwell, LONDON to centre, with minute track to outer margin and pierced steel hands, the ebonised break-arch case with hinged carrying handle to the brass fillet edged single pad top over slender complex cornice moulding and opening front incorporating crescent-shaped scroll pieced brass fret above convex glazed cast circular bezel to the dial aperture and conforming lower quadrant frets with raised half-round moulded surrounds, the sides with arched brass fish scale frets, the rear with arch glazed panel door set within the frame of the case, on cavetto moulded skirt base resting on original wall bracket with complex moulded border to the table over brass bound frieze incorporating a lock to secure the removable inverted concave section beneath terminating with an ogee moulded foot.The clock 40.5cm (16ins) high with handle down; the clock and wall bracket together 64cm (25.25ins) high, 30.5cm (12ins) wide, 20.5cm (8ins) deep overall. John Thwaites was the son of Ainsworth Thwaites who was apprenticed in 1735 and worked from Rosoman Row, Clerkenwell, London 1751-80. Ainsworth Thwaites was an accomplished maker who supplied the clock for the tower at the Horse Guards Parade; John was born in 1757 and took over the business presumably on the death of his father in 1780 before moving to Bowling Green Lane. He entered into partnership with Jeremiah Reed in 1808 and he firm subsequently became well known for supplying all forms of clocks and movements either wholesale for others to retail or signed by themselves. The partnership continued under John Thwaite's leadership from several addresses in London until his death in 1842. The business has subsequently passed through a series of successors and is still trading today from Rottingdean near Brighton.  Ronald E. Rose in his book English DIAL CLOCKS provides data allowing clocks by Thwaites to be dated from their serial number (Appendix III page 239); from this list the serial number of the current lot suggests that it was made around 1813. A very closely related example, albeit a timepiece only, signed for Thwaites and Reed, and with provenance indicating that it was supplied to the 'H.M. Government Committee of Transports Navy Office' Whitehall, was sold in these rooms on 20th September 2016 for (lot 80) for £5,000 hammer.Condition Report: Movement is in fine clean fully working condition with no visible evidence of alteration or noticeable replacements. The movement retains its original seatboard and its overall configuration confirms that movement and dial are original to the case. The dial has been fully restored to a high standard and is in fine condition having only a few very light surface scratches. The case is in fine original condition with faults very much limited to minor shrinkage and a few bumps and scuffs commensurate with age and use; the finish also shows a little wear/rubbing/fading. The bracket is in similar condition; the brass strip across the front has 'sprung' slightly hence would benefit from being reset. Clock has pendulum, winder and two case keys. Condition Report Disclaimer

A REGENCY BRASS MOUNTED MAHOGANY BRACKET CLOCK IN THE MANNER OF THOMAS HOPE UPJOHN, THE CASE POSSIBLY BY BANTING AND FRANCE, LONDON, CIRCA 1825The five pillar twin fusee bell striking movement with trip-hour repeat and anchor escapement regulated by lenticular bob pendulum with holdfast to backplate, the pendulum with calibrated slider for regulation and conforming concentric engraved decoration to the bob, the 7 inch circular convex cream painted Roman numeral dial signed UPJOHN, 15 King William St., STRAND to centre and with steel spade hands set behind hinged convex-glazed cast brass bezel milled with continuous repeating husk design, the case in the Romano-Egyptian taste with brass pineapple finial to the radial gadroon-carved hipped 'chamfer top' upstand incorporating ogee moulded collar and flanked by honeysuckle carved acroteria finials, above geometric brass-inlaid ebonised moulded panel outline tapered front with crisply cut horizontal fluted infill and canted cast gilt brass mummiform mounts to angles, the apron with shaped brass fillet inset panel flanked by canted acanthus scrolls supporting the figures, the sides with obelisk outline repeating Gothic arch tracery pierced brass frets and the rear with rectangular glazed door set within the frame of the case, on fluted panel inset skirt base with stylised fan carved feet.52.5cm (21.75ins) high, 33cm (13ins) wide, 19.5cm (7.75ins) deep.  The movement of the current lot is most likely by John and Thomas Upjohn who are recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as makers 'To His Majesty' working in London 1828-32. The case of the current lot belongs to a series which share the same basic form and many core details. A slightly simpler variant (without the mummiform figures to the front angles) was offered in these rooms on 28th August 2014 (lot 116) which was stamped with the initials B.F. to the interior of the case. Another further example (perhaps the earliest from this series), this time with a movement by Atkins and Son and formerly in the possession of the Marquesses of Bristol, was 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 presence of the other example stamped 'B.F.' and another provenanced as most likely being from an interior furnished by Banting and France would suggest that this series of cases were probably made by them perhaps to special order. Indeed the design, with its robust fusion of Ancient Greek, Roman and Egyptian styles demonstrates 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.Condition Report: Movement is in relatively clean working condition with no visible evidence of alteration or noticeable replacements. The dial retains old surface but the black of the numerals and the signature have been 'strengthened' and these is some noticeable crazing. The movement and dial are original to the case and are retained by brass angle brackets. There is also a seatboard structure which rests on the baseboard; this has age but may be a replacement/addition (clock was probably originally made without a seatboard.The case is in fine original condition. The right-hand finial has a chip to the apex and the left hand side a small veneer chip to the edge of the fret aperture. The rear door has a replacement glass and some slight veneer chipping to the edges. Faults to the case are otherwise limited to minor bumps, scuffs, minimal shrinkage and other very slight blemishes.Clock has original but no case key or winder. Condition Report Disclaimer

A FINE AND RARE GEORGE II GILT BRASS MOUNTED EBONISED QUARTER-STRIKING TABLE CLOCKHENRY HINDLEY, YORK, MID 18th CENTURYThe six distinctive double-baluster turned pillar twin chain fusee movement with arched plates measuring 10.25 by 6 inches enclosing greatwheels fitted to the narrow ends of the fusee cones, the going train incorporating perpendicular contrate drive from the centre-wheel to the escapement positioned at the apex of the plates, now with deadbeat escapement incorporating Brocot-type pallets positioned between the dial and the front plate (behind a shaped bridge) and regulated by half-seconds lenticular bob pendulum swinging to the rear, the two-in-one quarter-striking train incorporating single rack for both hours and the quarters utilising a standard snail arrangement to set the count for the former, and a second three-tooth rack stop lever (acting on a pin set in the hour rack arm) to control the latter, sounding on a graduated pair of bells with the hour on the larger and the quarters on both via dedicated hammers (incorporating Hindley's distinctive 'L' shaped springs) driven by the same pin wheel with automatic positioning via lateral pump action facilitating disengagement of the quarter hammers and engagement of third single hour hammer leading up to the hour, the backplate applied with an additional second plate finely engraved with asymmetric scrolling foliage around a central circular cartouche signed Hen. Hindley, of YORK flanked by Ho-Ho bird, lion and grotesque mask inhabited strapwork, the 7 inch arched brass dial with richly matted centre within applied silvered Roman numeral dial with Arabic five minutes to outer track and signed H. Hindley, York to lower edge, with scroll-pierced steel hands and lambrequin mask centred scroll cast spandrels, the upper margin with Strike quar's/Hr/Silent selection beneath arch centred with a subsidiary seconds dial flanked by female sphinx inhabited scroll cast mounts, the plate further applied with raised ogee border mouldings incorporating architectural cavetto 'capitals' and keystone details, the ebonised bell-top case with hinged brass carrying handle and pineapple finials over complex top mouldings and arch-glazed hinged front incorporating generous gilt fillet moulding to dial aperture, foliate scroll cast gilt upper quadrant frets and applied with female term mounts to uprights, the sides with arched brass fish scale sound frets and the rear with rectangular glazed door set within the frame of the case, on stepped ogee moulded skirt base.48cm (19ins) high with handle down, 27.5cm (10.75ins) wide, 18.5cm (7.25ins) deep.Henry Hindley was born in Great Harwood, near Blackburn, Lancashire 1699, little is known about his early life, however by the mid 1720's he was making clocks in Wigan where he repaired the church clock in 1726. Hindley moved with his young family (including his son, Joseph born 1728) to the prosperous city of York where, after making clocks for the Mansion House and Guildhall, he gained his Freedom of the city in 1732. Hindley s talents were such that he equipped his workshop with tools of his own design including an important dividing and wheel cutting engine, a screw cutting lathe and a fusee engine. As well as domestic clocks Hindley received commissions for several turret clocks including York Minster and supplied a range of scientific instruments including two important equatorial telescopes for the Duke of Norfolk and William Constable. By the 1760 s Hindley s health had deteriorated to the extent that an ever-increasing proportion of the business was handled by his son Joseph. Henry died in 1771 with his son and successor Joseph unfortunately dying just three years later in 1774, before he had had the opportunity to stamp his own mark on the family firm.  According to the late Rodney Law, of Hindley's work only around 15 'spring clocks' are known versus around 40 longcases (see Law, R.J. HENRY HINDLEY OF YORK 1701-1771, PART II - published as an excerpt by The Antiquarian Horological Society). Law writes that of the examples seen by him all except one have half-seconds pendulums, all but three seconds hands and the majority have maintaining power. All also have the same distinctive design of double baluster pillar following those possibly first seen on Hindley's longcase clock of 1742 suggesting that he did not start making spring clocks until after that date. The use of fusees with the large ends positioned frontwards was to reduce the degree of friction at the larger front pivot which, with the standard design, was most apparent after winding. Further refinements include 'kneed' springs (of right-angled 'L' form), and two-in-one quarter-striking using the same rack for both the quarters and the hours. Indeed it is noted by Rodney Law that the latter detail has similarities with French work suggesting that Hindley was either well-read, having studied the works of makers such as Thiout, or was kept abreast of French work by his 'ingenious Jesuit friend'The positioning of the escapement behind a bridge towards the apex of the arch of the frontplate (driven via a vertically pivoted arbor with contrate wheels), is again typical of Hindley's work and allows space for a half-second pendulum to be installed in a standard-sized table clock as well as the provision of subsidiary seconds to the arch of the dial. Indeed when fitted with his form of deadbeat escapement Hindley's table clocks would have been very good timekeepers, hence the provision of a seconds dial will be very worthwhile. In addition to these refinements the wheel train of the current clock is very finely executed with pinion counts of eight or above which, again, ensures fine accurate running. A clock by Hindley with very similar design and layout to the current movement is illustrated and described in Darken, Jeff (editor) TIME & PLACE, English Country Clocks 1600-1840 on pages 150-53.The separately engraved backplate fitted to the present clock is highly unusual. The decoration is finely executed by an accomplished engraver and can be firmly placed within the category of 'vine engraving 1740-1770' discussed in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS, Art on a Canvas of Brass 1660-1800 on pages 337-358. Indeed the quality of the engraving, both in its up-to-date sophisticated design and highly accomplished execution, would suggest that it was executed in London. It is therefore most probable that Hindley sent the plate to London to be engraved as a separate entity from the movement and fitted it over the plain backplate on completion of the mechanism. PLEASE SEE THE ONLINE 'PAGE-TURNING' CATALOGUE FOR THE REMAINING TEXT OF THIS FOOTNOTE. 

A GEORGE III MAHOGANY AND SATINWOOD EIGHT-DAY LONGCASE CLOCK WITH TIDAL INDICATION AND MOONPHASE WILLIAM TARLETON, LIVERPOOL, CIRCA 1775The four pillar rack and bell striking movement with break-arch plates and escapement offset to the right fitted with cranked crutch to provide impulse to the seconds pendulum suspended at the centre, the 14 inch brass break-arch dial with subsidiary calendar and seconds dials set beside each other to the upper part of the foliate scroll engraved silvered centre with further dial annotated HIGH/LOW and with curved sector revealing painted scenes of changing coastal views, within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track and geometric border to outer edge, with pierced steel hands and applied cast rococo scroll spandrels to angles beneath arch with rolling moonphase incorporating sunburst and delineated terrestrial globe engraved lunettes beneath disc annotated for the age of the moon and times of high water to outer edge, the upper margin of the arch boldly engraved with simulated scroll signed WILL'M TARLETON LIVERPOOL, the case with swan neck pediment joined by an arch at the centre and with satinwood panel infill over hinged break-arch glazed dial aperture applied with fluted half columns to stiles flanked by free-standing Doric columns to front angles and with further conforming half columns set to the sides at the rear, the trunk with unusual satinwood 'rocaille' overlay to the lip of the cavetto throat moulding over inlaid arcaded frieze and shaped-top caddy moulded door flanked by quarter columns, the plinth base with stepped ogee top mouldings and geometric panel border inlay to fascia flanked by canted angles, on shallow moulded skirt with squat ogee bracket feet.237.5cm (93.5ins) high excluding finial, 58cm (22.75ins) wide, 26cm (10.25ins) deep. William Tarleton is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as a 'watch-maker of repute' working in Liverpool 1763-1807. In 1798 Tarleton's business was taken-on by his son-in-law Robert Roskell, who went on to establish one of the most important watchmaking workshops of the 19th century.The dial of the current lot is unusual in that it incorporates a subsidiary which indicates high or low tide (both with a hand as well as a sector revealing ever changing coastal views) in addition to having tidal indications to the rolling moonphase. In order to provide space for the tidal dial (as well as a calendar dial to the centre) the maker moved the seconds dial to the right of its normal central position. Tarleton achieved this by offsetting the escapement and fitting a Hindley type cranked link to the crutch to allow the pendulum to be suspended from the centre of the back plate. In addition to the slightly unusual layout the dial is particularly well finished with fine geometric engraved border to the chapter ring and nicely detailed scroll terminals to the signature banner. The attention given to the tidal indications and the high quality finish to the dial would suggest that the present clock would have most likely been supplied to a wealthy merchant or ship owner to whom knowledge of the tides would have been important.Condition Report: Movement is in relatively clean working condition and appears all-original with no visible evidence of alteration or noticeable replacements. The pallet arbor however has an extended collet/brass sleeve suggesting that it has been broken at some point in the past and the sleeve now acts as a repair. The dial is in good original condition with all functions connected and operational. The moon disc has some slight wear and historic retouching otherwise is in very good original condition; the tidal disc is also in good original condition. The silvering has some patchy tarnishing/discolouration but otherwise is in very good condition with minimal wear to the well-executed engraving. The movement and dial rest on what appears to be the original seatboard. The uprights (cheeks) of the case would appear to be original and correct at the front (corner blocks). The rest of the cheeks are at a lower level except the rear where blocks have been applied to the inside of the backboard; thin slips have been applied to bridge the front corner blocks and those applied to the backboard onto which the movement rests. This rather unusual arrangement will cast doubt as to whether the movement and dial are original to the case hence we cannot make any assurances that the clock is not a marriage (although we would be inclined to perhaps give it the benefit of the doubt).The case is generally in sound original condition. The hood has a small loss to the chin moulding towards the rear left hand corner otherwise faults are limited to age related shrinkage and a few bumps/scuffs etc. The trunk door retains original hinges; the lock is probably an old replacement. The door panel has a very slight warp causing the bottom left corner to be forward around 10mm when the door is closed; this gap could no doubt be reduced through adjustment of the hinges. The satinwood banding to the top edge of the throat has some small losses/chips. The backboard has a thin panel applied to the inside behind the movement most likely to brace/stabilise the panel which is formed from two butt-jointed boards with the joint now having become unstuck. The colour is generally a little faded causing some patchy discolouration where surface has seen some additional colouring (most noticeable to right hand side of the trunk). The base has some noticeable horizontal movement/shrinkage cracking to the fascia otherwise is in sound original condition with faults limited to age related bumps. Scuffs etc.Clock is complete with pendulum, two brass-cased weights, winder and case key. Condition Report Disclaimer

Y A FINE CHARLES II/JAMES II EBONY QUARTER-REPEATING TABLE CLOCK OF KNIBB 'PHASE III' TYPE SIGNED FOR HENRY MERRIMAN BUT ATTRIBUTED TO THE WORKSHOP OF JOSEPH KNIBB, LONDON, CIRCA 1685-90The five finned baluster-pillar fully latched twin fusee movement with verge escapement regulated by short bob pendulum incorporating single-footed backcock and steel holdfast hook to the symmetrical scrolling tulip engraved backplate signed Henry Merriman, London in a shallow downward curve across the centre, the strike train and quarter repeat mechanism with both racks positioned against the inside of the backplate and with typical 'Knibb' scroll design sculpted steel feet to the two bell-stands, the 6.25 inch square brass dial with matted centre within applied Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes within the narrow outer minute track, with fine scroll-pierced steel hands and gilt winged cherub mask spandrels to angles, the upper margin with S/N strike/silent selection and the lower margin further signed in fine tightly executed engraved script Henry Merriman London, the case with later hinged scroll cast brass carrying handle and fruiting vine spray mounts to the domed caddy superstructure now elevated on a later cavetto skirt over caddy top mouldings, the hinged front with glazed dial aperture beneath elongated lozenge aperture to the upper rail now backed with gilt brass panel and applied with vine cast mount matching those to the uprights and lower rail, the sides with conforming lozenge apertures over rectangular windows and vacant slots to the lower front corners, the rear with rectangular glazed door applied with further vine-cast mounts set within the frame of the case, on stepped ogee moulded shallow skirt base now fitted with block feet.34cm (13,25ins) high with handle down, 24cm (9.5ins) wide, 15cm (6ins) deep. Provenance: The Wrangel Family, Sweden thence by descent. Henry Merryman is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born around 1655 and apprenticed in 1667 to Richard Bowen until 1676 although he was made free of the Clockmaker's Company in February 1674/5. He took-in eleven apprentices over the period between April 1676 and December 1703 and in 1695 he is recorded as a 'servant' in working in the parish of St. Catherine Coleman. Henry Merryman signed the Clockmaker's Company oath of allegiance in 1697 however he ceased paying quarterage in 1702. Loomes further notes (under the entry for Thomas Merriman) that a Mr. Merriman received the Clockmaker's Company Charity from 1715 until December 1717; it is not known whether this was Thomas or Henry Merryman.  The movement and dial of the current lot can be directly compared (in practically every respect) with an example by Joseph Knibb, London illustrated in Garnier, Richard and Carter, Jonathan The Golden Age of English Horology, Masterpieces from The Tom Scott COLLECTION pages 368-69. Both clocks have the same layout and specification as well as the same sized plates (6.75 by 4.75 inches). The location and design of the pillars match as do the latches and the decorated bell-stands. The strike and repeat mechanisms are to the same design utilising racks for each positioned inside the backplate. Both also show evidence (in the form of slots cut into the sides of the case near the front) of having push/pull bars for the quarter repeat mechanisms (a system often used by Knibb but few other makers). In addition to being of the same dimensions the backplates are also engraved with tulip designs that follow the same layout only differing in detail with regards to the alternation of the types of bloom used. It is very clear that both backplates are engraved by the same hand which is no doubt the same individual responsible for the backplate of another almost identical clock by Joseph Knibb illustrated in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS, Art on a Canvas of Brass 1660-1800. Other typical 'Knibb' features present in the current lot include brass hammer stops terminating with scrolls worked to match those of the bell stands, and shaped stopwork irons with sculpted pivot blocks. The dial marches Knibb's work in that the centre is devoid of calendar or false-bob apertures and the chapter ting shares the same half-hour markers, the signature across the lower edge is beautifully executed and the upper edge is equipped with an aperture for a strike/silent selection switch which, again, follows Knibb practice. The case of the current clock has seen some very noticeable but relatively minor (ie. easily reversible ) alterations, however the proportions and design of the details mirrors those of Joseph Knibb's casemaker. From Brian Loomes's research there would appear to be very little known about Henry Merryman and there are hardly any clocks by him noted. The reason for this apparent lack of output probably lies in the fact that he is listed as a 'servant' in 1695. This suggests that he was working for someone else (as a journeyman) - with his workshop undertaking part of the clockmaking process, whether it be wheel-cutting, finishing etc., rather than producing complete clocks for clients. The presence of Merryman's signature on a table clock which clearly was made by Knibb would suggest that there was some form of business relationship between the two, however there is no known evidence to support this other than the existence of the present clock.Alternatively it may be that the clock was 'bought-in' outright from Joseph Knibb by Merriman to satisfy a particular order from a client. This possibility is perhaps supported by fact that it has been consigned by a descendant of the ancient Aristocratic Baltic Wrangel family of Sweden whose roots stretch back to well before the clock was made; from this it may be appropriate to speculate that it could well have been supplied to a member of the family when new. This possibility certainly becomes more likely when the power and influence of various members of the family, such as Carl Gustave Wrangel (1613-76), is considered. If the clock was destined for an overseas client when first made it may well be that there was a short lead-in time. Therefore the acquisition of a nearly finished clock, already held in the stock of one the most prolific makers of the time, may have been the most efficient way to complete the order (especially if the recipient of the commission normally only worked as a 'servant').The Swedish aristocratic roots of the clock will almost certainly account for the slightly idiosyncratic design of the later mounts to the case which, being cast as fruiting vine sprigs, suggest Continental origins. The fact that the cosmetic alterations to the case haven't been reversed is testament to the clock's long-term family provenance. Indeed the fine state of preservation of the movement is indicative of the clock which perhaps quietly resided in the corner of a Swedish slott for most of its life. The provenance of the present clock presents a good opportunity for further research as it may well reflect the extent and breadth of the healthy export trade enjoyed by London clockmakers during the last quarter of the 17th century. Investigation into the present clock's origins can therefore only serve to add to our knowledge of the complex nuances of the London clockmaking trade at that time. 

Y A WILLIAM III GILT BRASS MOUNTED EBONY 'BASKET-TOP' TABLE CLOCKJOHN MONCREIFT, LONDON, CIRCA 1695The six finned pilar twin fusee bell striking movement with verge escapement regulated by short bob pendulum, the backplate finely engraved with husk swag decorated symmetrical foliate scrollwork around an oval herringbone bordered cartouche signed Jn'o Moncreift, London, the 7 inch square gilt brass dial with ringed winding holes and scroll-bordered false bob and calendar apertures to the matted centre, within applied silvered Roman numeral chapter ring with stylised sword hilt half hour markers , Arabic five minutes beyond the outer minute track and signed Moncreift, London to lower margin, with fine scroll-pierced blues steel hands, applied gilt winged cherub mask spandrels to angles and vestigial N/S strike/silent selection switch at twelve o'clock, the case with Quare-type hinged foliate bud tied scroll-shaped carrying handle over later pierced gilt brass 'basket' superstructure cast with winged cherub masks flanked by putti riding cornucopiae above repeating leaf lower border and flanked by pineapple finials, with complex top mouldings over hinged glazed front, rectangular side windows and further glazed door set within the frame of the case to the rear, on conforming complex moulded skirt base with gilt brass squab feet, (formerly with pull-quarter repeat work - now removed).39cm (15.25ins) high with handle down, 27cm (10.5ins) wide, 18cm (7ins) deep. A John Moncrief is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born around 1674 and apprenticed to John Bellard through Amos Wynch in 1688, but apparently did not gain his freedom of the Clockmakers' Company. One of this name signed the oath of allegiance for the Merchant Taylors' Company in 1697 and a record of the baptism of a child is recorded to a John Moncrief and wife Rebecca as taking place at St. Christopher le Stocks in 1704. Loomes notes a longcase clock and a clock-watch signed 'John Moncrief, London. Condition Report: As catalogued the movement was originally fitted with a pull-quarter repeat repeat train; this has been removed leaving a series of holes to the upper left-hand part of the mechanism. Otherwise movement has survived in good original condition with no evidence of alteration to the extant wheelwork. There is no visible evidence to suggest a previous conversion to anchor escapement; the present contrate wheel and potances appear original, the escape wheel has been re-pinioned. Movement is in clean working condition. The dial is in good relatively clean condition exhibiting a nice slightly mellow golden hue to the brass and satin silvering.The case is original to the movement and dial and is generally in eminently presentable condition however, as indicated in the catalogue description, the pierced gilt 'basket-top' superstructure and the finials are 19th century replacements (original would have been repousse rather than cast hence easily damaged); the handle is probably original. The mask around the dial (only visible when the front door is open) has losses to the veneer edge/overlap bordering the dial plate. The front door has evidence of having been fitted with mounts (filled pin holes). Both the rear and front doors retain their original hinges. Otherwise case is in good condition with faults limited to minor shrinkage, very slight bumps, scuffs and other age related blemishes. Clock has a winder but no case key. Condition Report Disclaimer

A WALNUT AND FLORAL MARQUETRY EIGHT-DAY LONGCASE CLOCKTHE MOVEMENT AND DIAL BY LANGLEY BRADLEY, LONDON, 18th CENTURYThe five finned pillar outside countwheel bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch square brass dial with subsidiary seconds dial, ringed winding holes and scroll border engraved calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with cruciform scroll half hour markers, Arabic five minutes beyond the minute track and signed Lang. Bradley, London to lower margin, with sculpted steel scroll hands and winged cherub mask and foliate scroll cast spandrels to angles within a foliate herringbone engraved border, now in a case with ebonised and floral trail inlaid concave cornice and scroll pierced frieze frieze over hinged glazed dial aperture incorporating conforming marquetry to surround and flanked by Solomonic three-quarter columns to the front angles, the sides with rectangular windows and conforming quarter columns set against bargeboards at the rear, the trunk with floral trail decorated concave throat moulding over 38.5 inch rectangular door inlaid with an architectural urn within bird inhabited flowering foliage into an ebonised ground, centred with a lenticle and with half round moulded surround set into a herringbone inlaid surround, the sides veneered with twin line-bordered panels over base with decorated concave ogee top moulding and conforming floral marquetry to fascia, on moulded skirt incorporating bracket feet with shaped apron between, (the case probably Dutch and includes a detached and dismantled caddy superstructure).220cm (86.5ins) high, 54cm (21.25ins) wide, 27cm (10.5ins) deep at the cornice. Langley Bradley is recorded in Loomes, Brian The Early CLOCKMAKERS of Great Britain 1286-1700 as born circa 1663, apprenticed in February 1687/88 to Joseph Wise and freed 1694. He worked at the Minute Dial in Fenchurch Street and was appointed Assistant of the Clockmakers' Company in 1720 and served as Master in 1726. By 1748 he had moved to Mile End. Langley Bradley is perhaps best known as a turret clock maker who was commissioned by Sir Christopher Wren to supply the clock for St. Paul's Cathedral in 1707. The clock he supplied, complete with quarter jacks, was openly criticised for being costly and unreliable, although there was probably some truth behind these comments it seems that the resultant dispute may have been politically motivated. Indeed a Government commission was set up under the Chairmanship of Sir Isaac Newton which eventually resulted in the clock being replaced by one made by William Wright and Richard Street; the latter being a fine maker with connections to Tompion who was known to have supplied clocks for Sir Isaac Newton. Despite this embarrassment Sir Christopher Wren attempted to influence the Crown's potential appointment of Langley Bradley as official clockmaker to Queen Anne, describing him as 'a very able artist, very reasonable in his prices' in his correspondence to the Lord High Chamberlain in 1711. Unfortunately for Bradley the Lord Chamberlain's response indicated that under such circumstances a Royal Warrant could not be granted via the Office of Works. Wren clearly thought well of Langley Bradley as he persevered to facilitate the commission for a new clock at Hampton Court to be undertaken by Bradley. 

A FINE BRASS MOUNTED MAHOGANY QUARTER-CHIMING TABLE CLOCK WITH FIRED ENAMEL DIAL INSERTSMATTHEW DUTTON, LONDON, CIRCA 1800The substantial five pillar triple chain fusee movement with thick plates measuring 8.25 by 6.75 inches, chiming the quarters on a graduated nest of six bells with six hammers and sounding the hours on a further larger bell, the going train with half-deadbeat escapement regulated by lenticular bob pendulum incorporating transverse pivoted rise/fall regulation beam to suspension and pendulum holdfast to the backplate signed Dutton, London and numbered 340 to centre, the 8 inch brass break-arch dial plate applied with circular slightly convex white enamel disc with Roman numeral hour chapters and Arabic five minutes beyond the minute ring, with fine scroll-pierced blued steel hands within slender moulded surround to the disc and foliate scroll cast spandrels to angles, with S/N strike silent selection switch at twelve o'clock beneath subsidiary circular enamel regulation dial signed Matthew Dutton, London to centre within slender moulded surround and flanked by conforming scroll cast mounts to arch, the break-arch case with hinged brass carrying handle to the triple brass-fillet bordered pad top with complex cornice mouldings, over hinged glazed front with further brass fillet mouldings to the dial aperture and moulded slip inserts to front angles, the sides with arched brass diamond lattice sound frets and the rear with break-arch glazed door set within the frame of the case, on cavetto moulded skirt base with brass squab feet.44cm (17.25ins) high with handle down, 30cm (11.75ins) wide, 20cm (7.75ins) deep. Provenance: The Kingshott Collection. Matthew Dutton is recorded in Baillie G.H. Watchmakers & Clockmakers of the World as succeeding his father, William Dutton in 1794. William Dutton was an important maker who went into partnership with the eminent chronometer maker, Thomas Mudge, in Fleet Street in 1755. Mudge retired from the business (to pursue further work on the development of the marine chronometer) leaving the workshop in the hands of William Dutton until he was succeeded by his sons, Matthew senior and Thomas in 1794. The brothers worked together until 1804 and Matthew alone until 1815 when he went into partnership with his son of the same name which continued until 1825.The present clock is typical of the Dutton family's high-quality approach to clockmaking. The movement is particularly generous in its construction and finely finished. The restrained backplate, being engraved with only the finely executed signature, follows in the tradition of George Graham as does the beautifully balanced dial and well-proportioned but relatively restrained case. Condition Report: Movement is in fine clean fully working condition with no visible evidence of alteration or noticeable replacements. The dial is in fine condition with no visible faults to the enamel inserts and only slight mellowing to the brass elements. Movement and dial are original to the case.The case has a well-executed veneer patch repair across the rear left corner of the right-hand pad to the top. Otherwise is in extremely good condition with minimal age related blemishes. The brass mounts have mellowed/oxidised slightly and the finish is slightly faded overall.Clock is generally in extremely good condition and is complete with pendulum, winder and case key. Condition Report Disclaimer

A GEORGE III MAHOGANY EIGHT-DAY QUARTER-CHIMING LONGCASE CLOCK WITH CENTRE SECONDS AND MOONPHASETHOMAS RICHARDSON, WEVERHAM, CIRCA 1780The substantial five pillar triple train movement chiming the quarters on a graduated nest of eight bells and sounding the hour on a further larger bell, the going train with anchor escapement planted low-down for the centre seconds and regulated by seconds pendulum, the 13.5 inch brass break-arch dial signed to an oval reserve Thomas, Richardson, WEAVERHAM to the recessed scroll engraved centre incorporating annotations for the concentric calendar to outer edge, within applied silvered Roman numeral chapter ring with scallop-shell half hour markers and Arabic five minutes beyond the outer minute track, with pierced blued steel hands and richly cast rococo scroll cast spandrels to angles, the arch with rolling moonphase incorporating mounts cast as putti riding eagles to lunettes and annotations for the age of the moon to the circumference of the lunar disc beneath curved silvered plate fitted with a central fixed pointer for the lunar calendar and engraved That man is yet unborn, that duly weighs an Hour to outer margin, the case executed in the manner of Gillows of Lancaster with architectural dentil moulded open swan neck pediment centred with a pierced upstand and fronted with gilt scroll decorated verre eglomise infill, over break-arch mouldings centred with a keystone and hinged glazed dial aperture flanked by free-standing Corinthian columns with brass caps and bases, the trunk with concave throat moulding and 'Chinese Chippendale' style blind fret frieze over shaped-top caddy moulded flame figured trunk door flanked by fluted quarter columns with further blind fret panels beneath, the plinth base with stepped ogee top mouldings over ogee-arch shaped raised caddy moulded panel flanked by canted angles applied with architectural quoin detailing, on ogee bracket feet.221cm (87ins) high, 61cm (24ins) wide, 28cm (11ins) deep. Thomas Richardson is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Weaverham (Cheshire) circa 1795.Condition Report: Movement is in relatively clean working condition having been well maintained by the vendor since purchase in the 1980's; however, a precautionary light clean/service is advised. The movement shows no evidence of alteration or significant replacements although some of the wheels within the trains may have been pinioned at some point in the past (a few collects vary very slightly from the others - only noticeable on very close examination as all collects are essentially of the same form). The movement therefore survives in good operational condition and entirely in its original form/specification. The dial is generally in very good condition however the lower left-hand corner of the plate has a section (triangular in shape approx. 2cm across) missing from the plate. This appears to be a break across a casting weakness however a good clock restorer should be able to let in a new piece of appropriate yellow brass without a great deal of difficulty. All the dial functions are connected and are operational; the moon disc has some slight wear/rubbing and some very slight historic re-touching otherwise is in fine original condition. The silvering is now a little tarnished with some spotting hence now has a slightly mellow appearance; the engraving is strong with minimal wear. The movement retains what appears to be its original seatboard which rests directly onto the cheek uprights of the case which appear essentially untouched. From this we are of the opinion that the movement and dial are most likely original to the case.The case is generally in good original condition. The hood is missing two of the small scroll-shaped 'dentils' to the cornice and the verre-eglomise panels have either been repainted or are replacements. The hood otherwise is in fine condition although there are two vacant sockets for finials (no longer present) to the top. The trunk door retains its original lock and hinges, the lower margin has some shrinkage cracking but no apparent losses. Faults to the case are otherwise limited to relatively minor age-related bumps, scuffs, shrinkage and other blemishes commensurate with age and use.Clock is complete with pendulum, three cast iron weights, winder and case key. Condition Report Disclaimer

A GEORGE III BRASS MOUNTED EBONISED BRACKET CLOCK WITH FIRED ENAMEL DIAL AND TRIP-HOUR REPEATUNSIGNED, CIRCA 1800The five pillar twin chain fusee bell-striking movement with verge escapement regulated by bob pendulum with holdfast hook to the movement backplate, the 7 inch circular fired enamel convex dial with concentric inner track for date of the month within chapter ring with vertical Arabic numerals, with fine loop-pierced steel hands and brass pointer for the calendar set behind convex glazed cavetto moulded hinged cast brass bezel, the break-arch case with single brass fillet-edged pad and complex top mouldings over front with inverted crescent-shaped brass fish scale fret over the dial and conforming quadrant frets beneath, the sides with hinged cast brass carrying handles over further arched frets and the rear with arch-glazed door set within the frame of the case, on cavetto moulded skirt base with brass disc feet; with a later purpose-made ebonised wall bracket decorated with brass cock beaded panels to the front of the table and the curved tapered foot.The clock 41cm (16.25ins) high, 27cm (10.5ins) wide, 14cm (5.5ins) deep, the clock and wall bracket 64cm (25ins) high overall. 

Ɵ HOROLOGICAL REFERENCE BOOKS ON AMERICAN AND ELECTRICAL HOROLOGYELEVEN PUBLICATIONS: Harrold, Michael C. AMERICAN WATCHMAKING, A Technical History of the American Watch Industry 1850-1930 National Association of Watch and Clock Collectors, Columbia PA 1984, softbound; Daniels, George English & American Watches Abelard-Shuman, London, New York and Toronto 1967, dj; Battison, Edwin A. THE AUBURNDALE WATCH COMPANY: First American Attempt toward the Dollar Watch (excerpt) Smithsonian Institution, Washington DC 1959, softbound; Tyler, E.J. AMERICAN CLOCKS FOR THE COLLECTOR Robert Hale, London 1981, dj; Towsend, George ENCYCLOPEDIA OF DOLLAR WATCHES published by the author, Arlington VA undated, softbound; Towsend, George almost Everything you wanted to know about American Watches and Didn't Know Who To Ask published by the author, signed by the author to Robert Foulkes, Arlington VA 1970, softbound; Palmer, Brooks THE BOOK OF AMERICAN CLOCKS The Macmillan Company, New York 1950, dj; Aked, Charles K. A CONSPECTUS OF ELECTRICAL TIMEKEEPING The Antiquarian Horological Society, Ticehurst 1976, softbound; Aked, Charles K. Electrifying Time exhibition catalogue,The Antiquarian Horological Society, Ticehurst 1976, softbound; Miles, Robert H.A. (translator) The BULLE-CLOCK of Favre Bulle, PRACTICAL MANUAL for the use of Clockmakers and Jewellers The Antiquarian Horological Society, Ticehurst 1995, softbound (2 copies); Miles, Robert H.A. and Ridout, Martin (translators) BRILLIE Electric Clocks, Product Catalogues, Installation & Set-up, Fault-Finding The Antiquarian Horological Society, Ticehurst 2007, softbound; together with seven futher sundry publications; together with a George III thirty-hour longcase clock movement and dial, Jonathan Natan Sickell, Knightsbridge circa 1770 with four pillar countwheel bell striking two-handed movement with anchor escapement for regulation by seconds pendulum and 11 inch square brass dial signed Jn'o Nathan Sickell, KINGSBRIDGE to the river landscape engraved silvered centre within applied Roman numeral chapter ring with Arabic five minutes to outer track, with scroll-pierced steel hands and gilt rococo scroll cast spandrels to angles (no pendulum or weights) and a Victorian fusee dial timepiece dial and case only, unsigned, late 19th century, with 12 inch dial (lacking glass and side door), (20).The movement and dial 16.5cm (6.5ins) deep overall; the dial timepiece case 37cm (14.5ins) diameter, 15cm (6ins) deep overall. Provenance: The horological library of Lawrance Hurst. 

A FINE FRENCH EMPIRE BRONZE AND SIENA MARBLE FIGURAL MANTEL CLOCK OF IMPRESSIVE PROPORTIONSJACQUIER, PARIS, CIRCA 1825The circular eight-day countwheel bell striking movement with anchor escapement regulated by disc bob pendulum incorporating silk suspension, the backplate stamped JACQUIER, A PARIS over serial number 712, the 4.5 inch circular silvered brass Roman numeral dial signed Jacquier to the slightly recessed centre and with steel moon hand set within rosette decorated leaf-cast gilt bezel, the case with a standing figure finely cast as Orpheus wearing a laurel wreath and a cape and holding a lyre, stood next to a pedestal surmounted with urn draped with a cloth inscribed EURIDICE to waist, over tablet upstand, acanthus cast ogee cornice, dial and two tier repeating lotus leaf and anthemion cast skirt mouldings, the plinth base inset with a cast frieze of Orpheus attending the court of Hades and Persephone, on generous acanthus cast ogee moulded skirt base with lions paw front feet. 91cm (35.75ins) high, 63.5cm (25ins) wide, 21.5cm (8.5ins) deep. The present clock represents the legend of Orpheus who, after the death of his wife Euridice (from the bite of viper), pleaded her return from the underworld by venturing to the court of Hades and Persephone to sing for her life back. Deeply touched by his song they agreed but on the condition that Orpheus was to leave ahead of her and was not to look back until they had reached the surface. Alas Orpheus looked back before Euridice had cleared the entrance to the underworld causing her to be returned and lost from him forever.  

A FINE FRENCH EMPIRE BRONZE AND SIENA MARBLE FIGURAL MANTEL CLOCK OF IMPRESSIVE PROPORTIONSJACQUIER, PARIS, CIRCA 1825The circular eight-day countwheel bell striking movement with anchor escapement regulated by disc bob pendulum now with Brocot type regulation, the backplate stamped JACQUIER, A PARIS over initials G D to centre and with serial number 146 to upper left hand margin, the 4 inch circular silvered brass Roman numeral dial signed JACQUIER, A PARIS to the slightly recessed centre and incorporating subsidiary seconds dial interrupting the Roman numeral chapter ring at twelve o'clock, with steel moon hands set within generous gilt laurel wreath cast bezel, the case with standing figure finely cast as Caesar wearing a toga and a laurel crown resting against a pedestal whilst supporting a scroll in his left hand, the pedestal fascia with fine relief cast mount depicting Mars stood amongst martial trophies including SPQR and NPT eagle standards beneath the dial, the plinth base inset with cast frieze of Mercury flanked by Ceres in a chariot drawn by Chimera opposing figures emblematic of the arts, on generous acanthus cast ogee moulded skirt base with leafy scroll cast bracket front feet.88cm (34.5ins) high, 56cm (22ins) wide, 23cm (9ins) deep.  

A FRENCH DIRECTOIRE PATINATED BRONZE, ORMOLU AND CARRARA MARBLE MANTEL CLOCKGASTON JOLLY, PARIS, CIRCA 1800The circular eight-day countwheel bell striking movement with anchor escapement regulated by disc bob pendulum with silk suspension, the circular convex white enamel Roman numeral dial signed Gaston Jolly A Paris to centre and with blued steel moon hands within engine-milled gilt bezel, the case modelled as urn with floral surmount to the tall domed superstructure decorated with an entwined serpent over ovoid body housing the movement with gilt pendant finial to underside, raised on four tapered pierced lappet-leaf moulded supports incorporating female term upper terminals to the sides and out-swept hoof feet, mounted on a stepped oval Carrara marble plinth base with gilt engine-milled disc feet.59cm (23ins) high, 25cm (10ins) wide, 23cm (9ins) deep. Provenance: The Kingshott Collection. Francois-Piere Gaston-Jolly is recorded in Tardy DICTIONNAIRE des HORLOGERS FRANCAIS as becoming a Master in 1794 and working from Pave St. Sauveur, Paris 1810-20. He was a fine maker whose movements are often seen in cases by Pierre-Philippe Thomire suggesting that there was some form of association between the two workshops.  

A FRENCH LOUIS XV STYLE GILT BRASS MANTEL CLOCKUNSIGNED, LATE 19th CENTURYThe eight-day bell striking movement with anchor escapement regulated by disc-bob pendulum incorporating Brocot type regulation to suspension, the backplate stamped with serial number 43939 to upper left hand margin and 7 2 to lower edge, the twelve-piece white enamel Roman numeral cartouche dial with foliate cast centre and shield-shaped numerals, with scroll pierced and gilt brass hands set behind ogee moulded hinged convex glazed bezel, the case cast with generous pierced asymmetric rococo scrollwork applied sweeping out at the base and applied with two putti supporting fruiting vines.40cm (15.75ins) high, 40cm (15.75ins) wide, 16cm (6.25ins) deep. 

A FRENCH LOUIS XVI STYLE GILT BRASS MANTEL CLOCKPLANCHON, PARIS, LATE 19th CENTURYThe eight-day countwheel bell striking movement with anchor escapement regulated by disc-bob pendulum incorporating Brocot type regulation to suspension, the backplate stamped PN, A PARIS beneath serial number 2284 to upper left hand margin and 8 7 to lower edge, the circular convex white enamel Roman numeral dial signed Planchon, AU PALAIS-ROYAL to centre and with Arabic five minutes beyond the outer minute track, with fine scroll pierced and engraved gilt brass hands set behind hinged bead-cast convex-glazed bezel, the case with twin handled urn surmount cast with fluted husk and laurel wreath decoration and draped with a flora swag, over drum housing the movement raised on scroll-cast upright fronted with a martial trophy flanked by generous out-swept cornucopaie adorned side scrolls, the plinth base with curved drapery cast centre flanked by panels cast with foliate scroll infill, on generous laurel-banded fluted toupe feet.52cm (20.5ins) high, 37cm (14.5ins) wide, 16.5cm (6.5ins) deep. Matieu Planchon was apprenticed to his father and subsequently worked for several of the leading French makers including Robert Houdin prior to setting up business at Palais Royal, Paris in 1890. He specialised in high-end novelty clocks such as floating turtle timepieces, and imaginative recreations of Renaissance and other historic models.  

A LOUIS XV STYLE ORMOLU AND 'BLANC DE CHINE' PORCELAIN MANTEL CLOCKTHE MOVEMENT BY VINCENTI ET CIE, PARIS, LATE 19th CENTURYThe circular eight-day countwheel bell striking movement with vertically planted platform cylinder escapement regulated by sprung monometallic balance, the backplate stamped with VINCENTI & CIE, MEDAILLE D'ARGENT, 1855 medallion beneath serial number 2329, the 3 inch circular convex white enamel dial with vertical Arabic hour numerals and scroll-pierced gilt brass hands set behind a hinged convex bevel-glazed moulded cast brass bezel, the case with white ceramic recumbent figure in stylised oriental dress attended by a boy with a slice of melon, set on a gilt brass oval stand cast and chased with open foliate rococo scrollwork, the rear issuing a naturalistically cast shrub applied with porcelain blooms suspending the clock movement within a white ceramic melon above the figure and surmounted by a Ho-Ho bird.38.5cm (15ins) high, 30.5cm (12ins) wide, 21.5cm (8.5ins) deep.Condition Report: Movement appears complete and all-original. Both trains are currently fully wound; the strike train is operational however the going train is currently not running most likely due to 'gumming-up' (the escapement appears undamaged and the balance will pivot). Movement therefore most likely only requires a gentle clean/service. The dial has very slight hairline cracks issuing from a small chip the right-hand winding hole and some blemishes to the left of the '10' numeral; the dial otherwise appears to be in good original condition but has overall heavy grime deposits/discolouration.The porcelain 'melon' hosing the movement has a small chip to the rear adjacent to the bezel together with some light hairline stress cracks and one or two firing shrinkage cracks. The figure group also has firing shrinkage cracks. The right hand of the larger figure has been restored, his left hand has restoration to the forefinger and the smaller figure also has restoration to his hands. The slice of melon has a small chip to one end, and a fruit to the base (behind the larger figure) is missing its stalk/bud. The Ho-Ho bird has lost his feet and has been re-attached to the gilt frame with glue. There is one flower missing; of the 19 that are present four have a noticeable loss of either a petal or most of a petal, damage is otherwise limited to some tiny edge chipping to around half of the blooms. The gilt metal work is in good original condition with no obvious losses or repairs.Clock does not have a winding key present. Condition Report Disclaimer

A FRENCH NAPOLEON III ORMOLU FIGURAL MANTEL CLOCK OF IMPRESSIVE PROPORTIONSTHE MOVEMENT BY SAMUEL MARTI ET CIE, PARIS, CIRCA 1870The circular eight-day countwheel bell striking movement with anchor escapement and Brocot type regulation to pendulum suspension, the backplate stamped with Samuel Marti & C., MEDAILLE DE BRONZE roundel and serial number 1435 over additional numeral 6 to lower margin, the 4.75 inch circular convex blue-on-white enamel Roman numeral dial with Arabic five minutes to outer track and scroll pierced gilt brass hands set behind hinged bead cast convex glazed bezel, the very substantial case with surmount cast as a reclining Classical female muse in flowing robes holding a laurel wreath and resting her elbow on a lyre, together with Putti attendant making notes on a tablet already inscribed Honore, Alexandre and Raphael seated beside a stack of books, laurel wreaths and a sword, the breakfronted plinth base centred with the dial adorned with richly cast acanthus crest and arched egg-and-dart mouldings over leafy scrolls issuing floral festoon to apron, flanked by recessed panels each centred with a rosette and generous leaf-cast angle mounts continuing down to the cavetto moulded skirt base cast with leafy trails to mouldings and inset with panels, on toupe feet resting on a purpose made gilt plinth.64cm (25.25ins) high including giltwood stand, 86cm (34ins) wide, 28.5cm (11.25ins) deep.  

A FRENCH BRASS INLAID EBONISED FOUR-GLASS MANTEL CLOCK WITH ETCHED-GLASS PANELSSTAMPED FOR PERT BALLY, PARIS, LATE 19th CENTURYThe circular eight-day countwheel bell striking movement with Brocot type escapement regulated by 'gridiron' pendulum with enamelled disc to the bob inscribed R and A for regulation, the backplate numbered 2548 to upper left hand margin over PERT BALLY, A PARIS and S, Marti et Cie, MEDAILLE DE BRONZE to centre, the 4.75 inch circular white enamel Roman numeral dial with blued steel moon hands and ogee moulded brass surround, the case with shaped pediment upstand, ogee cornice and brass double-line edged frieze to lintel, over rectangular glazed door decorated with etched stylised scrollwork borders to the glass panel flanked by line inlaid uprights to the frame, the sides with further break-arch outline scrollwork etched borders to the glass panels and the rear door decorated with lozenge lattice work, on stepped ogee moulded plinth base with conforming panel inlay to fascia and squab feet.51cm (20ins) high, 27cm (10.75ins) wide, 16.5cm (6.5ins) deep. Provenance: Property removed from 8 Great Pulteney Street, Bath  

BRONZE FIGURE OF A LADY - signed H Bumaige, 24cms tall, a bronze bell and another bronze figure

STAFFORDSHIRE SHORE & COGGINS SUPERIOR BELL CHINA TEAWARE, approximately 19 pieces and a quantity of Burleigh dinner ware, approximately 30 pieces

Swarovski bell stands, flowers, etc.

France, circa 1500-1520 A.D. A tall silver-gilt chalice with bell-shaped bowl, hexagonal stem divided in two with a central compressed knob, each face decorated with foliage motifs, the central ornamental knob with six raised lentoid shields with engraved floral motifs, enclosed within foliage in relief; the foot formed from a large down-swept hexagon ending with rounded lobes; one lobe with a cross botonny enclosed in a tondo; the space between each lobe engraved with a cherub head. Cf. British Museum, inventory no. 1855,1201.9; cf. also Williamson, P. (ed.), The Medieval Treasury: The Art of the Middle Ages in the Victoria and Albert Museum, London, 1986, pp.208-209; Ritoók, A., ‘Chalice of the Calixtines – Inscribed Bohemian Chalices from the Carpathian Basin’ in Acta Historiae Artium, Tomus 59, 2018, pp.173-188, fig.1, for similar. 278 grams, 17.5 cm high (6 7/8 in.). Antiquitaten Metz GmbH Kunstauktionen, 28 November 2015, lot 40. Ex central London gallery. Accompanied by an academic expertise by Dr. Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11417-192186. This chalice, for serving the Holy Communion, is a rare surviving example of goldsmith's work produced in Northern France, maybe in Rouen or Paris, the most important cities for metalwork in the north of France. Beautifully constructed with much of the original gilding, the bell-shaped bowl set on a hexagonal stem and its flared hexagonal foot, making it a beautiful example of liturgical objects from the French Renaissance. It was a well-known practice in later medieval wills for wealthy women to donate a chalice or chalices to the church and to frequently bequeath other metal objects that could be used as raw materials by the church, to transform them into elaborate items. This richly decorated chalice is a clear example of the sumptuous objects the wealthy church devotees supported through their patronage, and a rare survivor of the great artistic tradition of Gothic and Renaissance silver, considering the destruction and the melting of holy objects during the French Revolution. [No Reserve] [A video of this lot is available to view on Timeline Auctions Website.]

A Kuramochi celluloid clockwork Circus Elephant c.1930s, the left hand holding a sign saying 'Welcome! See our Circus', the right hand holding a bell, metal winder to the back, some wear to the feet and decoration, 24cm high

Four early 20th century Crown Devon Fieldings ceramic musical jugs, comprising I Love a Lassie, Daisy Bell, John Peel and Widdicombe Fair, of slightly differing sizes, all with makers marks to the undersides, some with crazing AF (4)

A Bronze bell in the form of a hand bell, 9.5cm high

A bound volume of home programmes for Manchester City's 1967-68 Football League Division One winning season together with autographs of the championship team,sewn in blue cloth covered boards, gilt titling to spine, containing League, F.A. Cup and friendlies v Borussia Dortmund and Sparta Prague, plus bound with the title-clinching final match of the season away at Newcastle United and the following season's curtain raiser the F.A. Charity Shield v F.A. Cup holders WBA; sold with a "We Are The Champions!" souvenir publication with centrefold colour team-group photo signed by the 1967-68 Championship team, Bell, Summerbee, Allison, Lee, Book. Doyle et al.; also a white card double-signed by Summerbee and Bell (3)   

A Reproduction Cast Metal Bell with Tractor Motif, 36cm high

A brass dinner gong with beater on eagle stand together with a brass desk bell.