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An 8 day Grandfather clock, Robt Jones, Connay, COLLECT ONLY.*Condition report*The second finger is missing, no bell or bell mounting arm. Missing pendulum at present. Both weights are present. Height 220cm. 

A chrome bell ringer and a 60's, 12 volt car breakdown lamp.

A bell fine bone china tea set

A vintage GPO bell, an amp meter and tools

Regency clock, signed CHARL DUPLOCK. London, 1790 - 1819.Mahogany veneered case with bronze appliques.Signed white dial.Eight days winding machine, square plates, anchor escapement, hour chiming on a bell.Measures: 46.5 x 31.5 x 19.5 cm.Regency clock with a mahogany-veneered case, in the shape of a round arch, topped by a handle for easy carrying. The front has reticulated dials, like latticework, which are continued on the sides. The dial, with black lacquered Roman numerals signed 'Charl Duplock, London', is bevelled with a smooth, polished gilt-bronze border.

Regency clock, signed J H. WICKES. London, 1798-1810.Mahogany veneered case with bronze appliques.White dial, signed.Machine eight days winding, square plates, the back engraved; anchor escapement, chiming of hours on a bell.Measurements: 43 x 33.5 x 18.5 cm.Regency clock with mahogany-veneered case, in the shape of a round arch, with side handles in the jaws of lion masks, in bronze. The flanks are decorated with openwork bronze plates in the manner of tracery. On the front, the dial with Roman numerals is lacquered in black, signed 'J.H. Wickes, London'. It is surrounded by a gilt-bronze polished mount. The frame is flanked by fluted pilasters and the body is raised on claw feet, also in gilt bronze.

20th century lantern clock.Bronze.Measurements: 20 x 8.8 x 8.8 cm.Lantern clocks, probably so called because of their lantern-like shape, originated around 1500, but only became common after 1600 (in Britain, around 1620), becoming obsolete in the 19th century. The present example continues the typical appearance of this type of clock: a square case on spherical or urn feet (turned in this case), with a large circular dial, only one hand (the hour hand), and a large bell with a crown. The clocks were usually decorated with openwork ornamental motifs above the frame. Originally, they were operated by weights: usually one weight for the clock, and a second weight for the chime. Later, some spring-driven models were built, and many others were transformed into pendulum clocks.

George II Bracket Clock, signed ROBERT HIGGS. London, first half of the 18th century.Blond mahogany veneered case.Gilt bronze dial with gilt bronze spandrel, exposed pendulum, chime override dial.Calendar of the month. Eight-day winding machine, square plates, engraved on the back, hour chiming on a bell.Measurements: 52 x 30 x 30 cm.English table clock, bracket type, signed by the clockmaker Robert Higgs. Its case is veneered in blond mahogany. It has a front with a simple architectural composition, with a façade topped by a rounded arch raised on a moulded base, which in turn is raised on four bronze legs. The whole has a sloping top with curved angles. It has an arched top handle, which makes the piece very functional, as it can be easily moved. The front of the clock is decorated with garlands and classical vegetal compositions, while the sides of the clock have a glass plate that allows the interior of the mechanism to be seen. The dial features Roman numerals (for the hours) and Arabic numerals (for the minutes) engraved in black on gilt, with a gilt centre, and a calendar of the month.A well-known London watchmaker, Robert Higgs is documented as working in Sweetings Alley in London in 1743. He was a member of the Clockmakers Company from 1750 to 1769.Bracket clocks of English origin are notable mainly for their mechanism, but also for their decoration. This type of clock originated in the 1760s, when the pendulum was applied to the clock, replacing the previous "foliot" or balance regulator. This change made it necessary to provide the mechanism with a case to protect it from shocks that could alter its movement. This was the origin of the watches known in England as brackets, i.e. portable watches. These were short cases which housed a mechanism held between two thick plates and contained, as the driving force for each train, a combination of a hub and a snail. These clocks were originally intended to be placed on a bracket, hence their English name. This bracket was a separate piece that was usually made at the same time, with decoration to match the clock. Later, however, the base and clock began to be made separately.The English developed a watchmaking mechanics distinct from that of the rest of Europe, based on an industry of specialised workshops producing products of great technical perfection. The cases were made by cabinetmakers who enriched the watches, turning them into real jewels. For this reason, throughout the 18th century English clocks and watches were evidence of the stylistic evolution that developed in English cabinetmaking, starting with the William and Mary and Queen Anne models, passing through the Chippendale and Hepplewithe styles and finally returning to classicism with the Adam, the Sheraton and finally the Regency. As for the specific type of bracket clock, it maintained its elegant and stately appearance throughout the 18th century, and by the end of the century the cases would be larger and more monumental.

George III Bracket Clock, signed VALENTIA. England, late 18th century, early 19th century.Mahogany veneered case, bronze applications.Gilt bronze dial with exposed pendulum.Machine with square plates, eight days winding and chime of hours on a bell.Measurements: 56 x 31 x 20 cm.English table clock, bracket type, signed Valentia. Its case is veneered in mahogany with a beautiful natural finish and is enriched with gilded bronze applications. The front has a simple architectural composition with a façade surmounted by a semicircular arch raised on a moulded base, which is in turn raised on four bronze legs. The whole has a sloping top with curved angles. The piece has an arched top handle, which makes it very functional, as it is easy to move it. The front of the clock is decorated with garlands and classical vegetal compositions and spandrels, and on the sides there is a glass plate that allows the interior of the mechanism to be seen. The dial features Roman numerals (for the hours) and Arabic numerals (for the minutes) engraved in black, with a gold centre and a calendar of the month. The second dial functions as an hour chime on a bell and has the option of silencing it.Bracket clocks of English origin are notable mainly for their mechanism, but also for their decoration. This type of clock originated in the 1960s, when the pendulum was applied to the clock, replacing the previous "foliot" or balance regulator. This change made it necessary to provide the mechanism with a case to protect it from shocks that could alter its movement. This was the origin of the watches known in England as brackets, i.e. portable watches. These were short cases which housed a mechanism held between two thick plates and contained, as the driving force for each train, a combination of a hub and a snail. These clocks were originally intended to be placed on a bracket, hence their English name. This bracket was a separate piece that was usually made at the same time, with decoration to match the clock. Later, however, the base and clock began to be made separately.The English developed a watchmaking mechanics distinct from that of the rest of Europe, based on an industry of specialised workshops producing products of great technical perfection. The cases were made by cabinetmakers who enriched the watches, turning them into real jewels. For this reason, throughout the 18th century English clocks and watches were evidence of the stylistic evolution that developed in English cabinetmaking, starting with the William and Mary and Queen Anne models, passing through the Chippendale and Hepplewithe styles and finally returning to classicism with the Adam, the Sheraton and finally the Regency. As for the specific type of bracket clock, it maintained its elegant and stately appearance throughout the 18th century, and by the end of the century the cases would be larger and more monumental.

George III Bracket Clock, signed JOHN TAYLOR. London, third quarter of the 18th century.Mahogany veneered case with gilt bronze appliques.Gilt dial with gilt bronze spandrels, month calendar and strike override.Machine, eight days winding, square plates and engraved back, hour strike on a bell and with alarm clock.Measurements: 55 x 28,5 x 20 cm.Bracket type table clock, signed by the English clockmaker John Taylor, one of the most renowned creators of bracket type clocks in London in those years. Its case is veneered in mahogany and decorated with openwork spandrels in fine tracery. It has an architectural structure, with an arched front and a talud-like dome with curved angles. The dial has Roman numerals (Arabic for the minutes) engraved in black on a silver circle and has an auxiliary window for the date calendar. A second dial, with a chime function, allows it to be silenced. This is a highly decorative piece, culminating in gilt-bronze pinnacles and other vegetal elements. The sides have ornamental latticework and side handles for easy carrying.Bracket clocks of English origin are notable mainly for their mechanism, but also for their decoration. This type of clock originated in the 17th century in the 1960s, when the pendulum was applied to the clock, replacing the previous "foliot" or balance regulator. This change made it necessary to provide the mechanism with a case to protect it from shocks that could alter its movement. This was the origin of the watches known in England as brackets, i.e. portable watches. These were short cases which housed a mechanism held between two thick plates and contained, as the driving force for each train, a combination of a hub and a snail. These clocks were originally intended to be placed on a bracket, hence their English name. This bracket was a separate piece that was usually made at the same time, with decoration to match the clock. Later, however, the base and clock began to be made separately.

George III Bracket Clock, signed GEORGE CLERK (active ca.1780). London, last third 18th century.Cabinet case with gilt bronze applications.Dial with Spanish strike-cancelling dial (for the Spanish market).Calendar of the month.Eight days winding machine, square plate, engraved on the back, hour chiming on a bell.Measurements: 53 x 28 x 19 cm.English table clock, bracket type, signed by the clockmaker George Clark. Its case is made of wood, decorated with gilded bronze applications with foliate and rocaille motifs worked in relief. It has an architectural structure, the flanks of which are decorated with stipes with anthropomorphic busts. The corners and the panels surrounding the dial are also made of finely worked bronze with vegetal fretwork in the form of tracery. The dial has Roman numerals (for the hours) and Arabic numerals (for the minutes) engraved in black on silver, with a gilded centre. The second dial functions as a chime and has an override dial. The Spanish names indicate that the British watch was intended for the Spanish market. The dome, which is stepped in the form of a talud, is topped with a handle and is decorated with bronze appliqués and fruit elements decorating the corners.Bracket clocks of English origin are notable mainly for their mechanism, but also for their decoration. This type of clock originated in the 1960s, when the pendulum was applied to the clock, replacing the previous "foliot" regulator or balance. This change made it necessary to provide the mechanism with a case to protect it from shocks that could alter its movement. This was the origin of the watches known in England as brackets, i.e. portable watches. These were short cases which housed a mechanism held between two thick plates and contained, as the driving force for each train, a combination of a hub and a snail. These clocks were originally intended to be placed on a bracket, hence their English name. This bracket was a separate piece that was usually made at the same time, with decoration to match the clock. Later, however, the base and clock began to be made separately.The English developed a watchmaking mechanics distinct from that of the rest of Europe, based on an industry of specialised workshops producing products of great technical perfection. The cases were made by cabinetmakers who enriched the watches, turning them into real jewels. For this reason, throughout the 18th century English clocks and watches were evidence of the stylistic evolution that developed in English cabinetmaking, starting with the William and Mary and Queen Anne models, passing through the Chippendale and Hepplewithe styles and finally returning to classicism with the Adam, the Sheraton and finally the Regency. As for the specific type of bracket clock, it maintained its elegant and stately appearance throughout the 18th century, and by the end of the century the cases would be larger and more monumental.

George II Longcase clock, signed THOMSON FITTER. London, 1750.Richly decorated red lacquered case. With unique paintings on the door.Gilt dial with gilt bronze spandrels, signed, calendar of the month, second hand and chime override. Machine, eight days winding, chime of hours on a bell.Measurements: 244.5 x 51.5 x 23 cm.Longcase clock in red lacquered wood, the body of which has very balanced proportions. It consists of an architectural structure, with a pedestal, a closed central body and a crowned top. The watch case itself has a dial with Roman numerals (for the hours) and Arabic numerals (for the minutes). It also has a seconds dial and an additional window for the month calendar. The case also features an auxiliary dial with the option to deactivate the chime. Signed "Thomson Fitter" on the dial. This is a lavishly decorated piece in each of its parts: while the base features a narrative chivalric scene, the main body is decorated by two large pavilions with verdure-like scenes inside. These are characterised by a high degree of decoration and uniqueness. Vegetable motifs in gilding flood the rest of the piece, both the box and the crest, as well as the main body and the aforementioned plinth.

George III Bracket Clock, signed CHATER & SON. London, 1753-1784.Mahogany palm-plated case with gilt bronze appliques.Gilt bronze dial with spandrels, signed, visible pendulum, calendar of the month and dial with strike override.Machine, eight days winding, engraved back square plates, alarm clock and hour chiming on a bell.Measurements: 59 x 32.5 x 20.5 cm.Bracket type table clock, signed by the English watchmaker Chater & Son. Its case is made of wood veneered in mahogany palm, with gilded bronze applications with ornamental motifs worked in relief forming spandrels in fine tracery. It has an architectural structure, with an arched front and a talud-shaped dome with curved angles. It rises on a moulded base and a baroque-style skirt with a cut-out profile. The dial has Roman numerals (Arabic for the minutes) engraved in black on a silver circle and has an auxiliary window for the calendar of the month. A second dial, with a chime function, allows it to be silenced. It culminates in four gilt bronze pinnacles and a handle for easy carrying. The sides have a glazed surface that allows a view of the machinery.Bracket clocks of English origin are notable mainly for their mechanism, but also for their decoration. This type of clock originated in the 1960s, when the pendulum was applied to the clock, replacing the previous "foliot" regulator or balance. This change made it necessary to provide the mechanism with a case to protect it from shocks that could alter its movement. This was the origin of the watches known in England as brackets, i.e. portable watches. These were short cases which housed a mechanism held between two thick plates and contained, as the driving force for each train, a combination of a hub and a snail. These clocks were originally intended to be placed on a bracket, hence their English name. This bracket was a separate piece that was usually made at the same time, with decoration to match the clock. Later, however, the base and clock began to be made separately.

George II Bracket Clock, signed WILLIANS WITHERS. London, 1760.Ebonised case with gilt bronze appliques.Gilt dial with gilt bronze epandrels, strike cancel.Month calendar.Machine, eight days winding, square plates, engraved back, hour strike on a bell.Measurements: 49 x 26 x 16,5 cm.English table clock, bracket type, signed Williams Witer. It is made of ebonised wood and is enriched with gilded bronze applications. It has a front with a simple architectural composition, with a façade topped by a round arch raised on a moulded base. The whole has a sloping top with curved angles. The piece has an arched top handle, which makes it very functional, as it can be easily moved. The front of the clock is decorated with garlands and classical vegetal compositions, while the sides of the clock have a glass plate that allows a view of the inside of the mechanism. The dial features Roman numerals (for the hours) and Arabic numerals (for the minutes) engraved in black, with a gold centre, and a calendar of the month. The second dial functions as an hour chime on a bell.Bracket clocks of English origin are notable mainly for their mechanism, but also for their decoration. This type of clock originated in the 1960s, when the pendulum was applied to the clock, replacing the previous "foliot" regulator or balance. This change made it necessary to provide the mechanism with a case to protect it from shocks that could alter its movement. This was the origin of the watches known in England as brackets, i.e. portable watches. These were short cases which housed a mechanism held between two thick plates and contained, as the driving force for each train, a combination of a hub and a snail. These clocks were originally intended to be placed on a bracket, hence their English name. This bracket was a separate piece that was usually made at the same time, with decoration to match the clock. Later, however, the base and clock began to be made separately.The English developed a watchmaking mechanics distinct from that of the rest of Europe, based on an industry of specialised workshops producing products of great technical perfection. The cases were made by cabinetmakers who enriched the watches, turning them into real jewels. For this reason, throughout the 18th century English clocks and watches were evidence of the stylistic evolution that developed in English cabinetmaking, starting with the William and Mary and Queen Anne models, passing through the Chippendale and Hepplewithe styles and finally returning to classicism with the Adam, the Sheraton and finally the Regency. As for the specific type of bracket clock, it maintained its elegant and stately appearance throughout the 18th century, and by the end of the century the cases would be larger and more monumental.

Clock; France, Empire period, circa 1805.Mercury gilt bronze.Paris type movement.It has a pendulum and a missing key.Measures: 42 x 12 x 12 cm.Clock made in gilded bronze with mercury, or moulu, in the shape of a cup or amphora. It has a Paris type mechanism with round plates, small Ancora escapement and pendulum suspended by thread. It chimes the hours and half-hours over the bell by a counting wheel. The clock has a square base with relief decoration in the form of two swans flanking a palmette. At the top of the base, the base is crowned on the outside perimeter, giving rise to the body of the clock, which takes the shape of a cup. In the centre of the clock is a large white dial with black Roman numerals. Finally, the clock is crowned with four pinnacles at the corners and an upper gable. The upper part of the gable has an armillary dial that represents a reduced model of the cosmos, understood from the terrestrial perspective. During the Middle Ages and the Renaissance it was a widely used object. There are similar examples catalogued in 'la Mesure du Temps dans les collecions du Musée du Malmaison'.

Bracket type clock, George II, signed ROBERT ROMLEY. London, 1740.Ebonised case, with bronze applications.Signed dial, gilt, with gilt bronze spandrels, with the possibility of an override chime.Machine: eight days winding, square plates, engraved and signed back, quarter strike on eight bells and hour strike on one bell. Measurements: 53 x 30.5 x 20.5 cm.English table clock, with the dial signed by the clockmaker Robert Romley. It follows the bracket model, a type of transportable clock, with handles, which became popular in England from the end of the 17th century. With an architectural structure, the front and back windows are arched, with their spandrels richly worked with gilt bronzes. Also noteworthy are the gilded bronze applications that reproduce the stipes with vegetal body and human bust on the flanks, as well as the openwork soffits with floral motifs on the tympanum, and the fruit pinnacles that crown the corners. The feet are also made of bronze. The dome takes the form of a slope with a curved profile. The dial has a silver-plated disc with the hours engraved in black with Roman numerals, while the minutes are marked in Arabic. The hands are baroque in style. It is accompanied by a second dial for chiming and a calendar window.Bracket clocks of English origin are notable mainly for their mechanism, but also for their decoration. This type of clock originated in the 1960s, when the pendulum was applied to the clock, replacing the previous "foliot" regulator or balance. This change made it necessary to provide the mechanism with a case to protect it from shocks that could alter its movement. This was the origin of the watches known in England as brackets, i.e. portable watches. These were short cases which housed a mechanism held between two thick plates and contained, as the driving force for each train, a combination of a hub and a snail. These clocks were originally intended to be placed on a bracket, hence their English name. This bracket was a separate piece that was usually made at the same time, with decoration to match the clock. Later, however, the base and clock began to be made separately.

Bracket type clock, George II, signed ROBERT HIGGS. London, first half s. LONDON, FIRST HALF OF THE 18TH CENTURY.Ebonised case, with gilt bronze applications.Signed dial, gilt, with gilt bronze spandrels.Selection dials with six melodies, sound annulment, quarter and hour chimes, with calendar.Three-train machine, with musical cylinder that activates thirteen bells and chime of hours and quarters on a bell.Measurements: 60 x 39 x 25 cm.Important English table clock, from the George II period, with the dial signed by the renowned watchmaker Robert Higgs. It follows the bracket model, a type of transportable clock, with handles, which became popular in England from the end of the 17th century. Architectural in structure, the front and back windows are arched, with their spandrels richly worked with gilded bronzes. Also noteworthy are the gilded bronze applications that reproduce the stipes with vegetal body and human bust on the flanks, as well as the openwork soffits with floral motifs, and the fruit pinnacles that crown the corners. The feet are also made of bronze, in the form of scrolls surrounded by foliage, and a bronze crest decorates the dome in the form of a slope with a curved profile. The dial has a silver-plated disc with the hours engraved in black with Roman numerals, while the minutes are marked in Arabic. The hands are baroque in style. It is accompanied by a second chime dial and a calendar window. Robert Higgs was a member of the Clockmakers Company from 1750 to 1769. Prior to that, he worked at Sweetings in London.English bracket clocks are notable mainly for their mechanism, but also for their decoration. This type of clock originated in the 1760s, when the pendulum was applied to the clock, replacing the previous "foliot" or balance regulator. This change made it necessary to provide the mechanism with a case to protect it from shocks that could alter its movement. This was the origin of the watches known in England as brackets, i.e. portable watches. These were short cases which housed a mechanism held between two thick plates and contained, as the driving force for each train, a combination of a hub and a snail. These clocks were originally intended to be placed on a bracket, hence their English name. This bracket was a separate piece that was usually made at the same time, with decoration to match the clock. Later, however, the base and clock began to be made separately.

Bracket type clock, George II, signed CHATER & SON. London, 1753-1784.Green lacquered case, chinoiserie motifs.Signed dial, gilt, with gilt bronze spandrels, with chime-cancelling function.Eight-day winding machine, square plates, engraved and signed back, hour strike on a bell.Measurements: 55 x 28 x 18 cm (with the handle raised).Bracket clock signed Chater & Son. It has a front with an architectural composition, with a façade topped with a talud-type dome with curved angles, and raised on a moulded base, with the skirt trimmed according to Baroque models. The front has gilded bronze spandrels. The gilt dial features Roman numerals engraved in black for the hours and Arabic numerals for the minutes. The hands are Baroque in style. At the top of the dial is a second, smaller dial that indicates whether or not the chime is activated. The piece has a handle on the top for easy carrying. With regard to the ornamentation of the piece, it should be noted that it is defined by an orientalising style, although manufactured in Europe, where, throughout the 19th century, both China and Japan were a constant source of inspiration, both for painting and for the design of furniture, interiors and decorative objects.

Bracket type table clock. VICENTE GINER, Barcelona, mid-eighteenth century.Cabinet case with gilt bronze applications.Signed dial, with gilded bronze spandrels, striking and calendar of the month with needle.Eight-day winding machine, square plates, engraved on the back, hour chiming on a bell.Measurements: 56 x 32.5 x 20 cm.Desk clock of the bracket type, with a case in wood and ornamental bronze applications in relief and round bulge.It has a front with an architectural composition, with a façade topped by a talud-type dome with curved angles, raised on a moulded base, in turn raised on four gilt-bronze feet. The corners are decorated with stipes combining anthropomorphic busts and vegetal bodies. The spandrels or spandrels are decorated with other bronze applications in the form of spandrels and foliage of classical inspiration. This one, gilded, is signed by Vicente Giner (Barcelona), and has Roman numerals engraved in black for the hours and Arabic for the minutes. The hands are Baroque in style. A second, smaller dial is located at the top, which indicates whether or not the chime is activated. The piece has side handles and bronze plaques with interlaced scrolls and rocailles. Small bronze vases decorate the corners, and a small ornamental crest flanks the upper pinnacle.

George II bracket clock, signed JAMES SMITH. London, mid 18th century.Red lacquered case with gilt bronze appliques.Gilt dial with gilt bronze spandrels and chime override.Eight days winding machine, square plate, engraved back, hour chiming on a bell.Measurements: 53 x 30.5 x 19.5 cm.Bracket type table clock, signed by the English clockmaker James Smith. Its case is made of lacquered wood, with gilded bronze applications with ornamental motifs worked in relief forming stipites with masks and spandrels in fine tracery. It has an architectural structure, with an arched front and a sloping dome with curved angles. It rises on a moulded base and skirt with a cut-out profile, in the Baroque style. The dial has Roman numerals (Arabic for the minutes) engraved in black on a silver circle. A second dial, with a striking function, allows it to be silenced.Bracket clocks of English origin are notable mainly for their mechanism, but also for their decoration. This type of clock originated in the 1960s, when the pendulum was applied to the clock to replace the previous "foliot" or balance regulator. This change made it necessary to provide the mechanism with a case to protect it from shocks that could alter its movement. This was the origin of the watches known in England as brackets, i.e. portable watches. These were short cases which housed a mechanism held between two thick plates and contained, as the driving force for each train, a combination of a hub and a snail. These clocks were originally intended to be placed on a bracket, hence their English name. This bracket was a separate piece that was usually made at the same time, with decoration to match the clock. Later, however, the base and clock began to be made separately.

Bracket machine, signed WINDMILL & BENET. London, early 18th century.Gilt dial, signed, with gilt bronze spandrels, gilt bronze pendulum, calendar of the month and sounding override.Eight-day winding machine, square plates, engraved on the back, hour chime on one bell and quarter chimes on demand on four bells.Measurements: 28 x 20,5 x 8,5 cm.English bracket type clock, with the dial signed by Windmill & Benet and located in London. It has Roman numerals engraved in gilt. The rich gilt-bronze decoration stands out, in compositions that interweave Greco-Roman-inspired female busts and figures of Egyptian evocation, with plant motifs and classical rockeries, reinterpreted according to Baroque taste.

NO RESERVE Binding.- Bible, English.- The Holy Bible, Vol.1 only, engraved frontispiece, occasional spotting, lightly browned, contemporary calf, gilt, richly gilt spine in compartments, spine ends and corners worn, rubbed and scuffed, 8vo, Edinburgh, Printed by Colin Macfarquhar, 1770. sold not subject to return. ⁂ The spine compartments bear a distinctive central tool, to which various identities have been proffered, including a bell, a bee-hive, and a mushroom or toadstool.

A 19TH CENTURY FLAME MAHOGANY BRACKET CLOCK the 19cm dial inscribed "Frodsham Gracechurch Street London", the double fusee movement striking on a bell, in a mahogany case with brass inlay, 43cm high

LARGE BOX CONTAINING, a number of Military buttons, cap badges cloth Insignia, mostly relating to the Royal Warwickshire Regiment, together with a WWI era Officers Cap bearing the Royal Warwick Cap badge by Hawkes & Co, Saville Row, London, together with a WWII era Victory Bell, cast from Alloy from 'Downed German Luftwaffe' Aircraft, bears the facial busts of the Allied leaders etc

A Victorian inlaid walnut cased ornate wall clock with visible mercury effect pendulum, dial marked Bennett and bell striking movement

A 19th Century stained wood cased postman's alarm wall clock with wooden birdcage movement, two weights and detached bell

An oak and mixed wood longcase clock with 23cm square 18th Century single hand brass dial marked for Webster, Salop, married to a 19th Century thirty hour bell striking movement

A 19th Century stained oak North Country longcase clock, the 33cm painted arched dial with moon phase, seconds hand and date aperture marked for G. Davies, Dolgelly with eight day bell striking movement

A vintage Gents of Leicester external telephone extension/alarm bell

A crate containing a quantity of collectable items including boxing photos and book, tea tins, brass bell, cameras, etc.

An 18th Century Chinese porcelain mug of bell shape with applied square cut form handle, decorated in coloured enamels with vases and floral sprays - crack to body and damage to handle

A modern painted cast iron porch bell with Guinness toucan finial

An old cast brass tavern candlestick with central bell and drip tray under

A WWII period cast brass ARP hand bell with turned wood handle

A BREGUET MARKED DIAL TO A CLOCK STRIKING ON A BELL IN A FLOWER ENCRUSTED PORCELAIN CASE

STEEL CUTLERY, A TINNED PRIMUS STOVE, OTHER TINS AND A SOUVENIR BELL FROM HMS VICTORY

A 19th century bronze door stop, posted loop serpent handle, fluted bell shaped base, 23cm high

A 19th century hand bell, turned ebonised handle, 26cm long; another, smaller, silver plated (2)

Quantity of horse tack along with a Bell & Howell model 256 projector

Post-Medieval Hawking Bell. Circa, 17th century AD. Silver, 16.65 x 13.95 mm. A fine sheet metal bell formed of two hemispheres and detailed with a rope style band around its centre. The suspension loop is intact and retains an S-shaped chain link. Ref: Morel & Horobin, Hawks Vervels. p.34.

17th century crotal bell bearing the initials HW, with fish scale decoration on the lower hemisphere and a sunburst pattern on the upper. Most likely a product of William Seller's foundry at York, the initials H. W. are thought to be those of Seller's foreman 1683 - 1687. 34mm diameter, 44.8g. Still retains its original pea and rings. Cf. PAS SUSS-85876D https://finds.org.uk/database/artefacts/record/id/740810

Siebenjähriger Krieg. - Entwurf einer Geschichte des gegenwärtigen Krieges. Der erste (-fünfte) Theil von der Gelegenheit und den Ursachen des Krieges und dessen Merkwürdigkeiten in der alten und neuen Welt bis zum Schluße des 1757sten (- 1761sten) Jahres. 5 Tle. (von 6) in 1 Bd. Frankfurt und Leipzig: [Raspe] 1762 - 64. 23,8 x 20 cm. Mit gest. Front., gest. Faltkupfer, 2 grenzkolor. gefalt. Kupferkarten und 18 gefalt. kolor. Plänen (von 23 ?). Mod. Pp. (Feucht- und gebrauchsfleckig. Titel mit kl. hinterlegtem Ausschnitt, einige Faltpläne gebrauchs- und feuchtfleckig, die Karte von Amerika mit Einriss und Kleberückständen, die bretonische Karte mit 2 Braunflecken.) Pohler II, 37. - Parallelausgabe zu "Schauplatz des gegenwärtigen Kriegs v. 1756-63", (1757-64). - Die Tafeln sind nummeriert von 97 - 140 (in Tln. 1-4, Tl. 5 ist hier ohne Tafeln). Nur in den Tln. 1-3 befindet sich ein Tafelverzeichnis zum Schluss des Textes, dort fehlen demnach im 1. Band 8 Tafeln (Nrn. 99-103 u. 106-108), im 2. Band 6 Tafeln (Nrn. 115-120), und im 3. Band 7 Tafeln (Nrn. 123; 126-128; 130; 132-133). - Enthält eine Karte von Amerika von J. M. Dorn (Tl.1) sowie eine Karte von Bell-Îsle (Tl. 4), eine große gefalt. Ansicht der Stadt Machilipatnam in Indien sowie zahlr. Belagerungs- und Grundrisspläne von Minorca, Ostende, Nieuport, St. Malo, Cherbourg, Dresden, Pirna, Senegal, Schweidnitz sowie einer kolor. Schlachtenansicht auf der Schwedter Oderbrücke des 8. Okt. 1760. - Zwischengebunden 2 Titelblätter des "Schauplatzes" sowie einer gest. Übersichtstabelle aus dess. "... von den vornehmsten Reichen und Laendern in Europa bey dem Anfang des gegenwärtigen Krieges".

Morris, Francis Orpen: A history of British birds. Second Edition. 6 Bde. London: Bell & Sons 1870. 25 x 17 cm. Mit 365 kol. Hz. (60; 61; 56; 63; 65; 60), davon jeweils einer als Frontispiz. OrLn. mit goldgepr. illustr. Rt., blindgepr. Deckeleinfassung und goldgepr. Deckelillustration.(Einbände mit teils geklebten Defekten und angebrochenen Gelenken; Vorsätze erneuert, fliegende Vorsatzblätter nur etwa zu einem Drittel vorhanden. Innen leichte Altersspuren. Titelbll. mit hs. Besitzvermerk). Vgl. Anker 346; Nissen IVB 645. - Umfangreiches und populäres Sammelwerk, das seit seiner Erstausgabe (1850-57) durch zahlreiche Auflagen hindurch um einige Tafeln erweitert wurde. Die Tafelzählung hier wie so oft widersprüchlich. Laut Tafelverzeichnis komplett mit 365 Tafeln. Die Bibliographien sprechen von nur 357 Tafeln. - "A good feature of the work is the many figures of British birds shown on its hand-coloured plates, for which the woodblocks were originally engraved by the printer of the first edition, B. Fawcett, largely from drawings by Richard Alington." (Anker).

Couch, Jonathan: A history of the fishes of the British Islands. 4 Bde. London: Bell & Sons 1877. 25 x 16,5 cm. Mit 252 Farbtafeln (Chromotypien) und weiteren Abb. im Text. Grünes HLdr. mit Rv.(Einbände berieben. Gelenke teils angebrochen, bzw. Bd. 4 mit gebrochenem hinteren Gelenk. Innen minimal stockfleckig und schwach gebräunt).Nissen ZBI, 979; Ders. Schöne Fischbücher S.63, Nr. 44. - 4. Ausgabe. In "Schöne Fischbücher" als 3. Ausgabe bezeichnet. - Die Illustrationen nach Zeichnungen des Verfassers.

MODERN BRASS FIRE BELL

Edward Bell, 21st Century "High Seas," painted metal relief, depicting coffin ship on high seas with cruciform masts, approx. 22cms x 32cms (9" x 12 1/2"), unsigned. (1) Provenance: Emigration - The Coffin Ships at Stronach Gallery, Galway, June 2008.

HANDKERCHIEF - ROLE REVERSALSatirical handkerchief titled 'Women's rights and what came of it '1981'', depicting women of the future fulfilling traditional male roles such as Politics, Science, Law, the Army, Navy and Police, a group of men doing the laundry ('Now we're busy') and a group of 'Frozen Out M.D.'s' complaining 'We've got no work to do-o-o', printed in black on fine cream cotton, registered number 364805, some small holes and staining, one L-shaped tear without loss, 600 x 540mm., [1884]; with a twin-sided crested souvenir bell, one side with the head of a pretty young woman wearing a pearl necklace and the motto 'This one shall have the Vote' in black and red beneath, the other a smiling older woman wearing a bonnet captioned 'Votes for women' above the Thurso crest, stamped 'A & S Stoke on Trent/ Arcadian China' inside, height 110mm., [c.1890-1910] (2)Footnotes:THE CONSEQUENCES OF ALLOWING WOMEN THE VOTE.This satirical handkerchief warns of what life would be like in 100 years if women were given equal rights, predicting the unconceivable possibility of women working in traditionally male roles, and showing a future where men are forced to (somewhat haplessly) undertake roles previously the preserve of women.For further information on this lot please visit Bonhams.com

PANKHURST (EMMELINE)My Own Story, FIRST EDITION, portrait frontispiece and plates, publisher's cloth, slightly soiled, corners bumped, Eveleigh Nash, 1914--STRACHEY (RAY) 'The Cause'. A Short History of the Women's Movement in Great Britain, FIRST EDITION, plates, some spotting, publisher's brown cloth, slightly shaken, spine faded, remnants of Boots label on upper cover, G. Bell & Sons, 1928 --PETHICK-LAWRENCE (FREDERICK W.) Women's Fight for the Vote, FIRST EDITION, with 142pp., damp-stain to inner margins of first few leaves, publisher's blue pictorial wrappers, faded, stained and worn with loss at corners, The Women's Press, [1910]--DOWSON (MRS AUBREY) The Women's Suffrage Cookery Book, lacking p.43/44, p.63/64 cut down, chipped and loose, ownership inscription dated January 1910, publisher's cloth-backed pictorial boards, worn, corners defective, 4to, Women's Printing Society, [c.1909]--The Truth About My Friends, parlour game, each page with tipped-in printed slip lifting to reveal a self-criticism or 'truth' (one of them being ''My sympathies are with the suffragettes'), below which the participants have signed their name, front hinge slit, publisher's cloth, faded and with the lettering and design crudely inked in, Dow & Lester, [c.1910]--GROSS (EDWARD AUGUSTUS) and HOMER JOSEPH DODGE. Manual for Women Voters. Constitutional Government of the United States..., slightly browned, pencil notes on blank leaf at end, publisher's blue cloth, faded and rubbed at edges and spine, [New York, Federal Trade Information Service], 1922--WRIGHT (ALMROTH E.) The Unexpurgated Case Against Woman Suffrage, publisher's blue cloth, Constable, 1913, 8vo; and 7 others (14)This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

[BRONTË (CHARLOTTE)]Jane Eyre. An Autobiography. Edited by Currer Bell, 3 vol., FIRST EDITION, half-titles, bound without publisher's advertisements and Calcutta Review notice, slight soiling, some small areas of restoration in blank margins and numerous other nicks and tears repaired (those to first leaf of text in volume 1 and last leaf in volume 2 slightly affecting text), green straight-grained morocco by Lloyd, Wallis & Lloyd, sides with triple gilt rule borders, gilt panelled spines with repeated floral tool and raised bands, t.e.g, others untrimmed [Grolier English 83; Sadleir 346; Smith 2], 8vo (195 x 114mm.), Smith Elder, 1847Footnotes:'I AM NO BIRD; AND NO NET ENSNARES ME; I AM A FREE HUMAN BEING WITH AN INDEPENDENT WILL' - FIRST EDITION OF CHARLOTTE BRONTË'S MASTERPIECE, HER FIRST PUBLISHED NOVEL AND ONE OF THE CORNERSTONES OF ENGLISH LITERATURE.Witten in a ground-breaking first person narrative style, Charlotte Brontë's powerful novel, was something completely new in Victorian fiction, dealing with topics such as class, sexuality, religion, and feminism, its eponymous heroine a woman confronting men on equal terms.This copy has all the flaws listed in Smith except for those on p.244 and 307 in volume three.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

[BRONTË (CHARLOTTE)]Shirley. A Tale. By Currer Bell, 3 vol., FIRST EDITION, volume 2, p.304 with page number and error in line 1 corrected, 3pp. advertisement for the third edition of Jane Eyre at end of volume 3, bound without half-titles and 16pp. catalogue at end of volume 1, later half calf, red and brown gilt lettered spine labels [Sadleir 348; Smith 5], 8vo, Smith, Elder, 1849Footnotes:'If men could see us as we really are, they would be a little amazed...They do not read them in a true light; they misapprehend them, both for good and evil. Their good woman is a queer thing, half doll, half angel; their bad woman almost always a fiend' (Charlotte Brontë in Shirley). Her second published novel, and her only historical one, was set in Yorkshire during the industrial depression of 1811-12.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

FITZHERBERT FAMILYArchive of letters, documents and other papers pertaining to the FitzHerbert family of Tissington Hall, Derbyshire, including: i) Letter signed and subscribed ('Monsieur Mon Frere/ Votre bon Frere/ George R') to Louis XVI of France ('Le Roi Très Chretien'), in French, confirming Alleyne FitzHerbert as his Minister Plenipotentiary and asking him to trust everything he reports, assuring him of his esteem and enduring friendship, one pages on a bifolium, two red wax seals, marks, torn along fold, 4to (240 x 190mm.), St. James, 27 July 1782; ii) Notebook titled 'Judith FitzHerbert. Afghan War of 1878, 1879', containing transcriptions of letters home from Major Walter Hepburn Melitas FitzHerbert (1842-1930) of the Rifle Brigade during the second Anglo-Afghan war, describing his experiences on the hard march through the Khyber Pass in November 1878, talking of a different style of fighting in Afghanistan ('...Instead of acting like the Romans in a barbarous hill country, or like Cromwell in the Highlands we behave too much as if we were fighting against a civilized enemy... We should have no trouble in quieting the hill tribes if we went about it the right way...'), with copies of newspaper reports, list of officers killed, etc., 40 pages, marbled paper cover, 4to, 1878-1879;iii) Autograph letters and ephemera, including a manuscript design for a chair for Lady FitzHerbert ('These are the exact sizes of the seat & back frames'); map showing the track of various ships to Canada, 1835; seventeen leaves from an eighteenth-century scrapbook with various newspaper cuttings, engravings, receipts etc, pasted in; historical notes, receipt book of Robert Dove, 1857, other receipts, 'Prices of Turkey Carpets at the Levant Warehouse... 1839', 'List of Treasures at Tissington Hall, 1896', knitting instructions for a baby's sock and other items, printed playbill advertising The Wife's Secret (with Charles Kean, 1848), printed sermons, advertisements etc., three cabinet photographs and three carte de visite, various envelopes, etc.; with over 25 autograph letters and postcards to and from the FitzHerberts at Tissington Hall and elsewhere from around the world, the majority concerned with family matters, c.80 pages, various sizes, early to mid nineteenth century; four commissions addressed to Richard Henry FitzHerbert, one signed 'William R', three signed 'Victoria R', on vellum, the last paper, with paper seals and duty stamps, c.290 x 390mm. and smaller, 1833, 1839, 1848, 1856; with three passports (R.H. FitzHerbert, 1836, with European stamps, Richard Henry FitzHerbert and daughter, 1870, Richard Arkwright FitzHerbert, 1907, with stamps for Peking and Russia);iv) Printed playscript, The Man of the World, A Comedy by Mr Charles Macklin, with manuscript list of subscribers dated 20 February 1794 bound into front ('...Mr Fitzherbert this Book to be kept 4 Days...'), original paper wrappers, 8vo, printed by John Bell, London, 1793; Manuscript notebook containing standing orders for parliament, 186 numbered pages, in ink with red rules, inscribed 'St Helens 1803' on first leaf, marbled ends, red calf gilt with cipher of George III on front board, titled 'Standing Orders' on spine, slight wear, 4to, c.1803; Goldsmith's Almanac for 1813 with manuscript notes mentioning Bonaparte and Wellington's victories, dark blue calf, 12mo; Reliquiae Sacrae Carolinae. Or the Works of that Great Monarch and Glorious Martyr King Charls the I, manuscript annotations to first leaf, ownership inscription 'W FitzHerbert. This book was thus bound & mounted by Annie FitzHerbert His late dear Wife. Tissington Hall. Feb 12 1865', blue velvet with metal edges and clasp, portrait of Charles I on front board, printed by Samuel Browne, Hague, 1650, etc.Footnotes:The FitzHerbert family owned property at Tissington and throughout Derbyshire, with estates in Kent, Nottinghamshire, Surrey and Lincolnshire. Tissington Hall remains in the family to this day. The Baronetcy was conferred on Sir William FitzHerbert (1748-1791) in 1784 by George III for his role as 'Gentleman Usher to the King' and through his marriage to Sarah Perrin inherited five plantations in Jamaica. His younger brother Alleyne FitzHerbert (1753-1839) had a long and successful career as a diplomat, firstly as minister at Brussels and in 1782, as our letter of appointment from George III shows, was despatched to Paris as plenipotentiary to negotiate a peace with France and Spain and with the States General of the United Provinces at the end of the American War of Independence. He continued his career at the court of Catherine the Great at St Petersburg and as Chief Secretary for Ireland. Much of the archive dates from the nineteenth century and includes first-hand accounts of the Afghan War and much family material.For further information on this lot please visit Bonhams.com

An Edwardian silver desk bell, of domed circular form, with panels of pierced foliate decoration, on ebonised plinth base, by William Comyns & Sons, London 1903, presentation inscription, 12.5cm wide overall.

A pair of George III silver circular salts, with beaded borders, on pad feet, by D & R Hennell, London 1767, 6.5cm diameter, a pair of silver salts with blue glass liners, Birmingham 1927, a pair of late Victorian silver bell shaped peppers, by Henry Wilkinson & Co, London 1900, and a late Victorian silver spherical string box, pierced with thistles, by Horton & Allday, Birmingham 1893 (AF), 13oz overall. (7)

A charm bracelet, the 9ct gold curb-link bracelet with padlock clasp, suspending a small collection of charms, to include a St Christopher, a bell and a banjo, length 18cmCondition report: The imp charm appears to be gilt metal, the remaining charms are 9ct gold mounted. General wear throughout, commensurate for use. The bracelet is likely to have been adapted from an Albert chain, with later padlock clasp. Combined gross weight approx. 30.2gm.

Two charm bracelets, the first a hollow curb-link bracelet with padlock clasp, stamped '9C', suspending a collection of yellow metal, gilt metal and white metal charms, to include a red enamel and half pearl heart and a bell, and a fancy-link bracelet, the clasp stamped '9C', suspending an enamel telephone charm and a fish charm, each stamped '9CT', and a yellow metal clog charm, second bracelet length 17cm (2)

A boule mantel clock of shaped form, the case fitted with floral finial, the body applied with foliate brass detail, the pressed metal dial with enamel Roman numerals to a brass movement, signed ‘Oppenheim Paris’, movement striking on a bell, 30cm high

A good quality19th century French clock garniture, the clock set in a green marble case mounted with a bronze model of four putto, the base of the cherubs signed Feuchere (French 1807-1852), the white enamel clock face with Roman numerals and twin winding holes to a brass movement striking on a bell, the clock face signed E Vittoz Paris, green marble case with applied gilt metal detail, together with a pair of accompanying bronze and green marble urn type vases, largest piece 51cm high (3)

An 18th century oak longcase clock with an 8-day bell strike movement, brass dial and silvered chapter ring, inscribed John Roberts A/F, 210cm highLocation:

Oriental ceramics to include a 20th century Chinese polychrome enamelled tea set, a brass bell, figural lamp and teaware

A George III mahogany longcase clock, with an eight day bell strike movement, silvered chapter ring subsidiary seconds and date inscribed john Campbell GlasgowLocation: