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Margaret Gere (1878-1965) "Raising Jairus Daughter" watercolour 13 x 20cm. Exhibited: Cheltenham Art Gallery & Museums, Margaret Gere Exhibition, catalogue no. B10(i), 21 January - 3 March 1984; Abbott and Holder, London. Provenance: From the collection of John Redman (b.1937). John Redman lived with the Payne and Gere families in their Cotswold home during the 2nd World War from 1940 to 1944. He points out the home was a constant visiting location for a number of important artists and writers including Sir Stanley Spencer, Vanessa Bell, Virginia Woolf, Sir William Rothenstein, George Bernard Shaw, John Betjeman and many others. He has collected a comprehensive range of the Payne and Gere families works through a lifetime's friendship with Edward R. Payne (1906-1991), the Payne's second son of three and also an artist. These are well represented by the selection shown in this auction.

Margaret Gere (1878-1965) Copy of L.H panel of ''The Annunciation'' by Filippo Lippi (1406-1469), circa 1906 inscribed to label in brown ink "Copy of Italian Painting, M.Gere, N.F.S E.R. Payne, Triangle, Nr.Box, Stroud" egg tempera on board 20.5 x 13.8cm. Provenance: From the collection of John Redman (b.1937). John Redman lived with the Payne and Gere families in their Cotswold home during the 2nd World War from 1940 to 1944. He points out the home was a constant visiting location for a number of important artists and writers including Sir Stanley Spencer, Vanessa Bell, Virginia Woolf, Sir William Rothenstein, George Bernard Shaw, John Betjeman and many others. He has collected a comprehensive range of the Payne and Gere families works through a lifetime's friendship with Edward R. Payne (1906-1991), the Payne's second son of three and also an artist. These are well represented by the selection included in this auction. 

Henry Payne (1868-1939) "Landscape near Sheepscombe", 1921 signed and dated (lower left) watercolour 21 x 32.8cm. Provenance: From the collection of John Redman (b.1937). John Redman lived with the Payne and Gere families in their Cotswold home during the 2nd World War from 1940 to 1944. He points out the home was a constant visiting location for a number of important artists and writers including Sir Stanley Spencer, Vanessa Bell, Virginia Woolf, Sir William Rothenstein, George Bernard Shaw, John Betjeman and many others. He has collected a comprehensive range of the Payne and Gere families works through a lifetime's friendship with Edward R. Payne (1906-1991), the Payne's second son of three and also an artist. These are well represented by the selection incuded in this auction.

Henry Payne (1868-1939) "Portrait of Ruth Calverley, Black Horse Inn, Amberley" signed (lower left) conte crayon on buff paper 26.5 x 19.5cm. Provenance: From the collection of John Redman (b.1937). John Redman lived with the Payne and Gere families in their Cotswold home during the 2nd World War from 1940 to 1944. He points out the home was a constant visiting location for a number of important artists and writers including Sir Stanley Spencer, Vanessa Bell, Virginia Woolf, Sir William Rothenstein, George Bernard Shaw, John Betjeman and many others. He has collected a comprehensive range of the Payne and Gere families works through a lifetime's friendship with Edward R. Payne (1906-1991), the Payne's second son of three and also an artist. These are well represented by the selection included in this auction.

Bernard Sleigh (1872-1954) "A Cotswold Village", 1921 monogrammed and dated (lower left) watercolour 22.5 x 31cm. Provenance: From the collection of John Redman (b.1937). John Redman lived with the Payne and Gere families in their Cotswold home during the 2nd World War from 1940 to 1944. He points out the home was a constant visiting location for a number of important artists and writers including Sir Stanley Spencer, Vanessa Bell, Virginia Woolf, Sir William Rothenstein, George Bernard Shaw, John Betjeman and many others. He has collected a comprehensive range of the Payne and Gere families works through a lifetime's friendship with Edward R. Payne (1906-1991), the Payne's second son of three and also an artist. These are well represented by the selection included in this auction.Lot 211 – appears in good condition, in a new frame & mounts, measurements including frame please see extra images online 43.5cm x 51.5cm

Elizabeth Hunter (b.1935) "Roses" signed (lower right) oil on board 28 x 22.5cm. Provenance: From the collection of John Redman (b.1937). John Redman lived with the Payne and Gere families in their Cotswold home during the 2nd World War from 1940 to 1944. He points out the home was a constant visiting location for a number of important artists and writers including Sir Stanley Spencer, Vanessa Bell, Virginia Woolf, Sir William Rothenstein, George Bernard Shaw, John Betjeman and many others. He has collected a comprehensive range of the Payne and Gere families works through a lifetime's friendship with Edward R. Payne (1906-1991), the Payne's second son of three and also an artist. These are well represented by the selection included in this auction.

Murray Bernard Bladon (1864-1939) "Tremadog Bay, Wales" signed with monogram (lower right) watercolour 15.5 x 35.2cm. Information: Bladon was a Birmingham School artist who was a student of Henry Payne. Provenance: From the collection of John Redman (b.1937). John Redman lived with the Payne and Gere families in their Cotswold home during the 2nd World War from 1940 to 1944. He points out the home was a constant visiting location for a number of important artists and writers including Sir Stanley Spencer, Vanessa Bell, Virginia Woolf, Sir William Rothenstein, George Bernard Shaw, John Betjeman and many others. He has collected a comprehensive range of the Payne and Gere families works through a lifetime's friendship with Edward R. Payne (1906-1991), the Payne's second son of three and also an artist. These are well represented by the selection included in this auction.

Charles March Gere (1869-1957) "Saint Francis" signed in pencil (lower right) watercolour 9 x 13cm. Provenance: From the collection of John Redman (b.1937). John Redman lived with the Payne and Gere families in their Cotswold home during the 2nd World War from 1940 to 1944. He points out the home was a constant visiting location for a number of important artists and writers including Sir Stanley Spencer, Vanessa Bell, Virginia Woolf, Sir William Rothenstein, George Bernard Shaw, John Betjeman and many others. He has collected a comprehensive range of the Payne and Gere families works through a lifetime's friendship with Edward R. Payne (1906-1991), the Payne's second son of three and also an artist. These are well represented by the selection included in this auction.

Margaret Gere (1878-1965) "Painswick Church", 1952 signed and dated in pencil pen and ink 26.5 x 19.5cm. Exhibited: Cheltenham Art Gallery & Museums, Margaret Gere Exhibition, catalogue no. D14, 21 January - 3 March 1984. Provenance: From the collection of John Redman (b.1937). John Redman lived with the Payne and Gere families in their Cotswold home during the 2nd World War from 1940 to 1944. He points out the home was a constant visiting location for a number of important artists and writers including Sir Stanley Spencer, Vanessa Bell, Virginia Woolf, Sir William Rothenstein, George Bernard Shaw, John Betjeman and many others. He has collected a comprehensive range of the Payne and Gere families works through a lifetime's friendship with Edward R. Payne (1906-1991), the Payne's second son of three and also an artist. These are well represented by the selection included in this auction.

Margaret Gere (1878-1965) "The Staffordshire Ornament" oil on glass 17 x 12.3cm. Exhibited: Cheltenham Art Gallery & Museums, Margaret Gere Exhibition, catalogue no. B10(i), 21 January - 3 March 1984; Abbott and Holder, London. Provenance: From the collection of John Redman (b.1937). John Redman lived with the Payne and Gere families in their Cotswold home during the 2nd World War from 1940 to 1944. He points out the home was a constant visiting location for a number of important artists and writers including Sir Stanley Spencer, Vanessa Bell, Virginia Woolf, Sir William Rothenstein, George Bernard Shaw, John Betjeman and many others. He has collected a comprehensive range of the Payne and Gere families works through a lifetime's friendship with Edward R. Payne (1906-1991), the Payne's second son of three and also an artist. These are well represented by the selection included in this auction.

Charles March Gere (1869-1957) "Landscape - in the Sierra, Canton Valais" signed with initials (lower left) watercolour from the artist's 1927 sketch book 12.5 x 19cm. Provenance: From the collection of John Redman (b.1937). John Redman lived with the Payne and Gere families in their Cotswold home during the 2nd World War from 1940 to 1944. He points out the home was a constant visiting location for a number of important artists and writers including Sir Stanley Spencer, Vanessa Bell, Virginia Woolf, Sir William Rothenstein, George Bernard Shaw, John Betjeman and many others. He has collected a comprehensive range of the Payne and Gere families works through a lifetime's friendship with Edward R. Payne (1906-1991), the Payne's second son of three and also an artist. These are well represented by the selection included in this auction.

William Gear (1915-1997) "Figure Study - Line Drawing", 1947 signed and dated (lower right) ink on paper 26 x 22cm. Provenance: From the collection of John Redman (b.1937). John Redman lived with the Payne and Gere families in their Cotswold home during the 2nd World War from 1940 to 1944. He points out the home was a constant visiting location for a number of important artists and writers including Sir Stanley Spencer, Vanessa Bell, Virginia Woolf, Sir William Rothenstein, George Bernard Shaw, John Betjeman and many others. He has collected a comprehensive range of the Payne and Gere families works through a lifetime's friendship with Edward R. Payne (1906-1991), the Payne's second son of three and also an artist. These are well represented by the selection included in this auction.

Alan Furneaux (b.1953) "St. Just, Still Life" signed (lower left), titled (to reverse) oil on canvas 29 x 39.5cm. Provenance: From the collection of John Redman (b.1937). John Redman lived with the Payne and Gere families in their Cotswold home during the 2nd World War from 1940 to 1944. He points out the home was a constant visiting location for a number of important artists and writers including Sir Stanley Spencer, Vanessa Bell, Virginia Woolf, Sir William Rothenstein, George Bernard Shaw, John Betjeman and many others. He has collected a comprehensive range of the Payne and Gere families works through a lifetime's friendship with Edward R. Payne (1906-1991), the Payne's second son of three and also an artist. These are well represented by the selection included in this auction.

Sydney d'Horne Shepherd (1909-1993) "Daphnis & Chloe" artist's proof, signed and titled in pencil (in the margin) lithograph 60 x 45cm. Provenance: From the collection of John Redman (b.1937). John Redman lived with the Payne and Gere families in their Cotswold home during the 2nd World War from 1940 to 1944. He points out the home was a constant visiting location for a number of important artists and writers including Sir Stanley Spencer, Vanessa Bell, Virginia Woolf, Sir William Rothenstein, George Bernard Shaw, John Betjeman and many others. He has collected a comprehensive range of the Payne and Gere families works through a lifetime's friendship with Edward R. Payne (1906-1991), the Payne's second son of three and also an artist. These are well represented by the selection included in this auction.

Charles March Gere (1869-1957) "The Stonebreaker" etching 13 x 19.5cm. Provenance: From the collection of John Redman (b.1937). John Redman lived with the Payne and Gere families in their Cotswold home during the 2nd World War from 1940 to 1944. He points out the home was a constant visiting location for a number of important artists and writers including Sir Stanley Spencer, Vanessa Bell, Virginia Woolf, Sir William Rothenstein, George Bernard Shaw, John Betjeman and many others. He has collected a comprehensive range of the Payne and Gere families works through a lifetime's friendship with Edward R. Payne (1906-1991), the Payne's second son of three and also an artist. These are well represented by the selection included in this auction.

Charles March Gere (1869-1957) "Harvesting" etching 6 x 9.5cm. Provenance: From the collection of John Redman (b.1937). John Redman lived with the Payne and Gere families in their Cotswold home during the 2nd World War from 1940 to 1944. He points out the home was a constant visiting location for a number of important artists and writers including Sir Stanley Spencer, Vanessa Bell, Virginia Woolf, Sir William Rothenstein, George Bernard Shaw, John Betjeman and many others. He has collected a comprehensive range of the Payne and Gere families works through a lifetime's friendship with Edward R. Payne (1906-1991), the Payne's second son of three and also an artist. These are well represented by the selection included in this auction.

Charles March Gere (1869-1957) "Cader Idris" mezzotint 11.5 x 16cm. Provenance: From the collection of John Redman (b.1937). John Redman lived with the Payne and Gere families in their Cotswold home during the 2nd World War from 1940 to 1944. He points out the home was a constant visiting location for a number of important artists and writers including Sir Stanley Spencer, Vanessa Bell, Virginia Woolf, Sir William Rothenstein, George Bernard Shaw, John Betjeman and many others. He has collected a comprehensive range of the Payne and Gere families works through a lifetime's friendship with Edward R. Payne (1906-1991), the Payne's second son of three and also an artist. These are well represented by the selection included in this auction.

Charles March Gere (1869-1957) "Knitting" after Edward R. Taylor stamped with South Kensington Schools Seal mezzotint 18.5 x 14cm. Exhibited: City Museum & Art Gallery, Birmingham, Mastery Art (Birmingham School of Art 1884-1920), November 1986 - January 1987; Provenance: From the collection of John Redman (b.1937). John Redman lived with the Payne and Gere families in their Cotswold home during the 2nd World War from 1940 to 1944. He points out the home was a constant visiting location for a number of important artists and writers including Sir Stanley Spencer, Vanessa Bell, Virginia Woolf, Sir William Rothenstein, George Bernard Shaw, John Betjeman and many others. He has collected a comprehensive range of the Payne and Gere families works through a lifetime's friendship with Edward R. Payne (1906-1991), the Payne's second son of three and also an artist. These are well represented by the selection included in this auction.

University Press Oxford after Edmund Hort New "Firenze" monochrome print in collotype 22.5 x 55cm. Provenance: From the collection of John Redman (b.1937). John Redman lived with the Payne and Gere families in their Cotswold home during the 2nd World War from 1940 to 1944. He points out the home was a constant visiting location for a number of important artists and writers including Sir Stanley Spencer, Vanessa Bell, Virginia Woolf, Sir William Rothenstein, George Bernard Shaw, John Betjeman and many others. He has collected a comprehensive range of the Payne and Gere families works through a lifetime's friendship with Edward R. Payne (1906-1991), the Payne's second son of three and also an artist. These are well represented by the selection included in this auction.

A circa 2013 Bell & Ross Aviation type stainless steel automatic wristwatch, ref. BRO3-92-SR-01393, 42mm, on original black rubber strap.

JULIA MARGARET CAMERON (1815-1879) A RARE AND REMARKABLE SET OF FOUR PHOTOGRAPHS presumably once forming pages from an photograph album, the four large format pages each featuring a single photograph, forming an intact four page booklet, each with a pencil number to the upper corner, the photographs listed below as following the page layout: 'Connor of the Royal Artillery' (Gunner Patrick Connors) with pencil inscription below reading "Winner of the prizes at the Royal Artillery Games, Freshwater" albumen print, 264mm x 206mm 'Julia Jackson looking left downwards', albumen print, 213mm x 166mm 'Mary Hillier and two children', albumen print, 255mm x 198mm 'Julia Jackson profile right', 238mm x 187mm (arched top) Single page dimensions 354mm x 264mm (spread 354mm x 528mm) with string binding still presentProvenance: Frances Byng Stamper and Caroline Byng Lucas, The Ladies of Miller's Caroline Byng Lucas (1886-1967) studied painting and sculpture in London, Paris and Rome during the 1920s and first exhibited works at the Galerie des Jeunes Peintres in Paris in 1928. In the 1930s she studied sculpture under John Skeaping and had solo exhibitions of her paintings at the Lefevre Gallery in 1934 and of her sculptures at the Leicester Galleries in 1939. In 1941, with her older sister Frances Byng Stamper (1882-1968), Byng Lucas established the Millers Gallery in a converted outbuilding at her home in Lewes. The Gallery acted as an arts centre with a programme of exhibitions, concerts and lectures. Although focussed on local artists they also hosted works by Vanessa Bell, Duncan Grant, Robert Colquhoun and Robert MacBryde. Kenneth Clarke was a visitor and E. M. Forster gave readings. The Gallery hosted over 40 exhibitions, which included showing works by Matisse, Cezanne and Pissarro. During the war, John Maynard Keynes, who was establishing the Council for the Encouragement of Music and the Arts at the time, was closely involved with the Gallery. In 1945 the sisters established the Millers Press with the aim of promoting colour lithography. Among the works published were a set of six lithographs by Byng Lucas of Lewes and Brighton. In 1948, in conjunction with the Redfern Gallery, Byng Lucas set up the Society of London Painter-Printers to support artists in producing colour prints. The sisters disbanded the press and gallery in the mid-1950s due to their increasing fraility and died within a few months of each other in 1967. In 1989 the Towner held an exhibition of the work of Byng Lucas and her sister. Both the British Museum and the Victoria and Albert Museum in London hold examples of her prints. Julia Jackson, a niece of Julia Margaret Cameron, who features twice in this group of photographs, was the mother of Virginia Woolf and Vanessa Bell. It is known that both Woolf and Bell owned albums of photographs by Cameron, and given the close links between the Ladies of Miller's and the Bloomsbury Group, it is possible that the pages offered here came from such an album.

FRENCH BRONZE AND MARBLE MOUNTED STRIKING MANTEL CLOCK, circa 1880, with twin handled urn finial above the arched case, flanked by acanthus cast volutes, the bowfront base on four toupie feet and a foliate cast central foot; with enamel Arabic dial, the twin train movement with countwheel strike on bell, 27cm high, 18cm wide

GEORGE III MAHOGANY DROP DIAL WALL CLOCK, the 35cm dial, with Roman numerals, inscribed " Wm Grace Clerkenwell", the double fusee movement, striking on a bell, 62cm long

WILLIAM IV MAHOGANY LONGCASE CLOCK, Simson, Southampton, early 1830s, the arched hood with moulded cornice above the circular convex glass door, flanked by stylised pilasters; the trunk with arched door above a vacant panel, flanked by canted angles; the conforming base on bracket feet; with painted Roman dial, twin barrel movement and strike on bell; with pendulum, two weights and winder, 206cm high, 48cm wide Note: Stephen Simson is recorded as working in Southampton between 1830-39. See Loomes (Brian) Watch & Clockmakers of the World, Volume II

GEORGE II OAK LONGCASE CLOCK, the brass arched dial with penny moon phase, date aperture and seconds wheel, the chapter ring inscribed " Jn Clough Manchester", the two train movement striking on a bell, in an associated oak case, 214cm high

GEORGE III MAHOGANY, MARQUETRY AND GILT BRONZE MOUNTED LONG CASE CLOCK, last quarter 18th century, the arched hood with fretwork top with three turned finials, above an inset foliate pierced metal arch, the glazed door flanked by stop-fluted columns with Composite order capitals; the trunk with feather marquetry spandrels above the arched door, flanked by stop-fluted quarter columns; the conforming base with bracket feet at the front; the part silvered brass Roman and Arabic dial with moonphase and date, the twin barrel movement with strike on bell; with pendulum, weights and winder, 273cm high, 53cm wide

A Rare Chinese Western Zhou Dynasty Bronze Chariot Bell c.1100-771 BC. This rare and interesting bronze bell would have originally been fitted to a horse-drawn chariot, ringing constantly as the chariot went along. It still has its bronze ball inside the bell section so shaking it will make the same sound that was heard over 2,500 years ago! The surface has corroded due to long burial and there are extensive malachite deposits. Height 15cm.Reference: almost identical examples were excavated from a chariot burial in Baoji City, Shaanxi Province in 1974 (see "Imperial China: The Art of the Horse in Chinese History").Provenance: from the collection of the late Brian Page (1938-2018), the well-known Oriental art and antiques dealer from Brighton.

A NOVELTY BRONZE PIG BELL. 6.5ins long.

A PALAIS ROYALE GILT METAL TABLE BELL, with bird finial and pictorial panels. 5.5ins high.

A Chinese carved walnut, along with brass bell, cloisonne box and cover, hard stone carving and other items

depicting the Piazza Della Rotonda in Rome with the Pantheon, complete with twin bell towers, the fountain and obelisk, oval in a black onyx frame and yellow metal mount which tests for 18ct gold (lacks clasp), width 4.2cm

CAST METAL WALL HANGING HORSE BELL

CAST METAL WALL HANGING HORSE BELL

CAST METAL WALL HANGING DOG BELL

A BELL

Glass & China - Royal Worcester, Jlmenau floral sprays, cranberry glass bell etc

French Clock Garniture. A pink marble and ormolu mounted clock garniture. The case of rectangular form, surmounted by a seated cherub holding a torch, together with a pair of matching candlesticks. The twin train, 8 day movement, having count-plate strike at the hours and half-hours on a bell. The back plate marked 2888, with a circular stamp of a star surrounded by AD Mougin, deux medailles. The white enamel dial with black Roman numerals and blue Arabic numerals to the outer edge, with pierced and engraved brass hands. Height of clock, 12.5", height of candlestick 7".

Sterling Silver Curb Bracelet Loaded with 17 Good Quality Old Silver Charms. Comprises 10 Shilling Notes, Penny Farthing, Coach, 21st Birthday Key, One Pound Note - 1960's, Large Key, Windmill with Figure and Horse, Wishing Well, Old Car, Teddy Bear, Sets of Keys, Church, Large Bell. All Marked for Silver. Silver Weight 87.7 grams. Please Confirm Condition with Photo.

A Georgian Period Eight Day Oak and Mahogany Longcase Clock - by Edward Harrision, Warrington. Circa 1760's of superb proportions, painted square dial. Eight day movement is rack striking on a bell. Subsidiary dial. Stands 86'' - 215 cm. 21'' wide - 52.5 cm.

Bells Old Scottish Whisky - Bell Decanter Filled Specially Selected - 70% Proof, 26% Fl oz + A Bells Scotch Whisky Decanter - Filled to Commemorate the Marriage of Prince Andrew and Miss Sarah Ferguson, 23rd July 1986. Both Decanters In Excellent Condition, Seals In-tact. Please Confirm with Photo.

French 19th Century Hotel Bar Novelty Bell In The Shape of a Turtle, When you Touch the Tail the Head Moves and the Bell Rings, Working at time of Cataloging. 7 Inches length & 4 Inches Wide.

Collection of Edinburgh Crystal comprising: a decorative Thistle pattern table bell 6" tall, a Thistle pattern small vase 4" tall, and a Thistle pattern bon bon dish on pedestal base, 4" tall. Also includes two Edinburgh Crystal 'Tiree cut' wine glasses. Please see accompanying images.

An antique longcase clock, the 10 3/4" brass and silvered square dial marked for John Knight of Fareham, with thirty hour bell striking movement - no pendulum or weight - hood pillars restored and other minor damage

Assorted metalware including servants bell, converted oil lamp, etc.

A large vintage Monax scientific glass bell jar

An old hand bell

A reception bell

[MILITARY & NAVAL] The Royal Artillery Commemoration Book 1939-1945, first edition, Bell & Sons Ltd on behalf of The Royal Artillery Benevolent Fund, 1950, full armorial blue buckram gilt (spine crinkled), plate and text illustrations, large quarto.

[TRAVEL]. A. & C. BLACK 7s. 6d. SERIES Bell, Mrs Arthur. Nuremberg, first edition, Black, London, 1905, decorative blue cloth gilt, top edges gilt, twenty paper protected colour plate illustrations by Arthur Bell (including frontispiece, as called for), 4 pp. publisher's list, octavo; Dobson, G. St. Petersburg, first edition, Black, London, 1910, decorative yellow cloth, top edges gilt, the title blind-stamped 'Presentation Copy', sixteen paper protected colour plate illustrations and sixteen black and white plate illustrations by F. De Haenen (including frontispiece, as called for), folding map (at end), octavo; and Grove, H.M. Moscow, first edition, Black, London, 1912, decorative blue cloth gilt, top edges gilt, sixteen paper protected colour plate illustrations and sixteen black and white plate illustrations by F. De Haenen (including frontispiece, as called for), folding plan (at end), octavo; together with Stewart, Hugh. Provincial Russia, first edition, 1913; Gribble, Francis. Geneva, first edition, 1908; Musson, Spencer. La Cote d'Emeraude, first edition, 1912; Musson, Spencer. Around St. Malo, first edition thus, 1917; and Mackenzie, W.M. Pompeii, first edition, 1910, (8).

Postcards, Oxfordshire, Henley on Thames, a collection of approx. 60 cards, RP's and printed, inc. Hart St, Bell St, White Hill, Marsh Lock, various Regatta scenes, River Thames, etc (gen gd)

A fine French engraved gilt brass carriage clock in the English tasteUnsigned, probably Paris, third quarter of the 19th centuryThe eight-day two train bell striking movement with silvered platform lever escapement stamped with serial number 1663 to the lower left hand corner of the backplate, the inset arched gilt brass dial with finely engraved and engine-turned floral bloom and strapwork engraved centre , blued steel moon hands and generous acanthus scroll decorated infill to apron set within a conforming C-scroll and leafy trail decorated mask, the case with S-scroll outline hinged carrying handle above bevelled top glass within fine foliate strapwork engraved and horizontal engine-hatched surround applied with oval finials to each corner, with slender channelled frieze and fluted three-quarter column uprights enclosing a pair of side panels each finely engraved with pair of engine-turned floral spray engraved shaped panels to centre and conforming landscape engraved panels depicting coastal shipping and a riverscape to upper and lower margins within an intense leafy scroll decorated field, the back door of conforming design but incorporating Lakeland scenes, on cavetto moulded stepped skirt base decorated with floral sprays issuing from a scallop shell the each side 13.5cm (5.25ins) high excluding handle; with a tooled maroon leather covered outer travelling case. Provenance: The beneficiary of the Estate of a private collector, East Midlands. The quality of the engraved decoration to the current lot can be best described as exceptional. The sides and rear panel are particularly noteworthy in that they employ a mixture of fine detail engraving and very precise engine-turned hatched infill to give texture and the impression of depth to the landscape scenes. Indeed when the clock is moved under differing light conditions the surfaces reflect the light in a very effective manner causing the decoration to 'come alive'. The overall form and feel of the present clock is very reminiscent of English work particularly makers such as McCabe, Dent, and Cole (see Roberts, Derek CARRIAGE and other Travelling CLOCKS page 277, Fig. 18.14) although Swiss makers also produced clocks along a similar theme during the second quarter of the 19th century (see Roberts, page 71, Fig. 4.3).Condition Report: Movement appears complete and free from visible alterations, repairs or replacements but is a little dirty/neglected. The escapement will beat but only for a few oscillations before stopping which suggests that the train is sound but requires a clean and overhaul. The strike train is in working condition. The dial is undamaged. The case is generally in fine condition with faults limited to slight bruising of the top surface where the baton of the handle rests when the hinged down position and a couple of minor spots of discolouration to the cornice Un-engraved surfaces). Otherwise gilding is in fine condition and the very fine engraving crisp and clear. The front glass has some very shallow internal chipping to the lower right hand corner. The travelling box is structurally sound but has wear and scuffing to exterior. Clock has a winding key. Condition Report Disclaimer

A very unusual French malachite cabochon mounted engraved gilt brass carriage clockRoblin and Fils Freres, Paris, circa 1860The eight-day two train bell striking movement with silvered platform cylinder escapement and stamped with oval trademark ROBLIN, FILS & FRERES, A PARIS over serial number 20255, The small oblong gilt Roman numeral dial with rosette engraved centre, blued steel hands and hatched leafy scroll decorated infill to spandrel areas, the case in the form of a casket with hinged carrying handle over lobed cabochon capped upstand to the cavetto moulded superstructure applied with further oval cabochons to each side within horizontal line engraved panel infill and leaf motif decorated angles, the front with strapwork decorated glazed oblong bezel within border further engraved with hatched foliate motifs and line surround with intricate lattice crossings to each corner, the sides each applied with twin cabochons within conforming stylised leaf engraved infill and line surround, the rear engraved to match and incorporating shuttered winding/setting holes and regulation aperture, on shaped platform skirt base applied with further malachite cabochons to the upper surface of each projecting rounded corner over vertical line hatched panel decoration, the underside fitted with a scroll-pierced sound fret, 13.5cm (5.25ins) high excluding handle. Provenance: The beneficiary of the Estate of a private collector, East Midlands. Very little appears to be known regarding the Paris clockmaking firm of Roblin and Fils Freres however from the numerous mantel and other clocks that survive they appear to have been a good quality manufacturer and retailer of clocks active throughout the second half of the 19th century. The case of the current lot is extremely unusual, and from its construction (each element being formed by hand and brazed together rather than cast) would appear to be a 'one-off' -made perhaps to special order. The case being made in the shape of a casket is broadly reminiscent of the work of Thomas Cole whose designs were also often adorned with malachite and sometimes followed the form of a piece of furniture. 

A Polish gilt and silvered brass hexagonal horizontal table clockJohannes Christian Logan, Thorn, first half of the 18th centuryThe hexagonal six baluster pillar movement with fusee for the going train regulated by sprung three-arm monometallic balance and standing barrel for the rack hour striking train sounding on a bell mounted within the baseplate and with trip-hour pull repeat, the backplate with lattice pierced and foliate cast balance bridge beside regulation dial to centre within herringbone engraved border and signed Johan Chr. Logan. Thorn, to space between, the 3.25 inch wide hexagonal gilt brass dial incorporating banner panels signed J. Ch Logan, Thorn the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track, with blued steel arrow hands and foliate engraved infill to the apex of each corner, the case with moulded dial surround incorporating sculpted lobes at the angles over raised rectangular glazed silvered panels to sides with stepped ogee moulding to lower edge, on three cast silvered brass winged cherub mask paw feet around a hinged base panel fitted with hour bell to centre, 11cm (4.25ins) wide. Although the maker of the current lot appears not to be recorded in the usual sources it is most likely that it was made in the Northern Polish town of Torun by an immigrant German maker, hence the clock was signed with a German interpretation of the town's name. The movement of the current lot is particularly well finished for a clock of this type and has survived in good original condition. Condition Report: Movement appears complete and fundamentally original with no evidence of alteration or significant replacements. The contrate wheel appears to have had repairs to the teeth requiring it to be removed and re-applied to its arbor with a new collet (the wheel now is in operational condition). The pallet arbor top pivot (which engages in a hole in the backcock/bridge) has lost its tip hence balance arbor is now loose at the top and will not beat. Going train is therefore not running. The strike train is in working condition.The dial is a little rubbed and discoloured but otherwise is undamaged; the hands are probably replacements. The case is generally in similar good original condition retaining original gilt and silvered finishes with faults limited to an old solder repair to the angle between the glazed side apertures at XI and a loss to the wing tip of one of the feet castings. The movement securing screws are also lacking. Clock has a winding key. Condition Report Disclaimer

The remnants of a rare German Renaissance small gilt brass steel-framed weight-driven chamber clockUnsigned, early 17th century The posted movement lacking all wheelwork except hour wheel and balance but retaining pivot plates (the centre gilt brass), strike-work detents and vertical hammer arbor set between steel top and bottom plates with square section uprights, the rectangular dial with starburst engraved centre and sculpted steel hand within silvered Roman numeral chapter ring beneath grotesque eagle mask and foliate scroll engraved infill centred with a naked female term over winged cherub-head and scroll decoration to lower margin, the sides with side doors centred with an open arch (formerly glazed) within architectural engraved surround decorated with winged cherub mask centred fruiting foliage to arch over Solomonic pilaster uprights and stylised tiled floor, the top with oval and C-scroll pierced and engraved 'strapwork' gallery frets flanked by ovoid spire finials set on rectangular plinths to front and sides around an arched steel bellstand surmounted by a matching finial applied to the upper brass top panel enclosing balance beneath, on repeating foliate motif engraved canted skirt base with toupe feet, 24cm (9.5ins) high; with a copy of Maurice, Klaus and Mayr, Otto THE CLOCKWORK UNIVERSE German Clocks and Automata 1550-1650 Smithsonian Institution, Washington DC 1980, dj, (2). The current lot is particularly interesting in that it was made as a weight-driven chamber clock rather than a spring table clock. Whilst the overall form resembles that of a table clock, complete with arched side panels reminiscent of Nuremburg and Augsburg table clocks of the late 16th century, some of the detailing, such as the sunburst-centred narrow silvered chapter ring and the pierced frets, are more akin to chamber clocks made in Northern Europe. Indeed the frets appear to be of a form often seen in English Elizabethan and Jacobean architecture as exemplified by an over-door ornament at Aston Hall, Birmingham, illustrated in Cooper, Nicholas THE JACOBEAN COUNTRY HOUSE on page 69.Although the current lot has lost its wheel-work it is still and interesting example which would certainly warrant reinstatement of the mechanism or could just be appreciated as is for its academic and decorative qualities.Condition Report: As catalogued all wheelwork except for the hour wheel and balance wheel (later restoration) are missing. The bell, back panel, one packing sleeve (for upright between movement top plate and case top panel) and three of the case top securing nuts are also missing as well as two from the underside. Otherwise all appears present including the strike detents and hammer arbor (no hammer). The parts of the mechanism that are present appear to have survived without substantial alteration/butchering with evidence of conversion to pendulum escapement swinging at the rear being minimal.The case elements have been re-gilded but are otherwise are intact and in good condition. The chapter ring appears original, the hand is a replacement.Interestingly the front movement bar is inscribed 'FG', however we believe these initials to be much later than the movement of the clock.   Condition Report Disclaimer

A rare Danish Renaissance gilt brass steel-framed table clock Daniel Kersten, Odense, late 16th century The posted movement now with back-wound fusee, flanged spring barrel and verge escapement regulated by sprung three-arm brass balance to the going train, the strike train of single-arbor warnless type with nag's head lifting, gilt foliate scroll band engraved decoration to the standing barrel, steel great wheel, hammer wheel, countwheel and fly pivoted within gilt brass movement plates set between brass top and bottom plates with square section steel uprights, the dial plate with fine stylised foliate scroll engraved centre within applied silvered Roman numeral chapter ring with tied asterisk half hour markers, with floral sprays to upper spandrel areas over conforming scrolling to lower section incorporating blanked winding hole labelled GA WERK over signature DANEL KERSTEN y ODENSE to lower margin, the angles with fluted three-quarter Corinthian columns over plinths applied with grotesque masks and the sides engraved with standing female figures emblematic of Charity and Justice, the rear engraved with hour-strike dial within further scrolling flowering foliage and with one of the winding holes labelled SCHA WERK towards the lower margin, the brass case top plate concealing the balance and mounted with the hour bell beneath rococo scroll band decorated domed cover with leafy knop and attachment lugs over each corner, on spread ogee moulded base engraved with repeating leaf decoration over small disc feet, (strike train lacking overlift and locking wheels, the going train with early conversion to fusee), 21.5cm (8.5ins) high.   Daniel Kersten of Odense appears not to be recorded however the form and construction of the current lot appears very closely related to Germanic work. It is perhaps worth noting that Odense is only a relatively short Baltic boat journey from the important Hansiatic Port of Lubeck, which through its strategic importance, had become one of most sophisticated Renaissance cities in Northern Europe during the 14th-16th centuries. This proximity naturally assisted passage of the latest skills and knowledge into the wealthy Danish Kingdom (despite their unrelenting rivalry with their Baltic neighbours). This included the clockmaking trade with makers conversant in the latest technology and designs becoming established in major regional capitals of the Danish provinces as well as Copenhagen itself. Danish table clocks dating from the 16th century are particularly rare although other known examples include a stunning complex astronomical table clock by Steffen Brenner, Copenhagen, dated 1558 is illustrated in Maurice, Klaus and Mayr, Otto THE CLOCKWORK UNIVERSE German Clocks and Automata 1550-1650 on pages 216-17; and a quarter-striking example by Jorgen Eckler (ex. Rothschild collection at Mentmore Towers) which was sold at Sotheby's New York sale of MASTERPIECES FROM THE TIME MUSEUM, PART FOUR, VOLUME I 13th October 2004, lot 510.   The combined use of steel and brass in the movement of the present clock would most likely date it to the last quarter of the 16th century as by around 1600 steel was generally as only used for pinions, arbors and detents. The engraved panels depicting Justice and Charity appears are very much in the style of mid 16th century German engravers such as Hans Sebald Beham (c. 1500-50) and Virgil Solis (1514-62) although they do not appear to directly follow designs by any of the better known engravers. The pleasing scrolling foliate decoration to the dial, back panel and strike barrel is notable in that it departs from the more structured strapwork designs seen on most other Germanic examples of the period suggesting that the decoration could be more reflective of the clocks regional Danish origins. Although the clock has seen some relatively early updating work to the mechanism (conversion to fusee drive and sprung balance to the going train) it has never been adapted to pendulum regulation and enough of the original movement survives for accurate restoration to be undertaken if desired. Condition Report: As catalogued the going train has been updated by replacing the original standing barrel with a fusee which is wound from the rear (necessitating an additional hole to be drilled into the backplate). The going train weelwork is contemporary with the fusee conversion as is the present sprung balance. The going train is basically intact and will no doubt run after a gentle clean and once escapement has been adjusted. The original hour wheel and strike lifting are present on the front of the movement (hand is missing). The strike train is missing the second and thrird wheels out of the train however barrel, hour hammer wheel, fly and all detents are present and appear original. The countwheel to the rear of the movement appears to be a replacement. The winding hole to the dial has been plugged with a ring-turned 'button' otherwise dial is in good condition and appears original (with the exception of the gilding which is probably later). The side panels are in good condition and of fairly heavy construction with faults limited to very slight casting cracks visible to the rear of one plate. The rear panel has an additional hole drilled for the fusee winding square and another small hole (probably to allow access for tripping of the hour strike) otherwise is in good condition. The frame of the movement is in good condition with significant traces of original gilding. The top plate shows no signs of the clock ever being converted to pendulum regulation. The base of the clock is intact but all corners have had their tips filed back and the front right hand is a little bent. The screws holding the two plates of the base together are later additions and there is one missing. The top panel of the case is original and in good condition, the domed bell cover is later (probably contemporary with fusee conversion) but is undamaged. Generally the case is lacking some screws and securing pins causing the elements to be a bit loose which no doubt can be easily addressed. Clock has a winding key.   Condition Report Disclaimer

An early forged iron gothic domestic chamber clock movementUnsigned, German/Swiss, early to mid 16th century The two train movement with forged wheels, solid pinions and flanged winding pulleys incorporating English style sprung clicks to the great wheels, the three-wheel going train originally with verge escapement regulated by foliot balance, the single-arbor warnless strike train with nag's head lifting, shaped cam for overlift and flail locking, the countwheel mounted to the rear for the frame and driven via teeth cut to the inside of the rim, the frame constructed with riveted lap joints except the front two corner posts which are secured by pinned tenons to allow removal of strike detent and hammer pivot arbors, the upper and lower frame bars each forged in two sections joined by rivets at the rear corners, the right hand side leading edge with vacant potances and pivots for an alarm mechanism, the three central movement pivot bars also originally attached via pinned tenons with the front and back joined by a bar high above the movement to allow space for a foliate balance, the corners with spike finials and integral outstepped feet, (incomplete and with historic repairs/updates, missing items include motionwork, escapement, alarm, lines and weights), 34cm (13.5ins) high. Although perhaps a little agricultural in its appearance, on closer examination it can be seen that the present mechanism is fairly sophisticated in its design and construction. The frame in particular is efficiently designed to allow many variations of partial disassembly in order to facilitate servicing/adjustment of isolated parts of mechanism without disturbing other elements. The design of the strike train would have also been cutting-edge at the time of manufacture with nags-head lifting via starwheel behind the dial although the flail locking mechanism is perhaps a hangover from larger turret clock manufacture. Overall the layout and operation of both trains is technically very similar to chamber clocks made by the Leitchi family of Switzerland during the middle years of the 16th century (see Tardy LA PENDULE FRANCAIS, 3me Partie: Provinces et Etranger page 454). The size and proportions of the present movement are particularly pleasing which coupled with its inherent visual qualities and academic interest as a study-piece make it a worthy addition to any collection with an interest in early horology.Condition Report: Of the going train only the great and first wheel survive with the latter having a replacement brass pinions. The vertical pivot bars show evidence of balance wheel and pendulum escapements (in the form of vacant holes, slots etc.). The strike train retains original great wheel, second wheel, countwheel and release detent. The locking wheel is also present but is a replacement (including flail locking arm) as is the fly. The central movement bar has a repair at the base otherwise frame is basically sound and appears complete. The pulley wheels have age hence may well be original. There is no dial or motionwork with the movement. Faults otherwise limited to a few historic repairs, spare holes and wear commensurate with age.There is a later bell with the clock but nothing else. Condition Report Disclaimer

A German Black Forest miniature weight-driven porcelain-fronted Jockele wall clock Unsigned, mid 19th century The wooden framed posted countwheel bell striking movement with lantern pinions, the going train with tic-tac escapement regulated by 9.5 inch star decorated brass disc bob pendulum suspended between the rear of the movement and the back panel and the strike train sounding the hour on a bell mounted above, the circular 2.25 inch white enamel Roman numeral dial with pierced steel moon hands and set into a scroll bordered shield-shaped porcelain surround with polychrome rose decorated upper frieze panel, the rear with back panel incorporating pierced arched top section for wall hanging, 14cm (5.5ins) high.  The name Jockele used to describe this type of small/miniature wooden-framed weight driven wall clock originates from Jacob (Jockele) Herbstreith from Hinterzarten, who in the 1790's became well known for producing the earliest examples of this type. The current lot is a rarer model in that it has a strike train (most were timepiece alarms only) and retains the earlier layout with going train in front of the strike (rather than side-by-side) as well as sounding on a bell rather than a gong.Condition Report: Movement appears to have survived in good original unrestored condition with no obvious/visible damage to the wheels or pinions. The frame has 'sagged' a little with the front having dropped a little in relation to the rear no doubt due to having to support the weights.The dial is in good condition although there is some rubbing to the gilt and polychrome to the upper section. The side doors are missing. Clock has original pendulum, pinecone cast weights and chains whioch appear to be in good serviceable condition. Condition Report Disclaimer

A French gilt brass four-glass mantel clockRichard et Cie, Paris and London, late 19th centuryThe circular eight-day two train bell striking movement with visible Brocot escapement regulated by twin capsule mercury compensated pendulum with Brocot type regulation to suspension, the backplate stamped R&C, PARIS & LONDON, 4257, circular two-piece white enamel Roman numeral dial with visible escapement to the recessed centre and blued steel moon hands set within gilt ogee moulded bezel, the frosted gilt bevel-glazed case with cavetto cornice, caddy moulded uprights and skirt base, 29.5cm (11.5ins) high. Richard and Company are recorded in Allix, Charles and Bonnert, Peter CARRIAGE CLOCKS Their history and development as founded in Paris in 1848 and setting-up a London retail outlet in 1857. By 1867 the branch was located at 24 Cannon Street and signed clocks in English. Richard et Cie were prolific makers of better quality carriage clocks as well as other types of decorative mantel clock who received an Honourable Mention in the 1889 Paris Exposition.Condition Report: Movement appears to be in fine clean working condition, the level of the mercury in one of the mercury capsules is slightly lower than the other suggesting that a little has been lost from one. The dial has two very faint hairlines to the chapter ring (each side of the VI numeral) which can only be seen on very close examination. Case is in good clean condition with only a few minor spots of discolouration and slight mellowing to the finish in places; the glasses appear free from visible damage. Clock is complete with pendulum and winding key.Condition Report Disclaimer

A fine Swiss Louis XVI grande-sonnerie striking Pendule d'Officier with pull trip-repeat and alarmRobert & Courvoisier, La Chaux-de-Fonds, late 18th centuryThe circular four pillar movement with chain fusee and verge escapement regulated by sprung three-arm monometallic balance with rack-and-pinion regulation to the going train, the hour and quarter striking trains driven by a single spring barrel striking the full hour on a bell followed by ting-tang notation for the quarters on a second smaller bell every quarter hour, the alarm with standing barrel wound via a line and pulley and sounding on the smaller bell, the backplate fitted with six-spoke balance bridge, adjacent regulation dial and full visible quarter and hour strikework, the 4.25 inch circular convex white enamel dial with vertical Arabic numerals and signed Robert & Courvoisier to centre, with fine lattice and scroll pierced and engraved minute and hour hands, steel alarm setting hand and Arabic quarter hours within the outer minute track set behind hinged milled convex glazed cast gilt brass bezel, the case with hinged handle formed as a looped snake consuming its own tail over concave-sided hipped superstructure applied with laurel wreath and oak leaf cast mounts to front and back and engraved with panels of fruiting plants over stepped shoulders to sides, the front with acanthus cast infill to lower quadrants and the sides with fluted banner panels over generous laurel rosettes, the rear matching the front but centred with a lattice pieced sound fret, on four turned feet, 19cm (17.5ins) high excluding handle. The partnership between Louis Courvoisier (1758-1832) and his father-in-law Captain Louis-Benjamin Robert (1732-1781) was established in 1781. In 1787 Robert died leaving his share of the business in control of his widow, Charlotte. This arrangement continued until 1811 when Louis Courvoisier took his son, Frederic Alexander took in his son to form 'Courvoisier et Cie'.The current lot is a fine textbook example of an early design of pendule portative termed 'Pendule d'Officier'. Although this form of portable timepiece originated during the 1780's they apparently became popular during the period of the Napoleonic wars, particularly amongst the officer class, hence the term 'Pendule d'Officier'. The firm of Robert and Courvoisier were the leading makers of this type of portable timepiece during this period.Condition Report: The movement is in relatively clean working condition with no visible evidence of alteration or significant replacements. The strike train is working correctly with the exception of the selection lever which the 'Ordinaire' function is currently no different to 'Grande Sonnerie'. The alarm mechanism appears to be permanently tripped hence will sound when the line is pulled (winding the alarm barrel) regardless of the position of the setting hand. The dial has a faint diagonal hairline crack and minor chipping around the winding holes otherwise presents well although the enamelling appears to have been restored. The case has some light tarnishing/discolouration to the finish otherwise appears to be in fine condition.Clock has a winding key. Condition Report Disclaimer

A fine and rare French gilt brass singing bird automaton carriage clock Japy Freres for Henry Marc, Paris, circa 1860The eight-day twin train bell striking movement with platform lever escapement and stamped with oval trademark JAPY FRERES ET CIE, EXPOSITION, 1855 GRANDE,MED., D'HONNEUR over another H'Y MARC, PARIS and serial numbers 43 and 31199 to lower margin, the under-dial motionwork with counterweighted detent for the hourly release of the going barrel-driven musical mechanism for sounding a two-note bird call and with twin linkages at the rear for operating the two movements of the bird automaton above, the rectangular white enamel Roman numeral dial with blued steel moon hands and inscribed H'RY MARC, PARIS to lower margin, the two tier gilt brass bevel-glazed case with foliate scroll-cast hinged carrying handle to the one-piece caddy moulded upper section enclosing automaton of a bird perched within foliate next to a nest with eggs which moves from side to side and bobs up and down whilst the musical mechanism in the base in running, with cavetto skirt set onto to top of the lower tier with platform incorporating projecting rounded corners applied with artichoke finials over free-standing slender baluster corner columns with leafy caps and waists, on shaped stepped plinth base with scroll cast band and projecting rounded angles to support the columns, the right hand side with musical mechanism winding square over lever for allowing the musical mechanism to be operated at will, on four disc turned feet, 28.5cm (11.25ins) high. Provenance: The beneficiary of the Estate of a private collector, East Midlands. 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. Henry Marc is also noted by noted in Allix as probably a retailer of various mantel and other small clocks and refers to a relatively early carriage clock (number 26886) supplied to Marc by Japy Freres. The current lot is rare example from a small series of Oiseaux Chantant automaton clocks produced by Japy Freres during the 1860's-70's. Charles Allix (on page 222) comments that the musical automata were probably not made at Saint-Nicholas d'Aliermont as there is no record of the manufacture of such mechanisms taking place in the area, hence it is likely that these parts of the clock were supplied from workshops either in the Franche-Comte or Switzerland. A closely comparable example was offered at Christies, South Kensington sale of The Dr. Eugene and Rose Antelis Collection of Important French Carriage Clocks Thursday 26th November 1998 (lot 101) whilst another, albeit a rarer variant with centre seconds was sold at Antiquorum, Geneva sale of Important Modern and Vintage Timepieces 11th November 2012 (lot 294) for and astonishing $50,994.Condition Report: The clock movement appears complete, original and is in clean condition. The escapement will beat but is prone to stopping suggesting a service is required; the strike train is working. The release mechanism for the singing bird automaton (positioned on the front of the frontplate) is present but is not currently operational and appears to have some solder repairs/adjustments. The singing bird mechanism will wind and run when the override/release lever in the base is engaged however it would appear that only one note and one (of the two) actions are operational. We are unable to gain access to the musical mechanism to assess its condition/originality.The dial appears free of visible faults. The section of the case housing the clock movement and dial appears to have been re-gilded whilst the upper section has not. The castings around the base (housing the music movement) are a little uneven with some flaws in the casting apparent. The winding square for the automaton mechanism is a little misaligned with in relation to its hole which coupled with the unevenness of the castings would appear a little crude for a clock of this specification however they do not appear to be indicative of obvious alteration. The bird automaton and its setting are in good condition and both actions of the bird a will operate when the linkages are moved. The section of the case which houses the automaton is in good condition however there is a small notch cut to the lower front edge, the purpose of this is unknown. All glasses to the case appear free from visible damage however there is some unevenness in the execution of the bevelling.The current lot is generally intact but has the feel of having had some restoration work done in the recent past which could account for some of the misalignment of the elements in the base of the case. The small notch cut to the lower edge of the automaton case (at the junction with top of the clock case) is a mystery but does not seem to be indicative of significant adaptation. These details may cause some to doubt the overall authenticity of the clock however we cannot see any direct evidence to support this view although we have not been able to take the base section of the case apart to investigate further.There is no winding key present with this clock. Condition Report Disclaimer