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A fine French Empire patinated bronze, ormolu and Siena marble figural mantel clock Louis Mallet, Paris, circa 1820 The two train eight-day bell striking movement with anchor escapement regulated by disc bob pendulum with Brocot type regulation to suspension, the circular white enamel Roman numeral dial signed L’s. Mallet, h’s de S. A. R. M. J’r le duc d’orleans to centre with blued steel moon hands and outer minute track within crisp egg-and-dart cast surround fitted with convex glazed hinged bezel, the case with movement inset into a gilt plinth surmounted by a globe standing on a stack of books and oil lamp over fine cast anthemion inset mounts to quadrant areas around dial flanked by a pair of figures modelled as seated putto conversing, the base hewn from a solid block of Siena marble applied with a central bronze panel relief cast with putti performing academic pursuits flanked by crisply cast trophy mounts emblematic of the Arts and Sciences, on integral skirt base applied with lappet leaf cast ogee moulding to top edge and on block feet, 49cm (19.25ins) high. Louis Mallet is recorded in Tardy DICTIONNAIRE DES HORLOGERS FRANCAIS was working from 1810-30 in the Rue J.-J. Rousseau and later at the Rue Neuve des Petits-Champs.

ϒA fine William III walnut and Arabesque panel marquetry eight-day longcase clock Langley Bradley, London, circa 1700 The five finned pillar outside countwheel bell-striking movement with anchor escapement for regulation by a seconds pendulum, the 11 inch square brass dial with ringed winding holes, elaborate scroll-border decorated calendar aperture and subsidiary seconds dial to the matted centre within applied silvered Roman numeral chapter ring with stylised sword hilt half hour markers, Arabic five minutes to outer track and signed L. Bradley, London to lower margin, with sculpted steel hands and winged cherub head and scroll cast spandrels to angles, the case with stepped domed caddy fronted with symmetrical Arabesque marquetry over fretwork fronted upstand, moulded cornice and conforming frieze, the foliate strapwork scroll inlaid glazed hinged dial surround applied with turned three-quarter marquetry veneered columns to front angles, the sides with rectangular windows and quarter columns set against bargeboards at the rear, the trunk with concave marquetry veneered throat moulding over 41.5 inch rectangular door centred with a circular lenticle and with three shaped marquetry panels decorated with bird inhabited strapwork scrolling foliage on a light ground within a walnut field, the surround with ebony and box triple-line border and the sides veneered with twin line-strung crossbanded panels, the base with stepped ogee top moulding and conforming rectangular marquetry panel within further crossbanded surround over moulded double skirt, 239cm (94ins) high. Langley Bradley is recorded in Loomes, Brian The Early CLOCKMAKERS of Great Britain as born circa 1663, apprenticed in February 1687/88 to Joseph Wise and freed 1694. He worked at the Minute Dial in Fenchurch Street and was appointed Assistant of the Clockmakers' Company in 1720 and served as Master in 1726. By 1748 he had moved to Mile End. Langley Bradley is perhaps best known as a turret clock maker who was commissioned by Sir Christopher Wren to supply the clock for St. Paul's Cathedral in 1707. The clock he supplied, complete with quarter jacks, was openly criticised for being costly and unreliable, although there was probably some truth behind these comments it seems that the resultant dispute may have been politically motivated. Indeed a Government commission was set up under the Chairmanship of Sir Isaac Newton which eventually resulted in the clock being replaced by one made by William Wright and Richard Street; the latter being a fine maker with connections to Tompion who was known to have supplied clocks for Sir Isaac Newton.Despite this embarrassment Sir Christopher Wren attempted to influence the Crown's potential appointment of Langley Bradley as official clockmaker to Queen Anne, describing him as 'a very able artist, very reasonable in his prices' in his correspondence to the Lord High Chamberlain in 1711. Unfortunately for Bradley the Lord Chamberlain's response indicated that under such circumstances a Royal Warrant could not be granted via the Office of Works. Wren clearly thought well of Langley Bradley as he persevered to facilitate the commission for a new clock at Hampton Court to be undertaken by Bradley. ϒ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information. 

A George III scumbled pine hooded wall timepiece with alarm John Wynn, Frimley, circa 1760 The posted movement with anchor escapement for regulation by long pendulum set in front of the alarm mechanism within the frame incorporating rectangular section iron uprights, the 4.75 inch brass break-arch dial with alarm setting disc to the leafy trail engraved centre within applied Roman numeral chapter ring with diamond lozenge half hour markers, with pierced iron hand and palmette centred scroll cast spandrels to angles beneath arch with central boss signed J’no Wynn, Frimley flanked by conforming mounts, the case with scumbled finish to resemble mahogany with cavetto moulded cornice above door with caddy moulded glazed aperture flanked by turned Roman Doric three-quarter columns with conforming quarter columns applied to the sides at the rear over stepped ogee lower lip mouldings, the bracket with backboard pierced for hanging above lower section with concave throat moulding and scroll outline side supports united by bowed apron to front over conforming shaped lower edge to backboard, (lacking pendulum, weights, bell and alarm hammer), 69cm (27.25ins) high. A John Wynne of Frimley, Essex does not appear to be recorded in the usual sources however stylistic features such as the use of diamond lozenge half hour markers and pattern of spandrel casting would suggest that the current lot was made during the middle years of the 18th century.

ϒA fine and potentially historically important architectural table timepiece of three-month duration with silent-pull quarter repeat Robert Seignior, London, circa 1680 and later The substantial seven finned and latched pillar single fusee movement with plates measuring 10 by 7 inches enclosing a spring barrel of approximately 4 inches in diameter driving a five-wheel train with verge escapement regulated by short bob pendulum, the silent-pull quarter repeat train of the type first used by Joseph Knibb fitted to the top left hand corner of the movement and powered by a large curved leaf spring mounted on the backplate, sounding the quarters on a graduated pair of small bells followed by the hours on a single larger bell on demand only, now with a 10 inch square gilt brass dial with unusual sculpted silvered brass hinged lambrequin inscribed Robert Seignior, London revealing the single winding hole behind to the rose engraved and finely matted centre, within narrow silvered Roman numeral chapter ring with stylised trident half hour markers and Arabic five minutes within the outer minute track, with finely pierced and sculpted steel hands and crisply cast gilt winged cherub head spandrels, in a gilt brass ebony veneered case reconstructed using period elements with fine large gilt flambeau urn cast brass finial to the plinth-centred open arch pediment over crisply moulded entablature and Corinthian three-quarter columns with gilt multi-piece capitals and bases applied to the glazed front door, the sides veneered with rectangular panels and the rear with conforming entablature and three quarter columns flanking panel veneered door set within the frame of the case, the base with projecting plinths for the columns at the corners over crisply moulded shallow skirt, 59cm (23.25ins) high excluding finial; 68cm (26.75ins) high overall. Robert Seignio(u)r is recorded in Loomes, Brian The Early CLOCKMAKERS of Great Britain as apprenticed to John Nicasius gaining his Freedom of the Clockmaker’s Company in 1667. He worked in Exchange Alley and was often at loggerheads with the Clockmaker’s Company who called him to account for ‘contemptible words’ he had used to and about Thomas Claxton, the Master. He was also fined 20 shillings in October 1671 for calling the Clockmakers ‘a company of cheating knaves’. In August 1674 Robert Seignior was appointed the King’s Clock and Watchmaker ‘without fee’ until the death or surrender of office by Edward East, presumably to ensure succession of the role in the event of East`s demise. This appointment however was never formally fulfilled as East outlived Seignior who died in 1686; his premises at Exchange alley was subsequently taken-on by Daniel Quare. Due to Seignior not being able to formally fulfil his appointment as Royal clockmaker there is no mention of any specific Royal commissions except for one which is discussed in Jagger, Cedric ROYAL CLOCKS on page 31. In his text Jagger highlights an entry dated 9th December 1682 in a manuscript of a ‘Schedule of Receipts and Payments by Henry Guy Esq.., for the Secret services of His late Majesty King Charles the Second’: To Robert Seignior, For a clock bought of him and sett up in the Trea’ry Chambers, for the use of the Commissioners of His said Maj’ties Trea’ry…..£20. This being Seigniors only recorded Royal commission would have no doubt resulted in him producing something special. Indeed with the Treasury historically dividing yearly activity into quarters then what would be more appropriate than having a clock which you only had to wind at the end of each quarter With this question in mind then it may be appropriate to speculate that the movement of the current lot could possibly be from this long Commission. When the current lot was discovered abroad around fifteen years ago it sported an altered dial signed ‘Robert Seignior, London’. Examination of the trains and plates indicated that the timepiece was commensurate with early examples from his workshop and was originally of rare three-month duration with the repeat work being almost certainly an early addition to the movement. With early long duration spring clocks being extremely rare (indeed the current lot could even be the earliest surviving three month spring movement) the vendor chose to go to great lengths and expense to preserve the timepiece by reinstating an appropriate dial to enable it to be housed in a case rebuilt for the purpose from the remnants of a surviving period example. As such the current lot presents as an impressive architecturally perfect object which befits the movement’s rare and highly desirable specification. ϒ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.

A walnut and floral marquetry eight-day longcase clock The movement and dial by Edward Speakman, circa 1695-1700, the case later The five finned pillar internal countwheel bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch square brass dial with subsidiary seconds ring, scroll border engraved calendar aperture and ringed winding holes to the matted centre within applied silvered Roman numeral chapter ring with stylised sword hilt half hour markers, Arabic five minutes to outer track and signed E. Speakman, London to lower margin, with scroll pierced blued steel hands and twin cherub and crown cast spandrels to angles within herringbone engraved border, now in a case with floral marquetry decorated shallow dome superstructure over crossgrain ogee moulded cornice and scroll pierced frieze to lintel, over leafy trail inlaid glazed hood door applied with solomonic three-quarter columns to front angles, the sides with rectangular windows and conforming quarter columns set against bargeboards at the rear, the trunk with convex floral marquetry veneered throat moulding over 42 inch rectangular door centred with an oval lenticle and with three shaped marquetry panels decorated with bird inhabited floral sprays and scrolling foliage on an ebonised ground within a figured walnut field, the sides veneered with twin slender oyster-cut panels within crossbanded borders, the base with stepped ogee top moulding and conforming rectangular marquetry panel over bun feet, 213cm (84ins) high to top edge of domed caddy. Edward Speakman is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born in 1668 and apprenticed to his father, William, from 1682/3 to 1689. He gained his freedom of the Clockmaker’s Company in 1691 and worked from Newgate Street. Edward Speakman was married to Sarah Brown in 1695 however it would seem that she had died within a year of the marriage. He signed the Oath of Allegiance in 1697 and worked until his death in Christ Church Parish 1713.

A George III brass lantern clock James Wilson, London, circa 1760 The posted countwheel bell striking two-handed movement with verge escapement for regulation by short bob pendulum swinging at the rear behind the frame, the eight inch brass break-arch dial with central vestigial alarm disc to the matted centre within applied Roman numeral chapter ring with Arabic five minutes to outer track, with pierced steel hands and rococo scroll cast spandrels to angles beneath arch centred with a circular boss signed James Wilson, LONDON flanked by conforming mounts, with domed bearer enclosing bell supported over vase finials behind over hanging hoop, brass backplate and on ball feet, (lacking pendulum bob, alarm, side doors and weights), 31cm (12.25ins) high. James Wilson is recorded in Baillie, G.H. Watchmakers and Clockmakers of the World as working circa 1775.

A William III thirty-hour longcase clock movement and dial William Martin, London, circa 1695 The four thickly turned finned pillar plated two handed outside countwheel bell striking movement with anchor escapement for regulation by a seconds pendulum, the 11 inch square brass dial with engraved rosette to the matted centre within applied Roman numeral chapter ring with stylised sword hilt half hour markers, Arabic five minutes to outer track and signed W’m Martin, London to lower edge, with scroll pierced steel hands and twin cherub and crown cast spandrels to angles, (lacking pendulum and weight). William Martin is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born around 1668 and apprenticed to his father, John Martin, until 1689 but did not gain his freedom of the Clockmaker’s Company until 1702.

A French Louis Philippe ormolu and green marble mantel clock J. Charles, Paris, circa 1840 The eight-day circular two train countwheel bell striking movement with anchor escapement regulated by disc bob pendulum with silk suspension, the backplate stamped with serial number 811 over J. CHARLES, A PARIS oval trademark, MEDAILLE D’OR, Paris, 1827 roundel, and further number 71 32, the circular engine turned silvered brass Roman numeral cartouche dial with oval panel inscribed J. Charles, A PARIS to centre and with wavy outer minute track, with blued steel moon hands within a concentric bead cast moulded bezel, the case with stylised scroll cast crest to the back panel upstand cast to resemble a bookcase with desk stand flanked by conforming side scrolls to the foreground, the dial flanked by winged leafy term mounts to front angles over veined grey marble block base, on gilt shallow skirt with milled bun feet, 42cm (16.5ins) high.

A Victorian brass skeleton timepiece with passing strike Unsigned, third quarter of the 19th century The eight-day single chain fusee movement with six spoke wheel crossings and anchor escapement regulated by decorative disc bob pendulum with elaborate pierced frame enclosing the regulation adjustment screw, the scroll-pierced waisted frame united by six decorative knopped pillars and incorporating pivoted hammer with tail engaging with a pin on the centre-arbor minute wheel to sound a single blow on a bell mounted above the frame every hour, with silvered arcaded Roman numeral chapter ring and steel spade hands, mounted via flanged cylindrical feet onto a baize lined ebonised ovoid base and with glass dome cover, the clock 35.5cm (14ins) high; 44.5cm (17.5ins) high including stand and dome.

A George III mahogany table clock Bearing a signature for Benj, Gray, London, late 18th century The five pillar twin fusee bell striking movement with verge escapement and trip repeat, the backplate engraved with a Neo-Classical urn centred cartouche within delicate rococo scroll infill, the 6 inch cream painted Roman numeral break-arch dial with calendar aperture and bearing inscription Benj. Gray, LONDON to centre, with Arabic five minutes to outer track and pierced brass hands beneath STRIKE/SILENT selection dial to arch above, the bell-top case with hinged brass carrying handle and vase finials over complex top mouldings, the front door with brass fillet bordered glazed dial aperture and scroll-pierced upper quadrant frets, the sides with break-arch windows and the rear with break-arch glazed door, on cavetto moulded skirt base with brass ogee bracket feet, (pallets and pendulum assembly lacking), 43cm (17ins) high excluding handle. Provenance: Brocket Hall, Hertfordshire.

A William III burr walnut and floral panel marquetry eight-day longcase clock Joseph Windmills, London, circa 1695 The five finned and latched pillar inside countwheel bell striking movement with anchor escapement regulated by seconds pendulum, external countwheel locking detent and sculpted steel hammer spring mounted on the tall backplate, the 11 inch square brass dial with ringed winding holes to the matted centre within applied Roman numeral chapter ring with stylised sword hilt half hour markers, small Arabic five minutes beyond the narrow outer minute track and signed Joseph Windmills, London to lower edge, with fine sculpted steel hands and with twin cherub and crown cast spandrels to angles, the case with crossgrain ogee moulded cornice and scroll pierced frieze to lintel, over leafy trail inlaid fixed glazed dial surround applied with generous solomonic three-quarter columns to front angles, the sides with rectangular windows and conforming quarter columns set against bargeboards at the rear, the trunk with convex figured walnut veneered throat moulding over 41 inch rectangular door centred with an oval lenticle and with three shaped marquetry panels decorated with bird inhabited floral sprays and scrolling foliage on an ebonised ground within a figured walnut field, the sides veneered with single slender panel within crossbanded borders, the base with stepped ogee top moulding and conforming rectangular marquetry panel over moulded skirt, 206cm (81ins) high. Provenance: Brocket Hall, Hertfordshire. The life and work of Joseph Windmills and his successors is comprehensively documented in Neale, J.A. Joseph and Thomas Windmills Clock and Watch Makers 1671-1737. Joseph joined the Clockmakers' Company as a free Brother in on 29th September 1671 - the same year that Joseph Knibb, Daniel Quare and Thomas Tompion also gained their freedom of the Company. He initially worked from Blow Bladder Street in St. Martins le Grand, London before moving to premises at ‘Swan Court, Mark Lane End, next Tower Street’ by April 1674 where the business remained. Joseph took his son, Thomas, as an apprentice who, after gaining his freedom in 1696, is thought to have immediately gone into business with his father; by 1700 the firm had become a partnership which lasted until Joseph's death in 1724. As a contemporary of Knibb, Quare and Tompion, Joseph Windmills would have had to compete with some of the finest clockmakers that have ever lived during a period of heightened scientific enlightenment. In this environment Windmills excelled, producing clocks of a quality that equalled many of his more famous peers.

A rare French lacquered brass giant carriage clock with push-button repeat and alarm Unsigned, late 19th century The substantial two train eight-day gong striking movement with four double-screwed pillars, large silvered platform lever escapement and alarm sounding on a bell mounted within the base of the case, the backplate stamped with a roundel inscribed MEDAILLE D’OR. 1822, Paris to lower right and numbered 2765 to lower left, the rectangular white enamel Roman numeral dial with blued steel hands and alarm setting dial to lower margin, the substantial bevel-glazed corniche case with hinged carrying handle and thick glasses, (dial with faults to restored enamel), 21.5cm (8.5ins) high excluding handle.

A Regency brass mounted ebonised small lancet bracket clock with trip hour repeat Unsigned, early 19th century The four pillar twin fusee bell striking movement with anchor escapement regulated by lenticular bob pendulum and shouldered plates, the 4.75 inch circular convex white enamel Roman numeral dial with blued steel serpentine spade hands set behind hinged convex glazed cast brass bezel and with N/S strike selection switch at twelve o’clock, the Gothic lancet arch shaped case with raised brass line outline shaped panel infill to front incorporating looped double-lozenge motif beneath dial flanked by slender three quarter columns supporting arched mouldings to angles, the sides with gilt lions mask ring handles over pierced brass lancet-shaped sound frets and the rear with lancet arch glazed door, on brass strip inset stepped skirt base with brass ball feet, 30.5cm (12ins) high.

A George III / Regency mahogany eight-day longcase clock Unsigned, late 18th / early 19th century The five pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch white painted break-arch Roman numeral dial with subsidiary seconds and calendar dials to centre beneath STRIKE/SILENT selection to arch, in a break-arch case with concave-sided upstand over cavetto cornice and brass stop-fluted canted angles flanking the break-arch glazed hood door, the sides with rectangular windows, the trunk with flame figured break-arch door over raised panel fronted plinth base with moulded double skirt, 221cm (87ins) high.

A French Louis XV style ormolu mantel clock Etienne, Lenoir, Paris, early 19th century The circular two train outside countwheel bell striking movement with anchor escapement regulated by disc bob pendulum with silk suspension and stamped 274 to the lower edge of the backplate, the circular convex white enamel Roman numeral dial signed in red E’NE LENOIR, A PARIS to centre within blue hour numerals and Arabic five minutes to outer track, with scroll pierced and engraved gilt brass hands set behind hinged cast bevel-glazed bezel, the waisted rococo case with foliate spray surmount to the concave sided upstand and leafy scroll chased side scrolls flanking brass grille inset shaped apertures to sides, the apron with conforming panel bordered by further leafy scrollwork and conforming feet secured to a separate conforming rococo scroll cast platform base cast with generous rococo scrolls and foliate motifs, 36cm (14.24ins) high. Etienne Lenoir is recorded in Tardy DICTIONNAIRE DES HORLOGERS FRANCAIS as born in Mer-sur-Blois in 1744 and died in Paris 1832. Tardy also notes that in 1814 he served as a member of the Bureau des Longitudes.

An important Queen Anne ebonised eight-day longcase clock Michael Knight, London, circa 1705 The substantial five fully latched and crisply turned finned pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum with long crutch, the backplate with apertures cut for the pallets and for viewing the countwheel locking detent, with finely detailed steelwork incorporating Tompionesque scroll terminals to bell stand and hammer spring feet, the 12 inch square brass dial with subsidiary seconds dial, ringed calendar aperture and winding holes to the matted centre within applied silvered Roman numeral chapter ring with cruciform half hour markers, Arabic five minutes to outer track and signed MICH KNIGHT, LONDINI FECIT to lower edge, with pierced steel hands and double-screwed gilt twin cherub and crown cast spandrels to angles with foliate scroll engraved infill to margins between, the ebonised case with gilt brass ball finials to the ogee shaped caddy surmounted fine foliate fretwork fronted box upstand above moulded cornice and further conforming foliate pierced fret to frieze, generous three-quarter columns with gilt caps and bases to glazed hood door, the sides with rectangular sound frets and rear quarter columns each set against bargeboard rising up to the underside of the cornice projection, the trunk with convex throat above 41.5 inch rectangular door, on ogee moulded plinth base applied with two-tier moulded skirt, 245cm (96.5ins) high excluding finials, 252cm (99.25ins) high overall. Michael Knight is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born circa 1659; he was apprenticed to Thomas Tompion (bound 1673/4 through Lionel Wythe) and took up his freedom of the Clockmaker’s Company after a warning to do so in 1681. Michael Knight took apprentices Thomas Day in 1682 (Freed 1691), Robert Youell (through Tompion - Freed 1697) and John Barnardiston in 1697 (Freed 1714). In 1697 Knight signed the Oath of Allegiance but little is known of him after 1699 when he stopped paying quarterage to the Clockmaker’s Company. The location of Michael Knight's workshop is indicated in an article by Evans, Jeremy MAINSPRING MAKERS OF LONDON AND LIVERPOOL - SOME OBSERVATIONS AND LISTS published in ANTIQUARIAN HOROLOGY Vol. XXVII, No. 1, Page 81 where reference under the entry for Micklewright indicates that the latter was believed to have been working in St. Sepulchres - 'in Red Cross Court next-door but one to Tompion's ex-apprentice Michael Knight'. Of Michael Knight only around ten surviving clocks are known listed in Evans, Jeremy; Carter, Jonathan and Wright, Ben THOMAS TOMPION, 300 YEARS. Most of these examples demonstrate a very close working relationship with Tompion with at least two reflecting an aptitude for producing work equal to Tompion's finest products. The first of these is a fine half quarter-repeating ebony table clock of typical 'Tompion phase II' design illustrated in ANTIQUARIAN HOROLOGY Vol X, No. 7, on Pages 782-83. The second is an important eight-day longcase clock (in a private collection) complete with Tompion pull-quarter repeat mechanism and housed in a fine walnut case closely resembling that of the 'Drayton Tompion' (which now resides at the Fitzwilliam Museum, Cambridge and is illustrated by Evans, Carter and Wright on page 510). When considering the strong similarity of Knight's work alongside that of his former Master coupled with the fact that there are very few clocks signed by him (despite his long career) it most likely that he was primarily employed by Tompion. Indeed the complexity and accomplished nature of the two examples noted above would suggest that he assisted Tompion with his more complex commissions. The movement of the current lot is almost indistinguishable from Tompion's work exhibiting an abundance of features diagnostic of his workshop. These include the back cock casting (with distinctive chamfered feet), pallet and countwheel locking detent viewing apertures to backplate and distinctive scroll-shaped tails to the hammer spring and bell stand. As with Tompion's work the movement is fully latched with fine knopped and finned pillars and the wheelwork precisely executed with shallow domed collets. The escapement of the present clock is also particularly noteworthy as it appears to be a rare original survivor. The dial departs a little from 'standard' Tompion design having ringed winding holes and calendar aperture to the matted centre. The bold signature engraved in block capitals appears to be typical of Knight and can be compared to that of the ebony 'phase II' type table clock described above. The case again is essentially indistinguishable of those housing movements and dials by Tompion made at this time exhibiting the fine proportions and detailing for which his workshop was known. The current lot affords the prospective purchaser the opportunity to essentially acquire a clock that is essentially a 'Tompion' in all but name. Indeed from a documentary point of view it would be reasonable to suggest that this clock perhaps has more to offer than a comparable signed by Tompion.

An impressive Queen Anne black japanned longcase clock of one month duration Brounker Watts, London, circa 1710 The five finned pillar bell striking movement with five wheel going train incorporating anchor escapement regulated by seconds pendulum, and the strike train with high-position crossed-out external countwheel positioned on the backplate, the 13 inch brass break-arch dial with star decorated subsidiary seconds dial, calendar aperture and burnished rectangular herringbone-bordered signature panel inscribed Brounker Watts, LONDON to the repeating leaf trail bordered foliate scroll engraved matted centre, within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to outer track, with scroll pierced steel hands and twin cherub and crown cast spandrels to angles within engraved herringbone border continuing up into the arch to surround the fine applied repousse panel infill decorated with Chronos flanked by floral vases over grotesque masks within intense foliate strapwork, the black japanned case now with elaborate multi-stage concave and convex moulded superstructure above box upstand fronted with painted figural chinoiseries over break-arch cornice incorporating frieze and glazed dial aperture with conforming gilt border decoration and now applied with half columns to front angles, the sides with rectangular windows over trunk with foliate spray decorated concave throat moulding and rectangular door centred with a circular lenticle and decorated in raised polychrome and gilt with Oriental figures within an Arcadian Chinoiserie landscape, the surround gilt painted with scroll-work and leafy sprays, the sides with figures and large scale foliage over base similarly decorated and with elaborate stepped double skirt, (case with additions and partial re-painting), 290cm (114ins) excluding top finial. Provenance: Brocket Hall, Hertfordshire. Brounker Watts is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born in around 1670, he was apprenticed to Joseph Knibb from 1684/5 until 1691 and gained his freedom of the Clockmakers’ Company in 1693/4. In around 1695 he married Ursula Walford and in 1696 he is recorded as working from Fleet Street, London. His name is on the company’s Oath of Allegiance which was signed the following year. In 1698 Watts was living in the parish of St. Dunstan in the West and is recorded as avoiding stewardship of the Clockmakers’ Company in 1711 due to being ‘out of town’. Brounker Watts died in 1717 and was buried in his home parish of St. Dunstans in the West. The movement of the current lot is well made and finely with fine details such as beautifully sculpted clicks and springs to the great wheel winding ratchets and crossed-out countwheel reminiscent of the work of Brounker Watts’s former master, Joseph Knibb.

A fine and rare French engraved gilt brass carriage clock with two-plane 'chaffcutter' escapement Attributed to Paul Garnier, Paris, retailed by A. Demeur, Brussels, circa 1845 The eight-day two train movement with two-plane 'chaffcutter' escapement regulated by three-arm monometallic balance set between the plates and countwheel striking the hours on a bell mounted on the backplate concealing stamped number 1719 to centre, the fine rococo scroll engraved rectangular gilt brass dial flush fitted with a Roman numeral blue-on-white enamel hour disc inscribed A. DEMEUR. H’er de laCour, BRUXELLES to centre and with blued steel trefoil hands, the gilt brass one-piece caddy moulded bevel-glazed case with hinged slender baton handle above fine foliate scroll and herringbone band engraved frame incorporating upward sliding rear panel decorated with rococo motifs and with shuttered winding holes, on cavetto moulded panel-engraved skirt base with inset rounded angles, 12.5cm (5ins) high excluding handle. Paul Garnier is recorded in Allix, Charles and Bonnert, Peter CARRIAGE CLOCKS Their history and development as born 1801 and studying under Antide Janvier before setting up his own workshops in 1825. Garnier was awarded Silver Medals in the Paris Exhibitions of 1827, 34, and 39; and gold medals in 1844 and 49. He worked from various addresses at Rue Taitbout, Paris and died in 1869 leaving the business to his son of the same name who was still exhibiting carriage clocks in the Paris Exhibition of 1889. In 1916 Paul Garnier’s watch and clock collection was bequeathed to the Louvre. Garnier is generally credited for being the first maker to essentially standardise the 'petit pendule portative' which was in effect to become the prototype for the archetypal French carriage clock. The current lot utilises Garniers 'chaffcutter' escapement -the design of which is based on Sully and Debaufre’s frictional rest watch/chronometer escapements. The engraved one-piece caddy moulded case is typical of Garnier’s second series and can be closely compared with an example illustrated in Allix, Charles and Bonnert, Peter CARRIAGE CLOCKS, Their history and development on pages 62 and 63 (Plates II/30 and 31); both clocks also share the same blued steel trefoil hands.

A Queen Anne olive wood and floral marquetry eight-day longcase clock James Atfield, Old Brentford, early 18th century The four (formerly five) finned pillar internal countwheel bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch square brass dial with star decorated subsidiary seconds ring, scroll border engraved calendar aperture and ringed winding holes to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers, Arabic five minutes to outer track and signed Jam’s Atfield, old Brentford to lower margin, with pierced blued steel hands and twin cherub and crown cast spandrels to angles with scroll engraved infill between, in a case with moulded cornice and walnut veneered frieze to lintel, over leafy trail inlaid glazed hood door applied with ebonised three-quarter columns to front angles, the sides with rectangular windows and conforming quarter columns set against bargeboards at the rear, the trunk with convex crossgrain veneered throat moulding over 42 inch rectangular door centred with a circular lenticle and decorated with bird inhabited floral sprays and scrolling foliage on an ebonised ground, the sides veneered with twin slender panels within crossbanded borders, the base with stepped ogee top moulding and conforming rectangular marquetry panel over moulded double skirt incorporating bracket feet with shaped apron between, 220cm (86.5ins) high. James Atfield of Old Brentford, Middlesex, is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as being mentioned, alongside his wife Jane, in a deed in 1705-8; he is believed to have worked to at least 1725.

A George IV brass inlaid mahogany hour striking drop-dial fusee wall clock The dial signed for James Lee, Liverpool, circa 1825 The five pillar twin fusee bell striking movement with anchor escapement regulated by long lenticular bob pendulum and shouldered plates, the 12 inch circular convex cream painted Roman numeral dial inscribed JA.S LEE, Peter St., LIVERPOOL to centre and with blued steel spade hands set behind hinged cast brass convex glazed bezel within an octagonal surround with repeating symmetrical brass leafy spray inlaid decoration divided by radial lines within reeded border, the drop-trunk case with brass lattice fret inset frets to side doors over twin fan carved ears flanking brass fillet inset concave sided lenticle within brass line borders with rosettes to angles, the quarter-round base with hinged pendulum access flap within conforming brass strung surround, 72cm (28.25ins) high. A James Lee is recorded in Baillie, G.H. Watchmakers and Clockmakers of the World as working from Peter Street, Liverpool in 1818.

A 19th century French mantel clock having two train movement striking on a bell, circular white enamel dial indistinctly named, the black slate and green marble case with bevelled glass panel revealing pendulum, 33cm high

A vintage Bickerton folding bicycle fitted with three speeds and bell, original labels to frame

A late 19th/early 20th century bell clock, circular mirror above circular dial, twin bells beneath, 39cm high overall

A Royal Doulton figure, Ninette, HN2379; others, Adrienne, HN2304, Marilyn, HN3002, Bo Peep, HN1871 and Tinkle Bell, HN1677, all first quality (5)

A George III oak longcase clock, 33cm square painted dial inscribed with Roman and subsidiary Arabic numerals, date aperture, 30 hour movement striking on a bell, the case with stepped cornice, rectangular door to waist inlaid with a star, 201cm high

An Edwardian mahogany and marquetry sofa/bench, shaped cresting rail inlaid with flowerheads, the outer splats inlaid with ribbon-tied trailing bell husks, bowed arm rails terminating in scroll hand rests, turned forelegs, 109cm wide

A Louis XVI design giltwood console table base, rectangular top above a frieze applied with stiff acanthus interspersed with vacant geometric reserves, the substantial apron centred by a mask flanked by scrolling foliage and corolla, tapered square legs applied with bell husks, the shaped stretcher centred by an assemblage of flowers, spreading square scroll feet, 144cm wide

A Sheraton Revival mahogany and marquetry display cabinet, outswept cornice above a crossbanded frieze inlaid with ribbon-tied trailing bell husks and a pair of three-quarter glazed doors, the lower quarters inlaid with classical urns and swags, above a pair of short drawers, shaped apron, cabriole legs, pointed pad feet, 188cm high

A Royal Crown Derby Posies pattern paperweight, Polar Bear, gold stopper; others, Snail, Quail and Owl, each without stopper, etc; a similar figure, of an elegant lady; other Derby Posies pattern, including egg on stand, four 27cm diam plates, three 21.5cm diam, a bread and butter plate, vases, bell, trinket box, pin dishes, pedestal pin dishes, etc; a pair of 2451 Imari pattern plates, 21cm diam; Royal Crown Derby Olde Avesbury pattern; a Derby Chinese birds pin dish, green backstamp; etc

An Indian Soumac carpet, with a geometric and floral bell flower pattern, predominately in yellow and orange, original cost £1430, 260cm x 165cm.

A vintage gentleman's Raleigh bike, in green with chrome trim, leather saddle, front and back dynamos and bell, 106cm high, three speed, with original receipt.

Brassware, a miniature directors camera, 12cm H, a bell, etc (a quantity)

Various Wedgwood Jasperware, to include a green Jasper plate of circular form, 24cm Dia. decorated with classical figures, heart shaped dish, hand bell, blue Jasperware vase, etc (a quantity)

A marble, brass and gilt metal clock garniture, comprising clock, with bird and garland finial, raised above a 9cm Dia. face with enamel Arabic dial, on cylindrical pillars terminating in a shaped base on squat feet, and two urn garniture, in neo-classical style, the 8-day movement striking on a bell the hour and half hours, with pendulum and key, 44cm H.

A 19thC French mantel clock, with elaborate marble gilt metal case, surmounted by quill and garland, above a four sided glass section, on scroll feet, holding a 11cm Dia. dial, signed HII MARC Paris, Roman numeric dial, pendulum swung movement striking on a bell on the hour and half hour, no. 4173, 49cm H.

An 18thC cordial glass, with bell shaped bowl, plain stem and conical foot, 18cm H.

A Tibetan bell, 16cm high

A George III oak longcase clock with automaton by George Hewett of Marlborough, the eight day brass movement with four turned pillars, with an anchor escapement striking on a bell, the arched twelve inch dial with a silvered chapter ring and centre, with Roman and Arabic numerals, the centre with subsidiary seconds dial and date aperture and engraved with a church, figures, trees and buildings, signed 'George Hewett MARLBORO', the arch with a 'TEMPUS FUGIT' automaton figure with a painted landscape, with a gilt dolphin and shell Rococo spandrels, the arched hood with brass ball and eagle finials, on bracket feet, 227cm high. Provenance: The estate of the late Professor Rodney Fitch CBE. Items removed from Court House, Aldbourne, Wiltshire, the interior designed by Robert Kime.

A George III mahogany repeating bracket clock by John Taylor of London, the eight day brass movement with a verge escapement and striking on a bell, with a pull-repeat, the backplate engraved with Rococo scrolls and leaves, the arched brass dial with a silvered chapter ring with Roman and Arabic numerals and with an inner date ring, with a matted centre and a recessed panel, inscribed 'John Taylor London', with Rococo spandrels and a conforming strike / silent dial, the bell top case with a brass handle and cone finials, the sides with pierced gilt brass panels decorated with terms, cherubs and foliage, 47cm high.

A brass lantern clock, the eight day brass twin fusee movement with an anchor escapement and striking on a bell, with a circular dial with Roman numerals and an engraved centre, signed 'Smorthwaite Colchester', the case with urn finials and pierced fret panels, the front engraved with dolphins, on ball feet, early 18th century and later, 37.2cm high.

A late 19th century French pink marble and ormolu clock garniture in Louis XVI style, the lyre shape clock with an eight day brass movement striking on a bell, the backplate stamped 'MADE IN FRANCE 31911', with a painted enamel dial with Roman and Arabic numerals and swags of flowers, the case with a Sun God mask surmount, above a paste jewel ring pendulum, together with a pair of naturalistic four-light candelabra with satyr masks, 46.7cm high (max). (3)

λ A late 19th century French tortoiseshell mantel clock, the eight day brass movement stamped 'A&N MADE IN FRANCE 56980', with a circular enamel dial with Arabic numerals and painted with ribbon tied flowers, the case with a bell top and with gilt brass mounts, 19.4cm high.

A Regency mahogany hall chair in the manner of Gillows, the gorget back centred with a stylised shell above scrolls, the bell shaped seat on turned front legs.

A late 19th century French white marble and ormolu clock garniture in Louis XVI style, the lyre shape clock with an eight day brass movement striking on a bell, the backplate stamped 'FRANCE 43423', with a painted enamel dial with Arabic numerals, the case with a Sun God mask surmount, above a paste jewel ring pendulum, together with a pair of naturalistic three-light candelabra with satyr masks, 36cm high (max). (3)

A late 19th century French boulle marquetry mantel clock in Louis XIV style, the eight day brass movement striking on a bell, the backplate stamped 'A1' and '9348 48', the circular brass dial with Roman enamel numerals, the arched ebonised case with a cherub finial and cut-brass panels, 39.5cm high.

A gilt brass and patinated metal table bell push, modelled with an oriental seated figure, with an articulated left arm holding a hammer and with a parrot perched on her left shoulder, mounted on a slate base, late 19th / early 20th century, 16.8cm high.

A George III Welsh ash stick-back Windsor style armchair, the bow back above a shaped elm bell-shaped seat, on turned legs united by a crinoline stretcher, with traces of red painted decoration.

A pair of Regency gilt and patinated bronze storm lanterns, the bell shaped glass shades above a leaf collar and an urn and fir cone snuffer, with tripod eagle's monopodia supports, 45.7cm high. (2)

A Victorian brass bell shaped doorstop, 45.4cm high.

A George I walnut side chair, with a vase shaped splat, above a bell shaped needlework drop-in seat, on cabriole legs with frilled ears, with pad feet.

A FRENCH ART DECO MARBLE CLOCK GARNITURE BY BONNETT & POTTIER, the stylized clock with mounted figure of a recumbent dog to the side panel, the eight day movement striking on a single bell, clock W 31.5 cm, H 22 cm, D 10.5 cm

A BELL AND HOWELL AUTO SET 624EE VINTAGE CAMERA

Bossert (H. TH.) . Peasant Art In Europe, 1926, Berlin, 132 colour and black & white plates, some light spotting, original gilt decorated red cloth in slipcase, boards lightly marked, folio, together with Bell (Keith) , Stanley Spencer, a complete catalogue of the paintings, 1992, numerous colour illustrations, original cloth in dust jacket, large 4to, and Griffin (John D.) , The Yorkshire Potteries, limited edition of 550 copies, 2012, Leeds Art Fund, numerous colour illustrations, original cloth in dust jacket, large 8vo, plus other art & Stanley Spencer reference, many original cloth, some paperbacks, G/VG, 8vo/folio (Qty: 5 shelves)

Drinkwater (John) . The Collected Poems of John Drinkwater..., 2 volumes, limited edition174/230, 1923, signed by the author to volume 1 preface, publishers uniform white cloth, covers & spine slightly toned, 8vo, together with Powys (Llewelyn) , Skin for Skin, limited edition 492/900, 1926, some light spotting, original cloth in dust jacket, covers toned & lightly rubbed to head & foot, 8vo, and Leighton (Clare [illustrator]) , Perkin The Pedlar, by Eleanor Farjeon, 1st edition, 1931, numerous colour and black & white illustrations, modern endpapers, some minor spotting, rebound in modern cloth, 8vo, plus other early 20th century & modern poetry & rural & illustrated fiction, including A.G. Street, David Garnett, Adrian Bell, W.J. Blyton, mostly original cloth in dust jackets, G/VG, 8vo/4to (Qty: 6 shelves)

A 19th century brass ship's bell inscribed 'SS Regian 1884, Liverpool', a steam cargo ship, built of iron in 1883 by R Thompson & Sons, Southwick, owned for Regian SS Co Ltd, Liverpool. Passage Calcutta for Dundee, wrecked in Druridge Bay 4th November 1884, height of bell 28cm, displayed on a wooden stand.

A Nao bisque figure of a goose girl, height 24cm, a further group of geese in the reeds, a dog sleeping in a knitting basket group, a duckling, a bisque bell and a pink bisque vase, all by Lladró (6).

A c1920 brass ship's telegraph produced by J W Wray & Co, (Liverpool) Ltd, of Liverpool & London, this example with black dial and white and red lettering, with sectional sounding bell, height 99cm.

A ship's bell from the HMS L54 L Class submarine built for the Royal Navy during WWI, the boat was not completed before the end of the war and was sold for scrap in 1939, this bell exists, height 16.5cm. CONDITION REPORT Measurement from base of bell to top of spade grip, diameter 17.2cm, surface marks but no obvious signs of any cracks, clapper present.

A ship's bell on beech and metal strapwork stand, from the Cunard ship Carmania, dated 1905-1932 to the side, by repute taken from the hand rail of the ship, overall height 27cm. CONDITION REPORT The bell has a clapper.

Sewills of Liverpool; a brass bulkhead clock striking on bell and matching bulkhead 'Temperature Compensated Precision Barometer', each marked 'Sewills' and mounted on mahogany plaque, height 50cm and a silvered print of the Wallasey Ferry fleet past and present (2).