We found 28112 price guide item(s) matching your search

A French ormolu boudoir bracket clock, 19th Century, of Baroque design, embracing bird finial, circular enamel dial with blue Roman numerals, the case inset with Sevres style porcelain plaques and cast musical trophies, stamped marks 'E.Fablissemes, De Paris', bell striking mechanism, height 26cm, complete with key

A French ormolu mounted white marble bracket clock, c.1870, of Baroque design, urn finial, enamel dial with floral swags and Arabic numerals, bell striking mechanism, height 36cm (pendulum, key and feet separate/detached)

A Jaeger Le Coultre Atmos bracket clock, glazed and gilt brass case, with instruction book

A William IV mahogany bracket clock, c.1830, the 8 inch diameter within a round arch topped case, with gilt handles, brass inlay decoration, pendulum and key, 41cm high, complete with key and pendulum Provenance: From Byrkley Park, Staffordshire, former residence of Sir William Bass of brewing fame

A William IV mahogany bracket clock,c.1830, the 8 inch enamelled dial under an acanthus carved ogee dome and pediment, with scrolling brass inlay and ring handles, the side panels fret carved with Gothic arches, 48cm high, complete with key and pendulum Provenance: With receipt from 1928, William J. Bull, Head Cooper of Bass Brewery, Burton On Trent, Staffordshire

A Regency-style walnut bracket clock, the rectangular architectural form with gilt metal pineapple finial and lion mask handles, on ball feet, the twin fusee bell-striking movement with PULL/REPEAT, signed 'F C Pilbeam, Bovey Tracey' and circular enamelled dial also signed.

Victorian mahogany drumhead longcase clock, with circular 13 inch enamel dial, makers name worn, seconds and date dials, the case with line inlaid arched door on a plinth base, 200cm CONDITION REPORT: Dial missing seconds hand. Wear to enamel. Hood has small chips to bottom, missing two finials. Glass and brass bezel unsecured. Pendulum and weights missing. On plinth, not bracket feet. No splits to case

George III style mahogany bracket clock, the break arch case housing a white Roman dial and eight day movement by R&C chiming the quarters on four coils, height 37cm (winding key and pendulum). *See clocks and watches proviso. Condition report: see terms and conditions.

German walnut bracket clock, late 19th century. Condition report: see terms and conditions.

Dent London bracket clock with three train movement. Condition report: see terms and conditions.

MAHOGANY BRACKET CLOCK. Mahogany cased bracket clock with silvered dial awarded by ICI in 1945

A Napoleon hat mantel clock, silvered dial, Arabic numerals; a Seiko quartz Westminster/Whittington chiming bracket clock (2)

An early 20th century mahogany musical bracket clock, arched brass dial with silvered chapter ring, Chime/Silent and regulator dials, triple-winding holes, German movement chiming on gongs, brass carrying handle and bracket feet, c.1910

An early 20th century Junghans oak bracket clock, the silvered dial with Arabic numerals, subsidiary Chime/Silent and Slow/Fast dials, three winding holes, striking on gongs, 36cm high

AN ELLIOTT BRACKET CLOCK, with Tempus Fugit to the arch, brass feet, height approximately 22cm (key)

A Victorian malachite inset black marble drumhead mantel clock James McCabe A Victorian malachite inset black marble drumhead mantel clock James McCabe, London, mid to late 19th century The circular five pillar twin chain fusee movement with anchor escapement regulated by lenticular bob pendulum and striking the hours on a bell fitted to the backplate measuring 6 inches in diameter and engraved James McCabe, London, 3242 to centre over pendulum holdfast bracket, the 5.5 inch circular gilt Roman numeral dial with fine engine-turned centre, blued steel fleur-de-lys hands and repeat signature JAMES Mc CABE, ROYAL EXCHANGE, LONDON, No. 3242 to the chapter ring at twelve o'clock beneath Strike/Silent selection switch to upper margin, within fine engine-turned surround set behind bevel-glazed hinged brass bezel, the case with fluted band decorated drum set onto a scroll-outline cradle fronted with shaped malachite panel insert over a cavetto moulded skirt base, 30.5cm (12ins) high. James McCabe senior is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as a 'very fine maker' who worked from Cheapside and Royal Exchange, London 1778-1811. The business was continued under his name by his sons including James junior who was apprenticed to Reid and Auld in Edinburgh, and Robert Jeremy who ran the business up until its closure in 1883.

A rare George II ebonised grande-sonnerie striking table clock The dial... A rare George II ebonised grande-sonnerie striking table clock The dial signed for John Wood, Grantham, mid 18th century The substantial seven knopped and ringed pillar triple chain fusee movement with plates measuring 8.75 by 7.25 inches and chiming the quarters on a nest of six graduated bells followed by full hour strike on a further larger bell every fifteen minutes, with trip quarter repeat, verge escapement regulated by lenticular bob pendulum and backplate engraved with symmetrical foliate scrolls around a vacant matted oval cartouche within herringbone decorated border, the 8 inch brass break-arch dial with shaped false bob and calendar apertures to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track, with pierced steel hands and female mask and scroll cast gilt brass spandrels to angles beneath arch centred with a circular silvered boss with engraved signature John Wood, GRANTHAM flanked by subsidiary Hours/Hours & Quarters/Silent all and Repeat/Silent strike selection dials with applied foliate cast infill mounts to upper margin between, the ebonised case with inverted bell-top superstructure and brass urn and spire finials to the foliate fretwork fronted box upstand over break-arch cornice, plain frieze and glazed dial aperture to the front door, the sides with hinged cast brass handles over slender break-arch windows, the rear with glazed door matching the front set within the frame of the case, on shallow cavetto moulded skirt base incorporating bracket feet, 53.5cm (21ins) high excluding finials. John wood is recorded in Baillie, G. H. Watchmakers & Clockmakers of the World as working in Grantham 1753-97. Grande sonnerie striking table clocks are particularly rare mainly due to the technical challenges of making an hour striking train appropriately geared to sound the hours every fifteen minutes for eight days. Due to the technical skill required such clocks were generally the preserve of the leading London makers such as John Ellicott; with this in mind the movement of the current lot was probably 'bought-in' from one of the leading London workshops - this would certainly account for the matted-over cartouche to the backplate.

A George III mahogany table clock with pull-quarter repeat on six bells... A George III mahogany table clock with pull-quarter repeat on six bells William Glover, Worcester, circa 1780 The five pillar twin fusee bell striking movement with pull-quarter repeat sounding on a graduated nest of six bells and verge escapement regulated by lenticular bob pendulum with pivoted rise/fall regulation to suspension, the backplate engraved with intense symmetrical foliate strapwork, the 7 inch brass break-arch dial with shaped false bob and calendar apertures to the Ho-Ho bird and oriental mask inhabited rococo scroll engraved centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track, with pierced blued steel hands and applied rococo scroll cast spandrels to angles beneath twin subsidiary Strike/Silent selection and regulation dials set within a foliate scroll engraved field and incorporating a recessed shaped signature plate engraved William Glover, Worcester to arch, the bell top case with hinged brass carrying handle and four pineapple finials to superstructure over front door with brass fillet inset glazed dial aperture and scroll pierced upper quadrant frets, the sides with full-height arched glazed apertures and the rear with conforming break-arch glazed rectangular door incorporating further upper quadrant frets and set within the frame of the case, on cavetto moulded skirt base with brass bracket feet, 44.5 (17.5ins) high excluding handle. A William Glover is recorded in Baillie, G. H. Watchmakers & Clockmakers of the World as working in Worcester from 1751 until his retirement in 1758. Another with the same name (believed to be a nephew) is also recorded as coming from London to Worcester in 1758; he opened a shop in Tewkesbury in 1764 and worked until at least 1767. Finally Baillie also notes a third record of a William Glover Working in Worcester 1764-71 who also opened a shop in Tetbury in 1764, it is possible that this is a record of the same nephew. The current lot is very much in the London style but with perhaps a little more engraved decoration than would normally be found on a London clock - this is perhaps to be expected for a clock made in the provinces by a maker trained in the capital.

A French Louis XV style brass mounted Boulle bracket clock Retailed by Black A French Louis XV style brass mounted Boulle bracket clock Retailed by Black, Starr and Frost, New York, late 19th century The rectangular eight-day movement with Brocot type pendulum regulation, outside countwheel hour and half-hour strike on a coiled gong and stamped with serial number 2535, 77 to backplate, the 5.5 inch circular twelve-piece cartouche numeral dial with symmetrical strapwork scroll cast centre within chapter ring with blue-on-white Roman hour numerals within rococo borders and Arabic five minutes to outer track, the lower margin of the dial backing plate engraved with retailer's signature BLACK. STARR & FROST. NEW YORK., the engraved cut brass and brown shell marquetry decorated case with cast trumpeting cupid surmount to the concave-sided superstructure veneered with leafy scroll decoration and applied with foliate pendant mounts to angles over leaf cast arched cornice centred with a Satyr mask and terminating with scrolls, the front with brass-framed arched glazed door enclosing marquetry decorated floor and back panel to interior and incorporating cast panel featuring a pair of putti in allegorical dress to apron, the surround decorated with leafy scrolls within panel borders, the sides with rectangular windows within leaf cast surrounds over swollen base sections, on scroll cast feet with leafy apron between, 60cm (23.5ins) high. The New York jewellers Black, Starr and Frost can trace their routes back to the firm of Marquand and Paulding established in Savannah, Georgia in 1801. Isaac Marquand moved to New York in 1810 and the business developed throughout the 19th century with evolution of owners changing the name to Ball, Black and Company. The incorporation of new partners Courtland Starr and Aaron Frost in 1876 resulted in the firm becoming Black, Starr and Frost. This partnership continued until around 1929 when Gorham and Company were incorporated into the firm changing the name to Black, Starr an Frost-Gorham Incorporated.

A French Louis XIV gilt brass mounted Boulle bracket clock Ducoroy, Paris A French Louis XIV gilt brass mounted Boulle bracket clock Ducoroy, Paris, circa 1700 The rectangular twin barrel movement with four shouldered baluster turned pillars pinned through the backplate signed Ducoroy AParis to lower margin, the strike train with scroll pierced detent gates and high position countwheel for sounding the hours and half hour on a bell mounted within the superstructure of the case, the 8.75 inch circular twelve-piece cartouche numeral dial with centre incorporating cast decoration of seated musicians within chapter ring with enamel Roman hour numerals and rococo scroll cast borders and every minute numbered to outer track, the engraved cut brass and red stained shell marquetry veneered case with cast Roman Emperor bust surmount and gilt urn finials applied to the ogee shaped upstand veneered with foliate strapwork and with acanthus corner mounts over foliate cast frieze emerging from the sides of the gilt cavetto moulded arcade inlaid cornice, the front with heavy cast break-arch glazed bezel enclosing lyre and laurel infill beneath dial within floral trail and panel inlaid surround, the canted front angles applied with fine scroll-cast allegorical male terms and the angled sides with brass bordered rectangular windows over swollen marquetry decorated lower sections, the base with generous gilt brass scrolls flanking shaped apron centred with a lions masked adorned with palmette headpiece, on knopped feet, 71cm (28ins) high. A clockmaker with the name Ducoroy appears not to be recorded in the ususal sources however an 18th century French clockmaker with the name Mynuel Duccoroy is mentioned in Wilson, Cohen, Ronfort, Augarde and Friess EUROPEAN CLOCKS IN THE J. P. GETTY MUSEUM on page 176.

A George III mahogany longcase regulator William Hewlett, Bristol A George III mahogany longcase regulator William Hewlett, Bristol, circa 1785 The four pillar eight-day single train movement with bolt-and-shutter maintaining power and deadbeat escapement regulated by seconds pendulum with heavy lenticular bob, the 12 inch square silvered brass dial with shuttered winding hole and signed William Hewlett, Bristol to centre beneath brass ring bordered panel incorporating sector with Roman numerals for the hours within outer sweep Arabic five minute track, the case with swan neck pediment superstructure over moulded cornice, plain frieze and glazed hinged dial aperture flanked by columns with brass caps and bases, the trunk with concave throat moulding over caddy moulded rectangular door, on plain plinth base with bracket feet, (movement with possible alteration), 209cm (82.25ins) high excluding later finial. William Hewlett is recorded in Moore, A.J. The Clockmakers of Bristol 1650-1900 as working in Bristol circa 1775-97. Evidence in the movement plates would suggest that the current lot was originally made with a subsidiary seconds dial positioned within the area now occupied by the brass ring enclosing the hour sector. This possibility is further supported by the fact that the hour sector is cut into a separate circular plate inserted into an aperture in the dial with the brass ring serving to conceal the join. Interestingly the hour disc (fitted behind the sector aperture) is made form a piece of recycled brass as the rear is engraved with a lantern clock dial centre signed for John Culliford of Bristol. The fact that the current lot was originally made to display minutes and seconds only would suggest that it served to test the timekeeping of watches, hence was probably made as the 'shop regulator' for Hewlett's own use. The conversion to show hours was probably done early in its life to make it more appropriate for subsequent usage.

A George III mahogany eight-day longcase clock Samuel Bradley, Worcester A George III mahogany eight-day longcase clock Samuel Bradley, Worcester, circa 1770 The five pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch brass break-arch dial with subsidiary seconds dial, calendar aperture and signed SAM'L BRADLEY, WORCESTER to a shaped silver plaque to the matted centre within applied Roman numeral chapter ring with Arabic five minutes to outer track, with pierced steel hands and twin bird and urn foliate cast spandrels to angles beneath arch centred with subsidiary STRIKE/SILENT selection dial flanked by dolphin cast mounts, in a case with open centred break-arch cavetto cornice incorporating scroll cartouche to apex and foliate scroll pierced blind fret frieze over fluted columns flanking the glazed dial aperture, the plain sides with half columns applied to the rear, the trunk with break-arch caddy moulded crossbanded door flanked by fluted quarter columns over raised shaped panel fronted plinth base with fluted canted angles and moulded shallow skirt incorporating reduced ogee bracket feet, 223.5cm (88ins) high. Samuel Bradley is recorded in Baillie, G. H. Watchmakers & Clockmakers of the World as working in Worcester from 1744 until his death in 1783.

A Regency brass inlaid ebonised bracket clock Edwards, London A Regency brass inlaid ebonised bracket clock Edwards, London, circa 1820 The five pillar twin fusee gong striking movement regulated by anchor escapement with heavy lenticular bob pendulum, the shouldered backplate with pendulum holdfast and signed EDWARDS, Shoreditch to centre, the 5.5 inch circular fired white enamel Roman numeral dial signed EDWARDS, LONDON to centre and with steel moon hands set into square brass surround engraved with baskets of flowers and musical trophies within floral scrolls to spandrel areas and with strike/silent selection lever to upper margin, the case with brass line bordered stepped 'chamfer' upstand incorporating applied batons with scroll inlaid terminals to hip angles above cavetto cornice and glazed front door with rosette-centred line decorated uprights and rails flanked by brass inset canted angles over moulded dado and symmetrical foliate scroll fronted apron panel, the sides with twin cornucopian brass ring handles over rectangular brass fishscale sound frets, the rear with plain rectangular glazed door set within the frame of the case, on brass ogee moulded shallow skirt base inlaid with brass line border to front and with adjustable ball feet, 37cm (14.5ins) high excluding finial; 41.5cm (16.25ins) high overall. Provenance: George Fludyer, (d.1837) and by descent through the Fludyer Family, finally to Sir Arthur John Fludyer, 5 th and last baronet, who died childless in 1922. Then to his sister Katherine who married Henry Randolph Finch of the Croft, Manton, second son of George Finch, Burley-on-the-Hill, Rutland and by descent. The Finch Family had the title of the The Earls of Winchelsea and Nottingham Burley-on-the-Hill. A paper transcript of repairer's marks is included with the clock with the first entry being for Tupman 1826. In addition to this there is also the following note which provides clear confimation of the above provenance: This dial was broken by F. Langley Butler to Sir A. Fludyer (!). Several makers with the surname Edwards are recorded working in London during the first half of the 19th century including a handful with the forename James (noted in Baillie, G. H. Watchmakers & Clockmakers of the World ) as active around 1820 in areas around Shoreditch including Limehouse, Cheapside and Whitechapel.

A fine and rare George III mahogany table timepiece William Dutton, London A fine and rare George III mahogany table timepiece William Dutton, London, circa 1780 The substantial five pillar single fusee movement with bolt-and-shutter maintaining power and anchor escapement regulated by heavy lenticular bob pendulum with pivoted beam rise/fall regulation to suspension, the backplate engraved with script signature Will'm Dutton, London above pivoted pendulum holdfast bracket , the 7 inch brass break-arch dial applied with circular silvered Roman numeral centre incorporating shaped false bob aperture over repeat signature Will'm Dutton, London , and calendar aperture within Arabic five minutes to outer track, with fine pierced blued steel hands and rococo scroll cast and pierced spandrels to angles beneath arch centred with silvered subsidiary rise/fall regulation adjustment dial flanked by conforming mounts, the break-arch case with hinged brass carrying handle and three generous moulded rectangular pads to top over glazed front door with raised mouldings to the aperture and conforming blind break-arch panels to sides, the rear with further glazed break-arch door set within the frame of the case, on cavetto moulded skirt base with squab feet, 38cm (15ins) high excluding handle. William Dutton is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as apprenticed to George Graham in 1738 and gained his freedom of the Clockmakers' Company in 1746. In around 1750 he went into partnership with Thomas Mudge, another former apprentice and successor to George Graham, and worked from 148 Fleet Street, London, where the business was to remain through successive generations of the Dutton family. William Dutton was elevated to Liveryman in 1766 and alongside Mudge developed the lever escapement for watches in 1771; shortly after which Thomas Mudge retired to Plymouth in order to spend more time to pursue his development of a marine timekeeper. In around 1775 Dutton took both his sons (Thomas and Matthew) into the business forming a second partnership of William Dutton and Sons however the name Mudge and Dutton was often still used (mainly for watches) up to around 1790. William Dutton died in 1794 leaving the business to be continued very much in his tradition by his sons Thomas and Matthew. The work of William Dutton can be characterised by its distinctive originality, high quality and attention to detail which one would come to expect from a clockmaker who, alongside Thomas Mudge, succeeded George Graham who in turn had succeeded Thomas Tompion. The current lot is a textbook example of the fully developed form of 'triple pad top' top table clock made popular by Mudge and Dutton during the third quarter of the 18th century. When compared with the following lot the subtle evolution of this type of case can be seen; indeed the principal differences are the use of raised mahogany mouldings and break-arch side panels on the current lot opposed brass fillet mouldings to the dial aperture and full-arch side frets on the following example. These differences demonstrate how the Dutton workshop introduced subtle updates to their case design, to ensure that their products appeared up to date and 'modern', without compromising the distinctiveness of their product.

A Swiss 'Neuchatel' quarter-striking bracket clock with pull-quarter repeat... A Swiss 'Neuchatel' quarter-striking bracket clock with pull-quarter repeat on two bells The dial inscribed for Fredrich Perrenoud and Henriette Huguenin, dated 1796 The rectangular twin barrel movement with four columnar pillars pinned through the backplate and going train regulated by verge escapement with silk suspension, the two-in-one quarter striking train with countwheel cut for the hours and quarters and visible strikework mounted on the backplate and sounding via a pair of vertically pivoted hammers on two bells mounted behind the superstructure of the case, the pull-quarter repeat mechanism also visible on the backplate and with similar arrangement of hammers sounding on the same two bells, the 9 inch circular convex white enamelled Roman numeral dial inscribed Fredrich Perrenoud Henriette Hugueni(n), 1796 to centre within concentric date of the month ring with blued steel pointer to inner track and Arabic five minutes to outer track, with fine pierced and chased gilt brass lattice hands, the waisted salmon pink and floral garland painted case with gilt ball finial to the ogee-shaped upstand over arched gilt cornice and two-piece shaped giltwood door incorporating circular convex glass over shaped pendulum aperture, the sides with recessed arch glazed panels, the rear with door painted with floral spray to lower margin to interior, with gilt scroll carved feet standing on a conforming two-tier ogee-shaped bracket painted with further floral sprays over pendant ball finial, 89cm (35ins) high. Frederic Louis Perrenoud is recorded in Baillie, G. H. Watchmakers & Clockmakers of the World as working in Ponts-de-Martel and La Brevine, Switzerland, 1761-1801. Henriette Huguenin however does not appear to be recorded in the usual sources although several members of the Huguenin family are recorded as clockmakers working in the Chaux-de-Fonds and Neuchatel areas of Switzerland during the latter decades of the 18th century.

A fine George II japanned eight-day quarter chiming musical longcase clock... A fine George II japanned eight-day quarter chiming musical longcase clock Newman Cartwright, London, circa 1730 The substantial five pillar triple train rack and bell striking movement with anchor escapement regulated by seconds pendulum, the musical train peeling the quarters and playing a choice of two tunes on the hour via a sixteen hammers on eight bells, the 12 inch brass break-arch dial with calendar aperture, subsidiary seconds dial and applied arched signature plate Newman Cartwright, London to the matted centre within applied Roman numeral chapter ring with Arabic five minutes to outer track, with pierced steel hands and applied female mask and scroll cast spandrels to angles beneath arch centred with A Minuett/A March tune selection dial flanked by dolphin cast mounts, in a black japanned case with domed caddy surmount to the blind fret fronted box upstand over moulded cornice and conforming infill to the quadrants above the break-arch glazed hood door decorated with gilt foliate trails, the sides with rectangular glazed apertures and quarter columns applied to bargeboards at the rear, the trunk with floral spray painted concave throat moulding over break-arch door finely decorated in raised polychrome and gilt with a stag being pursued by hounds within an arcadian Oriental landscape with pavillions, the surround further decorated with foliate trails beneath birds to upper quadrants, the sides painted with full height flowering foliage, on cavetto moulded plinth base with conforming landscape scene to front and applied skirt over squat ogee bracket feet (wear and loss to decoration), 234cm (92cm high). A clockmaker with the name Newman Cartwright does not appear to be recorded in the usual sources however a watch dating to around 1720 by 'N. Cartwright, Lombard Street' (with pierced silver pillars) is noted in Britten, F. J. FORMER CLOCK AND WATCH MAKERS AND THEIR WORK. In addition to this a walnut eight-day longcase clock by Newman Cartwright, also dating to around 1720, was sold at Chorley's, Prinknash Abbey on 24th June 2010 (lot 445) for £3,000 hammer. Finally a record of successful proceedings and notice of a meeting for debtors relating to the bankruptcy of Newman Cartwright 'of Lombard Street, Silversmith and Chapman' is recorded in the Gazette printed in late May or early June 1758.

A fine George III mahogany quarter chiming eight-day longcase clock Ellicott A fine George III mahogany quarter chiming eight-day longcase clock Ellicott, London, circa 1770 The six pillar triple train movement with deadbeat escapement regulated by seconds pendulum, chiming the quarters on a graduated nest of eight bells and striking the hour on a single larger bell, the 12 inch brass break-arch dial with subsidiary seconds dial and calendar aperture to the finely matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track and signed Ellicott, London to lower margin, with fine pierced blued steel hands and rococo cast spandrels to angles beneath subsidiary STRIKE/SILENT selection dial flanked by conforming mounts to arch, in a mahogany break-arch case with cavetto cornice and plain frieze over brass stop fluted columns flanking the glazed dial aperture, the sides with break-arch windows and quarter columns applied to bargeboards at the rear, the trunk with shaped-top caddy moulded flame figured door flanked by brass stop-fluted quarter columns over raised panel fronted plinth base with further conforming quarter columns to angles and applied moulded double skirt incorporating squat bracket feet with shaped apron between, 231cm (91ins) high. John Ellicott F.R.S. is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as born 1706 to John Ellicott senior, a Cornish clockmaker who had gained his Freedom of the Clockmakers' Company in 1696 and died 1733. John junior worked from Swithin's Alley, Royal Exchange, London and was elected member of the Royal Society in 1738. He published works on horology in 1739 and 1753 and is particularly noted for the development of the cylinder escapement and a form of compensated pendulum; he also maintained a private observatory at his home in Hackney. John Ellicott was later appointed as Clockmaker to George III, and took his son, Edward into partnership in 1760 which lasted until his death in 1772.

A French Louis XV Boulle clock bracket Anomynous A French Louis XV Boulle clock bracket Anomynous, mid 18th century Of ogee outline with applied repeating leaf cast mount to edge of the table over cut brass and brown shell stylised foliate scroll marquetry veneers to front and sides interrupted by elaborate cast mounts to angles, and with conforming pendant mount to base, the top 33.5cm (13.25ins) by 16.5cm (6.5ins); 24.5cm (9.75ins) high.

A fine and impressive George II/III mahogany eight-day longcase clock with... A fine and impressive George II/III mahogany eight-day longcase clock with fly-back perpetual annual calendar Tuler for Roger Rice, Bristol, mid 18th century The five pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum and bold engraved signature Juler, Fecit towards the lower margin of the frontplate, the fly-back perpetual calendar mechanism applied to the rear of the arch of the dial plate and advanced by the motionwork via a lever engaging with a lug applied to a cannon wheel fitted over the seconds arbor, the 12 inch brass break-arch dial with subsidiary seconds dial and shaped foliate scroll decorated signature cartouche engraved R. Rice Bristol to the matted centre within applied silvered Roman numeral chapter ring with arcaded minute divisions and Arabic five minutes to outer track, with pierced steel hands and unusual female mask and scroll cast spandrels to angles beneath arch centred with steel pointer and pierced radial solar lunette incorporating mask to the disc and further hatched radial points to a silvered plate behind, the upper margin with curved calendar scale annotated with Arabic numerals for every three days, in an impressive mahogany swan neck pedimented case with giltwood relief carved foliate break-arch band to the blind fret fronted box upstand over wavy-outline glazed dial aperture to the hood door flanked by Corinthian columns with cast brass caps and bases, the sides with conforming half columns set beside bargeboards at the rear, the trunk with shaped-top wavy panel applied caddy moulded door flanked by stop-fluted Corinthian quarter columns, on raised square hipped panel fronted plinth base incorporating wavy surround and flanked by canted angles carved with quoins over deep skirt and squat ogee bracket feet, 254cm (100ins) high to apex of swan neck. Roger Rice is recorded in Moore, A. J. THE CLOCKMAKERS OF BRISTOL 1650-1900 as a probably principally a brass and ironfounder who was known to have been working in 1740 and 1741. Moore further notes that clockmaking was probably a sideline. A maker with the surname Juler appears not to be recorded in the usual sources as working in Bristol at this time, however online sources suggest that there was a Matthew Juler working as a clockmaker in the suburb of Bedminster at some point. The movement of the current clock is of the finest quality with refinements such as thick plates and generous boldly turned pillars, massive greatwheels incorporating concealed winding clicks and locking of the strike train via a tail on the rack hook engaging with the warning wheel. In addition to the extraordinary perpetual annual calendar work the dial is extremely original in its design and execution with bold statements such as the layered sunburst motif in the arch and arcaded minutes to the chapter ring which incidentally is secured to the dial plate with six feet rather than the usual four - again demonstrating the maker's high quality approach. The case compliments the movement perfectly and exhibits iconic Bristol features such as two-tier pediment, wavy-outline dial aperture and conforming border to the trunk door. The base is extraordinary as it develops the regional Bristol style even further by incorporating a shallow hipped pyramid panel to the centre flanked by elaborate carved quoins to the canted angles.

A rare George II ebonised table clock with moonphase Thomas Hatton, London A rare George II ebonised table clock with moonphase Thomas Hatton, London, mid 18th century The six pillar twin fusee bell striking movement with Ho-Ho bird inhabited foliate scroll engraved backplate centred with a basket of flowers, the 7 inch brass break-arch dial with calendar and shaped false bob apertures and vestigial alarm disc to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to outer track and pierced steel hands, the angles with applied Indian mask and rococo scroll cast brass spandrels beneath rolling moonphase calibrated for age of the moon and times for high water to the outer edge of the disc over leafy rosette engraved lunettes and with deep herringbone border to the arch, the bell top case with hinged brass carrying handle over foliate scroll pierced upper quadrant frets to the glazed front door, the sides with conforming shaped frets over break-arch glazed apertures, the rear with door matching the front set within the frame of the case, on moulded skirt base with later bracket feet, (movement with losses), 45cm (17.75ins) high excluding handle. Provenance: George Fludyer, (d.1837) and by descent through the Fludyer Family, finally to Sir Arthur John Fludyer, 5 th and last baronet, who died childless in 1922. Then to his sister Katherine who married Henry Randolph Finch of the Croft, Manton, second son of George Finch, Burley-on-the-Hill, Rutland and by descent. The Finch Family had the title of the The Earls of Winchelsea and Nottingham Burley-on-the-Hill. Thomas Hatton is recorded in Baillie, G. H. Watchmakers & Clockmakers of the World as working from Old Bailey, London from before 1757 until 1774. In 1773 he published the work Introduction to the Mechanical part of Clock and Watch Work.

A George III brass mounted ebonised table clock John Holmes, London A George III brass mounted ebonised table clock John Holmes, London, circa 1790 The five pillar twin fusee bell striking movement with anchor escapement regulated by by lenticular bob pendulum with 'T' bar suspension, the backplate signed Holmes, London to centre, the 7 inch single sheet silvered brass dial with calendar aperture and repeat signature Holmes, London to centre within Roman numeral chapter ring with Arabic five minutes to outer track and subsidiary STRIKE/SILENT selection dial to arch above, the break-arch brass edged triple pad top case with brass fillet inset front door flanked by brass edged front angles and arched brass fishscale sound frets beneath hinged brass handles to sides, the rear with conforming arch-glazed door, on cavetto moulded shallow skirt base with brass ogee bracket feet, 37cm (14.5ins) high. John Holmes was born circa 1728 and is believed to have been apprenticed circa 1743-50 to Henry Hindley of York. By 1754 he had moved to London and was working from Hard Court, Holborn before setting up at 156 Strand, by Somerset House, circa 1762. In around 1779 he supervised the construction of the clock at Greenwich Hospital by Thwaites, and in 1791 he was appointed by a House of Commons Select Committee as one of the experts to assess Mudge's marine timekeepers. The current lot can be compared to a related example by Holmes which was sold at Christie's, King Street IMPORTANT CLOCKS AND MARINE CHRONOMETERS Wednesday 20th February 2008, lot 98 (for £6,875). The restrained but elegant design of both the dial and the case of the current lot is reminiscent to those produced by Mudge and Dutton at this time. This similarity in approach is also often evident when comparing longcase clocks originating from these two workshops during the latter decades of the 18th century.

A fine French engraved gilt brass carriage clock Auguste, Paris A fine French engraved gilt brass carriage clock Auguste, Paris, circa 1840 The eight-day two train bell striking movement with Jules-type gilt divided lift sub-frame platform lever escapement with sprung split bimetallic balance, the backplate with vertically planted bell over visible winding clicks and stamped signature AUGUSTE A PARIS to lower right hand corner, the rectangular white enamel Roman numeral dial incorporating repeat signature AUGUSTE A PARIS within the outer minute track at six o'clock, with blued steel moon hands and gilt mask border, the engraved gilt brass bevel glazed multi-piece case with hinged slender baton handle over large top window within foliate scroll border, shallow ogee cornice and rounded uprights further engraved with scrolling foliage, the rear with door decorated with five hatched panels enclosing floral sprays within an intense leafy field, on conforming cavetto moulded skirt base incorporating bracket feet, 14cm (5.5ins) high excluding handle. The working dates for Auguste appear to be unknown however the workshop is noted in Allix, Charles and Bonnert, Peter CARRIAGE CLOCKS, Their history and development as working around 1840 and often housed in cases by 'L. Lange'. Tardy notes an Auguste was working from Rue Grande Prieure, Paris in 1880. A group of clocks with similar escapements are discussed and illustrated by Allix on pages 72 to 74.

A burr birch cased table clock The movement and dial by Charles Cabrier, London A burr birch cased table clock The movement and dial by Charles Cabrier, London, mid 18 th century, the case later The five pillar twin fusee bell striking movement with verge escapement regulated by short bob pendulum and fine symmetrical foliate scroll engraved backplate, the 6 inch brass break-arch dial with shaped false bob and calendar apertures and shaped signature plate engraved Cha: Cabrier, LONDON to the matted centre within applied Roman numeral chapter ring with Arabic five minutes to outer track, with pierced steel hands and unusual female mask and scroll cast spandrels to angles beneath subsidiary Strike/Silent dial flanked by conforming mounts to arch, now in a Biedermeier period burr birch veneered case with brass carrying handle and scallop shell carved crest to the ogee shaped line panel bordered superstructure over complex wriggle-cut cornice, the front with conforming moulded decoration to the line-bordered hinged glazed dial aperture flanked by scroll-shaped sides and incorporating stylised scroll inlaid motifs to upper quadrants, the sides with inset break-arch windows, the rear matching the front, on conforming line-bordered generous cavetto moulded base with shaped apron and squab feet, (movement with losses), 52cm (20.5ins) high excluding handle. Charles Cabrier senior was probably a Huguenot immigrant who is recorded in Loomes Brian CLOCKMAKERS OF BRITAIN 1286-1700 as admitted by redemption into the Clockmakers' Company in 1697/8. He is thought to have worked in Lombard Street and had a son of the same name who was apprenticed to him in 1717. Charles junior gained his freedom of the Clockmakers Company in 1726 and possibly worked with his father until the latter's death in around 1736. He served as Warden of the Clockmakers' Company in 1750 and was appointed Master in 1759. Records suggest that Charles junior worked ¾hind the Royal Exchange' and had a son who he also named Charles who was made free of the Clockmakers' Company by patrimony in 1756 and is believed to have worked until his death in 1777. The Cabrier dynasty were fine makers who supplied clocks for various export markets including Russia and France. Perhaps their most famous surviving work is a magnificent pair of ormolu mounted japanned musical automaton table clocks reputedly made for the King of Nepal in around 1770 (illustrated in Barder, Richard, The Georgian Bracket Clock 1714-1830 page 161, colour plate 27). The movement and dial of the current lot were probably supplied with an appropriate case for export to central Europe when first made in the mid 18 th century. The clock would have then been re-cased locally in the early 19 th century in order to 'update' the appearance of clock in the fashionable Biedermeier style which was at its height during the second quarter of the 19 th century.

A brass inlaid mahogany bracket clock Unsigned A brass inlaid mahogany bracket clock Unsigned, first half of the 19th century The four pillar twin chain fusee gong striking movement with anchor escapement regulated by starburst decorated lenticular bob pendulum, the backplate engraved with circular starburst motif over floral spray flanked by leafy pendants, fitted with an 8 inch circular cream painted convex Roman numeral dial with pierced steel hands set within slender cast brass convex glazed hinged bezel, in an arched case with ebonised cavetto cornice over dial and brass fillet edged recessed shaped apron panel centred with inlaid lozenge flanked by stylised fleur-de-lys motifs, the front angles with full height brass line decorated slender strip uprights and the sides with brass floral basket ring handles over rectangular fishscale sound frets, the rear with arched door now with baize-covered brass grille insert to aperture, on ebonised fluted band decorated skirt base with brass ball feet, 46.5cm (18.25ins) high; with a later mahogany wall bracket with arcade border to table and curved support, the clock and wall bracket 68cm (26.75ins) high overall, (2).

A William IV small ebonised table clock Dwerrihouse, Ogston and Bell, London A William IV small ebonised table clock Dwerrihouse, Ogston and Bell, London, circa 1830 The five pillar twin fusee movement with anchor escapement regulated by small disc-bob pendulum and striking the hour on a bell fitted to the shouldered backplate over pendulum holdfast bracket and engraved signature Dwerrihouse, Ogston & Bell to lower margin, the 4 by 6 inch cream painted Roman numeral arch dial with blued steel spade hands over husk bordered oval signature cartouche inscribed Dwerrihouse, Ogston & Bell, DAVIES STREET to lower margin, the ebonised case with shallow hipped chamfer pediment and cavetto cornice over silvered brass fillet inset arch glazed front door with canted angles, the sides with rectangular brass fish scale sound frets, the rear with rectangular glazed door with conforming canted angles, on moulded skirt base with brass bun feet, 25cm (9.75ins) high. The partnership of Dwerrihouse, Ogston and Bell are recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working at Davies Street, London in 1832.

A fine George I ebony quarter-repeating table clock in the manner of Tompion... A fine George I ebony quarter-repeating table clock in the manner of Tompion and Graham Daniel Quare and Stephen Horseman, number 226, circa 1720 The six finned pillar twin fusee bell striking movement with verge escapement regulated by lenticular bob pendulum incorporating pivoted rise/fall rate adjustment beam to suspension, the pull-quarter repeat train sounding the hours and quarters on a graduated pair of bells on demand, the fine backplate engraved by 'G.515' with basket of flowers and Ho-Ho bird inhabited symmetrical foliate strapwork around a central scroll-bordered reserve signed Dan: Quare & , Ste: Horseman, LONDON beneath serial number 226 flanked by winged figures over eagle-headed scrolls to lower margin, the 7.5 by 6.625 inch rectangular gilt brass dial with shaped false bob and calendar apertures to the finely matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to outer track, with pierced blued steel hands and gilt Indian mask and foliate scroll cast spandrels to lower angles, the upper margin with conforming cast infill interrupted by subsidiary Strike/Silent and regulation dials flanking repeat signature Daniel Quare & , Stephen Horseman, London No. 226, the ebony inverted bell-top case of typical Tompion 'phase III' design with generous hinged gilt brass carrying handle over double cavetto top mouldings and full-width front door applied with raised mouldings to the glazed dial aperture and with foliate scroll pierced lozenge sound fret to the upper rail, the sides with break-arch windows applied with conforming raised mouldings, the rear with rectangular glazed door set within the frame of the case, on cavetto moulded skirt base now fitted with brass ogee bracket feet, 42cm (16.5ins) high excluding handle. Daniel Quare is an important maker who is recorded on Loomes, Brian The Clockmakers of Great Britain 1286-1700 as born in Somerset circa 1647/8; by 1671 he had moved to London as he was admitted as a Free Brother to the Clockmakers' Company in April of that year. Quare initially worked in St. Martin's Le Grand, London (where he married in 1776) later moving to Allhallows, Lombard Street in 1681, before finally relocating to Exchange Alley where he is believed to have taken-on the former premises of Robert Seignior in around 1686. Quare was selected as a member of the Court of Assistants in 1698 later becoming Master in 1708. In 1717/18 he is believed to have taken his former apprentice, Stephen Horseman, into partnership which presumably lasted until Quare's death in 1724. Daniel Quare was a fine and inventive maker who supplied clocks and barometers to significant European Royal and aristocratic clients. As a committed Quaker he refused to sign the Oath of Allegiance in 1697, however as a much respected maker, he was still able to discreetly supply the court of William III. Daniel Quare is believed to have started numbering his clocks and barometers in around 1704 (see Garnier, Richard and Carter, Jonathan The Golden Age of English Horology - Masterpieces from The Tom Scott Collection page 308), this numbering sequence continued into Quare's partnership with Stephen Horseman with the last known clock in the sequence being number 299 - a walnut eight-day longcase clock which was sold in these rooms on Wednesday 20th February 2013, lot 152. The current lot can be best described as a Quare and Horseman version of the standard Tompion/Graham 'phase III' design of table clock as illustrated and categorised in Evans, Jeremy; Carter, Jonathan and Wright, Ben THOMAS TOMPION, 300 YEARS on page 155. Indeed the case is basically identical to a table clock signed by both Tompion and Graham (number 537) illustrated by Evans, Carter and Wright on pages 187, 189 and 368-9. From this it can be deduced that Quare and Horseman sought to obtain the case of the current lot from Tompion's casemaker in order to produce a clock very closely resembling that of their competitor. In addition to obtaining a 'Tompion' case Quare and Horseman also employed one of his engravers to execute the decoration on the backplate as well as the dial. Indeed the elements of symmetrical foliate strapwork on the backplate can be closely compared with that on Tompion and Graham number 537, although the current lot goes further with its decorative motifs by incorporating winged angel figure terms and eagle heads bordering the elaborate signature cartouche. It is perhaps interesting to note that the current lot departs from Quare's preference for break-arch dials which he adopted almost unanimously for his table clocks from circa 1704 onwards (see Garnier, Richard and Carter, Jonathan The Golden Age of English Horology, Masterpieces from the Tom Scott COLLECTION page 278). Perhaps the reason for this was to satisfy the specific request of a client who favoured the rectangular dial layout characteristic of Tompion's work at this time. The fact that Quare and Horseman were able to employ Tompion's case maker and engraver to complete the clock demonstrates a mutual business relationship between the two competing workshops. This 'relationship' is further supported by the existence of a group of seven table clocks signed by Quare which employ movements made in Tompion's workshop which are comprehensively discussed by Garnier and Carter, pages 286-95. The overall quality of the movement of the current lot is of the best Quare and Horseman workmanship with precisely cut steelwork and use of scroll-shaped cocks for some of the underdial work. The clock also appears to have survived in fine original condition with no evidence of alteration or significant restoration.

An oak cased bracket clock.

dating: 19th Century provenance: France Mottled, green marble bracket clock, surmounted by a fine, equestrian, gilt and bronze statue of Napoleon, worked in the round (one leg of the horse damaged), at the front the dial (missing glass) with Roman numbers. The base wider and featuring a brass frame, one missing foot. A brass cover to protect the mechanism at the back. dimensions: height 23 cm.

A Potts of Leeds arcade clock with fusee movement (pendulum in office) Dial diameter approximately 35.5cm Case diameter approximately 42.5cm Pillar height approximately 50cm Oak case, movement & iron bracket appear to be original but dials & brass bezels appear to be replacements or heavily restored Movement chains appear to be in good condition but are unable to set it up in order to test it (see photo’s for further condition)

A mid 18th century style English bracket clock, silvered chapter ring, Roman numerals, the case lacqured in the Chinese style with central carrying handle on four bracket feet, to include key and pendulum

An 18th century oak longcase clock, the brass face having spandrels, pierced hands, date aperture and Roman numerals, the case with cavetto moulding above fruitwood turned columns with brass capitals over a shaped and moulded door on bracket feet, h. 208 cm, w. 56 cm, d. 28 cm CONDITION REPORT: Moulding missing on side under the hood. Splitting to base of case. General wear and tear

A Victorian ebonized and brass mounted bracket type clock, striking on two gongs, 54.5cm high. Condition Report: The general condition of the clock is good, the movement appears to be in good order and complete, the case has a number of very minor surface areas of damage, minor wear to the dial.

Gustave Becker Post 1900 Large Oak Cased Bracket Clock, 3 Train Striking and Chiming on 5 Rods, on Each Quarter and Striking the Hour, Rear Door as Pierced Brass Panel, Glazed on Both Sides, with Glass Panelled Door. Large Front Door Again Bevelled Glass, Rope Carving Above, Dial with Roman Numerals, and Silvered Foliate Surround. Sub Dial Indicating Silent / Chime Facility. Serial Number 2102831 Gold Medal Emblem. Stands 18 Inches High, 12.25 Inches Wide & 7.5 Inches Depth. Excellent Condition and Working Order.

Winterhalder and Hoffmeier Oak Carved Architectural Bracket Clock, with Two Train Movement, Striking on Each Quarter and Full Hour, Features a Bevelled Glass Front Door, with Lattice Work Panels to Each Side, Silvered Dial with Subsidiary Dials. Silent / Strike and Additional Fine Adjuster, Silvered Chapter Ring. Brass Foliates and ' Green Man Mask ' In Corners. Oak Rear Door with Pierced Brass Plate. Stands 18 Inches High, 13 Inches Wide & 9.25 Inches Depth. Excellent Working Order and Condition.

Richard Et CIe Paris, London Fine Dark Oak Bracket Clock. c.1880-1900. 3 Train Movement with Five Gongs and Hammers Westminster Chimes Through The Hours and Hourly Striking. Face Is Brass with 4 Corner Foliates, Silvered Dial, with Two Subsidiary Dials, Silent / Chime and Fine Adjuster, Some Carving to Ornate Front. Stands 17 Inches High, 11.25 Inches Wide & 7.5 Inches Depth. Excellent Condition and Working Order.

W. Edington c.1800 Bishops Hat Shaped Mahogany Cased Twin Fuse Bracket Clock, with Five Pillar Movement and Recolo Escapement, Striking Bell on the Hours, The Case with Black Inlay and Boxwood Stringing with Glass Panel Back Door, Twin Brass Handles and Brass Fret Windows to Each Side. Signed to Dial W. Edington. 23 Inches High, 11 Inches Wide & 7 Inches Depth. Excellent Working Order.

A Three Train Fusee Movement Bracket Clock on 8 bells. 7 inch square arched dial. Contained in a later grand daughter case. With 2 subsidiary dials, strikes silent and advanced retard.

A late 19th century oak cased bracket clock with classical pediment and square brass dial, to an eight day striking movement

An Edwardian mahogany mantel clock with enamel dial and French gong striking movement together with an Italian giltwood bracket

A Tempus Fugit burr wood cased bracket clock

An 18th century style walnut bracket clock with brass dial and chiming movement

A GEORGE III EBONISED BRACKET CLOCK with break arch silvered Roman dial with Arabic five minutes, the centre with mock pendulum and date apertures, pierced steel hands, the arch inscribed Francis Perigal, London with strike/silent and regulation dials, the twin fusee movement with verge escapement, bell strike and pull repeat, foliate scroll engraved back plate with signed cartouche and pendulum hold fast, the inverted bell top case with brass swing handle, glazed sides, upon brass ogee bracket feet, 48cm high handle down

A MALTESE WALL CLOCK with floral painted Roman dial, Arabic five minutes and pendulum aperture, the twin train movement with bell strike, the green and parcel gilt rectangular case with glazed door, scroll pediment with Maltese cross and shaped bracket base, 80cm high

A MAHOGANY BRACKET CLOCK WITH SILVERED DIAL AND FUSEE MOVEMENT, IN BRACKARCHED CASE WITH BRASS FRETS, 35CM H, CIRCA 1910

AN OAK LONGCASE CLOCK by William Lister, Keighley, the thirty hour movement with anchor escapement and outside count wheel striking on a bell, 12" square brass dial with chased foliate centre, Roman and Arabic numerals, half penny moonphase and calendar dial, the case with inverted breakfront moulded cornice on turned columns, verre eglomise frieze, arched door flanked by quarter columns, panelled base and bracket feet, 81" high

A BRASS CASED FOUR GLASS MANTEL CLOCK, the twin barrel movement with anchor escapement and exposed mercury pendulum, 3" white enamel dial with Roman and Arabic numerals signed Harrods, London, the case with moulded edged top and base, on bracket feet, 9" high (Illustrated)

AN OAK LONGCASE CLOCK by William Elliot of Whitby, the eight day movement with anchor escapement striking on a bell, 12" arched brass dial with foliate chased centre and with Roman and Arabic numerals, calendar dial, signature roundel to arch, the associated case with dentil inlaid and moulded cornice below a raised surmount with turned finials, deep frieze with applied fretwork on fluted columns, chamfered trunk with arched door, panel base and bracket feet, 86" high

A GEORGIAN WALNUT CASED TABLE CLOCK, c.1730, by James Backhouse, Lancaster, the six pillar fusee movement with verge escapement and pull repeat on a bell, back plate engraved with grotesques, birds and foliate scrolls, 7" arched brass dial with foliate chased centre and silvered chapter ring with Roman and Arabic numerals, signature plaque, the arched with silver boss chased with an eagle inscribed "Tempus Fugit" and with calendar aperture below, the case with caddy top and brass carrying handle, pierced fretwork door panels, similar sound frets to the sides, moulded base and bracket feet, 11 1/2" x 20" (Illustrated) c.f. Biographical list of Clockmakers North Lancashire and South Westmoreland 1680-1900 by Susan Stuart for a biographical of a similar clock by Backhouse

A MAHOGANY LONGCASE CLOCK by William Nicholson, Edinburgh, the eight day movement with anchor escapement striking on a bell, 12" arched brass dial with Roman and Arabic numerals, seconds dial, calendar aperture and signature ark, strike/silent dial in the arch, the case with scrolled broken pediment, carved rosettes and turned brass finial on fluted columns, canted panel base and bracket feet, 88" high (Illustrated)

AN IMPRESSIVE EARLY GEORGIAN TABLE CLOCK by Joseph Windmills, London, early 18th century, the single fusee movement with verge escapement, foliate engraved back plate with cartouche inscribed "Jas Windmills, London", 12" arched brass dial, silvered chapter ring with Roman and Arabic numerals, signed Windmills, London, matted centre with mock pendulum aperture, calendar dial to arch with sunburst, the glazed case with caddy top surmounted by a pierced brass fret and finials, brass side handles, moulded base and bracket feet, 18 1/2" x 9 3/4" x 32" (Illustrated)