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A William IV mahogany eight day longcase clock, the arched painted dial signed 'W Rutherford, Sedburgh', with centred subsidiary seconds dial and date dial within a ring of Roman numerals and cottages painted to the spandrels, under an armorial painted arch bearing motto 'Peace and Plenty, the reward of temperance', the hood with swan-neck pediment over an arched glazed hood door between turned front corner hood pilasters, over a convex short trunk door between half turned front corner trunk pilasters, on a single panel box base and cut-out bracket feet, 216cm high

A George III oak eight day longcase clock, the painted arched dial later signed 'Jn Summerhayes, Hayle. 1763', with centre subsidiary seconds dial and date aperture with in a ring of Arabic numerals within floral painted spandrels under a later painted arch, the hood with broken swan-neck pediment and associated finials, over an arched hood door between fluted front corner hood pilasters, over a long crossbanded arched trunk door, on a crossbanded box base and later bracket feet, 219cm high (at fault)

A George III oak eight day longcase clock, the 12 inch square brass dial signed 'Dav Collier, Gatley', with inner ring of Roman numerals, outer ring of Arabic numerals and pierced spandrels, the hood with ogee moulded cornice over a square glazed hood door flanked by tapering turned front corner hood pilasters, over an ogee crossbanded trunk door between quarter turned front corner trunk pilasters, on a canted base, lacking bracket feet, 213cm high

A 19th century mahogany eight day longcase clock, the painted arched dial signed 'W.Muncaster, Whitehaven', with centred subsidiary seconds dial and date dial, within a ring of repainted Arabic numerals with figural painted spandrels and figure to the arch, the hood with swan-neck pediment over an arched glazed hood door between reeded front corner hood pilasters, over a satinwood banded long trunk door between reeded quarter front corner trunk pilasters, on a crossbanded box base and short bracket feet, 220cm high

A George III and later oak eight day longcase clock, the 12 inch arched brass dial with centred subsidiary seconds dial and date dial within an inner ring of Roman numerals and outer ring of Arabic numerals, signed to a silver disk to the arch 'Mich Wild, Doncaster', the later carved oak case with swan-neck pediment over fluted front corner hood pilasters over a leaf and portrait carved long trunk door and leaf carved box base, raised on short bracket plinth, 217.5cm high

A George III mahogany musical longcase clock, the 14 inch arched brass dial signed 'Jos Slater, Oswestry' to the arch, flanked by subsidiary chime, silent and strike silent subsidiary dials over a silvered ring of Roman and Arabic numerals, centre by a subsidiary seconds dial and date dial, within pierced leaf scrolling leaf moulded spandrels, the six pillar movement striking on a single bell, the musical chime striking twin hammers on twelve graduated bells, from the 11½ cylinder, the hood with enclosed swan-neck pediment over an arched hood door flanked by tapering fluted front corner hood pilasters, over a dentil moulded and blind fret frieze, above an inverted arch mahogany veneered long trunk door, fitted with a pierced moulded key escutcheon between quarter fluted front corner pilasters, on a single panel box base between blind fret canted front corners raised on short ogee moulded bracket feet, 240cm high

A George III eight day longcase clock, the 13 inch arched brass dial signed 'David Collier, Gatley', to the arch, over painted moon phases with dial with centred subsidiary seconds dial and date aperture and with inner ring of Roman numerals, outer ring of Arabic numerals and pierced cherub mask spandrels, the arched hood with turned front corner hood pilasters, over an ogee arched crossbanded trunk door between quarter turned front corner trunk pilasters, on a crossbanded box base with canted front corners, raised on shaped bracket feet, 227cm high

GEORGE III EBONISED BRACKET CLOCK maker William Baird, London circa 1801, the arched top surmounted by a brass handle, the body with two pierced brass side panels backed with red silk, glazed rear door, on square plinth with four brass bracket feet, with white painted dial, subsidiary strike/silent dial to the arch, twin train fusee movement, verge escapement, striking the hours on a bell, 46.5cm high

EARLY 20TH CENTURY CONTINENTAL CARVED OAK BRACKET CLOCK with foliate carved arched pediment supported by two columns, on four bracket feet, Roman numeral chapter, with carved door for a painted wooden cuckoo, twin fusee movement, anchor escapement, with pair of bellows sounding the cuckoo, 44cm high

GEORGE III MAHOGANY CASED 8 DAY LONGCASE CLOCK by John Brand, Dumfries (fl. 1790-1814), the painted 13 inch arched gilt enamel dial with Roman numerals, Arabic numeral chapter ring showing seconds, subsidiary second and date dials to twelve and six respectively, 8 day movement chiming on a bell, the case with swan neck pediment, above an arched door flanked by columns, on a plinth with bracket feet, 221cms high

A fine small George II Anglo-German gilt brass hexagonal horizontal striking table clock with alarm Signed for Cabrier, London, circa 1725 The hexagonal single fusee movement with four knopped and finned pillars pinned through the backplate, verge escapement regulated by sprung three-arm balance with Tompion type regulation and engraved standing barrels for the alarm and rack hour striking mechanisms sounding on the same bell mounted beneath the movement, the backplate with fine asymmetric Ho-Ho bird inhabited foliate scroll pierced balance cock incorporating conforming broad foot beside silvered regulation disc within applied gilt infill opposing signature Cabrier, London, the silver champleve dial with Arabic alarm setting dial to centre and steel beetle and poker hands within a Roman numeral chapter ring with lozenge half hour markers, arcaded minute ring and Arabic lozenge five minute numerals to outer track, the angles of the hexagon engraved with delicate floral scroll and scallop shell infill, the case with serpentine outline ogee top mouldings above scroll-border decorated cartouche side glasses and grotesque male mask mounts to angles over conforming ogee moulded shaped base fitted with hinged bottom panel incorporating the bell secured by a four-legged strap, pendant finials and three fine baroque 'C' scroll feet, (unrestored with one bent foot and two damaged side glasses) 9.5cm (3.75ins) wide; 8.2cm (3.25ins) high. 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 general form of the current lot together with the use of standing barrels to drive both the alarm and hour-strike mechanisms is typical of comparable examples produced in Germany and other central European centres such as Gdansk during the first quarter of the 18th century. However the design and finish of the balance cock coupled with the script of the signature would indicate that the clock was either made or finished in London. This possibility is further supported by other details such as dial winding (rather than from beneath) and the use of distinctly English ¾etle and poker' hands. From this it is perhaps appropriate to speculate that the current lot may have been acquired in an unfinished state from a central European workshop by Cabrier, who then subsequently finished it for retail to a domestic English purchaser. Other similar horizontal table clocks signed by English makers are known including another inscribed by Cabrier that was sold at Christies THE ALBERT ODMARK COLLECTION OF IMPORTANT CLOCKS AND WATCHES 11th March 2005 (lot 424). A small series of related clocks signed either Kriedel or Ledeirk, London also survive; these were almost certainly supplied directly from Germany for retail in the English market by the German clockmaker Johann Gottfried Kriedel who worked in Bautzen during the first half of the 18th century. Given the apparent ready demand for such small portable table clocks it is surprising that English makers did not look to directly fill this gap with their own models. Perhaps demand was not deemed sufficient to warrant the need to compete with such imports or maybe English makers felt that coach clocks or small lantern alarm timepieces more than adequately satisfied this corner of the domestic market.

A George IV Gothic inlaid mahogany eight-day longcase clock with unusual dual time 'regulator' dial layout and concentric winding arbors Edward Smith, Newbury, circa 1825-30 The four pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum and under dial gearing to allow winding of both trains through the same hole incorporating square for the going train within concentric pentagonal cannon barrel for the strike train, the 12 inch single sheet silvered brass dial with subsidiary seconds and dual small Roman numeral hour dials and signed Edward Smith, NEWBURY beneath inscription REGULATOR to centre within outer Arabic five minute track, with matching blued steel hands set behind hinged convex glazed hinged cast brass bezel, the pointed Gothic lancet arch-top case with spire finials flanking pediment fronted with arcaded border and central rosette over dial and lower inlaid quadrant panels flanked by buttressed pilaster uprights with stepped apron between, the trunk with concave throat over lancet panel inlaid tall rectangular door decorated with rosettes to corners flanked by stepped canted angles inset with further slender lancet panels and applied with split acorn-turned terminals, the crossbanded base with further conforming geometric panel decoration over squat bracket feet with shaped apron between, 217cm (85.5ins) high. Edward Smith is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working in Newbury circa 1830. The dial of the present lot is highly unusual in that it is of 'regulator' format incorporating two subsidiary hour dials. The hour dial on the right can be independently set in relation to the dial on the left hence the clock can display two different times. However, as this clock was made long before the introduction of time zones, it is highly unlikely that the dial was made to display the time for two locations concurrently. It is therefore most probable that the current lot was made for timing purposes with one of the hour dials being 'zeroed' at the start of an event whilst the other displayed the current time. The most likely application of this was probably to record the length of a working shift which would suggest that the clock may have been originally supplied to a wealthy owner of a mill or similar operation for this purpose.

An unusual George III thirty-hour quarter-striking longcase clock The dial signed for Etherington, Driffield, late 18th century The plated movement comprising of two sections the first positioned to the left with three cylindrical steel pillars enclosing the going train opposing the second with conforming pillars enclosing the hour and ting-tang quarter striking trains incorporating quarter rack positioned on the frontplate and hour rack on the backplate, the centre with arched bridging piece at the top united by two further steel pillars and enclosing anchor escapement with inverted pallets regulated by seconds pendulum, the base with additional bracing, the 11.5 inch white painted break-arch dial of unusual layout with separate side-by-side arrangement of Roman numeral hour and Arabic five minute rings and bearing signature Etherington, Dryfield to centre, within circular line border and raised gilt rococo scroll painted spandrels to angles, the arch finely painted with landscape of figures before a cottage on a riverbank, in an oak case with dentil cornice and applied scrolls over break-arch glazed front door applied with three-quarter columns to angles, the trunk with concave throat over break-arch door, on plain plinth base with later tall skirt incorporating bracket feet (signature retouched), 216cm (85ins) high. John Etherington of Driffield is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as dying in 1790. The reason why the maker chose to produce such an unusual clock with regards to construction/layout of the movement and configuration of the dial appears to be a mystery.

A Victorian mahogany night watchman's tell-tale bracket clock or noctuary Unsigned but probably by Smith and Sons, London, mid 19th century The four pillar single chain fusee movement with anchor escapement regulated by lenticular bob pendulum and passing strike, the 5.25 inch circular silvered brass Roman numeral with steel hands set within recessed circular ring engraved with reversed Roman numeral chapters fitted with push-pins at every half-hour to circumference and rotating anticlockwise against a plunger positioned to the upper margin, the case of rectangular form with recessed brass carrying handle and plunger to top over hinged circular bevel glazed cast brass bezel flanked by canted angles and floral scroll carved decoration to lower corners, the sides with rectangular side windows over ogee-profile moulded rails, the rear with rectangular glazed door, on shallow skirt base with simple squab feet, 32cm (12.5cm) high excluding plunger; 37.5cm (14.75ins) high overall. An almost identical clock signed SMITH & SONS, CLERKENWELL was sold by Tennants, Leyburn on 16th March 2013 (lot 1189) for £650 hammer. The firm of John Smith and Sons was established in 1780 and became one of the largest manufacturers of both domestic and public clocks throughout the 19th century and is still trading today but as a materials stockholder and broker having made their last clock in 1938. The night watchman's clock or noctuary was developed as a 'tell-tale' method of recording a night watchman's progress throughout his shift. The dial incorporates a revolving ring to the circumference fitted with pins which are pushed-in by a manually operated plunger fitted to the exterior of the locked case. By having two such timepieces at each end of a watchman's circuit a record of his patrols throughout the night can be recorded. The pins are automatically reset to their raised position by a ramp positioned behind the ring at around the eleven o'clock position. The first basic design of 'Watchman's Noctuary' (see following lot) was subject of a patent submitted by Samuel Day in 1803 however the patent was disputed on the grounds that the Earl of Exeter had been using two such timepieces made by Boulton and Watt since 1799.

A rare small English iron framed hooded wall timepiece with alarm Unsigned, late 17th century The single-handed short duration movement with three-wheel train and verge escapement regulated by short side-swinging bob pendulum with pallet arbor pivoted above the frame between a transverse iron armature at the front and shaped brass cock at the rear, the alarm train set behind the going train with vertical hammer arbor fitted to the inside of the rear upright and sounding on a bell mounted on top of the case, the iron strip frame constructed with central bar riveted at the top to the horizontal full-depth top plate and bent forwards at the base to form a 'J', the front terminating with stepped tenons to take both the front movement bar and the dial, the rear with alarm mechanism set within an angled bracket secured via a tenon through to the top plate and a screw to the central movement bar just above the greatwheel pivot, the rectangular single sheet brass Roman numeral dial measuring 6.5 by 4.5 inches with alarm disc and single iron hand to centre within engraved chapter ring with stylised wheatear half hour markers, the oak wall hung 'salt box' type case with open front, removable top panel and incorporating movement mounting hook and original bell secured to the arched case backboard pierced for hanging at the top, 26.5cm (10.5ins) high overall. Provenance: From the estate of an esteemed antiquarian horologist. Literature: Illustrated in Darken, Jeff (editor) TIME & PLACE, English Country Clocks 1600-1840 as exhibit 8 pages 40-41. The current lot can be directly compared to a small hooded wall alarm timepiece (complete with verge escapement regulated by short bob pendulum swinging to the side) which was sold in these rooms on Tuesday 17th March 2015 (lot 64). The movement of this other example is similarly constructed to the current lot with detail differences confined to the extended rear movement bar (truncated on the current lot), the provision of a single iron armature for the pallet arbor pivots and the presence of passing strike (incomplete). A third clock of this type (but with anchor escapement) signed for George Wood of Nailsworth is also included in this sale (see following lot) suggesting that such timepieces were made in Gloucestershire. This possibility is further supported by the presence of a related but later clock by John Coates of Cirencester also illustrated in TIME & PLACE as exhibit 48 pages 164-5.

An important James I weight-driven wall timepiece with alarm Unsigned but firmly attributed to Robert Harvey, London, circa 1600 The single-handed short duration movement with three-wheel train incorporating later anchor escapement and forged iron backcock for a seconds pendulum swinging behind the frame, the alarm mechanism applied to the rear of the movement with vertical hammer sounding on a bell suspended overhead from a curved stand secured at the back of the top plate via a mortice and tenon, the frame constructed with vertical iron bar at the rear fixed via forged joints to the strip top plate and conforming horizontal bottom bar each terminating with pinned tenons to take the dial plate and the going train front bar, the brass centre movement bar secured in the usual manner via integral locating pins at the base and a wedged tongue at the top, the rectangular single-sheet brass dial measuring 6.367 by 4.25 inches with five-petal rose decorated alarm disc and single iron hand within fine engraved starburst centre comprising alternating triangular and wavy-outline radial motifs, within narrow Roman numeral chapter ring with floating asterisk half hour markers, the upper and lower margins with symmetrical stylised scrolling floral sprays incorporating four-petal rose blooms within distinctive line-bordered hatched margins with simple leaf motifs at each angle, the bell surmounted by early first period lantern clock pattern turned ovoid vase finial, the base now fitted with drilled flange for fixing to a wall bracket, 30.5cm (12ins) high; with an oak wall bracket and two weights (lacking lines and pendulum). Robert Harvey is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born between 1580 and 1583 to John Harvey of St. Botolph without Aldersgate, London. A boy of his name is recorded as being in the household of the clockmaker Peter Medcalfe (to whom Robert's father John was apprenticed in around 1571) and received a bequest of £5 in Metcalfe's Will (proved in 1592). Robert Harvey was made free of the Clothworkers' Company by patrimony in 1604 and is recorded marrying Mary Bankes in 1606. He probably took-over his father's business after the latter's death in 1602 but was most likely not able to gain his freedom until 1604 on account of his young age. Loomes notes that Jeremy Evans has recorded a 'Robert Harvie' repairing the church clocks at Allhallows, Staining 1602-5; St, Giles 1606-8 and St. Benet, St. Paul's Wharf in 1614. Robert Harvey is recorded as taking only one apprentice; a John Bulbey from Beighton, Derbyshire in 1613. He died childless in the summer of 1615 naming his widow, Mary, in his Will and leaving his workshop (and responsibility of his apprentice) to his younger brother, Thomas. Robert Harvey is the earliest recorded maker of 'true' English lantern clocks. Of his clocks only three are known signed by him; A lantern clock signed Robert * Harue * Littell Brittain * London * Feecit (currently residing at Agecroft Hall, Virginia) illustrated in Loomes, Brian LANTERN CLOCKS & Their Makers page 20 (figs. 2.23-25). A lantern clock signed Robert Harue London Feecit illustrated in Loomes, Brian LANTERN CLOCKS & Their Makers page 21-22 (figs. 2.26-31). A weight-driven wall timepiece with alarm signed Robertus Haruie fecit illustrated in Loomes, Brian LANTERN CLOCKS & Their Makers page 41 (figs. 4.2-3). The current lot can be directly compared to the weight-driven wall timepiece signed by Harvey listed above, with which it shares the following significant details: Firstly the construction of the frame. Both share the same configuration of iron rear upright applied with horizontal top and bottom strip plates enclosing brass going train pivot bars and incorporating pinned tenons for attaching the dial at the front. The use of iron for the rear bar which in turn is securely forged to the top and bottom plates creates a simple frame which is both strong and rigid. The pivot bar inserts for the going train are not structural so brass has been used to negate the need to bush the pivots. This simple but effective design demonstrates a high degree of empathy with regards to the selection and use of appropriate materials and appears unique to the current lot and the example signed by Robert Harvey listed above. Secondly the mounting of the bell. Both the current timepiece and the example signed by Harvey have the same unique method for suspending the bell above the frame (via a curved support fixed via a mortice-and-tenon joint to the rear of the frame top plate). Incidentally the finial surmounting the bell on the current lot is of the same pattern as those on the Agecroft Hall clock. Thirdly the engraving to the dial. The five-petal rose to the alarm disc of the current lot can be directly compared to that decorating the centre of the subsidiary minute dial of the other wall clock signed by Harvey. Furthermore the open foliate scrolls enveloping stylised dog-rose blooms seen within the upper and lower panels of the current lot are directly comparable to the two pairs engraved towards the upper margin of the signed example. Finally both dials have line-scribed 'boxes' around the pinned tenons securing the dial to the frame. These details, coupled with the overall þel' and heavy use of line borders, leave little doubt that both were engraved by the same individual (who was probably also responsible for the dials of both of the lantern clocks signed by Robert Harvey). The current timepiece also retains its original iron hand which is essentially identical in form to that on the Avecroft Hall clock. From the above observations it would appear that the both the current lot and the wall alarm timepiece signed by Robert Harvey were made in by the same hand at around the same time. Indeed further evidence within the frame of the present timepiece would suggest that when originally made the similarities were stronger still. For example spare holes in the centre bar and the top plate would indicate that the alarm mechanism was originally in front of the rear movement bar (as per the signed example); other evidence includes a threaded hole to the top plate (indicating the original position of a balance wheel cock) and a square hole to the lower edge of the rear bar (providing evidence for a conforming back-curved yoke with spiked terminals).

A fine Commonwealth period brass lantern clock Thomas Loomes, London, circa 1655 The posted countwheel bell-striking movement with separately wound trains and later anchor escapement regulated by seconds pendulum swinging outside of the frame of the clock to the rear, the dial with central alarm disc enveloped by stylised leafy floral sprays issuing from a flowerhead positioned just above six o'clock and with signature Thomas Loomes At The, Mermayd In Lothbury to upper margin, with iron hand within applied narrow Roman numeral chapter ring with stylised fleur-de-lys hour markers and engraved leafy infill to angles, the standard London second period 'Lothbury' frame with column turned corner posts beneath engraved foliate scroll pierced front fret and plain side frets, vase turned finials and domed bell bearer above, the sides with hinged brass doors, the rear with iron backplate and spurs, on turned ball feet, 40cm (15.75ins) high. Provenance: From the estate of an esteemed antiquarian horologist. The life and work of Thomas Loomes has been extensively researched by Brian Loomes who recounts in Clockmakers of Britain 1286-1700 that he was born in Leicestershire in around 1628, served John Selwood and was made a free Brother of the Clockmakers' Company in January 1650. Thomas Loomes initially worked as principal journeyman to the Selwood brothers (William and John) at the Mermaid in Lothbury and inherited the business after the latter of the two brothers died (John in 1651 and William in 1653). It would appear that his succession to the business did not go down well with the Clockmakers' Company - mainly due to the acquisition of apprentices previously bound to the Selwood brothers placing him in breach of the Company's rules regarding apprentice numbers. In 1654 Thomas Loomes married Mary the daughter of Ahasuerus Fromanteel - a fellow Protestant who shared Loomes's Parliamentarian views. At this time Fromanteel's workshop was located at Mosses Alley, Southwark which was just beyond the geographical jurisdiction of the Clockmakers' Company. This marriage suited both parties as it provided Loomes with a powerful Protestant clockmaking ally (bearing in mind that the court of the Company of Clockmakers' were mainly of a Catholic Royalist persuasion) and Fromanteel, who had yet to be appointed as a freeman of the Clockmakers' Company, with an unofficial outlet in Lothbury. In 1656 Fromanteel was sponsored by Oliver Cromwell for his freedom of the Clockmakers' Company; the court was wise to oblige with immediate effect. In the same year Loomes lead a rebellion (supported by around thirty other Protestant makers including Fromanteel) against the largely Catholic court of the Clockmakers' Company who they considered hostile to their interests. This conflict rumbled-on for a year or so with Loomes generally coming off worse through the enforcement of fines for having too many apprentices. In September 1658 Fromanteel posted his now famous advert in Mercurius Politicus announcing the pendulum clock, stating that (in addition to his own premises) such clocks were available at 'the sign of the Maremaid in Loathbury'. The inclusion of Loomes's address within the advert confirms that he was effectively the Lothbury-based agent for Fromanteel. At around this time (in addition to running a busy workshop) Thomas Loomes was serving as a Lieutenant in the Parliamentarian Army (probably in the White Regiment of the London Trained Bands). This proved problematic - especially during the subsequent heightened political nervousness that ensued after Cromwell's death in 1658 which ultimately lead to his arrest in 1660 and again in 1662 on suspicion of assisting the Parliamentary cause (including harbouring fugitives). In 1663 Thomas Loomes served as a Steward for the Clockmakers' Company suggesting that previous tensions had elevated a little. However this possible period of calm appears short-lived as his household first succumbed to the plague, from which Loomes almost certainly died in 1665, and then 'the Mermaid' was subsequently consumed by the Great Fire of 1666. His widow Mary survived the plague and the fire and lived till 1717; records suggest that she was supported by other members of the Fromanteel family during her latter years. Of Thomas Loomes's work around twenty clocks and at least one watch movement have been documented by Brian Loomes. All of his surviving clocks appear to be lantern clocks (with the possible exception of one 'bracket clock' - yet to be verified) and were originally made with balance wheel regulation. The current lot would seem to be one of Thomas Loomes's earlier clocks as the dial engraving can be compared to an example by his predecessor illustrated in White, George English Lantern Clocks on page 134 (figure III/14). White also illustrates two further dials by Henry Ireland and Thomas Knifton (both of whom were apprenticed to William Selwood) which exhibit closely related dial engraving (figures III/15 and III/14 respectively). The design of fret used on the present clock is of the earlier 'strapwork' type (which was generally phased-out during the 1650's in favour of the later 'foliate' pattern - see White page 144), whilst the frame castings are of typical second period 'Lothbury' pattern which were mainly in use up until around 1660 (see lot 154). These details reflect the fact that by the 1650's Lothbury had become a hub for the horological trade mainly due to the abundant supply of brass and iron from nearby foundries. The efficient supply of raw castings lead to the emergence of a degree of standardisation (assisted by many workshops having shared roots) with regards to frame patterns, dial engraving and fret design.

A fine and rare George II gilt brass mounted burr walnut table clock Robert Higgs, London, circa 1750 The six pillar twin chain fusee bell striking movement with verge escapement regulated by small lenticular bob pendulum incorporating rise/fall regulation to the suspension and leafy foliate scroll engraved backplate signed Robert Higgs, London to a central cartouche, the 7 inch brass break-arch dial with shaped silvered maker's nameplate engraved Robert Higgs, London beneath false bob aperture to the finely matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track, the lower angles applied with female mask and foliate scroll cast spandrel mounts, the upper angles incorporating subsidiary silvered Adelantar/Atrafar and Tocar/Silencio selection dials beneath arch with further calendar ring enclosing a matted centre and flanked by conforming Indian head cast mounts, the impressive burr walnut veneered inverted bell top case capped with ball and spire finial to the scroll-outline upstand over gilt brass upper moulding and four further gilt finials to superstructure, the front with further gilt brass principal top moulding above door applied with gilt half-round raised borders to the dial aperture and upper quadrant frets flanked by canted angles adorned with fine female caryatid and tied rose drapery cast mounts, the sides with generous hinged brass handles over circular and concave-topped glazed apertures with raised gilt brass surrounds, the rear matching the front with caryatids to angles, on gilt cavetto moulded shallow skirt base with generous cast squab feet, 51cm (20ins) excluding top finial; 56cm (22ins) high overall. Robert Higgs is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as apprenticed in 1743 and gaining his Freedom of the Clockmaker's Company in 1750. He worked from Sweetings Alley and took his brother Peter into partnership in 1770. James Evans is recorded by Baillie as also working from Sweetings Alley from 1773. In 1775 he went into partnership with Robert and Peter Higgs; the firm subsequently moved to Exchange Alley and continued in business until around 1825. The partnership of Higgs and James Evans specialised in producing clocks for the export market - particularly to Spain hence a significant proportion of surviving examples being annotated and signed in Spanish. The current lot is a particularly impressive model with fine quality burr walnut veneers and crisply cast fire-gilt brass mounts echoing the work of the finest makers of the period such as John Ellicott. Walnut veneered table clocks from this period are notably rare. The possible reasons for this are given by Richard Barder in The Georgian Bracket Clock (pages 50-51) where it is suggested that the general shortage of walnut after the harsh winter of 1709 meant that veneers were mainly reserved for the best pieces of furniture or high-status longcase clocks. Table clocks being relatively small objects suited the use of ebony or ebonised finishes better (with the brass and silvered finishes of the dial and mounts creating a pleasing 'contrast' with the black finish) thus the fashion for black veneers probably persisted out of necessity until figured mahogany veneers became accessible/fashionable (from the 1760's). The current lot can be stylistically dated very close to 1750 hence would have been one of the first clocks made by Robert Higgs after he gained his freedom of the Clockmakers' Company. Interestingly the two subsidiary dials within the upper spandrels areas are annotated in Spanish indicating that the clock was supplied to an Iberian client. However the signature to both the dial and backplate are written in their English form which perhaps suggests that the clock was possibly originally made for the domestic market but ended up being exported to Spain. The fact that the clock was supplied for export to Spain indicates that Robert Higgs was forming relationships with Spanish clients very early in his career. This proved to be an astute move as many of his later important commissions were for Iberian clients.

An unusual George II brass mounted ebonised balloon-shaped table timepiece John Hallifax, London, circa 1750 The four pillar single fusee movement with circular plates and verge escapement regulated by 10.75 inch pendulum with large pear-shaped bob, the 8 inch circular brass dial with shaped silvered plate engraved Jn'o: Hallifax, Fleet Street, LONDON to the matted centre within applied Roman numeral chapter ring with Arabic five minutes to outer track and pierced steel hands, in a waisted arch-shaped case with generous cast brass pineapple finial to the concave-sided upstand over full-height brass fillet inset glazed front door with aperture following the shaped of the case, the sides with applied tall brass-edged panels, the rear with plain rectangular door, on ogee moulded shallow skirt base with brass bracket feet (generally distressed), 48cm (19ins) high excluding finial; 54.5cm (21.5ins) high overall. Provenance: The estate of a connoisseur collector of regional furniture, works of art and clocks. John Hallifax is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Fleet Street, London until his death in 1758. The case of the current lot can be described as a precursor to the standard Regency ºlloon-shaped' bracket clock which became popular during the first quarter of the 19th century and can be compared to a fine gilt brass mounted tortoiseshell veneered example housing a quarter chiming movement by Justin Vulliamy in the Royal collection (illustrated in Jagger, Cedric ROYAL CLOCKS page 88, fig. 121). This design probably evolved from the typical French Louis XV waisted form of which an 'English' version, housing a slightly earlier quarter-chiming movement by John Hallifax, is illustrated in Nicholls, Andrew, English Bracket and Mantel Clocks on page 90 (fig. 24). Please Note: Please note: Evidence in the dial plate (four spare holes) indicates that the current movement is not original to the dial and case.    

A fine and impressiveVictorian silver mounted walnut quarter-chiming presentation bracket clock with wall bracket John Moore and Sons, London, dated 1867 The six finned baluster pillar movement chiming the quarters on a nest of eight graduated bells and sounding the hour on a coiled gong, the going train with anchor escapement regulated by heavy lenticular bob pendulum with pivoted beam rise/fall regulation to the suspension, the 8.25 inch wide single sheet silvered brass arched dial signed JOHN MOORE & SONS, CLERKENWELL, LONDON, 14239 to centre and with blued steel hands within fine foliate strapwork engraved decoration to lower angles beneath arch incorporating subsidiary SLOW/FAST regulation and STRIKE/SILENT selection dials within conforming foliate infill, the ogee arch-top case surmounted by fine cast and chased Gothic foliate bud finials united by a pierced gallery running front to back over four further finials flanking the pediment applied with an oval silver gilt panel engraved with a view of St. Pauls Church, Rusthall and a pair of cast leafy rosettes to front, the hinged glazed dial surround decorated with further small silver rosettes to frame and with canted silvered brass fillet to interior, the angles inset with Gothic columns incorporating leafy caps and the sides with foliate scroll-pierced arched sound frets, on inverted breakfronted skirt base centred with further shaped gilt cartouche engraved PRESENTED BY, FRIENDS & NEIGHBOURS, TO EDWARD OTTLEY WOLLASTON ESQ., ON HIS LEAVING THE PARISH OF, ST PAUL'S RUSTHALL flanked by additional rosettes and concave moulded sections beneath the pillars, on original wall bracket with moulded inverted breakfront table over pierced scroll outline side supports, the mounts hallmarked for London 1867 (maker's mark S.S ), the clock 72.5cm (28.5ins) high; the clock on wall bracket 97.5cm (38.5ins) high overall. John Moore and Sons succeeded the partnership of George Handley and John Moore (both of whom were apprenticed to, and were successors of John Thwaites who died in 1800) on the death of George Handley in 1824. The firm worked from 38-9 Clerkenwell Close and became particularly well known for producing public clocks and supplying movements to other makers. The last of the Moore dynasty of clockmakers, Henry James, died aged 60 in 1899, however the firm is thought to have continued into the early years of the 20th century. St. Pauls Church, Rusthall, Tunbridge Wells was built to a design by Henry Isaac Stevens (1807-73) and was consecrated on 14th August 1850.

A fine, impressive and very rare Victorian engraved gilt brass and malachite inset clock with thermometer and aneroid barometer in the form of a full-sized occasional table Thomas Cole, London, number 1 545, circa 1860 The eight-day movement resembling that of a standard Cole strut clock with rectangular frontplate stamped with serial number 1 545 and applied with two separate shaped backplates for the going and strike trains each with going barrels, six-spoke wheel crossings and three pillars secured by screws from the rear, the going train incorporating vertical shaped platform English lever escapement regulated by sprung three-arm steel monometallic balance, the strike train sounding the hours on a coiled gong mounted behind the movement, the left hand backplate stamped THOMAS COLE, LONDON to lower edge, the 10 inch circular silvered Roman numeral dial incorporating recessed circular subsidiary barometer scale calibrated in barometric inches and with the usual observations and a curved Fahrenheit scale mercury thermometer to the finely engraved centre decorated in the Greek revival manner with hatched radial rosette incorporating anthemion motifs within a Vitruvian scroll border, with plain minute and cruciform hour blued steel hands within generous gilt cavetto moulded bezel incorporating concentric bead-cast borders and fitted with a heavy bevelled glass, the case with table-top incorporating quatrefoil lobed rim applied with eight malachite roundels set in pairs between anthemion and stylised scroll decorated projections of the stepped rim, the shallow dome-shaped rear panel centred with a square box enclosing the movement and incorporating winding/hand setting holes and shuttered escapement viewing aperture to underside, the whole mounted via hinged screw pivots and a curved graduated stay onto a conforming square plate attached by a rotating joint onto the elaborate two-tier triform base, the upper section with three slender square section uprights incorporating outswept bracket-shaped terminals to top over stylised panel and foliate scroll engraved feet resting onto a concave-sided platform stage with conforming fine foliate motif and gadroon border engraved detail, the lower tier with three further panel decorated square section baluster uprights mounted onto a substantial stepped triform block applied to a wide platform base adorned with three finely cast recumbent sphinxes within further finely worked stylised scroll and gadroon engraved borders, the underside with three adjustable disc-shaped levelling feet (surface with overall brown patination, barometer mechanism lacking), 49.5cm (19.5ins) wide across the top; 75.5cm (29.75ins) high with table top in horizontal position. Provenance: The current lot was a given to the vendor's father, a doctor, from a very grateful patient during the early 1960's, thence by descent to the present owner. The life and work of Thomas Cole is extensively documented in Hawkins, J.B. THOMAS COLE & VICTORIAN CLOCKMAKING. Thomas Cole was born in Nether Stowey, Somerset in 1800. His father, Thomas senior, was a local clockmaker who is now known to have moved his family to Taunton in around 1815; he was a talented maker who probably taught both Thomas and his older brother, James Ferguson, the clockmaking trade. By 1821 James Ferguson had moved to London and filed a Patent for a pivoted detent escapement, by 1823 he was working from New Bond Street where he was joined by his younger brother, Thomas. Over the next twelve years the two brothers worked alongside each other and produced a series of highly complicated silver 'humpback' carriage clocks very much in the manner of Abraham Louis Breguet (leading some to speculate a connection between Breguet and the Cole brothers). The brothers then went their separate ways with James Ferguson going on to explore his technical abilities later developing a series of escapement designs including a 'resilient' lever escapement (1830), a 'double rotary' escapement (1840), a detached escapement calliper (1849) and an escapement with negative diameter (1859). Thomas Cole sought to specialise in small decorative timepieces of the highest quality. By 1845 he was advertising himself as a Þsigner and maker of ornamental clocks' and in 1851 submitted examples for display at the Great Exhibition, both under his name, and on the stands of other leading retailers such as Hunt & Roskel and Hancocks. He then went on to exhibit at the Paris Exhibition of 1855 where his entry warranted an 'Honourable Mention', and again at the British International Exhibition in 1862 where he was awarded a medal for 'Excellence of taste and design'. Thomas Cole was elected to the Royal Society of Arts in June 1861; he died three years later of typhoid fever, at his home at 1 Westbourne Park Road, Paddington, leaving his second wife Charlotte and their three children (two boys and one girl). The originality and inventiveness of design coupled with the exceptional quality of finish ensured an enduring popularity for Thomas Cole's work, mainly from the rising Nouveau Riche class of Victorians made wealthy from the Industrial Revolution. Until the discovery of the current lot only two other full-sized 'table' clocks by Thomas Cole were known. Both of these were first documented as consecutive lots offered at Christie's, King Street, Important Clocks and Marine Chronometers 13th December 2000 (lots 63 and 64). The first was numbered 1884 and was signed for the retailer's Hunt and Roskell, London; whilst the second bore the numbers 1578 and 1505 and was dated March 1862 to the going spring barrel. Both of these clocks were very similar only differing in detail - mainly in the design of the engraving; they sold for the premium inclusive amounts of £69,750 and £71,950 respectively. It seems that these two examples were purchased by the same buyer as they were offered again by Christie's, in their sale of Magnificent Clocks, on the 15th September 2004. Presented together as a 'harlequin pair' (lot 29) they realised £81,260 including buyer's premium. Finally number 1884 appeared for a third time at Christies where it was sold for £73,250 on 15th March 2012 (lot 25). Although the current lot is outwardly similar than the other two known examples overall refinements and improvements in both its specification and detailing are evident. The dial incorporates the additions of a barometer scale and thermometer whilst the rim of the table is generally of increased complexity featuring a stepped layered edge. The base is also more substantial with the central platform being significantly wider than on the other examples. This allows the lower tier of baluster supports to be spread further apart and the base plate to have an increased footprint resulting in improved stability and more satisfactory proportions. In addition to this the horizontal elements of the both the central platform and the base are extensively engraved compared to the relatively simple single geometric band seen on the lowermost step of the other two examples. Overall the detail design of the engraved enrichments possessed by the current lot are particularly harmonious being in the Greco-Egyptian style throughout. This style of decoration was made popular by Thomas Hope during the first quarter of the 19th century and seems to have been used relatively sparingly by Cole and then only for his finest examples.

A rare thirty-hour longcase clock movement and dial Daniel Quare and Stephen Horseman, London, circa 1725 The single-handed posted countwheel bell striking movement with rectangular section corner uprights and anchor escapement regulated by seconds pendulum, the 11 inch square brass dial with engraved shaped signature cartouche inscribed Dan: Quare, & Ste: Horseman, London and numbered 231 to matted centre within applied Roman numeral chapter ring with stylised fleur-de-lys half hour markers, with pierced blued steel hand and female mask and scroll cast and pierced spandrels to angles, now in a late 18th century case with shallow ogee shaped caddy upstand, moulded cornice and foliate fretwork frieze over turned Doric columns flanking the crossbanded glazed hood door, the trunk with rectangular caddy-moulded crossbanded door above conforming plinth base with moulded skirt incorporating bracket feet with shaped apron between, 204cm (80.5ins) high. Daniel Quare is recorded on Loomes, Brian The Early CLOCKMAKERS of Great Britain as born in Somerset circa 1678, he was admitted as a Free Brother to the Clockmakers' Company in April 1671 and by 1683 was working from Exchange Alley, London. Quare was selected as a member of the Court of Assistants in 1698 later becoming Master in 1708. In 1709 he took 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 well as 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.

A George II oak thirty-hour longcase clock Edward Bilbie, Chew Stoke, circa 1740 The two-handed posted countwheel bell striking movement with slender column-turned corner posts and anchor escapement regulated by seconds pendulum, the 11 inch square brass dial with calendar aperture and arched signature plate engraved Edw. Bilbie Chew Stoke to the bright-cut rosette decorated matted centre within applied Roman numeral chapter ring with stylised fleur-de-lys half hour markers and Arabic five minutes to outer track, with pierced blued steel hands and rococo scroll cast and pierced spandrels to angles, in a case with moulded cornice and plain frieze over integral three-quarter columns to the glazed hood door, the trunk with rectangular caddy-moulded door above plain plinth base with shallow moulded skirt and bracket feet, 188cm (74ins) high. Literature: The dial is illustrated in Moore, Rice and Hucker BILBIE and THE CHEW VALLEY CLOCKMAKERS on page 322. Edward Bilbie is recorded in Moore, A.J THE CLOCKMAKERS OF SOMERSET 1650-1900 (Appendix vii) as born 1666 and probably working from circa 1695 as he is thought to have learnt the clockmaking trade from Edward Webb who died in 1694; by 1698 he had certainly become established in Chew Stoke as a bellfounder. Edward Bilbie had two sons, Edward II (born 1694) who assisted his father but unfortunately died within six months of his father in 1725, and Thomas (born 1702) who inherited his father's business in 1725 and worked until 1768. Edward II had a son who he also named Edward (III - born circa 1715), who is thought to have been brought up by his uncle Thomas, and worked alongside him until around 1768.

A fine and well documented Charles II brass lantern clock George Newton, Seend, dated 1677 The posted countwheel bell-striking movement with verge escapement regulated by short bob pendulum swinging outside the frame to the rear and with unusual configuration of strike lifting with the warning lifting detent arbor positioned on the opposite side of movement from the countwheel locking detent arbor, the dial engraved with a central five-petal rose enveloped by stylised floral trails issuing from a vase positioned just above six o'clock, with pierced steel hand within applied Roman numeral chapter ring with simple wheatear half hour markers, the upper angles engraved with signature George, Newton incorporating date 16, 77 the lower angles decorated with leafy sprays, the highly distinctive frame with one-piece column turned corner posts beneath foliate pieced frets incorporating arcaded galleries to lower edges and dolphin engraved decoration to front, integral multi-knopped tall vase-and-cover turned finials and domed bell bearer cast with pierced leaf decoration between the limbs, with brass side doors and on acorn-turned feet, 43cm (17ins) high. Provenance: From the estate of an esteemed antiquarian horologist. Literature: The current lot is well documented featuring in Darken, Jeff and Hooper John English 30 Hour Clocks page 92 figs. 2/66 and 2/67; and Darken, Jeff (editor) TIME & PLACE, English Country Clocks 1600-1840 as exhibit 9 pages 42-5 (where the movement is extensively illustrated). The life of George Newton of Seend is documented by C. Thomas in his article GEORGE NEWTON, BLACKSMITH TURNED CLOCKMAKER, OF SEEND, WILTSHIRE published in the winter 1980 issue of ANTIQUARIAN HOROLOGY (vol. XII no. 4) pages 420-6. Thomas notes that George Newton was born sometime between 1600 and 1610 and was the eldest son of blacksmith Richard Newton from whom inherited the family business in 1625. In 1666 the famous diarist John Aubrey (1626-97) visited George Newton to discuss local iron ore deposits writing: "I went to the Smythe, George Newton, an ingeniouse man, who from a blacksmith turned clock maker and fiddle maker, and assured me that he has melted of this oare in his forge which the oare of the Forest of Deane will not do". Other contemporary entries dating between 1664 and 1679 note his service as churchwarden at Seend and Brian Loomes in LANTERN CLOCKS & Their Makers records Newton's marriage to Susan Harris in 1670. It would seem that George Newton's clockmaking activities primarily focussed around church clocks as noted in the records of various local Parishes including Steeple Ashton (1636-9), Melksham (1652-71) and Trowbridge (1674) which refer to his attention to the maintenance of existing clocks. In 1673 George Newton was contracted by the churchwardens of St. Thomas a Becket, Salisbury, to supply a new clock at a cost of £20 10s., with an additional 5s. paid up-front (presumably for expenses already accrued). The clock was duly installed later the same year and was subsequently attended to by Newton for which he received a further payment of £1 1s. 6d. in 1680. It is perhaps testament to George Newton's skills as a blacksmith and clockmaker that he was chosen to supply a clock for St. Thomas a Becket, as this Parish church in central Salisbury was the designated place of worship for the local Salisbury guild of blacksmiths and metalworkers. George Newton died in 1681 leaving the forge to his son (also called George) who appeared not to share his father's aptitude for clockmaking as no clocks by him are recorded; he died intestate in 1699 at the age of 53. Of George Newton only four lantern clocks by him are documented with possibly a fifth residing in a private collection yet to be published. The three other well documented examples can be found in the following sources: Clock dating to around 1645 signed GEORG NEWTN MEE FESET illustrated in Bruce, Bill and Hooper, John EARLY ENGLISH LANTERN CLOCKS (exhibition catalogue, Lewes 2003) exhibit 7, pages 22-3; and Darken, Jeff (editor) HOROLOGICAL MASTERWORKS English Seventeenth-Century Clocks from Private Collections exhibit 4, pages 20-1. Clock dating to around 1650 signed GEORGE NEWNTON AT SEENE illustrated by Thomas. C. GEORGE NEWTON, BLACKSMITH TURNED CLOCKMAKER, OF SEEND, WILTSHIRE - ANTIQUARIAN HOROLOGY vol. XII, no. 4 pages 420-6; and White, George English Lantern Clocks page 219 figs. V/12 and V/13. Clock dated 1660 with highly unusual concentric calendar and 'penny-moon' lunar indication to dial inscribed George Newton, 1660 to front fret illustrated in Hana English Lantern Clocks pages 52-4 Plates 5-7. When considering the four well known surviving lantern clocks by George Newton the first observation is that his frame castings appear unique to him and of two differing types. The first type loosely echoes the London first period pattern often favoured by John Cattle (and later adopted by early Bristol makers such as Thomas Browne) with rounded 'bobbin' details at the junction between the pillars and the plates. This pattern of frame is used for the first two examples listed above and perhaps denotes an earlier phase of Newton's work. The second type of frame casting appears to be an evolution incorporating ¬orn' feet (as seen on first/early second period London work as well as the other type of standard frame used by Thomas Browne) and tall 'multi-knop' finials similar to those on Newton's earlier frames but more closely related to frames by later Chew Valley and Bristol makers such as John Clarke and Thomas Veale (see the following two lots). This 'later' pattern of frame is first used for the 1660 clock with calendar dial (as illustrated by Hana) and again for the current lot; the fifth unpublished clock by Newton also has this type of frame. From this it would be reasonable to suggest that George Newton 'updated' his design of frame castings at some point during the 1650's. A common feature shared by all the surviving clocks by George Newton is their generous use of brass and the fact that they are of larger heavier proportions than most lantern clocks of the period. The lack of any evidence of a hanging hook or spikes being fitted to any of his clocks suggest that they were all intended to either stand on a wall bracket or on/within a 'longcase', probably wise when considering the inherent additional weight of these clocks due to his generous use of materials in their construction. Newton's engraving is also very distinctive and evolved over the years often including delightful touches such as the naive dolphin decoration incorporated into the front fret of the current lot. The manner in which each clock is signed perhaps also illustrates the fact that even a highly skilled artisan such as George Newton was not always fully literate. Both the earlier clocks demonstrate inconsistency in spelling and problems with the 'N's which appear to be engraved as mirror images. However, by the time he engraved his name onto the fret of the 1660 clock with calendar dial he seemed to have mastered his signature. The current lot appears to have survived in remarkably original condition retaining its original escapement and side doors. The layout of the strike train is unusual in that the warning/lifting detent arbor is positioned to the left hand side of the movement (as seen on pre-pendulum clocks with separately wound trains) whilst the countwheel locking detent and arbor has been moved over to the opposite side, hence requires lifting by the warning detent via a cross-over piece. Darken and Hooper in English 30 Hour Clocks comment that Newton may have intended the current lot to have a balance escapement but changed his mind half way through building it - from this it is suggested that this may be his first verge-pendulum clock.

A Queen Anne ebonised longcase clock of one month duration Andrew Dunlop, London, early 18th century The five finned pillar high-position internal countwheel bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch square brass dial with ringed winding holes, recessed silvered subsidiary seconds ring and foliate-border engraved calendar aperture 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 And'r Dunlop, London to lower margin, with foliate pierced blued steel hands and unusual winged cherub head and drapery lambrequin decorated foliate cast spandrels to angles, in an ebonised case with moulded cornice over integral three-quarter columns to the glazed hood door, the sides with rectangular windows and quarter columns applied to bargeboards at the rear, the trunk with rectangular door bordered with half-round mouldings and centred with a circular brass lenticle, on plain plinth base now applied with a moulded skirt and standing on bracket feet, 219cm (86ins) high. Andrew Dunlop is recorded in Loomes Clockmakers of Britain 1286-1700 as working in Aberdeen until around 1700 before moving to London where he worked from Spread Eagle Court, Grey's Inn. He joined the Clockmakers' Company in 1701 and took in Thomas Hague as an apprentice in 1719 followed by his son, Conyers, in 1725. He is thought to have died in 1732 and was succeeded by his son. The work of Andrew Dunlop is described in Maxwell-Irving, A.M.T ANDREW DUNLOP, C.C. 1701-32 (see ANTIQUARIAN HOROLOGY Vol. XV, No. 1 pages 36-46) where particular focus is given to his watches which are described as being of the 'finest quality'. A fine silver mounted ebony grande sonnerie striking table clock made by Andrew Dunlop for Daniel Delander was sold in these rooms on Tuesday 17th March 2015 lot 82 for a hammer price of £20,000.

A fine William IV ebonised table clock with original numbered winding key Benjamin Lewis Vulliamy, London, number 1260, circa 1835 The five pillar twin fusee rack and bell striking movement with half deadbeat escapement regulated by heavy lenticular bob pendulum with pivoted beam rise-fall regulation, the backplate signed Vulliamy, LONDON and numbered 1260 over pendulum screw bracket, the 7 inch brass break-arch dial with small calendar aperture to the finely matted centre within applied 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 relatively shallow-profile arch applied with subsidiary silvered pendulum regulation and STRIKE/SILENT selection rings flanking a shaped silvered nameplate engraved VULLIAMY, LONDON, 1260 to upper margin, the inverted bell-top case with hinged brass carrying handle and crisp top-mouldings above brass fillet inset glazed dial aperture and foliate pierced upper quadrant frets to the front door, the sides with typical Vulliamy pattern symmetrical foliate scroll pierced arched sound frets, the rear with rectangular door incorporating break-arch glazed dial aperture and raised edge mouldings, on conforming moulded skirt base with generous cast brass squab feet, 40cm (15.75ins) high excluding handle. Provenance: The property of a private collector. Benjamin Lewis Vulliamy is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as born 1780 to Benjamin Vulliamy and gaining his freedom of the Clockmakers' Company in 1809. He worked from 52 Pall Mall, served as Warden 1821-5 and was appointed Master five times. He was the last of the celebrated dynasty of Royal clockmakers which started with his grandfather, Justin, forming a partnership with George II's clockmaker, Benjamin Gray. Benjamin Lewis Vulliamy was perhaps one of the most influential horologists of his time publishing many works and undertaking numerous high profile public commissions as well as holding the Royal Warrant. He supplied many clocks to the Royal family including the turret clock for Windsor Castle in 1829 (replacing an earlier movement by Joseph Knibb); However his horological legacy is perhaps somewhat slightly blighted by his tendency to undertake controversial alterations to earlier important clocks by makers such as Tompion. The confident and distinctive design of the current lot with dial incorporating twin subsidiaries to the shallow arch and case with squat proportions to the caddy surmount, crisp mouldings and design of side frets is highly typical of those produced by Vulliamy family. Indeed the general appearance/proportions of the present clock remains essentially unchanged from those first made by Justin Vulliamy during the third quarter of the 18th century. The movement of the current lot is also of the finest quality with plates measuring approximately 4mm in thickness enclosing precisely cut wheelwork. Overall the clock has survived in fine original condition retaining its original numbered winding key and with no visible repairs or replacements to the movement. The condition of the case also echoes that of the movement with fine honest mellow patination to the veneers and brass mounts.

A William and Mary style walnut hooded wall clock case Anonymous, probably mid to late 20th century The hood with shallow lunette pediment over complex crossgrain moulded cornice and quarter-round fillet inset glazed aperture for a 5 inch square dial, the sides with conforming rectangular windows, the bracket with further complex mouldings to the table over fine symmetrical foliate scroll carved shaped pendant apron flanked by conforming side supports carved in relief with further acanthus foliage on a matted ground to sides, (lacking section of moulding to tympanum), 33cm (13ins) high. The design of the current lot resembles that for a case housing an alarm timepiece movement and dial by Thomas Tompion (number 419) illustrated in Evans, Carter and Wright THOMAS TOMPION 300 YEARS on pages 544-45.

A French laquered brass petite sonnerie striking carriage clock with push-button repeat Retailed by Thomas Russell, Paris, late 19th century The eight-day two train movement ting-tang striking the quarters on two gongs and sounding the hour on the larger of the two, with silvered platform lever escapement and numbered 21257 to backplate, the rectangular silvered brass dial with recessed Roman numeral chapter disc and blued steel spade hands over retailer's signature THO'S RUSSELL & SON, 21257, PARIS within canted surround, the bevel glazed case with hinged baton handle over complex top mouldings and channelled uprights, on conforming stepped ogee base incorporating squat bracket feet, 15cm (6ins) high excluding handle.

A Japanese engraved brass Kake-Dokei lantern clock with double foliot regulation and alarm Unsigned, mid to late 19th century The weight-driven posted countwheel striking movement with double-crownwheel escapement regulated by one of two foliot balances at one time each applied with adjustable curser weights and with automatic switching between the two via linkages engaging with pins applied to the rear of the countwheel, the spring-driven alarm mechanism positioned behind the dial at twelve o'clock wound via a key to front and sounding on the 'pork pie' hour bell mounted on a baluster-turned post above the frame, the rectangular asymmetric floral spray engraved dial plate with upper central rotating ring-turned disc applied with the pierced steel hand and an adjustable alarm setting pin within chapter ring engraved with twelve panels with characters for the Japanese hours tokis over zodiacal symbol with inner edge divided into ten buns , over two calendar apertures for the Twelve Terrestrial Branches and the Ten Celestial Stems of the traditional Japanese calendar set beneath the chapter ring, the case with elaborate baluster-turned decorative corner posts, asymmetric foliate spray engraved side panels retained by sprung latches and conforming fixed panel to rear, 22cm (8.75ins) high including feet, now contained in a later glazed mahogany hooded case of traditional design with stepped superstructure over rectangular front window and brass grille frets above further glazed apertures to sides, the bracket with shaped apron to table and drilled for fixing to the wall at the top of the backboard, 46cm (18ins) high overall. The first mechanical clocks were introduced to Japan by Jesuit Missionaries during the second half of the 16th century, some of whom settled on the island of Amakusa and assisted Japanese craftsmen in developing their own clocks. The Japanese system of temporal hours presented a problem for these early craftsmen as each twenty-four hour period was divided into night and day with the hours for each starting or ending at dawn or dusk. With this system the hours for each varied throughout the year as the seasons changed. To compensate for this Japanese makers developed the double foliot system which allowed the effective rate of the clock to be changed automatically at dusk or dawn - to reflect the different length of the hour for each. Naturally, as the seasons developed, the beat rate for each foliot needed to be updated on a regular basis; this was usually undertaken by a local clockmaker who would adjust the position of the cursor weights on each foliot. Technologically Japanese lantern clocks generally reflect the early European models that were imported during the late 16th century, with the basic design and form remaining essentially the same throughout the Edo period (1603-1868). This apparent lack of technological development within Japanese clockmaking was due in part to the fact that the state was essentially closed-off to outsiders whilst under the control of the Shogun. Also during this time Japan was predominantly an agricultural society which meant that accuracy in timekeeping was simply not required, hence there was no need to improve the technology (which would have been extremely difficult within the system of unequal temporal hours). Ultimately during the subsequent Meiji period Japan adopted the Western system of equal hours (in 1872) which rendered the double-foliot system obsolete. The current lot is a fine example of a fully developed double-foliot Kake-Dokei complete with alarm and calendar dating probably to shortly after 1850. The movement is finely executed and the case confidently engraved. Technologically it presents as a fascinating insight into traditional Japanese clockmaking and strongly reflects the crafts 16th century European roots.

A Regency rosewood bracket clock,of lancet shape with strung and inlaid decoration, striking on a gong, now with a marble plinth,35cm high

Joseph Grusell, Stiernsund: an 18th Century Swedish pine longcase timepiece with alarm, the inner alarm dial, with outer pewter roman chapter ring and pewter spandrels, name boss to arch and inscription 'Fugit Irreparabile Tempus', probably a thirty hour movement, the alarm dial with separate smaller weights and alarm bell, anchor escapement, the case with arched cavetto cornice above glazed door, arched waist door, panel base on bracket feet, 81 1/2in. high. NB This clock was featured in an Articles Clocks magazine, December 2013. See illustration

William Pratt, Askrigg: an oak thirty hour longcase clock, with painted roman dial, date aperture, foliate spandrels, rustic scene to arch, single train movement with anchor escapement, the case with shaped cornice and shaped waist door, panel base on small bracket feet, 85 1/2in. (217cms) high.

John Charlton, Durham: a mahogany and banded longcase clock, the painted roman dial, with subsidiary aperture and seconds dial, leafy scroll spandrels, two train movement with anchor escapement, the case with swan necked pediment, decorated frieze, fluted side columns, shaped waist door flanked by fluted quadrants, panel base on bracket feet, 88in. (224cms) high.

John Ellis, Tal Y Cafn: an oak longcase clock, with brass roman dial, subsidiary seconds dial and date aperture to centre, engraved leafy scroll decoration, two train movement with anchor escapement, the case with plain frieze and side columns, shaped waist door, panel base, bracket feet, 79in. (201cms).

Reid & Sons, Newcastle on Tyne: a mahogany longcase clock, c.1900, with 13 1/4in. arched brass dial and silvered arabic numeral chapter ring, decorative scroll and fret decoration, subsidiary seconds dial, silvered plaque with retailer's signature, the arch with two dials for chime/silent and Westminster/Whittington/St. Michael chime selections, three train quarter chiming movement with single gong and eight graduated tubular bells, the case with arched pediment, pierced sound frets, glazed trunk door, on panel base with canted corners, bracket feet. See illustration

A 19th Century mahogany drum head longcase clock, with circular roman dial, subsidiary seconds dial, two train movement with anchor escapement, the case with shaped pediment above arched glazed door, panelled waist door, fluted quadrants, panel base on bracket feet, 85 1/2in. (217cms).

H. Ivison, Carlisle: a George III thirty hour longcase clock, with 11 3/4in. painted dial, subsidiary date aperture and floral spandrels, bird design to centre, single train movement, the plain case with turned columns, shaped waist door, quadrant sides, panel base, on bracket feet, 82 1/2in. (210cms) high.

A 19th century mahogany cased bracket clock The white painted dial signed Pritchard, Birmingham, with Roman numerals and four pillar bell striking fusee movement, the bracket with carved bust. The clock 45 cm high. CONDITION REPORTS: Generally in good condition, expected wear, case with some shrinkage cracks, not guaranteed in working order.

BRACKET CLOCK. An early 20th century bracket clock. Height 30cm.

DUTCH FRIESLAND STOELKLOK. A Dutch Friesland Stoelklok with alarm, four slender baluster turned corner posts, lead crest & apron & painted bird side projections. The dial painted with a Roman numeral bezel & polychrome painted confronting cherubs. The whole on a wooden base & standing on four bun feet. Replacement double fusee movement. Side panels missing but with original polychrome painted bracket, with lead moulded crest. Pendulum & key but no weights. Height of clock 43cm. Height of bracket 63cm.

BULKHEAD CLOCK. A Smith 'Astral' brass bulkhead clock, with outer minutes chapter ring & subsidiary hours dial in Arabic numerals. Mounted on a wooden wall bracket & labelled to the reverse, 'Royal Navy H.M.S. Hermes, 7 Jewell Lever Temp Comp Balance.' Diameter 20cm.

A late Victorian mahogany bracket clock, gilt metal appliques, urn finials and fluted Corinthian columns, arched brass face with silvered chapter ring, supplementary Chime-Silent, Slow-Fast and Eight-Bells/Westminster dials, cast spandrels, movement striking on eight bells and five gongs, height overall 77cms.

An oak bracket clock, arched top with gilt metal urn finials, arched brass face with silvered chapter ring and slow-fast dial to the lunette, three chain movement, striking on five bells, signed M. Winter Halder & Hofmeier, Neustadt Baden, Germany, 48cms.

An oak and mahogany longcase clock, square painted dial with a date aperture, rose and vase spandrels, thirty hour movement, the case with a broken swan pediment, banded door, reeded canted corners, bracket feet, 216cms.

A 19th century French bracket clock, the brass case with chased decoration and further overlaid detail, with enamelled dial and enclosing an eight day striking movement

A small German bracket clock, the case with applied turned spindle mouldings enclosing an eight day timepiece together with an Art Deco oak aneroid barometer, a further small mantle clock by Garrard & Co with eight day timepiece

A late 19th century bracket clock, the oak case with split spindle mouldings enclosing a square brass dial with silvered chapter ring and eight day striking movement

19th Century mahogany inlaid bracket clock by Russell's Liverpool CONDITION REPORT; Approximately 41 cm tall

An early 20th century walnut bracket clock, with silvered Arabic numeral chapter ring below silent/chime and speed selectors, wit German movement striking on five gongs, 37cm

A Regency mahogany and brass inlaid bracket clock, with original wall bracket, the clock having an indistinctly signed convex white enamel dial (with crazing and losses), single winding hole for an eight day wire driven brass fusee movement with anchor escapement, the case with twin brass carry handles, fret brass side panels and cut brass inlays, h.45cm (excluding wall bracket)

A late Regency mahogany and brass inlaid bracket clock, the unsigned convex white enamel dial (re-painted) having a single winding hole for an eight day brass A-frame fusee movement with anchor escapement, the case with pierced brass fishscale sound grilles, raised on ball feet, h.43cm

An early Victorian rosewood cased bracket clock, the restored white enamel dial signed 'Henry Tucker Taunton', with single winding hole for brass eight day wire driven fusee movement, having anchor escapement and striking on a gong, the case with pierced fret carved side panels, lion mask ring handles, and raised on bun feet, h.56.5cm Condition Report / Extra Information The clock has been fully restored by Howard Antique Clock of Baldock circa 2007. Movement clean, appears fully overhauled. Case good and polished. Minor losses to one fret side panel. The opposing panel with small vertical shrinkage split. Fine shrinkage split to veneers between top of case and dial at 12 0'clock which runs through from dial to base. Outer back cover with age scuffs etc and veneer loss above back door. Finial to top appears new replacement.

A 19th century mahogany cased bracket clock by Wurttemrurg Junghans, Arabic numerals to silvered chapter ring - bracket clock on good order, chime working, running in saleroom

An early 20th century continental walnut and gilt metal mounted bracket clock, with an enamel dial and twin train movement striking on a gong, 44cm tall

A wooden cased German chiming Mantle Clock with brass bracket feet and carrying handle, complete with pendulum and key.

A brass Lantern Clock, with adapted 30-hour single-weight movement, the frame of typical form surmounted by a bell, with silvered dial and single hand, signed Kenneth Honick, Mytchett, Fecit, 12¼in (31cm) high, with pendulum, weight and bracket, together with a 1,300 word article by the maker entitled "A Lantern Clock from a single hand 30 hour long case movement". THIS LOT WILL BE SOLD ON SATURDAY 12TH SEPTEMBER STARTING AT 10.30AM UK TIME

18th century oak and mahogany longcase clock with swan neck pediment, the hood flanked by turned columns enclosing brass silver dialled face with moon phase and calendar, subsidiary seconds hand with floral engraving with chased spandrels, the door flanked by reeded columns, on a panel box base, bracket feet, eight-day striking movement by Thomas Lister, Halifax, height 223cm

Victorian oak and gilt brass bracket clock, silver chapter ring with Roman and Arabic numerals having subsidiary dials of slow/fast and chime/silent above with applied gilt sun motif and foliate spandrels to face, 8-day twin fusee and twin gong striking movement marked W & H Sch. for Winterhalder & Hofmeier School , 47cms high

GEORGE III-STYLE GERMAN KIENZLE BRACKET CLOCK the dial with Roman numerals

20TH CENTURY BOULLE STYLE CLOCK AND BRACKET