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A Regency mahogany bracket clock, William Stephenson, London, early 19th century. The twin fusee five pillar bell striking movement with anchor escapement and pendulum holdfast to the border-engraved shouldered backplate signed Wm. Stephenson, London to lower margin, the 7 inch white painted Roman numeral break-arch dial with blued steel Breguet hands and subsidiary STRIKE/SILENT dial to arch, the break-arch case with brass carrying handle and cavetto moulding above brass-fillet inset front door and rectangular fishscale sound frets to sides, on moulded skirt base with brass bracket feet, 37cm (14.5ins) high excluding handle. The current was probably made by William Stevenson who is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as gaining his freedom of the Clockmakers` Company in 1794.

A Regency ebony and brass inlaid mahogany bracket clock, Dutton, London, early 19th century. The five pillar twin chain fusee bell striking movement with anchor escapement and thick brass shouldered plates, the backplate signed Dutton, LONDON to centre, the 7 inch circular cream painted Roman numeral convex dial with gilt crossed open moonpoise hands and signed DUTTON, Fleet Street, LONDON to centre, the break-arch single-pad top case with ebonised arch mouldings above brass foliate inlaid shaped panel beneath dial flanked by ebony and brass line inlaid canted angles, the sides with arched brass fishscale sound frets, with reeded collar to the stepped base and on brass ball feet, (case seriously distressed, lacking rear door bezel and other sections), 39cm (15.5ins) high. Matthew Dutton and Sons are recorded in Baillie G.H. Watchmakers & Clockmakers of the World as working in London 1815-25. Matthew Dutton`s father, William (worked 1746-94), was an important maker who in went into partnership with Thomas Mudge at Fleet Street in 1755, later succeeding him in 1771 when Mudge retired from the business to pursue the development of his marine timekeepers. Matthew worked with his father until 1799 then in partnership with his brother, Thomas until 1804, and then finally with his son, also called Matthew from 1815 until his death in 1825. Although the current lot is in distressed condition the movement has survived in good order hence could be brought back by someone with good cabinet making skills, with the loss of the cast brass bezel being perhaps the most significant issue.

A late Victorian gilt brass mounted quarter chiming bracket clock, Unsigned, late 19th century. The substantial four pillar triple fusee movement with anchor escapement and chiming the choice of four tunes on eight bells every quarter and striking the hour on a gong, the 8.5 inch arched brass dial with matted centre within silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers and Arabic five minutes to outer track and unusual fern cast spandrels to angles beneath arch with subsidiary CHIME/SILENT and CHIME ON EIGHT BELLS/CAMBRIDGE CHIMES selection dials within conforming applied leaf cast infill, the break-arch case with flambeau vase finials and female mask centred foliate applied mount to tympanum above front door with gilt spandrels to upper quadrants flanked by female caryatid mounts to the canted angles, the sides with scroll cast handles above rectangular gilt cherub mask centred sunburst sound frets, on gilt metal mounted moulded skirt base with scroll cast feet, 57cm (22.5ins) high, with a later mahogany wall bracket with two scroll-carved supports, 92cm (36ins) high overall.

A French Louis XIV ormolu mounted tortoiseshell bracket clock, Antoine Gaudron, Paris, circa 1700 The six back-pinned baluster pillar movement of two week duration with large spring barrels, verge escapement with silk suspension and cycloidal cheeks, and high position numbered countwheel to the upper right hand corner of the backplate for striking the hours and once at the half hour with a vertically pivoted hammer on a bell mounted within the top of the case, the backplate signed Gaudron A Paris to lower edge, the unusual shaped iron dial plate faced with pewter polished and lacquered to simulate mother-of-pearl and applied with twelve-piece white enamel Roman numeral cartouche chapter ring with fine pierced and engraved foliate pendant to every numeral, Arabic minutes to outer track and original steel hands above shaped pendulum aperture bordered with foliate cast mounts, the break-arch case with gilt urn finials to the acanthus corner-mounted ogee shaped upstand and foliate cast frieze emerging from the sides of the gilt cavetto moulded cornice, the canted front angles applied with fine scroll-cast female terms above acanthus open scrolls, the sides with brass-edged rectangular side windows and conforming terms to rear edges over swollen lower sections, the base edged with a gilt band interrupted by a pendant arch inset with foliate cast mount to apron, on acanthus cast feet, 53cm (21ins) high. Antoine Gaudron is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working from around 1675. In 1689 he was established at Place Dauphine at `La Perle` and then at `La Renommee` in 1709. He died a wealthy man in 1714. Two fine `Religieuse` spring clocks by him (including one with unique astronomical calendar) are illustrated in Plomp, Reinier Early French Pendulum Clocks 1658-1700 pages 80-3, the movement of the current lot, although slightly later, is remarkably similar to those pictured in figs 146 and 149. The manner in which the dial of the current lot is finished is particularly noteworthy. A pewter veneer is applied over the iron dial plate which is polished and finished in such a way as to simulate mother-of-pearl, forming the background onto which a finely engraved and pierced chapter ring is applied.

A French Louis XV-XVI transitional ormolu mounted boulle bracket clock, Sandoz, Laine, Paris, circa 1775. The circular two train movement with four column turned pillars pinned through the rear, anchor escapement and striking the hours via a numbered outside countwheel on a bell mounted on the backplate signed Sandoz Laine, Paris to lower margin, the 7 inch circular convex Roman numeral enamel dial with Arabic five minutes to outer track and finely pierced engraved hands behind an engine turned convex glazed bezel, the waisted case veneered in contre-partie with foliate designs in brown, cream and red stained shell within a brass field, the ogee shaped surmount with leaf festoon swag adorned classical urn finial and finely chased rococo edge mounts above front with further symmetric open-work leafy foliate trail mounts to edges, the sides with brass sound fret infilled shaped cartouches and conforming mounts to rear angles, the apron with shaped glazed lenticle flanked by integral scroll mounts issuing squab feet, 59cm overall.

A George III inlaid oak eight-day longcase clock. Alford, Wells, 18th century. The four pillar rack and bell striking movement with 12 inch square brass dial with subsidiary seconds dial to the foliate scroll engraved matted centre within an applied Roman numeral chapter ring with Arabic five minutes and signed Alford, Wells to lower edge, the angles applied with female mask and scroll pattern spandrels, the case with geometric parquetry fronted stepped caddy and moulded frieze above three-quarter columns to hood, rectangular trunk door centred with an elaborate parquetry star and with triple line border, on plinth base with conforming inlaid decoration and skirt base incorporating bracket feet, 216cm (85ins) high. Two makers with the surname Alford are recorded in Moore, A.J. THE CLOCKMAKERS OF SOMERSET 1650-1900 as working in Somerset; Thomas recorded at Creech 1682/3, and James recorded at Crowcombe in 1747.

A Regency brass inlaid rosewood bracket clock, Unsigned, early 19th century. The twin fusee bell striking movement with anchor escapement and pendulum holdfast to the shouldered backplate, the 7 inch square silvered brass Roman numeral dial with unusual heart pierced blued steel hands and fine foliate scroll engraved decoration to spandrels within a canted surround, the chamfer-top case with foliate carved finial and ribs to the brass foliate spray inlaid hipped upstand above rosette-interrupted line bordered front door flanked by brass lined canted angles and brass Gothic tracery rectangular frets to sides, on scroll panel inlaid plinth base with moulded skirt and lobed bun feet, 45cm (18ins) high overall.

A Regency brass mounted mahogany bracket clock, Probably by Thwaites and Reed, London, early 19th century. The five pillar twin fusee bell striking movement with anchor escapement and shouldered plates, the 8 inch circular white painted Roman numeral convex dial bearing signature THWAITES & REED, LONDON to centre, with blued steel Breguet hands within hinged cast convex glazed bezel, the chamfer-top case with brass pineapple final to the ebonised cushion moulded hipped upstand and ripple moulded cavetto cornice over brass fillet inset quadrant panel inlaid with brass decoration and flanked by conforming canted angles to front, the sides with brass ring handles above rectangular fishscale inset sound frets, on stepped plinth base with ball feet, 50cm (19.5ins) high overall.

An Edwardian mahogany quarter chiming eight-day longcase clock, Unsigned, early 20th century. The four pillar triple train movement with Harrison`s maintaining power, deadbeat escapement and steel-rod pendulum with large lenticular brass faced bob, chiming a choice of two tunes on four tubular gongs every quarter and striking the hour on an additional gong, the 13.25 inch brass break-arch dial with subsidiary seconds dial to the fine applied gilt foliate scroll pierced and engraved centre within a silvered chapter ring with gilt Arabic cartouche numerals, the spandrels with further scroll-pierced gilt infill beneath arch with subsidiary STRIKE/SILENT and WHITTINGTON/WESTMINSTER within conforming pierced gilt mounts, the swan neck pedimented case with fluted columns to hood above bevel glazed oval panel and canted angles to the full-width rectangular trunk door, on panel fronted plinth base with moulded skirt incorporating bracket feet, 234cm (92ins) high.

A George III ebonised table clock, John Fladgate, London, circa 1775. The six-pillar twin fusee bell striking movement with rise/fall regulation and lenticular-bob pendulum for the verge escapement and signed Jno. Fladgate, London to the foliate scroll engraved backplate applied with pendulum holdfast clamp to centre, the 6 inch brass break-arch dial with matted centre and blued steel hands within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track and with rococo scroll cast spandrels to angles, the arch with subsidiary regulation dial flanked by conforming mounts, in an inverted bell top case with brass carrying handle and pineapple finials above foliate pierced upper quadrant frets and raised mouldings flanked by caddy moulded angles to front door, the sides with circular over concave-topped rectangular side windows, on moulded base with brass bracket feet, 41cm (16ins) high. John Fladgate is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as admitted to the Clockmakers` Company in 1743 and first working in partnership with Richard Wilder until the firm was dissolved in 1775. Fladgate subsequently worked alone until his death in 1781 with the business continued by his widow until 1793.

A Scottish Regency mahogany eight-day longcase clock, James Whitelaw, Edinburgh, circa 1815. The four pillar rack and bell striking movement with 13 inch circular single sheet silvered brass Roman numeral dial with subsidiary seconds dial and signed James Whitelaw, Edindurgh to centre, with blued steel Breguet type hands, the drum-head case with brass bezel to the circular hood surround above waisted section and raised throat mouldings, the trunk with rectangular caddy moulded door flanked by reeded quarter columns above short recessed panel, the plinth base with conforming recessed panel and bracket feet, 208cm (82ins) high. James Whitelaw is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as born in Edinburgh 1776 and dying 1846.

*An unusual George III mahogany and burr elm domestic striking regulator of one week duration with centre seconds. Alexander Cumming, Inveraray, late 18th century. The substantial five pillar rack striking movement with deadbeat escapement, bolt-and-shutter maintaining power and six wheel going train, the backplate with aperture cut for the pallets and with wood-rod pendulum with heavy brass faced lenticular bob, the 12 inch square single sheet silvered brass Roman numeral dial with blued steel hands and signed Ale:r Cumming INVERARAY to an arched cartouche to centre within chapter ring with Arabic five minutes to outer track and fine scallop shell inhabited foliate scroll engraved decoration to spandrels, in a case with moulded cornice and turned columns to hood above burr elm veneered panel inset break-arch door to trunk, on plinth base veneered with conforming rectangular panel, on bracket feet, 207cm (81.5ins) high. Alexander Cumming was born circa 1732 and was working with his brother, John, in Inveraray by 1752. He was a founder member of the Scottish Royal Society in Edinburgh and by 1761 he had moved to London. Cumming was subsequently appointed as an `expert` by Act of Parliament to assess Harrison`s marine timekeepers, and in 1763 supplied the first ever recording barometer to George III which is still in the Royal Collection at Buckingham Palace. In 1766 he published The Elements of Clock and Watch Work, he died in 1814. The current lot is an interesting early example of Cumming`s work and is perhaps a little experimental in nature. The six-wheel going train is unusual and was perhaps designed to remove errors in relation to its interaction with the strike train by delivering a high degree of power through the motionwork.

A George III brass mounted mahogany quarter chiming musical table clock, John Taylor, London, circa 1800. The substantial six pillar triple fusee movement chiming a choice of two phrases for the quarters on eight bells and completing the tune on the hour, the backplate signed John Taylor, London to an engraved oval cartouche, the 8 inch gilt brass break-arch dial plate applied with silvered circular Roman numeral dial with subsidiary calendar dial to centre, within finely chased wreath and foliate trail applied spandrels, the arch with subsidiary Chime/not Chime and Dance/Jig tune selection dials flanking shaped recessed silvered plate with repeat signature, the break-arch case with brass ball finials and foliate pierced frets to the concave sided upstand above conforming crescent-shaped fret to the brass fillet inset front door, flanked by stop-fluted columns to front angles and hinged handles above arched fishscale sound frets to sides, on moulded plinth base with brass bracket feet, (escapement with alteration), 66cm (28ins) high. Several makers with the name John Taylor are recorded working in London during the late 18th and early 19th centuries, however the most likely maker of the current lot is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as being admitted to the Clockmakers` Company in 1796 and may be the same maker who is subsequently listed as working from Clerkenwell 1805-24.

*A Queen Anne eight-day longcase clock movement and dial, Thomas Cartwright, London, early 18th century, in a later mahogany case. The five finned pillar inside rack and bell striking movement with 12 inch square brass dial with scroll border calendar aperture, ringed winding holes and subsidiary seconds dial to the matted centre within applied silvered Roman numeral chapter ring with stylised sword hilt half hour markers, Arabic five minutes and signed Tho. Cartwright, Royal Exchange, Londini Fecit to lower edge, the angles with twin cherub and crown cast spandrels and herringbone engraved border, now in a late 18th century mahogany case with cavetto cornice and turned pilasters to hood, break-arch trunk door and on plinth base with bracket feet, 203cm (80ins) high. Thomas Cartwright is recorded in Loomes, Brian The Early CLOCKMAKERS of Great Britain as being born circa 1679. He was apprenticed to Christopher Gould in 1693 gaining his Freedom of the Clockmakers` Company in 1700, he reputedly died in 1741. The current lot is noteworthy in that it employs an internal rack for the striking mechanism - a feature normally reserved for use in high quality month duration movements by the better makers. This coupled with the decorative nature of the dial perhaps demonstrates the influence of Cartwright`s Master, Christopher Gould in his work.

A Charles II eight-day longcase clock movement with ten inch dial, Unsigned, circa 1680, in a later oak case. The six finned pillar outside countwheel bell striking movement with anchor escapement and formerly with bolt-and-shutter maintaining power, the 10 inch square brass dial with calendar aperture and subsidiary seconds dial to the matted centre within applied narrow silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers and Arabic five minutes within the outer track, the angles applied with winged cherub head and foliate scroll cast spandrels, now in an oak case with moulded cornice and foliate pierced fret above spiral twist turned pilasters to hood, shaped-top crossbanded door flanked by fluted quarter columns to trunk, on conforming raised panel fronted plinth base with ogee bracket feet, 208cm (82ins) high. The movement and dial of the current lot is perhaps related to a group of anomynous clocks by an unknown maker described in Robinson, Tom THE LONGCASE CLOCK pages 53-6. The example pictured by Robinson (3/9-12) displays many close similarities to the current lot including the engraving of the chapter and seconds ring, and the use of an hour wheel bridge casting as a backcock. Robinson suggests that such anonymous movements were made by either journeymen or other makers who, as they were not Freemen of the Clockmakers` Company, were not authorised to sign their work. Many such examples have now had signatures of famous makers added hence genuine unsigned examples such as the current lot are rare.

An ebonised bracket clock with moonphase, Bearing signature John Hull, Harold, late 18th century. The five pillar twin fusee movement with 6 inch brass break-arch dial with matted centre within applied silvered Roman numeral chapter ring with lozenge half hour markers, Arabic five minutes to outer track and bearing signature John Hull, HARROLD to lower edge, the angles with gilt mask and scroll pattern spandrels beneath arch with foliate engraved lunettes and herringbone decorated upper border interrupted by a sector revealing scale for the age of the moon to the rim of the moon disc, in an inverted bell top case with brass carrying handle above circular over concave-topped side windows with raised mouldings, the front door with foliate cast brass frets to upper quadrants and conforming mouldings, on cavetto moulded skirt base with later block feet (lunar disc now disconnected, movement with faults), 46cm (18ins) high excluding handle.

A Queen Anne ebonised basket-top table clock with pull quarter repeat on five bells, David Lestourgeon, London, circa 1705. The six finned pillar twin fusee movement rack striking the hour on a bell and repeating the quarters on five bells with separately pivoted hammers, the symmetrical foliate scroll engraved backplate signed David Lestourgeon, London within a leafy cartouche surmounted by an eagle to centre and with herringbone engraved border to edges, the 7 inch square gilt brass dial with leafy border engraved calendar and signed false bob apertures to the matted centre within an applied silvered Roman numeral chapter ring with cruciform half hour markers and Arabic five minutes, the angles applied with winged cherub head spandrels, the case with winged caryatid cast handle to the ogee shaped relief foliate scroll and fanciful castle decorated repousse basket surmount above front door applied with further repousse mounts and sides with small over large rectangular glazed apertures, on later squat bracket feet, (movement with alteration to escapement, case with some faults), 41cm (16.25ins) high excluding handle. David Lestourgeon is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London 1698-1731 and is described as a fine maker.

A Queen Anne brass mounted ebony table clock with pull quarter repeat, John Bushman, London, early 18th century. The six finned pillar bell striking movement with rise/fall regulation and pull quarter repeat on a nest of six graduated bells, the backplate engraved with a basket of flowers within symmetrical foliate scrolls, the 7 inch brass break-arch dial with ringed winding holes, false bob aperture and oval cartouche signed Jn:o Bushman, London to the matted centre within applied silvered Roman numeral chapter ring with lozenge half hour markers and Arabic five minutes to outer track, the angles applied with female mask and scroll cast spandrels with foliate scroll engraved infill between to lower and upper margins with the latter incorporating a N/S strike switch, the arch with subsidiary regulation dial flanked by unusual leaf-cast mounts within a foliate scroll engraved field, the inverted bell-top top case with Quare pattern foliate cast carrying handle and later vase finials above brass-edged upper mouldings and gilt scroll cast frets to the upper quadrants of the front door applied with raised mouldings, the sides with lozenge over break-arch glazed apertures and the rear door with break-arch window, on moulded base with brass bracket feet, (movement with alteration to escapement), 44cm (17.25ins) high. John Bushman (Buschmann) is recorded in Loomes, Brian The Early CLOCKMAKERS of Great Britain as a `High German` watchmaker born circa 1661 and made brother of the Clockmakers` Company in September 1692. He married Mary Wyatt in the Parish of St. Margaret, Westminster in December 1690, was made an Assistant of the Clockmakers` Company in 1720 and was believed to be working until 1725. Baillie records that he was born in Hagen, Germany. From this is possible that he was related to the Buschmann dynasty of clockmakers who worked from Augsburg throughout the 16th and 17th centuries. The current lot was made at a time when the introduction the break-arch dial was a relatively recent innovation. The elongation of the square section of the dial to provide an engraved reserve for the strike/silent switch, coupled with the relatively small arch applied with unusual mounts and with further engraved decoration results in an individual and attractive appearance. The case with its resulting slender proportions, tight mouldings and generous `Quare` pattern handle perhaps reflects the influence Huguenot immigrant clockmakers such as Claude DuChesne.

*A late 19th century French Art Nouveau style bronzed spelter and red marble mantle clock,. the movement mounted in a naturalistic case with attendant classical female figure and raised on a moulded plinth with scrolled foliate bracket supports and decorative mounts. Inscribed "Aurore" (46cms high, as viewed, the figure`s raised right arm is broken off)

A 19th century decorative fretwork clock bracket

A Continental carved Clock Bracket with leaf and vine design

A late 19th century Gothic style inlaid mahogany bracket clock with single train movement, dial inscribed `E White, 32, Haymarket, London`, reverse of movement inscribed `G.B & E` - H25cm

A Victorian slate cased drum bracket clock with classical style scroll plinth - movement impressed Japy Freres - H19cm.

A Victorian grained pine blanket box, a clock bracket, and two stools

Mahogany cased bracket clock with chapter ring dial marked Tempus fugit"

Edwardian rosewood bracket clock, the dial with chapter ring & two sub-dials marked Crawston & Sons, Kings Lynn, case with inlaid decoration & sides with pierced apertures (PENDULUM IN OFFICE)

An Edwardian mahogany strung mantle clock together with a later bracket clock. (2)

A mahogany bracket clock by J. W. Benson with brass/ormolu corner stringing and brass bun feet, brass ring, and handles, with gadrooned raised top, 35cm high.

An Edwardian mahogany baloon mantel clock with satinwood stringing and central inlaid patera, the enamel dial with roman numerals, on bracket feet, 34cm high.

An early 19th Century Longcase Clock, the painted arched dial with date aperture and seconds ring with eight day movement in oak and mahogany case with swan`s neck pediment, lion inlaid decoration and fluted canted corners on bracket feet. 7` 2" (218cms) high.

1920s mantel clock with silvered dial, spring driven movement and brass pendulum in a classically inspired mahogany case with bow and swag applied decoration and glazed pendulum aperture on bracket, 27.5cm overall height Further images and condition reports are available at www.reemandansie.com

Nineteenth century eight day longcase clock with fourteen inch break arch dial with ornate gilded spandrels. Silvered chapter ring and engraved and silvered centre. The break arch with central silvered disc engraved Tempus Fugit. Mahogany case with short moulded oak door, the plinth with ebony inlaid oak panel on bracket feet, the mahogany hood with glazed door, turned columns and swan neck pediment with brass ball finial, 250cm overall height Further images and condition reports are available at www.reemandansie.com

A 19TH CENTURY FRENCH FOUR-GLASS "REGULATOR" MANTEL CLOCK, having moulded top and sides with bevelled glass panels, upon a bracket plinth, 8-day Japy type mechanism with rack gong strike, faced by a Roman calibrated dial, 25cm high x 15cm wide

J & E MASON, WORCESTER AN EARLY 19TH CENTURY OAK AND MAHOGANY CROSSBANDED LONGCASE CLOCK having 30 hour mechanism with bell strike faced by a square painted dial with shell spandrels, brass capped column hood, lozenge inlaid waist door and box base," on the remains of bracket feet, 2.01m high, including weight key and pendulum

An Early 20th Century Inlaid Walnut Dome Topped Bracket Clock Having Silvered Dial, Roman Numerals and Inscribed `Asprey, Bond St, London` on Four Brass Bracket Feet, 38 cm High.

A Good Quality Brass Inlaid 19th Century Bracket Clock with Twin Fusee Movement, Pierced Brass Grilles Either Side Having Brass Ring Carrying Handles Above. White Enamel Dial Inscribed Armstrong Manchester, 55 cm High x 38 cm Wide x 17 cm Deep.

An Oak clock wall Bracket

An early 20th Century stained beech bracket clock, the circular brass dial with Arabic numerals, to a three-train movement striking a gong, housed within a domed case (ILLUSTRATED)

EARLY 20TH CENTURY OAK BRACKET CLOCK with silvered Arabic numeral dial having slow/fast and chime/silent dials, the German movement striking on gongs, the case with caddy top, on bun feet, 40cm high

EARLY 20TH CENTURY MAHOGANY BRACKET CLOCK with arched brass Arabic numeral dial, the Junghans movement striking on a gong, the arched case on bun feet, 33cm high

A mahogany 8-day longcase clock, the 30.5cm painted arched dial signed Jas. Davidson, Old Deer, with subsidiary seconds and date, the hood flanked by fluted columns, the trunk by gadrooned pilasters, on bracket feet, height 207cm (81 1/2in.).

An 18th century oak long case clock with arch top hood and turned side columns, arched full length door to the trunk and bracket feet, arched brass dial and 8 day striking movement by J. Fowler, Sheffield, height 85"

An 18th century oak long case clock, with carved swan neck pediment, blind fret frieze and turned reeded side pillars, full length crossbanded door and quarter turned reeded side pillars and ogee bracket feet, having square brass dial with silvered chapter ring and inset moon phase, by Lister Bramley, Halifax, ht 87"

A 2nd half of the 19th Century single fusee Bracket Clock, the black painted drum-type case with applied brass spike finial, and mounted to a mahogany rectangular socle, with cast brass bezel and convex glass, enclosing an 8” Roman enamel dial with outside minute track and black painted hands, signed to the centre Wm Parkinson & Co, late S Crosley, Cottage Lane, City Road, London, to a single chain fusee movement with heavy plates united by four knopped pillars and with anchor escapement, height 15 ½”; together with a typed sheet suggesting the case is possibly originally a gas meter box and was removed from the offices of The Dover Tram Company

A 2nd half of the 20th Century Walnut Cased Triple Barrel Mantel Clock, Elliott, the case with overhanging cornice surmounted by a bell-shaped pediment with brass carry handle, and raised on a stepped base with bracket feet, to a 6” arched brass dial with Roman and Arabic chapter ring, and inside quarters and outside minute tracks, retailed by Mappin & Webb Ltd, to a brass movement with platform escapement and strike on 8 rods, height 15 ½”

A mid-20th Century Mahogany Cased Mantel Clock, the drum-shaped case on scrolling supports with plinth base and bracket feet, to a spun brass bezel with convex glass enclosing a 5 ¼” silvered Arabic dial with outside minute track and black painted hands, to a triple spring driven movement, with platform escapement and strike on four rods, height 8 ¼”

A 2nd half of the 20th Century Mantel Clock, President, the case with overhanging cornice and moulded pediment with carry handle, and raised on splay bracket feet, to a square brass dial with Roman and Arabic chapter ring, to a twin spring-driven movement with platform escapement and strike on two rods, height 15”

A mid-19th Century Mahogany Cased 8 Day Long Case Clock, ? – Bristol, the case with arched hood and shaped pediment with urn-shaped finials over freestanding barley twist columns, to a moulded throat and short trunk door flanked by further barley twist columns, and panelled section, on a plinth base with bracket feet, to a 13” arched dial decorated with a lake scene over ruinous churches enclosing a Roman chapter ring with outside minute track, subsidiary seconds and date sector with pierced and stamped brass hands, to a plain false plate and movement with plates united by four knopped pillars and with anchor escapement, strike on a bell, height 91”

An early 19th Century Scottish Mahogany and Boxwood Line Inlaid 8 Day Long Case Clock, David Duff – Kinross, the arched hood with circular brass bezel to a moulded throat and reed quarter columns flanking a long arched trunk door, to a panelled plinth base, and raised on bracket feet, to a signed 13” Roman dial with Arabic quarters and subsidiaries for seconds and date with black painted spade hands, to a signed false plate and movement with plates united by four knopped pillars and with anchor escapement, strike on a bell (associated), height 79 ½”

An early 19th Century Oak Cased 8 Day Long Case Clock, W Bearn – Wellingborough, the arched cased with swan-neck pediment and later applied caryatid mount with further spread eagle and globe finials over freestanding columns, to a moulded throat and shaped long trunk door and reduced plinth and bracket base, to a 12” arched 2nd period painted dial, painted to the arch with a female figure denoting Prosperity, within gilt floral highlights and further painted rose spandrels enclosing a Roman chapter ring with Arabic quarters and star hour markers with minute track enclosing subsidiary seconds and date sector, with pierced and stamped brass hands, to a signed false plate and movement with plates united by four knopped pillars and with anchor escapement, strike on a bell, height 79”

A mid-19th Century Mahogany Crossbanded and Oak 8 Day Long Case Clock, Thos Hall ? of ?, the arched hood with swan neck pediment over fluted freestanding columns, to a moulded throat and shaped trunk door flanked by canted corners to a plinth base on bracket feet, the 13” third period painted dial decorated to the arch with a young woman gathering grain, over gilt highlighted floral spandrels enclosing a Roman chapter ring with outside minute track and with subsidiaries for seconds and date, and with pierced and stamped brass hands, to a signed false plate and movement with plates united by four knopped pillars and with anchor escapement and strike on a bell, height 85”

A mid-20th Century Stained Oak Triple Weight Long Case Clock, the stepped pediment to a glaze and panelled door with plinth base on bracket feet, to an 11” silvered Arabic dial with outside minute track and black painted hands, to a triple weight-driven movement with anchor escapement, strike on eight rods, height 79”

Large Victorian bracket clock in mahogany case with gilt metal decoration throughout surmounted with pineapple finials having eight day movement striking on a gong 64cm high.

An early Victorian oak and mahogany eight day longcase clock, the 14 inch painted arched dial signed `J N Freeman`, with centred subsidiary seconds dial and date aperture within a ring of Roman numerals and florally painted corner spandrels, the figural painted arch showing a figure playing the flute next to a running brook, the hood with swan neck pediments over an arched glazed hood door between ring and baluster turned front corner hood pilasters over a short Gothic arch crossbanded trunk door between half split turned front corner trunk pilasters on a box base and ogee moulded short bracket feet (at fault), 227cm high

A Victorian oak crossbanded mahogany eight day longcase clock, the 14 inch arched painted dial indistinctly signed with centred date aperture within a ring of Roman numerals and florally painted spandrels under an arch depicting `Father Time`, the hood with swan neck pediment over an arched glazed hood door and Gothic arched short trunk door with central conche shell inlay on a single panel crossbanded box base between canted front corners, lacking bracket feet (at fault), 227cm high

An oak crossbanded mahogany eight day longcase clock, the 14 inch arched painted dial signed `Goodchild, Bradford`, with centred subsidiary seconds dial and painted scene depicting a hunt in full flow within an inner ring of Roman numerals, an outer ring of Arabic numerals and female figural painted spandrels to depict the seasons under a rolling moon to the arch, the hood with swan neck pediment over an arched hood door between turned front corner hood pilasters over a crossbanded and conche shell inlaid trunk door between front corner quarter fluted pilasters on a single panel box base with central conch shell inlay, raised on short bracket feet (restored movement and face) 232cm high

A George III oak thirty hour longcase clock, the 11 inch square brass dial signed `Abr Plimer, Wellington` with centred date aperture within an inner ring of Roman numerals, outer ring of Arabic numerals and scrolling leaf pierced spandrels the hood with architectural pediment over a square glazed hood door flanked by turned front corner hood pilasters over a crossbanded trunk door and box base, raised on short bracket feet (faded), 202cm high NOTE: Douglas J Elliot notes Abraham Plimer, Wellington 1757-1822/3 in Shropshire Clock and Watchmakers

An oak thirty hour longcase clock the 12 inch circular brass dial signed `Tho Ove, Tong` the dial with inner date ring, outer ring of Arabic numerals and centred ring of Roman numerals, (lacking a date hand) the hood with circular glazed door flanked by reeded front corner hood pilasters, over an ogee arch trunk door on a box base and short bracket feet, 203cm high

An eight day longcase clock movement with automata moon sphere, the 14 inch brass arch dial signed `James Bush, London` on a plate to the matted centre with subsidiary seconds dial and calendar and moon phase dial to the arch, the five pillar movement with outside wheel train mechanism operating the sphere the associated case with arched hood and fluted front corner hood pilasters over a rectangular crossbanded long trunk door between quarter fluted trunk pilasters on a single panel box base and shaped bracket feet, 226cm high

An eight day oak longcase clock, the 12 inch arch brass dial signed `Bridge, Wrexham`, with centred date aperture with inner ring of Roman numerals, outer ring of Arabic numerals, pierced corner spandrels under radiating engraved sun to the arch, the hood with arched glazed door between turned front corner hood pilasters over crossbanded ogee arched trunk door on a boxed base with rectangular mouldings and short bracket feet, 231cm high