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A Victorian mahogany bracket timepiece Barraud and Lund, London, circa 1860 The five pillar single chain fusee movement finished to a high standard with anchor escapement regulated by half-seconds pendulum suspended from pivoted transverse regulation beam, the backplate signed Barraud & Lund, Cornhill, London and numbered 1796 over pendulum holdfast bracket, the 8 inch shallow arch single sheet silvered brass Roman numeral dial engraved BARRAUD & LUND, CORNHILL, LONDON, 1796 to centre, with blued steel spade hands and foliate scroll engraved infill to lower spandrel areas and the arch centred with SLOW/FAST pendulum regulation dial, the architectural pedimented case with recessed panel fronted tympanum above stepped ogee cornice and silvered brass canted fillet inset glazed dial aperture to the front door flanked by canted angles, the sides plain and the rear with rectangular glazed door, on stepped base with recessed front apron panel over moulded skirt with squab feet, 51cm (20ins) high. Paul Phillip Barraud (born 1752) worked with his father at first until his death in 1795 after which Barraud turned his attention more towards chronometers. Using the valuable experience gained whilst working on Mudge's timekeepers with W. Howells and G. Jamieson to good effect, he became very successful. After his death in 1820 the business was continued by his sons taking John Richard Lund, a former apprentice of John Pennington (who developed the auxiliary compensation balance weight to correct for middle temperature changes), into partnership in 1838.

A Victorian mahogany longcase regulator timepiece Bracher, Reading, mid 19th century The substantial seven knopped pillar movement with shallow arch plates measuring 9.75 by 7.5 inches enclosing going train with Harrison’s maintaining power, high pinion count and Graham type deadbeat escapement regulated by seconds pendulum suspended from a substantial beam fitted to the apex of the movement plates and incorporating wood rod, heavy eight-inch circular brass-faced bob and subsidiary spherical timing weight with engraved Roman numeral scale to waist, the 13 inch circular silvered brass dial with Arabic subsidiary seconds over Roman numeral hour dials and signed BRACHER, READING to centre within outer minute track with Arabic five minutes, with blued steel hands, the mahogany break-arch case with cavetto cornice over circular glazed brass bezel inset hood door incorporating line-inlaid panels to lower quadrants flanked by canted angles and with applied moulded rings to sides, the trunk with concave throat moulding over lancet-shaped caddy-moulded door now with conforming glazed insert and flanked by further canted angles, on shaped panel decorated plinth base with canted skirt, 201cm (79.25ins) high. An R. Bracher is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working in Reading in 1864. Reuben Bracher trained as a watchmaker under his father in Salisbury before moving to Reading in around 1850 and entering into partnership with James Trendell in 1852. Trendell died in 1866 and Bracher subsequently went into partnership with his nephew, Joseph Sydenham and expanded to occupy numbers 55, 56 and 58 Castle Street. The business continued in Reading in the hands of various successors until around 1974 when it became part of Goldsmiths group. The current lot could well have been made by Bracher soon after his arrival in Reading for use as the ‘shop regulator’ in his business.FOOTNOTE UPDATED 04/09/2019 The firm of Bracher and Sydenham held the title of 'Jewellers to the Court at Windsor' and according to the vendor the current lot was actually commissioned for and stood in the boardroom of the world famous biscuit manufacturers Huntley & Palmer of Reading, for 100 years(from circa 1850-1950) the largest biscuit maker on earth.

A fine George II lacquered brass, shagreen, and lignum vitae Culpeper double-reflecting compound microscope Edmund Culpeper, London, circa 1730 With sliding brass shutter to eyepiece threaded into ogee shaped moulded lignum vitae top section above gilt-tooled green vellum covered draw-tube with inked focus staging lines sliding into a brass and lignum collared green rayskin outer tube and fitted with long tapered brass tube objective lens to lower section, the whole raised on three fine baluster turned supports with circular stage fitted with a slider clamp to central oculus and pivoted light condenser lens, the lower section with three further taller brass canted baluster supports over circular ogee moulded base fitted with pivoted concave mirror to the concentric ring decorated top surface, in original oak pyramidal box with an apron drawer containing frog plate, two additional objectives, five bone sliders and canister for glasses and brass wire retainers, a circular glass fish plate engraved with three concentric lines and signed Culpeper Fecit within brass outer rim and other items, the interior back panel applied with crossed daggers and instrument trade label inscribed E. Culpeper Sculp. London to lower left, (eyepiece holder incomplete, box lacking most of its mouldings and door lock) the instrument 36cm (14.25ins) high closed; the box 44.5cm (17.5ins) high excluding later ring handle. Edmund Culpeper is recorded in Clifton, Gloria Directory of British Scientific Instrument Makers 1550-1851 as working 1700-37. He adopted the Crossed Daggers motif of his former master Walter Hayes to whom he was apprenticed in 1684. In 1706 Culpeper took over Hayes' shop located at ‘The Crossed Daggers’ in Moorfields London, later moving to the ‘Black & White House’ in Middle Moorfields in 1731 and finally ‘Under the Piazza’ at the Royal Exchange, London, where he is believed to have remained until his death in around 1740. The Culpeper trade card shows instruments made by his firm, these included surveying devices, quadrants, sundials, globes, and optical instruments such as the screw-barrel microscope and spectacles. Culpeper invented the tripod compound microscope sometime between 1725 and 1730, and made at least five major modifications in the years before his death. All models consisted essentially of two platforms, each supported by three turned brass pillars, with one set of pillars alternating in position with the other. The first model had platforms of wood. All later models, including the current lot, had brass platforms. Attached to the upper platform is a tube covered in stained shagreen. The microscope body draw tube, made from vellum covered cardboard, fits within the outer support tube. Focussing is accomplished by pushing the body tube up or down, with the position being maintained by friction between the vellum covering of the draw-tube and the inner surface of the support tube. There are also inked lines drawn on the body tube corresponding to the parfocal position of different objectives. The current instrument has survived in fine original unrestored condition having been in the same family ownership for as long as anyone can remember. It also retains almost all of its accessories which include a glass fishplate scratch-engraved with Culpeper’s signature.

A figured mahogany small eight-day longcase clock Geoffrey Bell, Arlesford, dated 1974 The four knopped pillar rack and bell striking movement with anchor escapement regulated by cylindrical bob seconds pendulum, the 9 inch brass break-arch dial with subsidiary seconds dial to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to the narrow outer track, with pierced steel hands and festoon cast foliate spandrels to angles, beneath arch with silvered Signature boss Geoffrey Bell, Arlesford Fecit, 1974 flanked by conforming mounts, the break-arch case with small concave sided upstand over generous cavetto cornice and hinged caddy-moulded glazed dial aperture flanked by canted angles to hood, the sides with rectangular windows, over concave throat mouldings and slender break-arch line edged caddy-moulded flame figured trunk door on conforming raised panel fronted plinth base with double skirt, 196cm (6ft 5ins) high. Provenance: The family of Alf Godsell, former Managing Director of Geoffrey Bell Ltd. An identical clock to the current lot was sold in these rooms on 17th February 2010 (lot 49) for £1,500 hammer.

A quantity of longcase clock case elements For use in the restoration of late 17th century and later clock cases Including a walnut and floral panel marquetry door with panel measuring 41.5 by 8.25 inches, a conforming marquetry plinth panel, throat moulding, a pine and oak trunk carcass, a hood carcass with fixed 10.5inch dial aperture, a part-restored grotesque figure inhabited floral marquetry veneered trunk door panel measuring 42.5 by 9 inches, a hood carcass with similar marquetry to the 11 inch dial aperture and a selection of hood side and front panels etc., (qty).

A rare Swiss gilt brass photo-electric quartz mantel timepiece ‘Golden Ellipse’ Patek Philippe, Geneva, Ref. 1505 circa 1977-78 The movement with motionwork driven by quartz electric mechanism with components and power cell set onto a circular circuit board backed with a Plexiglas panel incorporating STOP, TEST, FREQ. and hand setting adjustments, the top with wires connecting to the photo-electric cell mounted in the top of the case inscribed with PATEK PHILIPPE trademark and number 31 477 to underside, the ovoid deep Royal blue dial applied with simple gilt baton hour numerals, signed PATEK PHILIPPE, GENEVE to centre and with gilt hands set behind fixed glass secured by a raised bezel, the rectangular case with faceted tambour sides fitted with recessed photo-electric panel to top and with hinged door to rear, the interior with plate stamped with serial number 1.802.070 to base, 20.5cm (8ins) high; with operating instructions, specification card and original red silk and velvet lined protective case covered with simulated red leather to exterior.

An impressive George III mahogany eight-day quarter chiming Longcase clock with automata and moonphase Edward Mann, London, circa 1775 The substantial seven pillar triple train rack and bell striking movement with T-shaped plates measuring 9.25 by 11.875 inches, the going train with anchor escapement regulated by seconds pendulum and the quarter train sounding a melodious peel on a graduated nest of eight bells with eight hammers before unlocking the hour strike on a larger separate bell at the hour, the 12 inch silvered brass Roman numeral break-arch dial with subsidiary seconds dial, curved pierced sector aperture for the calendar and signed Edward Mann London to centre, with pierced blued steel hands and spandrels polychrome painted with individual automata scenes of 18th century musicians incorporating actions motioned whilst the quarter chiming train is running, the arch with rolling moonphase incorporating engraved terrestrial globe lunettes to lower margin and age of the moon to the outer track of the disc beneath margin now applied with arched plate engraved with HIGH WATER AT LONDON BRIDGE, in a brass mounted mahogany case with pagoda shaped superstructure fronted by shaped grille fret over cavetto break-arch cornice incorporating foliate scroll pierced frieze fret and glazed arched dial aperture flanked by brass stop-fluted columns, the sides with rectangular grilles and quarter columns applied against bargeboards at the rear, the trunk with concave throat moulding over break-arch door flanked by brass stop-fluted quarter columns to angles, on shaped raised panel fronted plinth base with moulded skirt, the whole now with polychrome painted decoration in the Sheraton taste with musical trophy to trunk door, grisaille oval panel of a Classical female to plinth and floral trail borders throughout, (movement originally with tune selection), 245cm (86.5ins) high excluding top finial. An Edward Mann is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working before 1722. However, as the current lot can be dated to around 1775 on stylistic grounds it must have been made by maker of the same name but of the next generation. The most likely candidate is a maker who Baillie records as working in Coventry circa 1787 who could have previously worked in London.

A selection of brass longcase clock case mounts, hinges, locks, spandrels, bells and related items For use in the restoration of 17th century and later longcase clocks Including four cast brass Corinthian column capitals and group of other hood column castings, numerous 17th century pattern winged cherub and scroll cast spandrels, trunk door locks, wrought iron and brass trunk door strap door hinges, four cast brass lenticle surrounds nine longcase and other clock bells and other items, (qty).

A George III brass mounted mahogany table clock Thomas Lozano, London, circa 1780 The five pillar twin fusee movement with verge escapement regulated by short bob pendulum and striking the hour on a bell, with rococo scroll engraved backplate and 7 inch brass break-arch dial plate applied with circular white painted centre signed THO’s LOZANO, EN LONDRES within Roman numeral chapter ring and Arabic five minutes to outer track, with pierced brass hands, and rococo scroll cast spandrels to angles beneath subsidiary calendar dial flanked by conforming mounts to arch, the brass mounted bell top case with hinged brass carrying handle to the brass scroll pierced fretwork border decorated upstand over pinecone finials and cavetto top mouldings, the front door with inset brass fillet moulding to the glazed dial aperture, foliate and scroll cast upper quadrant frets flanked by canted angles adorned with fine female caryatid and pendant floral cast mounts, the sides with circular martial trophy cast brass frets over further concave topped rectangular sunburst cherub mask centred rococo scroll cast frets, the rear with rectangular break-arch glazed door set within the frame of the case, the cavetto moulded shallow skirt base with generous leafy scroll cast feet, 49cm (19.25ins) high excluding handle. Tomas Lozano was Spanish by birth and is known to have worked in both London and Spain. Whilst working in London it seems that he primarily produced timepieces for export to his native Spain; he is also known to have successfully repaired damaged marine chronometers for the Spanish Navy in 1786.

A William III walnut and floral marquetry eight-day longcase clock of one month duration Paul Dupen, London, circa 1700 The six finned pillar rack striking movement with anchor escapement regulated by seconds pendulum, the 10.75 inch square brass dial with subsidiary seconds ring, scroll border engraved calendar aperture and ringed winding holes to the matted centre within applied silvered Roman numeral chapter ring with stylised sword hilt half hour markers, Arabic five minutes to outer track and signed Paul Dupen, London to lower margin, with scroll pierced blued steel hands and winged cherub head and scroll cast spandrels to angles with foliate scroll engraved decoration between, in a case with raised platform surmounted floral marquetry decorated dome superstructure above crossgrain ogee moulded repeating motif inlaid cornice and scroll pierced frieze to lintel, over leafy trail inlaid glazed hood door applied with walnut three-quarter columns with fine cast gilt caps and bases to front angles, the sides with rectangular windows and quarter columns set against bargeboards rising up to the underside of the cornice projection at the rear, the trunk with concave floral marquetry veneered throat moulding over 42 inch rectangular door centred with a circular brass lenticle and with three shaped marquetry panels decorated with bird inhabited floral sprays on an ebonised ground within a figured walnut field and Arabesque scroll surround, the sides veneered with twin slender panels within triple-line strung crossbanded borders, the base with stepped ogee top moulding and conforming rectangular marquetry panel within Arabesque border, 228cm (89.75ins) high to top edge of domed caddy. Provenance : Queens Berry, Anna House, Kintmount, near Dumfries. A Paul Dupin is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London and Geneva circa 1710-67. The current lot may be by this maker or by a relation (perhaps father) of the same name who may not be recorded. Indeed many French speaking immigrant makers tended to work directly for the larger Huguenot workshops, such as that of Claude DuChesne, at this time hence often did not gain the freedom of the Clockmaker’s Company.

A substantial quantity of English walnut crossgrain clock case mouldings For use in the restoration of 17th and early 18th century longcase clocks Including around twenty feet of trunk door half-round mouldings, break-arch over door hood mouldings, a length of ogee plinth top moulding, various lengths assorted crisply drawn lintel and cornice mouldings, concave throat moulding and some straight-grain lintel and door mouldings, (qty).

ϒ A George III tortoiseshell japanned eight-day longcase clock with rocking ship automaton Thomas Hackney, London, circa 1770 The five pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch brass break-arch dial with recessed starburst engraved silvered subsidiary seconds disc, calendar aperture and shaped nameplate engraved Tho:s Hackney., London to matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track, with scroll-pierced steel hands and rococo cast spandrels to angles beneath arch cut with a shaped aperture revealing polychrome painted representation of a square-rigged warship rocking back and forth with the motion of the pendulum, the scroll engraved surround incorporating a terrestrial sphere to front margin, in a mottled iron red and dark brown/black japanned case with leafy band decorated break-arch cavetto cornice and scroll bordered glazed hood door applied with three-quarter columns to front angles, the sides with rectangular windows and conforming quarter columns set against bargeboards at the rear, the trunk with scallop shell centred acanthus leaf painted throat over break-arch door decorated in raised polychrome and gilt with oriental figures within a stylised garden trellis landscape, the surround with gilt trellis painted upper quadrants and scroll banded borders, the sides with large leafy sprays, the plinth base with further naturalistic landscape over moulded skirt, 219cm (86.25ins) high. Provenance: Brocket Hall, Hertfordshire. Thomas Hackney is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London circa 1764. ϒ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.

A fine French painted porcelain panel inset engraved gilt brass miniature carriage timepiece Drocourt, Paris, late 19th century The eight-day single train movement with silvered platform lever escapement and backplate stamped with oval D.C. trademark over serial number 12981 to the lower left hand corner, the rectangular porcelain dial polychrome painted with a scene of a female in 18th century dress and Cupid within a river landscape to lower margin, beneath Roman numeral chapter ring and blued steel spade hands and bordered by a turquoise bead decorated gilt banded pink surround, the gilt cannelee case of Mignonette No. 1 size with hinged carrying handle over central oval bevel-glazed panel to the fine floral scroll engraved top, the sides with panels further painted with full length figures within conforming turquoise bead gilt and pink surrounds and matching rear door panel decorated with a watermill, rococo scroll engraved skirt base, 3.25ins high excluding handle. Pierre Drocourt is recorded in Allix, Charles and Bonnert, Peter CARRIAGE CLOCKS, Their history and development as born in 1819 and setting up in business as a clockmaker in Paris in 1853. He initially worked from Rue Limoges later moving to 28 Rue Debelleyme, Paris and was succeeded by his son, Alfred (born 1847), in 1872. The blancs roulants, rough movements, were made in Saint-Nicolas-d'Aliermont, a town outside Dieppe, where Drocourt had workshops until their sale in 1904, being premises purchased from Holingue frères in 1875 who had previously supplied Drocourt. The firm was awarded numerous international exhibition medals and mentions including Silver in Paris 1878 and Gold in 1889.Miniature carriage clocks are called Mignonettes or ‘little darlings’ and come in three graded sizes with No. 1 being the smallest. Please note: As an addendum to the above footnote the dates relating to Pierre and Alfred Drocourt together with the information relating to their operations in Saint-Nicolas-d’Aliermont and their relationship with Hollingue Frères is additional to the information provided by Allix and Bonnert. Full acknowledgement for the research leading to the provision of this valuable information needs to be given to Leigh Extence whose work can be found online at www.extence.co.uk. In addition to this Leigh Extence has confirmed that the Rue Limoges and Rue Debelleyme addresses were actually the same premises renamed during the process of rationalisation and merger of Parisian streets in 1865.

A fine engraved gilt brass oval carriage clock with push-button repeat and alarm Retailed by J. Pyke, London, third quarter of the 19th century The two train eight-day bell striking movement with silvered platform lever escapement and alarm sounding on the hour bell, the frontplate with stamped oblong cartouche inscribed E. PRONOST, … PARIS, the dial with fine rococo scroll engraved rectangular mask enclosing a inset white enamel Roman numeral hour disc inscribed J.PYKE, 138 NEW BOND ST., LONDON to centre and with blued steel moon hands over conforming subsidiary alarm setting dial to lower margin, the substantial engraved satin gilt oval case with hinged scroll outline carrying handle over fine rococo scroll border engraved top and repeating leaf decorated top mouldings, the front and sides with thick curved bevel glass panels set into border-engraved frames and the rear with conforming pin-hinged door, on ogee profile skirt base adorned with bands of repeating leaves over linked cartouche panels on a matted ground, 14cm (5,5ins) high excluding handle.

An early Victorian figured mahogany bracket clock Unsigned, circa 1850 The five pillar twin fusee bell striking movement with shouldered plates and anchor escapement regulated by lenticular bob pendulum with holdfast beneath the bell on the backplate, the 8 inch circular white painted Roman numeral dial with steel moon hands behind hinged glazed cast brass bezel incorporating canted fillet to interior, the case with humped pediment fronted by foliate carved crest terminating with rosette fronted batons to each side, the front with further leafy scroll carved decoration to lower corners, the sides with rectangular brass grille frets over scroll profile bands to lower margins and the rear with rectangular glazed door, on ogee moulded skirt base with block feet, 42.5cm (16.75ins) high.

An Edwardian silver cased small lancet-shaped desk timepiece The case by William Comyns and Sons Limited, London 1905 The French eight-day movement with replaced platform lever escapement and circular white enamel Roman numeral dial with blued steel spade hands set behind a convex glass with moulded bezel, the lancet-shaped case with Neo-Classical foliate scroll motifs engraved above and beneath the dial within repeating husk cast moulded border, the rear with hinged door, on shallow skirt base with compressed bun feet, the left hand side with presentation inscription, Hallmarks for London 1905 (maker’s mark W.C. within an oval lozenge for William Comyns and Sons Limited), 12cm (4.75ins) high.

A table timepiece with silent-pull quarter repeat on two bells The movement signed for John Taylor, probably Dutch early 18th century, the case later The six finned pillar single fusee movement with verge escapement regulated by short bob pendulum and sounding the hours and quarters on demand only on a pair of graduated bells positioned above the plates, the backplate finely engraved with tulip bloom inhabited scrolling foliage incorporating inscription John Taylor Fecit, the 7 inch square brass dial with shaped false bob aperture and ringed winding hole to the mask and scroll decorated matted centre within applied silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers and Arabic five minutes to outer track, with pierced steel hands and applied winged cherub mask spandrels to angles incorporating scroll engraved infill top margins between, now in a mahogany case with hinged brass handle to the domed caddy superstructure over moulded cornice and glazed front door, the sides with slender rectangular windows and the rear with glazed door set within the frame of the case, on shallow skirt base with brass claw and ball feet, 39.5cm (15.5ins) high excluding handle.

A rare French gilt brass ‘humpback’ cased petit sonnerie striking carriage clock with push-button repeat and alarm L. Leroy et Cie, Paris, circa 1900 The eight-day two train movement ting-tang striking the quarters on a graduated pair of gongs and sounding the hour on the larger of the two, with silvered platform lever escapement and alarm set via a small silvered Arabic numeral dial positioned the winding squares and sounding on the smaller gong, the backplate signed L. Leroy & Cie, 7. B’d de la Madeleine, Paris to upper margin and numbered 18080 to centre, the 3.25 inch wide engine-turned silvered brass arched dial with Roman numeral chapter ring and gilt spade hands over repeat signature L. LEROY & CIE, 7. BOUL’D DE LA MADALEINE, PARIS inscribed in three lines onto small chamfered panel reserves, the arched gilt brass case with hinged gilt oval pendant handle over bevel-glazed moulded dial aperture and slender architectural stepped ogee shoulder mouldings to each side, the rear with hinged door and standing on four generous bun feet, the underside with strike selection lever inscribed Silence/Sonnerie, 15cm (6ins) high excluding handle; with original blue velvet black leather covered travelling case stamped gold lettering L. LEROY & CIE to front edge. Provenance: Sold at Christies, South Kensington, London The Dr. Eugene and Rose Antelis Collection of Important French Carriage Clocks 26th November 1998 (lot 76) for a premium inclusive £2,990. The firm of 'L. Leroy & Cie' can be traced back to 1785 when the business was founded by Basille Charles Le Roy at 60 Galerie de Pierre, Palais Royal, Paris. During the Revolutionary years the firm relocated to 88 Rue de L'Egalite before finally settling at Galerie Montpensier, 13 and 15 Palais Royal. In 1828 Basille Charles died leaving the business to his son, Charles-Louis, who continued producing clocks signed 'Le Roy & Fils' until 1845 when the firm was sold to his former employee Casimir Halley Desfontaines; who in turn was succeeded by his son M. George Halley Desfontaines in 1883. In 1888 M. George Halley died leaving the business to his brother Jules Halley who then took-in as a partner Louis Leroy (apparently no relation to the founders of the firm). In 1899 the firm left Palais Royal and moved to Boulevard de La Madeleine where it continued trading in the hands of various successors until well into the 20th century.The arched ‘humpback’ form of the case of current lot was most likely first used by Abraham-Louis Breguet in around 1822 (see Allix, Charles and Bonnert, Peter CARRIAGE CLOCKS, Their history and development page 43). During the latter years of the 19th century this style of case was revived with English makers such as Jump and Nicole Nielsen producing highly complicated carriage clocks in the Breguet tradition. The current lot would almost certainly have been made to follow this fashion with the engine turned dial echoing that of Breguet. The classic simplicity of the ‘humpback’ carriage clock remains popular today as demonstrated by the premium inclusive £5,312 achieved for a closely related (but hour striking only) example, also by Leroy (No. 17894), sold at Bonhams, London Fine Clocks, 19th June 2019 (lot 4).

An interesting gilt brass electromagnetic master clock Unsigned but conforms to Gents’s 1907 patent design, early 20th century The rectangular gilt brass backplate decorated with engraved alternating triangular hatched decoration and concave cut corners except to the bottom left, applied with pivot post for the crutch assembly incorporating release lever and detent for the gravity arm and pivoted armature for the electromagnetic coils positioned to the left of the mechanism, the right hand side with shunt countwheel pivoted between shaped brass plates and locking detent for the gravity arm, the top of the plate with electrical connection posts and the whole assembly hung from a rectangular mahogany board via screws into four posts with the upper two doubling-up as twin supports for the wide jaw pendulum suspension to allow the steel-rod seconds pendulum with cylindrical gilt brass bob to swing behind the backplate, the whole in a mahogany glazed standing case with moulded cornice over glazed front door and conforming twin panels to sides, on plinth base with shallow moulded skirt, the movement backplate 24cm (9.5ins) high; the case 170cm (67ins) high overall. Gents of Leicester were founded by John Thomas Gent in 1872 and specialised in producing electric timepieces principally for semi-public and industrial use alongside fire alarm systems, telephones, transformers and related products. The firm initially operated from Faraday Road, Leicester, later (after WWII) moving to nearby Kibworth. They were bought-out by the multi-national organisation, Chloride, in 1981. In 1907 Gents patented a design of electric pendulum time transmitter or master clock, this design went on to be used in the series of ‘Pulsynetic’ timepieces which were made well into the 20th century.Although unsigned the current lot conforms to Gents’s 1907 patent design as illustrated in Miles, Robert H.A. SYNCHRONOME, Masters of Electrical Timekeeping Fig. 3/16. The overall high level of finish (including fine hatched engraved decoration to all the major components) would suggest that it was made to be an exhibit to demonstrate the operation of Gents’s design. Whether it was executed by Gents as a prototype or perhaps for promotional demonstration is unknown, however, as it is to their patented design, it would appear reasonable to suggest that it may have originated from their workshops.

A fine French engraved gilt brass and painted porcelain panel inset carriage clock with push-button repeat Retailed by Payne and Co., London, circa 1860 The eight-day bell striking movement with platform lever escapement and stamped with serial number 6421 next to engraved retailer’s signature PAYNE & Co., 163 NEW BOND STREET, LONDON to the lower margin of the backplate, the rectangular blue ground porcelain dial polychrome painted with a figure in 17th century style dress to centre within Roman numeral chapter ring with gilt inverted trident half hour markers and gilt outer border, with pierced blued steel moon hands and gilt foliate motifs to upper and lower margins, the corniche case with hinged carrying handle and porcelain panel painted with a cherubic artist within blue ground gilt surround to top over repeating geometric engraved bands to frieze, the sides and rear door with panels painted with 17th century figures courting within conforming blue and gilt surrounds, the base mouldings engraved with panels of repeating rosettes, 14.5cm (5.75ins) high. The firm of Payne and Company was founded by William Payne who is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London circa 1820-40, other sources suggest that he worked from 1811 until 1856 with the firm continuing to trade as Payne and Company until around 1875.

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

A Victorian ebonised five-glass mantel timepiece with English lever escapement S. Warwick, London, mid 19th century The five columnar pillar single chain fusee movement with Harrison’s maintaining power and substantial English lever platform escapement regulated by sprung two-arm split bimetallic balance with large cylindrical weights and timing screws, the 4 inch silvered brass Roman numeral dial signed. S. WARWICK, 8. BRITTANIA ROW, ISLINGTON to centre and with blued steel spade hands, the case with bevel-glazed rectangular top panel above cavetto moulded cornice and silvered brass canted fillet inset glazed dial aperture to the front door, the sides with conforming rectangular bevel glazed panels, the rear with rectangular glazed door, the base with ogee outline apron over cavetto moulded skirt and squab feet, 23cm (9ins) high. S. Warwick does not appear to be recorded in the usual sources however it would be reasonable to speculate that he/she may be related to a Thomas Warwick who is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as being admitted to the Clockmaker’s Company in 1796.

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

A selection of cast brass table clock case mounts For use in the restoration of late 17th century clock cases Comprising a pair of multi-section brass Corinthian column capitals and bases, a set of four similar capitals, a foliate cast hinged handle, set of four acanthus decorated vase finials, two ‘Knibb’ pattern cherub head and scroll escutcheon plates and a selection of door hinges and locks, (qty).

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

A fine French engraved gilt brass and porcelain panel inset carriage clock with Le-Roy and Fils patent keyless winding, push-button repeat and alarm Le Roy and Fils, Paris, circa 1880 The eight-day two train gong striking movement with silvered platform lever escapement and alarm sounding on the same gong, both trains wound via a contrate wheel connected to a large fixed key engraved LE ROY & FILS, PATENT 9501 fitted within the underside of the case configured to wind the going winding in one direction and the strike in the other, the backplate stamped with partially obscured serial number 59.. the dial with rectangular gilt brass mask engraved with leafy scrolling foliage enclosing a circular white enamel Roman numeral hour disc with Arabic five minutes to outer track and blued steel moon hands over conforming alarm setting dial to lower margin, the finely engraved gilt brass cannelee case with hinged carrying handle to the glazed oval panel centred floral spray decorated top over border-engraved top mouldings and inset porcelain side panels each finely painted with a romantic ruinous Classical landscape within an applied ‘split pearl’ and gilt painted cobalt blue ground border, the rear with hinged door engraved with intense floral scrolls on a matted ground, the base decorated with further conforming shaped panel infill, 15cm (6ins) high excluding handle. The firm of 'Le Roy & Fils' can be traced back to 1785 when the business was founded by Basille Charles Le Roy at 60 Galerie de Pierre, Palais Royal, Paris. During the Revolutionary years the firm relocated to 88 Rue de L'Egalite before finally settling at Galerie Montpensier, 13 and 15 Palais Royal. In 1828 Basille Charles died leaving the business to his son, Charles-Louis, who continued producing clocks signed 'Le Roy & Fils' until 1845 when the firm was sold to his former employee Casimir Halley Desfontaines; who in turn was succeeded by his son M. George Halley Desfontaines in 1883. In 1888 M. George Halley died leaving the business to his brother Jules Halley who then took-in as a partner Louis Leroy (apparently no relation to the founders of the firm). In 1899 the firm left Palais Royal and moved to Boulevard de La Madeleine where it continued trading in the hands of various successors until well into the 20th century.The ingenious patent keyless bottom-wind system fitted to the current lot is described in Allix, Charles and Bonnert, Peter CARRIAGE CLOCKS, Their history and development pages 219-21.

A Regency mahogany tavern timepiece A. Hall, Hatfield, circa 1810 The four pillar single weight driven movement with tapered plates enclosing five-wheel train and anchor escapement for regulation by a seconds pendulum, the frontplate stamped with crowned HANDLEY & MOORE trademark over serial number 2017, the 19.5 inch circular slightly convex cream painted Roman Numeral dial indistinctly signed A. HALL, HATFIELD to centre and with steel spade hands within delicate stepped ogee turned mahogany surround, the rectangular drop-trunk case with side doors behind dial over and shaped ears to throat over caddy moulded concave-topped door to trunk and chisel-shaped foot, (lacking pendulum and weight, damage and losses to case), 115.5cm (45.5ins) high. Provenance: Brocket Hall, Hertfordshire. Andrew Hall is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working first in London (circa 1802-04) then in Hatfield, Middlesex by 1828 where he worked until 1839. The partnership partnership of Handley and Moore was established in 1798 when two former apprentices of John Thwaites, George Handley and John Moore, went into business together. Working in Clerkenwell Close, London they mainly supplied other makers with finely made movements. The partnership continued until 1824 when Handley died, after which Moore continued alone.

A William III style part-finished walnut longcase clock case for a movement with eleven inch dial Unsigned, recent Executed with well selected figured veneers and fine cross-grain mouldings, the hood configured to rise with ogee cornice and scroll-pierced frieze fret to entablature over Solomonic twist turned three-quarter columns flanking the fixed dial aperture and the sides incorporating rectangular openings with bargeboards at the rear, the trunk with convex throat mouldings, vacant door aperture measuring 42.25 by 9 inches and triple-line strung book-matched panels within crossbanded borders to sides, on conforming book-matched panel veneered plinth base with crossbanded borders and ogee top moulding, (hood rear quarter columns detached but present), 203cm (80ins) high. Please note: The trunk door made with the case has now turned up and will be available for the buyer to purchase for a fixed (all inclusive) price of £60.

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

A fine and extremely rare pair of early Victorian mahogany small library mantel timepieces supplied to H.M. Government General Register Office Benjamin Lewis Vulliamy, London, circa 1837/8 Each with substantial rectangular four pillar single fusee movement with half deadbeat escapement for regulation by heavy disc bob pendulum suspended from typical wide-jaw backcock, the backplates signed VULLIAMY, LONDON over serial numbers 1363 and 1364 with the latter also incorporating a circular GVR stamp, each 4 inch circular silvered Roman numeral dial with finely engraved Royal VR monogram over signatures VULLIAMY, London and designation GENERAL REGISTER OFFICE to centre, with blued steel spade hands, the rectangular cases each with tablet upstand over crisp cavetto cornice and full-width front door incorporating circular glazed dial aperture inset with a moulded silvered brass bezel, the rear with plain rectangular door, on skirt base with squab feet, (both lacking pendulums), 25.5cm (10ins) high. 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 Vulliamys started numbering most of their clocks from 1788 until 1854. Two of the original Vulliamy work books still survive in the library of the British Horological Institute at Upton Hall, these often can provide valuable information regarding the manufacture and provenance of many clocks made by the workshop. Unfortunately the records are incomplete hence only note clocks with serial numbers 296-469 and 746-1067. There is also a third surviving Vulliamy workbook, relating only to repairs and servicing dating to the period 1846-53. Interestingly this volume records at least sixty five clocks being in the possession of the government ‘Office of Works’ and another forty being in the possession of Queen Victoria at Buckingham Palace. The General Records Office (GRO) was established by the Births and Deaths Registration Act 1836 with Registration commencing in July 1837. The first registrar general was Thomas Henry Lister whose responsibilities grew to also include that of conducting the first census for England and Wales in 1841. In 1972 the GRO became a sub department of the newly established Office of population Censuses and Surveys and 2007 witnessed the passing of Statistics and Registration Service Act leading to the establishment of the non-ministerial UK Statistics Authority. In order for the GRO to remain ministerially-accountable the office became part of the Home Office Identity and Passport Service at this time. The current lot is extremely rare being a pair of timepieces with consecutive serial numbers supplied by Vulliamy for H.M. Government offices. Roger Smith in his article entitled Vulliamy Clock Numbering, A Postscript, published in Antiquarian Horology Vol. 21 No. 5 (September 1994), used surviving data in the records of the British Horological Institute at Upton Hall and known documented examples to compile a graph from which unrecorded clocks can be fairly accurately dated. According to this chart numbers 1363 and 1364 would appear to have been supplied in 1837/38 -indicating that the present timepieces were most likely supplied to Whitehall for use in The General Records Office at the time of the department’s establishment. Although timepieces supplied by Vulliamy for use in H.M. Government offices do turn-up at auction from time to time most seem to be drop dial wall timepieces. One such example, engraved with the Royal V.R. Cypher and banner POOR LAW COMMISSION was sold in these rooms on 15th March 2018 (lot 121) for £6,500 hammer; whilst another, this time inscribed PAYMASTER OF EXCHEQUER BILLS over date AD 1842, was sold at Bearnes, Hampton and Littlewood, Exeter, on 7th October 2015 (lot 744) for £8,800 hammer. A third example still resides in the Lord Chancellor’s office inscribed BAIL COURT over AD1845. Small mantel timepieces marked with the Royal cypher and Government office designation appear to be much rarer with, to the best of the cataloguer’s knowledge, apparently none appearing at auction within the last ten years. This may be be in part due the much smaller and more portable nature of these timepieces resulting in them perhaps being less likely to have been engraved with the full cypher and designation when made for practical reasons. Indeed one such timepiece (from the same source as the present lot) is also included in the sale This example only bears the signature to the dial but evidence of labels and other markings to the case strongly suggests that this third timepiece was supplied for Government office use. Another closely related small mantel timepiece, perhaps also supplied for Government use, was sold in these rooms on 20th September 2016 (lot 76) for £14,000; an auction record for a timepiece of this type.Close examination of the current lot throws-up some interesting observations most noticeably the choice of veneers for the sides of each of the cases which are an exact match for each side of both timepieces. Also it would seem that at one point they were overhauled at the same time in the same workshop and the texturing to the silvering of the dials are slightly different indicating that re-silvering was executed by different workmen.

A fine French engraved gilt brass and porcelain panel inset carriage clock with push-button repeat and alarm Unsigned but possibly Jules Brunelot, Paris, circa 1880 The eight-day two-train gong striking movement with silvered platform lever escapement, alarm sounding on the same gong and stamped with trademark formed as the letter B within a circle to the lower left hand corner of the backplate, the rectangular porcelain panel dial with fine polychrome floral painted centre within pink and gilt bordered Roman numeral cartouche chapter ring, with gilt spade hands, the lower margin incorporating subsidiary alarm setting dial flanked by painted figures of a peasant girl and cupid, the upper decorated with fine bunched floral sprays, the finely engraved gilt brass corniche case with hinged carrying handle to the oval glazed panel centred rococo scroll decorated top over porcelain side panels each centred with a finely painted cartouche of a courting couple in traditional dress within an applied turquoise bead and gilt painted pink ground border, the caddy moulded corner uprights with spiral ribbon engraved decoration and the rear with hinged glazed door incorporating a scroll engraved frame, the base decorated with further rococo scrollwork on a matted ground, 13.5cm (5.25ins) high excluding handle. The trademark stamped to the lower left hand corner of the backplate of the current lot (letter B within a circle) is noted in Allix, Charles and Bonnert, Peter CARRIAGE CLOCKS, Their history and development as possibly being for Jules Brunelot although no evidence has been found to confirm this.

A Victorian mahogany five-glass mantel timepiece, John Poole, London, mid 19th century The four columnar pillar single chain fusee movement with anchor escapement regulated by disc bob pendulum with holdfast to the backplate, the 4.25 inch silvered brass Roman numeral dial signed J. POOLE, 57 FENCHURCH ST., LONDON to centre, with blued steel spade hands and rococo scroll engraved decoration to spandrels areas, the case with bevel-glazed rectangular top panel above cavetto moulded cornice and silvered brass canted fillet inset glazed dial aperture to the front door, the sides with conforming rectangular bevel glazed panels, the rear with rectangular glazed door, the base with ogee outline apron over cavetto moulded skirt and squab feet, 24cm (9.5ins) high. John Poole was a fine chronometer maker who was born in 1818 and set up business in 1833 at 9 York terrace. In circa 1850 Poole devised his own auxiliary compensation for the balance, which was used as standard by many other makers. He worked from several other addresses in the Clerkenwell area including 57 Fenchurch Street, London during the 1850’s. In 1865 his home address was 14 River Street, Myddleton Square where he died by suicide in 1867, the year he won a Gold Medal in Paris. His business was continued by his brother James Poole (born 1816) who had been part of the firm specializing in watches. After the latter's death in 1900, the business was carried on by his son, also James.

ϒAn unusual French cloisonné panel inset brass and ebony miniature carriage timepiece Probably by A. Dumas, Paris, late 19th century The eight-day single train movement with silvered platform lever escapement and backplate stamped with oval trademark AD over number 1336 to the lower left hand corner, the dial with fine engraved gilt brass and polychrome cloisonné enamel mask decorated in light and dark blue stylised foliate designs incorporating simulated agate accents around a recessed circular white enamel Roman numeral dial with Arabic five minutes to outer track and fine blued steel spade hands, the case of Mignonette No. 1 size with hinged brass carrying handle over rectangular panel centred ebony top panel moulded brass cornice with canted angles continuing down the ebony uprights, the sides with conforming blue and simulated agate accented cloisonné enamelled engraved gilt brass panels and the rear with bevel-glazed door, ebony skirt base with brass cavetto top mouldings and disc feet, 3.25ins high excluding handle. The AD oval trademark stamped to the backplate of the current lot is noted in Allix, Charles and Bonnert, Peter CARRIAGE CLOCKS, Their history and development as appearing on the gong blocks of French carriage clocks. Allix also notes in his biographical entry for A. Dumas that the eminent French horologist, Claudius Saunier, commented that Dumas specialised in Mignonettes and that he also even made cases and gongs. With this in mind it would be logical to speculate the oval AD stamp that appears on gong blocks as well as the backplate of the current lot is for A. Dumas. Miniature carriage clocks are called Mignonettes or ‘little darlings’ and come in three graded sizes with No. 1 being the smallest. The current lot is extremely unusual in that the case is ebony and brass as the mixing of case materials used for miniature carriage clocks is very rarely seen however a timepiece with a closely related case albeit in ivory rather than ebony is illustrated in Roberts, Derek CARRIAGE and Other Travelling CLOCKS on page 139 (Fig. 9-5). ϒ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.

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

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

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

A selection of wooden longcase clock case fittings For use in the restoration of 17th century and later longcase clocks Including six giltwood ball and spire finials, a set of three flambeau urn finials, a group of hood column caps and bases, two walnut and one ebonised trunk door lenticle surrounds, and a quantity of assorted bun feet, (qty).

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

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

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

A fine French painted porcelain panel inset engraved gilt brass carriage clock with push-button repeat Drocourt, Paris, circa 1870 The eight-day two train gong striking movement with silvered platform lever escapement and backplate stamped with oval D.C. trademark over serial number 8526 to the lower left hand corner, the rectangular porcelain dial polychrome painted with an 18th century interior featuring a young girl playing with a puppy to centre within Roman numeral chapter ring with elaborate gilt half hour markers and blued steel spade hands, over conforming scene of a man conversing with his wife whilst she operates a wool spinner within gilt scroll and blue ground borders, the upper margin with continuation scene, the frosted gilt cannelee case with hinged carrying handle over painted oval porcelain panel decorated with a female working a spinning wheel inset into the fine floral scroll engraved top, the sides with panels similarly decorated with 18th century style French genre scenes within gilt and blue ground borders, with bevel-glazed rear door and entwined leaf engraved caddy moulded corner uprights over conforming rococo scroll engraved skirt base, 14.5cm (5.75ins) high; with a tooled leather covered travelling case. Pierre Drocourt is recorded in Allix, Charles and Bonnert, Peter CARRIAGE CLOCKS, Their history and development as born in 1819 and setting up in business as a clockmaker in Paris in 1853. He initially worked from Rue Limoges later moving to 28 Rue Debelleyme, Paris and was succeeded by his son, Alfred (born 1847), in 1872. The blancs roulants, rough movements, were made in Saint-Nicolas-d'Aliermont, a town outside Dieppe, where Drocourt had workshops until their sale in 1904, being premises purchased from Holingue frères in 1875 who had previously supplied Drocourt. The firm was awarded numerous international exhibition medals and mentions including Silver in Paris 1878 and Gold in 1889. Please note: As an addendum to the above footnote the dates relating to Pierre and Alfred Drocourt together with the information relating to their operations in Saint-Nicolas-d’Aliermont and their relationship with Hollingue Frères is additional to the information provided by Allix and Bonnert. Full acknowledgement for the research leading to the provision of this valuable information needs to be given to Leigh Extence whose work can be found online at www.extence.co.uk. In addition to this Leigh Extence has confirmed that the Rue Limoges and Rue Debelleyme addresses were actually the same premises renamed during the process of rationalisation and merger of Parisian streets in 1865.

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

An early 20th century pine wardrobe, with single mirrored door, 193cm high, 97cm long, 42cm deep

A 19th century oak letter box, with a drop down glass door

An Edwardian mahogany inlaid display cabinet, with single glazed door - 117cm high, 61cm long, 29cm deep

A late 19th/early 20th century painted wood toy house, probably Continental, with glass windows, opening door, the base on four ball supports, 41cm high

A pine two section bookcase, with a glazed top, single drawers and two door cupboard section, 183cm high, 91cm long, 42cm deep

A 20th century stripped pine dresser, with two door glazed door, two short drawers and a two-cupboard section, 210cm high, 155cm long, 46cm deep

A George III oak splay-fronted wall hanging corner cupboard, rectangular panel door, moulded cornice and base, 104cm high, 81cm wide, c.1810

A George III oak and mahogany wall hanging splay fronted corner cupboard, moulded cornice above a deep frieze and a rectangular panelled door inlaid with an oval shell patera, the base with frieze drawer flanked by a pair of blind drawers, 123cm high, 86cm wide, c.1810

A gilt metal mounted marquetry pier cabinet, rectangular top above a concave frieze inlaid with flowers and C-scrolls, and a single glazed door enclosing a fabric lined shelf, shaped plinth base, 106cm high

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A George III elm, oak and mahogany splay fronted wall hanging corner cupboard, stepped cornice above a rectangular panel door inlaid with an ogee arch, drawer to frieze, 118cm high, 92cm wide, c.1780

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

Kitchenalia and Metalware - a novelty jelly mould, as a leaping fish; others, crayfish, shell, etc; an eight branch candelabra; brass weights; door knocker; etc

An early 20th century crossbanded mahogany triple wardrobe, outswept cornice above a central mirrored door, flanked by two further panel doors, the left enclosing sliding trays and a hinged compartment, the right a rail and further hinged compartment, 197cm wide

A 19th century mahogany writing desk, rectangular top with inset tooled writing surface above a long frieze drawer, further drawers to each pedestal, centred by a cupboard door to kneehole, 118.5cm wide

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A late Victorian/Edwardian mahogany wardrobe, outswept cornice above a central mirrored door and a long drawer, plinth base, 205.5cm high

Tools - a large saw; shaves; paraffin lamp; snow chains; door furniture, etc