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An ebony small table timepiece with silent-pull quarter-repeat on two bells... An ebony small table timepiece with silent-pull quarter-repeat on two bells The movement and dial by Benjamin Wright, London, circa 1690, the case later The four finned and knopped pillar movement with verge escapement regulated by short bob pendulum and silent-pull quarter-repeat sounding the hours and quarters on two bells mounted above the plates, the single line-bordered symmetrical foliate scroll and tulip bud engraved backplate signed Benjamin Wright, Londini Fecit to a lambrequin cartouche to centre, the 6.125 inch square gilt brass dial with single winding hole and calendar aperture to the finely matted centre within applied silvered Roman numeral chapter ring with squat stylised fleur-de-lys half hour markers and Arabic five minutes within the narrow outer minute track, with pierced steel hands and winged cherub mask cast brass spandrels to angles with foliate scroll inlaid infill to margins between, now in an ebony veneered case with hinged tied floral bud, bird's head and dolphin cast handle to the domed caddy surmount over ogee cornice top moulding and glazed front door applied with gilt foliate scroll mounts to jambs, the sides with conforming rectangular windows beneath lozenge-shaped foliate scroll pierced sound frets, the rear with further rectangular glazed door set within the frame of the case, the base with shallow moulded skirt over ebonised disc feet, 31cm (12.25ins) high excluding handle. Benjamin Wright is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born circa 1664, apprenticed to Abraham Prime in April 1678 and gaining his freedom of the Clockmakers' Company in July 1685. He is believed to have worked from Bell Alley, Coleman Street, London and died before January 1709 when his widow, Mary, is recorded taking George Wright as an apprentice. The current lot is designed to sound the hours and quarters on two bells only on demand. This form of quarter repeat mechanism is thought to have been devised for night-time use in the bedroom; whilst striking clocks with quarter repeat facility were generally intended to be utilised downstairs during the day and upstairs at night. As a consequence 'silent-pull' quarter repeating timepieces are rarer as the original owner have to have been extremely wealthy to afford a timepiece reserved exclusively for use in the bed chamber. The design of the repeat mechanism used in the current lot is essentially based on the system used by Joseph Knibb as described and illustrated in Allix, Charles and Harvey, Laurence HOBSON'S CHOICE pages 36-7.

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

A George III mahogany eight-day longcase clock James Wilson, London A George III mahogany eight-day longcase clock James Wilson, London, late 18th century The five pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch brass break-arch dial with subsidiary seconds and calendar dials and signed James Wilson, WESTMINSTER, London to the silvered centre within applied Roman numeral chapter ring with Arabic five minutes to outer track, with pierced steel hands and rococo scroll cast and pierced spandrels to angles beneath arch centred with subsidiary Strike/Silent selection dial flanked by conforming cast mounts, in a case with break-arch cavetto cornice over brass stop fluted columns flanking the glazed dial aperture, the sides with arched brass fishscale sound frets and quarter columns applied to bargeboards at the rear, the trunk with break-arch door flanked by brass stop fluted quarter columns over raised shaped panel fronted plinth base with moulded double skirt incorporating shaped apron, 225cm (88.5ins) high. James Wilson is recorded in Baillie, G. H. Watchmakers & Clockmakers of the World as gaining his freedom of the Clockmakers' Company in 1781 and working in Westminster, London until 1824.

French Louis XV style gilt brass mounted tortoishell mantel clock The... French Louis XV style gilt brass mounted tortoishell mantel clock The movement by Samuel Marti, Paris, circa 1900 The circular eight-day gong striking movement with anchor escapement regulated by disc-bob pendulum with Brocot type regulation to suspension, the backplate stamped with central Samuel Marti, MEDAILLE D'OR, PARIS 1900 roundel over serial number 163 46 to lower margin, the simulated thirteen piece circular white enamel Roman numeral dial with Arabic five minutes to outer track and steel moon hands within cast brass bevel glazed hinged bezel, the waisted case veneered in mottled red shell and applied with naturalistic rococo scroll cast surmount to the cavetto upstand over conforming crest and foliate borders to fascia, the rear with shaped door within an ebonised surround, on shouldered scroll feet with applied apron mount cast as a laurel branch between, 37cm (14.5ins) high.

A French Louis XV style gilt brass mounted 'vernis martin A French Louis XV style gilt brass mounted 'vernis martin' decorated mantel clock, Unsigned, late 19th century The circular eight-day gong striking movement with anchor escapement regulated by disc-bob pendulum with Brocot type regulation to suspension and backplate stamped with serial number 652 46(?) to lower margin, the simulated thirteen piece circular white enamel Roman numeral dial with Arabic five minutes to outer track and steel trident shaped hands within laurel cast brass bevel glazed hinged bezel, the waisted deep olive green painted case applied with naturalistic rococo scroll cast surmount to the floral spray polychrome painted cavetto upstand over conforming cast crest and draped flowering foliage over dial, the apron further painted with a gentleman in 18th century dress tending flowers with a watering can, the rear with shaped door within a conforming green ground, on rococo scroll cast feet with applied apron mount between, 31cm (12.25ins) high.

A George II walnut quarter-chiming eight-day longcase clock John Richardson A George II walnut quarter-chiming eight-day longcase clock John Richardson, London, circa 1740 The five finned pillar triple train movement with anchor escapement, chiming the quarters on a graduated nest of six bells and striking the hour on a single larger bell, the 12 inch brass herringbone border engraved break-arch dial with rosette decorated recessed scallop-edged subsidiary seconds dial, calendar aperture and ringed winding holes to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track, with pierced steel hands and female mask and scroll cast spandrels to angles beneath subsidiary Strike/Silent selection dial flanked by conforming mounts to arch within generous applied silvered name plate inscribed John Richardson, London forming the upper margin of the arch and continuing down to contact with the chapter ring beneath, in a case with architectural cornice above break-arch frieze and generous three quarter columns applied to the glazed hood door, the sides with break-arch apertures and conforming quarter columns set against bargeboards at the rear, the trunk with break-arch door veneered with three pairs of book-matched panels within a herringbone bordered crossbanded surround, on conforming cavetto moulded plinth base with moulded skirt, 234cm (92ins) high. John Richardson is recorded in Baillie, G. H. Watchmakers & Clockmakers of the World as apprenticed in 1731 and gaining his freedom of the Clockmakers' Company in 1738. His workshop was based at Bell Yard, London and he is presumed to have worked until his death in 1774

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

A George III mahogany eight-day longcase clock Samuel Atkins, London A George III mahogany eight-day longcase clock Samuel Atkins, London, circa 1765 The five pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch brass break-arch dial with subsidiary seconds dial, calendar aperture and oval signature plate engraved Sam'l Atkins, London to the matted centre within applied Roman numeral chapter ring with Arabic five minutes to outer track, with pierced steel hands and rococo scroll cast and pierced spandrels to angles beneath arch centred with subsidiary Strike/Silent selection dial flanked by dolphin cast mounts, the case of fine colour with concave sided 'pagoda' pediment fronted with fine rococo scroll cast brass fret over break-arch cavetto cornice and brass stop fluted columns flanking the glazed dial aperture, the sides with arched brass fishscale sound frets and quarter columns applied to bargeboards at the rear, the trunk with break-arch door over raised panel fronted plinth base with moulded double skirt and squab feet, 243cm (95.5ins) high. Provenance: Formerly the property of William Francis Clarke, Commanding Officer of Naval Intelligence during WWII, Hut 4, Bletchley Park; thence by direct descent to the vendor. Samuel Atkins is recorded in Baillie, G. H. Watchmakers & Clockmakers of the World as an 'eminent' maker born in 1697 and working from Temple Bar until his death in 1768. The current lot is a fine original unrestored 'textbook' example of a London mahogany pagoda-cased longcase clock which retains fine colour and surface to the case.

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

A rosewood grande sonnerie striking 'Vienna' wall regulator Unsigned A rosewood grande sonnerie striking 'Vienna' wall regulator Unsigned, mid to late 19th century The triple train weight-driven movement striking the hour with every quarter on a pair of graduated gongs, the going train with deadbeat escapement regulated by wood rod pendulum with large brass lenticular bob, the two-piece white enamel Roman numeral dial with pierced steel hands and moulded brass bezel, the case with elaborate break-arch pediment applied with urn finials and turned rosette to frieze over full-height arch glazed door flanked by corbels and short spiral twist columns to the canted moulded uprights, the sides with tall rectangular windows, the base with inverted bell-shaped caddy with pendant finial, 129cm (51ins) high.

A William III ebonised thirty-hour longcase clock case Unsigned A William III ebonised thirty-hour longcase clock case Unsigned, late 17th century The later hood with cavetto cornice over square glazed aperture for a 7.5inch dial and conforming rectangular side windows, the trunk with convex throat over 41.5ins slender rectangular door centred with a lenticle and applied with two vertical raised panels, on moulded plinth base with complex skirt, 197cm (77.5ins) high.

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

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

A fine George III ºngo' cased black chinoiserie japanned tavern timepiece... A fine George III ºngo' cased black chinoiserie japanned tavern timepiece John Rayment, Huntingdon, circa 1785 The substantial six pillar eight-day movement with high pinion count to the five-wheel train and anchor escapement regulated by seconds pendulum, the 17 inch circular gilt on black Roman numeral dial with Arabic five minutes to outer track and decorative pierced gilt brass hands set behind substantial hinged glazed wooden ogee moulded bezel within caddy moulded border to the dial panel behind, the teardrop shaped drop-trunk case signed in gilt John Rayment Huntingtdon in a curve to throat above concave-topped baluster outline lift-out door finely decorated in raised polychrome and gilt with figures and oriental pavilions including a female in European dress within double line border and continuous gilt scroll band painted surround, the sides with movement access panels above large stylised floral spray decoration, the base with ogee moulded canted foot decorated with further large scale foliate motif to front, 140cm (55ins) high. Provenance: George Fludyer, (d.1837) and by descent through the Fludyer Family, finally to Sir Arthur John Fludyer, 5 th and last baronet, who died childless in 1922. Then to his sister Katherine who married Henry Randolph Finch of the Croft, Manton, second son of George Finch, Burley-on-the-Hill, Rutland and by descent. The Finch Family had the title of the The Earls of Winchelsea and Nottingham Burley-on-the-Hill. John Rayment is recorded in Baillie, G. H. Watchmakers & Clockmakers of the World as working in Huntingdon 1751-95. The current lot is unusual in having a wooden glazed bezel which would suggest that the owner sought to ensure that the hands could not be tampered with when in use. From this it may be appropriate to speculate that the timepiece could have been supplied for use in the servants hall of a large country house rather than in a tavern or other public place. This possibility is supported by the continuous single-family provenance which is also perhaps the principal reason why the timepiece has survived in fine original unrestored condition.

A fine William III ebonised eight-day longcase clock with one-and-a-quarter... A fine William III ebonised eight-day longcase clock with one-and-a-quarter seconds period pendulum Abraham Farrer, Pontefract, circa 1695 The four finned pillar inside countwheel bell striking movement with anchor escapement regulated by one-and-a-quarter seconds pendulum, the 11 inch square brass dial with ringed winding holes, subsidiary seconds dial and scroll border engraved calendar aperture to the rose motif decorated matted centre within applied silvered Roman numeral chapter ring with stylised sword hilt hour markers and Arabic five minutes to outer track, with fine pierced steel hands and winged cherub mask and leafy cast spandrels to angles with generous foliate scroll engraved infill to upper and side margins over signature Abraham Farrer Pontefract to lower border, the ebonised case with twin cherub and crown centred scroll carved crest over complex moulded cornice and three-quarter columns applied to the glazed hood door, the sides with rectangular windows and conforming quarter columns applied to bargeboards at the rear, the trunk with convex throat moulding over 41.5inch rectangular door, the plinth base incorporating hinged front panel to reveal the pendulum bob, on bun feet, (some restoration), 212cm (83.5ins) high. Little is known of the life of Abraham Farrer although a maker with this name is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as having a son, also named Abraham, in 1728. Loomes also cites the records of two deaths - one in 1740, the other in 1752/3, it would perhaps be appropriate to speculate that these refer to the passing of father and son respectively. The movement of the current lot can be described as being very much in the London style and demonstrates a high quality and skilled approach both in its finish and specification. The provision of a one-and-a-quarter seconds pendulum is extremely rare for a provincial longcase however another clock (of month duration) by Farrer with this feature is described in Edwardes, Ernest THE GRANDFATHER CLOCK pages 226-7 with the dial illustrated as Plate 19.

An ebonised miniature thirty-hour longcase timepiece with alarm The movement... An ebonised miniature thirty-hour longcase timepiece with alarm The movement and dial by Conyers Dunlop, London, circa 1740 The posted single-handed movement with verge escapement regulated by short bob pendulum swinging to the rear of the clock and alarm set within the frame behind the going train, the 5 inch brass break-arch dial with alarm disc and pierced steel hand to the matted centre within applied silvered Roman numeral chapter ring and rococo scroll cast spandrels to angles beneath circular boss signed Conyers Dunlop, London flanked by conforming mounts to arch, with domed bell bearer behind, in an ebonised case with ball and spire finial to the shallow domed caddy superstructure over ogee moulded cornice, scroll cast brass infill mounts and break-arch glazed door to hood, the trunk with concave throat moulding over slender caddy moulded rectangular door and ogee moulded plinth base with applied skirt, (case with restoration), 193cm (76ins) high excluding finial; 206cm (81ins) high overall. Conyers Dunlop, the son of renowned clockmaker Andrew Dunlop, is recorded in Baillie. G.H. Watchmakers & Clockmakers of the World as apprenticed in 1725 gaining his freedom of the Clockmaker's Company in 1733; he was appointed Master in 1758 and died in 1779.

A fine North Italian bone inlaid architectural night timepiece Geo Pietro... A fine North Italian bone inlaid architectural night timepiece Geo Pietro Callin, Genoa, circa 1685 The small circular rear winding single fusee movement with inverted verge escapement regulated by short disc bob pendulum and four baluster pillars pinned through the backplate signed G eo. Pietro Callin to centre, the mechanism mounted on a scroll-pierced arched crossmember positioned behind the dial and with pivot to the apex of the frontplate for the revolving hour disc driven by motionwork and incorporating two smaller revolving discs each pierced with Arabic hour numerals visible through circular apertures cut within the outer band of the principal disc, the 13.5 by 10.5 inch rectangular copper dial finely painted with a landscape incorporating Chronos to the left passing Roman numeral hours up to the arched aperture for the revolving hour disc painted with cherubs in flight and pierced with numerals I, II and III for the quarters to upper margin, the opposing side of the dial painted with Death as a skeleton holding a sithe receiving the Roman numeral hour discs and placing them into a stone sarcophagus inscribed ALTERMINE COMVNVS SIATUT ORA, the finely detailed Baroque case with open arch pediment centred with a small upstand inlaid with two foliate scroll panels capped with scallop shell carved shallow arch tympanum flanked by scroll-carved infill over lintel with plain frieze and tight cornice mouldings, the front with rectangular door applied with raised mouldings to the dial aperture flanked by generous hipped carved side scrolls, the conforming breakfronted base incorporating key drawer fronted with a pair of panels each inlaid in bone with symmetrical scrolls around a vacant cartouche over deep cavetto moulded skirt fitted with six bun feet, 52cm (20.5ins) high. A Pietro Calim is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as 'German Keeper of clock on Palazzo delle Compere' 1677-85; although little else appears to be known of Callin a few clocks signed by him are known including; An impressive ebonised tall alter clock with allegorical dial painted by Giovanni Battista Gaulli, The Poldi Collection, Milan. An ebonised night clock with dial painted with a Saint at prayer, Cambi, Genova, 18th November 2014, lot 136. An ebonised table clock with silent-pull quarter repeat included in this sale as the following lot. In addition to the above another night clock almost certainly from the same workshop but signed 'Giovanni Carlo Calin' was offered at Christies, New York THE ABBOTT GUGGENHEIM COLLECTION , 27th January 2015, lot 118. This example is particularly relevant as it exhibits similarly composed dial decoration of Chronos and Death passing the hours to the current lot. Finally a table timepiece of noticeably similar design to the following lot (and with almost identical dial) but signed 'Giovanni Battista Batta Callin' is illustrated in Tardy LA PENDULE FRANCAIS. 3'eme Partie, Provinces et Etranger on page 417. The Italian preference for this design of night timepiece (where the time is displayed by shining a light source through moving apertures in the dial) is thought to have come about via the Campani brothers in Rome who were apparently first asked to produce such a timepiece (with silent escapement) for pope Alexandre VIII in 1665. Indeed it appears that, despite the obvious impracticalities and inherent fire risk, their popularity endured until the end of the century - long after most of the rest of Europe had adopted pull quarter-repeating as a more practical solution for telling the time during the hours of darkness. The case of the current lot is particularly finely proportioned and detailed with crisp architecturally correct mouldings indicating that it was made by a specialist craftsman familiar with the principals of Classical architecture and Palladianism. The use of ebony for the veneers and mouldings coupled with the unusual bone inlaid panels indicate that the present clock would have been a particularly expensive model when made. Due to inherhent similarities in form and detail it is possible thatt the case of the present timepiece was made in the same workshop as that housing the following lot.

A George II/III green japanned eight-day longcase clock William and John... A George II/III green japanned eight-day longcase clock William and John Kipling, London, mid 18th century The five pillar inside countwheel bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch brass break-arch dial with subsidiary seconds dial and calendar aperture to the matted centre within applied Roman numeral chapter ring with Arabic five minutes to outer track, with pierced steel hands and twin bird and urn cast spandrels to angles beneath circular boss signed W:m & Jn:o, Kipling, London flanked by dolphin cast mounts to arch, the green japanned case with concave sided 'pagoda' pediment fronted with anthemion and scroll pierced fret over gilt floral trail and hatched panel painted break-arch cavetto cornice and further scroll pierced fret above figural panel decorated hood door flanked by conforming columns to front angles, the sides with rectangular windows within leafy borders and bargeboards to the rear, the trunk with gilt leaf motif centred hatched panel painted concave throat moulding over shaped 'block top' door decorated in raised polychrome and gilt with figures amongst elaborate pagodas and other structures within silver line borders, the surround with seated figures to upper margin over foliate trails interrupted by hatch panels, the sides divided into pairs of leafy panels, on raised shaped panel fronted plinth base decorated with a European man o' war moored beside a coastal fort over moulded double skirt and squab feet, 250cm (98.5ins) high. William Kipling is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born in Romaldkirk, Yorkshire in 1680/1 and apprenticed through the Blacksmiths' Company to Thomas Johnson in September 1695. He is thought to have succeeded Johnson working from Ratcliffe Cross, London from circa 1705. Latterly William Kipling took his son, John (born 1722) into partnership until the latter's death in 1750, when the business was handed over to Charles Bosley. William is believed to have outlived his son by seven years dying in 1757. The current lot is a fine original unrestored example of an early London pagoda-cased clock which retains much of its original decorated surface to the case.

A Queen Anne ebonised eight-day longcase clock Etherington, London A Queen Anne ebonised eight-day longcase clock Etherington, London, circa 1710 The five finned pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum with rise/fall regulation to suspension, the 12 inch shallow break-arch brass dial with subsidiary seconds dial and calendar aperture to the matted centre within applied Roman numeral chapter ring with stylised fleur-de-lys half hour markers, Arabic five minutes to outer track and signed Etherington, London to lower margin, with fine pierced steel hands and crisply cast gilt brass Indian mask and scroll spandrels to angles within herringbone engraved outer border, the shallow arch centred with applied arched silver rise/fall regulation scale annotated Slo/Fas and divided 0-60 within fine symmetrical foliate scroll engraved field incorporating basket of fruit and strapwork over festoon to centre and conforming herringbone border to upper margin, the ebonised case with brass ball and spire finials to the domed caddy surmounted fine foliate fretwork fronted box upstand over moulded cornice and conforming foliate pierced quadrant frets to frieze and generous three-quarter columns with gilt caps and bases to the glazed hood door, the sides with arched apertures and quarter columns set against bargeboards at the rear beneath further rectangular blind frets, the trunk with concave throat above 42 inch rectangular door centred with a brass lenticle, on ogee moulded plinth base applied with two-tier moulded skirt, (case reduced in depth), 259cm (102ins) high excluding finials; 277cm (109ins) high overall. Provenance: By repute formerly at Marston House, Somerset. Literature: The dial of the current lot is illustrated in Cescinsky, Herbert THE OLD ENGLISH MASTER CLOCKMAKERS AND THEIR CLOCKS 1670-1820 on page 39 (Fig. 40). George Etherington is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as being made a Free Brother of the Clockmakers' Company in 1684 having previously being apprenticed to Robert Rooksby possibly in Newcastle-on-Tyne or York. In 1689 he moved from the 'Dial in Fleet Street' to 'against the New Church in the Strand', London. In 1697 he signed the oath of allegiance and became an Assistant of the Clockmakers' Company in 1701, Warden in 1706 and finally Master in 1709. He attended until at least 1720 and is thought to have died in 1729. George Etherington's work can generally be characterised as distinctive, often impressive and innovative in its decorative form; this very much follows the shift in fashion towards increased scale and heightened decoration which occurred during the Queen Anne period. The current lot is typical of this approach with the very early use of a shallow break-arch dial featuring unusual arched regulation scale within a finely engraved field. The case is also of impressive proportions and was almost certainly made by the same case maker responsible for that accommodating a clock of six week duration by John Lowndes which was sold in these rooms on Tuesday 15th September 2015, lot 204.

A fine and rare North Italian ebonised architectural table timepiece with... A fine and rare North Italian ebonised architectural table timepiece with silent-pull quarter-repeat on two bells Gio Pietro Callin, Genoa, circa 1680 The rectangular movement with four baluster turned pillars pinned through the backplate signed Gio Petro Callin AGenoua to the lower margin, the going train with spring barrel and verge escapement regulated by short pendulum with silk suspension and cycloidal cheeks, the early Knibb type silent-pull quarter-repeat train striking the hours and quarters on demand only via twin vertical hammer arbors sounding on a graduated pair of bells mounted within the pediment of the case, the 8 by 7 inch faded salmon silk covered iron dial applied with silvered Roman numeral chapter ring with tied asterisk half hour markers and Arabic five minutes within the outer minute track, the angles applied with foliate scroll pierced chased gilt brass spandrels with the lower two continuing down further to flank a cartouche cast as en entwined pair of serpents enclosing silvered signature plate engraved Gio Petro Callin AGenoua , the finely detailed Baroque case with open arch pediment centred with a small panel upstand capped with triangular tympanum flanked by scroll-carved infill over breakfronted lintel with plain frieze and tight cornice mouldings, the front with rectangular door applied with raised mouldings to the glazed dial aperture flanked by generous hipped carved sides scrolls, the conforming breakfronted base incorporating key drawer and deep cavetto moulded skirt, on six bun feet, 52cm (20.5ins) high. A Pietro Calim is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as 'German Keeper of clock on Palazzo delle Compere' 1677-85; although little else appears to be known of Callin a few clocks signed by him are known including; An ivory inlaid ebonised night clock with fine painted dial depicting chronos and death passing the hours, offered in this sale as the previous lot. An impressive ebonised tall alter clock with allegorical dial painted by Giovanni Battista Gaulli, The Poldi Collection, Milan. An ebonised night clock with dial painted with a Saint at prayer, Cambi, Genova, 18th November 2014, lot 136. In addition to these another night clock probably from the same workshop but signed 'Giovanni Carlo Calin' (also with fine painted dial depicting chronos and death passing the hours) was offered at Christies, New York THE ABBOTT GUGGENHEIM COLLECTION , 27th January 2015, lot 118. Finally a further ebonised table timepiece of noticeably similar design to the current lot (and with almost identical dial) but signed 'Giovanni Battista Batta Callin' is illustrated in Tardy LA PENDULE FRANCAIS. 3'eme Partie, Provinces et Etranger on page 417. The movement of the current lot closely resembles that of an early French 'Pendule Religieuse' but with the additional provision of a 'silent-pull' quarter repeat mechanism. The positioning of the going train between the plates and the design of movement pillars can be directly compared to an hour-striking movement by Nicholas Hanet dating to around 1675 illustrated in Plomp, Reinier Early French Pendulum Clocks, 1658-1700 pages 66-7 Figs. 115-7. Both the movement by Hanet and that of the current lot are arranged with the strike/repeat trains offset to the right to allow room for vertical planting of the going train to the centre. In addition to having offset strike trains both movements also share essentially the same configuration of double-footed backcock (fitted with cycloidal cheeks) and similar crown wheel top cock casting (each incorporating pallet arbor front pivot). From these details it would be logical to suggest that the current lot was made around the same time (or marginally later) as the clock by Hanet, and that the maker was clearly strongly influenced by contemporary French practice. The 'French influence' within the current lot is not confined to the movement as the use of fabric-covered iron for the dial plate incorporating signature cartouche doubling-up as a pendulum bob access flap are also classic features seen on early French pendulum clocks. The design of 'silent-pull' repeat mechanism used in the current lot is of the earliest type which is believed to have been invented in around 1676 by Edward Barlow and/or Daniel Quare which, in practice, seems to have been first put to use by Joseph Knibb (see Dawson, Percy G., Drover, C.B. and Parkes, D.W. Early English Clocks pages 343-4). This mechanism will sound the last hour and quarter on two bells on demand only and is thought to have been devised for night-time use in the bedroom; whilst striking clocks with quarter repeat facility were generally intended to be utilised downstairs during the day and upstairs at night. The presence of this mechanism on the current lot would suggest that the maker was well versed with English practice as well as French. Indeed the dial also exhibits possible subtle English influence in the chapter ring (with Arabic five-minute annotations within the outer minute track) and use of cast spandrels to angles. In England, prior to the invention of quarter-repeat work, the only clocks available to assist with telling the time after dark were night clocks. English night clocks are rare as they were quickly superseded by repeating clocks/watches, hence it seems that none were made after around 1680. Conversely in Italy night clocks seemed to be the preferred solution with the form almost becoming standardised by the Campani family of Rome during the 1670's. The case of the current lot is particularly finely proportioned and detailed with crisp architecturally correct mouldings indicating that it was made by a specialist craftsman familiar with the principals of Classical architecture and Palladianism. The inherent smaller proportions of the case are also quite pleasing when compared with larger night clocks which can be somewhat imposing.

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

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

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

A fine inlaid oak architectural floor-standing lantern clock case Unsigned A fine inlaid oak architectural floor-standing lantern clock case Unsigned, possibly Bristol, circa 1700 The hood with inverted breakfronted dentil moulded open-centred shallow arch tympanum incorporating geometric parquetry decorated blocks to frieze flanking infill panel inlaid with triple spire motifs over triangular arched aperture bordered by pilaster uprights flanked by shouldered pilasters incorporating panel inlaid plinths, the sides with conforming articulated dentil cornice over double line banded panel, the trunk incorporating Roman Doric column mouldings with capital inset with rosettes to frieze over rectangular double line banded door set within the frame of the case and conforming complex pilaster base, the sides with further double line banded panels, on plinth base with geometric band to upper surface of the complex top mouldings over diagonal star inlaid front and generous skirt base, 217cm (85.5ins) high ; with an incomplete lantern clock, attributed to Benjamin Willoughby, Bristol, circa 1700 , the two-handed posted countwheel striking movement with anchor escapement, finely detailed one piece 'Bristol' pattern uprights with integral finials and feet, and domed bell bearer (lacking dial, frets, doors, backplate, one finial, pinion of report for countwheel, weight and pendulum), 33cm (13ins) high, (2). According to the vendor the incomplete lantern clock included in the current lot was formerly fitted with an unusual dial signed for Benjamin Willoughby, Bristol. The dial was apparently matted with an engraved rose at the centre and applied with a Roman numeral chapter ring; regrettably it appears that this dial has now been lost. Benjamin Willoughby is recorded in Moore, A. J. THE CLOCKMAKERS OF BRISTOL 1650-1900 as apprenticed in London to Robert Dingley in 1676 before moving to Bristol where he worked from Small Street presumably until his death in 1709. The highly unusual architectural form of the hood of the lantern clock case in the current lot can be compared to that of a three-month longcase clock by Thomas Tompion residing in the collection of the British Museum (Museum number 1958,1006.2159). The movement of this Tompion longcase is numbered 132 which would date it to around 1688, however the dial incorporates an arch engraved with a bust of Queen-Anne. This suggests that the dial plate was altered along with the hood during the first decade of the 18th century. From this it would be appropriate to speculate that the current lot also dates to the first decade of the 18th century due to the strong stylistic similarities between the two. In addition to the complex architectural pediment to the hood the trunk of the current lot also incorporates accurately observed Roman Doric column mouldings which again demonstrate a high degree of architectural enlightenment by the maker. The inlaid decoration is unusual being very laborious in its execution requiring the surface to be cut back and sections inserted.

A George I black japanned longcase clock of one month duration Markwick and... A George I black japanned longcase clock of one month duration Markwick and Markham, London, circa 1720 The substantial five finned pillar rack and bell striking movement with five-wheel trains and anchor escapement regulated by seconds pendulum, the 13 inch brass break-arch dial with subsidiary seconds dial, calendar aperture and low winding holes to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to outer track, the angles with female mask and scroll cast spandrels beneath silvered Strike/Silent switch and boss engraved Markwick, & Markham, LONDON flanked by dolphin cast mounts to arch, the black japanned case with architectural cornice over gilt floral painted upper quadrant infill to frieze and conforming leafy trail decorated break-arch glazed hood door applied with generous three-quarter columns to front angles, the sides with rectangular windows and quarter columns set against bargeboards at the rear, the trunk with convex throat moulding over rectangular door painted in gilt with oriental garden landscapes within stylised leafy strapwork borders and conforming delicate surround, on ogee moulded skirt base with conforming painted decoration to front and applied moulded skirt, (painted decoration circa 1900), 230cm (90.5ins) high. James Markwick senior is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as apprenticed in 1756 to Edmund Gilpin (through Richard Taylor); he initially worked at Croydon before returning to London where he gained his freedom of the Clockmakers' Company in 1666. In 1673 he took-over the former business of Samuel Betts at behind the Royal Exchange. Markwick had a turbulent relationship with the Clockmakers' Company - in 1676 he was fined for abuse of the Master at the Steward's feast and was often reprimanded for not attending court. James Markwick junior was born in Croydon in 1662 and was apprenticed to his father gaining his freedom (by patrimony) in 1692. He initially went into partnership with his father before gaining outright control of the business on the latter's retirement to Pevensey in Sussex in around 1700 (where he subsequently died in 1716). In around 1710-15 James Markwick junior went into partnership with his son in Law Robert Markham which lasted until the former's death in 1730. The business was subsequently continued by Markham and his successors and specialised in producing clocks and watches for export to the Middle East. The current lot is unusual in that it is signed 'Markwick & Markham' rather than just 'Markwick Markham' suggesting that it was made fairly early on in the partnership.

A fine George III ebonised table clock with pull-quarter repeat on six bells... A fine George III ebonised table clock with pull-quarter repeat on six bells John Jefferys, London, circa 1750 The six pillar twin fusee bell striking movement with verge escapement regulated by short bob pendulum and pull quarter repeat sounding on a graduated nest of six bells followed by the hour on a single larger bell, the symmetrical foliate scroll engraved backplate signed John Jefferys, London beneath a stylised basket of fruit to centre, the 7 inch brass break-arch dial with shaped false bob aperture backed with silvered name plate engraved Jn'o Jefferys London and calendar to the finely matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track, with pierced steel hands and rococo scroll cast brass spandrels to angles beneath subsidiary Strike/Silent dial flanked by conforming mounts to arch, the inverted bell top case with hinged brass carring handle over brass fillet inset break-arch glazed dial aperture and fine foliate scroll engraved and pierced upper quadrant frets flanked by caddy moulded angles to the full-width front door, the sides with further engraved brass circular sound frets over concave-topped brass fillet inset rectangular glazed apertures, the rear with door set within the frame of the case with break-arch window and further scroll pierced ebonised upper quadrant frets, on cavetto moulded skirt base with squab feet, 44.5cm (17.5ins) high excluding handle. John Jeffrys was an important clock and watchmaker (through his association with John Harrison) who was born in Midgham, Berkshire in 1701. In November 1717 he was apprenticed to in London to the watchmaker Edward Jagger gaining his freedom of the Clockmakers' Company in 1726. In 1735 Jeffrys took Larcum Kendall as an apprentice followed by another named Jethro Tull in 1739. In 1751-2 Jeffrys was commissioned by John Harrison to make a watch for his personal use mainly to assist with astronomical observations and interval timing. In order to satisfy Harrison's needs the timepiece was specified to incorporate features such as maintaining power, centre seconds and bimetallic strip temperature compensation for the modified balance. On completion the watch performed beyond expectations leading Harrison to focus his attention on watch-based technology to create a suitably accurate marine timekeeper. John Jeffrys died in 1754 leaving his workshop in the hands of his former apprentice, Larcum Kendall, who continued to assist John Harrison with the development of H4 before producing his own versions (K1 and K2) of Harrison's design in order to satisfy the requirements of the Board of Longitude. The current lot is one of only a small handful of clocks known by Jeffrys and is notable in that the repeat work operates with a slight but precise action which befits the description of him being a 'Repeating motion maker'. In addition to this the signature is executed in the same manner as that of his famous watch further leaving little doubt that it originated from his workshop.

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

A George III stained pine hooded wall timepiece with alarm William Yardley A George III stained pine hooded wall timepiece with alarm William Yardley, Bishop's Stortford, circa 1760 The posted movement with rectangular section corner uprights and anchor escapement regulated by seconds pendulum swinging to the rear, the alarm mechanism set within the frame behind the going train and sounding on a bell mounted above the top plate, the 5 inch brass break-arch dial with alarm setting disc and single pierced iron hand to the foliate spray and symmetrical scroll engraved silvered centre within conforming applied Roman numeral chapter ring with quarter hour divisions to inner track, the angles applied with gilt Indian mask and scroll cast spandrels beneath arch centred with a silvered boss signed W'm Yardley, B:r Stortford flanked by conforming mounts, the stained pine case with cavetto moulded cornice above door incorporating glazed dial aperture flanked by three quarter columns to front angles, the sides with conforming quarter columns to the rear over complex lower lip mouldings, the bracket with backboard pierced for hanging above lower section fitted with scroll outline side supports united by stepped ogee shaped throat moulding over rectangular backboard with chamfered lower edge, 52cm (20.5ins) high. A W. Yardley is recorded in Baillie, G. H. Watchmakers & Clockmakers of the World as working in Bishop's Stortford in around 1790.

A Charles II ebonised thirty-hour longcase clock James Delance, Frome A Charles II ebonised thirty-hour longcase clock James Delance, Frome, circa 1685 The substantial two-handed posted countwheel bell striking movement measuring 7.75 inches between the plates with generous rectangular section corner uprights and resting on integral spikes fitted to the underside of the baseplate, the going train with anchor escapement incorporating solid ºttery brass' escape wheel and regulated by seconds pendulum, the strike train sounding on a large bell mounted above, the 10.25 inch square brass dial with fine pierced iron hands and symmetrical scrolling tulip engraved centre incorporating a central rose over lambrequin signed Jam's Delance, in Froome to lower margin, within applied Roman numeral chapter ring with stylised sword-hilt half hour markers and Arabic five minutes within the outer minute track, the angles applied with winged cherub mask and scroll cast and pierced spandrels, in an ebonised pine case with substantial ogee moulded cornice and deep open panel fronted frieze (to accommodate the large bell behind) over full-width hood door applied with raised mouldings to the glazed aperture and the sides with conforming rectangular windows, the trunk with convex throat moulding and 42 inch rectangular door centred with an oval lenticle, the sides applied with further mouldings to form tall rectangular panels, the plinth base with ogee mouldings to upper edges and bun feet, (case with restoration), 221cm (87ins) high. James Delance is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born in Downton, Wiltshire in 1655, he is believed to have learnt the clockmaking trade from Lawrence Debnam in Frome (see previous lot) prior to moving to London in 1677 where he was admitted as a Free Brother to the Clockmakers' Company the following year. Delance remained in London until 1685 when he left the city and returned to Frome where he set up business in Cheap Street - probably succeeding Lawrence Debnam who died in 1683 at the age of 40. Delance is recorded as undertaking work on clocks for Lord Weymouth at Longleat from at least 1694 until 1703. By 1721 Delance had moved to Downton, Wiltshire (see following lot) and was still working in 1736. The current lot employs and escape wheel made from work-hardened ºttery brass' formed by hammering a cast solid disc prior to cutting of the teeth. This creates a wheel much more resilient to wear however this process makes it difficult to cross it out hence why it is left as a solid disc when fitted. This very rare feature was probably learnt from Lawrence Debnam as it also seen on the previous lot; it is testament to both makers that these wheels are still serviceable after over three hundred years of use. The well engineered and precisely finished nature of the movement extends to the use of substantial rectangular section corner uprights which appear to have been favoured by Delance as these can be seen on other clocks by him including a fine thirty-hour musical clock by him sold at Christies, King Street THE VITALE COLLECTION OF HIGHLY IMPORTANT EUROPEAN CLOCKS on Tuesday 26th November 1996 (lot 247). The engraved decoration to the dial of the current lot is also of the best 'London' quality and can be directly compared to the dial of a clock by Tompion illustrated in Darken, Jeff and Hooper, John English 30 Hour Clocks, Origin & Development 1600-1800 on page 83 (Plate 2/53). From both the dial engraving and the general quality of approach with regards to the movement it would perhaps be appropriate to speculate that Delance had close connections with the best London makers and may well have spent time in a leading workshop during his time in the capital.

A fine George III brass mounted figured mahogany quarter chiming table clock... A fine George III brass mounted figured mahogany quarter chiming table clock Thomas Wagstaffe, London, circa 1770 The substantial six pillar triple fusee movement chiming the quarters on a graduated nest of eight-bells and striking the hour on a further large bell, with verge escapement regulated by short bob pendulum and holdfast to the fine asymmetric chinoiserie rococo scroll engraved backplate, the 8 inch square single sheet silvered brass dial with fine pierced blued steel hands, calendar aperture to centre within Roman numeral chapter ring with Arabic five minutes to outer track and signed Thomas Wagstaffe, LONDON to lower edge, the shallow break-arch case with generous hinged brass carrying handle and single crisply moulded rectangular pad to top over bird inhabited foliate pierced and engraved brass sound frets to the arched frieze, the full front door incorporating cast brass bezel to the glazed circular dial aperture and conforming brass fillet-bordered lower quadrant frets flanked by brass strung angles, the sides with scroll pierced frets to frieze over generous brass handles and further concave-topped rectangular brass fillet-edged sound frets, the rear again with fretwork frieze over glazed break-arch door set within the frame of the case, on generous cavetto moulded skirt base with cast brass squab feet, 46cm (18ins) high excluding handle. Thomas Wagstaffe is recorded in Baillie, G. H. Watchmakers & Clockmakers of the World as working in Carey Street and 33 Grace-church Street, London 1756-93. Originating from Banbury in Oxfordshire Thomas Wagstaffe and his brother James were fine makers who appeared to have strong connections with the American market - perhaps due to belonging The Quaker Society of Friends. A watch by Thomas Wagstaffe previously owned by Benjamin Franklin was sold by Cowan's Auctions, Cincinnati, on June 17th 2006 (lot 118) for $34,500.

A green and gilt painted pine miniature lantern clock stand Anomynous A green and gilt painted pine miniature lantern clock stand Anomynous, 18th century Of fluted three-quarter cylinder form with backboard and clock supporting block over moulded capitol and wavy outline gilt pendant stop flutes, the shaft incorporating small door over conforming stop flutes to lower section, on conforming rectangular plinth base with shallow ogee moulded skirt, 182cm (71.75ins) high.

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

A William III walnut and Arabesque marquetry eight-day longcase clock Joseph... A William III walnut and Arabesque marquetry eight-day longcase clock Joseph Windmills, London, circa 1700 The five finned and latched pillar inside countwheel bell striking movement with anchor escapement regulated by seconds pendulum and external countwheel locking detent passing through an aperture in the backplate, the 11 inch square brass dial with subsidiary seconds dial, ringed winding holes and calendar aperture to the rose decorared matted centre within applied silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers, Arabic five minutes to outer track and signed J: Windmills, London to lower edge, with pierced steel hands and winged cherub and foliate scroll cast spandrels to angles with foliate engraved infill to margins between, in a case with architectural cornice and plain frieze over hood door incorporating foliate scroll marquetry surround flanked by three-quarter columns to front angles, the sides with rectangular windows, the trunk with concave throat moulding over 42 inch door veneered with intense symmetrical foliate strapwork marquetry around a central lentical within parquetry banded outer border, the surround further decorated with scrolling foliage, the sides veneered in walnut each divided into three vertical panels with ebony and box triple line borders and crossbanding, on conforming symmetrical marquetry fronted plinth base with scroll border and later skirt base (hood rebuilt) 214cm (7ft) high. 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. The dial of the current lot is typical of Windmills at this period with the winding holes, calendar aperture and centre of the seconds dial having ring-turned decoration although the rose to the centre is an embellishment not often used by Windmills. The case can be directly compared to two examples illustrated in Neale A. J. Joseph and Thomas Windmills, Clock and Watch Makers 1671-1737 colour plate IX and on page 129 (Figure 510); both of these exhibit exactly the same cut of marquetry as the current lot.

A Black Forest carved wood cuckoo table clock Attributed to Johann Baptist Beha A Black Forest carved wood cuckoo table clock Attributed to Johann Baptist Beha, Eisenbach, circa 1870 The wooden framed twin fusee movement with anchor escapement regulated by short pendulum with heavy brass-faced bob, the hour strike train with outside countwheel and linkages to two bellows and a cuckoo automaton who appears from behind the door above the dial to announce the hour with a two-note call followed by hammer sounding on a gong fitted to the inside of the rear case panel, the circular wooden dial carved with a rosette to centre within chapter ring applied with Gothic style bone numerals, with leaf carved and pierced bone hands and narrow moulded bezel, the gabled case with fine bird-in-flight centred vine trail carved fascia over naturalistic facade incorporating cuckoo automata and entwined leafy trail bird inhabited uprights flanking dial, the base with conforming apron set behind a carved and pierced picket fence apron panel applied with further vine leaves and terminating with a horizontal log and squab feet, the sides with small rectangular doors over conforming picket fence, the rear with lift-out panel fitted with a coiled gong to inside surface and applied with incomplete paper trade label for Camerer Cuss, London, 45cm (17.75ins) high. Johann Baptist Beha was born in Oberbrand, 1815 and was trained as a clockmaker by his father, Vinzenz, before setting-up on his own in Eisenbach in 1845. He specialised in cuckoo clocks and through his continuous development became the leading maker of fine and complex examples. His main export markets were to Russia (where he had a distribution warehouse in St. Petersburg) and the British Isles. He died in 1898 leaving the business to be continued by his sons Lorenz and Engelbert.

A George III fruitwood table clock Unsigned A George III fruitwood table clock Unsigned, circa 1760 The five pillar twin fusee bell striking movement with fine Ho-Ho bird and grotesque mask centred foliate scroll engraved backplate, the 7 inch brass break-arch dial with calendar and shaped false bob apertures to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track and pierced steel hands within applied rococo scroll cast brass spandrels to angles beneath arch centred with rosette engraved subsidiary Strike/Silent selection dial flanked by Indian mask and scroll cast infill mounts, the bell top case with hinged brass carrying handle over front door with applied raised mouldings bordering the glazed dial aperture flanked by caddy moulded angles, the sides with blanked-off circular over concave topped rectangular apertures, the rear with door matching the front, on moulded skirt base (formerly ebonised), 46cm (18ins) high excluding handle.

A William III walnut and floral marquetry eight-day longcase clock Thomas White A William III walnut and floral marquetry eight-day longcase clock Thomas White, Fairford, early 18th century The five finned pillar inside countwheel bell striking movement with 11.75 inch square brass dial with ringed winding holes, subsidiary seconds dial and elaborate basket of flowers and scroll border engraved calendar aperture to the Ho-Ho bird decorated matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers, Arabic five minutes to outer track and signed Tho. White, Fairford to lower edge, with pierced blued steel hands and twin cherub and crown cast spandrels to angles, in a case with architectural cornice and blind foliate fretwork frieze above floral trial inlaid hood door, the sides with rectangular glazed apertures, the trunk with conforming leafy trail decorated convex throat above 41 inch door centred with a brass lenticle and decorated with intense figural inhabited symmetrical flowering foliage into an ebonised ground, the surround with stylised scrolling foliage above conforming panel outline plinth base with later skirt base incorporating shaped apron, 220cm (86.75ins) high. Thomas White is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born in Fairford, Gloucestershire in 1677; he worked from around 1700 continuing presumably until his death in 1748.

A silver mounted shagreen cased part set of mathematical drawing instruments... A silver mounted shagreen cased part set of mathematical drawing instruments Heath and Wing, London, circa 1760 The green velvet lined interior comprising a lower tier now containing folding silver coloured metal mounted ironmonger's rule engraved in inches and with tables annotated for various sections of iron, one end fitted with sliding calliper and the edge stamped T. WYBAUN ; an upper tier fitted with an assortment of draughtsman's implements including a silver proportional dividing compass with sharp steel tipped arms each pierced with long slots for the sliding pivot assembly with knurled screw for securing against scales divided for Circles and Lin. to one side and Plans and Solids next to signature Heath & Wing, London to the other; the lid with flap revealing a silver mounted ivory expanding parallel ruler and a matching mathematical sector rule annotated with the usual logarithmic, trigonometric and other scales and signed Heath & Wing to the silver hinge mount, the exterior veneered in green-stained sharkskin with shaped silver lock escutcheon, fretwork plates for the surface mounted hinges and a pair of hook clasps, (incomplete and with substitutions), 19.5cm (7.75ins) wide. The partnership between Thomas Heath and Tycho Wing is recorded in Clifton, Gloria Directory of British Scientific Instrument Makers 1550-1851 as working from several addresses in London 1751-73 including 'Hercules and Globe' next door to Fountain Tavern, Strand in 1759 and Near the Savoy Gate in the Strand in 1771. They were succeeded by Thomas Newman.

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

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

An Irish George II mahogany table timepiece Phil An Irish George II mahogany table timepiece Phil. Cusack, Wexford, mid 18th century The four pillar single fusee movement with verge escapement incorporating sprung 'silent' pallets regulated by short bob pendulum, the 7 inch brass break-arch dial with shaped false bob aperture to centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track and signed Phil. Cusack, WEXFORD to lower margin, with pierced steel hands and angles applied with rococo scroll cast spandrels beneath arch centred with silvered calendar ring flanked by Indian mask and scroll cast infill mounts, the inverted bell top case with hinged brass carrying handle over complex mouldings to leading edges, the front with full width break-arch glazed door incorporating caddy moulded angles, the sides with break-arch windows and the rear with conforming glazed rectangular door set within the frame of the case also flanked by caddy moulded angles, on shallow moulded skirt base with brass ball feet, (movement with losses), 46cm (18ins) high excluding handle. Phil. Cusack of Wexford appears not to be recorded in the usual sources.

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

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

A Queen Anne oak eight-day longcase clock Richard Penny, London A Queen Anne oak eight-day longcase clock Richard Penny, London, early 18th century The four finned pillar outside countwheel bell striking movement with anchor escapement regulated by seconds pendulum, the 11 inch square brass dial with subsidiary seconds dial, ringed winding holes and scroll border engraved calendar aperture 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 Rich Penny, Whitechaple to lower margin, with pierced steel hands and applied twin cherub and crown cast spandrels to angles, in an oak case with ogee-shaped upstand over moulded cornice, plain frieze and three quarter columns with brass caps and bases to the glazed hood door, the sides with conforming quarter columns to rear, the trunk with concave throat moulding over long rectangular door centred with a lenticle, on ogee moulded plinth base with applied skirt, 205cm (80.75ins) high. Richard Penny is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born circa 1674, apprenticed to John Wise II in 1698 and gaining his freedom of the Clockmakers' Company in 1715. He married Judith Wise (daughter of his Master) in 1698 and is thought to have died in 1741.

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

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

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

A French porcelain inset ormolu mantel clock The movement by John-Baptiste... A French porcelain inset ormolu mantel clock The movement by John-Baptiste Delettrez, circa 1870 The circular two train bell striking movement with anchor escapement regulated by lenticular bob pendulum with Brocot rate adjustment, the backplate with J. B. D. within oval cartouche trademark over serial number 30787 13-3 to lower margin, the square porcelain dial with fine floral wreath painted centre within Roman numeral chapter ring incorporating fine gilt scroll infill and outer puce ground minute track within spandrel areas decorated with insects and fine repeating leaf cast surround, the plinth form case with twin-handled urn surmount incorporating puce and gilt bordered floral band painted porcelain waist over spiral fluted laurel cast socle and stepped cavetto moulded platform to superstructure, the sides of scroll outline incorporating musical and military trophy surmounts issuing floral trails and inset porcelain panels to front, the rear with rectangular engraved foliate fretwork door, on breakfronted ogee moulded skirt base cast with ivy leaf decoration and with turned feet, 34cm (13.5ins) high; with original giltwood stand 39.5cm (15.5ins) high overall.

An ebonised grande sonnerie striking 'Vienna' wall regulator Unsigned An ebonised grande sonnerie striking 'Vienna' wall regulator Unsigned, mid to late 19th century The triple train weight-driven movement striking the hour with every quarter on a pair of graduated gongs (both lacking), the going train with deadbeat escapement regulated by wood rod pendulum with large brass lenticular bob and fine beat adjustment to crutch , the two-piece white enamel Roman numeral dial with pierced steel hands and moulded brass bezel, the elaborate case with shallow break-arch ogee moulded pediment over scroll carved wavy outline glazed front door and tall rectangular windows to sides, the base with inverted ogee-shaped caddy with pendant finial (movement and case with faults), 90cm (35.5ins) high.

A Victorian Mahogany Bedroom Cabinet with Panel Door and Single Inner Drawer on Short Cabriole Legs.

A Vintage Cast Metal Door Knocker and A Lock.

A Tray of Curios to Include Vintage Stapler, Vintage Torch, Two New College Enameled Door Knockers, Ronson Lighter, Postcards, Service Match Tin Etc.

A pair of mid 20th century brass and glass paperweight door handles.

A very large two tier walnut buffet cabinet with large decorative bevel edged mirror to back, resting on column supports with two doors below on bracket feet, decorative brass handles to door fronts.

A small ladies' burr walnut three drawer bureau resting on bracket feet with herringbone inlay to top door and drawer fronts with fitted drawer and shelf interior and secretive centre drawer.

A very large flame mahogany breakfront sideboard with decorative carved back rail, three drawers and three doors below, centre door with carved top panel, resting on plinth.

A large three door tambour front French filing cabinet.

A heavy gauge tin plate crane, opening door, rubber tracks and winding gear. Marked M3MA 19-66. Full height 18"

A late 19th century Victorian mahogany linen press tallboy. The base having short over deep drawers being raised on bracket feet. The brass swan neck brass handles with batwing back plates and escutcheons to each drawer being mahogany lined. Above a twin door press cabinet having slides set within ( also a later hanging rail. Finished with a flared cornice atop. Dismantles into 2 pieces for ease of movement

A Regency 19th century mahogany pedestal cabinet. The plinth base with single locker door having carved and embellished front with flared top above. Shelved interior. H77 x W50 X 91cm

Two cast iron door stops