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

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

A George III stained fruitwood eight day longcase clock, the associated 11½ inch brass dial signed 'Emmanuel Hopperton, Leeds', the dial with centred subsidiary seconds dial and date aperture within an inner ring of Roman numerals, outer ring of Arabic numerals and pierced spandrels, the arched hood with three quarter turned front corner tapering pilasters, over a long arched trunk door, on a boarded base and later skirting plinth, 212cm high

An early 19th century oak crossbanded mahogany longcase clock, with associated 13 inch square brass dial signed 'Coates, Wigan', with centre subsidiary seconds dial and date aperture along with faux twin winding holes and pierced leaf moulded spandrels, the hood with swan-neck pediment over a square glazed hood door between tapering turned front corner hood pilasters, over an inverted arched crossbanded trunk door between quarter turned front corner pilasters, on a single panel box base and later skirting plinth, 225cm high

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

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

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

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

An early 18th century and later eight day longcase clock, the 12 inch square brass dial signed 'Jos Kirk, Skegby', with centre subsidiary seconds dial and date aperture, within inner ring of Roman numerals, outer ring of Arabic numerals and pierced spandrels, the hood with square glazed hood door between turned front corner hood pilasters, over a figural later carved oak case, raised on a cut out skirting plinth, 194cm high

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

An early 19th century oak crossbanded mahogany breakfront housekeeper's cupboard, the central two panel door with conche shell inlay flanked by two panelled cabinet doors to each side, over a central cabinet door and flanked by four short drawers fitted with turned wooden handles to the base, raised on four short turned front feet, 193cm wide, 215.5cm high, 46cm deep

A mid 18th century oak high dresser, North Wales probably Denbighshire, the ogee moulded cornice over a long shelf with central short shelf flanked by a a single boarded cabinet door to each side fitted with a turned wooden handle over an open recess on a three plank rectangular boarded top over three short fielded drawer fronts fitted with turned wooden knob handles over two cabinet doors with single fielded panels below raised on short stile end supports, 135cm wide, 182cm high, 53cm deep

A George III oak crossbanded mahogany high dresser, Shropshire, the open rack with three central shelves flanked by an open cabinet and inlaid cabinet door to each side, on a three drawer base with two shallow drawers below flanking the cut out apron fitted with brass swan neck handles raised on square tapering splay front legs with proud knees, 186cm wide, 198cm high, 49cm deep

A mahogany Rose Brothers wardrobe with central glazed door flanked by two panelled doors, supported on a plinth base. 189 cm wide and 220 cm high

A small walnut wall mounted cabinet with pierced fretwork domed door and scrolling decoration. 51 cm high x 34 cm wide.

An ornate Antique Indian/Indonesian hardwood door and frame, with relief-carved decoration, height 5'6", width 2'11".

A Victorian mahogany bookcase, having a single lattice glazed door with cupboard and shaped shelf under, allover satinwood cross-banding and stringing, raised on square tapered legs, height 6'3", width 3'6".

VICTORIAN GILT METAL AND GLASS POCKET WATCH DISPLAY CABINET the bevelled glass hinged door opening to reveal a plush, buttonback pale green interior, 11.5cm high

EARLY 19TH CENTURY MAHOGANY SIDE CABINET two short drawers over a double door cupboard, gadrooned edges and borders, with two front column supports, two rear bracket feet, 102cm high, 94cm wide

VICTORIAN MAHOGANY TWO DOOR WARDROBE the stepped rectangular pediment over a pair of arch panelled doors, the interior fitted with drawers to one side, 152cm wide

LATE 19TH CENTURY OAK THREE DOOR WARDROBE the centre mirrored door flanked by two carved panelled doors on a close base, 198cm wide

VICTORIAN SPRUCE GENTLEMAN'S DOUBLE DOOR WARDROBEwith carved pediments and carved doors, on brass casters, 217cm high, 155cm wide, 62cm deepNote: This warbrode came from the National Trust Scotland Holmwood House were it had been on loan for some years. It is believed to dated circa 1860 and was made by a Dunbartonshire man, Thomas McSkimming, from the wood of a single ship's mast.

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

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

J SROMIER, GLASGOW VICTORIAN MAHOGANY LONGCASE CLOCK with 14'' painted enamel dial, the trunk with convex door, 220cm high

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

A fine late Victorian mahogany longcase regulator H. and R. Millar, Edinburgh, late 19th century The substantial eight-day movement with bottle-shaped plates united by four massive double-screwed pillars, the train with Harrison's maintaining power, high pinion count, six-spoke wheel crossings throughout and Graham type deadbeat escapement with jewelled pallets regulated by mercury jar seconds pendulum suspended from an iron bracket fitted to the case backboard with fine beat adjustment to the crutch and amplitude scale applied to the backboard beneath the jar, the 12.5 inch circular silvered brass dial with subsidiary seconds and twenty-four hour Arabic numeral hour dials and signed H. & R. Millar, Edinburgh to centre within circumference with Arabic five minute annotations to outer track and canted silver bezel, the case with shallow triangular tympanum over circular dial aperture and canted angles to the full-width hood door, the trunk with convex throat moulding and rectangular bevel-glazed caddy moulded door flanked by further canted angles, on flame-figured plinth base with simple skirt, 197cm (77.5ins) high. The firm of H. and R. Millar are probably successors to the partnership of Robert Millar and Son who are recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working in Edinburgh circa 1850. H. and R. Millar appear to have primarily supplied turret clocks including one now in the Royal Collection supplied for 'the Bothy' in 1902. The current lot is built to a high specification and features electrical contacts fitted to the frontplate which would have been opened and closed by a flag (or cam) formerly fitted to the seconds arbor. These electrical contacts would have allowed slave dials to be run from the current timepiece suggesting that it was originally intended as the 'master' timekeeper for a fairly large establishment. From this it may be appropriate to speculate that the current lot may have been the 'shop' regulator made by H. and R. Millar to test the timekeeping of turret and other clocks constructed in their own workshops.

A very rare mahogany electric longcase timepiece Unsigned but possibly by The Reason Manufacturing Company, Brighton, to a design by Murday, circa 1908 The four pillar movement enclosing solid minute wheel and crossed-out motionwork driven by a four-division stepped cam mounted behind the movement alternately pulled and shunted by a sprung two-arm armature connected to the long pendulum crutch suspended via independent pivot above the movement and incorporating electromagnetic coil Hipp-toggle switchgear at the base, the long steel-rod pendulum suspended from a substantial 'A' frame behind the movement and with iron bar supporting twin cylindrical brass bobs over a fixed electromagnetic two-part impulse coil at the base, the 12 by 13.75 inch rectangular brass dial with subsidiary seconds dial to the fine foliate scroll engraved centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track, with scroll pierced steel hands and fine overlaid foliate scroll pierced and engraved decoration to upper and lower margins, the swan neck pedimented case with complex cornice mouldings over rectangular glazed hinged dial aperture and fielded panels to sides, the trunk with ogee moulded cornice over full-width rectangular glazed door inset with ogee fillet mouldings, on plinth base fronted with a fielded panel over a moulded skirt, 215cm (84.5ins) high. The design of the current lot can be compared to that of an electric pendulum mantel clock patented by Thomas John Murday in 1908 and manufactured by the Reason Manufacturing Company Limited, Brighton illustrated in Shenton, Alan and Rita THE PRICE GUIDE TO CLOCKS 1840-1940 on page 416 (figure 243). Another related mantel timepiece was sold at Sotheby's New York MASTERPIECES FROM THE TIME MUSEUM PART FOUR, VOLUME III on 14th October 2004 for $2,040. Such mantel timepieces are particularly rare as Murday soon went on to develop models using balance wheel regulation for which he obtained another patent in 1910. The current lot may be unique and is offered with file of correspondence which includes an old photograph of probably the same clock (or possibly an identical second example).

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

A George III mahogany longcase clock with unusual 'regulator' type dial layout J. Atkinson, Gateshead, Late 18th century The four pillar rack and bell striking movement with anchor escapement regulated by seconds period pendulum and fitted with an iron falseplate cast with SHAW & Co., the 12 inch wide dial with subsidiary seconds over Roman numeral hour dials and signed J. Atkinson, GATESHEAD to centre within outer minute ring annotated with Arabic numerals at the quarters, the angles with delicate raised gilt rococo scrolls onto a mid-blue ground beneath arch painted with an oval landscape view within conforming gilt surround and blue ground, the break-arch case with cavetto moulded cornice and brass stop-fluted columns flanking the hinged glazed dial aperture over break-arch flame figured trunk door and conforming plinth base with applied panel decoration and moulded double skirt, 223cm (88ins) high. Two makers with the surname Atkinson and the initial J. are recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Gateshead during the latter part of the 18th century; James who dates are noted as 1770-77 and Joseph who worked from circa 1775 until his death in 1804. It is probable that James and Joseph were brothers, the current clock is most likely to be by Joseph.

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

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

A Victorian oak night watchman's tell-tale longcase timepiece or noctuary previously at Ipswich Gaol Thwaites and Reed, London for Richard S. Cole, Ipswich, mid 19th century The four pillar single train eight-day movement with anchor escapement regulated by seconds pendulum and stamped T & R, 10490 to frontplate, the dial with 6.25 inch rotating circular disc signed RICH.D S. COLE, CORNHILL, IPSWICH to centre within Roman numeral chapter ring rotating against a pivoted hour-pointer positioned to the upper margin and fitted with push-pins at every quarter to circumference, the case of simple tapered form with shallow cavetto cornice over circular glazed aperture to the rectangular hood door, the right hand side with hinged arched brass cover revealing plunger for operating the pin depressing lever, the trunk with rectangular caddy moulded door, the base applied with horizontal board cladding to fascia over skirt with simple canted top moulding, 190cm (74.75ins) high. Provenance: By repute previously at Ipswich Gaol. Richard Stinton Cole is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as born to Richard Cole in 1809 and retiring from the bench in 1865. The partnership between John Thwaites and George Jeremiah Reed is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as being formed in 1808. John Thwaites was the son of Ainsworth Thwaites who was apprenticed in 1735 and worked from Rosoman Row, Clerkenwell, London 1751-80. He was an accomplished maker who supplied the clock for the tower at the Horse Guards Parade. John Thwaites was born in 1757 and took over the business presumably on the death of his father in 1780 before moving to Bowling Green Lane. The firm became well known for supplying all forms of clocks and movements either wholesale for others to retail, or signed by themselves. The partnership continued under John Thwaite's leadership from several addresses in London until his death in 1842. The business has subsequently passed through a series of successors and is still trading today from Rottingdean near Brighton. The night watchman's clock or noctuary was developed as a 'tell-tale' method of recording a night watchman's progress throughout his shift. The dial is formed as a revolving disc with the time read against a pointer to the upper margin which also doubles-up as a lever for pushing-in pins set into the circumference of the disc operated by a plunger fitted to the exterior of the locked case. By having two such timepieces at each end of a watchman's circuit a record of his patrols throughout the night can be recorded. The pins are automatically reset to their raised position by a ramp-wheel positioned behind the disc at around the one o'clock position. This design of 'Watchman's Noctuary' was subject of a patent submitted by Samuel Day in 1803 however the patent was disputed on the grounds that the Earl of Exeter had been using two such timepieces made by Boulton and Watt since 1799. In addition to Thwaites and Reed the Derby firm of Whitehurst and Son are also known to have produced such timepieces in significant numbers. The serial number stamped on the frontplate of the current lot would date it to the early 1850's which would correlate with the completion of a phase of expansion of Ipswich Gaol which commenced in 1849.

A fine George III mahogany verge fusee dial wall timepiece with eight inch dial William Flint, Ashford, late 18th century The four pillar single fusee movement with tapered plates and verge escapement regulated by short bob pendulum, the 8 inch circular brass Roman numeral dial with false bob aperture and signed Will'm Flint, Ashford to centre, fitted with fine scroll pierced steel hands and with Arabic five minutes to outer track within convex glazed cavetto moulded cast brass bezel, the mahogany case with narrow ogee moulded surround to dial fitted with simple box to rear with pendulum access flap to the curved underside and door to right hand side, overall diameter 29cm (11.5ins). William Flint is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Ashford, Kent circa 1800. The case of the current lot has survived in original untouched condition displaying deep encrusted patination and wear whilst the movement has been maintained in working condition.

A Welsh Queen Anne walnut eight-day longcase clock John Thomas, St. Asaph, early 18th century The four finned pillar inside countwheel bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch square brass dial with ringed winding holes, subsidiary seconds dial and calendar aperture to the foliate engraved matted centre within applied silvered Roman numeral chapter ring with elaborate foliate half hour markers, Arabic five minutes to outer track and signed Jn'o Thomas, St. Asaph, 140 to lower edge, with pierced blued steel hands and female mask and leafy scroll cast spandrels to angles, in a case with shaped crest to the domed caddy surmount over moulded cornice, double frieze incorporating band of lattice-pierced blind fretwork and integral three-quarter columns to the glazed hood door, the sides with short rectangular windows and quarter columns applied to bargeboards at the rear, the trunk with rectangular caddy-moulded and crossbanded door veneered with an arrangement of book-matched panels, the base veneered with finely figured timber within a crossbanded border over a moulded skirt, 227cm (89.5ins) high excluding later brass finials.

A George III oak thirty-hour hooded wall timepiece with alarm Henry Tory, Hale, late 18th century The four pillar movement with anchor escapement regulated by eighteen-inch lenticular bob pendulum and separate alarm train set between the plates sounding on a bell mounted above, the 10 inch square single sheet silvered brass Roman numeral dial with alarm disc, pierced blued steel hand and signed Henry Tory, Hale to centre within chapter ring with simple leaf engraved half hour markers and angles with rococo scroll spandrel decoration, the case with shallow cavetto cornice over integral three-quarter columns to the glazed hood door, the bracket support with convex throat moulding above shaped-outline side supports and conforming pendant backboard, 132cm (57ins) high. Henry Tory of Hale Lincolnshire appears not to be recorded in the usual sources however other clocks are known which can be dated to the last quarter of the 18th century on stylistic grounds.

A fine George III ebonised hooded wall alarm timepiece Thomas Ranger, Chipstead, circa 1765 The posted movement with square section uprights and anchor escapement regulated by 23 inch lenticular bob pendulum, the alarm set behind the going train and sounding on a bell mounted above the top plate, the 5.25 inch square brass dial with silvered alarm disc and concentric signature Tho's Ranger, Chipsted to centre within applied silvered Roman numeral chapter ring with lozenge half hour markers, with single iron hand and angles engraved with foliate scroll spandrel decoration within a scribed line border, the ebonised pine case with ogee cornice above tall frieze and three-quarter columns flanking glazed dial aperture to the front door, the sides with conforming quarter columns applied to bargeboards at the rear, the bracket with cavetto throat moulding to table over shaped side supports and double-skinned backboard incorporating aperture for the weights to descend before an intermediate panel enclosing a further recess for the pendulum, the base terminating with an inverted ogee arch to backboard, 77cm (30.25ins) high. Provenance: From the estate of an esteemed antiquarian horologist. Literature: Illustrated and described in Darken, Jeff (editor) TIME & PLACE, English Country Clocks 1600-1840 as exhibit 55 pages 182-83. A clockmaker with the surname Ranger is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Chipstead before 1773. Darken further notes in TIME & PLACE that Thomas Ranger's working dates were probably circa 1740-73. The current lot is a particularly attractive and well thought-out example with the pendulum and weights divided from each other by an intermediate panel fitted in front of the backboard.

A finely made brass miniature lantern timpiece Unsigned, probably mid 20th century The rectangular four pillar backwound going barrel movement regulated by sprung balance and with visible winding ratchet to backplate, the crisply turned posted case incorporating dial applied with fine radial stylised foliate pierced and chased rosette to centre and with pierced blued steel hand within silvered Roman numeral chapter ring, beneath symmetrical scroll-pierced frets flanked by vase finials with domed bell bearer above, the sides with fixed panels applied with handles, the rear with pin-hinged door, on turned feet, 9cm (3.5ins) high.

A fine small George III mahogany domestic longcase regulator made for the Middle Eastern market George Prior with movement supplied by John Thwaites, London late 18th century The substantial eight-day centre-seconds movement with bottle-shaped plates united by six distinctive tapered baluster pillars and stamped T. THWAITES over indistinct number 1933 to frontplate, the train with Harrison's maintaining power, high pinion count, six-spoke wheel crossings throughout and Graham type deadbeat escapement with jewelled pallets regulated by wood-rod seconds pendulum with wide-jaw suspension, large brass-faced lenticular bob and calibrated rating nut, the 10 inch ogee-arch shaped brass dial with circular white enamel convex centre signed GEORGE PRIOR, LONDON within 'Turkish' numeral chapter ring and five minutes to outer track, with steel seconds hand and pierced brass hour and minute hands within applied engraved ogee-arch-shaped mask finely decorated with a pendant incense burner within crescent motif flanked by generous foliate scrolls to upper margin over conforming leafy sprays to lower spandrel areas, the case with ogee-arch shaped cavetto moulded cornice and conforming shaped frieze inset with fine scroll-pierced brass sound frets to front over glazed hood door flanked by fluted canted angles and with rectangular brass fishscale fret-backed glazed apertures to sides, the trunk with convex throat moulding over caddy-moulded ogee-arch flame figured veneered door, on plinth base with conforming raised panel to front and double skirt, 194cm (76.5ins) high. Provenance: The estate of a connoisseur collector of regional furniture, works of art and clocks. By repute acquired from a member of the diplomatic service who purchased it from a government department in Istanbul. Of George Prior relatively little is known other than he was born in 1732 and his working dates were 1762-1813. He was based at 31 Prescot Street, Goldman's Fields, London and was succeeded by his son Edward in 1814. John Thwaites was born in 1757 the son of Ainsworth Thwaites who was apprenticed in 1735 and worked from Rosoman Row, Clerkenwell, London 1751-80. Ainsworth was an accomplished maker who supplied the clock for the tower at the Horse Guards Parade, London. John Thwaites succeeded his father, presumably on the latter's death in 1780, before moving to Bowling Green Lane. He worked alone until 1817 when he took his wife s nephew, George Jeremiah Reed, into partnership. John Thwaites and the subsequent partnership were well known for supplying all forms of clocks and movements either wholesale for others to retail, or signed by themselves. The partnership continued under John Thwaite's leadership from several addresses in London until his death in 1842. George Prior predominantly specialised in the supply of clocks and watches to the Ottoman market trading through British merchants based in major Middle Eastern ports such as Istanbul. This lucrative market was built on the historic tradition of presenting clocks and watches to the Ottoman Court since the late 17th century. However, by the end of the 18th century, trade had expanded to the extent that George Prior could not satisfy demand for his products alone hence he collaborated with other makers in order to increase his supply. A natural choice of collaborator was John Thwaites who by the end of the 18th century had established himself as a fine maker willing to supply movements for retail by others. The movement of the current lot can be closely compared with that of a longcase regulator by John Thwaites sold at Christie's, King Street, Important Clocks and Marine Chronometers 13th December 2000, lot 65. Both timepieces share the same 'bottle-shaped' plates, distinctive tapered baluster pillars, wide jaw pendulum suspension, escapement and detailing to the wheelwork. Indeed the only significant difference between these two movements is in the positioning of the train between the plates which varies in order to allow the current lot to have centre seconds (versus standard regulator dial layout). Another example of the collaboration between John Thwaites and George Prior takes the form of an impressive musical table clock residing in the collection of The Victoria and Albert Museum (Museum number W.1:1, 2-1971). This table clock was bequeathed by Lady Lorraine in 1971 and features an almost identical circular enamel dial centre to the current lot, and is housed in a fine gilt brass mounted cream japanned case with cut glass spherical dome surmount and finials. A comparable longcase regulator also made for the Middle-Eastern market by Markwick Markham Borrell, London (with movement probably supplied by John Thwaites) was sold at Christies, King Street, London on the 23rd May 2010 (lot 38) for £23,750.

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

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

An unusual Victorian carved mahogany fusee dial wall timepiece with eight inch dial Thomas Weller, Croydon, mid 19th century The four pillar single fusee movement with anchor escapement regulated by lenticular bob pendulum and 8 inch circular white painted Roman numeral dial signed T. WELLER, CROYDON to centre, with pierced blued steel hands within hinged cast brass glazed bezel incorporating angled fillet to inside edge, the case with dial surround finely carved with flowering foliage over a beehive secured via pegs behind to a simple rectangular box incorporating a door to the right hand side, the base with integral platform over pierced quadrant-shaped brackets to underside, 49cm (19.25ins) high. Thomas Weller is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working in Croydon 1828-66. The carved decoration surrounding the dial of the current lot is unusual and suggests possible Masonic connections due to the incorporation of a beehive (which is emblematic of 'Industry' in Masonic iconography).

A fine Victorian carved figured walnut quarter-chiming wall regulator Reid and Sons, Newcastle upon Tyne, mid 19th century The four pillar triple train weight-driven movement chiming the quarters on a graduated nest of eight bells and striking the hour on a coiled gong fitted to the case backboard, the going train with Harrison's maintaining power and deadbeat escapement regulated by seconds pendulum with ebonised wooden shaft and cylindrical zinc bob, the 14 inch circular gilt lacquered dial with subsidiary seconds dial to the geometric rosette and repeating foliate motif decorated centre within Roman numeral chapter ring incorporating signature REID & SONS, NEWCASTLE on TYNE to lower edge, the case with elaborate double scroll carved and pierced crest over hinged circular brass bezel and conforming applied carved spandrel infill flanked by canted angles and with scroll pierced rectangular side frets to hood, the trunk with glazed door enclosing mirror-backed interior flanked by conforming canted angles and with rectangular side glasses between generous leafy scroll relief decorated upper and lower margins, the base of inverted ogee outline terminating with a leafy pendant finial, 180cm (71ins) high. The firm of Reid and sons is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working in Newcastle upon Tyne 1827-58.

A fine Queen Anne green japanned eight-day longcase clock with moonphase Thomas Martin, London, early 18th century The five finned pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch brass break-arch dial with subsidiary seconds dial and shaped herringbone border engraved calendar aperture to the matted centre within applied Roman numeral chapter ring with fleur-de-lys half hour markers, Arabic five minutes to outer track and signed Tho. Martin, London to lower edge, with pierced steel hands and Indian mask and scroll cast spandrels to angles within herringbone engraved border, the arch centred with a penny moon aperture and pierced steel hand within applied ring calibrated for the lunar month flanked by dolphin cast mounts beneath a conforming herringbone border, the case with large giltwood urn finials to the tall ogee superstructure over wide break-arch pediment fronted by a deep foliate scroll pierced blind fret frieze above columns flanking the gilt foliate spray decorated hood door, the sides with rectangular glazed apertures and conforming quarter columns set against bargeboards to the rear, the trunk with floral trail decorated throat moulding over rectangular door decorated in raised polychrome and gilt with pagodas and figures within an oriental landscape centred with a brass-edged lenticle and bordered by further gilt foliate scroll borders, the sides painted with full-sized flowering branches and Ho-Ho birds, the conforming plinth base adorned with cranes before a garden pavilion to front and with moulded double skirt applied with squab feet, (unrestored, wear and losses to decoration), 255cm (100.5ins) high excluding top finial; 273cm (107ins) high overall. Thomas Martin (II) is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born in around 1678 and apprenticed in May 1692 to Jeremiah Martin until 1699 (but not freed). He worked from Fleet Street, London and was the victim of the theft of a number of watches in September 1723; the culprits were subsequently apprehended and sentenced to transportation.

A rare thirty-hour longcase clock movement and dial Daniel Quare and Stephen Horseman, London, circa 1725 The single-handed posted countwheel bell striking movement with rectangular section corner uprights and anchor escapement regulated by seconds pendulum, the 11 inch square brass dial with engraved shaped signature cartouche inscribed Dan: Quare, & Ste: Horseman, London and numbered 231 to matted centre within applied Roman numeral chapter ring with stylised fleur-de-lys half hour markers, with pierced blued steel hand and female mask and scroll cast and pierced spandrels to angles, now in a late 18th century case with shallow ogee shaped caddy upstand, moulded cornice and foliate fretwork frieze over turned Doric columns flanking the crossbanded glazed hood door, the trunk with rectangular caddy-moulded crossbanded door above conforming plinth base with moulded skirt incorporating bracket feet with shaped apron between, 204cm (80.5ins) high. Daniel Quare is recorded on Loomes, Brian The Early CLOCKMAKERS of Great Britain as born in Somerset circa 1678, he was admitted as a Free Brother to the Clockmakers' Company in April 1671 and by 1683 was working from Exchange Alley, London. Quare was selected as a member of the Court of Assistants in 1698 later becoming Master in 1708. In 1709 he took his former apprentice, Stephen Horseman, into partnership which presumably lasted until Quare's death in 1724. Daniel Quare was a fine and inventive maker who supplied clocks and barometers to significant European royal and aristocratic clients as well as the court of William III. Daniel Quare is believed to have started numbering his clocks and barometers in around 1704 (see Garnier, Richard and Carter, Jonathan The Golden Age of English Horology - Masterpieces from The Tom Scott Collection page 308), this numbering sequence continued into Quare's partnership with Stephen Horseman with the last known clock in the sequence being number 299 - a walnut eight-day longcase clock which was sold in these rooms on Wednesday 20th February 2013, lot 152.

A Queen Anne oak eight-day longcase clock Abraham Pilson, Plymouth, early 18th century The five finned pillar inside countwheel bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch square brass dial with ringed winding holes, subsidiary seconds dial and herringbone 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 Abra. Pilson, Plymouth to lower edge, with pierced blued steel hands and twin cherub and crown decorated scroll cast spandrels to angles, the case with shallow domed caddy surmount and deep ogee moulded cornice over slender integral three-quarter twist columns to the glazed hood door, the sides with rectangular windows and conforming quarter columns applied to bargeboards at the rear, the trunk with full-width door centred with a lenticle and applied with half round outline mouldings to form a rectangular panel, the plinth base with ogee top moulding over conforming panel to front and moulded skirt, 208cm (82ins) high. Provenance: The estate of a connoisseur collector of regional furniture, works of art and clocks. Abraham Pilson is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Plymouth circa 1700. The case of the current lot is noteworthy in that it appears to be a regional interpretation of the contemporary London style (probably made by a local joiner) which has generally survived in fine original condition.

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

A fine and well documented William and Mary brass lantern clock Thomas Veale, Chew Magna, dated (16)95 The posted countwheel bell-striking movement with verge escapement regulated by short bob pendulum swinging outside the frame to the rear, the dial with central vestigial alarm disc within symmetrical foliate tulip engraved infill and with pierced brass hand within applied Roman numeral chapter ring with stylised fleur-de-lys half hour markers and concealing engraved initials TV and date • to the plate beneath, the angles engraved with bands of concentric brickwork, the typical 'Bristol' frame with one-piece column turned corner posts beneath lion and unicorn armorial engraved and pierced frets, integral multi-knopped tall vase-and-cover turned finials and domed bell bearer, with brass side doors, iron backplate and hanging hoop above spurs to rear, on tall disc-knopped feet, 42cm (16.5ins) high. Provenance: From the estate of an esteemed antiquarian horologist. Literature: The current lot is well documented featuring in Darken, Jeff and Hooper John English 30 Hour Clocks pages 92-4 figs. 2/66 to 2/68; Darken, Jeff (editor) TIME & PLACE, English Country Clocks 1600-1840 as exhibit 20 pages 76-9 (where the movement is extensively illustrated) and Loomes, Brian LANTERN CLOCKS & Their Makers page 192 figs. 11.12 and 11.13. Thomas Veale's dates are collated in Loomes Brian Lantern Clocks & Their Makers page 307 where it is noted that ¾llchambers records his freedom at Bristol in 1652, Moore records him as being of Bristol in 1660 when he was a bondsman to a marriage. George White records his marriage at Chew Magna 1656 to Charity Plaister. He was working to at least 1697. He left sons John and James, but no clocks are yet recorded by them'. The current lot utilises a frame casting derived from those originally favoured by the Chew Valley school of clockmakers with the earliest surviving dated example made by Edward Webb of Chew Stoke in 1676 (private collection). Several other clocks by Webb are known with dates ranging from 1678-93, with all of the documented examples sharing the same group of frame castings. These castings were also used by Edward Bilbie of Chew Stoke (who is believed to have succeeded Edward Webb in around 1695) for his earlier lantern clocks, long after Bristol makers had tended to opt for castings more closely related to London work of the period. The on-going use of such frames suggests that they were cast locally, perhaps initially by Edward Webb at his foundry in Chew Stoke (which was just over a mile from Thomas Veale's home at Denny Farm, Chew Magna), then by the Bilbie family after Webb's death in 1694. Of Thomas Veale five lantern clocks are documented, with all but one dated and made within the time span 1692-7. All these examples share the same basic frame castings, are signed with the initials TV either behind the alarm disc or chapter ring and can be found and compared in the following sources: White, George English Lantern Clocks page 230 fig. V/36 (undated example), page 231 figs. V/37 (dated ’) and V/38 (detail of dial only dated —). Bruce, Bill and Hooper, John EARLY ENGLISH LANTERN CLOCKS 1615-1700 page 50 (dated 1692). Darken, Jeff and Hooper John English 30 Hour Clocks page 92 figs. 2/66 and 2/67 (the current lot dated ’). All of the four dated examples share similar engraving executed with scrolling foliage issuing from a central point at the base of the dial centre, continuing symmetrically around the alarm disc and terminating with a central flowerhead motif at the top. The angles are decorated with the same concentric brickwork infill. The undated example (White, George English Lantern Cl oc ks page 230 fig. V/35) departs a little from the above similarities by incorporating larger more abstract scroll-work towards the lower margin of the dial centre and terminates with a female mask at twelve o'clock. It is perhaps interesting to compare this example with those made by Edward Webb during the 1680's which tend exhibit the same basic design within the engraving; which was strongly influenced by the work of Thomas Brown of Bristol during the 1650's (see White, George English Lantern Clocks page 232). From this observation it would be perhaps reasonable to suggest that the undated example is probably the earliest surviving example of his work and may pre-date 1680. The current lot appears to have survived in original unaltered condition and retains its original escapement. The right hand side door also features exquisite practice engraving over half of the panel incorporating a central winged female mask flanked by foliate scrolls and grotesques.

A William III scumbled pine thirty-hour longcase clock Jeremiah Johnson, London, circa 1695 The four finned pillar two-handed outside countwheel bell striking movement with anchor escapement regulated by seconds pendulum, the 11 inch square brass dial with matted centre within applied Roman numeral chapter ring with stylised sword hilt half hour markers, Arabic five minutes to outer track and signed Jere. Johnson, in Exchange Alley to lower margin, the angles applied with winged cherub mask and foliate scroll cast and pierced spandrels, the painted pine case with moulded cornice and foliate-pierced blind fret to frieze over columns flanking the glazed hood dial aperture, the sides with rectangular windows and conforming quarter columns applied at the rear, over trunk with convex throat moulding and 40 inch rectangular door centred with a lenticle and applied with half-round edge mouldings above plinth base with later skirt, 193cm (76ins) high. Jeremiah Johnson is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born circa 1646 and apprenticed to Nicholas Payne in 1660 before being passed onto Abraham Beckner and then Ahasuerus Fromanteel (II) finally gaining his freedom of the Clockmakers' Company in 1668. He lived in St. Margaret's, Lothbury and took many apprentices including his son of the same name in 1697. From around 1707 Johnson received charitable payments from the Clockmakers' Company which were maintained until his death in late 1709. The current lot was probably made for ºckstairs' use in a wealthy household. The case echoes the proportions seen on high-status walnut or marquetry cases of the period and was probably originally painted to resemble walnut.

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

A William III walnut and floral marquetry eight-day longcase clock Christopher Gould, London, circa 1695 and later The five finned pillar inside-rack and bell striking movement with anchor escapement regulated by seconds pendulum and 11 inch square brass dial with ringed winding holes, subsidiary seconds dial and scroll border engraved calendar aperture to the rosette decorated matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to outer track, with fine pierced blued steel hands and winged cherub head and leafy scroll cast spandrels to angles within a fine scrolling foliate engraved border interrupted with signature Chr: Gould Londini fecit to lower margin, in a case with ogee moulded cornice and blind foliate fretwork frieze above floral trial inlaid hood door applied with spiral twist turned three-quarter columns to angles, the trunk with conforming leafy trail decorated convex throat above 42 inch door centred with a lenticle and decorated with three shaped marquetry bird and angel figure inhabited flowering foliage panels into an ebonised ground within a figured walnut field, the surround with stylised leaf decoration above conforming panel outline plinth base with compressed bun feet, (case with faults), 206cm (81ins) high. Provenance: The property of a private collector, purchased from Phillips Fine Art Auctioneers sale of Clocks and Watches including Scientific Instruments and Barometers London, 8th December 1998, lot 177 for £12,000. Christopher Gould is generally regarded as one of the leading makers from the 'Golden Period' of English clockmaking. He gained his freedom of the Clockmakers' Company in 1682 but by 1713 had become destitute and received charity from the Company until his death in 1718. Christopher Gould's work invariably demonstrates a level of quality and elaboration that could only be afforded by the most wealthy of patrons, with the movement and dial of the current lot being no exception with well thought-out internal rack striking mechanism and fine engraved detail around the spandrels - a feature often only found on Gould's best work.

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

A fine Queen Anne ebonised eight-day longcase clock Richard Street, London, circa 1705 The substantial five fully latched and crisply turned finned pillar inside rack and bell striking movement with anchor escapement, unusually long crutch and 12 inch square brass dial with subsidiary seconds dial and calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with cruciform half hour markers, Arabic five minutes to outer track and signed Rich. Street, London to lower edge, with delicate pierced steel hands and rare gilt twin cherub and female cast spandrels to angles, the ebonised case with gilt ball and spire finials to the domed caddy surmounted fine foliate fretwork fronted box upstand above moulded cornice and further conforming foliate pierced fret to frieze, generous three-quarter columns with gilt caps and bases to glazed hood door, the sides with rectangular windows and rear quarter columns each set against bargeboard rising up to the underside of the cornice projection, the trunk with convex throat above 42 inch rectangular door pasted with rare original paper Equation of Time table with printed repeat signature Sold By RICH STREET Clockmaker at ye Dial & Two Crowns over againft St. Dunftans Church in Fleet-Street LONDON, on plain plinth base with two-tier moulded skirt, 234cm (92ins) high excluding finials, 244cm (96ins) high overall. Richard Street is an important but relatively enigmatic maker who is recorded in Baillie G.H. Watchmakers & Clockmakers of the World as gaining his freedom of the Clockmakers' Company in 1687, made Assistant in 1713 and appointed Warden 1716. He was a fine maker who had close working connections with Thomas Tompion for whom it is thought he made repeating watch movements (see Evans, Jeremy THOMAS TOMPION at the Dial and Three Crowns page 114). Street is perhaps best known for his commission by Sir Isaac Newton to supply a monumental month duration longcase clock for presentation to Dr. Bentley for the Observatory at Trinity College Cambridge in 1708; he also, alongside William Wright, took over the maintenance of the turret clock at St. Pauls Cathedral from Langley Bradley in 1716. A year going clock in an Arabesque marquetry case by Street also survives in the Collection of the National Trust at Melford Hall, Suffolk. The current lot is very rare in that the original paper Equation of Time table survives almost entirely intact pasted to the inside of the trunk door. A less complete but otherwise identical table is illustrated Robinson, Tom THE LONGCASE CLOCK on page 170 (fig. 8/16) where it is noted that the design is the same as those produced by Tompion at this time. The complete nature of the example supplied with the current lot allows all the text to be made out, including the name of the engraver. Above the table; A Table, OF THE, Equation of Days, SHEWING, How much a good, Pendulum Watch Ought to be faster, or slower than a, True Sun Dial, Every Day in ye Year. Sold By RICH STREET Clockmaker at ye Dial & Two Crowns over againft St. Dunftans Church in Fleet-Street LONDON. Below the table; Let the Watch so much Faster or Slower than ye Time by the, Sun according to the Table for the Day of the Month when you, set it and if the Watch go true the Difference of it from ye Sun, any Day afterward will be the same with the Table. I Sturt Sculp. Tompion's influence/connection with Richard Street becomes even more apparent when the rest of the current lot is examined. The fully latched movement is very well made with exceptional pillars and large plates measuring almost 8 by 6 inches. The use of inside rack and the delicate functionality of the wheelwork echoes Tompion's exacting standards however Street has detailed the movement in such a way as to give it his own identity. The dial is clean and refined in its design and utilises a rare pattern of spandrel which is generally only found on the finest of twelve inch dials from this period. The proportions and external detailing of the case is almost indistinguishable from those supplied to Tompion and again is very well made.

A rare William and Mary scumbled pine thirty-hour longcase clock John Drew, London, circa 1690 The single-handed posted countwheel bell striking movement with rectangular section corner uprights and anchor escapement regulated by seconds pendulum, the 10 inch square brass dial with pierced iron hand and concentric ring of turned buttons to the matted centre within applied Roman numeral chapter ring with stylised sword-hilt half hour markers and signed John Drew, Londini Fecit to lower margin, the angles applied with winged cherub mask and scroll cast and pierced spandrels with foliate engraved infill between the painted pine case with moulded cornice and brass foliate-pierced repousse frieze over solomonic turned Doric columns flanking the glazed hood dial aperture, the sides with rectangular windows and conforming quarter columns applied to bargeboards at the rear, over trunk with convex throat moulding and 43 inch rectangular door centred with an oval lenticle and applied with half-round edge mouldings above plinth base with moulded double-skirt (formerly with alarm), 203cm (80ins) high. John Drew is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born circa 1663 and apprenticed to Joseph Knibb in 1676 gaining his freedom of the Clockmakers' Company in 1684. He lived in Johnson's Court, St. Dunstan's Parish and took many apprentices including Isaac Lowndes in 1699/1700. In 1712 Drew was appointed Beadle to the Clockmakers' Company (a position normally reserved to destitute clockmakers) and received charity in July 1713 but died the following month. His widow, Eleanor (nee Ferentine), continued to receive Charity from the Company until her death in 1715. The current lot is a rare survivor being a clock probably made for ºckstairs' use in a wealthy household with the original provision of an alarm serving to alert the staff. The case echoes the fine proportions and architectural detailing seen on high-status walnut or marquetry cases of the period and may have probably originally had an ebonised finish which has subsequently been over painted with a 'scumbled' finish.

A fine and very rare Charles II night timepiece Joseph Knibb, London circa 1670-75 The rectangular six finned and latched pillar single fusee movement with backplate measuring 7.75 by 5 inches and horizontal silent verge escapement regulated by short bob pendulum, the sides with black japanned metal dust covers, the top with similar shutter extended at the rear to provide a platform for the light source, the frontplate with integral cast arched extension to the upper edge to carry the revolving hour disc driven by motionwork behind and incorporating two smaller revolving discs each pierced with Arabic hour numerals visible through circular apertures cut within the outer concentric band of the principal disc, the 9 inch square gilt brass dial with break-arch centre panel painted with a scene of horsemen dismounting within a pastoral landscape beneath pierced arched sector to reveal the revolving chapter hour disc painted with cherubs in flight on a sky blue ground behind, the upper margin with pierced Roman numerals I, II and III for the quarters and incorporating scalloped inner edge with each division denoting the minutes, the lower margin signed Joseph Knibb Londini fecit over an engraved perspective pavement flanked by vertical panels engraved with delicate floral trails and paired Corinthian columns, the upper angles decorated with tied foliage flanked by grotesque lion's masks, in a gilt brass mounted ebony veneered table-top case with triangular tympanum applied with square panel outline mouldings to upper surfaces and with fine gilt mount modelled as an elaborate Baroque shield flanked by cherubs to front, the lintel with generous gilt festoon swags of fruiting foliage over rectangular glazed front door applied with raised moulding to the aperture and flanked by solomonic twist Corinthian columns with finely detailed capitals and bases, the sides with rectangular blind panels and conforming quarter columns applied to bargeboards at the rear, the base with projecting plinths for the columns at the angles, the rear with flat surface applied with geometric border mouldings behind the pediment over rectangular door with conforming panel decoration (movement with restoration, case now with removable superstructure, some restoration and adaptations), 52cm (20.5ins) high. Provenance: Formerly the property of H. Alan Lloyd, sold on instruction of his widow at Sotheby's, London, 2nd December 1974 (lot 33); sold again at Antiquorum, Geneva in their sale titled THE ART OF BRITISH HOROLOGY 21st October 1995 (lot 13) for a hammer price of CHF 50,000 (approximately £32,000 including 10% buyer's premium). Literature: Illustrated in Lloyd, Alan H. OLD CLOCKS (first published 1951) Plates 46 C. and D. Joseph Knibb was born the fifth son of Thomas Knibb of Claydon, Oxfordshire in 1640. He is generally thought to have been apprenticed in around 1655 to his cousin Samuel Knibb in Newport Pagnell, before moving to Oxford circa 1662 (the same year that Samuel moved to London). Joseph initially struggled to trade in Oxford due to restrictions placed by the City authorities which were only relaxed on payment of a fine in 1668. It was about at this time that Joseph Knibb would have issued his copper trade tokens (an example of which was sold in these rooms 10th February 2009, lot 104 for £1,600 hammer) as well looking to undertake work to convert the turret clocks of St. Mary the Virgin and Wadham College to anchor escapement with long pendulum. In 1670 Joseph moved to London handing over the Oxford business to his younger brother, John. The reason for this move was probably to administer the estate of Samuel who is thought to have died by the summer of 1671. Joseph Knibb presumably took on Samuel's former workshop as by 1675 he was recorded as working from 'The Dyal' near Sargeants Inn in Fleet Street. By 1693 he had moved to 'The Clock Dyal' Suffolk Street, near Charing Cross. As Joseph became established in London his work became more individual/distinctive, often demonstrating an inventive and refined approach both in the detailing and specification of the movements and choice of case design. He is perhaps best known for his experimentation with alternative striking such as Dutch, Roman and double-six grande sonnerie as well as long duration clocks. In 1697 Joseph Knibb sold up the London business (presumably to Samual Aldworth, former apprentice of John Knibb of Oxford) and retired to Hanslop in Buckinghamshire where he died in December 1711. The current lot is one of four documented night clocks by Joseph Knibb with the other three being illustrated in Lee, Ronald A. The Knibb Family * Clockmakers pages 151-3. All of these examples are timepieces only and utilise the same ingenious system to indicate the time: The hour numeral traverses the 180 degree arched aperture in the dial plate past minute divisions denoted by small scallops cut into the upper edge and the quarters by large pierced Roman numerals above. This is enabled by having the Arabic hour numerals pierced in two secondary discs applied to the rear of the principal hour disc. As the hour disc revolves (once every two hours) these secondary discs are alternately advanced in one numeral increments via pins to the rear of each engaging with a flag attached to the lower part of the movement frontplate. This system ensures that the next hour appears to the left of the dial as the last disappears to the right (hence requires one of the secondary discs to be pierced with the odd hour-numerals and the other the even). This mechanism can also be seen on a longcase night clock, dating to around 1669, attributed to the Fromanteel workshop which is illustrated and described in Darken, Jeff (ed.) HOROLOGICAL MASTERWORKS pages 90-93. The existence of this slightly earlier clock suggests that this system was probably developed by the Fromanteels prior to Joseph's arrival in London in 1671. The advantage of this type of dial layout is that it negates the need to provide a separate chapter ring for daytime use as seen on other examples by makers such as Edward East and John Hilderson (see Dawson, Percy G., Drover, C.B. and Parkes, D.W. Early English Clocks pages 513-5, plates 759-63 for an example by John Hilderson). The engraved decoration and layout of the dial of the current lot is generally similar to the three other examples illustrated by Lee but has some detail differences - most noticeably in the design of the upper spandrel ornament. These differ in that the other three have decoration composed with a dog rose over pomegranate and other fruit whilst the current lot is engraved with foliate scrolls terminating with grotesque lions masks. The dog rose and pomegranate design is of a type seen on other standard clock dials by makers such as Edward East, as well as examples by Knibb made during his formative years in Oxford (including an ebonised architectural longcase clock which was sold in these rooms on Tuesday 11th March 2014, lot 143, for a hammer price of £230,000). From this it is perhaps appropriate to speculate that the dial of the current lot was most likely engraved by a different hand - probably the same individual responsible for an almost identical dial for a hour-striking night clock by Henry Jones illustrated in Early English Clocks on page 521 (plate 770). The case of the current clock is essentially 'of the period' and can be directly compared to one housing a standard table clock movement and dial by Edward East illustrated in Early English Clocks page 174 (plate 235). However alterations including the top being cut just below the lintel to make it removable (presumably to allow the lamp to vent when used at night) and the provision of an additional baseboard for the movement to sit-on would indicate that the case is not original to the movement and dial.

A fine William III walnut and floral marquetry eight-day longcase clock Jasper Taylor, London, circa 1700 The five finned pillar outside countwheel bell striking movement with anchor escapement regulated by seconds pendulum and 12 inch square brass dial with ringed winding holes, subsidiary seconds dial and scroll border engraved calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with stylised sword hilt hour markers, Arabic five minutes to outer track and signed Jasper Taylor, in Grays Inn to lower margin, with fine pierced blued steel hands and twin cherub and crown leafy cast spandrels to angles the case with moulded cornice and plain frieze above floral trial inlaid hood door applied with three-quarter columns to angles, the sides with rectangular windows and quarter columns applied to bargeboards at the rear, the trunk with conforming leafy trail decorated concave throat above 42 inch door centred with a lenticle and decorated with marquetry bird and angel figure inhabited flowering foliage into an ebonised ground, the surround with stylised leaf decoration, the sides with two line-edged panels within crossbanded borders, on conforming panel outline marquetry fronted plinth base with shallow moulded skirt, 213cm (84ins) high. Jasper Taylor is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born in 1671 to the clockmaker Thomas Taylor to whom he was subsequently apprenticed gaining his Freedom of The Clockmakers Company in 1695. He worked at Grays Inn, London and took many apprentices (including Thomas Fitter in 1699) with his last being George Freeman in 1711. The design of marquetry decoration to case of the current lot can be directly compared to that on a clock by Isaac Lowndes illustrated in Bruton, Eric The Wetherfield Collection of Clocks on page 170 (fig. 132). Please note: In order to clarify any doubt (possibly inferred by the catalogue description) we would like to state that we are of the firm opinion that the movement and dial are original to the case; in other words the movement and dial are not associated to the case.      

A fine Queen Anne ebonised longcase clock of six-week duration John Lowndes, London, circa 1705 The substantial five thickly turned finned pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch square brass dial with ringed winding holes, subsidiary seconds dial and calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers, Arabic five minutes to outer track and signed John Lowndes, London to lower edge, with pierced steel hands and gilt Indian mask and scroll cast spandrels to angles with foliate scroll infill between incorporating S/N strike selection lever at 12 o'clock, in an ebonised case with gilt ball finials to the ogee caddy surmounted fine foliate fretwork fronted box upstand above moulded cornice and further conforming foliate pierced fret to frieze, generous three-quarter columns with gilt caps and bases to glazed hood door, the sides with rectangular windows and rear quarter columns set against bargeboards, the trunk with convex throat above 42 inch rectangular trunk door centred with a brass lenticle, on plain plinth base with two-tier moulded skirt and brass squab feet, 262cm cm (103ins) high excluding finials, 270cm (106.5ins) high overall. John Lowndes is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as believed to have been born in Marthall, Cheshire in 1673. He was probably cousin to the clockmaking brothers Jonathan, Charles, Samuel and Isaac Lowndes. By the end of the first decade of the 18th century he was working in London, probably alongside his cousin, Jonathan, whose business he is believed to have inherited before passing it onto Thomas Smith in 1714 (when he returned to Chesire due to ill heath). The movement of the current lot is substantially framed and delicately trained as such is reminiscent of some of Tompions apprentice's work including Michael Knight. The case is also generously proportioned with confident detailing resulting in a clock which would grace the entrance hall of any Queen-Anne mansion.

A rare American nickel plated brass carrousel carriage timepiece with duplex escapement Waterbury Clock Company, circa 1880 The movement with monometallic balance and three-wheel train set within a circular rotating carriage with pierced plates which revolves once an hour via a 'walking' eight leaf pinion around a fixed centre wheel, the drive provided by a large standing barrel containing long mainspring mounted on the backplate with winding turn to the rear, the movement frontplate pierced to reveal the rotating carriage within applied paper Roman numeral chapter ring and with monogram trademark incorporating inscription PAT. MAY 21 1878 to lower margin, the case with ring-turned handle to the cushion moulded top above bevel-glazed front door and side panels, on cavetto moulded base with rounded angles, 11cm (4.25ins) high excluding handle. The ingenious rotating carousel design for the movement of the current lot was devised from a patent submitted by D.A. Buck of Worcester, Massachusetts in 1878 with the intention to produce a reliable timekeeper from the least possible parts. The mechanism was first employed by Waterbury in their 'long wind watch' before being used in carriage timepieces (with a much larger spring barrel to increase the duration to eight-days) from the early 1880's. The design and layout of the this type of carriage timepiece (including train counts) is described (in great detail) in Allix, Charles and Bonnert, Peter CARRIAGE CLOCKS Their history and development pages 360-6.

An early Victorian small gilt and patinated brass four-glass mantel clock Jose Rodriguez Losada, London, circa 1840 The circular twin chain fusee movement with five column-turned pillars and horizontal platform English lever escapement incorporating sprung split bimetallic balance and silvered SLOW/FAST curved regulation scale to rear, the backplate with engraved signature J. R. Losada, 105 Regent St., London over vertically positioned hour bell, the silvered brass single sheet Roman numeral dial with heart-pierced blued steel hands over shaped double-line border engraved reserve enclosing repeat signature J. R. Losada, 105 Regent St., London, 6514, to lower margin, the bevel-glazed case with rectangular aperture to the cavetto moulded top over full width front door incorporating 3.75 inch wide complex ogee pointed arch glazed dial aperture with raised triangular profile surround to exterior and canted silvered brass fillet to interior, the sides with generous bevel-glazed panels, the rear with conforming panel set into ah hinged door with spring clasp, the two tier plinth base applied with band of cast patinated brass stylised acanthus foliage over cavetto moulded skirt fitted with compressed bun feet, 25.5cm (10ins) high. Jose Rodriguez Losada is recorded in Loomes, Brian Watchmakers & Clockmakers of the World as working in London 1839-75. Losada was a Spanish émigré who moved to London in 1835; he initially worked for James Moore French before setting up on his own specialising in complex precision clocks and marine chronometers for export to Spanish speaking countries. In 1864 he supplied 36 marine chronometers to the Spanish Government through the Royal Observatory at Cadiz. Losada died in 1875 leaving the business in the hands of his nephews José and Miguel Rodriguez who continued up until around 1890.

Two Minton cabinet plates c.1895-98, one painted by Antonin Boullemier with a Classical maiden seated by a ruined column and holding her face in her hand, doves in flight beside her, the other painted by John Currie with a girl wearing a long fur-lined coat and yellow gloves, knocking on a door, signed, within reticulated rims, printed and impressed marks, 24.2cm. (2)