A George III mahogany eight-day longcase clock with moonphase. Joseph Smith, Bristol, circa 1760. The five pillar rack and bell striking movement with 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, the angles with fine cast female mask and scroll spandrels beneath rolling moonphase with foliate scroll engraved lunettes and signed JOSEPH SMITH, BRISTOL in a downward curve to upper margin, in a case with break-arch frieze to the box upstand and fluted pilasters to hood, shaped top caddy moulded door flanked by fluted canted angles to trunk, on conforming plinth base with raised panel to front and on bracket feet, (pediment lacking, other faults), 210cm (82.5ins) high. Joseph Smith is recorded in Moore, A.J. THE CLOCKMAKERS OF BRISTOL 1650-1900 as working from several addresses in Bristol 1725-75. He is generally considered to be a fine and diverse maker with examples ranging from eight-day longcase clocks with tidal dial to watches with champlevŽ dials. He was perhaps the most prolific maker of high quality bracket clocks in Bristol during the middle of the 18th century as several examples are known including a very rare miniature walnut model with 4 inch dial and a quarter chiming clock with moonphase (illustrated in Barder, R.C. Georgian Bracket Clocks on page 112). A mahogany table clock by Joseph Smith was sold in these rooms on 17th February 2010 (lot 41).
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A mahogany balloon shaped bracket clock. Unsigned, circa 1900. The four pillar twin fusee bell striking movement with anchor escapement and 8 inch circular white painted Roman numeral dial with blued steel hands within a cast brass bezel and convex glass, the waisted case with line edged shaped panel beneath dial and brass grille sound fret to rear door, on moulded base with brass disc feet, 47cm (18.5ins) high.
A Victorian carved oak bracket clock. John Smith and Sons, London, late 19th century, The five pillar twin fusee gong striking movement with rise/fall regulation and pendulum holdfast to the backplate, the 6.5 by 5 inch rectangular single sheet silvered brass Roman numeral dial signed J. SMITH & SONS, CLERKENWELL, LONDON to centre and with floral engraved infill to lower spandrels and around the STRIKE/SILENT selection dial to the upper margin, the triangular pedimented case with carved tile decoration to upper surfaces and scallop shell centred scroll carved infill to the tympanum, the bevel glazed front door inset with an angled brass fillet and flanked by floral carved canted angles, the sides with pierced rectangular side frets, on repeating acanthus carved moulded skirt base incorporating short bracket feet, 35cm (13.75ins) high. The firm of John Smith and Sons is recorded in Loomes, Brian Watchmakers and Clockmakers of the World Volume 2 as working in London 1844-81.
A late Victorian brass mounted quarter chiming bracket clock. Unsigned, late 19th century, The four pillar triple chain fusee movement with rise/fall regulation, chiming a choice of two melodies for the quarters on a nest of eight graduated bells and striking the hour on a gong, the 7.5 inch brass break-arch dial with matted centre within applied silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers and Arabic five minutes to outer track, the angles with foliate festoon and scroll cast spandrels beneath arch applied with subsidiary FAST/SLOW dial above further CHIME/SILENT and WESTMINSTER/CHIME ON EIGHT BELLS selection dials within conforming cast mounts, the bell-top case with basket of flowers and scroll cast mount to upstand and pineapple finials, conforming mounts to upper quadrants of the front door flanked by reeded Corinthian columns to front angles, the sides with rectangular cast brass sound frets decorated with foliate scrolls and Arabesques, on tall moulded base with leaf moulded upper border and lobed feet, 59cm (23ins) high excluding later top finial.
A George III inlaid mahogany eight-day longcase clock with moonphase. D. Collier, Eccles, early 19th century, The four pillar rack and bell striking movement with 14 inch square white painted Roman numeral dial with arched calendar and `axehead` moon apertures and signed D. Collier, Eccles to the seated lamb painted centre, the spandrels painted with female figures emblematic of the four seasons, the case with pierced swan neck crest above cavetto cornice, baton inlaid frieze and turned columns to hood, oval paterae inlaid frieze to throat over gothic ogee arch shaped trunk door flanked by reeded pilasters to angles, on crossbanded plinth base with canted angles and ogee bracket feet, 224cm (88ins) high.
A George III oak eight-day longcase clock. Benjamin Lockwood, Swaffham, late 18th century, The five pillar rack and bell striking movement with 12 inch brass break-arch dial with recessed subsidiary seconds dial, calendar aperture and signed Benj. Lockwood, Swaffham to the foliate scroll engraved silvered centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track and rococo scroll cast spandrels to angles, the arch with conforming subsidiary STRIKE/SILENT selection dial flanked by scroll cast mounts, in a case of good colour with `whales tail` pieced fretwork crest above three-quarter columns to hood, caddy moulded break-arch door to trunk, on a reduced plinth base with moulded skirt, 215cm (84.5ins) high. Benjamin Lockwood is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as born in Swaffham 1737 and worked up to 1795. The `whales tail` crest to the hood is a regional characteristic often seen in clock cases made in East Anglia during the latter half of the 18th century.
A William IV rosewood small bracket clock. Frodsham and Son, London, circa 1830. The current five pillar twin fusee movement with half deadbeat escapement, formerly striking on a bell mounted on the backplate and stamped FRODSHAM, GRACECHURCH STREET, LONDON to centre, fitted to the original 4 inch square single sheet silvered brass Roman numeral dial signed FRODSHAM & SON Gracechurch Street, LONDON to centre and with brass Breguet hands, in a case with brass carrying handle to the gadroon carved upstand above cavetto and ripple carved cornice and brass fillet inset canted angles to front door, on plinth base with moulded skirt and disc turned feet, (movement a well matched replacement, lacking bell), 28cm (11ins) high excluding handle.
A George III mahogany weight driven eight-day precision wall timepiece with centre seconds. Unsigned, circa 1800. The substantial four pillar movement with deadbeat escapement, Harrison`s maintaining power, and 11.5 inch circular silvered Roman numeral dial within a cast brass glazed bezel, the teardrop shaped case with rounded hood above waisted panel to throat and shaped flame figured caddy moulded trunk door with lock to upper rail, with crossbanded and chevron line decoration to edges to front and with moulded base, 141cm (55.5ins) high.
A late Victorian mahogany domestic hour-striking regulator. Unsigned, late 19th century, The substantial four pillar rack and gong striking movement with deadbeat escapement, Harrison`s maintaining power and fine beat adjustment to the wood-rod pendulum crutch mortice, the 12 inch single sheet silvered brass Roman numeral circular dial with subsidiary seconds dial to centre Arabic five minutes to outer track and blued steel hands, the case with shallow cavetto cornice and brass lined glazed circular aperture flanked by canted angles to the full-width hood door above rectangular glazed door enclosing pendulum beat scale flanked by further canted angles to trunk, on panel outlined plinth base with canted skirt, 188cm (74ins) high.
An unusual padouk wood musical alarm table clock. Berguer London, probably early 19th century, The five pillar twin chain fusee movement with verge escapement and alarm playing a choice of two peels or a lively melodic tune on eight bells, the backplate engraved with an urn within a rococo scroll cartouche and decorative border incorporating leafy sprays to angles, the 7 inch brass break-arch dial with alarm disc to the matted centre and blued steel hands within an applied silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers and Arabic five minutes to outer track and signed Berguer, London to lower edge the angles with female mask and scroll pattern spandrels beneath arch with CHIME/SILENT dial flanked by conforming scroll cast mounts, in a case with brass carrying handle to a moulded panel following the profile of the break-arch top with brass pineapple finials, the front door with ebonised fillet mouldings to the glazed aperture and brass inset angles, the sides with circular foliate scroll engraved brass sound frets above concave-topped windows, on moulded base with brass bracket feet, 39.5cm (15.5ins) high. Four makers with the surname Berguer (probably brothers) are recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London during the first quarter of the 19th century; Frederick 1805-24, John 1809-24, Francis (Holborn) 1820 and Joseph 1820. Two generations of makers with the same surname are also recorded working in Chaux-de-Fonds, Switzerland during the 18th century hence it is probable that the London based makers at the start of the 19th century were first generation immigrants. The fact that the maker of the current lot was probably an immigrant may account for the unusual specification of the movement (which plays music as an alarm only) as well as the individual nature of the detail design of the case. These variations perhaps echo those seen on clocks made in London by an earlier generation of Huguenot immigrant makers working during the early years of the 18th century.
A George III brass mounted ebonised table clock. Abel Panchaud, London, circa 1780. The five pillar twin fusee bell striking movement with verge escapement, trip hour repeat and symmetrical foliate scroll engraved backplate, the 7 inch brass break-arch dial with calendar aperture and signed Abel Panchaud, Oxford Street to the silvered centre within applied Roman numeral chapter ring with Arabic five minutes and foliate scroll cast spandrels to angles beneath arch with subsidiary Strike/Silent selection dial flanked by conforming mounts, the triple pad top break-arch case with hinged carrying handle and brass fillet mouldings to top above arched fishscale sound frets to sides and moulded brass inserts to front angles flanking the fillet inset aperture of the front door, on cavetto moulded base incorporating further brass strung moulding and on cast ogee bracket feet, 41cm (16ins) high excluding handle. Abel Panchaud is recorded in Baillie G.H. Watchmakers & Clockmakers of the World as working in London 1764-84.
A George III mahogany table clock. Charles Wilson, London, circa 1770. The five pillar twin fusee bell striking movement with backplate engraved with a pagoda within open foliate scrolls, the 7 inch brass break-arch dial with calendar and recessed shaped signature plaque Cha`s Willson, London to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track and scroll cast spandrels to angles beneath arch with STRIKE/SILENT selection dial flanked by conforming mounts, in a bell-top case with brass carrying handle and ball finials above front door with gilt foliate frets to upper quadrants and brass fillet inset dial aperture flanked by caddy moulded angles, the sides with circular over concave-topped bevel glazed windows, the rear door with break-arch window, on cavetto moulded shallow skirt base with brass bracket feet (escapement with alteration, movement with losses), 47cm (18.5ins) high. A Charles Wilson is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as being apprenticed in 1734.
A fine George III mahogany longcase clock with dual Julian and Gregorian calendar indication and deadbeat escapement. George Lindsay with movement attributed to the workshop of George Graham, London, circa 1752. The substantial fully latched five pillar rack and bell striking movement with plates measuring 8.5 x 7.25 inches, deadbeat escapement and currently of month duration with five-wheel trains, the 12 inch brass break-arch dial with dual Julian and Gregorian date of the month apertures and subsidiary seconds dial to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to outer track, the angles applied with fine female mask and scroll cast gilt spandrels beneath arch centred with a silvered boss signed George Lindsay, LONDON flanked by dolphin cast mounts, the case with convex sided upstand incorporating brass foliate engraved sound fret infill to frieze and mahogany ball finials above break-arch cavetto cornice and free-standing large diameter columns flanking the hood door, the trunk with break-arch one-piece mahogany door over plain plinth base with moulded double skirt and squab feet, the interior of the case inscribed in pencil 1752 KV, 241 (95ins) excluding top finial, 251cm (99ins) high overall; with a period copy of Thomas Baskett and the Assigns of Robert Basket An Act to amend an Act made in the last Seffion of Parliament (intituled, An Act for regulating the Commencement of the Year, and for correcting the calendar now in Ufe.) 1752. (2). George Lindsay is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London from circa 1743 until his death in 1776, as well as being a watch and clockmaker Lindsay also produced scientific instruments. In 1743 he published an advertisement for a `Generally Portable` microscope, in another hand written trade pamphlet Lindsay refers to himself as `Watch & Clockmaker to his Royal highness ye Prince of Wales at ye Dial near Catherine Street in ye Strand`. He was later appointed watchmaker to George III, a position he held until his death in 1776. The movement of the current lot with its distinctive substantial bulbous knopped pillars, teardrop shaped pivot cocks for the under dial work and other more subtle details such as the elongated collet for the escape wheel and the suspension cheeks being screwed to the lower edge of the backcock nib, indicates that it originated from the workshop of George Graham. The overall arrangement of the strikework and the impressive nature of the snail/hour wheel assembly is typical of Graham`s work and can be directly compared with numerous examples of his work such as number 777 sold Christie`s King Street, June 1994 (lot 483). The presence of a deadbeat escapement and larger than normal plates is noteworthy suggesting that the current lot may have been devised with further refinements in mind. Originally the movement was made to run for eight-days only and was fitted with bolt and shutter maintaining power (dial has vacant slot at 3 o`clock for the shutter lever and movement has related vacant holes in the plates) however the duration has been increased with by inserting another wheel into each train and reversing the winding pulleys. The bolt-and-shutter maintaining power was removed at this time as it is would be no longer required in a long duration movement. These improvements were probably done early in the clock`s life perhaps even by Lindsay himself however there is no immediate evidence to confirm this. The provision of two date apertures (to give the date of the month according to both the Julian and Gregorian calendars) to the centre of the dial indicates that the current lot was made at the time when the `new` calendar was adopted by Act of Parliament in 1752. By this time the Julian calendar had become inaccurate (due to the error in the estimation of the length of the day) causing difficulties in respect to the synchronisation of the vernal equinox and subsequent calculation of Easter. In order to correct the error twelve days were added to the British calendar at midnight on September 2nd 1752 and the rules for calculating leap years were altered. The Roman Catholic Church had adopted the new calendar in 1582 with most of Continental Europe (under Catholic rule) following shortly afterwards, Great Britain was the last major Western European state to implement the new calendar.
An unusual George II black japanned table clock with Dutertre`s duplex escapement. Indistinct original signature, circa 1740. The five pillar twin fusee bell striking movement with escapement composed of two escape wheels of varying diameter mounted on the same arbor which alternately engage with cranked pallets fitted with a standard verge type short bob pendulum, the backplate finely engraved with a grotesque mask within Ho-Ho bird inhabited foliate scrolls and a narrow ropetwist border, the 7 inch brass break-arch dial with calendar aperture to the matted centre within applied silvered Roman numeral chapter ring and Indian mask and scroll cast spandrels to angles, the arch with original signature boss bearing re-engraved script Tho Tompion, LONDINI (indistinct traces of original script visible on close examination) within a herringbone border and flanked by conforming mounts, the inverted bell-top case with foliate cast brass carrying handle above front door with scallop shell and scroll cast brass frets to upper quadrants, the sides with ruby glazed windows above blanked break-arch apertures, the rear with conforming glazed upper quadrants over break-arch aperture, the exterior decorated in raised polychrome and gilt with chinoiserie designs within foliate borders throughout, the cavetto moulded base with later brass bun feet, (finish rubbed, other relatively minor faults) 44cm (17.75ins) high excluding handle. The escapement in the current lot appears to be an early/contemporary application of the duplex arrangement as designed by the French horologist Jean Babtiste Dutertre (worked 1715-42), and was perhaps conceived as attempt to improve on the tic-tac escapement. The principle benefit is that the wear rate is greatly reduced as the pallets only engage once with each tooth for each rotation rather than twice (once from either side) for the standard tic-tac arrangement. In essence one wheel provides the entry action of a recoil arrangement and the second controls the exit. This division of the function of the escapement between two wheels allows the teeth on each wheel to be of a heavier profile than on the single escape wheel of a tic-tac escapement, further improving reliability and longevity. Dutertre`s design is illustrated in Reid, Thomas A TREATISE ON CLOCK AND WATCH MAKING plate IX/48 and is briefly described in Appendix B. The overall style, design and layout of the movement suggests London work from the second quarter of the eighteenth century. The engraving to the backplate is unusual being centred with a grotesque mask within a shaped reserve however the Ho-Ho bird foliate scroll infill is more typical of decoration found on London made clocks of the period. Overall the current lot has survived in original condition (including the escapement which is unaltered and has always been with the clock), however the erasing of the original signature to the boss in the arch is a shame as the name of maker of this unusual form of escapement has been lost, although further research and examination could result in a positive attribution.
A fine George I green japanned eight-day longcase clock with lunar calendar. Edward Cockey, Warminster, circa 1720. The five finned pillar movement rack striking the hours on a bell mounted vertically above the plates, the frontplate with extension to carry the motion work for the lunar calendar, the 12 inch brass break-arch dial with calendar aperture and subsidiary seconds dial to the basket of flowers and foliate scroll engraved and chased matted centre within applied Roman numeral chapter ring with stylised fleur-de-lys half hour markers, Arabic five minutes to outer track and signed ED. COCKEY, WARMINSTER to lower edge, the angles applied with fine urn-centred scroll cast gilt spandrels beneath arch with a central rotating foliate engraved disc with circular aperture to reveal a lunar disc representation of the age of the moon and blued steel pointer for the fixed silvered outer scale calibrated for the lunar month and flanked by dolphin and foliate cast gilt mounts, the case with wide break-arch pediment fronted by a deep foliate scroll pierced blind fret frieze above three-quarter columns attached to the gilt foliate spray decorated hood door, the trunk with rectangular door decorated in raised polychrome and gilt with pagodas and figures within an oriental landscape bordered by further gilt foliate scroll borders, the conforming plinth base adorned with Ho-Ho birds and foliage to front and with moulded double skirt, 229cm (90ins) high. Provenance: The property of a private collector. Born in 1669, Edward Cockey senior was the son of Lewis Cockey (a bellfounder and clockmaker working in Warminster) from whom it is believed that he subsequently learned the trade. Edward was clearly a talented and well-connected clockmaker who in 1707 made an extremely complicated astronomical clock for lord Weymouth for the Great Hall at Longleat. Weymouth is thought to have subsequently commissioned Cockey to make another example as a gift to Queen Anne for her drawing room at St. James`s Palace (now in the National Maritime Museum, Greenwich). Edward Cockey junior was born in 1701 and, although initially thought to have followed in his father`s footsteps, apparently chose to become a wine merchant instead. There is a record of the death of an Edward Cockey clockmaker in 1768 (which probably relates to Edward junior). The dial of the current lot, with decorated centre and lunar calendar to arch, coupled with the finely proportioned case (which has survived with the original finish intact) exhibits Edward Cockey`s individual and innovative approach to both function and aesthetic quality.
A George I green japanned eight-day longcase clock. James Stevens, London, circa 1720. The four pillar inside countwheel bell striking movement with 12 inch brass break-arch dial with border-engraved calendar aperture and star decorated subsidiary seconds to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and signed James Stevens, London to lower edge, the angles with twin cherub and crown cast spandrels beneath arch applied with a rococo scroll cast cartouche centred with a silvered boss decorated with a mask and flanked by winged cherubs and putti holding flaming torches beneath upper border engraved with a curved herringbone decorated band, in a green ground gilt decorated case with domed caddy surmount above cavetto cornice and three-quarter columns to hood door, the trunk with rectangular door decorated in raised polychrome and gilt with oriental figures and pagodas within gilt foliate trail decorated borders, on conforming plinth base with moulded double skirt (case with restoration), 236cm (93ins) high. James Stevens is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London circa 1710.
An Austrian small ebonised table timepiece with alarm. Unsigned, late 18th century, The four finned pillar short duration movement with verge escapement, short bob pendulum and standing barrel for the going train and crown wheel and further small standing barrel for the alarm, the 4.5 inch brass break-arch dial with alarm disc and false bob aperture to the foliate scroll engraved centre within applied silvered Roman numeral chapter ring with orb half hour markers and arcaded minutes ring annotated with Arabic five minutes, the angles applied with scroll cast spandrels beneath silvered boss decorated with a stylised basket of flowers within scroll engraved infill, the inverted bell-top case with dolphin cast brass carrying handle above engraved brass lozenge shaped frets over break-arch windows to sides and conforming upper quadrant frets above carved giltwood dial surround to front door, on cavetto moulded base with brass disc feet, 33cm (13ins) high excluding handle.
A George II brass mounted ebonised table clock. James Vaulove, London, circa 1720. The five pillar twin fusee bell striking movement with rise/fall regulation and decorated with a Ho-Ho bird to the symmetrical foliate scroll engraved backplate, the 6 inch brass break-arch dial with calendar aperture and false bob aperture now blanked with the silvered signature plaque Jam:s Vaulove, London to the matted centre within applied silvered Roman numeral chapter ring with Arabic minutes to outer track, the angles with applied gilt Indian mask and scroll pattern spandrels beneath subsidiary silvered regulation dial flanked by conforming mounts to arch, in a case with gilt brass handle to the brass lined inverted bell top above foliate cast frets to the upper quadrants of the front door and raised gilt moulding around the dial aperture, the angles with brass inserts to edges the sides with conforming gilt bordered break-arch sound frets, on a stepped two stage moulded brass bound skirt base (movement with faults and losses), 43cm (17ins) high excluding handle. James Vaulove appears to be unrecorded however the design of the case with raised brass mouldings to the apertures and brass bound double skirt base displays the high style influence of Huguenot makers such as Claude DuChesne working at this time.
A fine George II walnut table clock. Robert Ward, London, mid 18th century, The five pillar twin fusee bell striking movement with foliate scroll engraved backplate and 7 inch brass break-arch dial with false bob and calendar apertures and applied shaped signature plaque Rob`t Ward, LONDON to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track and scroll cast spandrels to angles, the arch with Strike/Silent selection dial flanked by conforming mounts, the burr walnut veneered inverted bell-top case with brass carrying handles and flambeau finials (not illustrated) above gilt foliate frets to upper quadrants of the front door and raised mouldings to apertures, the sides with circular ruby glazed windows over concave-topped rectangular brass fishscale frets, the rear door with break-arch window, on cavetto moulded shallow skirt base now with foliate cast brass scroll feet, (escapement with alteration), 48cm (19ins) high. Robert Ward is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London circa 1751.
A George III ebonised table clock with pull quarter repeat on six bells. Robert Higgs, London, mid to late 18th century, The five pillar twin fusee bell striking movement with verge escapement, pull quarter repeat on six bells and fine foliate scroll engraved backplate signed Robert Higgs, LONDON to a symmetrical foliate cartouche surmounted with a reclining Classical female, the 7 inch brass break-arch dial with calendar and false bob apertures and plaque signed Higgs Y Evans, LONDRES to the matted centre within applied silvered Roman numeral chapter ring and scroll cast spandrels beneath arch with subsidiary Strike/Silent selection dial flanked by conforming mounts, in a bell top case with hinged brass carrying handle and cast artichoke finials above circular over concave topped rectangular glazed apertures to sides and engraved pierced brass frets to the upper quadrants of the front door with brass fillet inset dial aperture, on cavetto moulded base with brass bracket feet, (with restoration), 45cm (17.5ins) high. Robert Higgs is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as apprenticed in 1743 and gaining his Freedom in 1750. He worked from Sweetings Alley and took his brother Peter into partnership in 1770, by 1775 the firm had merged with that of James Evans to form the partnership of Higgs & Evans. James Evans worked from 1773 and specialised in producing clocks for the export market, in particular Spain. The presence of the signature plaque Higgs y Evans, LONDRES to the dial of the current lot suggests that it was supplied for export utilising an earlier movement and dial by Robert Higgs which may have been held as old stock or possibly bought back in from a client who was looking to upgrade.
A walnut and floral marquetry eight-day longcase clock. Christopher Gould, London, late 17th century and later. The five finned pillar inside countwheel bell striking movement with 11 inch rosette-centred square brass dial with ringed subsidiary seconds dial and winding holes and foliate engraved calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with stylised sword hilt half hour markers and Arabic five minutes to outer track, the angles applied with winged cherub head and scroll cast spandrels with scroll engraved infill between and signed Chr: Gould Londini fecit to lower margin, in a case with moulded cornice and fretwork frieze above foliate trail inlaid dial surround applied with spiral twist three-quarter columns to front angles, the trunk with convex throat moulding and rectangular door centred with a glazed lenticle and inlaid with three shaped marquetry panels decorated with flowering foliage on an ebonised ground within triple ebony and box line borders and a walnut field, on conforming marquetry panel fronted base with applied ogee shallow skirt (case with faults), 203cm (80ins) high. Christopher Gould is generally regarded as one of the leading makers from the `Golden Period` of English clockmaking. He was made Free of the Clockmakers` Company in 1682 but by 1713 had become destitute and received charity from the Company until his death in 1718. His work tends to exhibit a distinctive character borne out of his particular attention to detail and design.
A Charles II style ebonised table clock. Unsigned, 20th century incorporating some earlier elements. The five pillar twin fusee bell striking movement with verge escapement, bolt-and-shutter maintaining power and decorative foliate pierced and engraved back cock apron to the herringbone border decorated backplate, the 6 inch square brass dial with arched false bob aperture to the matted centre within applied silvered Roman numeral chapter ring with cruciform half hour markers and Arabic five minutes to outer track, with fine pierced blued steel hands and winged cherub mask cast spandrels to angles, in a case with gilt brass hinged handle to the domed caddy above foliate pierced sound fret to the upper rail of the front door, the sides with conforming frets above rectangular glazed apertures, on moulded base with squab feet, 33cm (13ins) high excluding handle.
A George III mahogany eight-day longcase clock. Bonsall, Beaston, mid 18th century, The four pillar inside countwheel bell striking movement with 12 inch brass break-arch dial with subsidiary seconds and calendar dials and signed Bonsall, Beaston to the foliate engraved centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track and female mask and scroll cast spandrels to angles beneath arch with silvered boss flanked by dolphin cast mounts, in a broken-arch pedimented case with dentil moulded frieze above Corinthian pilasters flanking dial aperture to hood, the trunk with shaped-top caddy moulded door above plinth base fronted with a conforming raised panel, on ogee bracket feet, 244cm (96ins) high.
A 9ct gold ring, claw set with an oval cut citrine within a beaded surround, four `Avon Calling` door knocker brooches, an `Avon Highest Honour` 9ct gold brooch, with a 9ct gold and diamond set star pin attached, a pin detailed `3`, a pin detailed `2`, two Avon 9ct gold brooches, each in a pierced scrolling design, five pairs of earrings and an odd earring.
A VICTORIAN MAHOGANY CORNER CABINET in two parts, the broken scrolling pediment above a plain frieze, a cottage-pane glazed door below enclosing a pair of shelves, canted corners, the lower section comprising a plain frieze above a panelled door enclosing a shelf, canted corners, on shaped bracket feet 196cm high, 66cm wide, 40,5cm deep 1
AN EDWARDIAN MAHOGANY AND GLASS DISPLAY CABINET the serpentine top above an inlaid frieze centred by a glass door enclosing a pair of shelves with floral inlaid motif, flanked by a pair of glazed doors enclosing a pair of shelves, a circular inlaid panel below, shaped apron, on tapering square-section legs, on spade feet, stringing throughout, distress 175,5cm high, 121cm wide, 41cm deep 1
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