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An Edward VII Silver Whiskey-Tot and George V Whiskey-Label, The Whiskey Tot by John Thomas Heath and John Hartshorne Middleton, London, 1904, The Whiskey-Label by Hukin and Heath, Birmingham, 1921 the whiskey-tot of typical tapering form, the plain flat hinged cover with spatulate finial and engraved ‘P.LL.G 1 May 1905’, the whiskey-label crescent-shaped10cm highProvenance: A 21st birthday gift to Philip Lloyd-Greame, later 1st Earl of Swinton.The initials are those of Philip Lloyd-Greame who later changed his name to Philip Cunliffe-Lister and was created 1st Earl of Swinton in 1955. He married, in 1912, Mary Constance Boynton, granddaughter of Samuel Cunliffe-Lister, 1st Baron Swinton.The whiskey-tot fully marked near rim and further part marked inside hinged cover. There is some minor surface scratching and wear, consistent with age and use. There is some bruising to the hinged cover which does not shut tightly. The whiskey-label fully marked underneath. The chain is detached on one side at the loop and is held together with a section of string as can be seen in the catalogue illustration.

A Pair of Charles II Silver-Gilt Bowls and Covers, Apparently Unmarked, Probably London, Circa 1680, In the Manner of Thomas Jenkins each compressed circular and on short octagonal foot, the sides chased with four landscape vignettes with foliage scrolls and grotesque masks between, all on a matted ground, with leaf-cast scroll handles, the detachable covers similarly decorated and with fruiting melon and leaf finial15cm wide, 20oz 7dwt, 649gr (2)The present bowls and covers would originally have formed part of a toilet-service, an important component of aristocratic silver and silver-gilt plate in the 17th century. The services, often given as a wedding gift from a groom to his bride, would include a mirror and the various dishes, bowls and boxes that a lady would require as well as, in some cases, candlesticks and other items. One such service is the Calverley Toilet service, made by William Fowle in 1683 and now in the collection of the Victoria and Albert Museum (museum nos. 240&A to M-1879). The Calverley service, so called as it was given by Sir Walter Calverley to his wife Julia Blackett, also includes a pair of covered bowls comparable to the present examples. It is suggested that 'they might have been used for breakfast porridge, presented to the guests on the two salvers or tazze (the plural of tazza, a standing dish that may have been used to present food or as a stand for a bowl). Alternatively, they could have contained an oatmeal face wash, which was popular with both men and women'.Another pair of bowls and covers formed part of a silver-gilt service made for Jane Bickerton, Duchess of Norfolk, (1644-1693). These bowls are very similar in form, size and weight to the present examples, with each described as being chased with landscapes within foliage and with bud finials. The Norfolk service comprised fifteen pieces of which only a pair of flasks are marked with the maker's mark only of Thomas Jenkins. Despite being mostly unmarked it was suggested that the similarity of decoration makes it likely the pieces from the service all came from the workshop of Thomas Jenkins. The Norfolk service was to end up in the collection of Frederick, 2nd Baron Hesketh, eventually being offered for sale by Sotheby's as part of the contents of Easton Neston, 17 May 2005, lot 950. There is some overall surface scratching and wear, consistent with age and use. The wear is noticeable as a softening to the gilding at the high points. The gilding has probably been refreshed in the 19th century.

A William IV Giltwood and Ebonised Convex Mirror, 2nd quarter 19th century, the reeded and ebonised slip in a moulded leaf-decorated frame surmounted by a stag and foliate cresting87cm by 66cmRestoration and faults to finial (head and neck) as photographed, further losses to acanthus leaves with further small faults.ebonised slip with heavy decay throughout and wormholes, some over painting and small losses to the outer frame

A Collection of Assorted Silver and Enamel Flatware, comprising a cased set of six teaspoons, the bowls enamelled with game birds; a cased set of six enamelled coffee-spoons; a cased set of eight coffee-spoons, the bowls enamelled with flowers and four differing silver and enamel cocktail sticks, each with cockerel finial (qty)

A George III Steel Fire Basket, early 19th century, the cast-metal back support and open grille front flanked by pierced and engraved foliate panels, with a conforming serpentine-shaped apron mounted by urn finials, on square tapering legs94cm by 47cm by 80cmPoor condition and rusted. One finial is missing. The back is split. The front serpentine rail is bruised. Sold without reserve.

A Chrome-Plated and Painted Car Mascot, 20th century, modelled as a steeplechaser with jockey up13cm highA Gilt-Metal-Mounted Glass Box, of rectangular form, with pine cone finial and ball feet17cm wideA Pair of Gilt-Metal Mounts, as bridled horse's heads with glass eyes8.5cm highTwo Paperweights, modelled as partridges, on wooden plinths10cm wide (6)

A Victorian Silver Butter-Dish, Cover and Stand, by John Samuel Hunt, London, 1854 circular, the fluted sides engraved with alternating bands of strapwork, with drop-ring handles, the detachable cover with cast cow finial, engraved with the crests of Cunliffe and Lister, with an associated frosted glass linerthe stand 19cm diameter, weight of silver 21oz 1dwt, 654grThe crests are almost certainly those of Samuel Cunliffe-Lister, later 1st Baron Masham (1815-1906). He was elevated to the peerage in 1891, taking his title from the market town of Masham which was near Swinton Park, the country seat he purchased in 1888.Fully marked under base and stand as well as inside cover. Further part marked on finial, drop ring handles and fixing bold. The base and stand 'Hunt & Roskell Late Storr & Mortimer' and numbered '7233'. The marks are generally clear. There is some overall surface scratching and wear, consistent with age and use. The wear is noticeable as a softening to the high points. There are splits to a number of the flutes on the stand. The glass liner is associated and the cover does not fit properly with the glass bowl inside.

An Edward VII Silver Teapot and Sugar-Bowl, by William Hutton and Sons Ltd., London, 1908 and Sheffield, 1909 each oval and with gadrooned borders, the teapot with ebonised handle and finialthe teapot 21cm wide over handle, total gross weight 17oz 4dwt, 535gr (2)Each fully marked near rim. The teapot further part marked inside cover. The marks with some wear, though still legible. There is some overall surface scratching and wear, consistent with age an use. there is loss to the finish on the handle and finial. There are some minor bruises overall.

A Victorian Silver-Mounted Engraved-Glass Claret-Jug, by Robert Harper, London, 1877 the glass body tapering and engraved with fruiting vines, the plain silver mounts with beaded border, the domed cover with ball finial24.5cm highFully marked near handle and further part marked inside cover. Further stamped '12995' near handle. There is some minor wear to the marks, particularly the maker's mark near the handle, though each is still legible. There is some overall surface scratching and wear, consistent with age and use. There are no obvious chips to the glass though there is some staining inside.

A George II Silver Coffee-Pot, by Gabriel Sleath, London, 1735 tapering cylindrical and with reeded base, later chased overall with foliage and scrolls, the hinged cover with fruiting finial, engraved on one side with a lozenge-of-arms within strapwork, the other side later engraved with the arms of Lister quartering those of Cunliffe, below the crests of Cunliffe and Lister above a motto25cm high, 30oz, 933grThe later coat-of-arms are probably those of Samuel Cunliffe-Lister, before he was elevated to the peerage in 1891 as 1st Baron Masham (1815-1906).Fully marked underneath. Further marked inside cover with maker's mark. The base engraved with scratch weight '29=16'. There is some wear to the marks but each is generally legible. There is some overall surface scratching and wear, consistent with age and use. The wear is noticeable as a softening to the high points. The chasing is later as is the handle. The lozenge-of-arms is perhaps original while the coat-of-arms is later.

A George III Silver Teapot, by Charles Hollinshed, London, 1807 oval and on four scroll and shell-cast feet, the sides lobed, the hinged cover with part-ivory final, with later leaf-capped and ivory-insulated silver handle, the cover engraved with a crest29.5cm wide over handle, gross weight 20oz, 622grWith non-transferable standard ivory exemption declaration number BJ3X72AB.Fully marked underneath and further part marked inside cover. The handle is apparently unmarked and is probably second half 19th century. There is some wear to the marks but each is legible. There is some overall surface scratching and wear, consistent with age and use. There is some staining and cracking to the ivory insulators and the ivory disc in the finial. The finial is lacking a spacer. There is a repair to the body behind the handle and another to the top of the spout.

A Set of Three George III Silver Condiment-Vases, by Robert Makepeace and Richard Carter, London, 1777 each vase-shaped and on square base with beaded plinth, the lower bodies part fluted and below a drapery swag and with two ram's mask-cast terminals, the detachable covers with acorn-cast finial and engraved with a crest, the base of the larger engraved with an inscription one 20.5cm high and two 18.5cm high, total weight 31oz 18dwt, 992gr (3) The inscription on the base of the larger example reads 'A Mark of Regard & Respect From a Friend'. Each fully marked under base. Two further part marked on cover bezel with lion passant and maker's mark. One cover apparently unmarked. The marks are generally clear, though the marks on one cover are partly cut through by the slot for a spoon. There is some overall surface scratching and wear, consistent with age and use. There is some bruising to the bezels of the covers so some are slightly ill-fitting. The slots for the spoons are perhaps later.

A George II Silver-Gilt Cup and Cover, With Cancelled Marks for Lewis Pantin, London, 1735, Further Marked With Antique Plate Committee Case Number 4696 inverted bell-shaped and on shaped rocaille-cast and foliage and grotesque mask heightened base, with robust leaf-capped scroll handles, the body applied with flower and foliage swags and rocaille-cast cartouche on each side the lower body applied with mermaids and sea-horses, the detachable cover with applied foliage and shell borders and with a cartouche on each side, below foliage scroll cast finial, the cartouches each engraved with a crest, the cover and cover bezel each engraved with an inscription34.5cm high, 101oz 10dwt, 3,157grThe inscription on the cover reads 'Veritas Prevalebit August 15 1795. The Committee request that these lines may be added to the Plate. To Lt. Col. Thornton Sn. The uniform steady conduct of the soldiers of the York at Robio Tiverton & Barnham Camps, will transmit your name with that degree of credit few attain to the latest posterity. Lt Col. Thornton entails the Plate voted by the Soldiers of the York to his Heirs'. The inscription on the bezel reads 'The Non Commission'd Officers & Soldiers of the York Reg't. requested Dr Trusley [?] to present to Lt. Col. Thornton in their name an Elegant Sword & Service of Plate, for which each Man would Subscribe one Week's pay as a Testimonia of Their love & Veneration for him. which was done in the presence of Forty officers of rank, on the 3rd of May at the Turf Tavern, that day being the Colonel's Birth day'. Other items from the service are known to exist, for example a soup-tureen and cover by Charles-Louis-Auguste Spriman which is owned by the Musées Nationaux Récupération and on long-term loan to the Louvre, Paris (item number OAR426). The tureen is oval and with robust rams mask-capped handles and a finial formed as a hunting dog and its prey. In common with the present silver-gilt cup and soup-tureen tureen is engraved with an extensive presentation inscription to Lt. Col. Thornton and further engraved on each side of the cover and body with a crest.The Colonel Thornton referred to in the inscription on both the present cup and cover and on the Spriman tureen is possibly Colonel Thomas Thornton (d.1823), the celebrated sportsman who at one time owned Allerton Park in Allerton Mauleverer. He was a colonel of the 2nd West Yorks Militia, which his father had also been a member of but a dispute in 1794 resulted in a court marshall and Thornton's resignation from the regiment. The date of the inscription is interesting and suggests that the service was perhaps a gift to him by other members of the regiment who remained loyal to him. He was to later to describe the incident as 'mutinous conspiracy'. He was a keen collector and Francophile, marrying twice.

A George II Silver Coffee-Pot, by Thomas Whipham and Charles Wright, London, 1758 pear-shaped and on spreading gadrooned foot, the hinged cover with gadrooned border and tapering fluted finial, engraved under the spout with a crest above initials, with later wood handle25.5cm high, 28oz 14dwt, 893grFully marked near handle and further part marked on cover bezel. There is some wear to the marks but each is generally legible. There is some overall surface scratching and wear, consistent with age and use. There are some bruises overall. The handle is replaced.

A Minton Porcelain Miniature Teapot and Cover, circa 1830, applied with naturalistically modelled and painted flowers, bears crossed swords mark in underglaze blue5.5cm highA Similar Twin-Handled Pot and Cover6cm highA Similar Pair of Cache Pots, bear crossed swords marks in underglaze blue6cm highA Derby-Style Crinoline FigureA Voltstadt Group of Wine DrinkersA Minton-Style Turquoise-Ground Tête-à-Tète Service (qty)Teapot - tiny chip to the end of the spout, flake to the enamel on the handle, losses to the applied leaves and petals, cover no steam holePot and cover - two hair cracks to cover (with steam hole), crazed, losses to the applied workCache pots - crazed, losses to the applied workCrinoline lady - minor flakes to the edge of the base, no repairWine drinkers - girl with the back brim of her hat re attached, some losses to the applied workTete a tete - teapot with loss to the end of the spout, ribbon finial broken and re glued, sucrier with loss to the inner rim, crazing

High iridescent glaze dish in the shape of a pumpkin, placed on a leaf-shaped tray. The stem and the small pumpkin formed the handle and finial. A clear glass ladle included. Made in Japan stamped on the jar and tray. Covered jar measures: 5.75"L x 3.5"W x 4.25"H. Tray: 7.25"L x 6"W x 1.5"H. Ladle: 5"L x 2"W x 1.25"H. Issued: 20th centuryDimensions: See DescriptionCountry of Origin: JapanCondition: Age related wear.

Clarice Cliff for Newport Pottery, Small Beehive Honeypot and Cover in the Orange Trees and Sunset Design with finial lid. Height: 7.5cm

A Chinese famille rose enamelled porcelain food warming jar, cover and liner, Daoguang style but later, of cylindrical form, the domed cover with gilt Buddhistic lion finial, painted with grasshoppers and flowers, unmarked, height 18.4cm.

A Chinese famille rose export porcelain oval soup tureen and cover, Qianlong period, painted with a tobacco flower pattern within gilt borders, flanked by a pair of plumed mask handles, the cover with pierced crown-shaped finial, height 27.5cm, length 31cm (repaired section and restored handles). Note: this form of tureen is modelled after a Meissen original by Johann Friedrich Eberlein, circa 1737.

A Chinese blue and white export porcelain teapot and cover, late Qianlong period, the ovoid body painted with pavilions and figures in a coastal landscape, the cover with gilt Buddhistic lion finial, height 15.5cm (minor chip to spout). Provenance: from the estate of the late Nigel Pollitzer, adopted son of multimillionaire George Pollitzer and his wife Esme and former friend of Sarah, Duchess of York.

A FRENCH ENGRAVED GILT BRASS AND CHAMPLEVE ENAMEL MINIATURE CARTEL TIMEPIECE AND MATCHING BAROMETERTHE TIMEPIECE MOVEMENT STAMPED L.R., PARIS, CIRCA 1800The timepiece with circular eight-day movement incorporating platform cylinder escapement regulated by sprung monometallic balance applied to the backplate stamped L R opposing serial number 1595, the 1.75 inch circular convex white enamel dial with vertical Arabic hour numerals within a floral festoon decorated band, with fine rococo scroll cast gilt hands set behind hinged convex glazed cast gilt brass bezel, the barometer with circular cream register calibrated in centimetres of mercury, each gilt brass case overall decorated in polychrome champleve enamel with Hispano-Moresque inspired foliate strapwork, with acorn finial enamelled with red flower centred cream panels within powder blue borders over a cobalt collar surmounting a drum housing the mechanism with repeating cobalt lappet leaf cavetto band around the bezel and conforming repeating panels to circumference, set on a waisted upright over a tapered pedestal applique incorporating swollen polychrome ribbon-tied laurel band over strapwork panel picked out with mottled red motifs and green leaf details within a cobalt line border and foliate scroll border, the sides with similar panels over a cobalt faced block and ogee-shaped foot terminating with a pendant finial, each mounted on a shaped giltwood panel.The timepiece/barometer 32cm (12.5ins) high, 7.7cm (3ins) wide, 5cm (2ins) deep, the wooden panels 38cm (15ins) high, 12cm (4.75ins) wide. Condition Report: The timepiece movement is presently fully-wound but not currently running. The escapement appears intact and undamaged hence the mechanism is most likely just gummed-up with dry oil hence requires a clean/service. The regulation lever is presently disconnected. The dial appears free form visible damage/faults. The barometer does not appear to respond to change in pressure when 'bag tested' hence will require attention. The scale appears to be printed paper and has some light discolouration/rubbing and the bezel appears have been glued into position (traces of glue visible to the interior). Both cases appear to be in fine original condition with faults limited to a couple tiny enamel chips (hard to find even with very close examination). The wooden back panels are probably later additions with both exhibiting some light surface wear.There is no winding key present.Condition Report Disclaimer

Y&nbspA RARE QUEEN ANNE GILT BRASS MOUNTED TORTOISESHELL QUARTER REPEATING TABLE/BRACKET CLOCK WITH ALARMROBERT HODGKIN, LONDON, EARLY 18th CENTURYThe substantial six finned pillar bell striking movement with plates measuring 7.75 by 5.5 inches and verge escapement regulated by lenticular bob pendulum incorporating pivoted beam rise/fall regulation to suspension, with pull-repeat peeling the quarters on a graduated nest of six bells and sounding the hour on a further larger bell, and with pull-wind alarm mechanism sounding on the hour bell via a vertically pivoted T-shaped hammer, the backplate finely engraved with symmetrical foliate scrollwork issuing from a central leafy cartouche engraved signed Hodgkin, London and with herringbone banded outer border, the 7 inch wide brass break-arch dial with shaped false bob and calendar apertures to the matted centre within applied silvered Roman numeral chapter ring with cruciform half hour markers and Arabic five minutes beyond the outer minute track, with scroll pierced blued steel hands and unusual applied grotesque mask and phoenix cast gilt brass spandrels to lower angles, the upper angles interrupted by twin rosette-centred subsidiary dials each with Roman numeral chapter ring, the left a second hour dial with central silvered alarm setting disk opposing rise/fall regulation top the right, the centre with engraved signature Robert Hodgkin, London and n/s strike/silent selection switch, beneath arch applied with a demi-lune cast gilt brass mount decorated with a sunburst beneath leafy scroll infill flanking a male mask, within herringbone engraved upper border, the case of French Regence design with large gilt brass grotesque mask and acanthus cast flambeau urn finial to the cushion-capped cavetto upstand incorporating gilt draped leaf cast mounts to angles, above egg-and-dart moulded arched cavetto cornice centred with a mask and terminating with opposing acanthus scrolls issuing leafy pendant angle mounts, over hinged glazed gilt brass framed egg-and-dart cast break-arch door incorporating concave lower angles enclosing a repeating leafy spray cast apron mount beneath the dial behind, the sides with egg-and-dart moulding over rectangular glazed panels within ribbon-weave cast gilt brass frames and swollen lower section, the rear with hinged rectangular brass framed glazed aperture, on acanthus cast scroll feet with conforming palmette-centred pendant mount to the shaped front apron between.58.5cm (23ins) high, 31cm (12.25ins) wide, 14cm (5.5ins) deep. Very little of Robert Hodgkin is known; he is noted in Loomes, Brian Clockmakers of Britain 1286-1700 as working circa 1705-20 with reference to a single longcase clock signed by him. From the apparent lack of records, it would be reasonable to suggest that Robert Hodgkin most likely worked within one of the larger workshops. Indeed the style of the present lot would suggest a Huguenot workshop such as that of Claude DuChesne. Provenance:Purchased by the vendor at Bonhams, London sale of FINE CLOCKS, 10th December 2014 (lot 111) for £7,500. Previously exhibited by Algeron Asprey and Meyrick Nielson in An Exhibition of Fine and Decorative Clocks held at Bruton Street, London, 10-20th June 1975 (exhibit No. 6). The engraving to the backplate of the current lot is unusual in that there is noticeable 'space' within the composition - most noticeably towards the herringbone border and to the upper third. This does not conform to the usual practice of entirely filling the plate hence demonstrates an individual approach by Hodgkin's chosen engraver. Stylistically the rendering of the foliate scrollwork can be closely compared to that seen on a backplate of a clock by Daniel Quare illustrated in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS, Art on a Canvas of Brass page 233 (Figure 13.19) which would suggest that both were executed by the same hand. The design and layout of the pull quarter repeat mechanism in the current lot can also be compared to that of a clock by John Wady described and illustrated in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS, Art on a Canvas of Brass pages 440-41. Condition Report: Movement is in fully working condition with no visible evidence of alteration or noticeable replacements however it is likely that a relatively complex clock of this age will have some service replacements within the mechanism. There is no evidence to indicate that the escapement is a re-conversion (ie. no evidence of the clock ever having and anchor escapement. Although in working condition the alarm mechanism is a little feeble. The brass of the movement has a slightly mellow hue. The dial plate also has slightly mellow colouring however is in fine condition with minimal oxidation to the chapter ring; the spandrels are of unusual pattern and are gilded as are the other mounts. The case is generally in very good condition. The mounts are of very even colour suggesting that have been regilded (electro-gilded). The convex section of the superstructure has some cracking to the tortoiseshell veneers towards the left-hand rear corner and the right-hand section following the arch profile has a join within the veneer across the rear upper corner. There is a small chip next to the front door keyhole otherwise veneers appear to be in fine condition with minimal movement or surface blemishes. The rear door upper pin hinge is currently not connected due to the tab drilled with a hole fitted to the door frame now being loose (requires screw drilling-out and re-tapping). Otherwise faults to the case are very much limited to slight age related wear and other very minor surface blemishes. Clock is complete with pendulum, case key and a winder. Condition Report Disclaimer

A FINE GEORGE III BRASS MOUNTED EBONISED FOUR-TUNE MUSICAL TABLE/BRACKET CLOCK WITH AUTOMATONSAMUEL TOULMIN, LONDON, CIRCA 1775The substantial five pillar trip fusee movement now with anchor escapement regulated by lenticular bob pendulum, the music train playing a choice of four tunes via a 3.5 inch transverse cylinder and fifteen hammers on a graduated nest of ten bells on the hour followed by the strike train counting the hours on a further larger bell, the backplate finely engraved with an extensive asymmetric rococo cartouche signed Samuel Toulmin, Strand, London to centre beneath an offset standing Ho-Ho bird, the 8.75 inch brass break arch dial with applied silvered curved signature plate engraved Samuel Toulmin, Strand, London to the matted centre within silvered Roman numeral chapter ring with Arabic five minutes beyond the outer minute track, with scroll pierced steel hands, the spandrel areas decorated with unusual relief polychrome floral spray infill and the lower right-hand margin with tune selection slide labelled 1-4, the arch with recessed polychrome painted scene of a hunt passing before a windmill with vanes turning and figures on horseback parading from left to right across the lower margin whilst the music plays, three of the background figures with unusual speech bubbles exclamating 'Hark forward' and two other indistinct phrases, the ebonised bell-top case applied with generous rococo scroll cast mount to the concave section of the upstand and five gilt brass flambeau urn finials, over double cavetto top mouldings and hinged front incorporating brass fillet-edged glazed dial aperture and rococo scroll cast upper quadrant frets flanked by gilt moulded inserts to angles, the sides with rectangular scroll pierced sound frets interrupted by generous hinged gilt brass carrying handles, the rear with break-arch glazed rectangular door applied with raised mouldings around the aperture and with upper quadrant frets, flanked by conforming inset brass mouldings to the rear angles, on cavetto moulded skirt base with moulded gilt brass squab feet.63cm (24.75ins) high including top finial, 32.5cm (12.75ins) wide, 20cm (8ins) deep. Provenance:From a Private Collection. Samuel Toulmin is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working from Strand, London circa 1757-83. He was a fine maker who seemed to specialise in musical and automaton clocks with several examples known including a clock with scene of couple paying tennis to the arch. A longcase clock with rare Battersea enamel dial signed for him was sold at Christies, London IMPORTANT CLOCKS, MARINE CHRONOMETERS & BAROMETERS 12th December 2001 (lot 167) for £7,990. The raised polychrome floral decoration to the spandrel areas of the dial of the present clock is very unusual, and engraving to the backplate is beautifully executed in a highly individual style. These details, coupled with the very rare (if not unique) inclusion of 'speech bubbles' within the hunting scene to the arch, result in a clock full of character and individuality befitting of the work of a fine and innovative clockmaker. Condition Report: Movement is in clean fully working condition, The escapement has been converted from verge to anchor escapement however the original backcock and apron have been retained (just moved downwards by around 2.5cm). Otherwise movement appears to be in original condition with no other visible evidence of alteration or notable replacements. The music train runs well providing fairly strong even pace to the melodies although some of the hammers may benefit from slight adjustment. The automaton appears original and is operational. One of the figures (probably a pair of hounds) is missing from the procession otherwise figures are intact with minor to moderate wear losses to the original finishes. The sails of the windmill have been repainted otherwise the scene is in very good original condition with only very minor wear/losses. The rest of the dial is in good original condition with overall light oxidation to the brass and silvered surfaces giving resulting in a fairly pleasing mellow patina. The unusual relief decoration to the spandrels appears to be composed from gesso heightened with oil paints - and is in good original unrestored condition but with rubbing to high spots and the only notable loss being a flowerhead within the upper right-hand decoration. The tune selection lever is operational.The case is in generally in very good original condition. The mask bordering the dial (behind the front door) has some patch slip repairs to the veneer overlap and the front door lock is inoperative. Otherwise faults are overall very much limited to minor are related shrinkage, bumps, scuffs and other blemishes commensurate with use. The mounts are somewhat muted/tarnished and the ebonised finish has rubbing to the edges. The frets are generally in very good condition with only one or two very small losses; the silk backing for each is however heavily degraded.Clock is complete with pendulum, winder and two case keys. Condition Report Disclaimer

A FINE CHARLES II BRASS LANTERN CLOCKJOHN LONDON, BRISTOL, CIRCA 1675-80The posted countwheel bell-striking movement with Huygens's endless chain winding and verge escapement regulated by short bob pendulum swinging outside the frame to the rear incorporating knife-edge suspension, the dial with vacant roundel within stylised symmetrical foliate engraved infill issuing from a large leafy tulip bloom to lower margin and interrupted by engraved signature John London, of Bristoll fecit to the upper, within applied 6 inch narrow Roman numeral chapter ring with stylised fleur-de-lys hour markers, with scroll pierced black steel hand incorporating long tail and engraved radial leaf infill to angles, the typical tall Bristol-type 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 cast with pierced leaf decoration between the limbs, with brass side doors and brass backplate to rear, on tall disc-knopped ball feet.42cm (16.5ins) high, 15cm (6ins) wide, 16.5cm (6.5ins) deep. John London in recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as being a gunsmith working in Bristol by 1675 (references Bellchambers), when he took Robert Sainsbury from Market Lavington as an apprentice. Jim Moore recorded him as being married to Mary Baker in 1678 and he is believed to have still be working in Bristol in 1678.  George White in Darken, Jeff (editor) TIME & PLACE, English Country Clocks 1600-1840 illustrates a very closely related clock to the present lot on page 228 (Figure 2.), where it is noted that John London was most likely influenced by leading London-based makers but adopted his own particular style and flair - most noticeable on his surviving longcase clocks. This is most apparent with regards to his engraving which departs from the usual Bristol style, adopting more intense florid designs which are more akin to London work but taken further. White also notes that, as a gunsmith, John London is thought to have engraved his own dials; this was until a lantern clock was discovered with practice engraving beneath the dial together with the name 'Axford'. From this it has been suggested that the engraving may have been executed by someone else, who may have had connections with the brass founder Charles Axford, who is recorded through his marriage in Bristol in 1687. Notwithstanding the above the current lot utilises a variant of the frame castings that were favoured by the Bristol and Chew Valley school of clockmakers, with one of the earliest examples of their use (other than the present clock) being for another example by John London of Bristol illustrated in Loomes, Brian Lantern Clocks & Their Makers on page 179 (Figure 10.41). Loomes dates this clock to the late 1670's whilst another close variant of these castings can be seen on a clock by Edward Webb dated 1676 (private collection), as well as two further examples by the same maker, dated 1682 and 1692 respectively (illustrated in Loomes on page 188, Figures 11.5 - .6). These two variants differ only very slightly in that the feet have 'disc' knops for the John London clock/present lot and 'ball' knops for the Webb clocks. The 'disc feet' castings were also used by other makers such as Edward Bilbie of Chew Stoke (who is believed to have succeeded Edward Webb in around 1695), and both variants were used by Thomas Veale of Chew Magna. Edward Bilbie appears to have persisted with the use of such castings after Bristol makers had mostly moved onto patterns more closely related to London work of the period, suggesting that such frames were continued to be cast locally (possibly through subsequent acquisition of the patterns by the Chew Valley makers). Certainly, from surviving clocks, it would be reasonable to suggest that casting of the frames could have taken place at Edward Webb's foundry in Chew Stoke, then by the Bilbie family after Webb's death in 1694. Condition Report: The wheelwork appears very original with the only noticeable replacements being the pulley centres which have been changed or reworked to facilitate running on chains; this has also required the holes in the baseplate to be elongated slightly (due to the present inner diameter of the pulleys being slightly smaller than the original configuration). The trains appear to run free and have only fairly light wear to the pinions. The escapement appears original, however the pallets have been refaced and the front pivot cock has 'packing' beneath it hence it is probable that some adjustment will be required before the clock can be put into service. The movement has been made to take an alarm mechanism (most likely configured to be 'sunken' into the backplate) which is not present. The dial is in fine condition with good strong engraving, there is no alarm disc present with the clock and the hand is probably a replacement. The frets are original as is the bell bearer; the top finial is a replacement. The right front and rear left feet have been solder repaired at the stems (common with this design of frame casting) and the rear right-hand finial has a historic braze repair to the stem. Both side doors are probably original, the backplate is most likely a replacement and is if noticeable heavy gauge brass with noticeable distortion to the panel.There are no weights with the clock. Condition Report Disclaimer

A GEORGE III/REGENCY BRASS MOUNTED MAHOGANY TABLE/BRACKET CLOCK WITH FIRED ENAMEL DIALBARRAUD, LONDON, EARLY 19th CENTURYThe five pillar twin fusee bell striking movement with anchor escapement regulated by lenticular bob pendulum incorporating stirrup type regulation adjustment and trip-hour repeat, the geometric border engraved backplate with pendulum holdfast and signed Barraud, Cornhill LONDON within an oval cartouche to centre, the 6.75 inch slightly convex white enamel Roman numeral dial with Arabic five minutes beyond the outer minute track and pierced brass hands, the break-arch case with brass ball finial and foliate scroll pierced and engraved brass frets to the concave-sided pyramidal upstand over complex cast brass top mouldings, the opening front applied ogee moulded convex-glazed cast brass bezel over fine foliate scroll pierced and engraved lower quadrant frets flanked by inset brass mouldings to angles, the sides with hinged brass carrying handles over brass fish scale sound frets, the rear with full-width break-arch glazed door, on brass bound cavetto moulded skirt base with brass ogee bracket feet.46cm (18ins) high, 27.5cm (10.75ins) wide, 19cm (7.5ins) deep. Paul Phillip Barraud was born in 1752 and initially worked with his father at first until his death in 1795, after which he turned his attention more towards chronometers. Using the valuable experience gained whilst working on Mudge's timekeepers with W. Howells and G. Jamieson to good effect, he became very successful. After his death in 1820 the business was continued by his sons taking John Richard Lund, a former apprentice of John Pennington (who developed the auxiliary compensation balance weight to correct for middle temperature changes), into partnership in 1838.  

A FINE CHARLES I BRASS 'FIRST PERIOD' LANTERN CLOCKPETER CLOSON, LONDON, CIRCA 1640The trains with separate winding via rope lines running within pulleys incorporating steel walls to the click-spring side, the going train with reinstated verge escapement regulated by oscillating balance positioned above the top plate, the strike train sounding the hours on a bell mounted above the frame via a countwheel with overlift provided by a hoop wheel cut with a single slot, the dial with central vestigial star-burst engraved alarm setting disc within a ring of seven boldly engraved repeating flowerheads and stylised foliate scrollwork, within applied 6.125 inch narrow silvered Roman numeral chapter ring incorporating slender cruciform half hour markers, with fine substantial sculpted steel hand and foliate engraved infill to the quadrants, the frame with turned Doric column corner posts beneath distinctive shouldered vase 'cup and cover' finials with cavetto waists, the front and sides applied with symmetrical scroll pierced cast brass armorial frets with the front incorporating foliate engraved detail including grotesque dolphin masks and engraved signature Peter Clofon Neare Holborn Bridg Fecit, beneath domed bell bearer capped with a conforming vase finial, with brass side doors and the rear with later iron backplate fitted with spurs beneath an iron hanging hoop applied to the top plate, on turned tapered 'acorn' feet, (alarm mechanism no longer present).40cm (15.75ins) high, 16cm (6.25ins) wide, 18.5cm (7.125ins) deep including spurs.Supplemental addition to the above description text (19/08/2024) - The rear of the front, fret together with the centre of one of the greatwheels, bear casting marks conforming to recorded 'P.C. within a shield' marks which are believed to be that for Peter Closon's foundry. Peter Closon is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born in Southwark, London in around 1595 and apprenticed on 22nd November 1608 to Henry Stevens (through the Clothworkers' Company). His brothers (William and Simon) were both gun makers as was his father, Godfrey, before him. He gained his freedom in 1616 and married Margaret Buckner in 1629. Closon was one of the subscribers for the formation of the Clockmakers' Company paying the substantial sum of £5 in 1630. He worked near Holborn Bridge and took-on many apprentices, first through the Clothworkers' Company and then the newly founded Clockmakers' Company after 1631. Amongst his apprentices were the following who went-on to become notable makers in their own right - John Selwood (1630-38); John Wise (through Thomas Dawson 1638-460; Richard Ames (through Richard Masterson 1648/9-1656/7), and William Speakman (through Nicholas Tomlins 1654-61). Closon was made an Assistant in the Clockmakers' Company in 1633 and then Warden 1637/8, there are no records of his attendance after this date. He died in around 1660/1 and is thought to have been succeeded by Richard Ames. The present clock can be closely compared to another example by Closon illustrated in White, George English Lantern Clocks on page 117 (Figure II/151). The dial engraving is clearly by the same hand incorporating matching flowerheads and leafy scrollwork albeit with the design incorporating two alternating differing types of flowerhead rather than the same four-petal bloom on the current lot. The frame utilises standard London 'first period' castings with cup-and-cover finials and acorn feet as described by White pages 83-84, where it is noted that they were in use 1620-40. Indeed, the current clock is best described as a 'textbook' example of Closon's work and, through comparisen with other examples by him, helps to demonstrate the high degree of consistency achieved by him during the late 1630s to 40s.The current lot has generally survived in fine original condition. At some point the verge with balance wheel regulation was replaced by anchor escapement with long pendulum swinging behind the frame to the rear. This necessitated removal of the alarm mechanism mounted on the backplate to make room for the pendulum. The clock has subsequently re-converted back to its original balance-wheel layout executed by the late Jeff Darken; the anchor pallets, cocks etc. removed at that time have been retained and are included in the lot. Condition Report: Both the going and strike trains appear to be very original apparently retaining all wheelwork, pinions and arbors except for the fly pinion, escape wheel (although mounted on the original arbor) and the balance. The pulleys appear original but have at some point been pinned for chain drive and then reverted back to rope leaving a series of filed-back steel pins at the base of the valley of each pulley. The steel winding clicks are present and operational. The pinions to both trains show evidence of advanced wear which has been left untouched - the pivots have been re-bushed incorporating packing and other adjustments to ensure that the wheels partially engage with unworn faces of the pinions. This allows the clock to restored to working condition whilst retaining original wheels and pinions. The teeth of the wheels show slight wear but are still within tolerance to allow the clock to run (the steel pinions always wear at a much higher rate than the wheels). The steelwork has been carefully cleaned of corrosion but show some slight historic age-related pitting. The top plate has a pair of filled holes (most likely for the pendulum backcock) otherwise appears as originally made (with balance wheel banking pin holes) except for enlarged slot adjacent to the escapement top allow for the previous anchor pallets. The dial has overall moderate oxidation. The tail of the hand has a split in the forging which is not structural and can only be seen when looking at the hand side-on. The alarm disc is of correct pattern and appears to have age but could possibly be a very well executed replacement. The frets appear original and the frame is in very good original condition although the right hand front finial may have been broken and repaired at the stem (very difficult to tell!). The bell and support are in very good original condition. The hanging hoop, backplate and spurs are replacements (would have been originally fitted with an alarm with the original removed during conversion to anchor escapement and long pendulum). The side doors have age but are most likely not original. Clock generally shows light to moderate oxidation to the brass, the steelwork is generally free form rust/visible corrosion.Clock is complete with lines and weights. Condition Report Disclaimer

Y&nbspA FINE WILLIAM AND MARY EBONY 'BASKET TOP' TABLE TIMEPIECE WITH 'SILENT' PULL-QUARTER REPEAT NATHANIEL HODGES, LONDON, CIRCA 1690The six finned pillar single fusee movement with verge escapement regulated by short bob pendulum and 'silent' pull-quarter repeat on a graduated pair of bells, the backplate engraved with symmetrical scrolling foliage incorporating tulip blooms around a central shaped reserve signed Nathanael Hodges, Londini Fecit, the 6 inch square brass dial with calendar aperture to the matted centre within applied Roman numeral chapter ring with eared cruciform half hour markers and Arabic five minutes within the outer minute track, with scroll pierced steel hands and winged cherub cast spandrel mounts to angles, the ebony veneered case with eagle head and dolphin cast hinged brass carrying handle to the pierced gilt brass domed 'basket' caddy superstructure pierced and relief decorated with Ho-Ho birds over generous tied fruit festoon swags flanked by floral pendants and with acanthus scrolls to the angles, flanked by flambeau finials to the corners, over ogee edged projecting cushion top mouldings and rectangular glazed front door applied with fine mouldings around the glazed aperture and applied with scroll-pierced gilt escutcheon mounts to uprights, the sides with conforming rectangular windows and the rear with glazed door applied with matching mouldings to the aperture set within the frame of the case, on ogee moulded shallow skirt base with gilt brass disc feet; with a later ebonised wall bracket of inverted ogee form, (quarter repeat work restored).The timepiece 30cm (11.75ins) high with handle down, 21.5cm (8.5ins) wide, 14cm (5.5cm) deep; the timepiece on bracket 46.5cm (18.25ins) high with handle down.Nathaniel Hodges is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as becoming a Free Brother of the Clockmakers' Company in 1681. He was noted as a 'great clockmaker' (i.e. maker of turret clocks) and was last mentioned in the Company Records as being in arrears in 1687. Loomes cites the burial records of two individuals of the same name in 1688 but neither appear to have been clockmakers. He also notes that Hodges was living in the Parish of Blackfriars with his wife, Joan, when their daughter was baptised in 1673. By 1679 he had moved to Parish of St. Brides, Fleet Street (possibly to his premises on Wine Office Court) where three further children were baptised, the last being Mary in January 1687. Despite being noted as a 'great clockmaker' and generally very little else known of Nathaniel Hodges he was clearly a fine maker with many fine table clocks surviving including a rare marquetry-cased example and another extensively decorated with repousse mounts and with rare original glazed-front carrying case illustrated in Dawson, Percy G.; Drover, C.B. and Parkes, D.W. Early English Clocks on page 460 (Plates 677-78).The current lot is designed to sound the hours and quarters on two bells only on demand. This form of quarter repeat mechanism is thought to have been devised for timepieces destined for night-time use in the bedroom; whilst striking clocks with quarter repeat facility were generally intended to be utilised downstairs during the day and upstairs at night. As a consequence silent-pull quarter repeating timepieces are rarer as the original owner would have to be very wealthy indeed to afford a timepiece reserved exclusively for use in the bed chamber. The design of the repeat mechanism used in the current lot is based to the system devised by Joseph Knibb (as described and illustrated in Allix, Charles and Harvey, Laurence HOBSON'S CHOICE pages 36-7) with the principal differences being the shape and positioning of the pivoted gear-toothed sector, and the use of an unusual slide arrangement to engage with the hour-snail. Another noteworthy feature is the split hammer arbor enabling both the hour and quarter hammers to be set side-by-side by providing pivots for each within a bat positioned between them. This detail appears to have been favoured by Henry Jones and can been seen on a timepiece (dating to the mid-1670's) illustrated and described in Dzik, Sunny BENEATH THE DIAL, English Clock Pull Repeat Striking 1675-1725 pages 67-68.The engraving to the backplate of the present timepiece is a very good example of the of tulip engraving and can be closely compared to that on a table timepiece by Charles Gretton illustrated and described in Dzik, Sunny ENGRAVING ON ENLISH TABLE CLOCKS, Art on a Canvas of Brass 1660-1800 pages132-106 (Figure 7.7). Condition Report: The movement is complete and fully operational although a gentle clean/service is advised. The movement is in its original form with no visible evidence of any alteration however it is most probably that the repeat mechanism has seen significant well-executed restoration or has possibly been faithfully reinstated. There is no visible evidence (filled holes or alteration to pallet arbor slot cut to the top of the backplate) to indicate that the movement was ever converted to anchor escapement although the present escape wheel would appear to be a service replacement. The dial has been electro-gilded (including the rear of the plate) and two of the spandrel securing screws have been replaced. Both hands appear original and are nicely made/sculpted; the hour has had repairs to the scrolls forming the tip and is a little distorted. Dial otherwise is in good clean condition with fine matting showing some slight overall wear. The case is in sound original condition. All the brass mounts have been electro-gilded. The basket top has historic wear through the hight spots most notably to the swags otherwise appears undamaged and with vey little distortion. The finials are probably later additions; the moulding forming the lower edge of the basket has had the corners filed to allow room for the finials. The front door repousse right hand repousse mount is missing a small section from the lower edge and the left hand one is a cast replica which also replicates the same small loss to the lower edge. The leading edge of the top front right-hand corner of the top (adjacent to the finial) has a small veneer chip. The mask around the dial (behind the front door hence only visible when door is open) has overall chipping/wear and losses to the veneer overlap bordering the dial. The right-hand side above the aperture has a crack and slight movement in the carcass and veneer and the lower edge of the moulding bordering the upper edge of the panel has wear/loss. The rear upper moulding has some cracking towards the right-hand ed and the lower rear right-hand corner has a small scarf-type repair to the moulding. The interior of the case has some scooping-out to the carcass to allow room for bells, backcock etc which is to be expected in a clock where the movement is a snug fit in the case (ie. is not indicative of alteration or the clock being a marriage. The base of the case has two additional small holes drilled for a pair of later hooks to further secure the movement (by hooking over the two bottom pillars) in the case. This is in addition to the original system of two latches fitted to the rear of the dial plate engaging with slots cut in the uprights of the dial surround. Front and rear doors appear to retain original locks and hinges albeit with some later securing screws added. Faults to the case are otherwise limited to minor shrinkage and a few are-related bumps, scuffs etc. Condition Report Disclaimer

A DUTCH INLAID MAHOGANY MERCURY CONTRA-BAROMETER ANTONIO PEIA, AMSTERDAM, CIRCA 1800The two-section urn surmount-outlined pewter scales with husk swag decorated oval signature cartouche engraved BAROMETER, THERMOMETER, en CONTRALEUR, door Ant, Peia, te Amsterdam, above applied spirit Fahrenheit and Reaumur scale spirit thermometer to the left hand scale, the centre tube flanked by compressed scales for both English and French barometric inches at the top and the right hand main scale annotated with additional amplified English barometric inches incorporating the Dutch `36` scale calibrated 20-0-16 with the 0 representing the mean pressure at sea level in The Netherlands, the case with parquetry banded open triangular pediment and later vase finial above chevron banded frieze panel and glazed front door with conforming inlay to surround, the base with three bell-shaped caps to the recessed waist above cistern box faced with chevron banding above an inlaid conch shell cartouche, over two vase shaped pendant finials.120cm (47.25ins) high, 28cm (11ins) wide, 10cm (4ins) deep. Provenance: From a Private Collection. Antonio Maria Carlo Abindio Peia was born in Como, Italy in 1769. He worked in Amsterdam from 1790 first 'In the Gravenstraat above the Spekslager' then, from 1797, at the St. Nicolaasstraat; before finally moving to Wijdsteeg 4 in 1820 - where he presumably worked until his death in 1845.  

AN INTERESTING EARLY ENGLISH BRASS LANTERN CLOCKUNSIGNED BUT POSSIBLY 'FIRST PERIOD', SECOND QUARTER OF THE 17th CENTURYThe trains with separate winding via rope lines running within pulleys incorporating steel walls to the click-spring side, the going train now with anchor escapement for regulation by seconds pendulum and the strike train sounding the hours on a bell mounted above the frame via a countwheel with overlift provided by a single-slot hoop, the dial engraved with symmetrical arrangement of three rose blooms within foliate scrollwork over a stylised tulip to lower margin to centre, within applied 6 inch Roman numeral chapter ring incorporating stylised wheatear half hour markers, with substantial steel hand incorporating distinctive C-scroll tail and leafy flowerhead infill to angles, the distinctive frame with unique one-piece castings incorporating stylised Doric column uprights and tall ovoid knopped finials supporting the domed bell-bearer surmounted by a conforming finial, on ball feet, (originally with balance wheel regulation, lacking frets doors, backplate, pendulum, lines and weights).42.5cm (16.75ins) high, 15.5cm (6.125ins) wide, 20cm (8ins) deep. Although unsigned the present clock has numerous features only generally seen on early English Lantern clocks. Most notable amongst these are the spur-pinions of reports for driving the hour wheel behind the dial and the countwheel, a steel cheek to each of the winding pulleys (to which the click spring is riveted), and particularly heavy strike detents. In addition to this, the hand with its long tail, has a noticeably early feel. As does the chapter ring with its deep quarter-hour track to the inside edge. The symmetrical leafy flowerhead designs to the corners of the plate also support an early date as later clocks tend to feature outswept infill. The engraving to the dial centre does not seem to follow any well-known workshop however it is notable due intense deep-cut nature of the design. Indeed the overall slightly larger proportions of the clock are also indicative of an early date.The frame is particularly unusual and may well be unique. The provision of one-piece castings for the columns, finials and feet, would suggest west country origins however some northern makers were known to use one-piece castings later in the century. The proportions of the frame turnings do not follow 'Classical' traditions supporting the view that the clock has provincial originals, although, interestingly, the feel of the finials can be compared to those seen on an important chiming lantern clock attributed to Nicholas Vallin illustrated in White, George English Lantern Clocks on page 97 (Figures II/120, a-b).From these observations it would be reasonable to suggest that the present clock was made by a highly skilled clockmaker, possibly based in the west country, who was familiar with examples emanating from London during the 'First Period'. Condition Report: As catalogued the clock has been converted from verge with balance regulation to anchor escapement for regulation by a long pendulum. Both the going and strike trains appear to be very original apparently retaining all wheelwork, pinions and arbors except for the escape wheel and pinion. The pulleys appear original but have at some point been pinned for chain drive and then reverted back to rope leaving a series of filed-back steel pins at the base of the valley of each pulley. The steel winding clicks are present and operational. The pinions to both trains show noticeable wear which has been left untouched. The teeth of the wheels also show slight wear but are still within tolerance to allow the clock to run (the steel pinions always wear at a much higher rate than the wheels). The baseplate has additional holes drilled to allow the lines to be looped-up (to increase duration) and the top plate has holes left over from the original balance top potance, banking pins and frets (the left-hand side only has an additional pair of fret holes). The centre movement bar has been repaired by laminating brass to each side (probably to reinforce a crack); the bars otherwise are sound but have typical punching to close pivot holes, historic bushing etc. The hammer spring has been moved towards the dial slightly and the original hole filled - probably to allow room for tying-off of the line via the later hole drilled nearby. The hammer stop has a replacement securing nut. The steelwork has overall light old surface discolouration/patination and the brasswork has an overall pleasing patination. The frame is a little bent/out of square with the rear left-hand foot bent back a little and with vice witness marks suggesting an attempt to straighten. The right-hand rear foot has a slight crack in the stem. The dial is in good original condition with faults essentially limited to minor scuffs, dents etc. The bell and stand are in good original condition although the bell has a small casting hole.Clock does NOT have lines, weights, pulleys, pendulum, frets, side doors or a backplate. Condition Report Disclaimer

A RARE FRENCH RENAISSANCE PRE-HAIRSPRING GILT BRASS AND ROCK CRYSTAL OVAL PENDANT WATCHJ. VALLIER, LYON, CIRCA 1625The oval gilt single fusee movement with four shouldered baluster pillars pinned through the backplate and verge escapement regulated by steel flat-rimmed two arm balance, the backplate with asymmetric stylised tulip scrollwork pierced and engraved balance cock with pinned at the junction with the conforming asymmetric foot, the mainspring with blued steel set-up ratchet set behind conforming pierced and engraved single-footed guard for the click spring, opposing engraved signature J. Vallier, ALyon the gilt oval dial finely engraved with a scene of a Bacchante holding aloft a goblet before a building and with blued steel hand within applied silver Roman numeral chapter ring, the outer margins engraved with reclining angels to upper section and a term with outstretched wings issuing symmetrical scrollwork infill to the lower, the movement and dial secured via sprung latches into the oval section three-piece case applied with twin hinged covers inset with gadroon-carved rock crystal panels within leavy scroll engraved bezels, the centre section with gadroon engraved outer bands, tulip cast suspension post and ring-knopped pendant finial to the underside.The movement and dial 4cm (1.55ins approx.) high, 3cm (1.2ins approx.) wide; the case 6.6cm (2.5ins) high excluding later ring, 3.5cm (1.325ins) wide, 3cm (1.2ins approx.) deep overall. Provenance:The Leonard Fuller Collection. Purchased from Gerald E. Marsh, Winchester, 11th December 2004 as part of a package deal watch movements by George Graham, John Knibb and Thomas Tompion for a total of £14,000. Jean Vallier is recorded in Tardy DICTIONNAIRE DES HORLOGERS FRANCAIS as apprenticed 1590-96 and became Master in 1602. He married Madeleine Noytolon in 1605 and died in 1649.The work of Jean Vallier of Lyon is mentioned in Britten, F.J. Old Clocks and Watches and Their Makers pages 67, 95 and 97; a clock-watch with astronomical calendar dial is illustrated in plate XI (in the collection of the British Museum, object number 1888, 120.177). He is considered as one of the premier makers of his time with thirteen watches noted by Baillie including examples in the 'South Kensington Museum, the Fitzwilliam, Cambridge and three in the Louvre. Condition Report: The wheel train appears all original retaining original fire gilding to the brass, the movement will run hence can be considered as being in working condition. The balance is probably a replacement, the staff and pallets appear to have age but are probably also well made replacements. The balance cock has a solder repair at the junction with the foot causing some loss to the gilding/surface around that point and the rest of the gilding has now taken on a slightly reddish hue probably from the heat of the repair. The pierced spring ratchet set-up guard is in fine condition, however the colour of the surface differs a little from the backcock and the gilding of the wheelwork hence we cannot rule out that it might be a very well made replacement. The backplate retains its gilt finish but with some light rubbing/scratching and the signature has been highlighted with black wax). The dial is in fine condition with good strong gilding; the chapter ring has a small bruise at VII otherwise is in good condition. The hand appears to be a replacement. The case presents as being in fine condition however the front and rear covers (including the rock crystal) are thought to be associated (see Christie's catalogue entry 5/07/2002 lot 15). However they are correctly made from engraved and gilded cast brass and the fit is essentially perfect. The gilding is also well-matched. The body of the case retains its gilding in good condition with only slight wear/discolouration; there are a few light bruises and scratches and the interior has some rubbing from the movement being drawn in and out of the case. The pendant ring is a replacement but the post appears original.Watch has a winding key. Condition Report Disclaimer

A FRENCH GILT BRASS AND SEVRES STYLE PORCELAIN SMALL BOUDOIR TIMEPIECEPROBABLY BY A. DUMAS, PARIS, LATE 19th CENTURYThe circular eight-day single train movement with replaced frosted gilt platform lever escapement regulated by sprung monometallic balance vertically planted on the backplate over small stamp A.D. within an oval to lower margin, the 2.25 inch circular powder blue ground porcelain dial with gilt rosette to centre and Roman cartouche numerals, with gilt spade hands set behind fixed bevel glazed leaf cast bezel, the case formed as a drum with leafy bud finial to the scroll pierced surmount, with leafy band to circumference, hinged rear door and raised on conforming twin strapwork scroll cast side supports, over a tray base inset with porcelain plaque polychrome painted with a reclining cherub within gilt-edged floral trail and blue banded borders, set into a leaf moulded surround over turned feet.18cm (7ins) high, 13.5cm (5.25ins) wide, 10cm (4ins) deep. The 'A.D.' oval trademark stamped to the backplate of the current lot is noted in Allix, Charles and Bonnert, Peter CARRIAGE CLOCKS, Their history and development as appearing on the gong blocks of French carriage clocks. Allix also notes in his biographical entry for A. Dumas that the eminent French horologist, Claudius Saunier, commented that Dumas specialised in Mignonettes and that he also even made cases and gongs. With this in mind it would be logical to speculate that the oval stamp that appears on gong blocks, as well as the backplate of the current lot, is for A. Dumas. 

AN INTERESTING REGENCY SMALL BRASS MOUNTED MAHOGANY BRACKET/MANTEL CLOCKWILLIAM HISLOP, LONDON, CIRCA 1825 RE-PURPOSING AN EARLIER MOVEMENT BY LE PLAT, PARIS, CIRCA 1755The circular twin going barrel movement with four baluster pillars pinned through the backplate and tic-tac escapement incorporating offset escape wheel and regulated by short disc bob pendulum with silk suspension, the strike train with numbered external countwheel planted on the backplate, decorative turned arbors to the detents and sounding the hours and half hour on a bell set behind the backplate signed Le Plat AParis beneath a blanking plate applied to the lower margin, the 5 inch purpose-made circular fired enamel dial with eccentric winding holes and signed WILLIAM HISLOP, LONDON to centre and with steel moon hands set behind a hinged convex glazed moulded cast brass bezel, in a 'chamfer top' case with cast pineapple finial to the stepped hipped upstand over slender cavetto cornice and fluted-band frieze, the front with brass-fillet bordered recessed quadrant panel flanked by brass strip inlaid canted angles, the sides with twin cornucopia ring handles and the rear with rectangular glazed door set within the frame of the case, the skirt base with conforming fluted band to upper margin and brass line bordered front over ball feet. 35.5cm (14ins) high, 20cm (8ins) wide, 12.5cm (5ins) deep. William Hislop is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London from 1820 until his death in 1876.Louis Antoine Le Plat is recorded by Baillie as becoming a Master in 1751 and dying in 1765. He is best known for a clock 'wound by current of air' described in Memoires De l'Academie royale des sciences Paris 1751. The current lot appears to be an unusual period example of the re-purposing of an earlier (in this case French) movement into an up-to-date case by a London maker. The blanking of Le Plat's signature on the backplate and the provision of a bespoke fired enamel dial signed by William Hislop is notable in this regard. Condition Report: The French movement survives in good original condition with no visible evidence of alteration or noticeable replacements to the mechanism itself. The movement is in full working condition although is a little dirty/discoloured hence a gentle clean service is advised; the duration is at least eight-days (possibly longer). As indicated in the catalogue description the signature is now concealed beneath a shaped plate attached to the backplate by screws. The fired enamel dial has been purpose made for the movement and has an iron backing plate which is carefully/neatly fitted via a brass plate to the movement with no alterations to the frontplate etc. The dial has a very small shallow edge chip to the edge at twelve o'clock, a hairline crack passing between the I and II numerals and past the right-hand winding hole, and a shorter hairline next to the other winding hole. The case is generally in fine original condition with faults limited toa small veneer patch repair to the rear door and two very small veneer patches to the skirt (one to the front and another to the rear). Otherwise blemishes are very much limited to very slight shrinkage and few light age-related bumps.Clock is complete with pendulum, winder and a case key.Condition Report Disclaimer

A FRENCH PORCELAIN INSET GILT METAL MANTEL CLOCKTHE MOVEMENT STAMPED FOR H.P. AND COMPANY, PARIS, LATE 19th CENTURYThe circular eight-day bell striking movement with anchor escapement regulated by disc bob pendulum incorporating Brocot type regulation to suspension, the backplate stamped with H P & Co diamond trademark over serial number 32648, the circular porcelain dial with concentric floral garland painted centre within gilt-bordered Roman numeral cartouche chapter ring onto a mid-blue ground, with gilt hands set within bead cast bezel, the break-arch top case with surmount of cast a cupid flanked by foliate drapery over leaf cast cornice, foliate shoulder mounts and figural painted panel beneath the dial, the sides with generous acanthus cast scrolls over D-ended base with inset floral apron panel flanked by rosettes over toupe feet; with a pair of urn side pieces late 19th century, each with fluted leaf moulded cap surmounted by a pineapple finial, over tall concave neck painted with gilt scrollwork over waist painted with Classical muses and a putto within conforming borders, flanked by geometric side handles, over cast D-ended base inset with an oval panel painted with a garden landscape, on cast feet, (3).The clock 35cm (13.75ins) high, 29cm (11.5ins) wide, 11.5cm (4.5ins) deep; the side pieces 30.5cm (12ins) high, 14cm (5.5ins) wide, 10cm (4ins) deep. Condition Report: Clock is complete and in working condition however a gentle clean/service is advised. The dial has minimal wear and appears free from visible chips/cracks. The case is in good original condition with some rubbing to the porcelain only and overall slight discolouration and wear to the gilding. The back of the head of the cherub has a small casting hole. The urns side pieces are in generally in good presentable condition. One has very slight hairlines to the waist and is missing some of the 'jewelled' highlights; the other also has hairlines including a more noticeable vertical crack at the rear but all the 'jewels' appear to be present.There is a pendulum but no winding key. Condition Report Disclaimer

A FRENCH LOUIS XV ORMOLU MANTEL CLOCKBELIARD, PARIS, MID 18th CENTURYThe three columnar pillar two train numbered outside countwheel bell striking movement regulated by disc bob pendulum now incorporating Brocot type regulation to suspension, the square backplate with canted corners and signed Beliard h'ge du Roi AParis to the lower margin, the 4.5 inch slightly convex white enamel Roman numeral dial signed BELIARD, H'GER DUROY to centre and with Arabic five minutes beyond the outer minute track, with fine scroll pierced and engraved gilt brass hands set behind hinged moulded gilt brass convex glazed bezel, the waisted symmetrical rococo scroll cast case with leafy seed-pod finial to the tapered shaped upstand decorated with matted panels within burnished borders, over scrolls issuing floral sprays flanking the dial continuing down to form naturalistic outswept supports with shaped apron panel containing a musical trophy between, the sides with arched fretwork panels pierced to resemble floral sprays, the rear conforming to the front but with glazed hinged movement aperture and without the floral sprays and musical trophy, mounted on an integral naturalistically cast rococo scroll platform base incorporating pierced supports to each corner.35.5cm (14ins) high, 27.5cm (10.75ins) wide, 17cm (6.75ins) deep. Provenance:Sotheby's, London sale of the contents of BENACRE HALL, SUFFOLK 9-11th May 2000. Beliard 'Horloger du Roi' does not appear to be recorded in the usual sources however it is most likely that the current clock was made by the father of the renowned late 18th century clockmaker, Julien-Antoine Beliard (1758 to circa 1810), who trained under his father becoming a Master in 1786. He succeeded his father at the workshop on rue de Hurepoix, and was best known for his complex precision skeleton clocks collaborating with the enameller Joseph Coteau for his dials, and bronziers such as Nicolas Bonnet for his case mounts. Condition Report: Movement is running and striking however it is a little dirty/oxidised hence a precautionary clean/service is advised if intending to put into long-term service. As catalogued the clock has later Brocot type pendulum regulation; it is also highly probable that the escapement has been updated but we have not removed the movement from the case to confirm whether this is the case or not. The backplate however shows no obvious evidence of alteration. The dial is in fine condition with visible faults limited to a small chip adjacent to the regulation adjustment square and a small repaired (stuck back in) chip next to the left-hand winding hole. The case is dirty/discoloured but is generally in sound condition retaining old surface. The left-hand side fret has a section missing towards the upper right hand margin and the silk linings to both frets has degraded. There are two spare holes within the rear edge side scrolls suggesting the additional leafy sprays may well have been attached at some point (no longer present). Faults to the case are otherwise limited to slight casting faults, rubbing and other minor age-related blemishes.Clock is complete with pendulum and winding key. Condition Report Disclaimer

AN UNUSUAL ENGLISH BRASS 'SECOND PERIOD' LANTERN CLOCK WITH OVERLAID FRETWORK TO DIALUNSIGNED, PROBABLY LONDON, CIRCA 1650The trains with separate winding via rope lines running within pulleys incorporating steel walls to the click-spring side, the going train with reinstated verge escapement regulated by a balance wheel set above the top plate and the strike train sounding the hours on a bell mounted above the frame via a countwheel with overlift provided by a single-slot hoop, the dial with unusual 'rose window' design cast fretwork overlaid infill to the centre within applied 6.25 inch Roman numeral silvered chapter ring incorporating stylised wheatear half hour markers, with substantial brass hand incorporating distinctive long tail, the frame of standard 'second period' Lothbury type with column-turned column uprights beneath vase finials incorporating concave bands to waists, the front and sides now applied with dolphin cast pierced and engraved frets beneath domed bell bearer surmounted by a conforming finial, with one brass side door and an iron back panel, on brass ball feet, (bell and bearer are replacements, lacking one side door and weights).39cm (15.25ins) high, 16cm (6.25ins) square. Literature:The present lot (in pre-restored condition) is illustrated in White, George English Lantern Clocks on page 140 (Figure III/31). In addition to the current lot, George White illustrates (page 141, Figure III/32) another closely related example sharing the same fretwork overlay to the dial centre and heavy brass hand. This second clock differs in that it utilises an alternative pattern of Lothbury castings of for the frame (see George White page 146 for the comparison between the two). A third example is also known (previously in the stock of D. and J. Benson of Bromsgrove, images can be seen on their website) which in almost every respect is identical to the present clock. The fact that all three examples use frame castings produced in Lothbury, London suggests that they are most likely constructed in a London workshop. It would be interesting to speculate whether this interesting variant of lantern clock design has any connection with the upheaval experienced during the English Civil war (1642-51). Condition Report: The wheelwork appears fundamentally original with obvious replacements limited to the escape wheel and arbor, balance and countwheel assembly. The steelwork exhibits evidence of fairly substantial historic corrosion/rusting which has been cleaned leaving a pitted finish to most of the steelwork. Some of the arbors have also probably been 'cleaned-up' in a lathe. As catalogued the clock has been converted from verge with balance regulation to anchor escapement for regulation by a long pendulum - and then converted back hence the present escapement and balance (including the bottom potance) are replacements. The pulleys appear original but have at some point been pinned for chain drive and then reverted back to rope leaving a series of filed-back steel pins at the base of the valley of each pulley. The steel winding clicks are present and operational. The dial plate has had patches applied to the rear to address losses towards both of the upper corners; there is also a casting crack towards the lower right-hand corner. Otherwise the dial is in sound original condition. The frame is in sound condition although the rear right-hand finial has noticeable flattening presumably from being clamped in a vice. The frets are replacements and the top plate has spare holes left over from the previous anchor conversion (with the two for the rear backcock still having the backcock securing screws in place). The bells superstructure is a replacement as is the right hand side door and backplate; the left hand door is missing.Clock has rope lines fitted by no driving weights.  Condition Report Disclaimer

Large Japanese blue and white porcelain bowl with cover, probably Edo period, circa 1700, the domed cover (a/f) with seated karashishi ('Dog of Fo') finial over concentric borders and broad band of flowers and foliage, the conforming circular body with double ring marks to rim and foot, unmarked, 30.5cm diameter x 35cm highFor an examples of comparable size with landscape pattern decoration, see: Bonhams 10th May 2021, lot 382 Bellmans, 21st June 2016, lot 1470.

25 bore flintlock travelling pistol by J. Bagshaw, 4" sighted barrel engraved 'Greenwich', engraved tang and bolted lock, full stocked, engraved trigger guard and pineapple finial, horn topped wooden ram-rod, 20cm overall

[PRIVATE SCOTTISH COLLECTION, NORTH BERWICK] PAIR OF BLUE AND WHITE BALUSTER VASES WITH COVERS 19TH-20TH CENTURY 十九至二十世紀 青花鳳穿牡丹紋蓋瓶（一對）each painted with a pair of confronting phoenixes amidst dense foliage and large peony flowers between lappet and plantain bands, cover topped with lion finial (2) 47.2cm high each Private Scottish collection, North Berwick 

[PRIVATE SCOTTISH COLLECTION, RENFREWSHIRE] INLAID BRONZE TRIPOD KORO AND COVER MEIJI PERIOD OF LATER 明治或以後 銅嵌金銀絲出戟沖耳三足爐the bulbous body resting on three cylindrical high feet, decorated on the raised band with roundels against shaped panels alternating by flanges, the decorations accented by gold and silver wires, cover similarly decorated topped with a flaring tubular finial, the neck flanked with upright pierced handles  18.1cm high; 1328g  Private Scottish collection, Renfrewshire; A selection of Chinese and Japanese art from the same collection was sold at this saleroom, 17 May 2024, lots 328-350.

BLUE-GLAZED 'DOU' RITUAL VESSEL AND COVER QIANLONG MARK 乾隆款 霽藍釉豆形器帶蓋moulded in shallow relief with archaistic motifs and linear designs, the cover surmounted by a double rope twist finial, the underside of the cover and the vessel both moulded with a six-character Qianlong mark   27.5cm high Acquired from Bonhams London, 10th May 2021, lot 51

MASSIVE IMARI VASE WITH COVER 20TH CENTURY 二十世紀 伊萬里鶴紋帶蓋大瓶painted on both sides of the body in shaped cartouches with a pair of cranes in a pond, against a green ground decorated with bamboo leaves and blooming peonies, the domed cover topped with a large shishi finial  114cm high Private Scottish collection, Renfrewshire; A selection of Chinese and Japanese art from the same collection was sold at this saleroom, 17 May 2024, lots 328-350.

A WMF silver plated ornate trinket box, of elegant shape on four axe head splayed feet, with elaborate cast female head design surrounded by typical Art Nouveau swirls, and ornate swirled finial top handle, marked to underside, approx. 12.5cm high x 15.3cm wide x 11.5cm deep. Further details: tarnishing; wear and some surface scratching, general wear.

A late 19th century Howell & James ebonised and gilt metal bracket clock, eight day movement, caddy top mounted with pineapple finial, four further pineapple finials to the four corners (front right is loose and needs reattaching), silvered chapter ring with Roman and Arabic numerals, three subsidiary dials with Chime / Silent, Slow / Fast and Chime on Eight Bells / Westminster, name plaque engraved 'Howell & James To The Queen 7 & 9 Regent St. London, eight bells and gong strike, gilt metal sound grilles and rear door, carrying handles to sides, on cast lion paw feet, height 71cm x maximum width 41.5cm x maximum depth 29.5cm, movement over wound, comes with pendulum and key, split to case on both left and right hand sides below silk lined sound frets, damage to rear door with split to lock edge

A Maling lustre "Galleon" inkstand, circa 1929-30, oval stand with central ink instand and cover, with detachable ink pot, decorated with two Galleons at sea within stylised gilt fish border, on dark blue ground, factory stamp, pattern 3494, approx 18.5cm long together with a Maling lustre blue "Galleon" bowl, pattern 3494, factory stamp, approx 10cm diam (2)1. Inkpot - minor wear to gilding, crazing to underside, ink discolouration to interior of inkstand and detachable pot, the cover finial with wear to gilding commensurate with use, the cover is painted with a seagull2. Bowl 3494 - wear to interior gilt decorative banding, nibbles to rim, some of the gilding on rim appears to have been retouched

A late 19th Century part ebonised walnut regulator wall clock, eight day double weight driven movement, enclosed by a glazed door below a turned finial pediment, height 118cm.

A Lorna Bailey limited edition Lucy Lidded Pot, the domed cover with female bust in wide brimmed hat, on tapered base and four fin supports, no.25/75, signed, height 22cm, together with another example Tutu Lidded Pot, the finial modelled as a female bather, the tapered base painted underwater scene, on four fin feet, signed, No.19/75, height 21cm, both with certificates. (2)

A Baccarat Mytilene pattern clear glass carafe and stopper, of shouldered form, double walled with etched stylised flowers on scrolling tendrils, height 6cm, together with a French glass bonbonniere of octagonal faceted form, decorated with gilded floral sprays and foliate swags, the cover with knopped hexagonal finial, the body with lens cut panels on faceted foot, height 16cm. (2)

A Russian Gzehl blue and white tea set for two, comprising teapots, cups and saucers, a similar coffee pot, of flattened circular form with owl finial and S scroll handle, all with green printed marks, together with a small blue and white tureen and cover, unmarked, tallest 29cm.  (7)

20th Century wall mirror, the finial decorated with two cherubs, floral swags and a repeating outline to the border, with fitted branch lamps, 152cm high, 69cm wide.

Three vintage Scottish brooches, each in the form of a grouse foot, one with an amethyst finial.

An unmarked gold brooch tested as 15ct gold 2.98 grams, along with an unmarked stick pin tested as 9ct gold to the stem and 18ct gold to the finial, along with various costume jewellery.

A GEORGE V SILVER FIVE PIECE TEA SERVICEby the Barker Bros, Chester 1916 (milk jug 1917) consisting of coffee pot, sucriere and two milk jugs, of classic design with fluted bodies, thread and gadroon decoration, the tea and coffee pot with bakelite handle and finial, with gilded interiors, 59 tr.ozs combined gross weight

A 20TH CENTURY AMERICAN STERLING SILVER COFFEE POTby Bailey Banks & Biddle, of plain baluster form, with bakelite handle and silver finial, on raised step foot, engraved with the crest of the Scottish Clan of Maclean, 19cm high, 15 tr.ozs gross weight

A 19TH CENTURY GILDED WHITE METAL FINIAL possibly a trophy mounted, finely cast with seated greyhound atop rocky outcrop, 4cm x 4cm x 3cm; together with a 19th century gold coloured metal pencil, 5.5cm long (2)

AN EDWARD VII SILVER TEAPOT AND SUCRIEREby George Nash & Ridley Hayes, Chester 1908, of Georgian style, the teapot with ebony handles and finial, the sucriere on four ball feet with decorated handles, 16.5 tr.ozs combined gross weight (2)

A GEORGE V SILVER THREE PIECE COFFEE SERVICEby Fenton Russell & Co, Birmingham 1932, with gadrooned rims and girdled bodies, bakelite handles and finial, the coffee pot 19cm high, 18.4 tr.ozs total combined weight (3)

A Georgian bright cut silver fluted oval teapot with green stained ivory finial and mahogany handle, 16oz troy gross, the stand 3.5oz troy approx, and a matching oval two-division tea caddy with hinged lid, 15oz troy gross (Ivory Exemption Submission Reference: TS9TTHBP)

A pair of Chinese famille rose millefiori plates, 9 1/2" dia, a pair of blue and white ginger jars and covers, on stands, a similar polychrome ginger jar and cover, on stand, two egg cups and a satsuma circular vaseCondition:One of the blue and white jars has chips to the top rim and the covers finial has losses to the glaze.Other blue and white jar and cover are fine.Other jar and cover is fine.Egg cups are fine.Satsuma bowl/basket has a chip to the base.One of the pair of Millefiori dishes has shallow chips to the foot rim. Other dish is fine. Both dishes have some small decoration losses and light surface scratches.

A large late Victorian caster of baluster form with pull off pierced cover with a flame finial, elaborately decorated all over with flowers, scrolls etc, hallmarked London 1899, makers mark for W & C Sissons, 25cm tall, 324gms

Mixed Lot: Silver cased folding penknife with oversized Silver Jubilee hallmark, Sheffield 1977, makers mark I.J, a 925 stamped elephant finial bookmark, four silver fobs and a plated sovereign case, a silver plated Aladdins Lamp lighter, cased Eve and the Apple bookmark, a small leather purse together with a sterling football medallion, pendant and cast metal head