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A rare Italian portable pillar sundial Initialled with maker's monogram I. A. G A rare Italian portable pillar sundial Initialled with maker's monogram I. A. G. A. F., dated 1778 The removable gilt ogee moulded cap with ball-shaped finial and internal plunger concealing two hinged brass gnomons over cylindrical shaft applied with printed paper scale annotated with calendar to upper edge with months annotated in Italian, over two opposing projected scales delineated with two sets of curved hour scales annotated with opposing Arabic and Roman numerals V-XII and 7-1 each scale with printed banner beneath, one annotated ESPOSTO IN FACCIA AL SOL, I. A. G. A. F. 1778 the other SEGNO LE ORE, elev. Pol. 45. the lower margins further inscribed in Italian to instruct which of the two gnomons should be used for each scale, on heavy crisply-turned cast gilt brass base, 16.5cm (6.5ins) high; with a brass cylindrical case applied with reinforcement strips to exterior. Provenance: The beneficiaries of the Estate of an Italian connoisseur collector of horological artefacts and works of art. Column or pillar sundials (sometimes termed shepherd's dials) are a type of altitude sundial probably developed during the early Renaissance. Indeed similar pillar sundials to the current lot were certainly in use well before the 1530's and feature in Hans Holbein's works 'The Ambassadors' and portrait of Nicholas Kratzer. The current lot is designed to operate at 45 degrees latitude and is used by first removing the cap and to fold-out the brass gnomons. The cap then needs to be re-inserted ensuring that the gnomons line up with the relevant date printed to the upper margin of the shaft. The instrument then needs to be placed in sunlight and aligned so that the shadow of the gnomon falls vertically down the column, the time will then be indicated at the point where the shadow terminates on the projected hour scale printed beneath. As the sundial relies on the altitude of the sun to provide a reading the hour scales are annotated with two opposing sets of numbers (one in Arabic numerals the other Roman) these allow the time to be ascertained both in the morning or afternoon and converge at six o'clock.

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

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

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

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

A monumental Victorian brass quarter chiming 'exhibition A monumental Victorian brass quarter chiming 'exhibition' skeleton clock Attributed to John Smith and Sons, Clerkenwell, London for Duncan Anderson Cooper, Huddersfield, circa 1864 The triple chain fusee movement with Vulliamy type deadbeat escapement regulated by lenticular bob pendulum and chiming the quarters via a transversely planted six-inch pinned cylinder on a nest of eight graduated bells positioned within the superstructure of the frame and sounding the hours on a coiled gong mounted on a separate post at the rear, the finely executed wheelwork with six-spoke wheel crossings set between elaborate heavy-gauge plates pierced in the Gothic Revival manner incorporating buttresses flanking a central tracery lancet arch to centre beneath further shaped arch flanked by tiers of spires and surmounted by a fleur-de-lys finial to apex, the plates united by seven massive double-screwed knopped pillars and applied with elaborate silvered brass skeletonised Roman numeral chapter ring pierced and engraved with fine foliate scrolls surmounted by a coronet to each cartouche numeral around an open centre revealing fine decorated steelwork and pierced cocks to the under dial work, mounted on a green baize covered slightly canted rectangular base applied with silvered brass ribbon-form retailer's signature plate engraved COOPER, NEW ST., HUDDERSFIELD over large presentation plaque inscribed PRESENTED TO, Joseph Norton Esquire, on retiring from business, FROM HIS NUMEROUS WORK PEOPLE, AS A TESTIMONIAL OF THEIR REGARD AND ESTEEM, MAY 1864, flanked by elaborate foliate pierced sprays and on gilt bun feet, with brass-edged rectangular five glass protective cover, the clock 51cm (20ins) high; with base and cover 71.5cm (28.25ins) high overall. Duncan Anderson Cooper is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working in Huddersfield 1850-66. The current lot can be firmly attributed to John Smith and Sons of St. John's Square, Clerkenwell, who were established in 1780 and became one of the largest manufacturers of both domestic and public clocks throughout the 19th century and is still trading today but as a materials stockholder and broker having made their last clock in 1938. The company was the subject of an article published in The Illustrated London News on 20th September 1851 (see Roberts, Derek British Skeleton Clocks pages 260-67), in which it was held up as being at the forefront of contemporary clock manufacture. Smith's 1865 catalogue gives an idea of the extensive range of skeleton clocks the company produced. A relatively standard scroll pattern skeleton clock is listed at £2.10s, however a clock such as the present example would have cost ten times as much 'Chime Skeleton Clocks, quarter-hours on 8 bells & hours on gong, 25 upwards' (see Roberts, page 127). Such clocks were amongst the finest the company produced. The presentation plaque applied to the plinth of the current lot indicates that the clock was given to Joseph Norton on his retirement in 1864. Joseph Norton is recorded as the owner of Highbridge Mill, Huddersfield, Yorkshire, who resided at nearby Nortonthorpe Hall. A detailed history of the Norton family, including reference to the presentation of the current lot to Joseph Norton on his retirement in 1864, is documented in the online article by Brook, Alan A CATALOGUE OF THE TEXTILE MILLS OF THE HUDDERSFIELD AREA C.1790-1914, PART TWO - GROVE MILL TO RUSHFIELD MILL (entry 153).

A rare Spanish brass and silver portable equinoctial compass sundial Unsigned A rare Spanish brass and silver portable equinoctial compass sundial Unsigned, probably mid 17th century The square case with recessed simple compass plate engraved with concentric line decoration and retained by a square brass friction collar, the hinged silver open hour circle set within a pierced square frame and pivoting against a folding brass arm locating into corresponding graduated slots calibrated for degrees of elevation to the side of the instrument, the hour ring engraved 1-12-1-12 twice and fitted with pivoted steel needle gnomon fitted onto double baluster arbor to centre, both sides of the lid and the base of the case engraved with tables giving the respective latitudes of seventy-four European and South American cities including Lima 12, Cuzco 14, Santiago 32, Buenosayres 36, Cartegena 12, Mexico 20, Guatimala 15, Valencia 39, Murcia 37, Toledo 40, Madrid 42, Roma 41, Florencia 43 and Paris 50 , the front of the case applied with foliate bud finial, the rear with foliate mount centred with a hole to take a suspension post (compass plate probably a replacement, suspension post/ring lacking), 4.5cm (1.75ins) wide. The current lot is a rare form of Spanish dial which operates essentially in the same manner as other sundials designed with inclined chapter rings and pivoted pin gnomons such as German Augsburg pattern dials. A noteworthy detail which sets the current lot aside from related German models is the use of a pivoted stay engaging with graduated slots cut into the body of the instrument to set the elevation of the hour ring rather than a reading directly against a pivoted arm engraved with degrees for latitude.

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

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

A fine German gilt brass quarter striking table clock with annual calendar... A fine German gilt brass quarter striking table clock with annual calendar dial Engraved with initials P K F R , dated 155(4?) The posted iron triple fusee movement of 'cruciform' layout centred with longitudinal going train with verge escapement regulated by steel two-arm balance set above the top plate flanked by transverse quarter train opposing conforming strike train, the quarter train with cannon warning arbor applied over the locking detent arbor released via capstan wheel driven by the underdial motionwork operating a sliding shunt and sounding on a bell mounted within the superstructure above, the hour strike train now fitted with countwheel for Italian double six-hour striking and released in-turn by the quarter train via detent engaging with pins to the quarter countwheel and arbor passing across the front of the movement, the exterior with annual calendar dial now with vacant centre within concentric Zodiacal scale engraved for the Julian calendar divided onto five day intervals to inner track within reserve engraved with pictorial representations and respective symbols with divisions for every day to the outer track, the applied ring aligned with the Zodiacal scale and divided in a similar manner with each month labelled in Latin along with its length, the spandrel areas engraved with symmetrical hatched foliate scroll infill over conforming band to apron incorporating pivoted shutter for the vacant alarm winding hole engraved with the initials P K, F R , the opposing side now applied with twelve-hour chapter disc with hatched foliate scroll engraved centre within concentric Arabic numerals 13-24 and outer Roman numerals, the upper spandrel areas with conforming foliate infill, the lower margins engraved to match and now applied with three vestigial subsidiary dials for day-of-the-week, quarter-hours and date-of-the-month, the quarter train side with panel engraved with a Classical female playing a harp within an architectural archway fitted with shuttered winding hole for the quarters and another vacant hole probably originally for remote winding of the going train over hatched foliate scroll engraved panel to lower margin, the opposing strike train side with subsidiary countwheel position dial annotated in Arabic numerals 1-12 over vestigial alarm setting dial within further hatched leafy trail infill, the top with fine ogee-outline cupola with complex rectangular section spire finial over stylised flower buds applied to shoulders and six pierced circular portrait panels each depicting an allegorical profile within hatched leafy scroll decorated panel infill, the slender moulded cornice applied with squat urn finials and engraved with text DIE . STUND . UND . TAG . 155(4?) over the calendar dial opposing WACHET . DAN . IR . WIST . NIT over the hour dial, the angles incorporating square section three-quarter pilasters and plinths decorated with scribed-line panels, on shallow inverted breakfronted cavetto moulded base engraved with stylised interlaced foliate motifs, (losses/replacements to dials and motionwork), 22cm (9.75ins) high. Provenance: The beneficiaries of the Estate of an Italian connoisseur collector of horological artefacts and works of art. Comparative literature: Maurice, Klaus and Mayr, Otto THE CLOCKWORK UNIVERSE, GERMAN CLOCKS AND AUTOMATA 1550-1650 pages 182-85 and 189-90. The current lot employs the archetypical 'cruciform' layout to the movement (where the going train is positioned longitudinally in the centre flanked by transverse quarter and hour strike trains) favoured by the south German makers of the finest 'Masterpiece' table clocks from the mid 16th century until the end of the 17th century. From a practical point of view this layout adds a degree of complexity with regards to resolving the lifting of the strike and quarter trains but has the significant benefit of allowing each face of the case to be fitted with dials/features directly relating to the function of mechanism behind. This benefit is particularly relevant when considering the statutory requirement (specifications) of a 'Masterpiece' as dictated by the Augsburg clockmakers' guild in 1558 as transcribed in Maurice, Klaus and Mayr, Otto THE CLOCKWORK UNIVERSE, GERMAN CLOCKS AND AUTOMATA 1550-1650 on page 67: " Mastepieces of 1558 Small-clock makers: A clock a span high, without weights, to strike each quarter-hour. The astrolabe runs as part of the clock. A small flat clock or spherical clock with the phases of the moon; the latter to move forward in time with the hand ." In order for the current lot to fulfil the above requirements it would have need to have been fitted with an astrolabic dial and one showing the phases of the moon. When considering the layout of the clock it is conceivable that an astrolabe was originally fitted to the centre of the side now applied with the twelve-hour chapter disc, however the inscription to the cornice above - DIE . STUND . UND . TAG would perhaps suggest otherwise as this simply translates as THE HOUR AND DAY. From this it is more likely that that the original dial configuration to this side was limited to time, day-of-week and date-of-month functions alone. The other side retains its original year calendar complete with Zodiacal divisions however the central feature is now missing. A clue to what was originally fitted in this space may again be suggested by the inscription to the cornice above - WACHET . DAN . WIST . NIT. Unfortunately there appears to be no direct translation for this phrase, however when considering the inscription in broadly linguistic terms it may be appropriate to speculate that it relates to day and night indication. If this is the case then the centre of the dial may well have originally been fitted with a dial indicating the variance in the relative length of the day and night throughout the year. Alternatively, as more commonly seen, the centre may have featured a disc pierced for the phases of the moon. In addition to either of these two functions the annual calendar dial would have most likely had hands to indicate the date of the year and the zodialogical aspect of the sun. One slight complicating factor regarding the reconstruction of the moving elements to the centre is the presence of the going train winding square. However examination of the going train fusee and other evidence within the movement and quarter-strike side of the case suggests that the going train may have originally been fitted with indirect winding from the side. This would have left the dial centre (and indeed the motionwork behind) free of obstruction. The distinctly two-dimensional external decoration of the current lot is unusual and differs from the fashion for intense sculpted relief made popular by makers such as Jeremias Metzger during the mid 1550's. However the decorative effect of the pierced and engraved profile portraits to the dome is particularly pleasing. The applied stylised flower heads to the angles of the cupola are also unusual being reminiscent of similar decoration seen on Gothic iron chamber clocks of the period. The movement is particularly well executed with fine delicate wheelwork which is remarkable when considering that each wheel was hand forged, cut and filed. The provision of a fairly complex system of warned striking is also testament to the clockmakers technical ability.

A fine Renaissance gilt brass and silver mounted oval pre-hairspring pendant... A fine Renaissance gilt brass and silver mounted oval pre-hairspring pendant clockwatch Josias Jolly, Paris, circa 1630 The incomplete oval gilt full plate single fusee verge movement with four shouldered baluster pillars pinned through the backplate applied with fine asymmetric floral scroll pierced and engraved balance cock and conforming mainspring barrel set-up ratchet guard, the edge signed Josias, Iolly, AParis , the fine single sheet engraved fire-gilt brass dial with steel hand and centre decorated with scene of the Samaritan woman conversing with Christ at the well within applied silver Roman numeral chapter ring with wheatear half hour markers and fine foliate scroll chased oval surround incorporating a cherub to upper edge over pair of grotesques to sides and a winged cherub mask to lower margin, the two-piece oval section case with delicate leafy wreath engraved decoration to inside of the convex brass front cover incorporating seven-joint hinge block decorated with a winged angel mask opposing conforming fixed convex panel to rear, the waist with gadroon mouldings bordering applied red silk backed scroll pierced and engraved applied silver sound fret collar, the base with inverted finial and clasp opposing pendant cast as a tulip bud to top, (strike train lacking), the movement pillar plate 41mm (1.6ins) by 36mm (1.4ins), the watch 71mm (2.8ins) high to top of suspension post. Provenance: The beneficiaries of the Estate of an Italian connoisseur collector of horological artefacts and works of art. Josias Jolly is recorded in Baillie, Watchamkers & Clockmakers of the World as a Master working in Paris 1609-40. Jolly was a Protestant born in Blois whose surviving work shows significant diversity however he is perhaps now best known for a watch with highly decorated enamel case executed by a member the Toutin school residing in the collection of Walters Art Museum, Baltimore (ex. Demidoff collection). The basic oval form of the current lot is reminiscent of an early 'Puritan' watch, of which an example (signed 'Chapelle' and dating to around 1625) is illustrated in Camerer Cuss, T.P. The Country Life Book of WATCHES on page 15 (plate 7). The addition of the fine decorative pierced silver band (between gadroon mouldings) to the waist of the present watch would have served to allow the sound of the hour bell (formerly fitted within the rear of the case) to be heard as well as cater for the demand for decoration from clients not so concerned with Puritan values. Indeed a similar blind engraved border can be seen on timepiece by Robert Grinkin, London illustrated in Camerer Cuss on page 19 (plate 10). The presence of this band indicates that decoration was as, if not more, important than function. Incidentally the timepiece by Grinkin also exhibits very similar engraved foliate wreath border decoration to the inside of the dial cover. The current lot is particularly rare as it was originally made as a clockwatch. Unfortunately the strike train has now been removed however the going train appears to have survived with no obvious signs of alteration and has a particularly fine fusee. The dial is exquisitely engraved and in fine condition; indeed the general overall condition of the watch would make restoration of the strike train eminently viable and rewarding.

A George III mahogany stick barometer Dollond, London A George III mahogany stick barometer Dollond, London, late 18th century With open triangular pediment above rectangular brass vernier scale calibrated in barometric inches, with the usual observations and signed Dollond, London near the upper margin, the chevron veneered caddy moulded trunk inset with visible tube over hemispherical cistern cover to the rounded base incorporating brass level adjustment screw to underside, 98cm (38.5ins) high excluding finial. Peter Dollond is recorded in Banfield, Edwin BAROMETER MAKERS AND RETAILERS 1680-1860 as born 1730 and died 1820. He was the son of John Dollond, a Huguenot silk weaver and started business as an optician in 1750. He was joined by his father in 1752 until his death in 1761, and then by his brother, John, until his death in 1804. The family business was continued by Peter Dollond's nephew, George Huggins, who changed his name to Dollond. George Dollond became instrument maker to William IV and Queen Victoria, exhibited at the Great Exhibition in 1851 and died 1856.

A William III brass lantern clock William Holloway, Stroud A William III brass lantern clock William Holloway, Stroud, circa 1685-90 The posted countwheel bell-striking movement with separately wound trains and verge escapement regulated by short bob pendulum positioned outside the frame at the rear, the dial with a central rose decorated vestigial alarm disc enveloped by stylised leafy tulip sprays issuing from a three-petal flowerhead positioned just above six o'clock and with signature William Holloway, Stroud to upper margin, with iron hand within applied Roman numeral chapter ring with stylised wheatear half hour markers and engraved leafy infill to angles, the generous London-style third period frame with one-piece column turned corner posts beneath armorial pierced frets, vase turned finials and domed bell bearer, the sides with hinged brass doors and the rear with iron hanging hoop over a brass backplate (in unrestored condition, lacking alarm, top finial and with replaced frets ), 35.5cm (14ins approx) high. William Holloway is recorded in Loomes, Brian LANTERN CLOCKS & Their Makers as the son of the clockmaker John Holloway born in 1732 at Market Lavington, Wiltshire. In 1658 he moved, along with his father and younger brother Richard, to Stroud in order to take-on the workshop of the recently deceased John Snow. Holloway was married to Hester Hieron in 1664 and continued working until his death in 1694. William Holloway had three sons one of which, John, continued the business in Stroud after his death; the other two, William and Arthur, moved to London to pursue the trade in the capital. William Holloway was a confident, accomplished and relatively prolific maker who used distinctive castings for his frames which appear almost unique to the Holloway family. His early clocks (1661 to circa 1680) used castings loosely based on the London second period style but were one-piece (i.e. finials and feet were cast integral with the posts) with tall slender finials capped by distinctive acorn turnings. Three examples by Holloway with this type of frame are illustrated in White, George English Lantern Clocks on page 246 (Figures V/78-80). The second type of frame used was much more akin to the standard London third period pattern but again employed one-piece castings and appeared to be short-lived as they are only seen on clocks dating to the first five or six years of the 1680's (see White, page 247, Figure V/81). The third pattern was again based on London third period practice but was much more generous with distinctly bulbous swellings to the finials and feet, two clocks with this type of frame are illustrated in Loomes, Brian LANTERN CLOCKS & Their Makers pages 207 and 209 Figures 13.8 and 13.13. Other traits of Holloways work include the continued use of separate winding for each train long after most other makers had adopted Huygens' single-weight endless rope system. Clocks with separately wound trains are characterised by having hour bell hammers positioned to the right hand side of the movement. Loomes suggests that Holloway may have continued this practice as it allowed straightforward disablement of the strike train by simply removing or not winding the strike weight. Another unusual feature peculiar to Holloway was that he often used four wheel trains in order to give a longer duration. The current lot is a typical of Holloway's final phase of work with generous bold castings and London-style tulip engraving to the dial centre. Unusually the clock is not dated but on stylistic grounds alone it can be placed within a couple of years of 1690.

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

A 19th Century Gilt Wood Carved Finial 42 Cm High.

Parasol with gold plated mounts and butterscotch finial

An antique South Seas Vanuatu wooden club, having mushroom finial above two nodule projections , 30”

A Royal Worcester miniature shell, 3.2” across together with a miniature Minton covered vase – finial incomplete (2)

A small Satsuma censer – lion finial incomplete

An old matchlock pistol, having ivory and brass inlaid decoration of arabesque scrolls and panels, the top of the barrel engraved with a soldier carrying a cross, the circular pommel with ivory finial, 17.5” overall

Georgian Oak 3 Tier wall bookshelf of breakfront and turned supports with finial ends, Width 79cm Condition - Good Overall

A Victorian mahogany washstand, the shaped gallery above a moulded top on turned end supports joined by a shaped board stretcher on bun feet, h. 88 cm, w. 104 cm, d. 45 cm CONDITION REPORT: Top loose. Slight water damage to top. One drop finial broken. General wear and tear

A small parcel consisting a silver gatelink bracelet with padlock clasp, a silver and enamelled spoon with daffodil finial, a Scottish pendant set hardstone, a gilt metal and enamel decorated pendants, a single strand pearl necklace and a pair of silver plated sugar nips CONDITION REPORT: Daffodil spoon with damage to enamel, other losses elsewhere

A Regency rosewood canterbury, in the manner of Gillows of Lancaster, the X-frame dividers separated by turned supports, with a pierced and carved stylized laurel wreath to the front, over a single drawer with a turned knob on four legs surmounted with acorn finials on brass cup castors, l . 53.5 cm, w. 51 cm, d. 38 cm CONDITION REPORT: Back x divider coming apart at join, re pegged. One roundel missing. Top of one finial missing. Break to wreath. General wear and tear

A Regency-type painted metal coal bucket, the cover surmounted by a gilt metal finial, on scrolled feet, l. 56 cm CONDITION REPORT: Some losses to decoration and general wear

A Chinese blue and white cylindrical vase, 30.5cm high; together with a Victorian opaque glass twin handled vase and cover, (chip to finial); and a Monart style glass vase, 14.5cm high. Condition Report: No visible chips or cracks seen to the Blue & White vase or the squat vase. However, the twin handled Victorian vase has lost the finial and the gilt is rubbed to the handles.

KIGU Gilt Metal Music Box With Ornate Feet And Finial

William IV - Fine Melon Shaped Silver Teapot, Raised on Shell Splayed Feet, with Embellished Finial Shaped Pumpkin to Lid, A Canthus Leaf Mount to Handle. Hallmark London 1830, Makers Mark I.C. Joseph Craddock. A Good Example of a William IV Silver Teapot. 26 ozs. 5.5 Inches High - 11 Inches Wide.

Swedish - Singles Silver Teapot with Ribbed Half Body Pineapple and Finial, Swan Necked Spout. Swedish Silver Hallmarks for Date 1914, Makers Mark I.S. 12 ozs. 7 Inches High.

A pair of pepperettes, repousse design with blank cartouche on circular foot, a silver plated gravy boat, an EPNS mustard pot, a plate tray, a matchbox cover painted metal and a small, possible button hook with amber coloured finial and a metal chatelaine from a claw hook

An EPNS teapot with repousse decoration, a cartouche with initials, a coffee pot with chased engraving of butterflies, birds and flowers, with a bone finial, a pair of silver plated berry spoons, a cocktail shaker, two tankards and a pair of salts (7)

A Victorian copper kettle with an acorn finial , a smaller example and two others. (4)

A Collection of brass and copper ware, Victorian copper kettle with a brass acorn finial, copper haystack measures, copper warming pan, brass desk tidy, a pair of brass candlesticks, etc.

A Victorian copper kettle with a button finial and a Victorian trivet with an openwork painted iron circular top and a brass pedestal. (2)

An early 19th century English service, possibly 1820's Coalport, each piece painted with a black ground band of pink roses enclosing yellow centres, comprising two sauce boats and one cover, two oval dishes or stands, a footed oval bowl, four lobed oval dishes, four shell shaped dishes, four square dishes and fourteen plates (32) (D) The cover to the sauce tureens lacks its finial. The oval blue hasbeen broken and glued together. There is some wear to the enamels of the four lobed oval dishes and two have cracks through their foot rims. The four shell shaped dishes have some wear and some staining. The four square dishes have some wear. There is some wear to the fourteen plates, one has a rim chip and another has been in half and is glued together

A Pair of 19th Century Renaissance Revival Bronze Hanging Lanterns each face with a rounded arch panel surmounted by a fleur de lis finial divided by pierced foliate scrolls, the tapering leafy bases terminating in fac e ted and leaf cast pendant finials, now both fitted with an internal modern three branch chandelier, 95cm high, 45cm diameter

A Pair of Cut Glass Decanters with fine hobnail and diamond cut decoration, with their original stoppers, attributed to Thomas Webb, 38cm high, 17.5cm wide finial missing

An Early 19th Century Russian Ormolu and Cut Glass Three-Light Chandelier after designs by Alexandre Gué rin, the upper corona with a berried and acanthus finial framed with bold cast anthemion, with elaborate chain inset with cast palmettes, supporting a lobed and diamond cut glass orb in two sections, surrounded by a band of laurel leaves with alternating swans and eagle-headed candle holders complete with nozzles and drip-pans, at the centre a gilt bronze urn with tooled decoration, the whole terminating in a large pinecone finial, 110.5cm high, 46cm diameter Provenance: Christie's London 5 July 2013, lot 68.

A Brass Bird Cage Lantern with a central three light candelabra, the top with a turned wooden finial and brass hook, 38cm wide, 103.5cm high, 38cm deep

A 19th century walnut Vienna wall clock with horse finial and half turned side pillars, striking spring driven movement

A VICTORIAN STYLE GILT WOOD OVERMANTEL MIRROR with scallop shell finial and scroll supports, 120cm high x 117cm wide and a Venetian style wall mirror (2)

A REGENCY MAHOGANY TABLE CLOCK, the white convex Roman dial inscribed Wm. Cribb, Theobalds Road, London, the twin train fusee movement with bell strike, pull repeat, shouldered plates and pendulum hold fast, the arched case with raised brass urn finial, foliate scroll brass inlay, ring side handles over fish scale frets upon a moulded plinth base with brass ball feet, 51cm high

George II silver Tea Caddy London 1756 of oval form with bright cut floral engraving and embossed columns to the quarters, slide out base with matching makers marks,Armorial to the front of an Eagle above a crown, lid with pineapple finial. H13 cm x W8.5 cm x D6 cm CONDITION REPORT: Very good condition, no dents or damages, slide to base closes firmly, clear hallmarks & armourial, no hallmarks to the lid. Scratch marked to base"8, 1502 along with hallmarks. Weight 266gms

A Russian Silver Kovsh by Nikolai Zverev, Moscow 1908 - 1914: The scalloped shaped bowl having a loop handle applied with a floral finial, raised on three short feet: L 18.5cm

Two Chinese Bronze Tripod Censors: 18th century The squat circular body incised with archaistic taoist motifs. With two rectangular upright loop handles and supported by three long and cylindrical legs. The pierced hardwood cover with hardstone finial. On a wooden base with yin and yang motif. H 12.5 cm CONDITION REPORT: Both censors are in very good condition with no damages

An Unusual Art Nouveau Mahogany Tobacco Box, possibly American: the sides and cover set with mother-of-pearl panels, the front mounted with a metal stylised butterfly with orange enamelling, above the initials 'E' and 'H', mushroom finial with turquoise cabochons, lead lined interior with compressor: H 25cm x W 23cm CONDITION REPORT: Structurally sound, good hinge, minor losses to mother of pearl design, tin lined in good condition, heavy lead lid good condition. No key, scratched to the base "Pickford Marriott 1902"

Two Chinese famille verte teapots 18th century (Kangxi period) Both teapots in the shape of a short bundle of bamboo and with similar motif of flowering prunus branches. Further bamboo motif to the finial on the lid, handle and spout. H 13 cm CONDITION REPORT: No damages or losses to the body of one teapot, the other teapot has a hairline and minor losses to the paintwork of the lid

A Plymouth Argyle Novelty Football Teapot, the body as a ball, with player for handle, F.A. Cup finial to lid, marked 'Plymouth Argyle' to base

An early 20th Century oak court cupboard of unusually small proportions, acorn finial to frieze, inlaid door, shaped lower single door

Susan Williams - Ellis for Portmerion Pottery, two Totem series large storage jars in the white, cylindrical moulded with beaded and star form motifs, recessed circular pottery covers with button finial, 19.5cm high

A Victorian cast iron and copper gas lantern of square section tapered towards the base, surmounted with a copper ball finial, glazed, 42cm high approx

A Chinese porcelain celadon ground blue and white jar and cover, globular decorated with figures, tables and vase of lotus figures, bud finial to cover, 20thC, 23cm high approx (2)

A Zulu hardwood stick, with carved baboon's head finial, and three further sticks

A CUT MIRRORED GLASS PLATE MIRROR IN THE FORM OF A CROWN WITH CAST METAL ORB FINIAL, PRODUCED FOR THE 1937 CORONATION OF KING GEORGE VI, W 63 CM

A GEORGE III SILVER COFFEE POT of tapering cylindrical form with hinged flat domed cover and urn finial, "duck's head" octagonal spout and earred loop fruitwood handle with scroll terminal, later engraved with scroll initials "RMHC" (?), transposed marks for London 1737 and maker John Gamon cancelled by the London Assay Office, case No.9107 (2015), 8" high, 21ozs gross (Illustrated)

AN EARLY VICTORIAN BRITANNIA STANDARD SILVER HOTWATER JUG, maker R. Garrard, London 1851, of baluster form, the hinged domed cover with ivory finial, the hollow scroll handles with ivory stops, engraved with a crest, 7 1/4" high, 16ozs 9dwts gross

A BACHELOR'S EDWARDIAN SCOTTISH SILVER THREE PIECE TEA SERVICE, makers Hamilton & Inches, Edinburgh 1901, of semi fluted oval form, comprising teapot with flat hinged fluted domed cover (lacks finial), ebony angular handle, two handled sugar basin and milk jug, teapot 8 1/2" wide, 15ozs 6dwts total gross

A WANLESS BROS SIDE BY SIDE 12BORE HAMMER SHOTGUN, with 30" barrels inscribed with the maker's name and address, blued sidelocks with border engraving, walnut stock with chequering to the pistol grip and fore-end with horn finial, 47" long

A THREE PIECE SILVER TEA SERVICE, makers Viners, Sheffield 1942, of rounded oblong baluster form with bobbin cast rims and raised upon four ball and claw feet, comprising teapot, the flat hinged cover with ebony finial and angular handle, two handled sugar basin and milk jug, teapot 11 1/2" wide, 41ozs 14dwts total gross

A PERCUSSION DOUBLE BARRELLED PISTOL BY J W GANTLETT, BADMINTON, 19th century, the 5 3/4" sighted barrel inscribed "Badminton", inscribed and foliate engraved side lock action, armorial engraved steel trigger guard with pineapple finial, later ram and chequered walnut grip, 11 3/4" overall