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A Charles II gilt brass lantern clock Benjamin Hill, London, circa 1665 The posted countwheel bell-striking movement with later anchor escapement regulated by seconds pendulum swinging outside of the frame of the clock to the rear, the dial with central starburst decorated alarm disc enveloped by stylised leafy tulip sprays issuing from a three-petal flowerhead positioned just above six o'clock and with signature Benjamin Hill in fleete, Streete Londini to upper margin, with iron hand within applied narrow Roman numeral chapter ring with stylised wheatear half hour markers and engraved leafy infill to angles, the standard London third period frame with column turned corner posts beneath dolphin inhabited foliate pierced frets, vase turned finials and domed bell bearer, the sides with hinged brass doors, the rear with iron backplate, hanging hoop and spurs, on turned ball feet (in unrestored condition, top finial and alarm mechanism lacking), 34cm (13.5ins approx) high. Provenance: From the estate of an esteemed antiquarian horologist. Literature: The dial of the current lot is illustrated in Antiquarian Horology September 1999 (vol. XXV, no. 1) page 47; the whole clock is also subsequently illustrated in the March 2001 issue (Vol XXVI, no. 1) on page 58. Benjamin Hill is recorded in Loomes, Brian LANTERN CLOCKS & Their Makers as born in Hatton, Warwickshire in 1617 and apprenticed through the Blacksmiths' Company to Richard Child in 1632. He was made a free Brother of the Clockmakers' Company in 1640, served as an Assistant in 1651, Warden from 1652 and was appointed Master in 1657. In 1645 Benjamin Hill married Gunnett Say (sister of fellow clockmaker Nehemiah Say) at St. Bride's, Fleet Street and by 1646 he had set up in Boar's Head Alley off Fleet Street in St. Dunstan's Parish (possibly Cock and Key Court). His property was subsequently destroyed in the Great Fire of London in 1666 causing him to relocate to Fetter Lane. Benjamin Hill died in 1670 and was buried at St. Dunstan's; his will and inventory survives with the latter published and discussed by Jeremy Evans in his article BENJAMIN HILL, SOME FURTHER NOTES in Antiquarian Horology March 2001 (vol. XXVI, no. 1) page pages 52-61. Of Benjamin Hill around half a dozen lantern clocks have been documented and at least three watches are known to survive, a slightly earlier clock by him is also included in the sale (lot ???). The frame used for the current lot is of pattern typical of London 'third period' work (as illustrated by White, George English Lantern Clocks page 180 figures IV/37 - IV/39) and superseded the earlier variant used for lot ??? and the previous lot. The design of the engraved decoration to the dial centre of the present clock is also very typical of London third period work and can be directly compared to numerous clocks by the likes of Nicholas Coxeter, Thomas Wheeler and John Ebsworth (see following lot). The form of the hand harks back to earlier second period work (see lots 152 and 153) but persisted well into the third period in the hands of makers such as Ebsworth (see the following lot and White, page 179 figure IV/35). The gilding to the dial and frame is a very rare feature which would have involved a great deal of time and expense suggesting that the current clock was supplied to order for a particularly discerning client.

A Charles II brass lantern clock John Ebsworth, London, circa 1670 The posted countwheel bell-striking movement with separately wound trains and later anchor escape wheel, the dial with central rose decorated alarm disc enveloped by stylised leafy tulip sprays issuing from a three-petal flowerhead positioned just above six o'clock and with signature John Ebsworth at y (crossed keys), Lothbury Londini fecit to upper margin, with iron hand within applied narrow Roman numeral chapter ring with stylised wheatear half hour markers and engraved leafy infill to angles, the standard London third period frame with column turned corner posts beneath dolphin inhabited foliate pierced frets, vase turned finials and domed bell bearer, the sides with hinged brass doors and the rear with iron backplate (in unrestored condition, pallets, backcock, hammer stop and spring lacking, no lines, pendulum or weights), 39.5cm (15.5ins approx) high. Provenance: The estate of a connoisseur collector of regional furniture, works of art and clocks. John Ebsworth is recorded in Loomes, Brian, LANTERN CLOCKS & Their Makers as apprenticed in 1657 to Richard Ames and gaining his freedom of the Clockmakers' Company in 1665. He is believed to have succeeded Thomas Knifton at the Cross Keys in Lothbury but later worked at 'New Cheap Side'. He served as Assistant to the court of the Clockmakers' Company in 1682, Warden in 1694 and was appointed Master in 1697. Ebsworth died in 1699 appointing Edward Stanton to oversee his Will. John Ebsworth was clearly heavily influenced by his master, Richard Ames, who was possibly the first to embrace the introduction of the verge escapement with short bob pendulum by placing the pendulum between the trains (this layout allowed the alarm mechanism to be retained at the rear of the clock). Ebsworth also adopted this system for his pendulum lantern clocks however it seems that he continued to make balance wheel regulated clocks alongside them. This was probably due to the fact that pendulum clocks were more expensive (due to the amount of additional work to build a clock with centre swinging pendulum) hence balance wheel clocks were perhaps marketed as a less expensive model whose timekeeping was probably more than adequate for most. The current lot is a textbook example of Ebsworth's work and typifies London third period practice using frame castings developed probably just prior to 1660 (see White, George English Lantern Clocks page 180 figures IV/37 - IV/39 and lot 153). The design of the dial engraving had almost become completely standardised by this time and can be directly compared with that of the previous lot as well as numerous other examples by the likes of Nicholas Coxeter, Richard Ames and Thomas Wheeler made during the 1660's-70's.

White, George English Lantern Clocks Antique Collectors' Club, Woodbridge 1989, gilt titled blue cloth with dj., (ex. Stockport Library with cancellation stamp).

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

A gilt brass spring-driven quarter-chiming lantern mantel clock The frame and dial signed for John Thornton, Sudbury, early 18th century; the movement by William Page, London, late 19th century The six pillar triple chain fusee movement chiming the quarters on four graduated gongs and striking the hour on a further larger gong, the going train with Harrison's maintaining power and half-deadbeat escapement regulated by short lenticular bob pendulum, the backplate signed W'M PAGE, West End Clock Manufacturer, G't Portland St't, LONDON, the posted case with dial engraved for John Thornton, Sudbury to the symmetrical foliate scroll engraved centre within applied silvered Roman numeral chapter ring with cruciform half hour markers beneath leafy scroll engraved and pierced frets flanked by vase finials with domed bell bearer above, the sides with rococo scroll engraved doors, on ball feet, 38cm (15ins) high; now mounted on a cushion-moulded ebonised stand with turned feet, 45cm (17.75ins) high overall. John Thornton is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as a bellfounder and clockmaker working in Sudbury, Suffolk 1708-20. William Page is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working in London 1875-81.

The remains of a fine large musical lantern clock movement Unsigned but possibly attributed to James Delaunce, Frome, late 17th century The posted two-handed movement with four-wheel going train regulated by anchor escapement for a long pendulum swinging outside of the frame of the clock to the rear, the centre formerly with musical train released prior to the hour-striking train to sound a melody on two nests of four bells each set above the top plate, the rear with hour strike train incorporating large iron countwheel mounted behind, the posted frame with one-piece pillar and finial castings featuring elongated 'spires' supporting the domed bell bearer above decorated with radial cast and pierced infill between the limbs, (unrestored, lacking all musical work except warning/locking detents, strike train fly, dial, frets, side doors, feet, pendulum and weights) 42cm (16.5ins) high. The current lot was originally made with an musical train sounding on eight bells which was activated prior to the hour strike train. Rather than using a starwheel set behind the dial for strike/musical train lifting the current movement utilised two pins fitted to a disc applied to the rear of the going train greatwheel. This disc is directly connected to the underdial motionwork but engages with the greatwheel via a friction joint alone. This system allows the hands to be set without having to release the escapement and 'run through' the going train and was often employed by Italian makers where star wheels could not be used (due to the Italian preference for each hour to be sounded twice in quick succession). The design of the one-piece frame corner post and finial castings can be compared to a standard-sized lantern clock by James Delance of Frome illustrated in Loomes, Brian LANTERN CLOCKS & Their Makers on page 187 (fig. 11.2). The method of retaining both the strike/musical train lifting detent arbors and the individually pivoted musical hammer bell arbors between their respective movement bars is highly unusual. Each pivot hole is formed as a slot cut in from the side of the bar allowing the arbor pivot to be inserted without having to release the bar. The pivot is then prevented from falling out of its slot by a retaining pin which driven in from above through vertical holes in the movement bar adjacent to each pivot. Although highly unusual this system for retaining a single detent arbor pivot can also be seen on a posted musical longcase movement signed James Delance Froom Fecit illustrated in Darken, Jeff and Hooper, John English 30 Hour Clocks on page 87 (fig. 2/59). James Delaunce is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born in Dowton, Somerset in 1655. He is believed to have been apprenticed to Laurence Debnam of Frome in around 1669 (which he would have completed in around 1676) before moving to London where he was admitted to the Clockmakers' Company as a Free Brother in 1677/8. By 1686 James Delaunce had moved back to Frome - probably to succeed his former Master, Laurence Debnam, who died in 1683. From 1687 until 1703 he was employed by Lord Weymouth to work on clocks at Longleat and by 1721 was back in the Downton where he is recorded as still being alive in 1736.

A Queen Anne brass lantern clock John Michell, Chardstock, early 18th century The posted countwheel bell-striking movement with anchor escapement regulated by seconds pendulum swinging outside of the frame clock to the rear, the matted dial with ringed centre and iron hand within applied Roman numeral chapter ring with stylised fleur-de-lys half hour markers and signed Jo. Michell, Chardstock to lower edge, the angles engraved with stylised poppy blooms, the frame with column turned corner posts and integral ball feet, the bell now supported on an iron stand (unrestored, lacking frets, finials, bell bearer, side doors, top finial, backplate, pendulum and weight) 35cm (13.75ins) high. Provenance: The estate of a connoisseur collector of regional furniture, works of art and clocks. John Michell is recorded in Loomes, Brian LANTERN CLOCKS & Their Makers as believed have been born in 1669 and married in 1687 to Elizabeth Marks. He lived in Chardstock at least from 1687 until his death in 1733 when he was succeeded by his son-in-law Thomas Drayton. Loomes illustrates two lantern clocks and a 'hybrid' posted frame clock by Michell (pages 202-4 figs. 12.14 to 12.24) all of which have matted dials with ringed centres and engraved decoration to angles. The first utilises the same pattern of frame casting as used by Thomas Veale of Chew Stoke for lot 184. This suggests that Michell 'bought-in' his castings from the Bristol/Chew Valley area. Indeed this possibility is further supported by the fact that the current lot appears to employ the alternative 'London style' frame castings as used by various Bristol makers from the late 1670's until around 1710 (see Loomes page 181, fig. 10.48 for a clock by John London of Bristol which employs the same pattern of frame castings). The fact that the current lot was made using a well known pattern of frame should make correct re-instatement of the missing finials etc. possible. The movement of the current lot also exhibits details sometimes seen on clocks by the Chew Valley makers. For example the movement bars are secured at the top via pins against lugs riveted to the underside of the top plate (rather than via slots cut in to the plate itself) whilst at the bottom the bars are cut with key-hole shaped apertures - presumably to allow a degree of adjustability.

A Queen Anne brass lantern clock John Walter, Honiton, early 18th century The posted countwheel bell-striking movement with anchor escapement regulated by seconds pendulum swinging outside of the frame clock to the rear, the dial engraved with stylised stylised leafy sprays issuing from an urn positioned just above six o'clock beneath signature John Walter of Honiton Fecit to upper margin, with iron hand within applied Roman numeral chapter ring with stylised fleur-de-lys half hour markers, the frame with column turned corner posts beneath dolphin inhabited foliate pierced front fret, vase turned finials and domed bell bearer, on turned ball feet (unrestored, lacking side frets, side doors, top finial, backplate, pendulum and weight), 35cm (13.75ins) high. Provenance: The estate of a connoisseur collector of regional furniture, works of art and clocks. John Walter of Honiton appears to be unrecorded however the current lot can be dated on stylistic grounds to the early years of the 18th century. The movement is neatly made with wheels secured directly onto tapered steel arbors without collets and the dial is well engraved with the design reminiscent of other West Country makers of a slightly earlier period such as John London of Bristol, Arthur Davis of Westleigh, and Edward Bilbie of Chew Stoke - see Darken, Jeff (editor) TIME & PLACE English Country Clocks 1600-1840 exhibits 7 (pages 38-9), 14 (pages 56-7) and 21 (pages 80-3). This clock has been stored away for many years and has only been recently re-discovered hence is offered in unrestored condition.

A fine and well documented Charles II brass lantern clock George Newton, Seend, dated 1677 The posted countwheel bell-striking movement with verge escapement regulated by short bob pendulum swinging outside the frame to the rear and with unusual configuration of strike lifting with the warning lifting detent arbor positioned on the opposite side of movement from the countwheel locking detent arbor, the dial engraved with a central five-petal rose enveloped by stylised floral trails issuing from a vase positioned just above six o'clock, with pierced steel hand within applied Roman numeral chapter ring with simple wheatear half hour markers, the upper angles engraved with signature George, Newton incorporating date 16, 77 the lower angles decorated with leafy sprays, the highly distinctive frame with one-piece column turned corner posts beneath foliate pieced frets incorporating arcaded galleries to lower edges and dolphin engraved decoration to front, 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 on acorn-turned feet, 43cm (17ins) high. Provenance: From the estate of an esteemed antiquarian horologist. Literature: The current lot is well documented featuring in Darken, Jeff and Hooper John English 30 Hour Clocks page 92 figs. 2/66 and 2/67; and Darken, Jeff (editor) TIME & PLACE, English Country Clocks 1600-1840 as exhibit 9 pages 42-5 (where the movement is extensively illustrated). The life of George Newton of Seend is documented by C. Thomas in his article GEORGE NEWTON, BLACKSMITH TURNED CLOCKMAKER, OF SEEND, WILTSHIRE published in the winter 1980 issue of ANTIQUARIAN HOROLOGY (vol. XII no. 4) pages 420-6. Thomas notes that George Newton was born sometime between 1600 and 1610 and was the eldest son of blacksmith Richard Newton from whom inherited the family business in 1625. In 1666 the famous diarist John Aubrey (1626-97) visited George Newton to discuss local iron ore deposits writing: "I went to the Smythe, George Newton, an ingeniouse man, who from a blacksmith turned clock maker and fiddle maker, and assured me that he has melted of this oare in his forge which the oare of the Forest of Deane will not do". Other contemporary entries dating between 1664 and 1679 note his service as churchwarden at Seend and Brian Loomes in LANTERN CLOCKS & Their Makers records Newton's marriage to Susan Harris in 1670. It would seem that George Newton's clockmaking activities primarily focussed around church clocks as noted in the records of various local Parishes including Steeple Ashton (1636-9), Melksham (1652-71) and Trowbridge (1674) which refer to his attention to the maintenance of existing clocks. In 1673 George Newton was contracted by the churchwardens of St. Thomas a Becket, Salisbury, to supply a new clock at a cost of £20 10s., with an additional 5s. paid up-front (presumably for expenses already accrued). The clock was duly installed later the same year and was subsequently attended to by Newton for which he received a further payment of £1 1s. 6d. in 1680. It is perhaps testament to George Newton's skills as a blacksmith and clockmaker that he was chosen to supply a clock for St. Thomas a Becket, as this Parish church in central Salisbury was the designated place of worship for the local Salisbury guild of blacksmiths and metalworkers. George Newton died in 1681 leaving the forge to his son (also called George) who appeared not to share his father's aptitude for clockmaking as no clocks by him are recorded; he died intestate in 1699 at the age of 53. Of George Newton only four lantern clocks by him are documented with possibly a fifth residing in a private collection yet to be published. The three other well documented examples can be found in the following sources: Clock dating to around 1645 signed GEORG NEWTN MEE FESET illustrated in Bruce, Bill and Hooper, John EARLY ENGLISH LANTERN CLOCKS (exhibition catalogue, Lewes 2003) exhibit 7, pages 22-3; and Darken, Jeff (editor) HOROLOGICAL MASTERWORKS English Seventeenth-Century Clocks from Private Collections exhibit 4, pages 20-1. Clock dating to around 1650 signed GEORGE NEWNTON AT SEENE illustrated by Thomas. C. GEORGE NEWTON, BLACKSMITH TURNED CLOCKMAKER, OF SEEND, WILTSHIRE - ANTIQUARIAN HOROLOGY vol. XII, no. 4 pages 420-6; and White, George English Lantern Clocks page 219 figs. V/12 and V/13. Clock dated 1660 with highly unusual concentric calendar and 'penny-moon' lunar indication to dial inscribed George Newton, 1660 to front fret illustrated in Hana English Lantern Clocks pages 52-4 Plates 5-7. When considering the four well known surviving lantern clocks by George Newton the first observation is that his frame castings appear unique to him and of two differing types. The first type loosely echoes the London first period pattern often favoured by John Cattle (and later adopted by early Bristol makers such as Thomas Browne) with rounded 'bobbin' details at the junction between the pillars and the plates. This pattern of frame is used for the first two examples listed above and perhaps denotes an earlier phase of Newton's work. The second type of frame casting appears to be an evolution incorporating ¬orn' feet (as seen on first/early second period London work as well as the other type of standard frame used by Thomas Browne) and tall 'multi-knop' finials similar to those on Newton's earlier frames but more closely related to frames by later Chew Valley and Bristol makers such as John Clarke and Thomas Veale (see the following two lots). This 'later' pattern of frame is first used for the 1660 clock with calendar dial (as illustrated by Hana) and again for the current lot; the fifth unpublished clock by Newton also has this type of frame. From this it would be reasonable to suggest that George Newton 'updated' his design of frame castings at some point during the 1650's. A common feature shared by all the surviving clocks by George Newton is their generous use of brass and the fact that they are of larger heavier proportions than most lantern clocks of the period. The lack of any evidence of a hanging hook or spikes being fitted to any of his clocks suggest that they were all intended to either stand on a wall bracket or on/within a 'longcase', probably wise when considering the inherent additional weight of these clocks due to his generous use of materials in their construction. Newton's engraving is also very distinctive and evolved over the years often including delightful touches such as the naive dolphin decoration incorporated into the front fret of the current lot. The manner in which each clock is signed perhaps also illustrates the fact that even a highly skilled artisan such as George Newton was not always fully literate. Both the earlier clocks demonstrate inconsistency in spelling and problems with the 'N's which appear to be engraved as mirror images. However, by the time he engraved his name onto the fret of the 1660 clock with calendar dial he seemed to have mastered his signature. The current lot appears to have survived in remarkably original condition retaining its original escapement and side doors. The layout of the strike train is unusual in that the warning/lifting detent arbor is positioned to the left hand side of the movement (as seen on pre-pendulum clocks with separately wound trains) whilst the countwheel locking detent and arbor has been moved over to the opposite side, hence requires lifting by the warning detent via a cross-over piece. Darken and Hooper in English 30 Hour Clocks comment that Newton may have intended the current lot to have a balance escapement but changed his mind half way through building it - from this it is suggested that this may be his first verge-pendulum clock.

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

A fine Charles II brass lantern clock John Clarke, Bristol, circa 1681 The posted countwheel bell-striking movement with verge escapement regulated by short bob pendulum swinging outside the frame to the rear and with alarm mechanism mounted to the lower right hand corner of the backplate within the frame, the dial with central alarm disc within stylised symmetrical foliate engraved infill incorporating a winged female mask at twelve o'clock and with pierced brass hand within applied narrow Roman numeral chapter ring with floating asterisk half hour markers, the angles engraved with signature Iohn, Clarke, in Bris, toll , with indistinct date 16..1, the typical 'Bristol' frame with one-piece column turned corner posts beneath lion and unicorn armorial engraved and pierced frets, integral multi-knopped tall vase-and-cover turned finials and domed bell bearer cast with pierced leaf decoration between the limbs, with brass side doors and backplate between hanging hoop above spurs to rear, on tall disc-knopped ball feet, 40cm (15.75ins) high. Provenance: From the estate of an esteemed antiquarian horologist, acquired at Sotheby's London, 23rd March 1999 (lot 251). Literature: The dial of the current lot is illustrated on the back cover of THE PROCEEDINGS OF THE ANTIQUARIAN HOROLOGICAL SOCIETY, THE OXFORD 2000 CONVENTION held at Keble College, Oxford, 15th and 16th April 2000 where the clock was also exhibited. John Clarke is recorded in Moore, A.J. CLOCKMAKERS OF BRISTOL 1650-1900 as son of John Clarke, a Hooper of Bristol, who was apprenticed to Solomon Wasson in 1743 becoming a Burgess on 3rd February 1650. Clarke is recorded as residing at 6 Wine Street in 1656 and later (1675) as working at the top of Broad Street (in the Parish of Christchurch). A fine watch by Clarke resides in the British Museum's Collection (Octavius Morgan bequest). In addition to the current lot it seems that there may be only one other lantern clock by John Clarke known to have survived: Clock dated 1679 illustrated in White, George, English Lantern Clocks on page 227 (Figure V/28). Another Clock, dated 1681, is also noted (but not illustrated) by White (on page 225) and again in Loomes, Brian Clockmakers of Britain 1286-1700 (on page 120), it is probable that both these records relate to the current lot as the now indistinct date most likely originally read #22;81'. The current lot utilises frame castings that were favoured by the Bristol and Chew Valley school of clockmakers with the earliest surviving dated example made by Edward Webb of Chew Stoke in 1676 (private collection). Several other clocks by Webb are known with dates ranging from 1678-93, with all of the documented examples sharing the same frame castings. These castings were also used by John London of Bristol, Thomas Veale of Chew Magna (see previous lot) and latterly by Edward Bilbie of Chew Stoke (who is believed to have succeeded Edward Webb in around 1695). Bilbie appears to have persisted with the use of such castings long after Bristol makers had moved onto patterns more closely related to London work of the period, suggesting that such frames were probably cast locally (in the Chew Valley) - perhaps initially by Edward Webb at his foundry in Chew Stoke then by the Bilbie family after Webb's death in 1694. Another noteworthy detail is the distinctive dial engraving which is executed with scrolling foliage issuing from a central point at the base of the dial centre, continuing symmetrically around the alarm disc and terminating with a central winged female mask motif at the top. The design of this decoration appears to have its roots in the work of Thomas Brown of Bristol who was most active during the 1650's (see White, George English Lantern Clocks page 232) and can be very closely compared to the 1676 clock by Edward Webb of Chew Stoke - suggesting that both clocks were engraved by the same hand. The placing of the signature within the areas at each corner beyond the chapter ring is also seen in Webb's work (see Loomes, Brian LANTERN CLOCKS & Their Makers page 188). Such strong similarities between the work of Edward Webb and the current lot would suggest that these makers had a close working relationship and further supports the possibility that the frame castings were indeed produced in the Chew Valley (hence were supplied to 'Bristol' makers such as Clarke). The current lot appears to have survived in original unaltered condition with its original escapement. The position of the alarm mechanism is typical for West Country verge and short bob pendulum lantern clocks and the method of fixing the movement bars to the top plate (by pinning against lugs riveted to the underside of the top plate rather than cutting slots into the plate itself) appears also to be a method favoured by West Country makers for their better clocks.

A Queen Anne brass lantern clock John Smorthwait, Colchester, early 18th century The posted countwheel bell-striking movement with anchor escapement regulated by seconds pendulum swinging outside of the frame clock to the rear, the dial engraved with an asymmetric stylised leafy spray beneath signature Smorthwait In Colchester to upper margin, with iron hand within applied Roman numeral chapter ring with stylised fleur-de-lys half hour markers, the frame with column turned corner posts beneath foliate pierced and engraved front fret, vase turned finials and domed bell bearer, on turned ball feet, 40.5cm (16ins) high. Provenance: From the estate of an esteemed antiquarian horologist. Literature: The current lot is extensively illustrated and described in Darken, Jeff (editor) TIME & PLACE, English Country Clocks 1600-1840 as exhibit 29 pages 104-7. The life and work of John Smorthwait is extensively documented in Mason, Bernard Clock and Watchmaking in Colchester where he described as 'one of the most important of the early watch and clock makers'. John Smorthwait was born at Middleton-in-Lonsdale, Westmorland the second son of William Smorthwait in 1675. According to Mason he probably moved to Colchester circa 1706-7 and is believed to have taken over the stock-in-trade, tools and goodwill of the late John Spurgin (who died in 1699) from his widow, Jane. Smorthwait went on to become a prolific maker of clocks with around eighty examples signed by him recorded by Mason. In 1722 John Smorthwait married his second wife, Susan Flanner (his first wife died prior to his move to Colchester leaving him to bring-up his daughter alone) and became actively involved in matters relating to his local Parish of All Saints which he continued until his death in 1739. The current lot is a fine 'textbook' example of Smorthwait's work which is generally very typical of the archetypal form of lantern clock made in the provinces during the first quarter of the 18th century.

A French gilt brass and patinated steel novelty 'quarterdeck' mantel clock Guilmet, Paris, late 19th century The eight-day gong striking movement with anchor escapement regulated by compound pendulum with upper crossed spring suspension for the figural bob and stamped GLT, BREVETTE, S.G.D.G. trademark over serial number 1313 to backplate, the circular gilt Roman numeral dial with steel spade hands and canted bezel set into the cabin elevation of the case modelled as the stern of a ship with upper poop deck applied with binnacle compass before a figure cast as a sailor at the helm rocking from side-to-side with the motion of the pendulum, with curved balustrading behind terminating with lantern posts to sides over lower deck accessed via a ladder to the left and with another figure of a mariner gathering rope from a coil to the right, on moulded gilt base applied onto black marble plinth with gilt block feet, 29cm (11.5ins) high; with green velvet lined ebonised wood stand, 34cm (13.5ins) high overall. Relatively little is known about Andre Romain Guilmet other than he specialised in producing highly fashionable mystery clocks and industrial timepieces during the last quarter of the 19th century. Another example to this design by Guilmet is illustrated in Roberts, Derek Mystery Novelty and Fantasy Clocks on page 225 (figs. 22-2 a-d).

A Japanese engraved brass Kake-Dokei lantern clock with double foliot regulation and alarm Unsigned, mid to late 19th century The weight-driven posted countwheel striking movement with double-crownwheel escapement regulated by one of two foliot balances at one time each applied with adjustable curser weights and with automatic switching between the two via linkages engaging with pins applied to the rear of the countwheel, the spring-driven alarm mechanism positioned behind the dial at twelve o'clock wound via a key to front and sounding on the 'pork pie' hour bell mounted on a baluster-turned post above the frame, the rectangular asymmetric floral spray engraved dial plate with upper central rotating ring-turned disc applied with the pierced steel hand and an adjustable alarm setting pin within chapter ring engraved with twelve panels with characters for the Japanese hours tokis over zodiacal symbol with inner edge divided into ten buns , over two calendar apertures for the Twelve Terrestrial Branches and the Ten Celestial Stems of the traditional Japanese calendar set beneath the chapter ring, the case with elaborate baluster-turned decorative corner posts, asymmetric foliate spray engraved side panels retained by sprung latches and conforming fixed panel to rear, 22cm (8.75ins) high including feet, now contained in a later glazed mahogany hooded case of traditional design with stepped superstructure over rectangular front window and brass grille frets above further glazed apertures to sides, the bracket with shaped apron to table and drilled for fixing to the wall at the top of the backboard, 46cm (18ins) high overall. The first mechanical clocks were introduced to Japan by Jesuit Missionaries during the second half of the 16th century, some of whom settled on the island of Amakusa and assisted Japanese craftsmen in developing their own clocks. The Japanese system of temporal hours presented a problem for these early craftsmen as each twenty-four hour period was divided into night and day with the hours for each starting or ending at dawn or dusk. With this system the hours for each varied throughout the year as the seasons changed. To compensate for this Japanese makers developed the double foliot system which allowed the effective rate of the clock to be changed automatically at dusk or dawn - to reflect the different length of the hour for each. Naturally, as the seasons developed, the beat rate for each foliot needed to be updated on a regular basis; this was usually undertaken by a local clockmaker who would adjust the position of the cursor weights on each foliot. Technologically Japanese lantern clocks generally reflect the early European models that were imported during the late 16th century, with the basic design and form remaining essentially the same throughout the Edo period (1603-1868). This apparent lack of technological development within Japanese clockmaking was due in part to the fact that the state was essentially closed-off to outsiders whilst under the control of the Shogun. Also during this time Japan was predominantly an agricultural society which meant that accuracy in timekeeping was simply not required, hence there was no need to improve the technology (which would have been extremely difficult within the system of unequal temporal hours). Ultimately during the subsequent Meiji period Japan adopted the Western system of equal hours (in 1872) which rendered the double-foliot system obsolete. The current lot is a fine example of a fully developed double-foliot Kake-Dokei complete with alarm and calendar dating probably to shortly after 1850. The movement is finely executed and the case confidently engraved. Technologically it presents as a fascinating insight into traditional Japanese clockmaking and strongly reflects the crafts 16th century European roots.

A Meissen figure of a Night Watchman c.1765, from the Cris de Paris series, modelled by P. Reinicke after a design by Christophe Hüet, carrying a lantern in one hand, a basket containing bottles slung over his left wrist, cancelled blue crossed swords mark to the back of the base, probably later-decorated, minor restorations, 13cm.

Three coloured magic lantern slides of cartoon characters

A brass lantern clock,18th century and later, with a verge escapement striking on a bell,39cm highdial 17.5cm diameter

An extraordinary Victorian copper lantern,the octagonal domed top over glazed panels and cast 'lobster' and scrolled supports,120cm high

An Austrian cold painted bronze table lamp, in the style of Bergmann Formed as Arab youngsters smoking on a carpet beneath a hanging lantern, the underside inscribed Made in Austria, Real Bronze. 19 cm wide. CONDITION REPORTS: Some paint/patination wear/loss, general wear, overall good.

GLASS STEREOVIEWER PHOTOGRAPHS. 22 glass stereo lantern plates of Burmese scenes & views, including opium smokers, tattooing, mining etc.

A painted composition figure of a Blackamoor holding a lantern, 20th Century, painted decoration, sat on a serpentine plinth, the lantern a later adaptation, overall 185cm.

A Victorian copper kettle, a further brass example, a brass framed coach lantern (converted to electricity) and various other brass and copper wares`

Hammered copper and coloured glass lantern style light shade, together with another CONDITION REPORT; Approximately 30 cm tall

Continental School (Mid 20th century): Still Life of Fruit and Lantern, oil on canvas board indistinctly signed and dated '63, 59cm x 50cm Condition Report Good condition. Ready to hang

A collection of 24 Magic Lantern mechanical sliding slides, some damages

Green Lantern 85 (1971). Cents copy [vfn+]

Green Lantern 86 (1971). Cents copy [vfn+]

An Arts & Crafts brass Scottish planter (Voysey style) (as found), lantern and sconce (as found) and an aluminium box.

A 9ct yellow gold lantern pendant set with multi coloured paste stones, suspended from a fine decorative rope twist chain, total weight 6.6gms and a pair of 9ct gold set diamond and sapphire marquise shaped stud earrings (3)

Three branch centre light fitting H37.5cm excl. chain, brass effect hall lantern and three glass lampshades

Victorian copper and glass street lantern, H95cm

Boxed Child's Magic Lantern with various Slides, made in Germany

Smiths Bakelite Mantle Clock and a Lantern Clock with Quartz Movement

A brass and glass lantern - Height 31 cm x 19.5 cm

A modern brass hanging lantern 65cm high

An early 20th century Huntley and Palmers lantern biscuit tin, 24cm tall

A collection of magic lantern slides

A magic lantern and slides, boxed

A Magic Lantern, complete with slides, and original four wick burner

An old hanging lantern; a door knocker; letter boxes; two hooks and two hand slashers

Various sets of Magic Lantern slides - some boxed

Admiralty Pattern 8979.A. Box for transporting Lantern Pattern No.5110.E. housing an Aldis Lamp dated 1940. (Buyer collects)

A late 19thC French gilt metal and porcelain three-piece Clock Garniture, the mantel clock of architectural form with painted dial, surmounted by a lantern and pineapple finial, the 8-day movement signed "A. D. Mougin deux medailles" in a circle, 14in (35.5cm) high, and a pair of corresponding vases painted with figures in landscapes and floral sprays, 9⅞in (25cm) high (3) THIS LOT WILL BE SOLD ON SATURDAY 12TH SEPTEMBER STARTING AT 10.30AM UK TIME

A brass Lantern Clock, with adapted 30-hour single-weight movement, the frame of typical form surmounted by a bell, with silvered dial and single hand, signed Kenneth Honick, Mytchett, Fecit, 12¼in (31cm) high, with pendulum, weight and bracket, together with a 1,300 word article by the maker entitled "A Lantern Clock from a single hand 30 hour long case movement". THIS LOT WILL BE SOLD ON SATURDAY 12TH SEPTEMBER STARTING AT 10.30AM UK TIME

A ROYAL DOULTON WALT DISNEY'S SNOW WHITE LIMITED EDITION FIGURE 'GRUMPY'S BATHTIME' - MODEL SW20, together with a selection of Dwarfs figures comprising 'Dopey by Candlelight' SW17, 'Bashful's Melody' SW18, 'Doc with Lantern' SW19, and 'Dear Old Doc' SW25, tallest H 10 cm (5) Buyers - for shipping pricing on this lot, visit www.cuttlestones.co.uk/shipping

A World War One 1918 dated trench lantern - no glass, re painted

A hall lantern with floreate panels and Brass fittings

A Crown Ducal Chinese lantern bowl and other china and glass

Williamson (Henry) - The Chronicle of Ancient Sunlight, 15 vol., complete set , comprising: The Dark Lantern, 1951; Donkey Boy, 1952; Young Phillip Maddison, 1953; How Dear Is Life, 1954; A Fox Under My Cloak, 1955; The Golden Virgin, 1957; Love and the Loveless, 1958; A Test to Destruction, 1960; The Innocent Moon, 1961; It was the Nightingale, 1962; The Power of the Dead, 1963; The Phoenix Generation, 1965; A Solitary War, 1966; Lucifer before Sunrise, 1967; The Gale of the World, 1969, all first editions , original cloth or boards, dust-jackets, a few slightly rubbed, soiled or nicked, but generally an excellent set , 8vo The second and final titles are of the first issue. The story covers one family's fortunes during the first half of the 20th century, five volumes cover the period of WW1.

Late 19th Century lantern slides of Japanese interest, in later painted pine frame (24 slides) Property of the Late Christopher Sheppard

Box Of Clock Parts various brass dials, glass case, wall brackets, weights, lantern type brass clock on a wooden bracket & various other clock parts.

Large Magic Lantern In Metal Case Together With Approx 300 Slides And Information Cards

A 1920s copper and brass hall lantern, H 46cm

A large collection of brassware including a fender, coal bucket, fire tools, a ships lantern and other items.

A brass lantern clock with twin fusee movement, bell and three-quarter gallery top, the dial engraved "Thomas Tompion," 36cm high

A pair of Venetian style standard lamps, each with a painted pressed metal lantern on a wooden column, one with a fabric cover and weighted base, wired for electricity, 212cm high

A vintage galvanised workman's candle lantern by Fountayne L & E Co Ltd of Tottenham, c1914, and a candle carrying case, (2).

A copper and brass ships lantern, with brass plaque inscribed 'Anchor', and having integral oil burner, with swing handle, 36cm high.

A Victorian copper street lantern of tapering cylindrical form, on a green painted cast iron cluster column and carved stone octagonal base.

A stained pine cased mantel clock, early 20th century, modelled as a castle gatehouse, 32cm high, together with a reproduction lantern clock (both with replacement quartz movements) (2).