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A Georgian mahogany eight day longcase clock, the brass dial with silvered chapter ring, signed 'Will Threlkeld, London', with seconds subsidiary dial and date aperture, height 229cm. Condition report: Generally untidy. Damage and repairs including a replaced column to the left of hood.

A mahogany eight day longcase clock, signed 'J.M Read, Helstone', the painted arched dial decorated with a castle and river scene, height 206cm.

Thirteen longcase and table clock crank winding keys Anonymous, mid 18th century and later All except one with wooden handles, (13).

Two English fusee timepiece movements fitted with differing types of crossbeat escapement Both unsigned, 20th century Each four pillar single fusee with rectangular plates, the first slightly taller fitted with Knibb type triple-arbor system, the second with twin-arbor De Bethune type, each with 6 inch square white paper covered aluminium twenty-four hour dial with Arabic numeral chapter ring annotated 1-12 twice with conforming Arabic five-minute numerals to outer track and simple steel hands (both lacking pendulum), (2). Provenance: From the estate of Michael Hurst. Both movements in the current lot appear to have been made to demonstrate the properties of two differing designs of crossbeat pendulum escapement. The first employs Joseph Knibb s design as fitted to a longcase clock made during his time in Oxford (i.e. prior to 1670) which is illustrated in Lee, Ronald A. The Knibb Family * Clockmakers on page 143 (Plate 159) including detail drawing by Michael Hurst. The second demonstrates De Chevalier De Bethune s 1727 twin-arbor arrangement a drawing of which is reproduced in Rees, Abraham Rees s Clocks, Watches and Chronometers (1819-20) on page 215 (Plate XXXIII Fig. 3).

A collection of clock winding keys Anonymous, late 18th century and later Including seven longcase clock crank winders. Provenance: The estate of Michael Hurst.

A group of six cast brass longcase clock finials Anonymous, late 17th / early 18th century Comprising a rare ovoid example with button cap, a set of three small ball-and-spire and two similar of standard size non-matching, (6). The first finial in the current lot is of the type often used by the Knibb family and appears to be a period example. The set of three small ball-and-spire finials were probably destined for a miniature longcase clock.

A George III thirty-hour hooded wall timepiece movement and dial with alarm Henry Ward, Blandford, late 18th century The four pillar movement with anchor escapement for regulation by long pendulum and separate alarm train set between the plates sounding on a bell mounted above, the 6 inch break-arch single sheet silvered brass Roman numeral dial with alarm disc and pierced steel hand to centre within chapter ring with squat cruciform half hour markers beneath arch signed WARD, BLANDFORD, (lacking pendulum and weights), 21cm (8.25ins) high; with an oak wall clock hood, anonymous, late 18th century, with break-arch cavetto cornice over front door with 5.5 inch wide glazed fillet-bordered dial aperture enclosing conforming dial mask with aperture measuring 5.875 by 8.125 inches, the sides with break-arch windows over quarter-round moulded base, 28cm (11ins) high, (2). Henry Ward is recorded in Tribe, T. and Whatmoor, P. Dorset Clocks and Clockmakers as born in Blandford in 1776. He was a mechanically gifted maker who was granted Society of Arts Awards three times for papers submitted on a new design of striking clock (1805), a compensated pendulum (1807) and Equation Work for a clock (1814). He died in 1815. Ward s highly skilled and inventive approach is abundantly evident in a longcase regulator by him featuring elaborate pierced plates, unusual pinwheel escapement with pallets incorporated into the compensated pendulum rod and equation work which is extensively illustrated and described in Darken, Jeff (Editor) TIME & PLACE, English County Clocks 1600-1800 on pages 206-11. The oak wall clock hood included with the movement may well provide the basis from which to build an appropriate case for the current lot.

Ω A French brass mounted tortoiseshell mantel timepiece in the form of a miniature longcase clock The dial signed for Philippe, Paris, circa 1900 The circular single train eight-day movement with platform cylinder escapement regulated by sprung monometallic balance and numbered 2119 to backplate, the circular cream enamel dial inscribed Philippe, AU PALAIS ROYAL to centre, with raised Roman cartouche numerals and fine scroll pierced and engraved gilt brass hands set behind hinged convex bevel glazed bezel, the break-arch top case with brass mouldings to pediment and inset knopped columns flanking dial over concave ebonised throat moulding and recessed panel bordered by brass ogee inset mouldings to trunk, the sides plain, the rear ebonised with hinged circular glazed brass bezel for access to the movement, on plinth base with complex brass top moulding and conforming recessed panel to front over skirt base applied with further cast moulding, (some losses to mouldings), 41cm (16ins) high.Cites RegulationsPlease note that this lot (lots marked with the symbol Ω in the printed catalogue) may be subject to CITES regulations when exported from the EU. The CITES regulations may be found at www.defra.gov.uk/ahvla-en/imports-exports/cites

Twelve longcase and table clock crank winding keys with turned ebony handles Anonymous, mid 18th century and later Of varying sizes with a spare ebony turned handle, (13).

A George II walnut eight-day longcase clock Thomas Hill, London, circa 1730 The five finned pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 14 inch brass break-arch dial with foliate border engraved calendar aperture and subsidiary seconds dial to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and five minutes to outer track, with pierced steel hands and unusual male mask and scroll cast spandrels to angles beneath arch centred with a silvered boss inscribed Tempus Fugit within circular border signed THOMAS HILL, LONDON flanked by conforming mounts, In a case with ogee cornice over break-arch glazed door flanked by fluted Corinthian columns to hood, the sides with rectangular windows and conforming quarter columns applied to bargeboards at the rear, the trunk with break-arch door centred within a circular lenticle over ogee moulded crossbanded plinth base, 204cm (80.5ins) high. Several makers with the name Thomas Hill are recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London during the first half of the 18th century.

Three longcase clock pendulums One stamped with initial I.P., early 18th century and later Each with lenticular bob faced with brass to one side only (one lacking suspension spring and slider), the bobs approximately 9cm (3.5ins) diameter; with two wall clock pendulums, anonymous, 18th century and later, one of 22.5 inch effective length with bob faced with brass to one side only, the other 21 inch with bob faced with brass both sides, diameters of bobs 9cm (3.5ins) and 7.5cm (3ins) respectively, (5).

A fine William III longcase clock movement of one month duration Jonathan Lowndes, London, circa 1695 The substantial six thickly turned finned and latched pillar movement with anchor escapement for regulation by seconds pendulum and incorporating separately cocked pallet arbor, the strike train with high position outside countwheel and vertically pivoted hammer positioned to the upper left hand side of the backplate sounding the hours on a bell positioned high above the plates, the 12 inch square gilt brass dial with ringed winding holes, subsidiary seconds dial and scroll border engraved calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to outer track, the angles applied with winged cherub head and scroll cast spandrels with foliate scroll infill between incorporating signature Iona Lowndes in Pall Mall, London to lower margin, (no pendulum, weights, hands or seatboard). Jonathan Lowndes is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born in Knutsford, Cheshire in around 1656. He was one of four clockmaking brothers, the others being Charles, Samuel and Isaac. By 1679 Jonathan Lowndes was in London and in July 1682 was made a free Brother of the Clockmakers Company. By 1686 he was working perhaps alongside his brothers in Pall Mall, Parish of Westminster. Jonathan Lowndes is thought to have died in around 1710 with his cousin, John, possibly taking on the running of the Pall Mall workshop. The movement of the current lot is noteworthy in that it is substantially constructed and finely finished with delicate trains. The separately pallet arbor is reminiscent of Joseph Knibb s work whilst the vertically pivoted hammer was perhaps chosen to facilitate effective striking on a larger than normal bell positioned well above the plates. This is an alternative arrangement to the usual horizontal hammer arbor which often resulted in a fairly weak sound when used in a month clock through compromised power delivery because of the long trains. The fact that the current lot was designed to get around this potential problem would suggest that it was commissioned for a substantial property where it needed to be heard.

A quantity of longcase clock spandrels, case fittings, pulley wheels and bells Anonymous, mainly 18th century Including a set of four rare winged cherub head and lambrequin pattern spandrels amongst numerous others, a pair of fine cast brass trunk door hinges, hood column caps and bases, a group of eight-day longcase clock pulley wheels and a Knibb type pork pie hour bell, (qty).

An extremely rare hour-striking night-and-day spring table clock The movement attributed to the workshop of Joseph Knibb, London, circa 1675 and later The eight fully latched tulip baluster turned twin fusee movement with gable-shaped plates measuring 7.25 by 8.125 inches applied with slide-on dust cover to upper edges, the going train with verge escapement regulated by short bob pendulum driving motionwork for both traditional two-handed twelve-hour notation and revolving night hour disc set on a pivot at the apex of the plates, the strike train with outside countwheel and sounding on a bell set behind a circular aperture in the frontplate between the mainspring barrels, now with 10.75 by 8 inch rectangular matted brass dial applied with narrow silvered Roman numeral chapter ring with stylised trident half hour markers and Arabic five minutes within the outer minute track, with pierced and sculpted blued steel hands, the upper section with pierced arched sector to reveal the revolving chapter hour disc painted with gilt stars on a deep blue and ground incorporating two smaller revolving discs each pierced with Arabic hour numerals visible through circular apertures cut within the outer concentric band, the upper margin applied with arched silvered plate pierced with Roman numerals I, II and III for the quarters around a scalloped inner edge with each division denoting the minutes, the margins of the sector aperture and the edge of the dial plate with precise line-scribed polished borders, the purpose made ebonised case with moulded box upstand enclosing tin chimney with flue exiting at the rear over simple moulded cornice and rectangular glazed door incorporating small lozenge pierced sound fret to lower rail and enclosing mask around the dial incorporating strike/silent lever at nine o clock, the sides with rectangular windows set within the lower half beneath aperture for slide-out lamp carrier to right hand side only, the rear with plain rectangular door, on cavetto moulded base incorporating key drawer to right hand side and bun feet, 41.5cm (16.25ins) high. Provenance: From the estate of Michael Hurst. Details in the construction of the current lot, in particular the baluster tulip turned pillars latched to the frontplate, relatively thin/delicate plates and use of the twin-disc system for the night dial would indicate that the movement was made in the workshop of Joseph Knibb. Indeed the general feel of the movement can be compared to that of a contemporary architectural table clock by Knibb illustrated in Garnier, Richard and Carter, Jonathan The Golden Age of English Horology, Masterpieces form The Tom Scott COLLECTION on page 337 and 348-49. Joseph Knibb was born the fifth son of Thomas Knibb of Claydon, Oxfordshire in 1640. He is generally thought to have been apprenticed in around 1655 to his cousin Samuel Knibb in Newport Pagnell, before moving to Oxford circa 1662 (the same year that Samuel moved to London). Joseph initially struggled to trade in Oxford due to restrictions placed by the City authorities which were only relaxed on payment of a fine in 1668. It was about at this time that Joseph Knibb would have issued his copper trade tokens (an example of which was sold in these rooms 10th February 2009, lot 104 for £1,600 hammer) as well looking to undertake work to convert the turret clocks of St. Mary the Virgin and Wadham College to anchor escapement with long pendulum. In 1670 Joseph moved to London handing over the Oxford business to his younger brother, John. The reason for this move was probably to administer the estate of Samuel who is thought to have died by the summer of 1671. Joseph Knibb presumably took on Samuel's former workshop as by 1675 he was recorded as working from 'The Dyal' near Sargeants Inn in Fleet Street. By 1693 he had moved to 'The Clock Dyal' Suffolk Street, near Charing Cross. As Joseph became established in London his work became more individual/distinctive, often demonstrating an inventive and refined approach both in the detailing and specification of the movements and choice of case design. He is perhaps best known for his experimentation with alternative striking such as Dutch, Roman and double-six grande sonnerie as well as long duration clocks. In 1697 Joseph Knibb sold up the London business (presumably to Samual Aldworth, former apprentice of John Knibb of Oxford) and retired to Hanslop in Buckinghamshire where he died in December 1711. Currently there are four documented spring night clocks by Joseph Knibb, one was sold in these rooms on Tuesday 15th September 2015 (lot 197) with the other three being illustrated in Lee, Ronald A. The Knibb Family * Clockmakers pages 151-3. All of these examples are timepieces only and utilise the same ingenious system to indicate the time: The hour numeral traverses the 180 degree arched aperture in the dial plate past minute divisions denoted by small scallops cut into the upper edge and the quarters by large pierced Roman numerals above. This is enabled by having the Arabic hour numerals pierced in two secondary discs applied to the rear of the principal hour disc. As the hour disc revolves (once every two hours) these secondary discs are alternately advanced in one numeral increments via pins to the rear of each engaging with a flag attached to the lower part of the movement frontplate. This system ensures that the next hour appears to the left of the dial as the last disappears to the right (hence requires one of the secondary discs to be pierced with the odd hour-numerals and the other the even). This mechanism can also be seen on a longcase night clock, dating to around 1669, attributed to the Fromanteel workshop which is illustrated and described in Darken, Jeff (ed.) HOROLOGICAL MASTERWORKS pages 90-93. The existence of this slightly earlier clock suggests that this system was possibly developed by the Fromanteels prior to Joseph's arrival in London in 1671. In addition to this twin disc system English makers also utilised two differing mechanisms to denote the hours at night. The first, which seems to be preferred for use in longcase night clocks, is very similar to the twin disc system but substitutes the secondary discs for a linked chain of pierced numeral tabs which are driven by a ten-sided sprocket wheel (an explanation of this system is provided in Robinson, Tom THE LONGCASE CLOCK on page 154). The second alternative system can be seen on three hour-striking night-and-day clocks of the East School including an example by John Hilderson described in Dawson, Percy G., Drover, C.B. and Parkes, D.W. Early English Clocks pages 513-5 (plates 759-63).

Seven longcase clock lenticular pendulum bobs Anonymous, late 17th century and later Comprising four faced with brass both sides including two with sliders, and three brass faced to one side only, each approximately 9cm (3.5ins) diameter, (7).

A quantity of lantern clock and posted thirty hour longcase clock parts including frets and bells Anonymous, 17th century and later Including first period and miniature lantern clock pattern fret castings, finials, feet, some wheelwork, pulleys, ropes, chains and bells, (qty).

A group of longcase clock crank winding keys and assorted other clock winders Anonymous, mid 18th century and later Including an unusual Japanese silver and gold inlaid brass winding key; the crank winders all with simple steel handles, (qty).

A group of early English pattern cast brass clock case mounts Anonymous, late 17th century and later To include two pairs of differing twin cherub and Baroque scroll architectural tympanum mounts, a winged cherub pediment mount, a pair of foliate festoon frieze swag mounts, two differing miniature table clock spandrel mounts, a pair of copper laurel cast table clock door escutcheon mounts, two differing vase finials, two further escutcheon plates, a small figure of a dancing putto and four claw cast lobed bun feet, (20). The majority of patterns present in the current lot are of a type used on some of the most important early English clocks. For example the architectural tympanum mounts can be seen on architectural longcase and table clocks by the Fromanteels and Edward East and the pair of copper door escutcheon mounts are of a type often used by Tompion. The miniature spandrels are particularly rare and very finely finished.

A rare Charles II brass lantern clock Edward Webb, Chew Stoke, dated November 7th, circa 1680 The posted countwheel bell-striking movement now with anchor escapement for regulation by short lenticular bob pendulum swinging outside the frame to the rear, the dial with central alarm disc within stylised symmetrical foliate engraved infill incorporating a winged female mask at twelve o'clock and with pierced black painted brass hand within applied narrow Roman numeral chapter ring with stylised fleur-de-lys hour markers and engraved with date nove -7 to the dial plate behind the V numeral, the upper angles engraved with signature Edward Webb, the typical 'Chew Valley' 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 iron backplate between hanging hoop above spurs to rear, on tall disc-knopped ball feet, (mostly retrained using original pivot plates/bars, alarm lacking), 40cm (15.75ins) high. Edward Webb is recorded in Moore, A. J. THE CLOCKMAKERS OF SOMERSET 1650-1900 as married to Anne with sons Walter (1667), James (1670), Richard (1674), George (1678) and William (?). He was probably the son of Charles Webb who owned a foundry in Chew Stoke. Both Edward and his wife Anne died in 1694. Nine lantern clocks by Edward Webb dated 1676, 1678, 1681, 1684, 1688, 1691, 1692, 1692 and 1693 are recorded with the 1684 and 1688 clocks fully described an illustrated in White, George English Lantern Clocks on pages 232 (Figures V/39 and 40), 233 (V/42 detailing date March 10 engraved beneath the chapter ring of the 1684 clock) and 237 (V/51 and 52). In addition to these Moore notes a further undated lantern clock signed Edward Webb of Chewstoke fecit , and a posted musical longcase clock movement and dial (also illustrated by White on page 233, Figure V/43). From these references it would appear that the present clock is currently an unrecorded example of Webb s work. The current lot utilises frame castings that were favoured by the Bristol and Chew Valley school of clockmakers with the earliest surviving being the Edward Webb 1676 example (private collection). All the other recorded lantern clocks by Webb (dates ranging from 1678-93) all share the same frame castings. These castings were also used by John London of Bristol, Thomas Veale of Chew Magna 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 is typical of Webb and 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 can be directly compared to a clock by John Clarke of Bristol which was sold in these rooms on 15th September 2015 (lot 185) for £9,500 hammer.

A fine George III mahogany musical longcase clock with automaton Samuel Deacon, Barton-in-the-Beans for Robotham, Leicester, dated 1788 The substantial eight-day triple train movement with decoratively shaped thick plates united by four generous baluster-turned pillars enclosing large barrels with concealed winding clicks, the going train with anchor escapement regulated by seconds pendulum with distinctive heavy ring-turned bob mounted on decorative brass slider, the hour striking train with counting via pins set into the rim of the great wheel and sounding on a bell vertically planted above the plates, the music train released every three hours via additional pins in the strike train great wheel to play one from a selection of seven lively tunes automatically selected on a daily basis via a 5 inch pinned cylinder and graduated nest of twelve bells with twelve hammers transversely planted to the upper right hand corner of the movement within Y shaped rear sub plate extension incorporating conforming pair of fine baluster and single long columnar pillar, the frontplate engraved with decorative scroll initials S. D. B. incorporating date 1788, the 14 inch white painted Roman numeral break-arch dial inscribed ROBOTHAM and with day-of-the week tune indication dial to centre, fine engraved and pierced gilt brass hands, Arabic five minutes to outer track and floral spray polychrome decorated spandrels beneath arch finely painted with figural automaton scene of a quintet with six separate movements operated via linkages connected to the musical work behind, in a swan neck pedimented case with fretwork leafy tendril infill over hinged break-arch glazed and crossbanded hood door flanked by Corinthian columns, the sides with rosette-pierced sound frets and shaped bargeboards to the rear, the trunk with concave throat moulding and swollen frieze over shaped-top caddy moulded door flanked by fluted quarter columns, on shaped raised panel fronted plinth base with moulded skirt incorporating shaped apron, 249cm (98ins) high. Samuel Deacon is recorded in Hewitt, P.A. THE DEACON FAMILY OF LEICESTERSHIRE CLOCKMAKERS as born in Ratby, Leicestershire on 6th February 1746 and, after initially going in to farm service, he was offered an apprenticeship with the clockmaker Joseph Donisthorpe (as a result of a chance recognition of his practical abilities). In 1769 Deacon was employed as a journeyman to the Leicester clockmaker Thomas Lindley before setting up on his own as a clockmaker in the small hamlet Barton-in-the-Beans in 1771. Whilst in Leicester Deacon became acquainted with the Rev. William Ludlam who went on to tutor Deacon on the theoretical aspects of clockmaking as well as hone his skills on the practical side with particular attention to musical clocks. These skills enabled him to set-up business on his own in a highly cost-effective manner as he was able to make most of his workshop tools rather than buy them. In 1803 his wife, Elizabeth, died after a short illness; Samuel died after a stroke in 1816 leaving the business in the hands of his cousin, also named Samuel. The workshop passed down through successive generations until 1951 when the last of the Deacon clockmakers, Thomas William retired. Leicester Museums acquired the contents of the workshop and archive preserving it as one of the only 18th century clockmaking workshops to remain intact. Samuel Deacon s work is highly distinctive with many features such as baluster pillars, use pin countwheel, distinctive design of pendulum and hammer shapes making his work unmistakeable. In addition to making work for clients Deacon also supplied parts, movements or complete clocks to other local makers. Indeed his records indicate that he first started supplying the maker Robotham of Leicester in 1778. In 1774 Samuel Deacon advertised the fact that he was able to make musical clocks with the first being a four train quarter-chiming musical clock built under the direction of Ludlam for Lindley to supply to Samuel Darker of Tugby. This clock is described and extensively illustrated in Darken, Jeff (editor) TIME & PLACE, English Country Clocks 1600-1840 on pages 186-191. In 1790 Samuel Deacon made his masterpiece - a four train quarter chiming musical clock with interchangeable cylinders and automaton for the Rev. Severn of Hinckley. Both of these complex musical clocks share strong similarities with the current lot, the first most noticeably in its basic layout incorporating transverse music barrel, the second with the inclusion of an automaton depicting musicians, whilst all three share a wealth of details typical of Deacon s finest work. The current lot presents as a fine example of this highly regarded regional maker s work and is in fine original condition.

A group of eleven gilt and silvered wood longcase clock finials Anonymous, mainly early to mid 18th century Including a pair of silvered ovoid spire examples and a similar pair in gilt, (general wear and losses), (11).

A quantity of wooden longcase clock finials Anonymous, early 18th century and later Including some flambeau urn pattern and a set of three polished walnut, (qty).

A fine William and Mary eight-day longcase clock movement with ten inch dial Unsigned, circa 1690 Two train five finned and latched pillar inside countwheel bell striking movement with tall plates, anchor escapement for regulation by seconds pendulum, unusual large disc collets securing the greatwheels onto their arbors and fine decorative cut-out for pallet removal to the upper margin of the backplate, the 10 inch square brass dial with calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with stylised trident half hour markers and Arabic five minutes within the outer minute track, with fine pierced sculpted steel hands and gilt winged cherub mask spandrel mounts to angles, (formerly with bolt-and-shutter maintaining power, no pendulum or weights). The current lot is finely made and contains many distinctive features such as the unusual large pierced disc collets for locating the greatwheels on their arbors and the finely worked cut-out to the upper edge of the backplate (to allow removal of the pallets). The backcock utilises a casting intended for an hour wheel bridge, this is not a unique feature with other examples known including another slightly earlier anonymous movement illustrated in Robinson, Tom THE LONGCASE CLOCK on page 55 (Figure 3/12) and eight-day clocks by Hilkiah Bedford. Other than this the maker left no obvious clues as to his identity however the overall near symmetrical positioning of the movement pillars and overall neat packaging of the mechanism is similar to that of a movement by Daniel Quare illustrated in Dawson, P.G., Drover, C.B. and Parkes, D.W. Early English Clocks on page 209 (Plates 278-79).Please note: movement and dial are being sold with a good pair of brass cased weights and a pendulum

Longcase clocks - twelve titles: Robinson, Tom THE LONGCASE CLOCK Antiques Collectors Club, Woodbridge 1991, dj; Robey, John The LONGCASE CLOCK Reference Book, Volumes 1 and 2 , Mayfield Books, Ashbourne 2001, both with dj and contained together within printed card slipcase; Darken, Jeff and Hooper, John English 30 Hour Clocks, Origin & Development, 1600-1800 Penita Books, signed by both authors, Woking 1997, dj; Edwardes, Ernest L. The Grandfather Clock John Sherratt and Son Limited, Altrincham 1971, dj; Loomes, Brian GRANDFATHER CLOCKS and their cases David and Charles, Newton Abbot 1985, dj; Loomes, Brian COMPLETE BRITISH CLOCKS David and Charles, Newton Abbot 1978, dj; Loomes, Brian BRASS DIAL CLOCKS Antique Collectors Club, Woodbridge 1998, dj; Loomes, Brian PAINTED DIAL CLOCKS 1770-1870 Antique Collectors Club, Woodbridge 1994, dj; Tennant, M.F. LONGCASE PAINTED DIALS, Their History and Restoration N.A.G. Press Limited, London 1995, dj; Loomes, Brian The White Dial Clock David and Charles, Newton Abbot 1974, dj; Bruton, Eric The Longcase Clock Arco Publications, London 1964, dj, and a copy of Barder, Richard C.R. ENGLISH COUNTRY GRANDFATHER CLOCKS David and Charles, Newton Abbot 1983, dj, (12).

An inlaid walnut eight-day longcase clock The movement and dial by Isaac Papavoine, London, circa 1695, the case later The five finned pillar (centre latched) inside rack and bell striking movement with passing half-hour strike on a second smaller bell and anchor escapement regulated by seconds pendulum, the 11 inch square brass dial with subsidiary seconds dial, ringed winding holes and scroll border engraved calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with cruciform half hour markers, Arabic five minutes to outer track and signed Isaac Papauoine, Suffolk Street, London to lower margin, with pierced steel hands and angles applied with twin cherub and crown leafy scroll cast spandrels, now in a purpose-made walnut case with cross grain ogee moulded cornice and shallow foliate scroll pierced frieze to lintel over solomonic three-quarter columns to the glazed hood door, the sides with rectangular glazed apertures and conforming applied quarter columns against bargeboards to the rear, the trunk with convex throat moulding over 42 inch rectangular herringbone banded door centred with an oval brass lenticle and decorated with parquetry star motifs within interlocking circular medallions with conforming quadrants to spandrels and half-round moulded border, the sides with two crossbanded panels, on herringbone bordered plinth base fronted with circular line-bordered vacant panel and with further parquetry quadrants, with stepped ogee top moulding and double skirt, 217cm (85.5ins) high. Isaac Papavoine is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as a French immigrant clockmaker who became a Free Brother of the Clockmakers Company in 1687/8. The only other mention of him in the Company records is a note indicating that he was much in arrears of his subscriptions in 1705/6. Loomes mentions clocks by him signed as being made in Dukes Court, London whilst other examples inscribed Suffolk Street, London are also known .

A George III green japanned eight-day longcase clock John Johnson, Walton, circa 1770 The five pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch brass break-arch dial with subsidiary seconds dial and calendar aperture to the matted centre within applied Roman numeral chapter ring with Arabic five minutes to outer track, with pierced blued steel hands and twin bird and urn foliate cast spandrels to angles beneath silvered boss signed J n.o Johnson, WALTON, SURREY flanked by dolphin cast mounts to arch, In a green japanned case with shaped sound fret fronted concave sided 'pagoda' pediment over foliate panel band painted break-arch cavetto cornice and similarly decorated hood door flanked by floral trail painted columns to front angles, the sides with rectangular windows within scroll borders and quarter columns set against bargeboards to the rear, the trunk decorated in raised polychrome and gilt with Oriental figures within an Arcadian garden landscape with pagodas and pavilions within gilt line borders, the surround with hatched upper quadrant panels over foliate trails, the sides with oversized leafy sprays, on plinth base decorated with further garden landscape within line border over moulded double skirt incorporating bracket feet, (finish with retouching), 239cm (94ins) high excluding finials. John Johnson is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Walton-on-Thames circa 1766.

A rare Charles II eight-day longcase timepiece movement with nine-inch dial William Clement, London, circa 1670-5 and later The six finned and fully latched pillar movement with plates measuring 7.5 by 4 inches and 9 inch square brass dial plate now applied with rectangular silvered nameplate engraved W m Clement, London to the later matted centre fitted with card mock-ups for the subsidiary seconds dial and narrow Roman numeral chapter ring, (lacking escapement, maintaining power, hands, dial fittings pendulum and weight; dial plate with alterations). Provenance: From the estate of Michael Hurst. William Clement is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born before 1622, possibly 1621 in St. Albans. He was made a Freeman in the Blacksmiths Company in 1654 and rose to the Livery in 1664. From around 1665 Clement lived in the Parish of St. Saviours, Southwark, possibly to escape the plague from which his two sons William and Francis may have died. In 1659 a William Clement was commissioned as Lt Colonel in the White Regiment of Foot of the Parliamentarian Army. Clement was still alive in 1675 however records from this time onwards become confused with that of his son of the same name. In 1671 William Clement supplied a turret clock for Kings College, Cambridge, this clock was traditionally considered to be the earliest surviving timepiece to be regulated by anchor escapement and long pendulum supporting the possibility that Clement was the inventor. This view was further supported by an entry in Smith, John Horological Disquisitions (1694) which credits Clement as the Contriver of that curious kind of long pendulum . Two years later William Dereham in The-Artificial Clock-Maker puts the case forward for Dr. Robert Hooke who it is said demonstrated the long pendulum (with a form of recoil anchor escapement) to the Royal Society soon after the Fire of London. Despite this, and although it is generally accepted that Hooke devised the spring pendulum suspension, there is no direct documentary evidence to confirm that he devised the recoil anchor escapement. Another contender for its invention is Joseph Knibb who supplied a turret clock for Wadham College, Oxford with anchor recoil escapement and long pendulum in early 1670 before relocating to London. In 1677 William Clement was made a Free Brother of the Clockmakers Company and the following year was appointed Assistant by unanimous consent and approbation and for good reasons and especial esteem . He later served as Warden in 1690 and Master in 1694. In 1697 Clement signed the Oath of Allegiance and was from September of that year excused from attending meetings on account of his age. From April 1704 he received charity payments from the Company until his death in July 1709. The current lot, although bearing an 18th century nameplate signed for him to the centre of the dial is undoubtedly William Clement s work and can be closely compared to a month-going timepiece illustrated in Loomes, Brian Clockmakers of Britain 1286-1700 on page 95 (Figs. 57-59) and another illustrated in Bruton, Eric The Wetherfield Collection of Clocks on page 138. Both of these timepieces have pendulum regulation via a dial applied to the side of the movement and 1¼ seconds pendulum. Whilst there is no evidence of the current movement being fitted with a regulation dial it may well have originally had a 1¼ seconds pendulum however as both the escapement and subsidiary seconds dial are now missing this cannot be confirmed. The dial shows evidence of previously being all-over engraved with fine tulip inhabited foliage to the centre similar to that on a clock by Tompion previously in the Iden Collection illustrated in Dawson, Percy G. THE IDEN CLOCK COLLECTION on pages 66-67. This evidence combined with the fact that the dial plate is only 9 inches square would suggest a date close to 1670.

Five longcase clock pendulums Anonymous, late 17th century / early 18th century Each with lenticular bob faced with brass both sides, (one lacking suspension spring and impulse block, another a rating nut), the bobs approximately 9cm (3.5ins) diameter, (5).

Four longcase clock pendulums Anonymous, late 18th century Each with lenticular bob three brass faced on both sides, the fourth on one side only (two lacking suspension springs including one with broken rod) diameters of bobs 11.5cm (4.5ins) approx.; with two lenticular pendulum bobs, anonymous, late 18th century, the larger faced with brass to one side only and fitted with slider, diameter 14.5cm (5.75ins) the smaller brass faced both sides 12cm (4.75ins) diameter, (6).

A Queen Anne tortoiseshell japanned eight-day longcase clock James West, London, early 18th century The five finned pillar inside countwheel bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch square brass dial with ringed winding holes, subsidiary seconds, floral scroll border engraved calendar aperture and burnished oval signature cartouche engraved James West, London to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to outer track, with scroll-pierced steel hands and applied twin cherub and crown spandrels to angles, in a japanned case with mounded cornice and gilt scroll painted blind frieze to lintel over conforming decorated glazed hood door applied with three-quarter columns to angles, the sides with rectangular glazed apertures and quarter columns set against bargeboards at the rear, the trunk with floral spray centred concave throat moulding over 40 inch door centred with a brass-bordered circular lenticle and decorated in raised polychrome and gilt with Oriental figures within an Arcadian Chinoiserie landscape on a simulated tortoiseshell ground, the surround painted with scrollwork and leafy sprays, the sides with Ho-Ho birds and large scale foliage, on conforming plinth base fronted with raised figure inhabited garden scene over moulded skirt, 211cm (83ins) high.

Seventeenth, eighteenth and nineteenth century English domestic clocks - eleven titles: Good, Richard VICTORIAN CLOCKS British Museum Press, London 1996, dj; Roberts, Derek BRITISH SKELETON CLOCKS Antique Collectors Club, Woodbridge 1987, dj; Royer-Collard, F.B. SKELETON CLOCKS N.A.G. Press Limited, London 1969, dj; Charles, Allix and Bonnert, Peter CARRIAGE CLOCKS Their History and development Antique Collectors Club, signed by the authors, Woodbridge 1974, dj; Barder, Richard C.R. The GEORGIAN BRACKET CLOCK 1714-1830 Antique Collectors Club, Woodbridge 1993, dj; Nicholls, Andrew English Bracket and Mantel Clocks Blandford Press, Poole 1981, dj; Roberts, Deryck THE BRACKET CLOCK David and Charles, Newton Abbot 1982, dj; Rose, Ronald E. ENGLISH DIAL CLOCKS Antique Collectors Club, Woodbridge 1978, dj; Dawson, Percy G. THE IDEN CLOCK COLLECTION Antique Collectors Club, Woodbridge 1987, limited edition numbered 159/1,000, dj; Robinson, Tom THE LONGCASE CLOCK Antiques Collectors Club, Woodbridge 1981, dj ; Edwardes, Ernest L. The Grandfather Clock John Sherratt and Son Limited, Altrincham 1971, dj; and a copy of Vulliamy, David G. THE VULLIAMY CLOCKMAKERS Antiquarian Horological Society, Ticehurst 2002, dj, (12). Provenance: The horological library of Michael Hurst.

A quantity of English longcase and lantern clock table clock parts Anonymous, early 18th century and later Including a semi-complete eight-day movement and dial, unsigned, early 18th century, with four (formerly five) finned pillars and 12 inch square brass dial with crown engraved calendar aperture to the matted centre within applied Roman numeral chapter ring, Indian mask spandrels to angles and herringbone engraved outer border (lacking pallets, hands, bell and other components); three various longcase clock movements; Assorted chapter rings, calendar rings and an eleven inch thirty-hour longcase clock dial signed W M RIGSBY, CHUMLEIGH; assorted wheelwork, spandrels, barrels, pulleys, finials, pendulums, weights case keys etc., (qty). Provenance: The estate of Michael Hurst.

A precision longcase clock pendulum Anonymous, first half of the 19th century With T -bar suspension, rectangular section steel rod and 6 inch diameter lenticular bob faced with brass to both sides over milled disc rating screw to base.

A George I walnut eight-day longcase clock Henry Batterson, London, circa 1720 The five finned pillar (centre latched) inside rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch shallow break-arch dial with star decorated subsidiary seconds dial, leaf-bordered winding holes and hatched calendar aperture to the foliate edged matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to outer track, with pierced steel hands and angles applied with fine Indian mask and leafy scroll cast spandrels within herringbone border, the arch with applied silvered oval name cartouche signed Henry Battercon, Londini Fecit within serpent border and fine symmetrical foliate scroll engraved field, the walnut case with cross grain ogee moulded cornice and scroll pierced quadrant frets over three-quarter columns to the glazed hood door, the sides with arch-glazed apertures and conforming applied quarter columns against bargeboards to the rear, the trunk with concave throat moulding over rectangular herringbone banded door centred with an oval brass lenticle, the sides with two crossbanded panels, on conforming herringbone bordered plinth base with double skirt and cushion-shaped squab feet, 230cm (90.5ins) high. Henry Batterson is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born in Waddesdon, Buckinghamshire in 1676 and apprenticed to William Davison in 1694, passing to Jonathon Puller in 1696 and gaining his freedom of the Clockmakers Company in 1701.

A rare William and Mary oak thirty-hour longcase clock The dial with engraved initials J.W., probably Bristol / West Country, circa 1690 The posted single handed movement lacking all wheelwork and strike detents except for the hour wheel, laid out for anchor escapement regulated by long pendulum and countwheel bell strike, the frame with rectangular section corner uprights and distinctive figure-of-eight shaped lugs presumably to carry the bellstand (now lacking) to the top plate, the 10 inch square brass dial with calendar aperture to the richly engraved centre decorated with central vase issuing entwined scrolling foliage and tulip blooms incorporating engraved initials JW within applied Roman numeral chapter ring with tiered fleur-de-lys half hour markers and quarter hour to inner track, with generous scroll pierced sculpted steel hand and winged cherub and filiate scroll cast mounts to angles, the oak case with complex double ogee cornice over solomonic three quarter columns flanking the dial aperture applied with half round moulded surround, the sides with conforming quarter columns applied to bargeboards at the rear, the trunk with convex throat moulding over 40 inch rectangular door centred with an oval lenticle, on ogee moulded plinth base with moulded skirt, (movement wheelwork lacking), 210cm (82.5ins) high. The symmetrical foliate engraving issuing from a vase set towards the lower margin of the dial centre is reminiscent of that seen on longcase clock dials by makers such as John London of Bristol and Lawrence Debnam of Froome as well as lantern clock dials by George Newton of Seend (see Darken, Jeff (editor) TIME & PLACE, English Country Clocks 1600-1840 pages 30-39 and 42-5). The unusual pair of figure-of-eight lugs applied to the top plate suggest that the movement was fitted a twin-footed bell stand - a system favoured by John London. Furthermore the proportions of the case with complex cornice and solomonic columns to hood over relatively slender trunk and plinth can also perhaps be described reminiscent of that housing the thirty-hour longcase clock movement and dial by John London illustrated on page 34 of TIME & PLACE. From these observations it would be reasonable to suggest that the current lot was probably made in the West Country near or in Bristol. Despite the movement lacking almost all of its wheelwork the current lot presents as an interesting and rare example certainly worthy of restoration.

Archie MacKay, Dan Parkes, Robert Foulkes, Charles Allix, Col. Quill and others - an interesting archive of correspondence, notes and photographs mainly relating to important early English clocks Including unpublished lecture notes on repeat work by Dan Parkes; photographs of numerous important clocks including examples by Knibb, Tompion, Fromanteel and East many of which were for publication in Dawson, P.G., Drover, C.B. and Parkes, D.W. Early English Clocks ; further detail images of movements and components including Joseph Knibb crossbeat escapement, Johannes Fromanteel tic-tac escapement, three equation regulators by George Graham, a table clock movement by John Clowes, another by Harry Callow amongst others and images of Tompion table clock number 98 prior to restoration; together with Dan Parkes report on a Joseph Knibb longcase clock belonging to Archie MacKay, Dan Parkes notes relating to group of early pendulum clocks by Fromanteel and other correspondence, cuttings etc. contained in three box files, (qty).

A quantity of brass longcase clock finials Anonymous, 18th century and later Mostly of ball-and-spire pattern, (qty).

A Queen Anne walnut eight-day longcase clock Lewis Beavan, Bristol, circa 1705 The four finned pillar inside countwheel bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch square brass dial with ringed winding holes, subsidiary seconds dial and scroll border engraved calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with stylised sword hilt hour markers, Arabic five minutes to outer track and signed Lewis, Beavan, Bristol, Fecit to lower margin, with pierced blued steel hands and twin cherub and crown leafy cast spandrels to angles, in a case with stepped caddy superstructure over ogee cornice and plain frieze above glazed hood door, the sides with rectangular windows and quarter columns applied to bargeboards at the rear, the trunk with rectangular book-matched veneered door centred with a lenticle, the sides stained pine to resemble walnut, on conforming ogee moulded herringbone and crossbanded plinth base with double moulded skirt, 227cm (89.5ins) high approx. Lewis Beavan does not appear to be recorded in the usual sources however stylistically the current lot can be confidently dated to the first decade of the 18th century. The case is of typical Bristol type for this date with the sides originally finished with scumbled decoration to simulate walnut.

A quantity of clock dial fittings and longcase clock pendulum parts Various makers, late 17th century and later To include seven brass faced pendulum bobs and two others, a quantity of rods some fitted with suspension springs, a 9.5 inch Roman numeral chapter ring for a longcase clock with cruciform half hour markers, another 11.25 inch with lozenge half hour markers and unusually large Arabic five minute outer track signed Jno Snow, Froome to lower edge, a 10.5 inch thirty hour pewter chapter ring signed R d Metford, Chard , a calendar ring, a seconds ring, a Continental table clock dial and small quantity of other miscellaneous items, (qty).

A William III burr walnut and marquetry longcase clock of one month duration Joseph Windmills, London, circa 1695 The six finned and latched pillar bell striking movement with high position outside countwheel and anchor escapement regulated by seconds pendulum, the 12 inch square brass dial with subsidiary seconds dial, ringed winding holes and calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with stylised sword hilt half hour markers, Arabic five minutes to outer track and signed J: Windmills, London to lower edge, the angles with gilt twin cherub and crown cast spandrels with foliate engraved infill between, the case with rising hood incorporating ogee moulded cornice and floral trail marquetry decoration to frieze above conforming inlaid glazed dial surround applied with Solomonic three-quarter columns to front angles, the sides with rectangular scroll pierced sound frets and further quarter columns applied against bargeboards at the rear, the trunk with convex marquetry veneered throat moulding over rectangular door centred with an oval lenticle and with three shaped marquetry panels decorated with bird inhabited scrolling flowering foliage on a fruitwood ground within a walnut field, the sides with twin ebony line edged crossbanded panels, the base with conforming rectangular marquetry panel within further crossbanded surround, 206cm (81ins) high. Provenance: Private collection from a significant Gloucestershire manor house. The life and work of Joseph Windmills and his successors is comprehensively documented in Neale, J.A. Joseph and Thomas Windmills Clock and Watch Makers 1671-1737. Joseph joined the Clockmakers' Company as a free Brother in on 29th September 1671 - the same year that Joseph Knibb, Daniel Quare and Thomas Tompion also gained their freedom of the Company. He initially worked from Blow Bladder Street in St. Martins le Grand, London before moving to premises at Swan Court, Mark Lane End, next Tower Str eet by April 1674 where the business remained. Joseph took his son, Thomas, as an apprentice who, after gaining his freedom in 1696, is thought to have immediately gone into business with his father; by 1700 the firm had become a partnership which lasted until Joseph's death in 1724. As a contemporary of Knibb, Quare and Tompion, Joseph Windmills would have had to compete with some of the finest clockmakers that have ever lived during a period of heightened scientific enlightenment. In this environment Windmills excelled, producing clocks of a quality that equalled many of his more famous peers. Provenance: Private Collection from a significant Gloucestershire manor house.

Longcase clocks - thirteen titles: Robinson, Tom THE LONGCASE CLOCK Antiques Collectors Club, Woodbridge 1995, dj; Robey, John The LONGCASE CLOCK Reference Book, Volumes 1 and 2 , Mayfield Books, Ashbourne 2001, both with dj and contained together within printed card slipcase; Darken, Jeff and Hooper, John English 30 Hour Clocks, Origin & Development, 1600-1800 Penita Books, Woking 1997, dj; Edwardes, Ernest L. The Grandfather Clock John Sherratt and Son Limited, Altrincham 1952, dj; Loomes, Brian GRANDFATHER CLOCKS and their cases David and Charles, Newton Abbot 1985, dj; Loomes, Brian COMPLETE BRITISH CLOCKS David and Charles, Newton Abbot 1978, dj; Roberts, Derek British Longcase Clocks Schiffer, West Chester PA 1990, dj; Loomes, Brian BRASS DIAL CLOCKS Antique Collectors Club, Woodbridge 1998, dj; Tennant, M.F. LONGCASE PAINTED DIALS, Their History and Restoration N.A.G. Press Limited, London 1995, dj; Loomes, Brian The White Dial Clock David and Charles, Newton Abbot 1974, dj; Greenway, Joanna Longcase Clocks Shire Publications, Princes Risborough 1999, softbound; Bruton, Eric The Longcase Clock Granada, St. Albans 1981, dj; and a copy of Loomes, Brian Country Clocks and their London origins David and Charles, Newton Abbot 1976, dj, (13). Provenance: The horological library of Michael Hurst.

A mahogany eight day longcase clock, the 12.25 inch square brass dial signed 'Jos Park, Liverpool' with centred subsidiary seconds dial within a ring of Roman and Arabic numerals, the figural spandrels representing the four seasons the case with early 20th century inlay to the door and stringing to the trunk and box base, 208cm high

Mahogany eight day longcase clock by Stephen Simpson, Preston, circa 1810-30, swan neck pediment centred with a brass ball finial over brass capped Corinthian columns flanking a painted 13 1/2'' square dial, with Arabic numerals, eight day movement striking on a bell, the trunk with reeded quarter pilasters over a moulded edge door, canted box base, crossbanded and with boxwood line inlays, height 214cmPlease note our special conditions of sale regarding clocks and watches

Late Victorian oak miniature longcase clock, the dial with Arabic numerals, later battery operated movement, the case embellished throughout with brass mounts, height 51cm

Oak and walnut thirty hour longcase clock by Jonathan Lees of Bury, caddy style top with gilt painted details over a 12'' brass dial with silvered chapter ring and Roman numerals, signed, matted centre with date aperture, the trunk with an arched crossbanded door raised on a box base with ogee bracket feet, height 215cmPlease note our special conditions of sale regarding clocks and watches

Late Regency mahogany and inlaid eight day longcase clock, signed 'Lowe & Sons, Chester', the circular painted dial with Roman numerals and subsidiary seconds, encased within a circular hood, with eight day movement striking on a bell, the trunk with a shaped door and well figured flame mahogany oval panel with boxwood stringing, within turned and reeded columns over a box base and flame mahogany roundel, all raised on bracket feet, height 227cmPlease note our special condition of sale regarding clocks and watches

Mahogany eight day longcase clock by Samuel Newness, Whitchurch (active circa 1790), swan neck pediment with two turned urn finials over reeded columns flanking a brass arched 13'' dial, with silvered chapter ring, Roman numerals and engraved centred, subsidiary seconds and date aperture, winged masked spandrels, painted moon phase, the movement striking on a bell, over a trunk with flame mahogany door within reeded pilasters and a flame mahogany box base, raised on bracket feet, height 242cm Please note our special conditions of sale regarding clocks and watches

George II walnut eight day longcase clock by Joseph Smith, Chester, circa 1730, the hood with a broken moulded arch with three gilt finials, over a brass 12 1/2'' arched dial with silvered chapter ring, matted centre with subsidiary seconds and date aperture, moon phase to the arch and signed, five pillar movement striking on a bell, the trunk crossbanded and feather banded, with canted corners over a similar box base, all raised on bracket feet, height 236cmPlease note our special conditions of sale regarding clocks and watches

Scottish oak eight day longcase clock, by James Pattison of Banff, the hood with three brass ball finials and reeded columns flanking a 12'' silvered arched dial engraved with floral spandrels and signed to the arch, with Roman numerals, subsidiary seconds and date dial, eight day movement striking on a bell, plain trunk and box base with turned feet, height 218cmPlease note our special conditions of sale regarding clocks and watches

Mahogany eight day longcase clock by Vick of Stroud, circa 1820-40, having a swan neck pediment centred with an eagle and ball finial over turned columns flanking a painted 12'' arched dial, with Roman numerals, subsidiary seconds and date aperture, eight day movement striking on a bell, the trunk with a flame mahogany door within reeded pilasters over a flame mahogany box base raised on bracket feet, height 226cmPlease note our special conditions of sale regarding clocks and watches

Waggitt, Richmond. An 18thC longcase clock, with an arched brass dial silvered chapter ring, subsidiary seconds calendar dial, a four pillar eight day movement, in a mahogany case, the cornice carved with Greek key motif, above turned and reeded columns to the hood, and with blind fret canted sections to the trunk, on ogee bracket feet, 233cm high.

Deacon, Barton. A 19thC longcase clock, the square dial painted with anchors, etc, with Arabic numerals, the eight day movement with four pillars, in an oak and mahogany crossbanded case, 221cm high overall.

William Lawson, Keighley. An early 19thC longcase clock, the square dial painted with flowers, and with Roman numerals, with 30 hour four pillar movement, the oak case with a swan neck pediment, on bracket feet, 220cm high.

18th century Mahogany eight day longcase clock by John Wainwright of Wellingborough, numbered 1534, brass dial with subsidiary seconds dial and date aperture, two train weight driven movement striking on a bell 203cm

18th century mahogany longcase clock, the painted dial with Roman numerals, subsidiary seconds dial, date aperture and twin train movement, with weights and pendulum, (lacking minute hand)

AN OAK AND FRUITWOOD 30 HOUR LONGCASE CLOCK, WM PORTHOUSE PENRITH MID 18TH C the engraved brass dial with date aperture and rococo spandrels, the trunk enclosed by a shaped and moulded door, 202cm h ++Of pleasing colour and in the same good overhauled clean and restored condition as when purchased by the present owners from the trade some years ago. The movement apparently original to the case

AN OAK EIGHT DAY LONGCASE CLOCK, JOHN WESTERN, WOLSINGHAM, LATE 18TH C the silvered dial with date sector, engraved signature and foliage and brass mask spandrels, having four pillar movement, the hood with stepped pediment and pillars, the trunk enclosed by a breakarched and crossbanded door, 216cm h ++Movement very dirty, apparently complete and original to the dial probably associated to the case, the case in reasonably good condition, free recent or professional restortation or repolishing

An 18th Century oak longcase clock, the 31cm brass dial marked J. Lawson of Bradford, 203cm high(movement, dial and case possibly associated, with restorations)

A 19th Century mahogany longcase clock, the painted dial with soldier and seasons decoration, inscribed 'Tickle, Newcastle', 210cms high.

A brass longcase clock movement by Tom Wallbanks