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A George III oak eight day longcase clock, the painted arched dial later signed 'Jn Summerhayes, Hayle. 1763', with centre subsidiary seconds dial and date aperture with in a ring of Arabic numerals within floral painted spandrels under a later painted arch, the hood with broken swan-neck pediment and associated finials, over an arched hood door between fluted front corner hood pilasters, over a long crossbanded arched trunk door, on a crossbanded box base and later bracket feet, 219cm high (at fault)

A George III stained fruitwood eight day longcase clock, the associated 11½ inch brass dial signed 'Emmanuel Hopperton, Leeds', the dial with centred subsidiary seconds dial and date aperture within an inner ring of Roman numerals, outer ring of Arabic numerals and pierced spandrels, the arched hood with three quarter turned front corner tapering pilasters, over a long arched trunk door, on a boarded base and later skirting plinth, 212cm high

An early 19th century oak crossbanded mahogany longcase clock, with associated 13 inch square brass dial signed 'Coates, Wigan', with centre subsidiary seconds dial and date aperture along with faux twin winding holes and pierced leaf moulded spandrels, the hood with swan-neck pediment over a square glazed hood door between tapering turned front corner hood pilasters, over an inverted arched crossbanded trunk door between quarter turned front corner pilasters, on a single panel box base and later skirting plinth, 225cm high

A George III oak eight day longcase clock, the 12 inch square brass dial signed 'Dav Collier, Gatley', with inner ring of Roman numerals, outer ring of Arabic numerals and pierced spandrels, the hood with ogee moulded cornice over a square glazed hood door flanked by tapering turned front corner hood pilasters, over an ogee crossbanded trunk door between quarter turned front corner trunk pilasters, on a canted base, lacking bracket feet, 213cm high

A 19th century mahogany eight day longcase clock, the painted arched dial signed 'W.Muncaster, Whitehaven', with centred subsidiary seconds dial and date dial, within a ring of repainted Arabic numerals with figural painted spandrels and figure to the arch, the hood with swan-neck pediment over an arched glazed hood door between reeded front corner hood pilasters, over a satinwood banded long trunk door between reeded quarter front corner trunk pilasters, on a crossbanded box base and short bracket feet, 220cm high

A George III and later oak eight day longcase clock, the 12 inch arched brass dial with centred subsidiary seconds dial and date dial within an inner ring of Roman numerals and outer ring of Arabic numerals, signed to a silver disk to the arch 'Mich Wild, Doncaster', the later carved oak case with swan-neck pediment over fluted front corner hood pilasters over a leaf and portrait carved long trunk door and leaf carved box base, raised on short bracket plinth, 217.5cm high

A George III mahogany musical longcase clock, the 14 inch arched brass dial signed 'Jos Slater, Oswestry' to the arch, flanked by subsidiary chime, silent and strike silent subsidiary dials over a silvered ring of Roman and Arabic numerals, centre by a subsidiary seconds dial and date dial, within pierced leaf scrolling leaf moulded spandrels, the six pillar movement striking on a single bell, the musical chime striking twin hammers on twelve graduated bells, from the 11½ cylinder, the hood with enclosed swan-neck pediment over an arched hood door flanked by tapering fluted front corner hood pilasters, over a dentil moulded and blind fret frieze, above an inverted arch mahogany veneered long trunk door, fitted with a pierced moulded key escutcheon between quarter fluted front corner pilasters, on a single panel box base between blind fret canted front corners raised on short ogee moulded bracket feet, 240cm high

An early 18th century and later eight day longcase clock, the 12 inch square brass dial signed 'Jos Kirk, Skegby', with centre subsidiary seconds dial and date aperture, within inner ring of Roman numerals, outer ring of Arabic numerals and pierced spandrels, the hood with square glazed hood door between turned front corner hood pilasters, over a figural later carved oak case, raised on a cut out skirting plinth, 194cm high

A George III eight day longcase clock, the 13 inch arched brass dial signed 'David Collier, Gatley', to the arch, over painted moon phases with dial with centred subsidiary seconds dial and date aperture and with inner ring of Roman numerals, outer ring of Arabic numerals and pierced cherub mask spandrels, the arched hood with turned front corner hood pilasters, over an ogee arched crossbanded trunk door between quarter turned front corner trunk pilasters, on a crossbanded box base with canted front corners, raised on shaped bracket feet, 227cm high

19TH CENTURY LONGCASE CLOCK the painted dial with moon phase in arch, numbers and numerals in black, maker Vrazer, Comber, 213cm high

J SROMIER, GLASGOW VICTORIAN MAHOGANY LONGCASE CLOCK with 14'' painted enamel dial, the trunk with convex door, 220cm high

GEORGE III MAHOGANY CASED 8 DAY LONGCASE CLOCK by John Brand, Dumfries (fl. 1790-1814), the painted 13 inch arched gilt enamel dial with Roman numerals, Arabic numeral chapter ring showing seconds, subsidiary second and date dials to twelve and six respectively, 8 day movement chiming on a bell, the case with swan neck pediment, above an arched door flanked by columns, on a plinth with bracket feet, 221cms high

A William III gilt brass verge pocket watch movement Simon Decharmes, London, circa 1695 The gilt full plate single fusee verge movement with four Egyptian pillars incorporating foliate-pierced galleries pinned through the backplate, scroll-pierced stop-iron block and sprung three-arm steel balance with Tompion type regulation, the backplate with fine symmetrical foliate scroll pierced and engraved balance cock with herringbone bordered rim, scallop shell centre and female mask decoration at the junction with the conforming pierced broad foot flanked by silvered regulation disc with adjacent applied scroll pierced infill opposing signature S. Decharmes, London, (lacking dial), the pillar plate 37mm (1.4375ins) diameter. Simon DeCharmes was a French Huguenot immigrant clock and watchmaker who became a Free Brother of the Clockmakers Company in 1691. His work can be directly compared with that of his contemporary Claude DuChesne with both makers being particularily well known for producing highly decorative clocks usually with playing music or with other complications such as long duration. There are at least two clocks known where DuChesne has supplied the movement to DeCharmes including a fine walnut three month duration quarter-repeating longcase clock which was sold in these rooms on the 9th September 2009 (lot 102). Simon DeCharmes is known to have been working in London up to around 1730 when it is thought that he may have returned to France.

A very rare mahogany electric longcase timepiece Unsigned but possibly by The Reason Manufacturing Company, Brighton, to a design by Murday, circa 1908 The four pillar movement enclosing solid minute wheel and crossed-out motionwork driven by a four-division stepped cam mounted behind the movement alternately pulled and shunted by a sprung two-arm armature connected to the long pendulum crutch suspended via independent pivot above the movement and incorporating electromagnetic coil Hipp-toggle switchgear at the base, the long steel-rod pendulum suspended from a substantial 'A' frame behind the movement and with iron bar supporting twin cylindrical brass bobs over a fixed electromagnetic two-part impulse coil at the base, the 12 by 13.75 inch rectangular brass dial with subsidiary seconds dial to the fine foliate scroll engraved centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track, with scroll pierced steel hands and fine overlaid foliate scroll pierced and engraved decoration to upper and lower margins, the swan neck pedimented case with complex cornice mouldings over rectangular glazed hinged dial aperture and fielded panels to sides, the trunk with ogee moulded cornice over full-width rectangular glazed door inset with ogee fillet mouldings, on plinth base fronted with a fielded panel over a moulded skirt, 215cm (84.5ins) high. The design of the current lot can be compared to that of an electric pendulum mantel clock patented by Thomas John Murday in 1908 and manufactured by the Reason Manufacturing Company Limited, Brighton illustrated in Shenton, Alan and Rita THE PRICE GUIDE TO CLOCKS 1840-1940 on page 416 (figure 243). Another related mantel timepiece was sold at Sotheby's New York MASTERPIECES FROM THE TIME MUSEUM PART FOUR, VOLUME III on 14th October 2004 for $2,040. Such mantel timepieces are particularly rare as Murday soon went on to develop models using balance wheel regulation for which he obtained another patent in 1910. The current lot may be unique and is offered with file of correspondence which includes an old photograph of probably the same clock (or possibly an identical second example).

A George IV Gothic inlaid mahogany eight-day longcase clock with unusual dual time 'regulator' dial layout and concentric winding arbors Edward Smith, Newbury, circa 1825-30 The four pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum and under dial gearing to allow winding of both trains through the same hole incorporating square for the going train within concentric pentagonal cannon barrel for the strike train, the 12 inch single sheet silvered brass dial with subsidiary seconds and dual small Roman numeral hour dials and signed Edward Smith, NEWBURY beneath inscription REGULATOR to centre within outer Arabic five minute track, with matching blued steel hands set behind hinged convex glazed hinged cast brass bezel, the pointed Gothic lancet arch-top case with spire finials flanking pediment fronted with arcaded border and central rosette over dial and lower inlaid quadrant panels flanked by buttressed pilaster uprights with stepped apron between, the trunk with concave throat over lancet panel inlaid tall rectangular door decorated with rosettes to corners flanked by stepped canted angles inset with further slender lancet panels and applied with split acorn-turned terminals, the crossbanded base with further conforming geometric panel decoration over squat bracket feet with shaped apron between, 217cm (85.5ins) high. Edward Smith is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working in Newbury circa 1830. The dial of the present lot is highly unusual in that it is of 'regulator' format incorporating two subsidiary hour dials. The hour dial on the right can be independently set in relation to the dial on the left hence the clock can display two different times. However, as this clock was made long before the introduction of time zones, it is highly unlikely that the dial was made to display the time for two locations concurrently. It is therefore most probable that the current lot was made for timing purposes with one of the hour dials being 'zeroed' at the start of an event whilst the other displayed the current time. The most likely application of this was probably to record the length of a working shift which would suggest that the clock may have been originally supplied to a wealthy owner of a mill or similar operation for this purpose.

A George III mahogany longcase clock with unusual 'regulator' type dial layout J. Atkinson, Gateshead, Late 18th century The four pillar rack and bell striking movement with anchor escapement regulated by seconds period pendulum and fitted with an iron falseplate cast with SHAW & Co., the 12 inch wide dial with subsidiary seconds over Roman numeral hour dials and signed J. Atkinson, GATESHEAD to centre within outer minute ring annotated with Arabic numerals at the quarters, the angles with delicate raised gilt rococo scrolls onto a mid-blue ground beneath arch painted with an oval landscape view within conforming gilt surround and blue ground, the break-arch case with cavetto moulded cornice and brass stop-fluted columns flanking the hinged glazed dial aperture over break-arch flame figured trunk door and conforming plinth base with applied panel decoration and moulded double skirt, 223cm (88ins) high. Two makers with the surname Atkinson and the initial J. are recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Gateshead during the latter part of the 18th century; James who dates are noted as 1770-77 and Joseph who worked from circa 1775 until his death in 1804. It is probable that James and Joseph were brothers, the current clock is most likely to be by Joseph.

An unusual George III thirty-hour quarter-striking longcase clock The dial signed for Etherington, Driffield, late 18th century The plated movement comprising of two sections the first positioned to the left with three cylindrical steel pillars enclosing the going train opposing the second with conforming pillars enclosing the hour and ting-tang quarter striking trains incorporating quarter rack positioned on the frontplate and hour rack on the backplate, the centre with arched bridging piece at the top united by two further steel pillars and enclosing anchor escapement with inverted pallets regulated by seconds pendulum, the base with additional bracing, the 11.5 inch white painted break-arch dial of unusual layout with separate side-by-side arrangement of Roman numeral hour and Arabic five minute rings and bearing signature Etherington, Dryfield to centre, within circular line border and raised gilt rococo scroll painted spandrels to angles, the arch finely painted with landscape of figures before a cottage on a riverbank, in an oak case with dentil cornice and applied scrolls over break-arch glazed front door applied with three-quarter columns to angles, the trunk with concave throat over break-arch door, on plain plinth base with later tall skirt incorporating bracket feet (signature retouched), 216cm (85ins) high. John Etherington of Driffield is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as dying in 1790. The reason why the maker chose to produce such an unusual clock with regards to construction/layout of the movement and configuration of the dial appears to be a mystery.

A very rare Regency mill timepiece movement Benjamin Harlow, Lane End, circa 1825 The four pillar eight-day single train movement with going wheel train set low down between the plates incorporating offset anchor escapement regulated by seconds pendulum and with centre arbor fitted with motionwork for standard two-handed hour and minute notation, the upper margin with take-off square to rear (formerly driven by mill machinery at a rate of one revolution per minute) fitted with a flag to the arbor to advance a large diameter wheel centrally positioned between the plates connected via extensive motionwork for recording mill running time on the three upper subsidiaries to the dial over a four-week period, the 10.75 inch circular single sheet silvered brass dial with small standard Roman numeral chapter ring incorporating Arabic five minutes to lower section (for the timepiece) beneath similar Arabic numeral dial for recording mill running time flanked by subsidiary day-of-the working week (Sundays excluded) and concentric D/N (for day or night) indexed recording dials, the upper and lower chapter rings enclosing engraved signature Benj'n Harlow, Lane End to centres, diameter 27.5cm (10.75ins). Provenance: The property of a private collector, Derbyshire. Literature: The current lot is illustrated in Darken, Jeff (editor) TIME & PLACE, English Country Clocks 1600-1840 as exhibit 67 pages 218-9 and Robey, John The LONGCASE CLOCK Reference Book pages 898-89 (figures 12.121-123). Benjamin Wyatt Harlow is recorded in Loomes, Brian Watchmakers & Clockmakers of the World as born in 1764 to Robert Harlow and first worked from Lane End (now Longton) near Stoke on Trent, Staffordshire before inheriting his father's workshop in Ashbourne in around 1828 where he remained in business until circa 1845. His brother, Samuel, was also a clockmaker who published The Clock-maker's Guide to Practical Clock Work in Birmingham in 1813. The current lot was made specifically for the purpose of recording the operational running time of mill machinery. The rear of the movement has a square which would have been connected (via take-off work geared to revolve once a minute) to the mechanism of the mill. The three upper subsidiaries to the dial would then index the hours, minutes, twelve hour periods (night or day) and the full days that the machinery would have been running throughout the working week. The lower dial is for actual mean time driven by a separate eight-day going train positioned between the movement plates. Theoretically if the mill had been running at optimum capacity at all times the indicated day and appropriate twelve hour period would have been correct, and both the upper 'mill' and lower 'time' dials would be synchronised at the end of the week. Naturally, in practice, there will have been times when the machinery would have been inoperative (or running slow), hence by the end of the week the 'mill time' would have been lagging behind. By recording the difference between the two the amount of 'running time' lost would have been obtained. Generally it appears that very few 'mill clocks' seem to have survived although John Robey mentions a complete example by Whitehurst made for Green's Mill, Derby as well as two other similar incomplete examples. Unfortunately it is not known for whom/which mill the current lot was made, however when first put to use it was probably deemed an invaluable tool bearing in mind the high degree of competition that would have existed between the numerous potteries and mills operating in and around Lane End, Staffordshire at the start of the 19th century.

A Victorian oak night watchman's tell-tale longcase timepiece or noctuary previously at Ipswich Gaol Thwaites and Reed, London for Richard S. Cole, Ipswich, mid 19th century The four pillar single train eight-day movement with anchor escapement regulated by seconds pendulum and stamped T & R, 10490 to frontplate, the dial with 6.25 inch rotating circular disc signed RICH.D S. COLE, CORNHILL, IPSWICH to centre within Roman numeral chapter ring rotating against a pivoted hour-pointer positioned to the upper margin and fitted with push-pins at every quarter to circumference, the case of simple tapered form with shallow cavetto cornice over circular glazed aperture to the rectangular hood door, the right hand side with hinged arched brass cover revealing plunger for operating the pin depressing lever, the trunk with rectangular caddy moulded door, the base applied with horizontal board cladding to fascia over skirt with simple canted top moulding, 190cm (74.75ins) high. Provenance: By repute previously at Ipswich Gaol. Richard Stinton Cole is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as born to Richard Cole in 1809 and retiring from the bench in 1865. The partnership between John Thwaites and George Jeremiah Reed is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as being formed in 1808. John Thwaites was the son of Ainsworth Thwaites who was apprenticed in 1735 and worked from Rosoman Row, Clerkenwell, London 1751-80. He was an accomplished maker who supplied the clock for the tower at the Horse Guards Parade. John Thwaites was born in 1757 and took over the business presumably on the death of his father in 1780 before moving to Bowling Green Lane. The firm became well known for supplying all forms of clocks and movements either wholesale for others to retail, or signed by themselves. The partnership continued under John Thwaite's leadership from several addresses in London until his death in 1842. The business has subsequently passed through a series of successors and is still trading today from Rottingdean near Brighton. The night watchman's clock or noctuary was developed as a 'tell-tale' method of recording a night watchman's progress throughout his shift. The dial is formed as a revolving disc with the time read against a pointer to the upper margin which also doubles-up as a lever for pushing-in pins set into the circumference of the disc operated by a plunger fitted to the exterior of the locked case. By having two such timepieces at each end of a watchman's circuit a record of his patrols throughout the night can be recorded. The pins are automatically reset to their raised position by a ramp-wheel positioned behind the disc at around the one o'clock position. This design of 'Watchman's Noctuary' was subject of a patent submitted by Samuel Day in 1803 however the patent was disputed on the grounds that the Earl of Exeter had been using two such timepieces made by Boulton and Watt since 1799. In addition to Thwaites and Reed the Derby firm of Whitehurst and Son are also known to have produced such timepieces in significant numbers. The serial number stamped on the frontplate of the current lot would date it to the early 1850's which would correlate with the completion of a phase of expansion of Ipswich Gaol which commenced in 1849.

An incomplete George II brass lantern clock made for the Middle Eastern market William Kipling, London, mid 18th century The two-handed posted countwheel bell striking movement previously with verge escapement regulated by short bob pendulum, the 8 inch brass break-arch dial with pierced steel hands and matted centre within applied 'Turkish' numeral chapter ring with conforming five minutes to outer track, the angles applied with crescent-centred foliate scroll cast spandrels beneath arch centred with a circular boss signed W'm: Kipling, London flanked by conforming mounts, the frame with column turned corner uprights beneath vase finials (one lacking) flanking foliate scroll pierced side frets and supporting domed bell bearer above, on ball feet, (distressed, lacking centre movement bar and all wheelwork except for going greatwheel and the verge crownwheel, no pendulum or weights), 39cm (15.5ins) high; with an unusual weight-driven thirty hour wall clock movement, late 18th century, with going train regulated by anchor escapement for a seconds period pendulum set between narrow plates united by four knopped pillars positioned in front of the strike train with conforming pillars and backplate fitted with external countwheel, (incomplete, lacking dial, weights and pendulum), 16cm (6.25ins) high; and a quantity of other items comprising four various thirty-hour longcase/wall clock dials, 18th century, including a 9 inch square brass example with Roman numeral chapter ring signed Sam. Aldworth, London to lower edge; a posted thirty hour longcase clock movement; another plated movement; various bells, weights and other items (qty). Provenance: The estate of a connoisseur collector of regional furniture, works of art and clocks.

A Queen Anne eight-day longcase clock movement and dial Thomas Bell, London, early 18th century The five finned pillar inside countwheel bell striking movement with anchor escapement and 12 inch square brass dial with subsidiary seconds dial, ringed winding holes and herringbone border decorated calendar aperture to the rosette engraved matted centre within applied Roman numeral chapter ring with stylised fleur-de-lys half hour markers, Arabic five minutes to outer track and signed Th'o Bell, London to lower edge, the angles applied with Indian head and foliate scroll cast spandrels, (lacking pendulum and weights). Provenance: The estate of a connoisseur collector of regional furniture, works of art and clocks. Thomas Bell is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born circa 1677, apprenticed in 1684 to Robert Halstead (later transferring to John Trubshaw) and gaining his freedom of the Clockmakers' Company in 1691. Loomes further notes that he is described 'as of St. Giles, Cripplegate' in 1724 when his son, Robert, was apprenticed to Daniel Chandler.

A Welsh Queen Anne walnut eight-day longcase clock John Thomas, St. Asaph, early 18th century 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 calendar aperture to the foliate engraved matted centre within applied silvered Roman numeral chapter ring with elaborate foliate half hour markers, Arabic five minutes to outer track and signed Jn'o Thomas, St. Asaph, 140 to lower edge, with pierced blued steel hands and female mask and leafy scroll cast spandrels to angles, in a case with shaped crest to the domed caddy surmount over moulded cornice, double frieze incorporating band of lattice-pierced blind fretwork and integral three-quarter columns to the glazed hood door, the sides with short rectangular windows and quarter columns applied to bargeboards at the rear, the trunk with rectangular caddy-moulded and crossbanded door veneered with an arrangement of book-matched panels, the base veneered with finely figured timber within a crossbanded border over a moulded skirt, 227cm (89.5ins) high excluding later brass finials.

A rare George II thirty-hour weight-driven 'hook-and-spike' wall timepiece James Woolley, Codnor, circa 1725 The three wheel going train with anchor escapement regulated by seconds pendulum set between tapered plates united by four square section steel pillars, the backplate fitted with distinctive backcock incorporating long pendulum suspension arm, the 7.5 inch wide brass break-arch dial with matted centre and pierced iron hand within applied Roman numeral chapter ring with floating cruciform half hour markers and engraved signature Wolley, Codnor to lower edge, the angles with applied winged cherub head cast spandrels beneath conforming mount to arch, the dial plate fitted to an appropriately shaped board with pine box case to rear incorporating iron hanging hoop, spurs and removable back panel, 27.5 cm (10.75ins) high approx. Provenance: From the estate of an esteemed antiquarian horologist. Literature: Illustrated in Darken, Jeff (editor) TIME & PLACE, English Country Clocks 1600-1840 page 238, fig. 6. James Woolley is noted in Darken, Jeff and Hooper John English 30 Hour Clocks (on page 136) as 'one of the most renowned of provincial clockmakers' who was born in 1695 and lived until 1786 when he was succeeded by his nephew, John. James Woolley was born to a relatively wealthy family however he appeared to have had a wayward streak which led to him being caught poaching as a boy. His subsequent apprenticeship to the blacksmith Thomas Tantum of Lascoe lead him to become a clockmaker, a career in which he excelled. In 1726 Woolley presented a turret clock to the City of Nottingham and thus was enrolled as a Burgess; this no doubt brought him to the attention of possible clients thus secured his future. Although eight-day longcase clocks by Woolley are known he appears to have specialised in thirty-hour work; however the attention to detail lavished on his movements and the quality of finish seen on many of his dials are why they are so highly regarded by modern day collectors. The current lot is the first of probably only two documented wall clocks of this type by Thomas Woolley, with the other also being offered in this sale as the following lot. The design and layout of the movement is typically original and possesses many fine details such as the deep domed wheel collets, distinctive backcock casting and arched lower margin to the plates. The style of half hour markers and spelling of his name (without the second 'o') to the chapter ring, coupled with the êrly' design of spandrel casting would suggest that the current lot is one of Woolley's earlier clocks, and can be compared to a dial of an thirty hour longcase clock (dated to around 1720) illustrated in Darken, Jeff and Hooper John English 30 Hour Clocks on page 134, fig. 3/42.

A rare George III seven-day weight-driven 'hook-and-spike' wall timepiece with alarm James Woolley, Codnor, circa 1765 The four wheel going train with anchor escapement regulated by seconds pendulum set between tapered plates united by four square section steel pillars, with arched cut-out to lower margin and integral extension to the left hand side for the offset alarm mechanism which sounds on a bell mounted above, the backplate fitted with distinctive backcock incorporating long pendulum suspension arm, the 9 inch diameter circular single-sheet brass Roman numeral dial with alarm disc, pierced iron hand and engraved signature Woolley, Codnor to centre, applied to a caddy moulded square oak dial board fitted with pine box case to rear incorporating iron hanging hoop, spurs and removable back panel, 28cm (11ins) high including bell. 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 277-80 figs. 5/29 to 5/32; and Darken, Jeff (editor) TIME & PLACE, English Country Clocks 1600-1840 as exhibit 54 pages 180-1 (where the movement is extensively illustrated). James Woolley is noted in Darken, Jeff and Hooper John English 30 Hour Clocks (on page 136) as 'one of the most renowned of provincial clockmakers' who was born in 1695 and lived until 1786 when he was succeeded by his nephew, John. James Woolley was born to a relatively wealthy family however he appeared to have had a wayward streak which led to him being caught poaching as a boy. His subsequent apprenticeship to the blacksmith Thomas Tantum of Lascoe lead him to become a clockmaker, a career in which he excelled. In 1726 Woolley presented a turret clock to the City of Nottingham and thus was enrolled as a Burgess; this no doubt brought him to the attention of possible clients thus secured his future. Although eight-day longcase clocks by Woolley are known he appears to have specialised in thirty-hour work; however the attention to detail lavished on his movements and the quality of finish seen on many of his dials are why they are so highly regarded by modern day collectors. The current lot is the second of probably only two documented wall clocks of this type by Thomas Woolley, with the other also being offered in this sale as the previous lot. The design and layout of the movement is typically original and possesses many fine details such as the deep domed wheel collets and castellated tooth form for the alarm crownwheel. The provision of an alarm and the fact that it has a duration of seven-days differentiates the movement of the current timepiece from the previous lot. These differences perhaps either demonstrates progression in Woolley's approach or willingness to satisfy the specific demands of a client. The relatively utilitarian appearance of the dial would suggest that the current timepiece was destined for ºckstairs' use of a large household with the alarm designed to alert staff at the beginning of the working day.

A fine small George III mahogany domestic longcase regulator made for the Middle Eastern market George Prior with movement supplied by John Thwaites, London late 18th century The substantial eight-day centre-seconds movement with bottle-shaped plates united by six distinctive tapered baluster pillars and stamped T. THWAITES over indistinct number 1933 to frontplate, the train with Harrison's maintaining power, high pinion count, six-spoke wheel crossings throughout and Graham type deadbeat escapement with jewelled pallets regulated by wood-rod seconds pendulum with wide-jaw suspension, large brass-faced lenticular bob and calibrated rating nut, the 10 inch ogee-arch shaped brass dial with circular white enamel convex centre signed GEORGE PRIOR, LONDON within 'Turkish' numeral chapter ring and five minutes to outer track, with steel seconds hand and pierced brass hour and minute hands within applied engraved ogee-arch-shaped mask finely decorated with a pendant incense burner within crescent motif flanked by generous foliate scrolls to upper margin over conforming leafy sprays to lower spandrel areas, the case with ogee-arch shaped cavetto moulded cornice and conforming shaped frieze inset with fine scroll-pierced brass sound frets to front over glazed hood door flanked by fluted canted angles and with rectangular brass fishscale fret-backed glazed apertures to sides, the trunk with convex throat moulding over caddy-moulded ogee-arch flame figured veneered door, on plinth base with conforming raised panel to front and double skirt, 194cm (76.5ins) high. Provenance: The estate of a connoisseur collector of regional furniture, works of art and clocks. By repute acquired from a member of the diplomatic service who purchased it from a government department in Istanbul. Of George Prior relatively little is known other than he was born in 1732 and his working dates were 1762-1813. He was based at 31 Prescot Street, Goldman's Fields, London and was succeeded by his son Edward in 1814. John Thwaites was born in 1757 the son of Ainsworth Thwaites who was apprenticed in 1735 and worked from Rosoman Row, Clerkenwell, London 1751-80. Ainsworth was an accomplished maker who supplied the clock for the tower at the Horse Guards Parade, London. John Thwaites succeeded his father, presumably on the latter's death in 1780, before moving to Bowling Green Lane. He worked alone until 1817 when he took his wife s nephew, George Jeremiah Reed, into partnership. John Thwaites and the subsequent partnership were well known for supplying all forms of clocks and movements either wholesale for others to retail, or signed by themselves. The partnership continued under John Thwaite's leadership from several addresses in London until his death in 1842. George Prior predominantly specialised in the supply of clocks and watches to the Ottoman market trading through British merchants based in major Middle Eastern ports such as Istanbul. This lucrative market was built on the historic tradition of presenting clocks and watches to the Ottoman Court since the late 17th century. However, by the end of the 18th century, trade had expanded to the extent that George Prior could not satisfy demand for his products alone hence he collaborated with other makers in order to increase his supply. A natural choice of collaborator was John Thwaites who by the end of the 18th century had established himself as a fine maker willing to supply movements for retail by others. The movement of the current lot can be closely compared with that of a longcase regulator by John Thwaites sold at Christie's, King Street, Important Clocks and Marine Chronometers 13th December 2000, lot 65. Both timepieces share the same 'bottle-shaped' plates, distinctive tapered baluster pillars, wide jaw pendulum suspension, escapement and detailing to the wheelwork. Indeed the only significant difference between these two movements is in the positioning of the train between the plates which varies in order to allow the current lot to have centre seconds (versus standard regulator dial layout). Another example of the collaboration between John Thwaites and George Prior takes the form of an impressive musical table clock residing in the collection of The Victoria and Albert Museum (Museum number W.1:1, 2-1971). This table clock was bequeathed by Lady Lorraine in 1971 and features an almost identical circular enamel dial centre to the current lot, and is housed in a fine gilt brass mounted cream japanned case with cut glass spherical dome surmount and finials. A comparable longcase regulator also made for the Middle-Eastern market by Markwick Markham Borrell, London (with movement probably supplied by John Thwaites) was sold at Christies, King Street, London on the 23rd May 2010 (lot 38) for £23,750.

A fine and rare George II gilt brass mounted burr walnut table clock Robert Higgs, London, circa 1750 The six pillar twin chain fusee bell striking movement with verge escapement regulated by small lenticular bob pendulum incorporating rise/fall regulation to the suspension and leafy foliate scroll engraved backplate signed Robert Higgs, London to a central cartouche, the 7 inch brass break-arch dial with shaped silvered maker's nameplate engraved Robert Higgs, London beneath false bob aperture to the finely matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track, the lower angles applied with female mask and foliate scroll cast spandrel mounts, the upper angles incorporating subsidiary silvered Adelantar/Atrafar and Tocar/Silencio selection dials beneath arch with further calendar ring enclosing a matted centre and flanked by conforming Indian head cast mounts, the impressive burr walnut veneered inverted bell top case capped with ball and spire finial to the scroll-outline upstand over gilt brass upper moulding and four further gilt finials to superstructure, the front with further gilt brass principal top moulding above door applied with gilt half-round raised borders to the dial aperture and upper quadrant frets flanked by canted angles adorned with fine female caryatid and tied rose drapery cast mounts, the sides with generous hinged brass handles over circular and concave-topped glazed apertures with raised gilt brass surrounds, the rear matching the front with caryatids to angles, on gilt cavetto moulded shallow skirt base with generous cast squab feet, 51cm (20ins) excluding top finial; 56cm (22ins) high overall. Robert Higgs is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as apprenticed in 1743 and gaining his Freedom of the Clockmaker's Company in 1750. He worked from Sweetings Alley and took his brother Peter into partnership in 1770. James Evans is recorded by Baillie as also working from Sweetings Alley from 1773. In 1775 he went into partnership with Robert and Peter Higgs; the firm subsequently moved to Exchange Alley and continued in business until around 1825. The partnership of Higgs and James Evans specialised in producing clocks for the export market - particularly to Spain hence a significant proportion of surviving examples being annotated and signed in Spanish. The current lot is a particularly impressive model with fine quality burr walnut veneers and crisply cast fire-gilt brass mounts echoing the work of the finest makers of the period such as John Ellicott. Walnut veneered table clocks from this period are notably rare. The possible reasons for this are given by Richard Barder in The Georgian Bracket Clock (pages 50-51) where it is suggested that the general shortage of walnut after the harsh winter of 1709 meant that veneers were mainly reserved for the best pieces of furniture or high-status longcase clocks. Table clocks being relatively small objects suited the use of ebony or ebonised finishes better (with the brass and silvered finishes of the dial and mounts creating a pleasing 'contrast' with the black finish) thus the fashion for black veneers probably persisted out of necessity until figured mahogany veneers became accessible/fashionable (from the 1760's). The current lot can be stylistically dated very close to 1750 hence would have been one of the first clocks made by Robert Higgs after he gained his freedom of the Clockmakers' Company. Interestingly the two subsidiary dials within the upper spandrels areas are annotated in Spanish indicating that the clock was supplied to an Iberian client. However the signature to both the dial and backplate are written in their English form which perhaps suggests that the clock was possibly originally made for the domestic market but ended up being exported to Spain. The fact that the clock was supplied for export to Spain indicates that Robert Higgs was forming relationships with Spanish clients very early in his career. This proved to be an astute move as many of his later important commissions were for Iberian clients.

A fine Queen Anne green japanned eight-day longcase clock with moonphase Thomas Martin, London, early 18th century The five finned 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 shaped herringbone border engraved calendar aperture to the matted centre within applied Roman numeral chapter ring with fleur-de-lys half hour markers, Arabic five minutes to outer track and signed Tho. Martin, London to lower edge, with pierced steel hands and Indian mask and scroll cast spandrels to angles within herringbone engraved border, the arch centred with a penny moon aperture and pierced steel hand within applied ring calibrated for the lunar month flanked by dolphin cast mounts beneath a conforming herringbone border, the case with large giltwood urn finials to the tall ogee superstructure over wide break-arch pediment fronted by a deep foliate scroll pierced blind fret frieze above columns flanking the gilt foliate spray decorated hood door, the sides with rectangular glazed apertures and conforming quarter columns set against bargeboards to the rear, the trunk with floral trail decorated throat moulding over rectangular door decorated in raised polychrome and gilt with pagodas and figures within an oriental landscape centred with a brass-edged lenticle and bordered by further gilt foliate scroll borders, the sides painted with full-sized flowering branches and Ho-Ho birds, the conforming plinth base adorned with cranes before a garden pavilion to front and with moulded double skirt applied with squab feet, (unrestored, wear and losses to decoration), 255cm (100.5ins) high excluding top finial; 273cm (107ins) high overall. Thomas Martin (II) is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born in around 1678 and apprenticed in May 1692 to Jeremiah Martin until 1699 (but not freed). He worked from Fleet Street, London and was the victim of the theft of a number of watches in September 1723; the culprits were subsequently apprehended and sentenced to transportation.

A Queen Anne eight-day longcase clock movement and dial Joseph Windmills, London, early 18th century The five finned pillar rack and bell striking movement with anchor escapement regulated by seconds period pendulum, the 12 inch square brass dial with ringed winding holes, decorated calendar aperture and star engraved subsidiary seconds dial within applied silvered Roman numeral chapter ring with lozenge half hour markers and Arabic five minutes to outer track, with pierced steel hands and gilt female mask and scroll cast spandrels to angles. 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 Street 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.

A rare thirty-hour longcase clock movement and dial Daniel Quare and Stephen Horseman, London, circa 1725 The single-handed posted countwheel bell striking movement with rectangular section corner uprights and anchor escapement regulated by seconds pendulum, the 11 inch square brass dial with engraved shaped signature cartouche inscribed Dan: Quare, & Ste: Horseman, London and numbered 231 to matted centre within applied Roman numeral chapter ring with stylised fleur-de-lys half hour markers, with pierced blued steel hand and female mask and scroll cast and pierced spandrels to angles, now in a late 18th century case with shallow ogee shaped caddy upstand, moulded cornice and foliate fretwork frieze over turned Doric columns flanking the crossbanded glazed hood door, the trunk with rectangular caddy-moulded crossbanded door above conforming plinth base with moulded skirt incorporating bracket feet with shaped apron between, 204cm (80.5ins) high. Daniel Quare is recorded on Loomes, Brian The Early CLOCKMAKERS of Great Britain as born in Somerset circa 1678, he was admitted as a Free Brother to the Clockmakers' Company in April 1671 and by 1683 was working from Exchange Alley, London. Quare was selected as a member of the Court of Assistants in 1698 later becoming Master in 1708. In 1709 he took his former apprentice, Stephen Horseman, into partnership which presumably lasted until Quare's death in 1724. Daniel Quare was a fine and inventive maker who supplied clocks and barometers to significant European royal and aristocratic clients as well as the court of William III. Daniel Quare is believed to have started numbering his clocks and barometers in around 1704 (see Garnier, Richard and Carter, Jonathan The Golden Age of English Horology - Masterpieces from The Tom Scott Collection page 308), this numbering sequence continued into Quare's partnership with Stephen Horseman with the last known clock in the sequence being number 299 - a walnut eight-day longcase clock which was sold in these rooms on Wednesday 20th February 2013, lot 152.

A Queen Anne oak eight-day longcase clock Abraham Pilson, Plymouth, 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 dial and herringbone border engraved 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 Abra. Pilson, Plymouth to lower edge, with pierced blued steel hands and twin cherub and crown decorated scroll cast spandrels to angles, the case with shallow domed caddy surmount and deep ogee moulded cornice over slender integral three-quarter twist columns to the glazed hood door, the sides with rectangular windows and conforming quarter columns applied to bargeboards at the rear, the trunk with full-width door centred with a lenticle and applied with half round outline mouldings to form a rectangular panel, the plinth base with ogee top moulding over conforming panel to front and moulded skirt, 208cm (82ins) high. Provenance: The estate of a connoisseur collector of regional furniture, works of art and clocks. Abraham Pilson is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Plymouth circa 1700. The case of the current lot is noteworthy in that it appears to be a regional interpretation of the contemporary London style (probably made by a local joiner) which has generally survived in fine original condition.

A George II oak thirty-hour longcase clock Edward Bilbie, Chew Stoke, circa 1740 The two-handed posted countwheel bell striking movement with slender column-turned corner posts and anchor escapement regulated by seconds pendulum, the 11 inch square brass dial with calendar aperture and arched signature plate engraved Edw. Bilbie Chew Stoke to the bright-cut rosette decorated matted centre within applied Roman numeral chapter ring with stylised fleur-de-lys half hour markers and Arabic five minutes to outer track, with pierced blued steel hands and rococo scroll cast and pierced spandrels to angles, in a case with moulded cornice and plain frieze over integral three-quarter columns to the glazed hood door, the trunk with rectangular caddy-moulded door above plain plinth base with shallow moulded skirt and bracket feet, 188cm (74ins) high. Literature: The dial is illustrated in Moore, Rice and Hucker BILBIE and THE CHEW VALLEY CLOCKMAKERS on page 322. Edward Bilbie is recorded in Moore, A.J THE CLOCKMAKERS OF SOMERSET 1650-1900 (Appendix vii) as born 1666 and probably working from circa 1695 as he is thought to have learnt the clockmaking trade from Edward Webb who died in 1694; by 1698 he had certainly become established in Chew Stoke as a bellfounder. Edward Bilbie had two sons, Edward II (born 1694) who assisted his father but unfortunately died within six months of his father in 1725, and Thomas (born 1702) who inherited his father's business in 1725 and worked until 1768. Edward II had a son who he also named Edward (III - born circa 1715), who is thought to have been brought up by his uncle Thomas, and worked alongside him until around 1768.

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 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 William III scumbled pine thirty-hour longcase clock Jeremiah Johnson, London, circa 1695 The four finned pillar two-handed outside countwheel bell striking movement with anchor escapement regulated by seconds pendulum, the 11 inch square brass dial with matted centre within applied Roman numeral chapter ring with stylised sword hilt half hour markers, Arabic five minutes to outer track and signed Jere. Johnson, in Exchange Alley to lower margin, the angles applied with winged cherub mask and foliate scroll cast and pierced spandrels, the painted pine case with moulded cornice and foliate-pierced blind fret to frieze over columns flanking the glazed hood dial aperture, the sides with rectangular windows and conforming quarter columns applied at the rear, over trunk with convex throat moulding and 40 inch rectangular door centred with a lenticle and applied with half-round edge mouldings above plinth base with later skirt, 193cm (76ins) high. Jeremiah Johnson is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born circa 1646 and apprenticed to Nicholas Payne in 1660 before being passed onto Abraham Beckner and then Ahasuerus Fromanteel (II) finally gaining his freedom of the Clockmakers' Company in 1668. He lived in St. Margaret's, Lothbury and took many apprentices including his son of the same name in 1697. From around 1707 Johnson received charitable payments from the Clockmakers' Company which were maintained until his death in late 1709. The current lot was probably made for ºckstairs' use in a wealthy household. The case echoes the proportions seen on high-status walnut or marquetry cases of the period and was probably originally painted to resemble walnut.

A Queen Anne ebonised longcase clock of one month duration Andrew Dunlop, London, early 18th century The five finned pillar high-position internal countwheel bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch square brass dial with ringed winding holes, recessed silvered subsidiary seconds ring and foliate-border engraved calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers, Arabic five minutes to outer track and signed And'r Dunlop, London to lower margin, with foliate pierced blued steel hands and unusual winged cherub head and drapery lambrequin decorated foliate cast spandrels to angles, in an ebonised case with moulded cornice over integral three-quarter columns to the glazed hood door, the sides with rectangular windows and quarter columns applied to bargeboards at the rear, the trunk with rectangular door bordered with half-round mouldings and centred with a circular brass lenticle, on plain plinth base now applied with a moulded skirt and standing on bracket feet, 219cm (86ins) high. Andrew Dunlop is recorded in Loomes Clockmakers of Britain 1286-1700 as working in Aberdeen until around 1700 before moving to London where he worked from Spread Eagle Court, Grey's Inn. He joined the Clockmakers' Company in 1701 and took in Thomas Hague as an apprentice in 1719 followed by his son, Conyers, in 1725. He is thought to have died in 1732 and was succeeded by his son. The work of Andrew Dunlop is described in Maxwell-Irving, A.M.T ANDREW DUNLOP, C.C. 1701-32 (see ANTIQUARIAN HOROLOGY Vol. XV, No. 1 pages 36-46) where particular focus is given to his watches which are described as being of the 'finest quality'. A fine silver mounted ebony grande sonnerie striking table clock made by Andrew Dunlop for Daniel Delander was sold in these rooms on Tuesday 17th March 2015 lot 82 for a hammer price of £20,000.

A William III walnut and floral marquetry eight-day longcase clock Christopher Gould, London, circa 1695 and later The five finned pillar inside-rack and bell striking movement with anchor escapement regulated by seconds pendulum and 11 inch square brass dial with ringed winding holes, subsidiary seconds dial and scroll border engraved calendar aperture to the rosette decorated matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to outer track, with fine pierced blued steel hands and winged cherub head and leafy scroll cast spandrels to angles within a fine scrolling foliate engraved border interrupted with signature Chr: Gould Londini fecit to lower margin, in a case with ogee moulded cornice and blind foliate fretwork frieze above floral trial inlaid hood door applied with spiral twist turned three-quarter columns to angles, the trunk with conforming leafy trail decorated convex throat above 42 inch door centred with a lenticle and decorated with three shaped marquetry bird and angel figure inhabited flowering foliage panels into an ebonised ground within a figured walnut field, the surround with stylised leaf decoration above conforming panel outline plinth base with compressed bun feet, (case with faults), 206cm (81ins) high. Provenance: The property of a private collector, purchased from Phillips Fine Art Auctioneers sale of Clocks and Watches including Scientific Instruments and Barometers London, 8th December 1998, lot 177 for £12,000. Christopher Gould is generally regarded as one of the leading makers from the 'Golden Period' of English clockmaking. He gained his freedom of the Clockmakers' Company in 1682 but by 1713 had become destitute and received charity from the Company until his death in 1718. Christopher Gould's work invariably demonstrates a level of quality and elaboration that could only be afforded by the most wealthy of patrons, with the movement and dial of the current lot being no exception with well thought-out internal rack striking mechanism and fine engraved detail around the spandrels - a feature often only found on Gould's best work.

A fine Queen Anne ebonised eight-day longcase clock Richard Street, London, circa 1705 The substantial five fully latched and crisply turned finned pillar inside rack and bell striking movement with anchor escapement, unusually long crutch and 12 inch square brass dial with subsidiary seconds dial and 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 Rich. Street, London to lower edge, with delicate pierced steel hands and rare gilt twin cherub and female cast spandrels to angles, the ebonised case with gilt ball and spire finials to the domed caddy surmounted fine foliate fretwork fronted box upstand above moulded cornice and further conforming foliate pierced fret to frieze, generous three-quarter columns with gilt caps and bases to glazed hood door, the sides with rectangular windows and rear quarter columns each set against bargeboard rising up to the underside of the cornice projection, the trunk with convex throat above 42 inch rectangular door pasted with rare original paper Equation of Time table with printed repeat signature Sold By RICH STREET Clockmaker at ye Dial & Two Crowns over againft St. Dunftans Church in Fleet-Street LONDON, on plain plinth base with two-tier moulded skirt, 234cm (92ins) high excluding finials, 244cm (96ins) high overall. Richard Street is an important but relatively enigmatic maker who is recorded in Baillie G.H. Watchmakers & Clockmakers of the World as gaining his freedom of the Clockmakers' Company in 1687, made Assistant in 1713 and appointed Warden 1716. He was a fine maker who had close working connections with Thomas Tompion for whom it is thought he made repeating watch movements (see Evans, Jeremy THOMAS TOMPION at the Dial and Three Crowns page 114). Street is perhaps best known for his commission by Sir Isaac Newton to supply a monumental month duration longcase clock for presentation to Dr. Bentley for the Observatory at Trinity College Cambridge in 1708; he also, alongside William Wright, took over the maintenance of the turret clock at St. Pauls Cathedral from Langley Bradley in 1716. A year going clock in an Arabesque marquetry case by Street also survives in the Collection of the National Trust at Melford Hall, Suffolk. The current lot is very rare in that the original paper Equation of Time table survives almost entirely intact pasted to the inside of the trunk door. A less complete but otherwise identical table is illustrated Robinson, Tom THE LONGCASE CLOCK on page 170 (fig. 8/16) where it is noted that the design is the same as those produced by Tompion at this time. The complete nature of the example supplied with the current lot allows all the text to be made out, including the name of the engraver. Above the table; A Table, OF THE, Equation of Days, SHEWING, How much a good, Pendulum Watch Ought to be faster, or slower than a, True Sun Dial, Every Day in ye Year. Sold By RICH STREET Clockmaker at ye Dial & Two Crowns over againft St. Dunftans Church in Fleet-Street LONDON. Below the table; Let the Watch so much Faster or Slower than ye Time by the, Sun according to the Table for the Day of the Month when you, set it and if the Watch go true the Difference of it from ye Sun, any Day afterward will be the same with the Table. I Sturt Sculp. Tompion's influence/connection with Richard Street becomes even more apparent when the rest of the current lot is examined. The fully latched movement is very well made with exceptional pillars and large plates measuring almost 8 by 6 inches. The use of inside rack and the delicate functionality of the wheelwork echoes Tompion's exacting standards however Street has detailed the movement in such a way as to give it his own identity. The dial is clean and refined in its design and utilises a rare pattern of spandrel which is generally only found on the finest of twelve inch dials from this period. The proportions and external detailing of the case is almost indistinguishable from those supplied to Tompion and again is very well made.

A rare William and Mary scumbled pine thirty-hour longcase clock John Drew, London, circa 1690 The single-handed posted countwheel bell striking movement with rectangular section corner uprights and anchor escapement regulated by seconds pendulum, the 10 inch square brass dial with pierced iron hand and concentric ring of turned buttons to the matted centre within applied Roman numeral chapter ring with stylised sword-hilt half hour markers and signed John Drew, Londini Fecit to lower margin, the angles applied with winged cherub mask and scroll cast and pierced spandrels with foliate engraved infill between the painted pine case with moulded cornice and brass foliate-pierced repousse frieze over solomonic turned Doric columns flanking the glazed hood dial aperture, the sides with rectangular windows and conforming quarter columns applied to bargeboards at the rear, over trunk with convex throat moulding and 43 inch rectangular door centred with an oval lenticle and applied with half-round edge mouldings above plinth base with moulded double-skirt (formerly with alarm), 203cm (80ins) high. John Drew is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born circa 1663 and apprenticed to Joseph Knibb in 1676 gaining his freedom of the Clockmakers' Company in 1684. He lived in Johnson's Court, St. Dunstan's Parish and took many apprentices including Isaac Lowndes in 1699/1700. In 1712 Drew was appointed Beadle to the Clockmakers' Company (a position normally reserved to destitute clockmakers) and received charity in July 1713 but died the following month. His widow, Eleanor (nee Ferentine), continued to receive Charity from the Company until her death in 1715. The current lot is a rare survivor being a clock probably made for ºckstairs' use in a wealthy household with the original provision of an alarm serving to alert the staff. The case echoes the fine proportions and architectural detailing seen on high-status walnut or marquetry cases of the period and may have probably originally had an ebonised finish which has subsequently been over painted with a 'scumbled' finish.

A fine Charles II eight-day longcase clock movement with 10 inch dial Joseph Knibb, London, circa 1685-90 The four knopped and finned pillar movement with rectangular plates measuring approximately 7.25 by 5 inches, the going train regulated by anchor escapement for a seconds period pendulum with pallet-shaped aperture cut to backplate, the strike train with external crossed-out countwheel and detent for sounding the hours on a bell mounted above the plates, the 10 inch square gilt brass dial with winding holes and high-position calendar aperture to the finely matted centre within applied 1.75 inch wide silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers and Arabic five minutes within the narrow outer track, the angles applied with winged cherub head and foliate scroll cast spandrels with foliate engraved infill between to each side and engraved signature Ioseph Knibb Londini Fecit to lower margin, (unrestored and with faults, lacking pendulum, weights and seatboard). Provenance: The estate of a connoisseur collector of regional furniture, works of art and clocks. Purchased at auction approximately sixty years ago with a view to having it restored and housed in an appropriate case. 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. The current lot exhibits features that one would expect to see on an eight-day longcase movement by Joseph Knibb namely the crossed-out countwheel, lack of bridge for the hour wheel to the frontplate and pallet-shaped aperture to the backplate. The dial is also typical of Knibb's work with high position calendar aperture, stylised fleur-de-lys half hour markers and narrow inner quarter and outer minute tracks. The signature is particularly pleasing with the upright script being directly comparable to that on an earlier small walnut eight-day longcase clock which was sold in these rooms on Tuesday 17th March 2015, lot 86 for £65,000 hammer. Stylistically the dial can be dated to around 1685-90 and compares closely to that of a marquetry cased example illustrated in Lee, Ronald A. The Knibb Family * Clockmakers on Page 46 (plate 45). Although in somewhat tired and neglected condition the current lot presents as an eminently viable restoration project and offers the enthusiast a potentially affordable route into Knibb ownership.

A fine Charles II eight-day longcase clock movement with 10 inch dial and alarm The dial signed for Joseph Knibb, London, circa 1680 The six knopped, finned and latched pillar movement with rectangular plates measuring approximately 7.5 by 5.125 inches, the going train regulated by anchor escapement for a seconds period pendulum with separately cocked escapement pallet arbor and figure-of-eight shaped pallet aperture to the backplate, the strike train with external countwheel and detent for sounding the hours on a bell mounted above the plates, the alarm train planted between the plates above the going greatwheel with spring barrel wound through the dial against a ratchet with sprung pawl mounted on the backplate, driving via an intermediate wheel with locking hoop a vertical verge crownwheel for the alarm hammer arbor with looped brass head sounding on the hour bell above, the 10 inch square gilt brass dial with three winding holes and rose engraved alarm disc to the finely matted centre within applied 1.5 inch wide silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers and Arabic five minutes within the narrow outer track, the angles applied with winged cherub head spandrels within a line scribed border interrupted with engraved script Ioseph Knibb London to lower margin and with alarm locking lever to upper margin, (lacking pendulum, weights and seatboard). 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. The current lot can be closely compared to the movement of a miniature eight-day longcase clock by Joseph Knibb housed in an oyster olivewood and marquetry case described and illustrated in Darken, Jeff (ed.) HOROLOGICAL MASTERWORKS pages 162-5. This movement shares the same slightly unusual casting for the pallet arbor cock (complete with wedge-shaped pivot end cap), figure-of-eight pallet aperture and pendulum suspension post riveted directly into the backplate. The wheel collets also match as does the detailing to the countwheel at the centre. Both the current lot and the miniature longcase movement also exhibit details typical of Joseph Knibb namely the lack of bridge for the hour wheel to the frontplate, slender pillars and relatively thin plates. In addition to the current lot and the miniature longcase clock, a 'three-in-two' quarter striking movement featuring the same pallet arbor cock casting, figure-of-eight aperture and pendulum suspension is illustrated in Dawson, Percy G., Drover, C.B. and Parkes, D.W. Early English Clocks pages 206-7 (plates 275 and 276). This third movement is described as probably being one 'bought-in' by Knibb for finishing in his workshop. It is very rare for an hour-striking eight-day longcase clock of this period to be fitted with an alarm mechanism although thirty-hour clocks were often supplied with this facility - probably reflecting their intended ºckstairs use'. The design of the mechanism installed into the current lot is also unusual in that it is positioned between the plates and is powered by a spring barrel - rather than being of the usual transverse weight-driven arrangement fitted to one side of the movement (as seen on some thirty-hour examples and later eight-day clocks). The reason why a spring-powered system was chosen for the current movement was probably simply due to the inherent lack of space for driving weights to descend within the relatively slender trunk of the case (already occupied by two relatively large weights and a pendulum). This problem of lack of available space was not shared by contemporary thirty-hour examples as they generally utilised a single weight (via Huygens's endless rope system) hence had enough space for the alarm weights to be accommodated. It is perhaps interesting to note that the design of the alarm work, in particular the ratchet for the barrel applied to the backplate, reflects those seen on a table clocks by the Knibb family including one by John Knibb illustrated in Lee, Ronald A. The Knibb Family * Clockmakers on Page 129 (plate 140). Furthermore the frontplate exhibits marking-out for the alarm train (in addition to the going and strike trains) confirming that the movement was made with this feature. The dial of the current lot has age and was clearly made for the movement with no matting behind the alarm disc and rich gilding to all areas except to those obscured by the chapter ring (normal practice for the period). Although there are a few unexplained historic filled holes to the plate none of these appear to directly indicate that the dial was ever fitted to another movement. The rear of the plate also has various repairer's marks dating back to the early 19th century, one of these inscriptions (dated 1833) encroaches one of the filled holes further indicating that these holes are historic and not 'suspicious' in nature. The front of the dial also has another faint repairer's mark dated 23rd January 1798 adjacent to the signature. The signature itself can be compared to that seen on the miniature longcase (which also incorporates London rather than Londini Fecit ) whilst the proportion of the space beyond the chapter ring up to the scribed line border echoes that seen on the dial of the three-in-two quarter striking clock. These inherent similarities would suggest that the current lot was made at the same workshop and at the same time as these other two examples.

A fine and very rare Charles II night timepiece Joseph Knibb, London circa 1670-75 The rectangular six finned and latched pillar single fusee movement with backplate measuring 7.75 by 5 inches and horizontal silent verge escapement regulated by short bob pendulum, the sides with black japanned metal dust covers, the top with similar shutter extended at the rear to provide a platform for the light source, the frontplate with integral cast arched extension to the upper edge to carry the revolving hour disc driven by motionwork behind and incorporating two smaller revolving discs each pierced with Arabic hour numerals visible through circular apertures cut within the outer concentric band of the principal disc, the 9 inch square gilt brass dial with break-arch centre panel painted with a scene of horsemen dismounting within a pastoral landscape beneath pierced arched sector to reveal the revolving chapter hour disc painted with cherubs in flight on a sky blue ground behind, the upper margin with pierced Roman numerals I, II and III for the quarters and incorporating scalloped inner edge with each division denoting the minutes, the lower margin signed Joseph Knibb Londini fecit over an engraved perspective pavement flanked by vertical panels engraved with delicate floral trails and paired Corinthian columns, the upper angles decorated with tied foliage flanked by grotesque lion's masks, in a gilt brass mounted ebony veneered table-top case with triangular tympanum applied with square panel outline mouldings to upper surfaces and with fine gilt mount modelled as an elaborate Baroque shield flanked by cherubs to front, the lintel with generous gilt festoon swags of fruiting foliage over rectangular glazed front door applied with raised moulding to the aperture and flanked by solomonic twist Corinthian columns with finely detailed capitals and bases, the sides with rectangular blind panels and conforming quarter columns applied to bargeboards at the rear, the base with projecting plinths for the columns at the angles, the rear with flat surface applied with geometric border mouldings behind the pediment over rectangular door with conforming panel decoration (movement with restoration, case now with removable superstructure, some restoration and adaptations), 52cm (20.5ins) high. Provenance: Formerly the property of H. Alan Lloyd, sold on instruction of his widow at Sotheby's, London, 2nd December 1974 (lot 33); sold again at Antiquorum, Geneva in their sale titled THE ART OF BRITISH HOROLOGY 21st October 1995 (lot 13) for a hammer price of CHF 50,000 (approximately £32,000 including 10% buyer's premium). Literature: Illustrated in Lloyd, Alan H. OLD CLOCKS (first published 1951) Plates 46 C. and D. 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. The current lot is one of four documented night clocks by Joseph Knibb 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 probably developed by the Fromanteels prior to Joseph's arrival in London in 1671. The advantage of this type of dial layout is that it negates the need to provide a separate chapter ring for daytime use as seen on other examples by makers such as Edward East and John Hilderson (see Dawson, Percy G., Drover, C.B. and Parkes, D.W. Early English Clocks pages 513-5, plates 759-63 for an example by John Hilderson). The engraved decoration and layout of the dial of the current lot is generally similar to the three other examples illustrated by Lee but has some detail differences - most noticeably in the design of the upper spandrel ornament. These differ in that the other three have decoration composed with a dog rose over pomegranate and other fruit whilst the current lot is engraved with foliate scrolls terminating with grotesque lions masks. The dog rose and pomegranate design is of a type seen on other standard clock dials by makers such as Edward East, as well as examples by Knibb made during his formative years in Oxford (including an ebonised architectural longcase clock which was sold in these rooms on Tuesday 11th March 2014, lot 143, for a hammer price of £230,000). From this it is perhaps appropriate to speculate that the dial of the current lot was most likely engraved by a different hand - probably the same individual responsible for an almost identical dial for a hour-striking night clock by Henry Jones illustrated in Early English Clocks on page 521 (plate 770). The case of the current clock is essentially 'of the period' and can be directly compared to one housing a standard table clock movement and dial by Edward East illustrated in Early English Clocks page 174 (plate 235). However alterations including the top being cut just below the lintel to make it removable (presumably to allow the lamp to vent when used at night) and the provision of an additional baseboard for the movement to sit-on would indicate that the case is not original to the movement and dial.

A rare gilt brass group of three 'tulip' clock finials Anomynous, circa 1680 Each formed with six finely chased acanthus petals curving upwards to form a cup around a central knopped upright over small circular moulded foot, (one lacking a petal), each approximately 5cm (2ins) high excluding screw. These three finials are of the type used to surmount the pediment of a fine miniature gilt brass mounted olivewood oyster veneered longcase clock by Edward East with unusual pierced gilt dome illustrated in Dawson, Percy G., Drover, C.B. and Parkes, D.W. Early English Clocks on page 255 (plate 343). Similar finials are also used to adorn the famous 'Tulip Tompion' two in three grande sonnerie striking table clock (Thomas Tompion 18) illustrated in Evans, Carter and Wright THOMAS TOMPION 300 YEARS pages 386-87.

An extremely rare Charles II diamond-shaped wall clock dial Ahasuerus Fromanteel, London, circa 1660-5 The 6 inch square plate engraved with a five-petal rose over signature Aha. Fromanteel within an intense field of asymmetric flowering foliage incorporating tulips and other blooms to centre, within applied narrow Roman numeral chapter ring with stylised wheatear half hour markers and inner quarter track, the upper and lower spandrel areas applied with silver coloured metal mounts cast in relief with further foliate sprays, now with a vestigial scroll-pierced steel hand an mounted in a moulded ebony frame, overall width corner-to-corner 26.5cm (10.5ins). Ahasuerus Fromanteel was born in Norwich in 1607 and was apprenticed there to Jacques van Barton before moving to London in 1631 where he became a freeman of the Blacksmiths' Company. The following year he was admitted as a Free Brother to the newly formed Clockmakers' Company. Fromanteel initially worked from East Smithfield but by 1640 he had moved to the Parish of St. Mary's Whitechapel and then finally to St. Saviour's, Southwark by 1650. Fromanteel took many apprentices including three of his sons; John in 1654, Abraham in 1662 and Daniel in 1663 (not freed). As part of his apprenticeship John Fromanteel was sent to The Hague to work with Saloman Coster from whom he acquired the knowledge of the first pendulum clocks. Subsequently, in September 1658, Ahasuerus Fromanteel posted his now famous advert in Mercurius Politicus announcing the introduction of the pendulum clock to England. The first of these timepieces appear to have been spring-driven however the longcase clock was subsequently developed/introduced within a year. This sequence of rapid technological advancements can almost entirely be attributed to the Fromanteel workshop leading many to describe Ahasuerus Fromanteel as the úther of English clockmaking'. Ahasuerus Fromanteel is believed to have left London in fear of the plague in around 1665, first travelling to Colchester, then onto Amsterdam where he set up in business in 1668. By 1676 Fromanteel was back in England (pesumably leaving the Amsterdam business in the hands of his sons John and Ahasuerus II) where he died in 1692/3 and was buried at St. Mary's Whitechapel on 31st January 1693. The current lot appears to belonged to one of a very rare group of domestic wall clocks with diamond-shaped dials as discussed by Bill Linnard in his three articles entitled Diamonds are Forever?, More Diamond Dials and Diamonds Galore published in the May 2005, April 2006 and April 2007 issues of the Horological Journal respectively. Linnard surveys thirteen other examples which he dates between circa 1670 and 1740. The earliest example he describes is a thirty-hour single-handed spring driven timepiece by John Wise of London which he dates to around 1670, with the next being the circa 1680 weight-driven alarm timepiece by Joseph Knibb illustrated in Dawson, Percy G., Drover, C.B. and Parkes, D.W. Early English Clocks on page 530 (plates 781-3). Other examples by Leading London makers such as Tompion (now cased as a table clock) and Samuel Watson are also discussed. The reason why these diamond shaped timepieces were made is not clear, they may have simply been following the tradition of lozenge-shaped dials for church clocks or perhaps they reflect a Continental influence as many German Renaissance monstrance clocks were made with lozenge-shaped dial surrounds (see Maurice, Klaus and Mayr, Otto THE CLOCKWORK UNIVERSE, German Clocks and Automata 1550-1650 page 206 for an example by Paulus Braun, Augsburg, circa 1600). The engraving to the centre of the current dial can be broadly compared to that seen on a hooded wall clock by Joseph Knibb of Oxford illustrated in Lee, Ronald A. The Knibb Family * Clockmakers on page 63 (plate 58). The provision of a winding hole (now filled/moved) would suggest that the original movement was most likely spring-driven and probably regulated by a verge escapement with a short-bob pendulum. This dial is probably the earliest English diamond-shaped example to have survived and to the best of the cataloguer's knowledge is the only one by Fromanteel.

A fine William III walnut and floral marquetry eight-day longcase clock Jasper Taylor, London, circa 1700 The five finned pillar outside countwheel bell striking movement with anchor escapement regulated by seconds pendulum and 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 Jasper Taylor, in Grays Inn to lower margin, with fine pierced blued steel hands and twin cherub and crown leafy cast spandrels to angles the case with moulded cornice and plain frieze above floral trial inlaid hood door applied with three-quarter columns to angles, the sides with rectangular windows and quarter columns applied to bargeboards at the rear, the trunk with conforming leafy trail decorated concave throat above 42 inch door centred with a lenticle and decorated with marquetry bird and angel figure inhabited flowering foliage into an ebonised ground, the surround with stylised leaf decoration, the sides with two line-edged panels within crossbanded borders, on conforming panel outline marquetry fronted plinth base with shallow moulded skirt, 213cm (84ins) high. Jasper Taylor is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born in 1671 to the clockmaker Thomas Taylor to whom he was subsequently apprenticed gaining his Freedom of The Clockmakers Company in 1695. He worked at Grays Inn, London and took many apprentices (including Thomas Fitter in 1699) with his last being George Freeman in 1711. The design of marquetry decoration to case of the current lot can be directly compared to that on a clock by Isaac Lowndes illustrated in Bruton, Eric The Wetherfield Collection of Clocks on page 170 (fig. 132). Please note: In order to clarify any doubt (possibly inferred by the catalogue description) we would like to state that we are of the firm opinion that the movement and dial are original to the case; in other words the movement and dial are not associated to the case.      

A fine Queen Anne ebonised longcase clock of six-week duration John Lowndes, London, circa 1705 The substantial five thickly turned finned pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch square brass dial with ringed winding holes, subsidiary seconds dial and calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers, Arabic five minutes to outer track and signed John Lowndes, London to lower edge, with pierced steel hands and gilt Indian mask and scroll cast spandrels to angles with foliate scroll infill between incorporating S/N strike selection lever at 12 o'clock, in an ebonised case with gilt ball finials to the ogee caddy surmounted fine foliate fretwork fronted box upstand above moulded cornice and further conforming foliate pierced fret to frieze, generous three-quarter columns with gilt caps and bases to glazed hood door, the sides with rectangular windows and rear quarter columns set against bargeboards, the trunk with convex throat above 42 inch rectangular trunk door centred with a brass lenticle, on plain plinth base with two-tier moulded skirt and brass squab feet, 262cm cm (103ins) high excluding finials, 270cm (106.5ins) high overall. John Lowndes is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as believed to have been born in Marthall, Cheshire in 1673. He was probably cousin to the clockmaking brothers Jonathan, Charles, Samuel and Isaac Lowndes. By the end of the first decade of the 18th century he was working in London, probably alongside his cousin, Jonathan, whose business he is believed to have inherited before passing it onto Thomas Smith in 1714 (when he returned to Chesire due to ill heath). The movement of the current lot is substantially framed and delicately trained as such is reminiscent of some of Tompions apprentice's work including Michael Knight. The case is also generously proportioned with confident detailing resulting in a clock which would grace the entrance hall of any Queen-Anne mansion.

A Pratt ware watch stand early 19th century, modelled as a longcase clock flanked by two boys emblematic of Autumn with a sheaf of corn, and of Winter wrapped in a cloak, richly enamelled in a traditional palette of blue, green, ochre and manganese, good restoration to two of the clock's finials, 26cm.

An oak longcase clock, 19th century, with a three-train musical movement, striking the quarters on eight bells, the brass dial inscribed 'Pattison Halifax' in the chapter ring, with painted moon phase dial and date, also a lever to alter tunes on the barrel, with three massive iron weights,dial 13in (33cm)205cm high

An oak eight-day longcase clock,by Thomas Appleby of Beverley, with an arched brass dial and with an eight-day movement,244cm

A George III thirty-hour fruitwood longcase clock,by George Quinton, Downton, the square brass dial with a calendar aperture and engraved with a sailing ship, a coastal castle and 'George Swinton, Downton', supporting a birdcage movement within a fruitwood case,dial 10½in (26cm) diametercase 195cm high

A George III mahogany longcase clock,the brass arched dial inscribed Wainwright Bunny, Nottinghamshire, with an eight-day striking movement, with a lunar dial and calendar aperture,dial 31cm

Joseph Grusell, Stiernsund: an 18th Century Swedish pine longcase timepiece with alarm, the inner alarm dial, with outer pewter roman chapter ring and pewter spandrels, name boss to arch and inscription 'Fugit Irreparabile Tempus', probably a thirty hour movement, the alarm dial with separate smaller weights and alarm bell, anchor escapement, the case with arched cavetto cornice above glazed door, arched waist door, panel base on bracket feet, 81 1/2in. high. NB This clock was featured in an Articles Clocks magazine, December 2013. See illustration

Elliott, Blyth: a mahogany longcase clock, with painted roman dial, subsidiary seconds and date dial, religious spandrels and last supper scene to arch, two train movement, arched case, turned columns, arched waist door, panel base, feet missing, 85in. (216cms).

William Pratt, Askrigg: an oak thirty hour longcase clock, with painted roman dial, date aperture, foliate spandrels, rustic scene to arch, single train movement with anchor escapement, the case with shaped cornice and shaped waist door, panel base on small bracket feet, 85 1/2in. (217cms) high.

John Charlton, Durham: a mahogany and banded longcase clock, the painted roman dial, with subsidiary aperture and seconds dial, leafy scroll spandrels, two train movement with anchor escapement, the case with swan necked pediment, decorated frieze, fluted side columns, shaped waist door flanked by fluted quadrants, panel base on bracket feet, 88in. (224cms) high.

John Ellis, Tal Y Cafn: an oak longcase clock, with brass roman dial, subsidiary seconds dial and date aperture to centre, engraved leafy scroll decoration, two train movement with anchor escapement, the case with plain frieze and side columns, shaped waist door, panel base, bracket feet, 79in. (201cms).

Reid & Sons, Newcastle on Tyne: a mahogany longcase clock, c.1900, with 13 1/4in. arched brass dial and silvered arabic numeral chapter ring, decorative scroll and fret decoration, subsidiary seconds dial, silvered plaque with retailer's signature, the arch with two dials for chime/silent and Westminster/Whittington/St. Michael chime selections, three train quarter chiming movement with single gong and eight graduated tubular bells, the case with arched pediment, pierced sound frets, glazed trunk door, on panel base with canted corners, bracket feet. See illustration

A Victorian inlaid mahogany and banded longcase clock in the North of England style, with painted roman dial, subsidiary seconds dial and date aperture, rustic scene spandrels, moon phase dial to arch, two train movement with anchor escapement, the case with swan neck pediment, carved side columns, shaped waist door and panel base with turned feet, 92in. (234cms) high.

A 19th Century mahogany drum head longcase clock, with circular roman dial, subsidiary seconds dial, two train movement with anchor escapement, the case with shaped pediment above arched glazed door, panelled waist door, fluted quadrants, panel base on bracket feet, 85 1/2in. (217cms).

H. Ivison, Carlisle: a George III thirty hour longcase clock, with 11 3/4in. painted dial, subsidiary date aperture and floral spandrels, bird design to centre, single train movement, the plain case with turned columns, shaped waist door, quadrant sides, panel base, on bracket feet, 82 1/2in. (210cms) high.

An oak longcase clock, circular re-painted enamel dial, inscribed Holliwell, Derby, with a date aperture, thirty hour movement, case with a broken swan neck pediment, shaped doors and quarter column quadrants, stepped plinth, 210cm.