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*A George III green japanned eight-day longcase clock, J. Shippard, Poole, circa 1775. The five pillar rack and bell striking movement with 11.75 inch brass break-arch dial with calendar aperture and subsidiary seconds dial to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes and signed J. Shippard, Poole to lower edge, the angles with bird and urn cast spandrels beneath recessed arch panel now painted with a coastal view within a dark blue ground border (rocking ship automaton lacking), the case with foliate painted ogee caddy above gilt blind fret upper quadrants and three-quarter columns flanking gilt hatched panel bordered door to hood, break-arch trunk door applied with coloured transfer engravings of a money counter and a merchant within conforming gilt borders and with opposing panels of oriental figures to upper angles, the plinth fronted with a coloured marine view with coastal ruins and men o`war above double skirt base, 240cm (94.5ins) high.

A George III mahogany eight-day longcase clock with moonphase, Thwaites, London, circa 1770. The five pillar rack and bell striking movement with wide convex-topped plates and 12 inch brass break-arch dial with narrow subsidiary seconds ring and calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track and signed Thwaites, London to lower edge, the angles with cast rococo scroll spandrels beneath rolling moonphase with terrestrial and lunar motif engraved lunettes and calibrated for the lunar month to the edge of the disc beneath foliate scroll engraved border to upper edge of arch, the case with shaped pediment and cavetto break-arch cornice above substantial brass stop-fluted pilasters to hood, caddy moulded break-arch door flanked by stop fluted quarter columns to trunk, on raised shaped-panel fronted plinth base with conforming quarter columns to angles and double skirt, (case with faults), 238cm (93.5ins) high. Ainsworth Thwaites is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as admitted to the Clockmakers` Company in 1735, gaining his Freedom in 1751 and working from Rosoman Row until 1780. He had two sons, Benjamin (apprenticed 1762, Freed 1770) and John (apprenticed 1772, Freed 1782) who subsequently made the clock for St. Paul`s Chapel, New York. The current may have been made by Ainsworth Thwaites alone, or perhaps in partnership with either of his two sons hence the presence of only the surname as a signature.

A fine George II mahogany table clock with pull quarter repeat and carved mouldings. Delander, London, circa 1730. The six pillar bell striking movement with rise/fall regulation for the verge escapement and pull quarter repeat on a nest of six graduated bells, the backplate boldly signed Delander, London to centre, the 6.5 inch brass break-arch dial with false bob aperture and arched cartouche further signed Delander, London to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track, the angles applied with unusual basket of flowers and scroll cast spandrels, the arch with subsidiary regulation dial flanked by Indian mask and scroll cast mounts, the inverted bell-top top case with cast brass handle above ribbon tied foliate carved raised mouldings bordering the front door aperture flanked by egg-and-dart decorated caddy-moulded angles, the sides with conforming raised mouldings to the circular over concave-topped apertures, the rear door with break-arch window and remnants of the original foliate pierced sound frets to upper quadrants, on cavetto moulded base with squab feet, (case with some losses to veneers, lacking pendulum), 42cm (16.5ins) high. Daniel Delander was apprenticed to Charles Halstead in 1692, although possibly in name only (in order to circumvent the Clockmakers` Company rules regarding number of apprentices allowed) as he was known to be working in Tompion`s workshop in 1693. Delander gained his Freedom in 1699 and continued for a few years working as journeyman with Tompion. He subsequently set up on his own working from Devereux Court before moving to `within Temple Bar`, Fleet Street from where he is thought to have worked until his death in 1733. Daniel Delander was succeeded by his son, Nathaniel who gained his Freedom of the Clockmakers` Company in 1721, he is recorded working from Fleet Street and later Royal Exchange, was appointed Master of the Clockmakers` Company in 1747 and died 1762. The working relationship between Daniel and Nathaniel Dalender appears to be unknown except for the fact that Nathaniel succeeded his father in 1733, however it is possible that they worked in partnership during the latter years of Daniel`s career, hence why many of the clocks from this period are signed with the surname only. Daniel Delander`s work often demonstrates his former Master`s influence in particular the consideration given to the proportions and detail finish as well as the workmanship and specification of the movements. Delander was never one to let fashion overtake him, always being at the cutting edge with regards to design and use of materials. He is perhaps best known for his exquisite small walnut precision longcase clocks with duplex escapements made during the 1720`s as well as the silver mounted grande sonnerie table clock formerly in the Rous Lench Collection which is illustrated in Dawson, Percy G., Drover, C.B., and Parkes, D.W. Early English Clocks on page 411. The current lot, with its carved mouldings, can be directly compared to another example by Delander sold at Phillips, New Bond Street, Clocks and Watches 17/12/1996 lot 174. These two clocks differ in that the example sold at Phillips is veneered in walnut (but is of exactly the same proportions with the same pattern of carved mouldings) and has silver spandrels of a pattern used on earlier clocks by Delander. This suggests that the current lot is marginally later in date, perhaps dating to very shortly after the import duty for mahogany was lifted in 1727. A third, perhaps marginally later again, mahogany cased clock from the Delander workshop was sold at Christie`s, London Important Clocks and Watches 4/07/1990 which shares the same proportions and specification (including a backplate with signature on a plain background) but has simpler linear raised mouldings. The restrained approach to the movement backplate, which is plain except for a finely scripted signature, demonstrates the influence of Tompion`s successor, George Graham who shared Delander`s refined confident approach.

A Scottish Regency mahogany eight-day longcase clock, James Whitelaw, Edinburgh, circa 1815. The four pillar rack and bell striking movement with 13 inch circular single sheet silvered brass Roman numeral dial with subsidiary seconds dial and signed James Whitelaw, Edindurgh to centre, with blued steel Breguet type hands, the drum-head case with brass bezel to the circular hood surround above waisted section and raised throat mouldings, the trunk with rectangular caddy moulded door flanked by reeded quarter columns above short recessed panel, the plinth base with conforming recessed panel and bracket feet, 208cm (82ins) high. James Whitelaw is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as born in Edinburgh 1776 and dying 1846.

A George III inlaid mahogany eight-day longcase clock with moonphase, Samuel Collings, Thornbury, early 19th century. The four pillar rack and bell striking movement with 12 inch single-sheet brass break-arch Roman numeral dial with subsidiary seconds and calendar dials and signed Samuel Collings, Thornbury to the foliate scroll engraved centre within chapter ring with Arabic five minutes to outer track and foliate spray engraved spandrel decoration beneath arch with rolling moonphase calibrated for the age of the moon and annotated for HIGH WATER AT BRISTOL QUAY the swan neck pedimented case with fluted Corinthian columns to hood above line-bordered rectangular door flanked by canted angles to trunk, on conforming plinth base with later skirt, 225cm (88.5ins) high. Samuel Collings is recorded in Dowler, Graham GLOUCESTERSIRE CLOCK AND WATCHMAKERS as working from Chipping Sodbury and then Thornbury 1816-70. The current lot demonstrates his tendency to supply well engineered movements in nicely detailed understated cases.

A George II green japanned eight-day longcase clock with moonphase, Samuel Harris, London, mid 18th century. The five pillar rack and bell striking movement with 14 inch brass break-arch dial with subsidiary seconds dial and calendar aperture to the silvered centre within applied Roman numeral chapter ring with Arabic five minutes and signed Samuel Harris, LONDON to lower edge, the angles with twin bird and urn spandrels beneath arch with rolling moonphase calibrated with the age of the moon to the rim of the disc, with sunburst decorated lunettes and herringbone engraved band to upper border of the arch, in a break-arch case with gilt hatched panel and foliate trail decorated door flanked by columns to hood, break-arch door finely painted in raised polychrome and gilt with robed figures within an oriental garden landscape with pagodas, the surround with further alternating hatched and foliate scroll border and figures to upper quadrants, on raised panel fronted plinth base with conforming decoration and moulded skirt, 236cm (93ins) high. A Samuel Harris is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World, Volume 2 as admitted as apprentice to the Clockmakers` Company in 1695, gaining his Freedom in 1708 and working until 1730.

*A Queen Anne eight-day longcase clock movement and dial, Thomas Cartwright, London, early 18th century, in a later mahogany case. The five finned pillar inside rack and bell striking movement with 12 inch square brass dial with scroll border calendar aperture, ringed winding holes and subsidiary seconds dial to the matted centre within applied silvered Roman numeral chapter ring with stylised sword hilt half hour markers, Arabic five minutes and signed Tho. Cartwright, Royal Exchange, Londini Fecit to lower edge, the angles with twin cherub and crown cast spandrels and herringbone engraved border, now in a late 18th century mahogany case with cavetto cornice and turned pilasters to hood, break-arch trunk door and on plinth base with bracket feet, 203cm (80ins) high. Thomas Cartwright is recorded in Loomes, Brian The Early CLOCKMAKERS of Great Britain as being born circa 1679. He was apprenticed to Christopher Gould in 1693 gaining his Freedom of the Clockmakers` Company in 1700, he reputedly died in 1741. The current lot is noteworthy in that it employs an internal rack for the striking mechanism - a feature normally reserved for use in high quality month duration movements by the better makers. This coupled with the decorative nature of the dial perhaps demonstrates the influence of Cartwright`s Master, Christopher Gould in his work.

A rare ebonised oak and pine `longcase` lantern clock case, Late 17th century. The hood with ogee moulded cornice above moulded rectangular door with external iron strap hinges, brass drop handle and moulded 9 by 7 inch aperture, the sides with simple rectangular doors with conforming hinges and handles, the trunk with ogee throat moulding above slender dual moulded panel inset door with three further external iron strap hinges (one replaced) and another brass drop handle, the structure continuing to from the base with brace applied below the trunk door and on later skirt, 193cm (76ins) high. Original `longcase` cases for lantern clocks are very rare, mainly due to the fact that lantern clocks were predominantly designed to hang from the wall. The construction of the current lot (often termed `pencil case`) with its slender trunk continuing to the floor reflects 17th century practice as early 18th century examples tended to resemble contemporary longcase clock cases more closely by incorporating a more developed hood and a wider section to form a plinth at the base. The mixed use of pine and oak in the current lot confirms that it was designed to take a painted finish (in this case ebonised). The simple hood side doors and external iron strap hinges are again perhaps 17th century features. Two related cases which are dated between 1660 and 1680 are illustrated in Loomes, Brian LANTERN CLOCKS & Their Makers pages 370-1.

A fine Charles II walnut and oyster laburnum marquetry longcase clock case, Circa 1680. The formerly rising hood with part-ebonised cornice mouldings and swollen foliate marquetry decorated frieze above spiral twist turned three-quarter columns flanking foliate trail inlaid door with 9.5 inch square glazed aperture, the convex throat further decorated in various timbers and green-stained bone with tulips, the 42 inch rectangular trunk door with central circular and two ovoid marquetry panels, each depicting bird inhabited foliage within an oyster veneered laburnum ground with marquetry spandrels to upper and lower angles and line-edged crossbanded borders, the sides with laburnum oysters within further crossbanded borders, the plinth base with conforming marquetry oval panel and spandrels, on compressed bun feet, 193cm (76ins) high.

A Charles II eight-day longcase clock movement with ten inch dial, Unsigned, circa 1680, in a later oak case. The six finned pillar outside countwheel bell striking movement with anchor escapement and formerly with bolt-and-shutter maintaining power, the 10 inch square brass dial with calendar aperture and subsidiary seconds dial to the matted centre within applied narrow silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers and Arabic five minutes within the outer track, the angles applied with winged cherub head and foliate scroll cast spandrels, now in an oak case with moulded cornice and foliate pierced fret above spiral twist turned pilasters to hood, shaped-top crossbanded door flanked by fluted quarter columns to trunk, on conforming raised panel fronted plinth base with ogee bracket feet, 208cm (82ins) high. The movement and dial of the current lot is perhaps related to a group of anomynous clocks by an unknown maker described in Robinson, Tom THE LONGCASE CLOCK pages 53-6. The example pictured by Robinson (3/9-12) displays many close similarities to the current lot including the engraving of the chapter and seconds ring, and the use of an hour wheel bridge casting as a backcock. Robinson suggests that such anonymous movements were made by either journeymen or other makers who, as they were not Freemen of the Clockmakers` Company, were not authorised to sign their work. Many such examples have now had signatures of famous makers added hence genuine unsigned examples such as the current lot are rare.

An eight-day longcase clock movement with 10 inch square dial, Late 17th/early 18th century. The four finned pillar inside countwheel bell striking movement with anchor escapement and 10 inch square brass dial with calendar aperture and subsidiary seconds dial within an applied silvered Roman numeral chapter ring, later skeletonised and with stylised trident half hour markers and with Arabic five minutes within the narrow outer track, the angles with winged cherub head cast spandrels, (lacking hands, pendulum and weights).

An important Charles II walnut table clock, John Wise, London 1675-80. The substantial seven double-baluster turned latched pillar twin fusee movement with bolt-and-shutter maintaining power and striking on a bell mounted above the 9 x 6 inch movement plates via an outside countwheel and vertically pivoted hammer with fine scroll engraved `S` shaped top pivot potance, the large spring barrels with substantial blued steel turned set-up wheels and clicks mounted on the backplate with engraved John Wise, Londini fecit signature between, the 9 inch square gilt brass latched dial with calendar aperture and shutters engraved with male and female profile portraits to the finely matted centre within applied silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers and Arabic five minutes within the outer minute track, with scroll pierced blued steel hands and the angles applied with gilt winged cherub head cast spandrels with bolt-and-shutter lever slot between the lower two, the case of Knibb `phase I` design with foliate cast gilt hinged handle to the shallow dome above foliate scroll pierced fret to the upper rail of the front door, the sides with rectangular glazed apertures, on moulded base with later brass squab feet, (now with anchor escapement and later movement securing brackets), 37cm (14.5ins) high. Provenance: the property of a Gentleman, Oxfordshire. The current lot is a `family` piece which to the vendor`s knowledge has been in been in the family collection for as long as anyone can recall (at least three generations). John Wise senior is recorded in Loomes, Brian The Early CLOCKMAKERS of Great Britain as born circa 1625 and apprenticed to Peter Closon through T. Dawson in 1638, gaining his Freedom in October 1646. He apparently lived in Warwick 1653-68 where he repaired the clocks at St. Nicholas and St. Mary`s churches, the latter providing the venue for the baptism of three of his children. He moved back to London in 1669 where he was re-admitted to the Clockmakers` Company by redemption. He took many apprentices including no less than six of his sons; Richard (Free 1679), John (Free 1683), Thomas (Free 1686), Joseph (Free 1687), Peter (Free 1693) and Luke (Free 1694). He is thought to have been working from `neere the popeshead in Moorfields` in the year of his death in 1693. Although several early longcase and lantern clocks by John Wise senior are known, table clocks however appear to be extremely rare. Perhaps the best known example is an unusual single-handed timepiece is illustrated in Darken, Jeff HOROLOGICAL MASTERWORKS pages 82-3. Despite obvious differences, this timepiece does share some similarities with the current lot, for example the wheel-work has the same finned-collet design and the stopwork has the same pronounced disc cam to the fusee. The case also utilises the same highly individual casting for the carrying handle albeit in a more complete form. The movement of the current lot is of notably substantial construction, which although in itself is not particularly unusual for the period is noteworthy. The detail design and layout of the movement is perhaps more interesting in the way that it does not immediately conform with the prevalent Fromanteel/Tompion/Knibb and East/Jones schools of clockmaking. The backplate layout with its external clicks, positioning of the countwheel, and the way in which the movement is signed is perhaps more similar to a movement by Matthew Crockford (with altered dial and associated architectural case) which was sold at Sotheby`s London Important Clocks.. 13/10/1988, lot 211. The Crockford movement also shares the same number of movement pillars, has maintaining power, calendar aperture and is of similar dimensions. The double baluster movement pillars used on the current lot are similar in weight and detail to the single baluster design used by Edward East (see Dawson, Percy G., Drover, C.B. & Parkes, D.W. Early English Clocks page 86, plate 106) but differ by being doubled to compensate for the greater relative distance between the plates. The vertically pivoted hammer used on the current lot is an unusual, perhaps archaic detail. The case very closely resembles those used by Joseph Knibb for his `phase I` clocks and can be directly compared to an example illustrated in Dawson, Percy G., Drover, C.B. & Parkes, D.W. Early English Clocks page 418, plate 596.

A William III walnut and floral marquetry eight-day longcase clock, Fabian Robin, circa 1695. The five finned pillar inside countwheel bell striking movement with 11 inch rosette-centred square brass dial with subsidiary seconds dial, foliate engraved calendar aperture and ringed winding holes to the matted centre within applied silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers, Arabic five minutes to narrow outer track and signed Fab: Robin, Londini fecit to lower edge, the angles with gilt winged cherub head and foliate scroll cast spandrels, in a case with moulded cornice and fretwork frieze above foliate trail inlaid door applied with spiral twist three-quarter columns to hood, above conforming decoration to the ebonised ground convex throat, the trunk with 42 inch rectangular door centred with an oval lenticle and inlaid with three shaped marquetry panels decorated with bird inhabited foliage on an ebonised ground within a walnut field, on conforming marquetry panel fronted base with bun feet, 201cm (79ins) high. Fabian Robin(s) is recorded in Britten Former clock and watch makers as working in London circa 1695.

A William III walnut and floral marquetry eight-day longcase clock with ten inch dial, Richard Baker, London, circa 1690. The four (formerly five) finned pillar inside countwheel bell striking movement with 10 inch square brass dial with calendar aperture, subsidiary seconds and later foliate scroll engraving to the dial centre within applied silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers and Arabic five minutes within the outer track, the angles with winged cherub and foliate scroll cast spandrels, the lower edge signed Richard Baker, Londini fecit, in a case with moulded cornice and inlaid frieze above foliate marquetry bordered hood aperture, the trunk with convex throat over 42 inch rectangular door with shaped floral marquetry panel incorporating teardrop motif above two further break-arch outline panels decorated with foliate designs on a walnut ground and incorporating a glazed oval lenticle between, on a plinth base now similarly decorated and with moulded skirt, (with restoration) 204cm (80.5ins) high. Richard Baker is recorded in Loomes, Brian The Early CLOCKMAKERS of Great Britain as being apprenticed through the Blacksmiths` Company to John Chatfield before transferring to Richard Browne in 1683. He gained his Freedom of the Clockmakers` Company by redemption by order of the Lord Mayer in 1685. He is described as a `Great Clockmaker` and took on many apprentices including Peter Garon in 1687 for which he was fined by the Clockmakers` Company as Garon (being a Huguenot immigrant) was considered an `alien`. Baker is thought to have died in around 1700 with his widow, Jane continuing his business until around 1718.

A Queen Anne walnut eight-day longcase clock, John Gavelle, near London, early 18th century. The four (formerly five) finned pillar inside countwheel bell striking movement with 12 inch square brass dial with subsidiary seconds dial, ringed winding holes and foliate 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 Jno. Gavelle, near London to lower edge, the angles with twin cherub and crown pattern spandrels, in a case with moulded cornice and scroll pierced fret to frieze above three-quarter columns to hood and rectangular bleached walnut banded trunk door, on line bordered and crossbanded plinth base with double skirt, 221cm (87ins) high. The current lot is possibly the same maker recorded a James Gavel(l)e in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as being admitted as a Free Brother to The Clockmakers` Company in 1682/3 and paid quarterage until 1691. The use of the phrase `near London` alongside the signature suggests that the maker positioned himself just beyond the reach of city boundaries and thus the jurisdiction of the Clockmakers` Company. This may have been to avoid paying `quarterage` or because the maker of the clock (ie. perhaps a relative of James Gavelle) was not a Freeman of the Clockmakers` Company.

A Georgian mahogany banded oak cased striking eight day longcase clock by W Holland of Chester, the 13ins square brass dial with applied spandrels, engraved subsidiary seconds dial and engraved date aperture, complete with pendulum, twin weights and winder, height 216cm (7ft 1ins) (illustrated)

An early 19th century crossbanded mahogany cased striking eight day longcase clock by William Smith of Huddersfield, the 14ins painted arched dial with subsidiary seconds and date dials, complete with pendulum, twin weights and winder, height 234cm (7ft 8ins) (illustrated)

A late Georgian boxwood and ebony strung mahogany cased chiming eight day longcase clock, the 14ins painted arched dial with subsidiary seconds and date dials, complete with pendulum and twin weights, height 224cm (7ft 4ins) (illustrated)

A Georgian boxwood strung mahogany cased striking eight day longcase clock by William Scott, the 13ins painted arched dial with moon face to the arch, painted subsidiary seconds dial and date aperture, complete with door key, winder, pendulum and twin weights, height 231cm (7ft 7ins) (illustrated)

An early 19th century crossbanded mahogany and oak cased striking eight day longcase clock by James Davenport of Macclesfield, with pendulum and twin weights, height 221cm (7ft 3ins) (illustrated)

A Georgian mahogany banded oak cased striking eight day longcase clock by E Garside of Macclesfield, the case later carved, with pendulum and twin weights, height 206cm (6ft 9ins) (illustrated)

A 19th century longcase clock dial with painted face and corner pieces decorated with figures in landscape, also a twin train eight day clock movement and two cast iron cylindrical weights, height of dial 57cm

An oak longcase clock, the 30-hour movement striking on a bell, with associated brass arch top dial, inscribed Helm Ormskirk, the glazed, arched hood inset verre eglomise panels and with twin Doric pillars flanking the frieze, the crossbanded and part pollarded case with shaped door flanked by quadrant pillars, above a moulded box base with raised shaped front panel, 218cm high

A 19th century inlaid mahogany longcase clock, with arched painted dial by Geo(?) Lefes(?), Wisbeach

A Longcase Clock with square brass dial, silvered dial chapter ring, 30-hour movement in oak case, the hood with turned columns

A 19th Century Longcase Clock with arched painted dial inscribed John Lloyd, Brecon, 8-day movement in oak case cross-banded with mahogany

A 19th Century Longcase Clock, 8 day movement with painted dial marked J.A.Probert, Hay on Wye, the oak case having mahogany cross-banding

An 18th century style mahogany longcase clock, with a scrolled arched pediment, above a silvered chapter ring and Roman numerals, with a chime and second subsidiary dials, with a rack striking German movement, 234 cm high.

A German mahogany longcase clock, with broken scroll pediment and brass dial, with moon phase window, of recent production, 203 cm high.

An early 19th Century Longcase Clock, the painted arched dial with date aperture and seconds ring with eight day movement in oak and mahogany case with swan`s neck pediment, lion inlaid decoration and fluted canted corners on bracket feet. 7` 2" (218cms) high.

Late eighteenth century eight day longcase clock with 12½ inch white painted circular dial with subsidiary second and calendar dials and brass surround mounted against a painted break arch background depicting a hunter with dogs, in a mahogany veneered case with reeded corners and inlaid stringing, short shaped door with central oval panel, the break arch hood with full sized glass door, shaped turned column, swan neck pediment and central brass finial, 241cm overall height Further images and condition reports are available at www.reemandansie.com

Victorian oak cased longcase clock with a square painted dial with painted floral spandrels and central floral motif Further images and condition reports are available at www.reemandansie.com

Georgian longcase clock with eleven inch painted dial. Painted shell spandrels and central bird motif, subsidiary crescent date dial, signed J Hov, Maltishall, mahogany case with domed door hood with glazed door, turned columns and swan neck pediment, approximately 200cm overall Further images and condition reports are available at www.reemandansie.com

Nineteenth century eight day longcase clock with fourteen inch break arch dial with ornate gilded spandrels. Silvered chapter ring and engraved and silvered centre. The break arch with central silvered disc engraved Tempus Fugit. Mahogany case with short moulded oak door, the plinth with ebony inlaid oak panel on bracket feet, the mahogany hood with glazed door, turned columns and swan neck pediment with brass ball finial, 250cm overall height Further images and condition reports are available at www.reemandansie.com

Eight day longcase clock with twelve inch brass dial, silvered chapter, ornate brass spandrels, subsidiary second dial and date aperture. Oak case with full length door and compressed plinth. Glazed door with turned columns and carved frieze. Approximately 190cm overall height Further images and condition reports are available at www.reemandansie.com

JOSH TRATTLE, NEWPORT AN EARLY 19TH CENTURY OAK LONGCASE CLOCK having four pillar mechanism with anchor escapement and rack bell strike faced by an arched brass dial with cast spandrels, subsidiary seconds and calendar, the case with arched hood, wa" ist door and fore-shortened base, 1.9m high, including key, two weights and pendulum

J & E MASON, WORCESTER AN EARLY 19TH CENTURY OAK AND MAHOGANY CROSSBANDED LONGCASE CLOCK having 30 hour mechanism with bell strike faced by a square painted dial with shell spandrels, brass capped column hood, lozenge inlaid waist door and box base," on the remains of bracket feet, 2.01m high, including weight key and pendulum

MASSEY ECCLESHALL AN EARLY 19TH CENTURY OAK LONGCASE CLOCK having hood with moulded pediment and thumb frieze, circular brass dial with Roman and Arabic chapter, four pillar mechanism with anchor escapement and rack bell strike, trunk with shaped wa" ist door and flank corner pilasters on a panelled box base and later box below, 2.2m high (two weights and pendulum)

A modern mahogany longcase clock with double brass weights and key

A Georgian oak and mahogany longcase clock, 30 hour movement, painted face, marked `Nicholas, Daventry`

A George III oak longcase clock, with a painted arched dial, eight day movement, 221cm high

A mid 18th century burr walnut veneered longcase clock by Conyers Dunlop, London, arched brass dial with matted dial centre, subsidiary seconds and date aperture, strike-silent to the arch, 8-day movement with five pillars and anchor escapement, case with pagoda pediment, cross-banded with herringbone inlay, circa 1760, 8ft. 4in. high - with winding crank, pendulum and weights SEE ILLUSTRATION

A George II provincial oak 30-hour longcase clock, unsigned 10in. square brass dial with matted dial centre, movement count-wheel striking on a bell, in oak case, circa 1740, 7ft. high - with pendulum and weight

Three assorted longcase clock dials.

A 19th century oak and cross banded longcase clock, the 30 hour movement with painted enamelled dial with subsidiary date aperture, inscribed "A : Allgood" (Alfred Allgood, Ledbury circa 1830-70)

VICTORIAN INLAID MAHOGANY MINIATURE LONGCASE CLOCK with swan neck pediment above a circular enamel Roman numeral dial, with cylinder movement, 38cm high

GEORGE III CARVED OAK LONGCASE CLOCK maker Garland of Sunderland, with arched brass dial, Roman/Arabic numeral dial and subsidiary seconds, 224cm high x 59cm wide

An oak 8-day longcase clock, the 30.5cm painted arched dial signed J. Hawkins, Southampton, with subsidiary seconds and date, the case on plinth base, height 209cm (82in.).

A mahogany 8-day longcase clock, the 30.5cm painted arched dial signed Jas. Davidson, Old Deer, with subsidiary seconds and date, the hood flanked by fluted columns, the trunk by gadrooned pilasters, on bracket feet, height 207cm (81 1/2in.).

An oak and mahogany banded 8-day longcase clock, the 30.5cm painted arched dial signed `Edmond Preecy, Fordingbridge`, with subsidiary seconds and date aperture, the hood flanked by turned columns, the case on plinth base, height 204cm (80 1/2 in.).

A modern oak cased longcase clock

A 19th century oak longcase clock, having an eight day movement and an arched painted dial, the spandrels with painted portraits of military officers, dial 33cm, case 200cm high (a/f)

A modern mahogany longcase clock, the silvered and brass dial signed Richard Broad, Cornwall, the glazed trunk door enclosing three brass weights, plinth base, 185cm height

AN 18TH CENTURY OAK LONGCASE CLOCK BY SHEPHERD AND POTTER, of Wotton, with inlaid case, and enclosing a 12 inch painted dial with secondary dial and calendar aperture and 8 day striking movement.

An 18th century brass faced oak longcase clock, John Charlton Durham, eight day movement with subsidiary dial

An early Victorian oak and mahogany eight day longcase clock, the 14 inch painted arched dial signed `J N Freeman`, with centred subsidiary seconds dial and date aperture within a ring of Roman numerals and florally painted corner spandrels, the figural painted arch showing a figure playing the flute next to a running brook, the hood with swan neck pediments over an arched glazed hood door between ring and baluster turned front corner hood pilasters over a short Gothic arch crossbanded trunk door between half split turned front corner trunk pilasters on a box base and ogee moulded short bracket feet (at fault), 227cm high

An oak thirty hour longcase clock, second quarter 19th century the 12 inch square painted dial signed `W M Edwards, Bishops Castle`, with centred date aperture within a ring of Arabic numerals and leaf painted corner spandrels the hood with swan neck pediment over square glazed hood door between reeded front corner hood pilasters over a short rectangular trunk door on a box base and skirting plinth, 204cm high NOTE: Douglas J Elliott notes William Edwards, Bishops Castle 1776-1851 Clock and Watchmaker, Church Street, 1822/3 - 1850 in Shropshire Clock and Watchmakers

A mid 18th century oak thirty hour longcase clock, the 11 inch square brass dial signed `Harrocks, Emo Bridge` with centred date aperture within an inner ring of Roman numerals, outer ring of Arabic numerals and pierced corner spandrels, the hood with square glazed door flanked by turned front corner hood pilasters over an ogee arched trunk door on a boxed base with later skirting plinth, 195cm high NOTE: G H Baillie notes - Joshua Harrocks Lancaster and Eamont Bridge 1748-1759 in Watchmakers and Clockmakers of the World volume One

A Victorian oak crossbanded mahogany eight day longcase clock, the 14 inch arched painted dial indistinctly signed with centred date aperture within a ring of Roman numerals and florally painted spandrels under an arch depicting `Father Time`, the hood with swan neck pediment over an arched glazed hood door and Gothic arched short trunk door with central conche shell inlay on a single panel crossbanded box base between canted front corners, lacking bracket feet (at fault), 227cm high

An oak crossbanded mahogany eight day longcase clock, the 14 inch arched painted dial signed `Goodchild, Bradford`, with centred subsidiary seconds dial and painted scene depicting a hunt in full flow within an inner ring of Roman numerals, an outer ring of Arabic numerals and female figural painted spandrels to depict the seasons under a rolling moon to the arch, the hood with swan neck pediment over an arched hood door between turned front corner hood pilasters over a crossbanded and conche shell inlaid trunk door between front corner quarter fluted pilasters on a single panel box base with central conch shell inlay, raised on short bracket feet (restored movement and face) 232cm high