We found 24353 price guide item(s) matching your search

Thomas Luny (1759-1837)"Hurst Castle" Signed, inscribed verso and dated, 1832, oil on metal, together with a further companion example by the same hand, 17.5cm by 26.5cm (2)a) Hurst CastleThere is a hole in the metal support middle top edge. Brittle age craquelure throughout, stable and suppressed in places by retouching with a few areas slighly raised. There is also a gritty appearance to some of the paint (see images in raking light). Scattered minor old restored losses. Much of the overpaint, partcularly in the sky and sea has whitened and is visible. A small patch of micro-flaking on the horizon to the left of the lighthouse. Possibly some slight abrasion/thinning of delicate dark passages.Old, slighly yellowed varnish, ingrained dirt and minor surface accretions.b) Partially filled hole in the metal support centre of top edge. Brittle age craquelure throughout, stable and suppressed in places by retouching with a few areas slighly raised. There is also a gritty appearance to some of the paint (see images in raking light). Scattered minor old restored losses. Much of the overpaint, partcularly in the sky and sea has whitened and is visible. Possibly some slight abrasion/thinning of delicate dark passages.Old, slighly yellowed varnish, ingrained dirt and minor surface accretions.

Frank Thomas Copnall (1870-1949) Portrait of a lady, three quarter length, seated, wearing a brown cloche hat and overcoat Signed, oil on canvas, 85.5cm by 70cm Unlined, one key missing, lacking in tension. Dirt and debris trapped behind bottom stretcher. From the reverse, there is a square of paint on the back of the canvas top left (unclear why), and large patch of white paint partially covered with brown paper behind the face. It is unclear what this has been applied for, as there is no obvious damage to the face. Possibly done to support the fine canvas where the paint is thickest and prevent cracking/quilting?There is a small convex distortion bottom left corner, where something has poked the canvas from behind - minor paint loss associated with this. There are minor passages of stable, flat brittle age craquelure. There are some passages, notably in the mid browns, where the paint is thin and the pale ground can be see through.Most notably, there are passages of a white material on the surface, largely associated with the darkest areas of paint. Unclear what this is, possibly material leaching out of the paint (see images). Slighly uneven surface gloss in these areas. Varnish slighly yellowed, light surface dirt and accretions. No restoration visible.

Geoffrey Douglas Giles (1857-1941) Foxhound standing in a kennel Signed and indistinctly dated, oil on board, 26cm by 33.5cmProvenance:The Collection of the Late Captain Edward Cazenove (1923-2000) Panel flat and even. Wood grain evident from the face. Minor losses at the edges from contact with frame - unrestored. A patch of flaked paint middle of right edge. Generally stable with no visible losses. Scattered dark/matte surface accretions. Ingrained dirt/darkened varnish? in hound. Very matte surface.

John Charlton RBA (1849-1917)"Gambler"Inscribed, pencil and watercolour heightened with white, together with a further inscribed and dated 19/1/08 sketch of a foxhound by the same artist, mounted and framed with further inscription to read "To John O'Scott with good wishes from John Charlton, 1910" 21cm by 21cm and 17cm by 24cm respectively (2, framed as one)A few tiny scattered white scuffs. Very slight diagonal pale crease/mark to the top left of the bototm hound, and a pale patch below his front paws. Small white accretion bottom left of the top hound. Slight darkening/oxidisation around the edges where in contact with the mount. Otherwise, fine.

A Late George III Mahogany Linen Press, early 19th century, the moulded and dentil cornice above a fluted frieze and carved flower patera, the cupboard doors below enclosing a later brass hanging rail, the base with two short over two long pine-lined drawers, on splayed bracket feet133cm by 59cm by 201cmThe doors are straight, however, there are defects to the polish, especially to the left-hand side which is particularly bruised and scratched (see images). The end panels have further scuffs and old splits/patch repairs. The left-hand side in comparison is rather faded. The drawers are open and run freely. There are some scuffs and faults to the cock-beading. Numerous scuffs and repair work. Linen chest is structurally sound. See further online images.

George Graham RSW, RI, ROI (resigned RBA) (1881-1949) Gypsy encampment Signed and dated 1921, oil on canvas, 34cm by 44.5cmProvenance: Private Collection, Redmire, North Yorkshire Unlined, no keys, but fair tension.A 1.5cm vertical compound tear with two small horizontal branched at the bottom, just to the left of the central female figure, with associated minor loss of paint and ground, distortion of canvas and cracking (see images). There have been further slight blows to the canvas with slight dents/distortions and associated minor stable cracking in the sky above the central post/pole (see images in raking light).Slight stretcher bar marks with associated stable cracking. A few further isolated impact and brittle age cracks, all stable and not elevated. A couple of tiny rubs/nicks to the grass to the right of the signature.The surface is fairly lean, with a slighly uneven surface gloss. There is a little ingrained dirt/varnish, a patch of white fibres stuck in the surface above the signature on the left. Several drips of a darkened, matte waxy substance, including a 3cm drip in the tree, a couple of drips and spots in the sky, and a few drips in the foreground - none very noticable. Further minor surface accretions throughout including a fair amount of flyspotting. A light layer of surface dirt and dust.No restoration apparent.

British School (19th century) Portrait of a young girl, three quarter length, wearing a brimmed hat and holding a sprig of Roses before a Lakeland landscape Oil on canvas laid on board, 12.5cm dia. (oval) Oil on canvas, laid on board. The board protrudes lightly from the frame at the reverse at the top, with minor old damages to the board at the back. Brittle age craquelure throughout, one slightly raised but secure vertical crack one inch above the left of the hat, but the rest are flat and stable. One tiny retouched loss to the centre of the raised crack in turquoiseish paint. A few scattered further tiny pinpoint retouched losses in the background. One slight small area of scratches/nicks to left of the crack. There has been some slight thinning/abrasion to the paint paint layers in the sky, edges of foliage and to the edges of the hat where there is a pentiment (artist's change).The picture has been partially cleaned in the past, with an older yellowed varnish left on in the foliage, landscape and shadowed side of the sitter's drapery and hands. There is a patch of the yellowed varnish visible in the left of the cape/collar. A little old ingrained dirt/varnish visible in the lighter passages, but very minor. The upper varnish has a nice even gloss, with only a few scattered minor tiny dark marks.Frame: One darkened crack through the bottom centre, minor old losses of gesso to the back edge and one of the gadroons at the top edge on the right. Cracking of gilding and dirt consistent with age.

John W Morris (1865-1924) Sportsman with resting dogs and pony in the Highlands Signed, oil on canvas, 56.5cm by 86.5cm Unlined, all keys present, good tension. Old patch to reverse, to a restored tear in the top right of the pannier basket, which has an uneven texture. Writing in marker on the back of the canvas has seeped through the canvas a little and is visible in the sky at the top of the painting from the face.Slight stretcher bar marks, and passages of minor brittle age craquelure. There has been some minor flaking in the past - with some of the isolated patches of tiny losses partially overpainted, and some not touched. Scattered further minor losses, some retouched, some not, including a line of losses and a raised horizontal line through the horse's front legs associated with a blow from the reverse, along the top edge, the left edge. A long compound scratch, retouched, in the bottom right corner, with smaller retouched scratches to below and right of this. A few further minor scuffs and scratches.A few patches of abraded/worn paint showing ground through - see right of horse's head, in hills top left and in birds in foreground.Partially cleaned in the past, with residues of old dirt and varnish. A matte upper varnish layer, with a layer of surface dirt/dust. The modern frame has some minor cracking to the gesso along the top edge in places, and minor damages to corners of the back edge (see images).

A Late 17th Century Walnut and Marquetry-Inlaid Bureau, inlaid with birds and foliage, the fall front enclosing pigeon holes, small drawers and a sliding well, all above three graduated oak-lined drawers, on compressed bun feet75cm by 49cm by 102cmPoor condition throughout and various veneer losses, right hand panel badly split left-hand panel badly split fall front further losses and patch above estucheon, drawer fronts and dust boards again with faultsinterior, later hinges with further splits

A Four-Piece Victorian Silver Tea and Coffee-Service, by Charles Reily and George Storer, London, 1849 each piece shaped tapering octagonal and on four scroll and openwork panel feet, later engraved with initials, comprising a teapot; a coffee-pot, each with ivory-insulated handle and flower and foliage finial; a cream-jug and a sugar-bowl the coffee-pot 26.5cm high, total gross weight 81oz 19dwt, 2,548gr (4)With non-transferable standard ivory exemption declaration number HTUREJVC.Each piece fully marked under base and further stamped model number ‘M493’. The teapot and coffee-pot each further part marked inside cover, on handle and on finial with conforming marks. There is some minor wear to the marks but each is still legible. There is some overall surface scratching and wear, consistent with age and use. The wear is noticeable as a softening to the high points and the engraving. The engraved initials are later and there is apparently a patch on each side of the teapot and the coffee-pot. The ivory insulators with some staining and cracking, they do not show signs of having been replaced or altered. The cream-jug and sugar-bowl gilt inside.

A Derby Porcelain Leaf Moulded Sauceboat, circa 1770, edged in green and painted with flowers in the cotton stem manner, patch marks18.5cm A Worcester Porcelain Teapot and Cover, of barrel form, moulded with flowers and painted in underglaze blue with a cell border, crescent mark9cm high (3)Derby - short crack to the foot.Worcester - losses to the petals on the knop. Chips to the end of the spout.

A Derby Porcelain Bowl, circa 1760, white glazed and modelled as on oversized shell, supported on three shells and encrusted with further various shells and seaweed, patch marks18cm highTwo chips to the rim. Another chip to the base. Some slight losses to the applied work.

A 1800 Palais Royale tortoiseshell Patch Box, with a scene of the Tuileries Gardens to the lid, 3 1/2" x 2 1/8" x 7/8" high.

A leather weekend case for Rolls-Royce by Swaine Adeney Brigg,modern, brown leather case with handle and 'RR' impressed emblem, with zip-fastening and buckles, and two internal compartments with chequered pattern lining with maker's leather patch, 56cm wide, with draw-string black cloth outer protective bag. (2)Lot to be sold without reserve.For further information on this lot please visit Bonhams.com

St. ANDREWS FIRST AID - A COLLECTION OF MEDALS Housed together in a glazed display case measuring approx. 28cm x 25cm; including a 9ct gold and enamel 1929 Hedderwick Nursing Trophy fob medal, awarded to H. Sharp, weighing 9.44g; various silver Gas Works Cup and St. Andrews A.A. Dundee Centre medals, crica-1930s; two Voluntary Medical Service Medals, awarded to J. Wallace and H. Foote respectively; an Order of St. John of Jerusalem medal etc.; together with a quantity of loose silver St. Andrews Ambulance Association medals, weighing approx. 228g overall; a silver A.R.P. lapel badge; and a National Hospital Service Reserve cloth patch Sold on Behalf of St. Andrews First Aid, Glasgow. Condition Report:The medals are in generally good condition, most being tarnished and with minor surface wear. The presentation within the display case is fairly haphazard. The 9ct gold medal is loose within the case. All others are held to the felt backing with thread. The case is glazed with Perspex, which is dirty and scratched. The loose silver nursing medals are tarnished to varying degrees, each having an engraved number at the bottom of the border. The box for the A.R.P. lapel badge is worn and marked, with tears to all four corners of the lid.

A 20TH CENTURY OAK FRAMED PORTERS STYLE ORKNEY CHAIR  with domed rush backrest over drop-in rush seat flanked by scrolled arms on square tapering supports joined by stretchers, 149cm high x 64cm wide x 59cm deep Condition Report:Chair is in a fair condition with notable wear to lower back of rushed back rest with a suede patch applied to one side, there is also minor wear to supports

Follower of Bernardo Bellotto (1721-1780) A View of Santa Maria del Salute and the entrance to the Grand Canal, Venice, looking East from the Campo Sta. Maria Zobenigo, with the Palazzo Pisani-Gritti, Barges and numerous Gondolas, the Dogana and the Riva degli Schiavoni beyondOil on canvas, 62.5cm by 96.5cmProvenance: Thomas Agnew & Sons, LondonNote: This is a copy of a work of Bellotto’s early maturity datable to 1742. The original, re-attributed to Bellotto (having been published as Canaletto – W.G.Constable, Canaletto, Second Edition 1989, vol. 2, cat. 180 (a)) was sold at Christie’s New York, 11th January 1995, lot 25 Lined, fair tension, all keys present. Quantity of dirt and debris behind bottom stretcher. Original tacking margins removed. A little moating/pressing of impasto from lining process, and a few slighly lumpy, unevenly textured patches in the sky (the cause of these is unclear), see images in reflected light. Brittle age craquelure throughout, mostly flat but there are a few sharp elevated peaks in the centre of the sky. There has also been a history of finer scale flaking, and this appears to be active in a few places with some small sharp raised areas of paint below the dome of the Salute (see images in raking light). There a myriad of losses associated with this flaking, which is mostly around the Salute, in the sky and in the buildings on the right, although the vast majority are tiny, and the handful of larger losses are less than 1cm. Some of these are retouched, and some are not. See images. There are further tiny scattered losses throughout, but they are concentrated in the right hand side. The majority of the paint is secure and in good condition. There are a few very minor old losses of paint at the edges, mostly from retouching.The edges of the painting have been filled out and retouched, approximately 1cm wide around top and sides, and nearer 2cm at the bottom edge. This is visible within the sight of the frame. There is also a little fine scumbled overpaint in places in the sky, and a larger 3x2inch patch of overpaint to the right edge of the sky (see images in UV). It is unclear what this is covering. There is likely more than one campaign of restoration. There are two horizontal drip marks/losses to the left of the door on the left side. It is unclear what these are. There has been a very little thinning of some of the darker delicate passages of paint, mostly in the corbels under the roof on the left and in the red sail at the right.Old ingrained varnish and dirt, visible in the lighter passages such as the sky, and a more recent upper varnish, slighly yellowed. A layer of surface dirt and a few scattered surface accretions and flyspotting, and one minor matte splash mark to the bottom edge.

Nicholas Pocock OWS (1740-1821) Naval vessels off a coast Signed and dated 1788, watercolour, 26.5cm by 37.5cmProvenance: Thomas Agnew & Sons, Manchester The paper is flat and even. There is a painted/drawn faux mount on the main sheet. A very minor scuff to the paper 'mount' top left corner. Minor incised/indented diagonal marks in 'mount' below left hand rock. Small brown foxing spots throughout. Two drops of a flaking transparent material over the mast on the far right ship. A few pale spots around edges. Oxidisation/timestaining consistent with age. Muting of colours/fading throughout.There is a gold and black slip painted on the reverse of the glass. This is peeling/flaking at the inner edge and one patch on right edge (see images). One white mark top left corner of the frame, and a few cracks at left edge, but frame is in generally good condition. A little dirt.

Edgar Hunt (1876-1953) Hen, Chicks and Pigeons in a barn Signed and dated 1908, oil on canvas, 35.5cm by 30.5cmProvenance: Richard Green, London Unlined, fair tension, all keys present. Fine network of brittle age craquelure, not elevated and all secure. A patch of drying cracks in the dark brown top left, possibly slightly suppressed by retouching. Very minor possible thinness/damage in the top of the sticks of the broom. A few very tiny old losses bottom left corner, and one to top left edge. Fairly even varnish, light surface dirt and a few minor surface accretions.

A French Louis XV-Style Rosewood, Parquetry and Marquetry-Inlaid Bureau en Pente, late 19th century, with gilt-metal mounts, the fall front enclosing a fitted interior of four bowfront drawers and leather writing surface, a frieze drawer below, on slender cabriole legs with gilt cast mounts and sabots75cm by 46cm by 99cmThe fall front and drawer are open but no key. Generally good cosmetic condition, with the exception of the verso which is rather faded where the timber is dry. Some patch repairs (as photographed). Some small sections of veneer also missing (as photographed).

Edgar Hunt (1876-1953) Farmyard pond with goats, ducks and ducklings Signed and dated 1918, oil on canvas, 55.5cm by 74cm Provenance: Morgan and Brown Ltd, Newcastle Upon Tyne Appears unlined. All keys present, but a large amound of dirt and debris including pine needles down behind the bottom stretcher. A large patch of varnish/adhesive at the reverse (top left from behind) - doesn't appear to be associated with any damage at the face, but there is a corner draw/distortion to the canvas in this corner. Slight stretcher bar mark and associated stable cracking at bottom right edge under the goat.Paint generally in nice condition, slight milkyness/opacity in the bright light possibly from old varnish, which is relatively matte and possibly a little yellowed. Numerous minor surface accretions - flyspots and tiny brown splashes throughout. Light surface dirt.

ESCAPE FROM NEW YORKBritish Quad (30" x 40") Signed by Director John Carpenter, Nick Castle, Alan Howarth, Dean Cundey Tom Atkins, Adrienne Barbeau and Charles Cyphers (JSA COA)Very Fine Folded; Artwork by Rene Ferracci Barber International, 1981This poster boasts fantastic artwork by Rene Ferracci, which highlights the eye patch anti-hero, Snake Plisken and the New York City skyline below. Signed by director John Carpenter at Fan Expo (Toronto, Canada) in 2013, writer Nick Castle, Charles Cyphers (Secretary of State), Adrienne Barbeau (Maggie), Tom Atkins (Rehme) and composer Alan Howarth at Horrorhound (Indianapolis, IN) in 2012, and cinematographer Dean Cundey at Texas Frightmare Weekend (Dallas Fort Worth, TX). From a Private Collector.This folded poster was signed by director John Carpenter, writer Nick Castle, composer Alan Howarth, cinematographer Dean Cundey and actors Tom Atkins, Adrienne Barbeau and Charles Cyphers. Poster exhibits mild crease and handling wear. There is a 3" tear on the upper/center fold that has been repaired.Set in the not-too-distant future world of 1997, John Carpenter's hugely entertaining sci-fi envisions Manhattan Island as a high-security prison: one which one-eyed criminal Snake Plissken (Kurt Russell) must infiltrate to rescue the President of the United States (Donald Pleasence).This lot will be auctioned on Thursday, September 12th. The auction will begin at 9:30am PST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on September 13th.

A FINE GEORGE III BRASS MOUNTED EBONISED FOUR-TUNE MUSICAL TABLE/BRACKET CLOCK WITH AUTOMATONSAMUEL TOULMIN, LONDON, CIRCA 1775The substantial five pillar trip fusee movement now with anchor escapement regulated by lenticular bob pendulum, the music train playing a choice of four tunes via a 3.5 inch transverse cylinder and fifteen hammers on a graduated nest of ten bells on the hour followed by the strike train counting the hours on a further larger bell, the backplate finely engraved with an extensive asymmetric rococo cartouche signed Samuel Toulmin, Strand, London to centre beneath an offset standing Ho-Ho bird, the 8.75 inch brass break arch dial with applied silvered curved signature plate engraved Samuel Toulmin, Strand, London to the matted centre within silvered Roman numeral chapter ring with Arabic five minutes beyond the outer minute track, with scroll pierced steel hands, the spandrel areas decorated with unusual relief polychrome floral spray infill and the lower right-hand margin with tune selection slide labelled 1-4, the arch with recessed polychrome painted scene of a hunt passing before a windmill with vanes turning and figures on horseback parading from left to right across the lower margin whilst the music plays, three of the background figures with unusual speech bubbles exclamating 'Hark forward' and two other indistinct phrases, the ebonised bell-top case applied with generous rococo scroll cast mount to the concave section of the upstand and five gilt brass flambeau urn finials, over double cavetto top mouldings and hinged front incorporating brass fillet-edged glazed dial aperture and rococo scroll cast upper quadrant frets flanked by gilt moulded inserts to angles, the sides with rectangular scroll pierced sound frets interrupted by generous hinged gilt brass carrying handles, the rear with break-arch glazed rectangular door applied with raised mouldings around the aperture and with upper quadrant frets, flanked by conforming inset brass mouldings to the rear angles, on cavetto moulded skirt base with moulded gilt brass squab feet.63cm (24.75ins) high including top finial, 32.5cm (12.75ins) wide, 20cm (8ins) deep. Provenance:From a Private Collection. Samuel Toulmin is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working from Strand, London circa 1757-83. He was a fine maker who seemed to specialise in musical and automaton clocks with several examples known including a clock with scene of couple paying tennis to the arch. A longcase clock with rare Battersea enamel dial signed for him was sold at Christies, London IMPORTANT CLOCKS, MARINE CHRONOMETERS & BAROMETERS 12th December 2001 (lot 167) for £7,990. The raised polychrome floral decoration to the spandrel areas of the dial of the present clock is very unusual, and engraving to the backplate is beautifully executed in a highly individual style. These details, coupled with the very rare (if not unique) inclusion of 'speech bubbles' within the hunting scene to the arch, result in a clock full of character and individuality befitting of the work of a fine and innovative clockmaker. Condition Report: Movement is in clean fully working condition, The escapement has been converted from verge to anchor escapement however the original backcock and apron have been retained (just moved downwards by around 2.5cm). Otherwise movement appears to be in original condition with no other visible evidence of alteration or notable replacements. The music train runs well providing fairly strong even pace to the melodies although some of the hammers may benefit from slight adjustment. The automaton appears original and is operational. One of the figures (probably a pair of hounds) is missing from the procession otherwise figures are intact with minor to moderate wear losses to the original finishes. The sails of the windmill have been repainted otherwise the scene is in very good original condition with only very minor wear/losses. The rest of the dial is in good original condition with overall light oxidation to the brass and silvered surfaces giving resulting in a fairly pleasing mellow patina. The unusual relief decoration to the spandrels appears to be composed from gesso heightened with oil paints - and is in good original unrestored condition but with rubbing to high spots and the only notable loss being a flowerhead within the upper right-hand decoration. The tune selection lever is operational.The case is in generally in very good original condition. The mask bordering the dial (behind the front door) has some patch slip repairs to the veneer overlap and the front door lock is inoperative. Otherwise faults are overall very much limited to minor are related shrinkage, bumps, scuffs and other blemishes commensurate with use. The mounts are somewhat muted/tarnished and the ebonised finish has rubbing to the edges. The frets are generally in very good condition with only one or two very small losses; the silk backing for each is however heavily degraded.Clock is complete with pendulum, winder and two case keys. Condition Report Disclaimer

A FINE FRENCH BRASS GORGE CASED SMALL REPEATING ALARM CARRIAGE CLOCK WITH LIMOGES ENAMEL PANELSUNSIGNED, PARIS, CIRCA 1875The eight-day two train gong striking movement with frosted silvered platform lever escapement regulated by sprung split bimetallic balance and alarm mechanism planted between the plates at eleven o'clock sounding on the same gong, the backplate stamped with serial number 7027 to lower left-hand corner, the rectangular deep maroon almost black enamel dial with gilt star rosette to centre, contrasting gilt and white Roman numerals to chapter ring and gilt brass hands, the upper spandrel areas decorated in translucent polychrome enamel with Renaissance inspired stylised foliate scroll strapwork and the lower margin centred with an Arabic numeral alarm setting dial flanked by bird inhabited conforming leafy scrollwork, the brass gorge case with hinged carrying handle over large bevelled top glass, trip-repeat button to front rail and channel-moulded uprights, the sides inset with fine enamel panels depicting winged clothed putti serenading lovebirds with a pan pipes and a flageolet, the rear with pin-hinged bevel glazed door, on ogee-outline base; with original tooled Morocco leather covered protective carrying case.The clock 10cm (4ins) high with handle down, 7cm (2.75ins) wide, 6cm (2.375ins) deep. The exquisite dial and side panels of the current lot are textbook examples of the finest enamel-work produced in the Limoges workshops during the second half of the 19th century. The Renaissance inspired subject matter along with the colour palette (in particular the dark ground) revives the style for which the region became particularly well-known for during the 16th Century. Indeed the popularity and re-establishment of the Limoges enamel workshops during the second half of the 19th century was born out of a deep appreciation for the Renaissance originals which had become highly prized by connoisseurs earlier in the century. As often the case with French revivalist art the intention was to match (or even, if possible, exceed) the quality of the originals hence there was generally a 'no expense spared' approach to execution in order to achieve this objective. Condition Report: Movement is in relatively clean fully working condition with no visible evidence of alteration or noticeable replacements. If intending to put then clock into long term service a precautionary gentle clean/service is advised. The dial panel has what appears to be a very slight scratch to the ground near the top right hand corner (can only really be seen on close examination under strong light). The left-hand side panel has miniscule chips to each of the upper two corners (again only visible on very close examination), otherwise the enamel panels appear to be free from any visible faults. The glasses appear free form visible damage and the case is free from defects although the surface is generally a little dull/discoloured. The travelling case is structurally sound retaining its original strap handle, button clasp and repeat push intact. The interior has lifting/snagging to the velvet lining and general wear; the exterior has uneven scuffing and wear to the surface including a rectangular patch form a sticky label being attached to the top of the lid at some point.Clock does not have a winding key. Condition Report Disclaimer

A WIILLIAM IV/EARLY VICTORIAN MAHOGANY BRACKET TIMEPIECE WITH PASSING STRIKEBROCKBANK AND ATKINS, LONDON, CIRCA 1835-40The four columnar pillar single chain fusee movement with anchor escapement regulated by lenticular bob pendulum and passing strike sounding a single blow on a bell on the hour, the backplate with pendulum holdfast and signed Brockbank & Atkins, London, No. 2204 towards the lower margin, the 6 inch circular white painted Roman numeral dial inscribed BROCKBANK & ATKINS to centre and with steel hands set behind a hinged convex-glazed brass bezel incorporating silvered fillet to inside edge, the 'chamfer top' case with shallow hipped upstand over slender cavetto cornice, fluted frieze and ogee outline tall waist moulding, the sides with rectangular glazed panels over conforming waist and the rear flush incorporating a glazed door, on moulded skirt base with compressed bun feet.35cm (13.75ins) high, 23.5cm (9.25ins) wide, 16cm (6.25ins) deep. Provenance:The Leonard Fuller Collection. The firm Brockbanks was established when the two brothers John and Myles Brockbank went into partnership in the early 1790`s. The business was continued by various members of the family until becoming Brockbanks & Grove when George Grove was taken into partnership in 1812, later becoming Brockbank and Atkins when George Atkins was taken into partnership after Grove`s death in 1814. George Atkins ran the company until 1835 when his son, Samuel Elliot Atkins, became a partner in the firm; from 1840 to 1842 the company was re-named Brockbank, Atkins and Son but after this date the title 'Son' was removed. From 1885-1898 the renowned watchmaker George John Moore became a partner in the firm hence watches were signed 'Brockbank, Atkins & Moore during this period. Sometime before the Moore's departure in 1898 Samuel Elliot Atkins' son, Charles Edward, joined the firm. The business subsequently continued trading under his stewardship until 1933. Condition Report: Movement is in relatively clean working condition however a precautionary gentle clean/lubrication is probably advisable if intending to put into long-term service. There is no visible evidence of alteration or noticeable replacements. The dial has been refinished to a good standard but has some slight rubbing /wear as well as small patch of discolouration near the VIII numeral. The case is generally in very good condition with the only notable faults being let-in veneer slip patch repairs to the leading edge of each of the side glasses (no doubt to repair past chips/losses to the veneer overlaps) and some shrinkage cracking beneath the dial towards the left-hand margin. Faults are otherwise limited to minor bumps, scuffs, shrinkage, wear and other minor age-related blemishes.Clock is complete with pendulum, winder and a case key. Condition Report Disclaimer

A VICTORIAN FIGURED MAHOGANY HOUR-STRIKING DOMESTIC LONGCASE REGULATORPARKINSON AND FRODSHAM, LONDON, MID 19th CENTURYThe substantial five knopped pillar eight-day gong striking movement with Harrison's maintaining power and Graham-type deadbeat escapement regulated by wood-rod seconds pendulum with heavy bob adjusted via a calibrated silvered rating screw, and fine beat adjustment to crutch, the 12 inch circular single sheet silvered brass Roman numeral dial with subsidiary seconds dial and signed Parkinson & Frodsham, CHANGE ALLEY, LONDON to centre, with blued steel spade hands and STRIKE/SILENT selection lever above twelve o'clock, the case with cavetto moulded compressed break-arch cornice over square front door fitted with a circular glazed dial aperture with canted silvered fillet insert to interior flanked by canted angles, the trunk with cavetto throat moulding over recessed panel trunk door fronted with fine flame-figured veneer and flanked by conforming canted angles, the plinth base with stepped ogee top moulding over panel outline front also with fine flame figured veneer continuing down to face the skirt base.199cm (78.5ins) high, 46.5cm (18.24ins) wide, 26cm (10.25ins) deep. William Parkinson and William James Frodsham founded the highly regarded firm of Parkinson & Frodsham in 1801 at 4 Change Alley, Cornhill, London. William Parkinson died in 1842 and William Frodsham in 1850. Initially the firm specialised in marine and pocket chronometers and established an extensive export business supplying the Admiralty and numerous shipping companies. After the founders' deaths the business was continued by Frodsham's elder sons and grandson until 1912, when it was sold to the foreman, William Harris. Harris and his son Geoffrey ran the business successfully until 1944 when the firm's premises in Budge Row were bombed. Condition Report: Movement is in relatively clean working condition with no visible evidence or noticeable replacements. Although the clock appears to have been maintained in good working condition a precautionary gentle clean/lubrication is probably advisable if intending to put into long-term service. The dial has some slight rubbing around the winding holes and some overall light patchy oxidation otherwise is in fine original condition. Movement retains its original seatboard secured into the case with no visible evidence of alteration or adjustment hence we are of the opinion that the movement and dial are original to the case. The case is generally in very good original condition with notable faults limited to very slight warping to the centre panel of the trunk door (no splits or evidence of 'coming away' from the frame/surround). The left side skirt has veneer patch repair running along the lower edge; the opposing right-hand side has some slight veneer chipping also along the lower edge. Faults are otherwise limited to minor bumps, scuffs, shrinkage and wear.Clock has pendulum, two brass-cased weights, case key but no winder. Condition Report Disclaimer

A GERMAN 'MULBERRY' VENEERED TABLE CLOCKJ.G. EICHLER, FRANKFURT, MID 18th CENTURYThe substantial five knopped pillar twin fusee bell striking movement with plates measuring 9 by 7.75 inches, pinned flanged steel walls to the barrels, five-wheel trains and anchor escapement regulated by lenticular bob pendulum, the 8.5inch inch square gilt brass dial with calendar and shaped false bob apertures over ringed winding holes to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers, Arabic five minutes beyond the outer minute track and signed J.S. Eichler, a Franckfurt to lower margin, with scroll pierced steel hands and applied silvered repousse mask and scroll spandrels to angles, the case veneered in lamp black stained field burr maple or 'mulberry' wood with large gilt brass ring handle to the stepped ogee caddy superstructure, over ovolo capped cavetto top moulding and opening front applied with repeating C-scroll pierced lozenge-shaped fret to the upper rail enclosing a conforming fret to the dial mask behind, the sides with further gilt frets over break-arch lozenge shaped glazed apertures, the rear with door matching the front except for having a smaller glazed aperture and shorter fret, on ovolo moulded skirt base with block feet. 43cm (17ins) high with handle down, 30.5cm (12ins) wide, 16cm (6.5ins) deep. Joseph Georg Eichler is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as a 'Master' clockmaker working in Frankfurt up until his death in 1758.  Condition Report: Movement is complete and will just about run and strike, however it is in oily/neglected condition so prone to stopping, hence a gentle clean and service is required. The escapement has probably been converted from verge to anchor (evidence in the plates is inconclusive) and the trains have largely been re-pinioned. The strike train is generally not counting fully/properly suggesting that the rack is sticking - further confirming that a service is required. Without undertaking a train count it is difficult to confirm the duration however as there is an intermediate wheel between the fusee and the centre wheel it would be safe to say that it will probably run between 5 and 8 days. The dial is in fine condition with good colouring and faults limited to very light oxidation only. The case is generally in very good condition and with very attractive veneers. The mask around the dial (behind the front door) has some veneer patch repairs and there is a loss to the veneer strip applied to the inside edge of the door. The skirting to the base has a couple of small well-matched veneer patch repairs otherwise faults to the case are very much limited to minor bumps, scuffs, shrinkage, a few historic fill/patch repairs, age related blemishes and wear.Clock has a pendulum but no winding key (no case keys required). Condition Report Disclaimer

Y&nbspA REGENCY MAHOGANY BRACKET CLOCKWIGHTMAN, LONDON, CIRCA 1815The five pillar twin fusee bell striking movement with geometric border engraved shallow-arch backplate and anchor escapement regulated by heavy lenticular bob pendulum with an effective length of 11.5 inches, the 8 inch circular single sheet silvered brass Roman numeral dial signed WIGHTMAN, ST. Martins Lane, London to centre and with delicate pierced steel hands, with a strike/silent selection lever to upper margin set behind hinged convex glazed engine-milled cast brass bezel, the arched case with geometric looped lozenge ebony line inlaid decoration beneath the dial and the sides with brass fish scale sound frets, the rear with arch glazed door set within the frame of the case, on ogee moulded skirt base fitted with brass ball feet.The clock 43.5cm (17ins) high, 28.5cm (11.25ins) wide, 18cm (7ins) deep. Provenance:The Leonard Fuller Collection, purchased from Liberty and Company, London, 15th April 1966 for £97-10-0. Online sources record a Thomas Wightman working from 95 St. Martin's Lane, London 1798-1818. Condition Report: Movement is complete and in working condition with no visible evidence of alteration or notable replacements. The mechanism however is a little dull/dirty hence a clean/service is advised. The dial has overall moderate oxidation/patination to the silvering otherwise is in good original condition. The case is generally presentable but has slight shrinkage cracking towards the rear edge at the apex of the top and above and below each of the side frets. The rear door has a slight warp and a small veneer patch repair adjacent to the escutcheon. The front has a horizontal shrinkage crack towards the lower edge just above the skirt as well as slight shrinkage just beneath the dial. Faults are otherwise limited to minor bumps, scuffs, shrinkage, wear and other minor faults commensurate with age.Clock is complete with pendulum, case key and a winder. Condition Report Disclaimer

A FINE ENGRAVED GILT BRASS STRUT TIMEPIECE IN THE MANNER OF THOMAS COLE W. VASEL FOR RETAIL BY CARRINGTON AND COMPANY, LONDON, CIRCA 1880 The Swiss-made circular eight-day three-quarter plate movement with lever escapement regulated by sprung bimetallic balance, the 2.75 inch wide silvered brass Roman numeral dial with fine symmetrical repeating Baroque cartouche and strapwork engraved horizontal line hatched centre within narrow Roman numeral chapter ring and with fine blued steel fleur-de-lys hands, the upper and lower margins engraved with foliate scrolls and floral motifs incorporating central raised shaped extensions of the gilt canted bezel further engraved with fan motifs to upper surfaces set behind bevelled oval front glass, the frosted gilt case with hinged lancet-shaped pendant applied to a leafy scroll panel engraved crest over repeating oval cartouche and leafy spray line-hatched decorated dial surround, the periphery with strapwork panel decoration, and the rear panel profiled to match the front and fitted with regulation shutter, hand setting screw, integral winding key, pivoted looped strut and engraved with the initials W.V. to upper margin; in original velvet lined gilt tooled Morocco protective easel case inscribed with CARRINGTON & CO., BY APPOINTMENT, 130 REGENT STREET, W. around the Royal crown to the cream silk-lined interior of each of the opening front panels.The timepiece 12.5cm (4.875ins) high with handle down, 9cm (3.5ins) wide, 2cm (0.75ins) deep; the leather case 17cm (6.75ins) high, 12.5cm (4.875ins) wide, 3.5cm (1.375ins) deep.  Although not apparently listed in the usual sources W. Vasel was known as a fine maker who worked from several addresses in London from 1881-1907. Vasel appeared to specialise in continuing the production of high-quality decorative timepieces made popular by Thomas Cole who submitted several examples both under his name and on the stand of Hunt and Roskell at the Great Exhibition in 1851. Thomas Cole died abruptly of typhoid fever in 1864 no doubt leaving a 'gap' in the market for others to continue with the production of finely made timepieces in his style.  The firm of retail Jewellers and silversmiths, Carrington and Company, was founded by John Bodman Carrington in 1873. They traded from 130 Regent Street, London, and in 1880 were incorporated as a Limited Company. The business became one of the leading silversmiths in London with John Bodman Carrington being appointed Prime Warden of the Goldsmith's Company in 1902. The firm continued trading throughout the 20th century until being acquired by Collingwood and Company in 1970. The present lot would appear to be the smaller variant of two timepieces made by William Vasel to this design. An example of the slightly larger model (with dial measuring 3.5 inches across), this time made by Vasel for retail by Hamilton and Inches of Edinburgh, was sold in these rooms 7th March 2023 (lot 114) for £3,200 hammer. Condition Report: The movement is in fine original working condition with no visible evidence of alteration or noticeable replacements; a gentle clean/service is however is advised. The dial has overall oxidation and some wear/rubbing to the chapter ring otherwise is in good original condition. The case has overall moderate wear of the original gilt finish with the brass beneath discolouring where the gilding is now thin. All screws holding the case together are present and are most likely all-original. The leather case has some fraying to the silk lining over the hinge points of each front panel and to two small localised areas of the left hand flap. The exterior is very 'dry' with some rubbing, light scuffs and edge wear. The rear has a small loss within a shaped stain patch in the shape of a sticky label Otherwise is in good original condition. Clock has integral winder and hand setting key. Condition Report Disclaimer

A MAHOGANY QUARTER CHIMING LONGCASE CLOCK WITH MOONPHASEBENJAMIN PEERS, CHESTER, CIRCA 1780 AND LATERThe four-pillar rack striking movement with anchor escapement regulated by seconds pendulum and now sounding the hours on a tubular gong suspended within the case, now fitted with a third separate quarter chiming train sounding on a graduated next of eight bells set to the right hand side, the 13 inch brass break-arch dial with subsidiary seconds dial to foliate scroll engraved centre within applied Roman numeral chapter ring with concentric calendar inner track and Arabic five minutes beyond the outer minute track, with scroll pierced steel hands, a third brass hand for the concentric calendar and rococo scroll cast spandrels to angles, beneath arch with rolling moonphase incorporating lunettes engraved with longitude and latitude lines and disc calibrated with the lunar month to the circumference, below engraved silvered signature BENJAMIN PEEERS, CHESTER following the curvature of the arch, the case with swan beck pediment incorporating gilt scroll decorated simulated verre-eglomise frieze over hinged glazed dial flanked by fluted Doric columns, the sides applied with vertical bargeboards at the rear, the trunk with concave throat moulding and plain frieze over shaped-top caddy moulded door faced in book-matched flame-figured veneers flanked by quarter columns, the plinth base with stepped ogee top mouldings over shaped raised panel to front flanked by canted angles, on ogee bracket feet.236cm (93ins) high, 53cm (21ins) wide, 25.5cm (10ins) deep. Provenance:The Leonard Fuller collection, purchased from G. Lord and W. Fisher (antique furniture dealers), Folkstone, 30th May 1965 for £95. Benjamin Peers is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Chester 1773-84. Condition Report: Condition overview:As catalogued the movement has a separate quarter chiming train (set between its own plates) added in the 19th century. The core eight-day movement is in sound original condition but the hour hammer has been converted to sound on a tubular gong. Clock is complete and will most likely run but a gentle clean service is advised. Movement retains original seatboard but with some damage/losses but rests at the correct level in the case with no visible adjustment to the cheek uprights of the trunk hence movement and dial are most likely original to the case. Case is in good condition with damage limited to a few minor historic veneer patch repairs, shrinkage, bumps, scuffs and other age-related blemishes.Clock has pendulum, weights, case key but no winder. Condition Report Disclaimer

A FINE SWISS FIGURED WALNUT INTERCHANGEABLE CYLINDER MUSIC BOX WITH ZITHER ATTACHMENTRETAILED BY J.R. LOSADA, LONDON, CIRCA 1870Each of the nine 7 inch pinned cylinders playing a choice of six tunes on a 66 tooth comb, set within a gilt painted steel bed with large ratchet-crank wound going barrel, governor and start/stop mechanism to the left hand end opposing tune selection shunt mechanism to the right, with pivoted latch clamps for the cylinder arbor pivots (to allow removal/changing of the cylinders) and hinged zither attachment for the comb operated via a lever within a lyre-shaped panel, set beneath hinged glazed dust cover flanked by REPEAT/CHANGE and PLAY/STOP operating levers to the right-hand side opposing ratchet crank winder to the left, the hinged lid applied with card tune sheet listing each of the six tunes per cylinder including Guilamme Tell and Rigoletto to cylinder no. 1; Rip van Winkle and See Saw to no. 3; and The Blue Bells of Scotland, God Save the Queen and Auld Lang Syne to no. 6, the upper margin of the card inscribed FABRIQUE DE GENEVE and the lower with ink stamp J.R. LOSADA, 105 REGENT ST. LONDON, the box with angled tulip-wood and box line-strung border to the ogee-edge top over conforming front, veneered sides with generous gilt brass carrying handles, and grained rear, on ebonised ogee moulded skirt base; now with a purpose made figured walnut two-drawer table stand, executed in the George III style with ogee edge top and cockbeaded drawers with the upper fitted to take the additional cylinders, the detachable base with ogee moulded skirt over four square section channel-moulded supports, (originally with ten cylinders, tune sheet original but redacted).The box 23cm (9ins) high, 66.5cm (26.5ins) wide, 32.5cm (12.7ins) deep; the box on table 104cm (41ins) high, 74cm (29.25ins) wide, 49cm (19.25ins) deep. Jose Rodriguez Losada is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working in London 1839-75. Losada was a Spanish émigré apparently exiled to London due to his liberal military past during the Liberal Triennium. He worked for James Moore French, initially as a cleaner (employment secured through the The Committee for Aid to Emigrants in London), but he soon learnt the trade and eventually inherited the business operating from the 105 Regent Street premises from 1835. Losada specialised in complex precision clocks and marine chronometers for export to Spanish speaking countries. In 1864 he supplied 36 marine chronometers to the Spanish Government through the Royal Observatory at Cadiz; and In 1866 he donated the Casa de Correos clock in Madrid's Puerta Del Sol to the Madrid City Council free of charge (this clock still takes centre stage for Madrid residents and visitors at midnight on New Year's Eve). Jose Rodriguez Losada died in 1875 leaving the business in the hands of his nephews, José and Miguel Rodriguez, who continued up until around 1890. Condition Report: Mechanism appears to be in fine clean original working condition with no visible faults evident however it is a little slow to get started suggesting that lubrication may be a little dry. Each of the cylinders are stamped with numbers 3388. As catalogued the tune sheet has been redacted to no longer include cylinder 10 which is no longer present with the instrument. The box is in fine cosmetically condition with minimal wear or other faults evident except for a reasonably well-matched veneer patch repair towards the leading edge of the lid. As catalogued the two-drawer stand is of fairly recent construction and bespoke for the box. It is of good quality and in fine condition with faults limited to a few very light surface blemishes only; the lower drawer not fitted-out in any way so simply serves as additional storage.Box does not have a key for the lock. Condition Report Disclaimer

A GEORGE III BRASS MOUNTED MAHOGANY TABLE/BRACKET CLOCK WITH MOONPHASETHAMAS WAGSTAFF, LONDON, CIRCA 1785The five pillar twin fusee bell striking movement with verge escapement regulated by lenticular bob pendulum incorporating transverse pivoted beam rise/fall regulation to suspension and with holdfast, the foliate engraved backplate decorated with a circular cartouche containing a basket of fruit on a rococo shelf to centre over leafy swag to lower margin, the 8 inch single sheet silvered brass dial with subsidiary calendar dial over signature Tho's Wagstaff, Gracechurch St., LONDON and unusual rolling moonphase aperture with lunar disc calibrated for the lunar month to circumference to the centre, within narrow Roman numeral chapter ring with Arabic five minutes beyond the minute track, with pierced blued steel hands and leafy scroll engraved infill to spandrel areas beneath arch with twin subsidiary STRIKE/SILENT and regulation dials, the break arch case with hinged brass carrying handle applied to a single brass fillet bordered raised 'pad' to top and complex cornice mouldings, over hinged front incorporating brass fillet mouldings bordering the glazed dial aperture, the sides with arched brass fish scale sound frets and the rear with break-arch glazed door set within the frame of the case, on cavetto moulded skirt base with brass ogee bracket feet.44cm (17.25ins) high with handle down, 31cm (12.25ins) wide, 19.5 (7.75ins) deep. Thomas Wagstaffe is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working from Carey Street and Grace-Church Street, London 1756-93. Wagstaffe was a devout Quaker with strong ties with his brethren in Philadelphia, U.S.A. He is known to have supplied movements and dials for casing locally in Philadelphia, with examples noted in Moore, George and James, Arthur Thomas Wagstaffe, Quaker Clockmaker published in the December 1976 issue of the 'National Association of Watch & Clock Collectors Bulletin' (pages 534-35). Condition Report: Movement is in relatively clean working condition and appears fundamentally all-original with no visible evidence of alteration or noticeable replacements. The dial is in fine condition with nice even silvering. There is some very slight scuffing around the winding holes and the lunar disc has probably been re-touched at some point in the past. The case is in sound original condition. The curved top surface shows evidence of movement in the carcass hence there are splits flanking the raised pad running in-line with the front edge f the panel itself. The rear edge also shows movement behind the rear right-hand corner of the pad with a veneer loss approximately 2cm square at this point. The curvature of the pad itself also has historic shrinkage cracks and a small old veneer patch repair across the rear left-hand corner. The mask around the dial (behind the front door) has had a small section of veneer re-attached to the left-hand side of the arch; the front door is in good original condition. The sides both have localised small veneer patch repairs to the surround/overlap bordering the brass fret apertures and the rear door has a similar small patch repair bordering the glass. Faults to the case are otherwise to minor bumps, scuffs, light shrinkage and other age-related blemishes.Clock has pendulum, winder and a case key. Condition Report Disclaimer

A FINE GEORGE III WOODEN-DIALLED FUSEE WALL DIAL TIMEPIECE WITH PROVENANCE TO SOMERSET HOUSEJAMES TREGENT, LONDON, CIRCA 1800The four pillar single fusee movement with tapered plates and anchor escapement regulated by lenticular bob pendulum, the 14.5 inch circular cream painted wooden Roman numeral dial signed JAMES TREGENT, LONDON to centre and with pierced brass hands, set behind heavy hinged cast brass cavetto moulded glazed bezel, applied to the dial panel incorporating narrow complex moulded wooden surround fitted via pegs onto rear box case with door to the right hand side and pendulum access flap to the curved base; the side door applied with paper labels inscribed in ink 16580, J.(or I.)R.O. Somerset House, Room 141 Sub G. and 7533, 11-4-49., J.(or I.)R.O. Somerset House, Centre Block Room 141, Stamping Room, Repair 1-14 Dial Block.43cm (17ins) diameter, 16cm (6.25ins) deep. James Tregent is recorded in Britten, F.J. Old Clocks and Watches & Their Makers as a famous maker who worked in London from 35 Strand in 1775 and then at 29 Cranborne Street, Leicester Square by 1780. He was appointed an honorary fellow of the Clockmaker's Company in 1781 and became watchmaker to the Prince of Wales. Tregent and was intimate with Garrick, Sheridan and other notabilities of the theatre, Kelly refers to him as 'Mr. Tregent the celebrated French watch maker' and relates how Sheridan by attributing his proverbial unpunctuality to the lack of a timepiece obtained from Harris, proprietor of Covent Garden Theatre, a watch of Tregent's make. The Duke of Sussex paid him £400 for a repeater and alarm travelling watch; a bracket clock by him was in the in the Wetherfield collection, and another with Battersea enamel dial (possibly made by his brother the enameller Anthony Tregent) was in the Schreiber collection. James Tregent died in 1804. The present timepiece would have been made at around the same time as extensive building works at Somerset House (under James Wyatt who succeeded George Chambers in 1796) were coming to an end in 1801. It is tantalising to think that this timepiece was supplied for use in the building at around this time; indeed James Tregent would have been a suitable candidate for supplying a timepiece for use in such a prestigious location. A cursory search has not revealed the location of room 141 within the centre block, nor the meaning of 'J.R.O.'. However the reference to the 'Stamping Room' may indicate that the initials may actually be 'I.R.O' relating to the Inland revenue Office, and that the present timepiece may have been located in the room traditionally used for General Duty embossing/stamping. Condition Report: The movement is in relatively clean working condition, the train has been repinioned (no doubt to address wear from 200 years of constant use) but there is no visible evidence of any alteration from the original layout. The backplate has spare screw holes for a pendulum holdfast clip which is no longer present. The dial is in fine condition retaining pleasing old surface; the black numerals and signature has been carefully 'strengthened' and there is a horizontal shrinkage crack across the centre. The brass bezel is in good condition with sound hinge and retaining its lock. The wooden surround has some old age-related cracking. Shrinkage and few minor bumps and scuffs. The rear box case is in good original condition. Then curved base has a small veneer patch repair to the rear left hand corner; the flap also has a small veneer patch repair and s section of very slender cockbeading missing from the leading edge. Otherwise faults to the case are limited to minor bumps, scuffs, shrinkage and other age-related blemishes.Timepiece has a pendulum and a case key but no winder. Condition Report Disclaimer

Y&nbspA WILLIAM III EBONY 'DOUBLE BASKET TOP' QUARTER REPEATING TABLE CLOCK SAMUEL ALDWORTH, LONDON, CIRCA 1700The six finned pillar twin fusee bell striking movement with verge escapement regulated by short bob pendulum with knife-edge suspension, with pull-repeat peeling the quarters on a graduated nest of six bells and sounding the hour on a further larger bell, the backplate with large foliate scroll pierced backcock apron and engraved with bold asymmetric entwined vine scrollwork around a central cornucopia, the 7 inch square brass dial with ringed winding holes and fine canted herringbone bordered shaped false bob and calendar apertures to the matted centre, within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers, small Arabic five minutes beyond the outer minute ring and signed Sam. Aldworth, London to lower margin, with scroll-pierced steel hands, applied gilt winged cherub mask spandrels to angles and N/S strike/silent selection switch at twelve o'clock, the case with elaborate repousse double basket top surmount with fine twin cherub cast handle to the profile mask medallion scroll centred pierced upper tier, the lower tier with relief panel of St. George slaying the dragon flanked by figural military trophies within a conforming cherub and scroll decorated field, above rope twist and cast ogee moulded lower border, flanked by brass flambeau urn finials to angles, with complex double-ogee top mouldings over hinged glazed front applied with foliate repousse mounts to the frame of the door, the sides with rectangular glazed apertures and the rear with glazed door applied with conforming repousse mounts set within the frame of the case, on conforming complex ogee moulded skirt base with block feet.42cm (16.5ins) high with handle down, 25.5cm (10ins) wide, 16cm (6.25ins approx.) deep. Provenance:The Leonard Fuller Collection, purchased from G.H. Bell, Winchester, 26th August 1965 for £450. Samuel Aldworth is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born in Childrey, Berkshire in 1666 and apprenticed to John Knibb of Oxford in 1673; shortly after John had taken over the Oxford business of his brother Joseph, who had left for London in 1671. After completing his apprenticeship in 1680, Aldworth continued to work in the same workshop as journeyman until 1689 when he left to set up on his own. In 1697 he moved to London (the same year that Joseph Knibb retired to Hanslop) setting up business in the Strand. In 1703 he married Elizabeth Knibb (thought to be daughter of John); by 1720 he had moved back to Childrey, where he was still believed to have been living in 1730. The engraving to the backplate of the present timepiece can be compared to an exceptional backplate on a clock by Jonathan Lowndes discussed in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS, Art on a Canvas of Brass page 334 and illustrated on page 335 (Figure 18.17). Although similar in style and composition, the engraving to the current lot is perhaps slightly less detailed than the Lowndes backplate illustrated by Dzik. The design and layout of the quarter repeat system in the present lot can also be closely compared to that utilised in a clock by Jonathan Lowndes described and illustrated in Dzik, Sunny BENEATH THE DIAL, English Clock Pull Repeat Striking 1675-1725 pages 319-20. The fact that both the design of the repeat work, and the distinctive style of engraving to the backplate is mirrored in other separate clocks signed by Jonathan Lowndes suggests that the present lot may have been made in the Lowndes workshop and was subsequently suppled to Aldworth to retail. Condition Report: Movement is in fine clean fully working condition with no visible evidence of any alteration or noticeable replacements except for two or possibly three of the bells for the quarter-repeat work. There is no evidence to indicate that the clock was ever converted to anchor escapement (indeed the location of the inside rack striking mechanism would prohibit this). Overall the movement has the appearance of being recently gently cleaned/serviced. The dial is in fine clean condition showing only very minor oxidation/discolouration to the finishes. The movement retains its original seatboard. The case is generally in very fine condition with notable faults limited to some wear/losses/repairs to the veneer overlap of the mask bordering the dial (behind the front door) and a replacement rear door lock. The feet are also replacements. The mounts are in very fine condition with no visible losses, cracks or noticeable wear. The veneers are in fine condition with minimal shrinkage and with only one very small patch repair to the front corner of the skirt. Generally a fine example in superb condition!Clock has a case key and a winder. Condition Report Disclaimer

AN INTERESTING REGENCY SMALL BRASS MOUNTED MAHOGANY BRACKET/MANTEL CLOCKWILLIAM HISLOP, LONDON, CIRCA 1825 RE-PURPOSING AN EARLIER MOVEMENT BY LE PLAT, PARIS, CIRCA 1755The circular twin going barrel movement with four baluster pillars pinned through the backplate and tic-tac escapement incorporating offset escape wheel and regulated by short disc bob pendulum with silk suspension, the strike train with numbered external countwheel planted on the backplate, decorative turned arbors to the detents and sounding the hours and half hour on a bell set behind the backplate signed Le Plat AParis beneath a blanking plate applied to the lower margin, the 5 inch purpose-made circular fired enamel dial with eccentric winding holes and signed WILLIAM HISLOP, LONDON to centre and with steel moon hands set behind a hinged convex glazed moulded cast brass bezel, in a 'chamfer top' case with cast pineapple finial to the stepped hipped upstand over slender cavetto cornice and fluted-band frieze, the front with brass-fillet bordered recessed quadrant panel flanked by brass strip inlaid canted angles, the sides with twin cornucopia ring handles and the rear with rectangular glazed door set within the frame of the case, the skirt base with conforming fluted band to upper margin and brass line bordered front over ball feet. 35.5cm (14ins) high, 20cm (8ins) wide, 12.5cm (5ins) deep. William Hislop is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London from 1820 until his death in 1876.Louis Antoine Le Plat is recorded by Baillie as becoming a Master in 1751 and dying in 1765. He is best known for a clock 'wound by current of air' described in Memoires De l'Academie royale des sciences Paris 1751. The current lot appears to be an unusual period example of the re-purposing of an earlier (in this case French) movement into an up-to-date case by a London maker. The blanking of Le Plat's signature on the backplate and the provision of a bespoke fired enamel dial signed by William Hislop is notable in this regard. Condition Report: The French movement survives in good original condition with no visible evidence of alteration or noticeable replacements to the mechanism itself. The movement is in full working condition although is a little dirty/discoloured hence a gentle clean service is advised; the duration is at least eight-days (possibly longer). As indicated in the catalogue description the signature is now concealed beneath a shaped plate attached to the backplate by screws. The fired enamel dial has been purpose made for the movement and has an iron backing plate which is carefully/neatly fitted via a brass plate to the movement with no alterations to the frontplate etc. The dial has a very small shallow edge chip to the edge at twelve o'clock, a hairline crack passing between the I and II numerals and past the right-hand winding hole, and a shorter hairline next to the other winding hole. The case is generally in fine original condition with faults limited toa small veneer patch repair to the rear door and two very small veneer patches to the skirt (one to the front and another to the rear). Otherwise blemishes are very much limited to very slight shrinkage and few light age-related bumps.Clock is complete with pendulum, winder and a case key.Condition Report Disclaimer

A REGENCY MAHOGANY FUSEE DROP-DIAL WALL TIMEPIECETHE DIAL SIGNED FOR THOMAS PACE, LONDON, CIRCA 1820The four pillar single fusee movement with tapered plates and anchor escapement regulated by lenticular bob pendulum, the 12 inch circular convex white painted Roman numeral dial signed THO'S PACE, LONDON to centre and with steel spade hands set within a hinged convex glazed cast brass caddy moulded bezel applied to a conforming caddy moulded wooden surround, secured via pegs to a rectangular rear case with door to right hand side over figured mahogany veneered drop-trunk with rectangular pendulum access flap to the curved underside (glass lacking). 36cm (14.25ins) wide, 44cm (17.25ins) high, 16.5cm (6.5ins) deep. Thomas Pace is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Whitechapel, London 1784-1825. Condition Report: Movement is complete with no visible evidence of alteration however is a little dirty/neglected. The mainspring barrel cap has popped-off the barrel but is present - this should be straightforward to re-attach, movement otherwise is essentially in working condition. The movement is fitted to the back of the dial via a falseplate, the holes for pinning the feet applied to the rear of the dial to the falseplate appear a little large which may cause some to believe that the movement may not be original to the dial; however, as both fit perfectly well together, we are inclined to give it the benefit of the doubt (ie. are of the belief that the movement is most likely original to the dial but probably not the case). The dial retains nice old surface with overall light crazing. The bezel is lacking its glass and has been re-attached with visible solder at the junction with the hinge. The wooden surround has a shrinkage crack at three o'clock otherwise is in fine condition. The rear has a veneer patch repair to the curved underside between the front edge and the door. The top has a sound fret fitted and the inside of the trunk has a small notch cut to the upper left hand side - these details would suggest that the case was originally intended to be fitted with a striking (two train) movement. Case is otherwise in good original condition with only minor age-related shrinkage and blemishes.Timepiece has a pendulum and case key but no winder. Condition Report Disclaimer

A WILLIAM III WALNUT AND FLORAL MARQUETRY LONGCASE CLOCK OF ONE-MONTH DURATIONJOHN BARROW, LONDON, CIRCA 1695The five finned pillar outside countwheel bell striking movement with anchor escapement regulated by seconds pendulum, the 11 inch square brass dial with ringed winding holes, 'triple crown' decorated scroll border engrave calendar aperture 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 beyond the outer minute track and signed John Barrow, Londini fecit to lower margin, with fine scroll-pierced sculpted blued steel hands and applied winged cherub mask and scroll cast spandrels to angles and incorporating leafy scroll engraved decoration to the margins of the plate between, the case with ogee moulded cornice and fretwork frieze over floral marquetry trail decorated hinged glazed dial surround applied with ebonised three quarter columns to angles, the sides with rectangular glazed apertures and conforming quarter columns set against bargeboards at the rear, the trunk with floral bloom decorated convex throat moulding over 42 inch rectangular door centred with a circular lenticle and with three shaped marquetry panels decorated with bird inhabited floral sprays and scrolling foliage into an ebonised ground, with half-round edge mouldings and triple-line strung surround, the sides veneered with three line-edged panels within crossbanded borders, the base with stepped ogee top mouldings over conforming rectangular marquetry panel within crossbanded surround, on bun feet.204.5cm (80.5ins) high, 47.5cm (18.75ins) wide, 25,5cm (10ins) deep. John Barrow is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born around 1657 and apprenticed to Frances Ireland 1671-78. He gained his Freedom of the Clockmakers' Company in 1681. He took-on numerous apprentices including several from his own family such as Samuel Barrow 1688-69, William Barrow (his son) 1700/01-10, and George Barrow (probably son of William Barrow of Churton, Cheshire) in 1706. John Barrow signed the oath of allegiance in 1697, he was made Assistant in 1705, Warden from 1710 and served as Master in 1714; he died in 1718 and was buried at St. Paul's Covent Garden. Loomes further notes that he worked from an address at the Hermitage hence may have had some form of relationship with Samuel Barrow who was also based there. The engraved 'triple crown' decoration around the calendar aperture of the current lot is a feature sometimes seen on longcase clocks dating from the 1690's and is generally thought to represent the unification of the three Kingdoms of England, Ireland and Scotland, which was first envisaged during the reign of James II in 1688 and was cemented by Act of Parliament in 1707. Indeed, it is possible that this decoration commemorates the signing of the clockmaker's oath of allegiance (to the crown) in 1697. Condition Report: Movement is in relatively clean working condition with no visible evidence of alteration or noticeable replacements other than the escapewheel and pallets which look to be 19th century service replacements. There is some historic rebushing and a gentle clean/service is advised if intending to put into long term service. The dial is in fine condition with only slight oxidation to the silvering; hands appear original and undamaged. The movement rests on what appears to the original seatboard at the correct level in the case with no visible evidence of adjustments to the cheek uprights of the case. With this in mind we are of the opinion that the movement and dial are original to the case. The case is in sound condition but would benefit from a little attention in places, The hood has replacements columns and bargeboards to the rear. The front fret is also not original and the upper edge of the hood now has slips of timber applied to the top edge (for no apparent purpose). There is no evidence to indicate that the hood was made as a rising and door is veneered on the inside hence hood may have originally been made with a door. The right-hand side has section cut into the lower leading corner to allow the late brass column base clearance when the door is opened. The trunk is in sound condition although the hinges are replacements. The backboard continues down into the base stopping around 3 inches up from the lower level of the box, the sides of the trunk continue further hence it is likely that these elements retain their original length. The carcass has a general wash of black stain (appears 19th century). The trunk door has the usual slight shrinkage cracking/small losses within the marquetry towards the upper and lower margins (where the horizontal clamps are applied to the door board). The base retains its original marquetry but with some repairs and replacements/filling within the decoration; there is also some shrinkage cracking. The side veneers of the trunk are in good condition and nicely figured; the sides of the base have noticeable shrinkage and patching/replacements within the veneers (most noticeably towards the front corners. The underside of the plinth has strip of timber applied to both the front and sides and the bun feet are later. Faults to the case are otherwise limited to bumps, scuffs, a few small veneer patch repairs and other age-related blemishes.Clock is complete with pendulum, two brass-cased weights, winder and case key. Condition Report Disclaimer

A WILLIAM IV FUSEE DROP-DIAL WALL TIMEPIECE WITH EIGHT-INCH DIALM. J. BORRELL, LONDON, CIRCA 1830The four columnar pillar single fusee movement with shouldered tapered plates incorporating offset spring barrel and anchor escapement regulated by lenticular bob pendulum with holdfast clip to the backplate beneath an applied rectangular signature plate engraved M. J. Borrell, LONDON, the 8 inch circular convex cream painted Roman numeral dial signed BORRELL, Whiskin Street, LONDON to centre, with Arabic five minutes beyond the minute track and blued steel baluster moon hands, set behind hinged convex-glazed cast brass caddy moulded bezel applied to a moulded wooden surround, fitted via pegs onto rear box case with door to the right hand side and drop trunk beneath the dial incorporating pendulum access flap to the curved base.30cm (11.75ins) high, 25.5cm (10ins) wide, 14.5cm (65.75ins) deep. Maximillian John Borrell is recorded on the British Museum website as working from 19 Wilderness Row, London, 1830-62. He was the son of the celebrated musical clock maker, Henry Borrell, who specialised in making and supplying clocks to the Middle and Far Eastern markets. Condition Report: Movement is in clean working condition (although a precautionary gentle clean/service is advised) with no visible evidence of alteration or noticeable replacements. Generally the movement is in very fine condition except for some slight scuffing/bruising to the lower right hand corner of the backplate. The dial appears to retain old/original surface with some crazing evident; the black numerals and the signature have been carefully 'strengthened'. The bezel is in good condition retaining its original clasp. The wooden surround has some slight marking at 9 o'clock (most likely from attempts to lever the bezel open at some point) otherwise is in fine condition. The rear box case is in fine original condition but has a small veneer patch repair to the bottom front edge of the drop-trunk and a small chip to the rear left-hand corner. The right-hand side flap has also possibly been reset using a baton applied to the rear edge for the hinges. Faults are otherwise limited to minor shrinkage and other age-related blemishes; the colour is particularly fine.Timepiece is complete with pendulum, winder and two case keys. Condition Report Disclaimer

A GEORGE II SILVER PAIR-CASED VERGE POCKET WATCH WITH CHAMPLEVE DIALCHARLESON, LONDON, 1735The gilt full plate fusee movement with four square section baluster pillars pinned through the backplate, scroll-pierced stop-iron block and verge escapement regulated by sprung three-arm brass balance with Tompion type regulation, the backplate with fine symmetrical foliate strapwork scroll pierced and engraved balance cock with grotesque mask at the junction with the conforming pierced and engraved foot, flanked by silvered regulation disc set within adjacent applied scroll engraved panel infill opposing signature CHARLESON, LONDON and number 3158, the silver champleve dial with pair of relief chased curved panels engraved CHARLESON, LONDON to the finely matted centre, within Roman numeral chapter ring incorporating relief-chased fleur-de-lys half hour markers and cartouche Arabic five minute numerals to outer track, with gilt rococo scroll chased brass hands, the inner case applied with suspension post and bow at twelve o'clock and the outer case with moulded rim to circumference, the inner marked for London 1735 maker PG.The pillar plate 3.5cm (1.375ins) diameter, the inner case 4.1cm (1.625ins) diameter; the outer case 4.8cm (1.875ins) diameter. Two watchmakers with the surname Charleson are recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London around this time. The first, C. Charleson, is noted from a repeating watch movement in the Buckley collection as working circa 1720; and the second, J.G. Charleson, is recorded as operating during the first half of the 18th century. Condition Report: Watch is complete and in working condition. The train appears essentially all-original however there is notable variation in the oxidation within the wheelwork (eg. the fusee and contrate having a dark greeny-brown colour and the second wheel being fairly bright) suggesting that the movement has seen the attention of a watchmaker causing the gilding to be cleaned-off some of the components at some point in the past. The gilding to the backplate has only slight edge wear and some very light scratching, a section of the fretwork adjacent to the regulation disc has a patch of rubbing/oxidation and the disc itself has some scuffing/distortion. The dial is in good original condition. There is a slight dent to the matted centre and overall patchy oxidation and some rubbing. The hands are rubbed and the hour tip is a little on the long side. The inner case is in sound condition with two noticeable pin-prick dents from the inside to the rear cover and overall moderate wear/rubbing; the suspension post has also probably been re-attached. The marks are worn but legible. The outer case is unmarked and has overall rubbing, wear and denting. The rivet for securing the clasp spring is visible with a small hole adjacent to it.Watch has a winding key. Condition Report Disclaimer

A FIGURED WALNUT CLOCK WALL BRACKET IN THE GEORGE III STYLEANONYMOUS, EARLY 20th CENTURYOf stepped ogee profile with cavetto moulded edge to the table and terminating with an ogee moulded pendant at the base.The platform 30cm (11.75ins) wide, 21.5cm (8.5ins) deep; 19cm (7.5ins) high. Condition Report: Bracket is in sound original condition with minor age-related blemishes/faults, shrinkage and a few old worm holes. The upper left-hand corner just below the top edge moulding has a small veneer patch, the joints are starting to come loose hence needs the attention of a cabinet maker just to re-glue and tighten it up. The hanging eyes are replacements. Condition Report Disclaimer

A GEORGE III FIGURED MAHOGANY EIGHT-DAY LONGCASE CLOCK WITH MOONPHASEROBERT LAWSON, LEIGH, CIRCA 1785The four pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 13.25 inch brass break-arch dial with subsidiary seconds dial to foliate scroll engraved centre within applied Roman numeral chapter ring with concentric calendar inner track and Arabic five minutes beyond the outer minute track, with scroll pierced steel hands, a third brass hand for the concentric calendar and rococo scroll cast spandrels to angles, beneath arch with rolling moonphase incorporating lunettes applied with scroll-pierced and engraved ornaments engraved TEMPUS, FUGIT and disc calibrated with the lunar month to the circumference, below further applied silvered plate engraved ROBERT LAWSON, LEIGH following the curvature of the arch, the case with swan beck pediment over hinged glazed dial aperture with 'wavy edged' border to the glass flanked by fluted Doric columns, the sides applied with vertical bargeboards at the rear, the trunk with concave throat moulding and plain frieze over shaped-top caddy moulded door faced in book-matched flame-figured veneers flanked by quarter columns, the plinth base with stepped ogee top mouldings over chevron-strung crossbanded fascia flanked by canted angles, on ogee bracket feet.222cm (87.5ins) high, 61cm (24ins) wide, 28cm (11ins) deep. Rabert Lawson is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Leigh, Lancashire, circa 1787. He was a skilled maker who is known to have produced a tidal dial longcase clock incorporating planetary lunar indication (private collection). Condition Report: Movement appears complete and original and is essentially in working condition but is a little dirty/neglected hence a clean/service is advised. The hammer spring has been moved (former location denoted by spare hole towards the centre of the plate) and repaired. The dial is dirty/tarnished but is in sound original condition. The arch has some slight distortion/bending to the plate (but has no visible cracks or problematic creases). The seconds and calendar hands are replacements, the others appear original and in good condition. The movement retains original seatboard, the cheek uprights of the case are incomplete but the original elements that are present have levels commensurate with the movement and dial hence we are of the opinion that the case is original to the movement and dial. The case is generally in good original condition and is structurally sound. The infill between the swan necks of the pediment has a replaced section at the centre and a small veneer patch repair to the glazed dial aperture surround, otherwise hood appears to free from significant faults although the door hinge requires adjustment and there are a few historic bumps, scuffs and localised repairs including a chip to the base of the right-hand column. The trunk door has a join down the centre which is solid and appears to be an original detail, the lock and hinges are replacements. The trunk and base are otherwise in very sound condition but with poor neglected finish and repairs to the feet. Other faults to the case are generally limited to relatively light historic bumps, scuffs, shrinkage and wear.Clock has pendulum, two weights, a case key but no winder. Condition Report Disclaimer

Y&nbspA GEORGE I EBONY TABLE/BRACKET TIMEPIECE WITH 'SILENT' PULL-QUARTER REPEATDANIEL DELANDER, LONDON, CIRCA 1720The five finned pillar single fusee movement with verge escapement regulated by short bob pendulum, and 'silent' pull-quarter repeat ting-tang sounding the quarters on a graduated pair of bells and sounding the hour on a third larger bell on demand only, the backplate engraved with bold asymmetric entwined vine scrollwork within generous laurel banded border, the 6.5 inch brass break arch dial with calendar and shaped false bob apertures to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes beyond the minute track, with scroll pierced blued steel hands and fine mask and scroll cast spandrels to angles, the arch with herringbone bordered silvered signature boss engraved Daniel, Delander, London flanked by distinctive 'Delander' type gilt mounts cast as putti holding flaming torches beneath further herringbone engraving bordering the upper edge, in a bell-top case with hinged brass carrying handle over double ogee top mouldings and hinged front applied with complex raised mouldings bordering the dial aperture and upper quadrant frets, the sides with break-arch windows beneath scroll-pierced sound frets incorporating arched lower margins and each bordered with conforming raised mouldings, the rear with door matching the front except for the upper quadrants having larger glazed panels as opposed to frets, on ogee moulded shallow skirt base with moulded squab feet.40cm (15.75ins) high with handle down, 25cm (10ins approx.) wide, 17cm (6.75ins) deep. PLEASE NOTE CATALOGUE AMMENDMENT - CLOCK WAS PURCHASED BY THE VENDOR 3rd APRIL 1974 (NOT 4th MARCH AS INDICATED IN THE PRINTED CATALOGUE). Provenance:Purchased by the vendor from Christie's London sale of FINE WATCHES & CLOCKS 3rd April 1974 (lot 142). Daniel Delander is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born circa 1678 and apprenticed to Charles Halstead before being transferred to Thomas Tompion and gaining his Freedom of the Clockmakers' Company in 1699. He initially worked as 'servant' to Thomas Tompion from Devereux Court and later (after Tompion's death in 1713) from 'within Temple Bar', Fleet Street. He was a fine maker whose work was clearly influenced by his master but is perhaps best known for his series of particularly fine duplex escapement longcase clocks as well as long duration clocks often with refinements such as equation of time. Delander appeared to also share his master's exacting standards with regards to the quality and design of the cases for his clocks, with his table clocks often mirroring those of Tompion and his successor George Graham. He was buried at St. Dunstan's in the West on 14th July 1733. The engraving to the backplate of the present timepiece can be compared to an exceptional backplate on a clock by Jonathan Lowndes discussed in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS, Art on a Canvas of Brass page 334 and illustrated on page 335 (Figure 18.17). Although similar in style and composition the engraving to the current lot is perhaps a little more restrained/simplified compared to Lowndes backplate illustrated by Dzik. The current lot is designed to sound the hours and quarters on two bells only on demand. This form of quarter repeat mechanism is thought to have been devised for timepieces destined for night-time use in the bedroom; whilst striking clocks with quarter repeat facility were generally intended to be utilised downstairs during the day and upstairs at night. As a consequence silent-pull quarter repeating timepieces are rarer as the original owner would have to be very wealthy indeed to afford a timepiece reserved exclusively for use in the bed chamber.The design and layout of the quarter-repeat system employed in the current lot can be closely compared to an example by fellow Tompion workman, William Webster, described and illustrated in Dzik, Sunny BENEATH THE DIAL, English Clock Pull Repeat Striking 1675-1725 pages 109-12. Most notable, with regards to the similarities within the details, is the design of the wedge-shaped pumping piece, and the provision of a separate sleeved fitment incorporating the hour hammer pin and hammer tail applied to the hammer arbor to allow the pin-wheel to rotate uninhibited whilst pulling. The strong similarities between this timepiece and that by William Webster indicates strong links between the two workshops reflective of their shared roots within the workshop of Thomas Tompion. Condition Report: The movement is complete, reasonably clean and in full working condition although a gentle clean service is probably advisable. The escapement appears to be a very well executed re-conversion back to the original verge and short bob arrangement (from a previous conversion to anchor) leaving next to no visible evidence in the plates. The design of the backcock apron is perhaps a little later in style. The dial presents as in good clean condition. The arch has a join (braced by a plate rivetted at the rear) across the centre. This may be an old repair or possibly even from the time of making as the match of the brass used for the upper part is indistinguishable from that used for the rest of the dial. The case is in sound presentable condition but has received some mostly cosmetic restoration in the past. Some of the lengths of moulding applied around the apertures (mostly to the side apertures) are not a swell defined/crisp as the others suggesting some replacement/restoration has taken place. The veneer overlap to the mask around the dial has some patch repairs and the exterior exhibits shrinkage, a few minor historic and some filling to the joints between some of the veneers and mouldings. The rear door has a slip applied across the top to close a gap between door and case that had probably become a little enlarged due to wear and movement. The base board of the case is composed of two sections - it is possible that the rear section has been replaced due to the movement previously having a long pendulum necessitating cutting a slot in the board. The movement is secured by two turn-discs to the rear of the dial as well as two bolts from underneath engaging with angle brackets screwed to the lower edge of the backplate, these brackets and bolts may be a later addition. Otherwise faults to the case are limited to age related bumps, scuffs and other blemishesClock has case keys but no winder. Condition Report Disclaimer

A box of Vinyl LP Records and 12 inch singles mostly from the 1980s including 3 David Bowie 12 inches and LP Day in Day Out. Stevie Nicks Tour Programme, New Model Army Records, Elvis Presley, Level 42 , Queen LP and 12 inch Time soundtrack, Christmas and other compilations including Now and some promo 12 inch dance records plus 7 promo pink floyd samplers and 2 x emi sealed box sets Alistair Cooke. A Verdi sealed box set and Puccini sealed box set. Louis Armstrong box set, Earth Wind and fire Picture disc and 2 x Stranglers Shaped Picture Disc. Plus 4 copies of New Model Army Bootles No Rest heron 12 inches and a Scorpions 12 inch with patch.

A George I walnut chest on chest, the moulded pediment over an arrangement of three short and three long cross banded drawers, oak lined running front to back, upon the lower chest formed with two short over two long conforming drawers, upon bracket feet, 164cm H x 104cm W x 54cm DCondition reportMinor split to the top of the chest, with multiple minor losses and chips to the veneer.All drawers complete with locks, however no keys and several locks appear to be later associated.Most drawers have splits in the drawer liners, with several drawers feeling tight, although not 'stuck'.A faded patch to the LHS with some gouged wear to the same side.Very minor evidence of historic woodworm in the front feet which may extend to the underside.Further general minor splits and losses commensurate with age and use.Backboards appear to be original, please see additional images. 

A Victorian walnut framed double spoon back sofa, in green velour, the pair of oval button back rests united by a scrolling openwork frame over the serpentine sprung seat, enclosed by the padded and carved open arm rests, upon French style cabriole fore legs, 94cm H x 180cm W x 75cm DCondition reportMinor fading to the rear of the chair, edging has become detached in places.A small patch of rubbing/discolouration to the rear carving, please see additional image.Minor play in the rear spoon back joints, otherwise general light wear commensurate with age and use. 

Collection of sterling silver items to include four napkin rings, a patch box and open salt, combined 101g. UK P&P Group 1 (£16+VAT for the first lot and £2+VAT for subsequent lots)

Collectables; Vintage Toys: Pair of vintage dolls including Pedigree Sindy Patch and Palitoy Tressy; including clothes, accessories, and original pamphlets; generally Good condition but would benefit from some TLC; within small case; (2).

Nubeo Magellan NASA Walker Blue gentleman's automatic wristwatch ref. NB-6047-NAS-01 with luminous hands and Roman numerals, white dial, red inner bezel, clear exhibition case back, blue stainless steel case and 24 jewel movement, on white leather strap, case diameter 48mm, limited edition 025/100, unworn in original case with NASA patch, fabric strap, guarantee card, related paperwork, hang tag and outer card sleeve. 

Nubeo Armstrong Black NASA gentleman's automatic wristwatch ref. NB-6072-22 with date aperture, luminous hands and hour markers, moon inspired forged dial and bezel, black stainless steel case and signed 21 jewel movement, on black stainless steel bracelet, limited edition 154/390, unworn in original case with NASA patch, fabric strap, guarantee card, related paperwork, tool, hang tag and outer card box. 

Four: Private John Edmunds, 16th Lancers Ghuznee 1839 (J. C. Edmunds. 16th Queen’s Lancers) naming engraved in reverse centre, fitted with contemporary replacement silver bar suspension; Maharajpoor Star 1843 (Private John Edmonds H.M. 16th Lancers) note surname clumsily corrected from ‘Edwards’, fitted with adapted silver bar suspension with loss to upper point of star; Sutlej 1845-46, for Aliwal 1846, 1 clasp, Sobraon (John Edmunds 16th Lancers); Army L.S. & G.C., V.R., 2nd issue, large letter reverse, engraved naming (No. 646 John Edmunds Private 16th Lancers) together with a fine presentation silver snuff box, hallmarked Birmingham 1847, maker’s mark ‘F.C’ for Francis Clark, 85mm x 55mm x 18mm, the lid engraved ‘Presented by the inhabitants of Cambridge to their fellow townsman John Edmunds, (16th Lancers) in appreciation of his services under Majr. Genl. Sir Harry Smith, Bart. G.C.B. at Aliwal, Jany. 28th 1846.’, the base engraved with the arms of Cambridge, the first three with contact pitting, these therefore fine, the L.S. & G.C. nearly very fine (5) £1,800-£2,200 --- John Edmunds was born in December 1810 at Swaffham-Bulbeck, a small village between Newmarket and Cambridge. He attested for the 16th Lancers at Maidstone on 21 January 1831, aged 20 years 1 month, a servant by trade. Brought before a Regimental Court Martial in 23 May 1832, he was charged with gross insubordination and sentenced to 14 days’ solitary confinement. He was released and restored to rank on 8 June 1832, embarked for India on 29 June, and took up duties there in December 1832. He fought with the regiment in the First Afghan War at the capture of Ghuznee, in the Gwalior campaign at the battle of Maharajpor, and in the Sutlej campaign at the battles of Aliwal and Sobraon. Following his return from India in August 1846, Edmunds went through a bit of a bad patch. In 1847 he went absent without leave in March, May and August, receiving imprisonment and defaulters’ room, and forfeiting the good conduct pay he had accumulated in India in 1838, 1845 and 1846. In 1848 he went absent twice in July and again in February 1849. In May 1849 he received 48 hours’ solitary confinement and 14 days’ Marching Order Drill for quitting stables and breaking out of barracks to avoid riding school drill. This seems to have been the end of his troubles. His good conduct pay was restored in 1851, 1853 and 1855, and he received the ‘silver medal for long & meritorious service.’ Edmunds was discharged at Dublin on 7 June 1856. Sold with copied discharge papers.

A Second War Bomber Command D.F.C. group of five awarded to Flight Lieutenant James McCubbin, R.A.F.V.R., 9 Squadron, Royal Air Force Distinguished Flying Cross, G.VI.R., reverse officially dated 1943, in its Royal Mint fitted case of issue; 1939-45 Star; Air Crew Europe Star; Defence and War Medals 1939-45, these last four in named Air Ministry card box of issue addressed to ‘F/Lt. James McCubbin’ at Motherwell, Scotland, extremely fine (5) £1,800-£2,200 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- D.F.C. London Gazette 28 September 1943: ‘This officer has completed very many sorties and has invariably displayed great persistence to achieve success. On more than one occasion his aircraft has been attacked by fighters but Pilot Officer McCubbin has displayed great skill to outmanoeuvre the enemy aircraft and return safely to base. He has displayed inspiring leadership and great courage.’ James McCubbin flew on anti-submarine operations with the 10 Operational Training Unit Detachment at St. Eval from October 1942 to January 1943. The Detachment augmented Coastal Command squadrons in the Bay of Biscay and Western approaches. He was the pilot of a Whitley V bomber from No. 10 OTU Detachment on 28-29 October 1942, engaged on an anti-sub sweep when, as recorded in his log book ‘oil leak port engine at 11:00 hrs - switched off 16:00 - oil leak starb. engine, danger of seizing - ditched 17:15. Adrift in dinghy 84 hrs - rescued by A.S.R. & R.N. HMS “Cutty Sark” 03:39hrs 2/11/42.’ Membership of the Goldfish Club followed, as did the adoption of “Cutty Sark” nose art for McCubbin’s regular Lancaster bomber, following a period at Wigsley 1654 Conversion Unit and transfer to No. 9 Squadron at R.A.F. Waddington in March 1943. The squadron moved to R.A.F. Bardney in April 1943, from where operations were carried out against targets in Germany, Italy, Spain, Czecho-Slovakia and North Africa. Log book entries include: ‘3 April - Ops Essen - holed by flak. 4 April - Ops Kiel - engaged ME 109. 4 May - Ops Dortmund - first prang since April ‘41. 12 May - Ops Duisburg - over 2,000 tons on target. 20 June - Ops Friedrickshaven - landed Blida North Africa. 23 June - Ops Spezia - return from North Africa 25 June - Ops Gelsenkirchen - P.F.F. u/s. 5 Sept - Ops Mannheim - attacked by N/F - 5 attacks - got him! - a/c badly damaged - end of tour.’ The consequent combat report concluded ‘The E/A had fired long bursts at the Lancaster in each attack and the Lancaster’s rear gunner also fired long bursts during each attack. During the final attack E/A burst into flames as shots from the rear turret hit him, he dived beneath the strbd wing obviously on fire, this was confirmed by the flight engineer and air bomber. This E/A is claimed as destroyed... The Lancaster suffered considerable damage, the bullet holes being too numerous to count.’ After completing his second operational tour, McCubbin was engaged largely as a Flying Instructor and left the R.A.F. in 1947, later becoming a roller in a Scottish steel factory. Sold with the recipient’s R.C.A.F. Pilot’s Flying Log Book for the period September 1941 to January 1947; Postagram message of congratulations for D.F.C., signed by ‘Bomber’ Harris; P.F.F. brass wings; original Goldfish Club membership card, cloth patch and small enamelled lapel pin; a quantity of original photographs including crew and their regular Lancaster ‘W’ ED654 ‘Cutty Sark’; and various other educational and flying related paperwork and certificates.

A Great War ‘Egyptian theatre’ M.C. group of four awarded to Major L. Gall, 1st City of London Yeomanry and 25th Cavalry Frontier Force, Indian Army Military Cross, G.V.R., unnamed as issued; 1914-15 Star (Capt. L. Gall. 25-Cavalry.); British War and Victory Medals, with M.I.D. oak leaves (Major L. Gall.) minor patch of staining to obverse of VM, generally very fine (4) £600-£800 --- M.C. London Gazette 3 June 1916. Lawrence Gall was born on 10 September 1884 and educated at Cheltenham College. Appointed to a commission on 21 January 1903, he is listed as a newly promoted Captain in the Cheltenham Looker-on of 6 April 1912 and witnessed initial service at home upon the outbreak of the Great War as Captain in the 1st County of London Yeomanry. Transferred to the 25th Cavalry Frontier Force, Indian Army, he served in Egypt from 28 April 1915 and was advanced Major. Composed of four distinct squadrons of Sikhs, Dogras, Punjabi Muslims and Hindustani Muslims/Pathans, the 25th Cavalry were later posted to East Africa and saw fighting at Nahungo and Chingwea. Involved in the pursuit of General Paul von Lettow-Vorbeck to the Portuguese African border, their impressive campaign against the Schutztruppe finally ground to a halt in consequence of illness transmitted by the bites of tsetse flies. Gall later applied for his medals - which were issued by the India Office mint - on 17 February 1922, his address at that time given as 90 Seymour Street, Hyde Park, W.2.

This military interest group features one original US Air Force YEZ-2A airship blimp solid model in blue and grey; one Tillamook NAS Museum round patch; two Good Year vintage blimp postcards; one Poodle Pianos bookmark featuring a floating airship, and one mold in the shape of a zeppelin. Blimp dimensions: 7"L x 3"H x 3"W. Patch size: 3.25"dia. Issued: c. 1970 and 1980Dimensions: See DescriptionCountry of Origin: United StatesCondition: Age related wear.

CHANEL TWEED NO.5 TOTE BAG Condition grade A-. Multicolour woven tweed with ruffled trim, a large black patent leather No.5, a black tweed patch CHANEL logo, silver chain and leather interwoven accent at the top and double handles. Interior is lined in black diamond quilted nylon with an inner slip pocket. Silver tone hardware. 35cm long, 40cm high, 28cm handle drop. Serial code 23XXXXXX. Production period 2017. Accompanied by authenticity card. 

A SET OF FOUR REGENCY MAHOGANY HALL CHAIRS ATTRIBUTED TO GILLOWS, CIRCA 1820 The underside of each chair with stamped journeyman's initals 'JB' 84cm high, 39.5cm wide, 45cm deep The journeyman stamp J.B. is for John Barrow, son of William Barrow, who was apprenticed to Leonard Redmayne on 26 September 1826. See S. Stuart, Gillows of Lancaster and London 1730-1840, Woodbridge, 2008, p. 215, for an oak library table from 1841 and a brown oak social table from 1848 - both by Barrow. Condition Report: Overall there are some scratches, marks, chips, cracks and abrasions consistent with age and use. There are some missing blocks to the underside of the seat, some later corner blocks. There is some evidence of old worm to the seat rails. Some repairs including a patch to one chair back visible only under close scrutiny to the front, some dowel repairs, some glue repairs. Perhaps due to these repairs this set of four deep carved shell back hall chairs are robust. An ink inscribed paper label to one chair 'H.L. FULLER 9 DAY ST. BATH' Please see all the additional condition report photographs through the link on the condition report email as a visual reference of condition. Condition Report Disclaimer

A small George III mahogany linen press, third quarter of the 18th century, with a dentil-moulded cornice, above a pair of panelled doors enclosing oak slides, above two short and a long drawer, raised on bracket feet,124cm wide64cm deep176cm highCondition ReportGeneral knocks and wear throughout commensurate with age and use. Evidence of some light cosmetic restoration, including repair and replacement to cornice and dentil-moulding. Some older scratches, scuffs and knocks. Some losses to moulding, particularly to left return of base. Light wear to interior. Drawer handles replaced, with associated patch repairs to drawer fronts. Some repair to feet. Joints sound and solid. Drawers and slides run smoothly. Aside from historic repairs, it appears in good structural and cosmetic condition and is ready for use.

A William IV leather armchair, second quarter of the 19th century, with deep button upholstery, the arms carved with lion masks terminals, on reeded forelegs terminating in brass castors,67cm wide75cm deep82cm highProvenance: The selected contents of North Road House, Hertfordshire.Condition ReportOverall presents in very well worn country house condition, with wear, fading, cracks and tears to leather, with some patch repairs. General knocks, old chips and losses to timber. Joints generally sound and solid. Please see additional photos.

A William IV mahogany hall chair, c.1820s, the waisted back carved with an anthemion to the centre, the plank seat raised on reeded forelegs,47cm wide47cm deep89cm highProvenance: The selected contents of North Road House, Hertfordshire.Condition ReportGeneral knocks, scratches and wear commensurate with age and use. Some old scratches and small dents to seat and back of splat. A few small patch repairs. General wear to supports. Stamped 'CS' beneath seat. Joints sound and solid. A small red mark to seat. Some general fading and discolouration to timber. Overall appears in fairly good order.

A pair of turned wooden cups painted with silhouettes of children and animals, early 20th c and South Staffordshire enamel patch box, c.1780, cups 6.5cm h (3) Patch box with broken hinge and cracks to enamelling

Two Cabbage Patch dolls circa 1984, probably Jennifer Sarah and Bertram Denney, each with am adoption certificate and envelope, Jennifer with 1st Birthday card and envelope --16 1/2in. (42cm.) high