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Click here to subscribeA LATE 18TH CENTURY OAK AND MAHOGANY BANDED LONGCASE CLOCK, broken swan neck pediment with brass roundels above a plain hood, the brass 28cm 11'' dial with engraved floral spandrels, Roman and Arabic numerals, eight day movement by Thomas Ollive of Cranbrook, plain trunk door and plinth base on short bracket feet, height approximately 205.5cm, with pendulum, two weights, winding key and loose columns for hood
AN EARLY VICTORIAN PALE OAK LONGCASE CLOCK, broken swan neck pediment above barley twist columns, the arched 32cm 12 1/2'' painted dial, eight day movement by Richard Williams of Dolgelley, with lunar phase mechanism, ship at sea and seated male figure, female angel spandrels holding seasonal emblems, Roman numerals, subsidiary seconds dial and date aperture, the arched trunk door flanked by further barley twist columns, on plinth base with short bracket feet, height approximately 242cm, paper label inside door for 'Williams, Watch & Clock Maker, Dolgelley', with door key, pendulum and two weights
AN EARLY 19TH CENTURY MAHOGANY CASED LONGCASE CLOCK, broken swan neck pediment with brass spherical finial in between the hood on barley twist columns supports, arched 31.5cm 12 1/4'' dial painted with titled scene 'The Stirrup Cup' and titled spandrels England, Scotland, Ireland, Wales, decorated with females and national emblems, painted dial with Roman numerals, subsidiary seconds and date dials, eight day movement by J. Short of Beith, the trunk with moulded half spiral columns, convex door, plinth base on splayed bracket feet, height approximately 220cm, with pendulum and two weights
AN EARLY 19TH CENTURY OAK, WALNUT AND MAHOGANY BANDED LONGCASE CLOCK, broken swan neck pediment supported on turned columns, the painted 34.5cm 13 3/4'' dial with Roman numerals, subsidiary seconds and date dials, eight day movement by R. Cocker of Barrow, floral spandrels, shaped trunk door, plinth base on bracket feet, height approximately 219.5cm, with pendulum and two weights
A mid-19th century mahogany apothecary cabinet, the pair of doors and drawer enclosing a fitted interior, with slide front compartment to the verso for 'poisons', on a plinth base, 30cm wide x 35cm high x 19cm deep. IllustratedFootnote; includes a hand inscribed small book listing contents and medicinal prescriptions and titles "Contents of medicine chest fitted by Randall & Son Southampton July 16th 1883"- bottles labelled accordingly.
THE PAKENHAM ARNOLDA rare eight-day mantel chronometer By John Roger Arnold, London, No. 619, circa 1830In a Derbyshire 'Ashford' marble case attributed to John MaweWith gilt engine-turned bezel, beneath an associated glazed push-on bezel, with lacquered brass drum-shaped case; the 3¾in. white enamel dial signed 'Arnold London' and with eight-day power reserve indicatot, seconds subsidiary, and numbered 619, with gold Breguet hour and minute hands, the eight-day chain fusée movement signed 'Jno. Arnold / London / Invt. Et Fecit No 619 ', with Harrison's maintaining power, within semi-elliptical plates, the escapement carriage with blued steel helical spring, J. R. Arnold's U + I bi-metallic balance with diamond endpiece and Earnshaw spring detent escapement, a circular countersunk recess to the plate with blank locating holes and two screw-holes, blued steel screws; within a black marble case with a turned drum-shaped surround, on block foot, raised on a stepped plinth, the front diamond engraved with a Bacchic figure pouring wine, the sides each engraved with a griffin, (1 key)37cm high overall. IllustratedPROVENANCE, BY REPUTE:Possibly, Admiral Sir Thomas Pakenham, GCB (1757-1836)More likely, his son, Vice Admiral John Pakenham (1790-1876)Thence by descent through the Pakenham family to the current vendor.John Roger Arnold (1769-1843), the son of John Arnold, learnt his craft in his father's business and also working for Abraham-Louis Breguet in Paris. The Arnolds were in business as 'Arnold & Son' from 1787 until the father's death in 1799. John Roger continued with the business and entered into partnership in 1830 with Edward John Dent, an agreement which lasted 10 years. In Vaudrey Mercer's John Arnold & Son, London 1972, he mentions that No. 620 'would appear to be the end of this series up to the year 1830' (the start of the Arnold & Dent partnership). Plate 174 shows the third version of the J. R. Arnold balance, which this chronometer has. Designed with a non-ferrous bi-metallic bar, formed from silver and platinum, and probably used experimentally by the partnership.In the Worshipful Company of Clockmakers' Library (held in the Guildhall Library) is a household financial daybook from the Arnolds covering the period 1796 - October 1830. October 1830 is significant as the month in which the Arnold & Dent partnership was formally started. Intriguingly, Arnold's penned entry for 7 January 1830 in the account book is 'Mawe for marble cases'. It was probably not the first transaction between these two businesses, especially taking into account their proximity to each other in the Strand. Perhaps it was Mawe who would have supplied Arnold with his jewels for pallets, endpieces and balances? It is worth noting here, Arnold's use of the fine engine-turned bezel, which recalls his Paris training, as he would have seen such decoration incorporated there. John Mawe was the proprietor of the renowned mineral shop at 149 Strand, just a short walk from the Arnolds at 84 Strand. Established in 1811, Mawe had travelled the world and his shop would have been well-known to Arnold. Mawe (b. 1764 Derby) was apprenticed to the Derby mason Richard Brown (d. 1816) and married his daughter Sarah in 1794. They established a retail business near Covent Garden at the end of the 18th century called Brown & Mawe, selling objects created from Derbyshire marble and minerals, including 'Blue John', from the factory in Derby. The pedestal base is finely engraved, most probably with a diamond and would suggest Anne Rayner (b.1802-1890) as the artist. In her 1876 work English Female Artists, Ellen Crayton recorded that "Mrs Rayner was distinguished in early life for her beautiful engravings on black marble". Her work is rare, examples can be seen at the Buxton Art Gallery, as well as Chatsworth.Mawe died in 1829, and the Strand business was continued by his wife, who held the official title of 'Mineralogist to the Queen'. Their apprentice, James Tennant (d. 1881), continued with the business after her retirement during which time he oversaw the cutting of the Koh-i-Noor for the Great Exhibition.No doubt the Pakenham Admirals would have been well aware of Arnold's reputation and would have seen his chronometers used under their commands. It would have been second-nature to ask Mr. Arnold for a version that could be used as a mantel timepiece, as this eight-day chronometer does not appear to have been mounted in gimbals and boxed.In Staeger's book he lists 619 and gives a reference to a sale at Christie's as '11/1978'. There was no Arnold chronometer in this sale (Christie's King Street 22 November 1978).COMPARATIVE LITERATURE:Rupert T. Gould, The Marine Chronometer, London, 1973Vaudrey Mercer, John Arnold & Son, Chronometer Makers, 1762-1843, London 1972 Hans Staeger, 100 Jahre Präzisionsuhren von John Arnold bis Arnold & Frodsham 1763-1862, Stuttgart, 1997Peak District Mines Historical Society, Vol. 11, Number 6, Winter 1992
A late Victorian ivory tower thermometer and inset compassBy T. Straight, London, circa 1890The compass scale below a convex glass, with pierced surround, on an engine-turned columnar support with thermometer scale on turned base, mounted on an ebonised plinth, lacking dome15cm high. IllustratedProbably Thomas Straight, 26 Bartlett Buildings, Strand, London.
An unusual walnut cased hexagonal 'Stormoguide'By Short & Mason, for C. W. Dixey & Son, London & Newport, circa 1930The chamfered octagonal case supported by a pair of brackets on a stepped plinth base, the silvered dial with turned brass bezel, engraved with indications for 'Rising' and 'Falling', and with an engraved brass panel to the plinth with additional instructions, the reverse with altitude dial for adjustment46cm wide; 38cm high. Illustrated
A parcel-gilt red lacquer longcase clockMid 18th century and laterThe movement by Thomas May, HerefordThe arched case surmounted by a gilt eagle with outstretched wings, above a stepped pediment with glazed arched dial, the trunk inset with a panel door decorated with pavilions, figures and foliage, on a plinth base; the associated movement with a 13in. arched brass dial, with roundel to the arch flanked by two dolphin spandrels, the brass chapter ring with Roman chapters and Arabic five-minute divisions, signed to the centre 'Thos. May Hereford', with seconds subsidiary and calendar aperture sector, with foliate pierced masks, the twin train movement with plain pillars and anchor escapement; case and movement associated, (2 weights).258cm high overall. Illustrated
A mahogany triple train longcase clock of small sizeJohn Barwise, 20 Duke Street, SW1 and made by Birch & Gaydon Ltd, London, 20th centuryThe arched hood with a glazed panel door, flanked by three-quarter pillars and with pierced sides, above an arched trunk door, on panelled plinth, the 8in. arched brass dial with 'chime/silent' subsidiary in the arch, above a silvered chapter ring, inscribed JOHN 'BARWISE, 20 DUKE ST. SW1' below the VI, with pierced blued steel hands and seconds subsidiary, on a matted centre with cast and pierced spandrels, the three train weight-driven movement with deadbeat escapement and maintaining power, chiming the quarters on a carillon of eight bells and striking the hour on a gong, signed to the backplate 'BIRCH & GAYDON Ltd, 153 FENCHURCH STREET EC3 & 20 DUKE ST, SW1', with wood rod pendulum (1 pendulum, no weights).167.5cm high. IllustratedThe commercial roots of John Barwise and Birch & Gaydon began in Georgian London. Both names were owned by Asprey in the second half of the last century.
A mahogany longcase clockof small size, Circa 1930The hood with a stepped rectangular pediment, above a glazed door flanked to each side by a column, the trunk inset with an arched panel door with reeded edge, on a plinth base and ogee bracket feet; the 8in. arched brass dial with painted moon phase, engraved with the age of the moon, above the silvered chapter ring, enclosed by four pierced spandrels and with a foliate engraved centre, pierced steel hands, the twin train four-pillar weight-driven movement with anchor escapement and striking on a bell, (1 case key).185cm high. Illustrated
A mahogany quarter-chiming longcase clockof small size by Gillett & Johnston, Croydon, No. 15565, mid-20th centuryThe case, surmounted by three brass finials and a broken arched hood, with a glazed door; the trunk with canted angles, inset with an arched panel door, the plinth inset with an oval panel on swept foot; the silvered arched 8¼in. dial engraved with foliate scrolls, the arch with 'CHIME / SILENT' ring, above silvered chapter ring, signed above the VI on an escutcheon 'Gillett & Johnston / Croydon', with 'WHITTINGTON / WESTMINSTER' selection lever at the IX, the high quality twin train weight-driven movement, number '15565', with four screwed shouldered pillars, with Harrison's maintaining power and deadbeat escapement with fine adjustment to the crutch, chiming the quarters on nine straight steel rods mounted to the case backboard, (2 weights, no pendulum).177cm high. Illustrated
A George III oak longcase clockThe movement by Jacob Riviere, LondonThe case with a broken arched pediment surmounted by three gilt finials, above a glazed panel door, the trunk inset with an arched panel door, on plinth base and bracket feet; the 12in. arched brass dial with strike /silent silvered ring in the arch, surrounded by dolphin spandrels, the silvered chapter ring with pierced foliate mask spandrels, the matted centre with seconds subsidiary, brass escutcheon signed 'Jacob Riviere, London' and calendar aperture below, the twin train movement with five ring-turned pillars with anchor escapement, striking on a bell; movement and case possibly associated, (1 key).226cm high overall. Illustrated
A George II oak longcase clock The movement by John Inkpen, HorshamThe case with a moulded pediment above a glazed panel door, flanked to each side by a turned column, the trunk inset with an arched panel door, on plinth base; the 12in. arched brass dial with a silvered ring to the arch 'TEMPUS FUGIT' with pivoted figure of Father Time, flanked by dolphin spandrels, the brass chapter ring, with Roman chapters and Arabic five-minute markers, with urn and eagle spandrels, enclosing a matted centre, signed on the oval 'Jno Inkpen, Horsham', with silvered seconds subsidiary ring, and calendar aperture above the VI, the twin train movement with five ring-turned shouldered pillars, with anchor escapement and striking on a bell; movement and case possibly associated, (2 weights, 1 pendulum, 1 door key, 1 key).207cm high. IllustratedJohn Inkpen (b. 1700 - d. 1759) is recorded as working 1726 to circa 1765. He married Elizabeth Muzzle (another clockmaker family) of Bolney in 1735 and is understood to have had his workshop in the Carfax, Horsham.This is a finely made movement , unusually for a provincial maker with five pillars, and of high quality finish.
A George III Scottish mahogany longcase clockWilliam Chisholm, AberdeenThe case with a swan neck pediment, surmounted by a finial, above a glazed arched door, flanked to each side by a gilt Corinthian capital and fluted column, the trunk flanked to each side by a three-quarter column and centred with an arched panel door, on plain plinth and stepped foot; the 12in. arched white painted dial, inscribed 'Wm Chisholm, Aberdeen', with seconds and calendar aperture, painted with a basket of fruit to the arch and spandrels, the twin train movement with anchor escapement, striking on a bell, (1 pendulum, 2 weights, 1 door key, 1 key).214cm high. Illustrated
A fine William III walnut and foliate marquetry longcase clockBy John Williamson, Leeds, circa 1700The case with a rectangular hood (formerly rising) and still with hinged wrought-iron holding block, flanked to each side by a spiral turned pillar, between a glazed panel and sides, the trunk inset with a panel door, inlaid with three foliate marquetry panels of summer flowers, the centre panel also with a bird, centred by an oval glazed aperture, the sides each with two outlined panels, on a plinth base with foliate marquetry panel; the 10 in. square brass dial with well-cast mask and foliate scroll 'Gretton'-type spandrels, with silvered chapter ring, Roman chapters and Arabic five-minute markers, trefoil half-hour tridents, signed on the dial plate 'Jno Williamson in Leeds fecit' below the VI, the matted centre with rose engraved boss, harboured winding apertures, small seconds subsidiary ring and calendar aperture, with blued steel hands; the twin train movement with five ringed and shouldered pillars, bolt and shutter maintaining power, internal countwheel strike on a bell and with anchor escapement, (1 pendulum, 2 weights).208cm high overall. IllustratedJohn Williamson was born around 1651 in Guisley, near Leeds. He died in 1748. A maker of high repute, he trained in London, and gained his Freedom of the Worshipful Company of Clockmakers in 1682, returning the following year to Leeds.An interesting movement signed 'John Williamson near Temple Bar Londini Fecit', in a modern case, was sold at Christie's, London, 11 March 1988.
A Queen Anne walnut and arabesque marquetry longcase clockJohn Gammon, London, the case circa 1710 and laterThe hood with a domed scroll marquetry inlaid pediment, above a plain entablature, with glazed front and side panels, flanked by tapering three-quarter columns, the trunk inset with an arabesque marquetry panel door inlaid with birds and foliate scrolls, centred by a glazed roundel, on plinth base; the 12in. square brass dial with silvered chapter ring, Roman chapters and Arabic five-minute markers, signed at the VI 'Jno Gammon, London', with twin cherub and Maltese Cross spandrels, the matted centre with seconds subsidiary, harboured winding apertures and lambrequin outlined calendar aperture, blued steel hands, the twin train movement with five ringed and shouldered pillars, internal countwheel strike on a bell and anchor escapement; dial and case possibly associated, (2 weights, 1 pendulum, 1 cae key, 2 keys).221cm high. Illustrated
A late George II parcel-gilt, black and polychrome chinoiserie lacquer longcase clockThe movement signed Henry Rogerson, LondonThe hood with a broken arch and ogee dome pediment, surmounted by three giltwood finials, above the glazed arched door with a Corinthian pillar flanking each side, the trunk inset with an arched panel door, decorated with pavilions, foliage and figures, on a plinth base and stepped foot; the 12in. arched brass dial with strike/silent ring and a pair of dolphin spandrels to the arch, above a silvered chapter ring, signed 'Henry Rogerson, London' at the VI, and with mask spandrels, the matted centre with seconds subsidiary, blued steel hands and calendar aperture, the twin train movement with four pillars and anchor escapement; case and movement associated, (1 case key, 2 weights, 1 pendulum).275cm high overall. Illustrated
A George III parcel-gilt red lacquer longcase clockThe movement by B. Russell, NorwichThe arched pediment above a glazed panel door, flanked to each side by three-quarter columns, the trunk inset with an arched panel door, decorated with pavilions, figures and foliage, on a plinth base; the 12in. white painted dial with moon phase to the arch above seconds subsidiary, with calendar sector aperture below, the twin train movement with anchor escapement striking on a bell; case and movement associated, (no pendulum, no weights, door locked).226cm high. Illustrated
A late George II walnut and chequer strung longcase clockBy William Skeggs, Rotherhith, circa 1750The case with a broken arched pediment above a glazed panel door, flanked to each side by a fluted column, the trunk with an arched inset panel door, on a plinth base; the 12in. arched brass dial, with strike / silent ring, foliate scroll spandrels, brass chapter ring, with Roman numerals and Arabic five-minute markers, the matted centre with seconds subsidiary ring, signed on an escutcheon below the centre 'Wm. Skeggs, Rotherhith', with calendar aperture below, the twin train movement with five shouldered pillars, with anchor escapement and striking on a bell; case and movement possibly associated, (1 pendulum, 2 weights).203cm high. Illustrated
A Regency mahogany and marquetry inlaid longcase clockThe movement by Davies, North ShieldsThe hood with a swan neck pediment, surmounted by three brass finials, above an arched glazed panel door, flanked by cluster columns, the trunk with a ribbon-tied foliate inlaid apron above a trefoil arched door, flanked by cluster columns, on plinth base with canted angles; the 14in. arched white and polychrome painted dial, with 'rocking ship' automaton in the arch, inscribed 'DAVIES Nth SHIELDS', with gilt engraved latten hands, seconds and calendar subsidiary, the twin train movement with anchor escapement and striking on a bell, (2 weights, 1 pendulum, 1 key).227cm high. Illustrated
A rare and unusual pyramidical brass skeleton timepiece of eighteen-day durationBy John Pace, Bury St. Edmunds, No. 253, circa 1855The cast frame of good gauge, with chamfered edges on scrolled feet, the movement with going barrel and three wheels to the escape wheel, each of five or six crossings, with Graham's deadbeat escapement, inset jewelled pallets, surmounted by an arched bridge with fine knurled screw adjustment for regulating to the spring suspension, steel and brass halberd-shaped pendulum, the pierced and engine-turned gilt dial with Arabic numerals, blued steel spade hands, linked by a fine thread at the back to drive the hands, on an oval tapering base, signed 'John Pace BURY St. EDMUNDS No. 253', raised on a velvet plinth and rosewood stand, under a glass dome, (1 pendulum, 1 key).The timepiece 33cm high; 43cm high overall. IllustratedJohn Pace (d. 1867) lived and worked in Bury St. Edmunds. His workshop was at 19 Abbeygate Street. He exhibited a virtually identical skeleton timepiece, of three-month duration, at the 1851 Great Exhibition.See Antiquarian Horology, No. 1, Vol. 34, March 2013, for an article on the Pace family of Quaker clockmakers, by David Edmund Pace.This clock is illustrated in Derek Roberts' Skeleton Clocks, Britain 1800-1914, Antique Collectors Club, 1996, fig. 3/15a, p. 97, and other Pace clocks are discussed p. 89-97.
A French gilt brass four-glass mantel clockIn the Empire Revival style, circa 1900, Maple & Co., ParisThe rectangular case with a stepped pediment above arched bevelled glass panels with chimera to the front above fluted three-quarter uprights with baluster stems, on chimera relief-moulded plinth and four bracket feet, the 3½in. circular white enamel dial, with Roman chapters and Arabic 15-minute markers, pierced blued steel Breguet moon hands, the twin train movement by S. Marti, Paris No. 137 44, and stamped 'MAPLE & Co. LTD., PARIS', striking on a bell, (1 key, 1 pendulum).29cm high. Illustrated
A French gilt bronze and giallo marble mantel clockIn the Empire Revival style, second half 19th centuryModelled with a seated cuirassed figure, a child standing at his side, enclosing the circular enamel dial decorated with floral garlands, the twin train movement with outside countwheel on a bell, on a stepped plinth base, on bracket feet55cm high. Illustrated
A French ormolu-mounted mahogany Second Empire mantel clockIn the Neo-Classical style, by Laine, Paris, circa 1855The case in the form of a portico, the rectangular pediment with a stepped edge, raised on four columns, each with a gilt engine-turned capital and base, on a stepped conforming plinth, on bun feet, the convex gilt dial signed 'LAINE A PARIS' above the VI, centred with two raised winged lions, within a beaded surround, the twin train movement with outside countwheel strike on a bell, and bi-metallic grid-iron pendulum, cast with a bird-mounted lyre support, above a foliate cast bob, (1 pendulum, 1 key).54.5cm high. Illustrated
A French ormolu mantel clockIn the Louis XVI style, circa 1885The drum-shaped case surmounted by a swagged urn, with ribbon-tied surmount, on a stepped base with laurel festoons and scrolled acanthus, on shaped breakfront plinth, the white enamel dial with black Roman chapters and gilt fleur-de-lys, Arabic five-minute divisions, and pierced gilt latten hands, the twin train movement by S. Marti, No. 138, striking on a bell, (1 pendulum).62cm high. Illustrated
A French ormolu and white marble mantel clockIn the Louis XVI style, circa 1900The fluted arched case surmounted by a pair of doves on a flaming torch and cloud, on a shaped breakfront marble plinth with musical and military trophies to each side, on toupie feet, the circular 3¼in. white enamel dial with Arabic numerals, the twin train movement, No 1125 4.1, by Vincenti, striking on a bell (missing), (1 pendulum).25cm high. Illustrated
An Empire ormolu mantel clockBy L. Moinet, ParisThe case modelled with figures of Venus and Cupid, she holding a laurel wreath above his head; the arched case with a panel to the front raised with a Grecian urn, on a rectangular plinth inset with a panel cast in relief with the two lovers, on an anthemion cast edge and spreading foliate feet; the twin train movement with enamel dial and external countwheel strike on a bell (lost), the backplate stamped 'L. MOINET A PARIS', with silk suspension, (no bell).68cm high. IllustratedLouis Moinet (d. 1853) was the secrétaire of Abraham-Louis Breguet.
A Regency mahogany and brass-inlaid bracket clockThe case with a chamfered pediment surmounted by a pineapple finial, above the 8in. convex white painted dial, inscribed 'HEWITT LONDON', with blued steel hands, scroll brass inlay below, the sides each with a ring handle and laurel roundel escutcheon, above pierced grille panel, on a stepped plinth with quartered bobbin-turned moulding, raised on brass ball feet, the twin train fusée movement with arched top to the plates, anchor escapement, locking pendulum nut, striking on a bell, (1 pendulum).49cm high. Illustrated
A late Regency mahogany bracket clockIn the manner of Thomas Hope, by James Gorham, Kensington, circa 1820The case with gadrooned pediment, surmounted by a large pineapple finial, above anthemion angled brackets with reeded tapering angles, outlined with a line-inlaid half-beaded border, centred with the silvered 7in. dial, signed 'James Gorham / KENSINGTON / Clock & Watch Maker / to The Royal Family', with pierced blued steel moon hands, on a stepped plinth and gadrooned bracket feet, the twin train chain fusée movement with anchor escapement and brass locking nut to the pendulum, striking the hour on a bell, (1 pendulum, 1 key).47cm high. Illustrated
A late Victorian walnut Gothic Revival three train mantel clockBy Dent, London, No. 41210, circa 1890The arched case with three finials above a glazed door, flanked by turned pillars, on a stepped breakfront plinth, the arched gilt dial plate with foliate engraving and with a painted subsidiary in the arch for 'slow/fast', with 'silent/chime' lever below; the painted circular dial signed 'DENT' in a triangle '4, ROYAL EXCHANGE & 61, STRAND / LONDON / 41210'; the substantial three train chain fusée movement, similarly signed on the backplate and with locking pendulum bracket and nut, striking the hour on a gong and chiming the quarters on a carillon of eight bells, with anchor escapement and heavy brass pendulum, (1 pendulum, 1 key, 2 case keys)63cm high overall. Illustrated
A gilt metal-mounted ebonised quarter repeating table clockBy John Dickings, London, late 17th century and laterThe case now with a caddy top, surmounted by a scroll handle, above glazed front and back door, with glazed sides, on a stepped plinth with brass bun feet; the 7in. square brass dial with cherub head spandrels, silvered chapter ring with Roman numerals and Arabic five-minute markers, enclosing a matted centre with false pendulum aperture and signed behind on a panel, harboured winding holes and calendar aperture above the VI with strike/silent lever at the XII; the twin train fusée movement, with foliate engraved backplate, five ring-turned and shouldered pillars, re-converted verge escapement with bob pendulum, striking the hour on a bell and repeating the quarters on five bells, (1 key, 4 finials).42cm high. IllustratedProbably John Dickens, who was apprenticed to William Cattell in 1680 and obtained his Freedom of the Worshipful Company of Clockmakers in 1688 and is recorded as working until 1695.
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