We found 172950 price guide item(s) matching your search

Carousel 1 4410 1/18th Indianapolis 500 Watson Roadster, white, racing number 12, "Dean Van Lines". Condition: Mint with Mint inner card box & plinth + Good Plus outer box.

A VICTORIAN PINE TALL CUPBOARD with four panelled doors enclosing three shelves, with dentil frieze over and on plinth base, height 203cm, width 98cm, depth 40cm

A pair of Regency gilt and patinated bronze candelabra, each modelled as a figure holding aloft twin branches, raised on a circular marble plinth, 65cm high (2)Condition ReportWorn and broken arms, bent central shafts. With losses.

A Victorian mahogany chest of drawers,with turned wood handles, stamped '3225', on a plinth base,107cm wide53cm deep110cm highCondition ReportWear to the drawer runners, small expected marks to the top and a small veneer chip to the plinth at one end

A mahogany kidney-shaped desk in the manner of Gillow,19th century, the brass-galleried leather-inset top over frieze drawers and fitted cupboards, arranged around a central kneehole, all raised on a plinth base, 162cm wide 91cm deep82cm highCondition ReportThe top leather lined surface with multiple scuffs, scratches and splits and damages, veneer lacking in areas.Some small mouldings are also missing and re staining to the plinth and faded areas.

A Victorian pine estate cupboard,with pigeonholes enclosed by panel doors to the upper half and doors below, on a plinth base,201cm wide71cm deep255cm highCondition ReportSplits and losses to lower edge of both end panelsKnocks to plinth base

A reproduction mahogany breakfront library bookcase,with arched glazed doors above drawers and cupboards below, on a plinth base,215cm wide37.5cm deep215cm highCondition ReportA loose moulding with some knocks and marks to the finish around the base and corners

A mid-Victorian mahogany triple wardrobe,with arched panelled doors, hanging space and a drawer, on a plinth base,190cm wide60cm deep204cm highCondition ReportLacking internal shelves, later fitted hanging railsSlight warp in the doors

Sir Thomas Farrell RHA PHRA (Irish, 1827-1900),Sir Arthur Edward Guinness Bt, 1st Baron Ardilaun (1840-1915),a marble portrait bust, carved wearing fur-trimmed robes, a tasselled jacket and a lace neckerchief, on a socle plinth, inscribed to the reverse 'Sir Arthur Edward Guinness Bt, Baron Ardilaun, born 1 Nov 1840' and 'Thomas Farr',89cm high,together with a Siena marble column,with white marble bands, grey marble octagonal top and base,41cm diameter110cm high (2)Provenance: The Guinness Brewery.Sir Thomas Farrell (1827-1900) was the third son of Terence Farrell and the most successful sculptor in Ireland in the second half of the 19th century. Thomas studied first in his father's studio and then at the modelling school of the Royal Dublin Society from 1842. He exhibited at the Royal Hibernian Academy for over fifty years and was elected its President in 1893. Farrell was responsible for many public statues in Dublin, including a bronze statue of Sir Arthur in 1891, placed at St Stephen’s Green, Dublin, on which this appears to be based.Condition ReportCrack to the back. Plinth with chips to top and base edges.

An oak pedestal desk,late 19th/early 20th century, the rectangular leather-inset top over an arrangement of fitted drawers, around a central kneehole, all raised on a plinth base and stamped 'Elveden' to the interior of one drawer, 127cm wide 70.5cm deep 75cm highCondition ReportA large split to one side, the leather top lifted in areas and with scratches, scuffs and variable damage.

A George III-style mahogany estate cupboard,early 20th century, the upper section with panelled doors opening to reveal pigeonholes within, over conforming cupboards to the lower section, raised on a plinth base,122cm wide49cm deep217cm highCondition Reportwater marked to the front of the top, internal divisions broken and loose in places, overall scratched, knocked, dented and worn

A large green painted pine housekeeper’s cupboard, late 19th/early 20th century, with three panelled doors opening to reveal shelves within, raised on a plinth base, 192cm wide 68cm deep 163cm high Condition ReportSolid construction, blocks defunct, crack to join on left hand front of corner, attention required to joints on left hand end, chips, flakes dirt etc., to paintwork, a single piece and does not dismantle

A Victorian figured walnut chest of drawers,with two short and three long drawers, on a plinth base,121cm wide53cm deep119cm highCondition ReportSome evidence of wear to drawer runners

A Victorian pine pedestal desk,late 19th century, with a leatherette-lined top, nine drawers with brass handles, on a plinth base,120cm wide68cm deep81cm highCondition ReportReplaced lining to top, sides split and cracked, drawers fitted with replacement locks although no key present, drawers run smoothly but lacking stops, knocked chipped and worn throughout, pleasing levels of patina and distressing to the surface

British Army Coldstream Guards Themed Collection, including framed titled cloth insignia (55cm x 45cm), statuette of charging soldier (detached from plinth), plaque, belt buckle, peaked cap, framed presentation minature bayonet and cap badge, Union Flag Coffin drape, ephemera and other miscellaneous items.

An oak bookcase, with three hinged glazed sliding doors, on a plinth, possibly Minty, 107cm high, 90cm wide.

A late 19th/early 20thC pitch pine church or school cupboard, with two panelled doors, 169cm high, 113cm wide, 35cm deep. (plinth AF)

A 20thC Chinese black lacquered cabinet, decorated with flowers, with two doors enclosing five drawers and a recess, on a plinth, 92cm high, 61cm wide.

An Ebano Spanish sculpture of a silvered horse head mounted on Amethysts, on a black marble plinth, marked "Ric-Art" Made in Spain, the sculpture H46cm, W35cm, late 20th century.

Lyle Sopel (Canadian, b. 1951). Large nephrite jade carved sculpture depicting a North American bald eagle in flight. The eagle is highly polished while the plinth it soars over is textured. Incised signature and numbered C687 along the base.Height: 18 in x width: 7 in x depth: 10 in.Condition: No major chips, cracks, losses, or restorations. Due to the uneven nature of the base, it is impossible to note if there are any unintentional chips. There is some slight roughness to the tips of the eagle's feathers, possibly original to the artistic process. Very light wear throughout.

Truman Bolinger (American, b. 1944). Large cast bronze statue titled "From Where the Eagles Soar" depicting a man on a horse with a pack mule following close behind, 1978. They tread a narrow mountain trail, turning around a rockface and taking care to avoid the edge. Signed, numbered A.P./25, and dated along the base of the bronze. Mounted to a short formed wooden base. With a tall rectangular wooden plinth.Height: 26 in x width 17 in x depth: 22 in.Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.

Jef Lambeaux (Belgian, 1852-1908). Large bronze statue titled "The Wrestlers" depicting two nude male figures, one hoisting the other through the air. With "Usine des bronzes, R. de Braz, Bruxelles" stamped along the base. Incised signature along the base. With a rectangular marble plinth.Statue; Height: 43 in x width: 30 in x depth: 27 in. Marble stand; height: 29 x width: 23 x depth: 16 in.Condition: There are no major dents, cracks, losses, or restorations. Some residue along the bronze base. Verdigris patination throughout, especially in the recessed areas of the work. Some light wear throughout consistent with age and display. No major chips, cracks, or losses to the marble base. Adhesive residue along the sides. Scratches throughout the top and some scratches along the side. The bronze is not attached to the marble base.

†&nbspA VERY FINE GEORGE I BURR WALNUT EIGHT-DAY LONGCASE CLOCKGEORGE GRAHAM, LONDON, NO. 662 CIRCA 1725The five latched knopped pillar two train bell striking movement with thick plates measuring 7.625 inches high by 6 inches wide stamped 662 to the lower edge at the rear, the going train with bolt-and-shutter maintaining power, deadbeat escapement with inverted Y-shaped pallets, and regulated by the original brass-rod seconds pendulum with calibrated rating nut reading against a brass nib-piece to the lenticular bob, the rack strike train with finely worked steelwork and extensive use of cocks for the pivots incorporating distinctive sculpted feet screwed to the frontplate, the 12 inch square brass dial with narrow subsidiary seconds ring, shuttered winding holes, calendar aperture incorporating pin adjustment and oval plate signed Geo: Graham, London to the finely matted centre, within applied silvered Roman numeral chapter ring with diamond lozenge half hour markers and Arabic five minutes beyond the minute track, with scroll-pierced blued steel hands and double-screwed fine gilt Indian mask and scroll cast spandrels to angles with foliate strapwork engraved infill to the margins between, the right-hand edge with slotted lever for the bolt-and-shutter maintaining power and the lower edge engraved with repeat signature Geo: Graham, London, the movement and dial with original seatboard and secured via a brass T-bracket applied to the inside of the backboard behind the movement, the case with moulded upstand to the domed caddy surmount set on shallow mounded box upstand with cavetto moulded upper edge, over ogee moulded cornice, foliate scroll fretwork frieze and hinged front with glazed dial aperture flanked by three-quarter columns with crisply cast gilt brass capitals and bases to the front angles, the sides with fine scroll-pierced frets and conforming quarter columns set against bargeboards at the rear continuing up past the frieze to meet the underside of the lintel, the trunk with concave throat moulding over 40 inch rectangular door fronted with fine book-matched figured veneers within a slender herringbone border and complex cavetto cross-grain edge mouldings, the interior of the door with remnants of the original paper equation table beneath ivorine service label for CAMERER CUSS and various inventory numbers, the left hand top edge of the door punch stamped 662, the sides veneered with twin herringbone bordered panels within crossbanded surrounds, the plinth base with cavetto top moulding over herringbone bordered book matched veneered front and conforming single panel veneered sides, on cavetto moulded skirt.224cm (88.25ins) high, 49.5cm (19.5ins) wide, 26cm (10.25ins) deep. Provenance:The property of a central London financial institution; acquired prior to 1925 to form part of a collection housed in a purpose-built prestigious Georgian style office building.George Graham was born in around 1673 in Kirklinton, Cumberland, but by 1688 he had moved to London and entered into an apprenticeship with Henry Aske. Graham gained his freedom of the Clockmakers' Company in 1695 and went to work for Thomas Tompion, whose niece, Elizabeth, he married at St. Mary le Bow in September 1704. After the Tompion's failed partnership with Edard Banger Graham was trusted to become his successor with the two makers entering into a formal a partnership in 1711. On Tompion's death in 1713 George Graham inherited the business 'on the corner of Water Lane in Fleet Street' and continued there until 1720 when he relocated to 'the Dial and One Crown' further up Fleet Street, nearer Fleet Bridge.George Graham maintained the same exacting standards as his former master and also continued the serial numbering system established in around 1680/81. In 1722 he served as Master of the Clockmakers' Company and went on to establish himself as one of the most important clockmakers of his generation. Amongst his achievements was the further development of the deadbeat escapement, invention of the mercury compensated pendulum and the cylinder watch escapement. As well as clocks and watches George Graham was also a highly accomplished maker of scientific instruments with perhaps his most famous creation being the planetarium made for Charles Boyle, Earl of Orrery. He also produced the great mural quadrant for Edmund Halley at Greenwich observatory, also a fine transit instrument and the zenith sector used by James Bradley in his discoveries. Through his observations in testing his very highly regarded compasses Graham also discovered the diurnal variation in the terrestrial magnetic field in 1722/23.George Graham also became an ardent supporter of John Harrison in the development of his marine chronometers to the extent that he forwarded an interest free private loan of £200 to Harrison to facilitate the building of H1. George Graham died in 1751 and was buried next to his former master in Westminster Abbey, leaving the business in the hands of a former apprentices, Samuel Barclay and Thomas Colley. George Graham's legacy is perhaps best reflected by the subsequent work of another former apprentice, Thomas Mudge, who went on to continue in the development of the marine chronometer after Harrison, and to invent the lever watch escapement. The present clock is a fully-developed 'textbook' example of George Graham's highly refined design of longcase clock produced from just prior to 1720 until around the time of his death in 1751. Very much following in his former master's footsteps the fully latched movement incorporates bolt-and-shutter maintaining power, very finely finished delicate steelwork and extensive use of cocks for the under-dial motion and strike work. The escapement is of 'Graham' deadbeat type however this design of escapement was first used by Tompion for two regulators for Greenwich observatory in 1776. The original pendulum is a nice, relatively rare survivor and allows precise adjustment via the calibrated rating nut reading against a nib-piece applied to the large lenticular bob. The dial is beautifully finished with engraving between spandrels executed by Tompion's engraver 'G515' (see Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS, Art on a Canvas of Brass 1660-1800 page 224). The case is beautifully proportioned with sophisticated mouldings and very well chosen tight-grained veneers laid to exhibit their fine figuring to best effect. The extensive use of fine scroll-pierced frets is a Tompion/Graham trait and details such as herringbone bordered crossbanded panels to each side of the plinth demonstrate an attention to detail beyond any other maker of the period.  Amongst George Graham's surviving walnut longcase clocks, number 661 (the preceding serial number to that of the present clock) was offered at Bonham's, London, sale of Fine Clocks 9th December 2008, (lot 141 - with no caddy superstructure present) for £80-120,000; and was more recently sold (with a restored caddy) by Ben Wright, Tetbury for an undisclosed sum. Number 681 is known as 'The Cay Graham' as it still retains its original record of sale to Robert Cay (1649-1754) in 1728...TO READ MORE, PLEASE CLICK HERE 

A WILLIAM AND MARY WALNUT AND FLORAL MARQUETRY LONGCASE CLOCK OF ONE-MONTH DURATIONJOHN WESTOBY, LONDON, CIRCA 1690-95The six finned pillar outside countwheel bell striking movement with tall plates measuring 7.875 by 5.75 inches and anchor escapement regulated by seconds pendulum, the 10.5 inch square brass dial with ringed winding holes, scroll border engraved calendar aperture and subsidiary seconds dial to the matted centre, within applied silvered Roman numeral chapter ring with stylised trident half hour markers, Arabic five minutes within the outer minute track and signed John Westoby, Londini fecit to lower margin, with pierced steel hands and winged cherub mask and scroll cast spandrels to angles, the case with moulded cornice and geometric blind fret frieze over floral marquetry trail decorated hinged glazed dial surround applied with Solomonic three quarter columns to front angles, the sides of the hood with rectangular windows, the trunk with convex walnut veneered throat moulding over 41 inch rectangular door centred with an circular lenticle and with three shaped marquetry panels decorated with bird inhabited floral sprays and scrolling foliage into an ebonised ground within a walnut field, with opposing double-ogee edge mouldings, the sides veneered with twin panels within crossbanded borders, the base with convex top moulding and conforming break-arch marquetry panel over a moulded skirt, (hood formerly rising, base rebuilt).211cm (83ins) high, 47cm (18.5ins) wide, 25.5cm (10ins) deep.  John Westoby is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born circa 1655 and apprenticed to Thomas Wheeler in November 1669-76. He married Joan Dare at St. Bride's, Fleet Street in 1680 with whom he had a daughter, Charity, two years later. John Westoby took-on at least four apprentices including Thomas Trigg 1692 to 1701 and Thomas Carter (through William Clement) in June 1694. In 1693 Westoby was 'at the dial in little distaff lane' and in 1697 he signed the Clockmakers' Company oath of allegiance; he died in 1703 and was buried at St. Dunstan's, Stepney. Condition Report: The movement survives in its original configuration evidence with no alteration evidence however there are noticeable 'service' replacements throughout. The going train fourth wheel and the escape wheel appear to have been re-pinioned; the escape wheel itself is delicately made and the pallets appear original. All wheels above the second wheel to the strike train have also been re-pinioned. The re-pinioning work has some age (probably late 19th century) as was no doubt done to address wear in the original pinions. The countwheel is probably original but has been later stamped with annotations for the hours beneath each respective slot. The centre pillar has been replaced. The movement is in working order however is a little dirty/dusty hence a precautionary gentle clean/service is advised. The dial is in fine condition with slight mellowing/spotting to the silvered finishes and the areas of lacquered brass in similar condition. The hands are nicely made/sculpted. The movement rests on a replaced seatboard onto the 'cheek' uprights of the case which are free of packing etc. so it is possible that the movement and dial are original to the case however we are unable to offer any categorical assurance that the movement and dial have always been with the case.The hood was originally rising and has now been adapted to have an opening front door and a mask applied to the interior (to form a frame around the dial). The door was once fitted with a lock but this has been removed and the cut-out filled. The top board, cornice mouldings and frieze are 19th century replacements and the glue has now dried-out causing the mouldings applied to the left hand side becoming loose at the top. The hood columns are relatively well made replacements; the rear has no quarter columns fitted although a loose quarter column is included. The rest of the hood is original and in sound condition with some strengthening in places and evidence of some historic woodworm. The trunk is in sound original condition with notable faults limited to a section of replaced veneer measuring around 6 by 4 inches applied towards the lower edge of the right hand side and some replacements (in figured ash or elm) to the crossbanding mostly to the left hand side. The left hand throat moulding has been replaced. The door lock and escutcheon are later replacements/additions and the door edge mouldings are also probably non-original as such cases were normally fitted with half-round cross-grain mouldings to the door. The marquetry has some historic localised filling to the surface. The base has been replaced including the top moulding. The marquetry panel is reasonably well matched and faults are limited to some horizontal shrinkage cracking to the front. The original backboard has been cut along the top level of the plinth and well matched timber applied to the rear of the base beneath; the interior angles of the backboard have been braced by adding full-height quarter-round moulding. Faults to the case are otherwise limited to age related bumps, scuffs, veneer shrinkage, wear and other blemishes commensurate with age and use.Clock has a pair of brass-cased weights (probably 19th century), pendulum, winding key and trunk door key. Clock has been consigned by a private vendor and is a 'family piece' having been in the same family ownership as long as anyone can recall. Condition Report Disclaimer

A VICTORIAN BRASS SKELETON CLOCKUNSIGNED BUT PROBABLY BY JOHN SMITH AND SONS, LONDON, CIRCA 1860The thick scroll-pieced waisted plates united by six columnar pillars enclosing twin chain fusees and five spoke wheel crossings, the going train with half-dead-beat escapement regulated by half-seconds lenticular bob pendulum suspended behind the backplate and with holdfast screw, the strike train with rack visible on the frontplate and sounding the hours on a bell vertically mounted above the plates, the dial with silvered skeletonised Roman numeral chapter ring and blued steel moon hands, mounted via ogee-capped cylindrical brass feet onto a velvet lined ogee moulded D-ended wooden plinth cut with a channel to take the glass dome cover and with disc-tuned feet.The clock 35cm (13.75ins) high, 18.75cm (7.25ins) wide, 12cm (4.75ins) deep; the clock, stand and dome 42cm (16.5ins) high, 34cm (13.5ins) wide, 21.5cm (8.5ins) deep. 

A QUEEN ANNE BLACK JAPANNED EIGHT-DAY LONGCASE CLOCKTHE DIAL INSCRIBED FOR ANDREW AND ELIZABETH TURGENS, DATED 1714The five finned pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch square brass dial with ringed winding holes, star decorated subsidiary seconds dial, scroll bordered calendar aperture and applied oval silvered plate engraved Andrew Elizabeth, Turgens Anno, 1714 to the matted centre, within applied silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers and Arabic five minutes beyond the minute track, with pierced steel hands and twin cherub and crown cast spandrels to angles, in a case with architectural cornice and gilt scroll decorated frieze over hinged glazed dial aperture applied with three-quarter columns to front angles, the sides with rectangular windows and quarter columns applied to the rear edge, the trunk with traces of gilt painted foliage to throat moulding over brass lenticle centred rectangular door decorated in gilt and polychrome with unusual design incorporating a canopy suspending a Dutch style chandelier and floral motifs over Ho-Ho birds to lower margin within line-scribed border incorporating stylised gilt shell motifs at the angles, on a plain plinth base with ogee top moulding and moulded skirt.213.5cm (84ins) high, 49.5cm (19.5ins) wide, 23.5cm (9.25ins) deep. No clockmaker with the surname Turgens is recorded in any of the usual sources, however the presence of both male (Andrew) and female (Elizabeth) together with a date (1714) would suggest that the inscription most likely commemorates the marriage of the original owners. The japanned decoration to the trunk door is unusual in that it departs form the usual generic chinoiserie motifs and prominently features a Dutch style brass chandelier complete with lit candles. It may be that this motif had some significance to the original owners who, for example, could have been chandlers.   Condition Report: Movement is in dirty/neglected condition however appears to be fundamentally all-original with no visible evidence of alteration or noticeable replacements. A clean/service is probably all that it requires. The dial again is dirty/tarnished but appears essentially original except for the hands. The movement retains its original seatboard which rests directly onto the cheek uprights of the case which have been notched-down to accommodate the level of the seatboard - this is probably the original arrangement hence movement and dial are probably original to the case. The case is generally intact but the finish is generally distressed with historic lifting/cracking/rubbing and small losses throughout resulting in heavily patinated finish with the gilt details appearing faint. The hood cornice moulding has a replaced section towards the right-hand edge. The rear quarter columns do not match the front columns so are probably replacements. The plinth and skirt has been replaced and has ebonised finish only - the rear edge has been cut to clear a skirting board. Structurally the case is sound.Clock has pendulum but no weights, case key or winder and pulleys are also missing. Condition Report Disclaimer

A FRENCH SILVERED AND GILT BRASS NOVELTY AUTOMATON WINDMILL TIMEPIECE ANDRE ROMAIN GUILMET, LATE 19th CENTURYThe eight-day single train circular timepiece movement with replaced gilt platform lever escapement regulated by monometallic balance vertically planted on the backplate next to stamped serial number 1777, the 2.25 inch circular silvered brass Roman numeral dial with recessed gilt centre and blued steel hands set behind hinged bevel-glazed bezel, positioned beneath a now vestigial barometer with rosette-centred silvered scale calibrated in barometric inches and with the usual observations set within rotating glazed bezel incorporating setting pointer to the glass, the case modelled as a windmill tower with pennant flag to the conical roof over arrangement of four revolving sails powered by a spring-barrel driven movement positioned within the base of the structure manually controlled via a lever to the left hand side, the slightly flared cylindrical upright rendered with bonded blocks and applied with later spirit Centigrade thermometers to each side, the circular plinth base with foliate pierced brass gallery over hinged miniature door enclosing the winding square for the windmill sail movement flanked by dummy windows, with moulded gilt brass skirt set on a circular marble plinth, (barometer mechanism lacking, thermometers replaced).47.5cm (18.75ins) high, 19cm (7.5ins) wide, 18cm (7ins) deep. Andre Romain Guilmet was born on the 10th of December 1827 in La Ferte-Gaucher, France. He was a credited as a watchmaker and inventor who specialised in producing novelty and mystery clocks for which he applied for a number of patents for designs. Amongst his other Patents was that for a bicycle where the driving chain was set below the seat. He is best known for his 'mysterieuse' figural clock with glass pendulum, this takes the form of a woman holding pendulum in her outstretched hand and arm over a marble base containing the clock below. The pendulum is impulsed by the mechanism underneath her that moves the figure imperceptibly from side to side (see following lot). Guilmet's industrial series of clocks, which includes the current lot, features automated clocks in the form of windmills, lighthouses, automobiles, boats, steam hammers, boilers, etc.; another 'windmill' automaton timepiece from this series is illustrated in Roberts, Derek Mystery, Novelty and Fantasy Clocks, figure 22-28. 

A CHARLES II MONTH-DURATION LONGCASE CLOCK MOVEMENT WITH TEN-INCH DIAL IN A LATER WALNUT CASEJAMES CLOWES, LONDON, CIRCA 1685, THE CASE 20th CENTURYThe five thickly-turned ringed pillar outside countwheel bell striking movement (centre latched) with anchor escapement regulated by lenticular bob pendulum, the 10 inch square brass dial with calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with cruciform half hour markers, Arabic five minutes within the outer minute track and signed James, Clowes London to lower margin, with scroll pierced steel hands and applied cast winged cherub mask spandrels to angles, now in a case with cavetto cornice and plain frieze over Solomonic-turned three quarter columns applied to the front angles of the hinged glazed dial aperture, the sides with rectangular windows and conforming quarter columns applied against bargeboards to the rear, the trunk with convex throat over 39 inch rectangular door applied with book-matched veneers within half-round cross-grain mouldings, the sides with conforming veneers, the plinth base with concave top moulding over crossbanded facia and moulded skirt.The case 194.5cm (76.5ins) high, 46cm (18ins) wide, 25.5cm (10ins) deep. James Clowes is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born in around 1643 in Astbury, Cheshire, older brother of John (born 1751) and son to James Clowes senior, a nail maker of Odd Rode. James Clowes became a Free Brother of The Clockmakers Company in 1671 - the same year as Thomas Tompion, Joseph Knibb, Daniel Quare and Joseph Windmills. In 1673 he was working at St. Giles in the Fields and then At. Ann's Blackfriars in 1675 when he married Mary Winckley of Biddulph, Staffordshire (at Barthomley in Cheshire). He is believed to have married again to a Jane Coulton in 1680 who was still alive in 1686. James Clowes signed the Clockmakers Company oath of allegiance in 1697 and paid quarterage up until 1705 when he is thought to have died. Condition Report: Movement is in fine original condition with no visible alteration and noticeable replacements limited to the escapement pallets and probably the countwheel. The movement is reasonably clean and essentially in working order however a gentle clean/service is advised. The dial is original to the movement. The matting is rubbed/worn and the upper margin of the calendar aperture has had a small section of brass inset to lower the height of the upper margin - this was almost certainly done by the maker to ensure that the inner diameter of the calendar ring is large enough to clear the lower than normal winding holes. The dial plate has some casting cracks (near the calendar aperture) as does the chapter ring (one at XII). The chapter ring has some oxidation/rubbing to the silvering and the signature is also a little worn. The hands are nicely made and are in good condition.As catalogued the case is later (20th century) and most likely purpose made for the current movement and dial. The carcass is mostly pine stained dark brown and the veneers are relatively thin. The finish has a pleasing aged/faded look and faults are very much limited to minor bumps, scuffs and shrinkage.Clock has pendulum (no suspension spring), a pair of brass-cased weights (most likely 19th century), a case key but no winder. Condition Report Disclaimer

A REGENCY ORMOLU AND BLACK MARBLE SMALL 'DRUM-HEAD' MANTEL TIMEPIECEBROCKBANK AND ATKINS, LONDON, CIRCA 1825The circular four columnar pillar eight-day single chain fusee movement with anchor escapement regulated by a lenticular bob pendulum, the backplate signed Brockbank & Atkins, London, 2292 over pendulum holdfast, the 3.5 inch circular gilt brass Roman numeral dial with fine foliate scroll engraved centre and signed BROCKBANK, & ATKINS, LONDON, 2293 to upper margin, with steel moon hands within a gilt repeating leaf milled bezel, the case with gilt surmount cast as an eagle with outstretched wings over tied oakleaf crest to the drum housing the movement cradled on honeysuckle decorated scroll supports, on marble plinth base applied to a relief floral garland to front over shallow cavetto skirt and engine-milled gilt bun feet.30cm (11.75ins) high, 13.5cm (5.25ins) wide, 9.5cm (3.75ins) deep. 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. The firm was well known for producing fine marine chronometers. Several models of this timepiece sharing the same castings, form and specification are known signed either by Joseph van Baetens, F. Baetens or just Baetens. The Baetons family were a firm of bronziers who worked in a similar vain to the Vulliamys and were based at 23 Gerard Street, Soho; according to Baillie, G.H. (in Watchmakers & Clockmakers of the World) they were active around 1832. From this it is reasonable to suggest that the case of the present timepiece was supplied by Baetens, however, as the movement is particularly well made and the dial very well finished, the present timepiece can be considered a better example than those signed by Baetens. Condition Report: Movement is complete and in working condition with no visible evidence of alteration or noticeable replacements; although reasonably clean a precautionary gentle clean/service is advised. The pendulum appears original although the holdfast screw is missing. The dial is in fine condition with only very slight wear to the black numerals in places; the signature is fine and clear and beautifully executed. The case retains original gilding with minimal wear and oxidation; it is a little dirty/dusty so may benefit from a gentle wash. The black marble base is in fine condition with faults very much limited to tiny chips/frits to the upper corners of the main block and skirt at the front.Generally a fine original clock in very good condition. Timepiece has a crank winding key. Condition Report Disclaimer

Y&nbspA FINE GEORGE IV BRASS 'FIRST PERIOD' SKELETON TIMEPIECE WITH SECONDS-BEATING LEVER ESCAPEMENTJAMES CONDLIFF, LIVERPOOL, CIRCA 1825-30The single chain fusee train set between demi-lune shaped plates pierced with a band of crescents enclosing pendant cruciform motifs over repeating spire designs, united by four knopped pillars, with open-walled spring barrel, Harrison's maintaining power, six-spoke wheel crossings and contrate take-off for the oversized English lever escapement slung beneath the plate onto which the movement rests, regulated by a 2.5 inch faceted three-arm monometallic balance with blued steel timing screws, jewelled pivots and helical spring held in the mouth of gilt serpent applied to the lower case platform, the dial with centre seconds, silvered Roman numeral chapter ring, blued steel moon hands and visible motionwork incorporating five-spoke wheel crossings applied to the movement frontplate behind, the frame with large acorn-turned finial to the apex of the plates and four further conforming finials set on each corner of the plate beneath the movement, raised on four column-turned corner uprights over a rectangular platform centred with the balance wheel lower pivot and the applied with the gilt brass coiled serpent, the front with Classical male mask centred double lyre cast mount flanked by rosettes formed from six interlinked beehives, on ball feet; secured to a red velvet-lined rosewood veneered plinth to take the glass dome cover (damaged), with canted angles and line-strung borders over bun feet.The timepiece 32.5cm (12.75ins) high, 26cm (10.5ins) wide, 11.5cm (4.5ins) deep; including stand and dome 51cm (20ins) high, 35cm (13.75ins) wide, 19cm (7.5ins) deep. Provenance:Long-term single private family ownership since at least 1880. Catalogue Amendment 23/08/23; the underside of the upper frame plate is stamped J. CONDLIFF, LIVERPOOL behind the escapement top pivot.James Condliff set up as a clock and watchmaker at 32 Gerard Street, Liverpool in 1813. He then had premises on Circus Street (1819-22) and Fraser Street (1823-62). In 1827 he was joined in partnership by Joseph Condliff and continued from workshops in Fraser Street as well as from an address in Clare Street. Joseph Condliff subsequently opened a branch under his name alone in Everton and John Condliff took-on premises at Mount Vernon. James Condliff is believed to have retired by 1862 and died in 1884 and was most likely succeeded by Thomas Condliff who is recorded working in Liverpool 1867-1914. Derek Roberts in British Skeleton Clocks (pages 99-113) classifies Condliff's skeleton clocks into three distinct periods/types, with the first dating 1825-50, the second 1850 to circa 1870, and the third 1855-60. The current lot is from the first series which are typified by having arched plates set on a rectangular platform raised on columns. These models also incorporate a sprung balance with the end of the spring held by a serpent applied to the upper surface of a second, lower platform. Examples incorporating a second striking train include the additional feature of having their spring barrels set within the base, and the fusee chains passing up (past the balance) to the trains above. With these the base also serves to conceal the bell/gong and hammer. The present lot, being a timepiece only, benefits from having the barrel set between the plates hence leaving the base platform free to feature the escapement, balance and serpent uncluttered. The present timepiece is a particularly rare example from only a handful of first period skeleton clocks by Condliff. It also benefits from being a previously un-recorded example privately consigned from long-term single-family ownership. Condition Report: Timepiece is generally in fine original clean condition with no visible evidence of alteration or notable replacements. The train is fundamentally in running condition however at some point someone has attempted to wind via the spring barrel arbor causing the fusee chain to become unhitched and whiplash around the left-hand pillar and frame edge resulting in some bruising/marks to both the pillar, the edge of the plate and around a pierced aperture to the centre. The marks to the plate can probably be filed-out leaving little or no trace, and the pillar can possibly be removed without parting the plates (is pinned and screwed rather than riveted to one of the plates) and turned to remove the marks. The worst case scenario is that a replacement pillar may need to be turned from suitable yellow brass. The fusee chain is correctly attached but has not been set-up/tensioned (via the barrel ratchet) - this will be required before it will run under its own power for the entire eight-day duration. The timepiece is running and escapement beats happily when it is wound over about 1/3 way. As with the rest of the timepiece the chapter ring and hands are in fine condition and the serpent together with the front rail mounts retain fine gilt finish. The platform base has a slight casting fault to the rear left hand corner beneath the column base. The rosewood base and dome appear contemporary with the clock but may have been acquired separately (could be French); the glass dome is badly cracked at the rear.Timepiece is complete with a decoratively turned winding key. Condition Report Disclaimer

A WILLIAM III EBONISED THIRTY-HOUR LONGCASE CLOCK WITH VERGE ESCAPEMENT AND TEN-INCH DIALJOHN CLARKE, LONDON, CIRCA 1695The single-handed posted countwheel bell striking movement with verge escapement regulated by short bob pendulum swinging to the rear of the frame and square section corner posts riveted to the bottom plate and screwed to the top plate, the 10 inch square brass dial with matted centre within applied silvered Roman numeral chapter ring with stylised sword hilt half hour markers and signed Jn'o Clarke, London to lower edge, the ebonised case with giltwood ball finials to the raised ogee-shaped caddy superstructure over architectural ogee cornice, foliate scroll pierced sound fret and hinged front with glazed dial aperture flanked by three-quarter Solomonic twist columns to angles, the sides with rectangular windows and conforming quarter-columns set against bargeboards to the rear, the trunk with convex throat moulding over 42 inch rectangular door with half-round edge mouldings, on plinth base with stepped ogee top mouldings and moulded skirt.216cm (85ins) high including finials, 43cm (17ins) wide, 26cm (10.25ins) deep. Three clockmakers with the name John Clarke are recorded in Loomes, Brian Clockmakers of Britian 1286-1700 as working in London at the end of the 17th century. The first was apprenticed to Peter Southworth from 1675-83; the second to Humphrey Clarke 1681-89 (but not freed), and the third to James Graves 1682-90. The latter took an apprentice, John Hawksbee, in 1695 and paid quarterage until 1696; Loomes further notes that he may well have been an engraver. Condition Report: Movement is in fine original working condition with the only noticeable repair being to the lower pivot of the escape wheel involving as small brass slip being soldered to the bottom potance. The pallet arbor appears to be a service replacement, and the backcock is also made from two parts (rather than a single casting) hence may also be a replacement. The movement is in working condition. The dial is in fine clean condition with only minor discolouration and a few slight surface bruises; the matting is finely executed. The movement and dial rests on the original oak seatboard which is directly attached to undisturbed cheek uprights of the case with clout nails. This indicates that the movement and dial are most likely original to the case.The case generally appears to be a fine rare survivor which has received some mostly cosmetic restoration. The caddy superstructure to the hood is a fairly recent addition but is not attached to the case so can simply be lifted off. The top board of the hood has been replaced and the frieze frets appear fairly recent, otherwise the hood appears to be in very good original condition with the only notable fault being a crack across the left-hand side glass. The trunk is in fine condition with backboard continuing down to the lower edge of the box of the plinth base. The trunk door has some thinning/cutting back to the interior towards the bottom edge (to allow the weight to pass freely close to door). The structure of the base appears all-original, hence is a very rare survivor. The moulded skirt is a relatively recent addition. The ebonised finish has been renewed at some point in the relatively recent past, it is very well executed and is now starting to fade a little and take-on patination.Clock has pendulum and weight but no case key (does not require a winding key).  Condition Report Disclaimer

A RARE EMPIRE PERIOD PATINATED BRONZE, ORMOLU AND LAPIS LAZULI FIGURAL MANTEL CLOCKUNSIGNED, POSSIBLY RUSSIAN, SECOND QUARTER OF THE 19th CENTURYThe circular eight-day countwheel bell striking movement with anchor escapement regulated by disc bob pendulum with silk suspension, the 4.5 inch circular convex white enamel Roman numeral dial with Arabic quarters and unusual cruciform-dot five-minute markers to outer track, with blued steel moon hands set within a repeating anthemion motif engine-milled surround behind hinged convex glazed bezel, the case surmounted with a standing patinated bronze figure of a man in Classical senatorial robes conversing with a youth, set on a plinth with gilt platform and complex cornice mouldings over lapis lazuli front containing the dial, back with movement access panel, and sides, on repeating acanthus cast ogee moulded skirt base with leafy bun feet.70.5cm (27.5ins) high, 27.5cm (10.75ins) wide, 18cm (7ins) deep. 

†&nbspA TORTOISESHELL JAPANNED EIGHT-DAY LONGCASE CLOCKUNSIGNED, THE MOVEMENT AND DIAL CIRCA 1810, THE CASE CIRCA 1720The four pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 13 inch break-arch painted dial with cream subsidiary seconds disc and arched calendar aperture to the unusual painted centre decorated with gilt figures of musicians and others in Oriental dress within a dark garden landscape beneath deep red drapery to upper margin, the cream chapter ring with vertically aligned Arabic hour numerals, with pierced brass hands and gilt conch shell/red coral decorated spandrel areas, the arch centred with a gilt pagoda within conforming dark garden landscape beneath deep gilt floral band border to upper margin, now in a simulated mottled red tortoiseshell painted case with architectural moulded cornice over blind upper quadrant panels and break-arch glazed door decorated with gilt foliate scroll to frame and applied with three-quarter columns to front angles, the sides with rectangular windows within leafy motif decorated surrounds and with conforming quarter columns set against bargeboards at the rear, the trunk with concave throat moulding painted with generous foliate scrollwork, over rectangular door decorated in raised polychrome and gilt with Oriental figures and pavilions within an Arcadian garden landscape around a central circular lenticle and within conforming bird inhabited surround, the sides painted with further large scale bird inhabited leafy sprays, the plinth base with decorated ogee top moulding over guineafowl inhabited landscape panel to fascia, on conforming moulded skirt base.226cm (89ins) high, 49.5cm (19.5ins) wide, 25.5cm (10ins) deep. Provenance:The property of a central London financial institution; acquired prior to 1925 to form part of a collection housed in a purpose-built prestigious Georgian style office building.   

A GEORGE II FIGURED WALNUT VENEERED EIGHT-DAY LONGCASE CLOCKTHOMAS CHAPPELL, LONDON, CIRCA 1755The five pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch brass break-arch dial with subsidiary seconds dial, calendar aperture and arched signature plate engraved Tho's Chappell, London to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track, with scroll pierced steel hands and twin-bird-and-urn cast spandrels to angles, the arch with subsidiary STRIKE/SILENT selection dial flanked by dolphin cast mounts, the case with domed caddy superstructure above architectural cornice, and break-arch mouldings over the hinged glazed dial aperture applied with three-quarter columns to front angles, the sides with break-arch glazed windows and quarter columns set against bargeboards at the rear, the trunk with fine quarter-veneered break-arch door applied with half-round cross grain edge mouldings, the plinth base with cavetto top moulding over crossbanded figured walnut panel veneered fascia, on moulded double skirt base incorporating shaped apron to lower margin.226cm (89ins) high, 53.5cm (21ins) wide, 26.5cm (10.5ins) deep. Thomas Chappell is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working from Great Tower Street, London 1754-63 Condition Report: Movement is in dirty/neglected condition however appears to be all-original with no visible evidence of alteration or noticeable replacements. A clean/service is probably all that it requires. The dial again is dirty/tarnished but appears all original retaining gilding to the spandrel castings with only minor rubbing. The movement retains its original seatboard which rests directly onto the cheek uprights of the case which other than having numerous holes for screws/fixings appears undisturbed hence movement and dial are probably original to the case. The case is in sound original condition. The back-panel to the hood superstructure is a historic replacement (caddy etc appears original) and there is evidence to the front corners above the cornice to indicate that finials on blocks were once fitted. The rear quarter columns are missing both base turnings and one capital turning is a crude replacement. The chin moulding has a small loss to right hand corner; otherwise hood is in good condition although the upper front door hinge is a little loose. The trunk and base are generally very good with faults limited to s slender strip of moulding bordering the upper margin of the plinth top moulding missing from the left-hand side. Otherwise faults to the case as a whole are generally limited to minor bumps, scuffs, shrinkage, veneer chips and wear commensurate with age and use.Clock is complete with pendulum, winder and a case key.  Condition Report Disclaimer

A FRENCH EMPIRE BRONZE AND SIMULATED SIENA MARBLE SMALL MANTEL TIMEPIECEINDISTINCTLY SIGNED, EARLY 19th CENTURYThe circular eight-day movement with anchor escapement for regulation by disc bob pendulum with silk suspension, the gilt engine-turned dial with applied white enamel Roman cartouche numerals and steel moon hands set within an engine-milled bezel, the rectangular plinth-form case with twin handled oval tazza surmount to the tablet upstand over projecting lotus-leaf cast cornice and applied architectural arch mount to fascia, with tied laurel infill to upper quadrants and further mount cast as an eagle suppressing a serpent beneath the dial, the base with further lappet leaf decorated waist moulding and laurel entwined sheathed sword cast mount to apron, on conforming moulded skirt with block feet.32.5cm (12.75ins) high, 16cm (6.25ins) wide, 10cm (4ins) deep. 

†&nbspAN IMPRESSIVE RARE SET OF OERTLING-TYPE BANKER'S OR ASSAY OFFICE PRECISION BULLION BALANCE SCALESDE GRAVE, SHORT AND COMPANY, LONDON, LATE 19th/EARLY 20th CENTURYThe black japanned cast iron upright of tapered pierced pylon form united by a transverse arched lacquered brass bridge at the top set with a steel bed for the knife-edge pivot and inscribed TO WEIGH 1000 OZ TR to front edge, between the uprights to the centre is a cast V-shaped frame supported between channelled pulley-guides and resting on a roller and cam assembly in the base to allow rise/fall locking/releasing of the balance crossmember by taking the load from each end via substantial brass brackets, the balance arm of pierced elongated triangular form with knife-edge at the centre and for each of the opposing suspension pivot points with the right-hand forming a copper pan suspended from chains and the left with copper platform applied to a stiff chrome-plated cradle, the front of the beam engraved DE GRAVE & SHORT & Co. LTD, MAKERS, LONDON and the centre with long open-framed inverted triangular pointer reading against a cream ivorine scale divided into tenths in each direction opposing a ball-shaped counterweight, now mounted on a square mahogany plinth.118cm (46.5ins) high, 87.5cm (34.5ins) wide excluding pans 32.5cm (12.75ins) deep. Provenance:The property of a central London financial institution forming part of a collection housed in a purpose-built prestigious Georgian style office building furnished prior to 1925. The De Grave family were well known as scientific instrument makers specialising in weights and measures throughout the 19th century. The first member to set up business was Charles de Grave who is recorded in Clifton, Gloria Directory of British Scientific Instrument Makers 1550-1851 as working in St. Martin's le Grand from 1780. Clifton notes several subsequent partnerships between various members of the DeGrave family including DeGrave, Short and Fanner who are noted as specialist balance and weight makers working from 59 St. Martin's Le Grand, London 1845-71. The DeGrave business was eventually taken over by W. and T. Avery and Company Limited in the early 20th century. This type of balance was developed by Ludwig Oertling who is recorded by Clifton as working from several addresses in London 1846-1925. He was appointed by the Bank of England and Board of Trade and was succeeded by his son, Henry, after his death in 1893. The business was also taken over by W. and T. Avery and Company Limited in around 1925. 

A WILLIAM III WALNUT AND PANELLED SEAWEED MARQUETRY EIGHT-DAY LONGCASE CLOCKJEREMIAH JOHNSON, LONDON, CIRCA 1695-1700The five finned pillar inside countwheel bell striking movement with anchor escapement regulated by seconds pendulum, the 11 inch square brass dial with scroll border engraved calendar aperture and subsidiary seconds dial to the rose decorated matted centre, within applied silvered Roman numeral chapter ring with stylised sword hilt half hour markers, Arabic five minutes beyond the minute track and signed Jere. Johnson, in Exchange Alley to lower edge, with fine sculpted pierced steel hands and applied winged cherub mask and scroll cast spandrels to angles with foliate scroll engraved decoration to the dial plate edges between, the case with later added domed cady surmount over architectural repeating leaf inlaid cornice, foliate scroll fretwork frieze, and delicate floral marquetry trail decorated hinged glazed dial surround applied with Solomonic three quarter columns to front angles, the sides of the hood with rectangular windows, the trunk with conforming scroll decorated convex throat moulding over 41 inch rectangular door centred with an oval lenticle and with three shaped marquetry panels decorated with symmetrical leafy scrolling foliate trails within foliate banded borders and a walnut field, with cross-grain half-round edge mouldings and further conforming foliate band to frame surround, the sides veneered with twin line-bordered panels within crossbanded borders, the base with stepped ogee top moulding over front with conforming marquetry panel within foliate and crossbanded borders, on bun feet.200cm (78.75ins) high excluding later caddy surmount, 45.5cm (18ins) wide, 24cm, (9.5ins) deep. Jeremiah Johnson is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born circa 1646 and apprenticed to Nicholas Payne in 1660 before being passed onto Abraham Beckner and then Ahasuerus Fromanteel (II) finally gaining his freedom of the Clockmakers' Company in 1668. He lived in St. Margaret's, Lothbury and took many apprentices including his son of the same name in 1697. From around 1707 Johnson received charitable payments from the Clockmakers' Company which were maintained until his death in late 1709. Condition Report: Movement is in fine original condition with no visible evidence of alteration or noticeable replacements with the possible exception of the escapement pallets. Although relatively clean and in working condition a precautionary clean/gentle service is advised. The dial is in good clean condition with faults limited to visible chapter ring foot rivet mark at twelve o'clock and repairs to the finely worked hour hand. The movement retains an old (probably original seatboard) however there are thin packing slips applied to the cheek uprights of the case which suggests that the movement and dial are most likely not original to the case.The case is generally in sound original condition. The hood was originally rising hence the opening front is an early modification that has been executed cleanly. The caddy is a 19th century addition which could easily be removed and replaced with a top board applied to the original aperture. The rear edges no longer have quarter columns and the frieze fret is a replacement otherwise hood is in good original condition with age related wear, some minor veneer/moulding chips and shrinkage. The trunk and base of the case are also in good original condition. The side throat mouldings are stained pine hence are most likely historic replacements. The trunk door has a very slight warp causing the top left corner to project forward by around 7mm; this is not particularly noticeable and can probably be further reduced by adjusting the hinges. The hinges are old replacements; the lock appears original. The marquetry to the door is in fine condition with no apparent losses but with some lifting towards the upper and lower margins. The edge mouldings are complete but lifting in a few areas. The sides of the trunk are in good original condition although the left-hand side has a section of crossbanded to the rear edge replaced. The base is original, the vertical crossbanding flanking the marquetry panel has been replaced and has losses to upper corners and to the left-hand side at the centre. The upper left-hand corner also has a small loss to the moulding and there is a shrinkage crack across the centre. The bottom edge of the front and both sides have at some point had the bottom inch of veneer removed (most likely to assist with the attachment of a later skirt which is no longer present). Replacement veneer has been applied but not particularly well. The left-hand side has a veneer chip/loss to the upper front corner. The structure of the plinth appears all original and is in sound condition; the backboard retains all of its original length. Faults to the case are otherwise limited to minor age-related bumps, scuffs, shrinkage and minor repairs.Clock has pendulum, pair of 'period' brass cased weights, door key and winder. Condition Report Disclaimer

Y&nbspAN UNUSUAL REGENCY GILT BRASS MOUNTED TORTOISESHELL SMALL DRUM-HEAD MANTEL TIMEPIECEUNSIGNED, CIRCA 1825The circular four columnar pillar eight-day single chain fusee movement with anchor escapement for regulation by a lenticular or disc bob pendulum, the backplate with pendulum holdfast clip, the 3.25 inch gilt brass Roman numeral dial with engine-turned centre and blued steel moon hands within a fine gilt engine-milled bezel, the case with drum housing the movement cradled on gilt rosette decorated scroll outline supports, on plinth base applied with a gilt brass mount finely cast as crossed vine entwined batons centred with a basket of fruit, over shallow quarter-round moulded skirt and leaf cast gilt bun feet.19cm (7.5ins) high, 14cm (5.5ins) wide, 8cm (3.125ins) deep. The general design of the case of the current timepiece can be credited to Benjamin Louis Vulliamy however many were made by makers following his style such as the Baetens family. A very closely related example signed by Viner was offered by Gorringes, Lewes in their three-day sale of Fine Art & Antiques June 6th 2002 (lot 1115).    

A FINE WILLIAM III FIGURED WALNUT EIGHT-DAY LONGCASE CLOCKLEONARD HALL, SOUTHWARK, CIRCA 1695The five finned pillar inside countwheel bell-striking movement with anchor escapement regulated by seconds pendulum, the 11 inch square brass dial with ringed winding holes, subsidiary seconds dial and scroll engraved calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with stylised sword hilt half hour markers, Arabic five minutes beyond the minute track and signed Leonard Hall, Southwark to lower edge, with scroll pierced blued steel hands and winged cherub mask and scroll cast spandrels to angles set within a line-scribed border to the dial plate, the case with generous projecting ogee cornice and foliate scroll pierced frieze fret to the entablature above hinged glazed dial aperture flanked by Solomonic columns, the sides with rectangular glazed windows and conforming quarter columns set against bargeboards at the rear, the trunk with convex throat over 42 inch rectangular door book-match veneered in figured walnut, centred with a circular lenticle and bordered by cross-grain D-shaped mouldings, the sides with two crossbanded panels, the plinth base with stepped ogee top moulding over crossbanded book-matched front panel and bun feet.203cm (80ins) high, 48cm (19ins) wide, 25.5cm (10ins) deep. Leonard Hall is recorded in Loomes, Brian Watchmakers and Clockmakers of the World, Complete 21st Century Edition as working circa 1690-1720. Condition Report: Movement is in reasonably clean working condition and appears all original with no visible evidence of alteration or notable replacements with the possible exception of the escapement pallets which are probably well-made 'service replacements'. The plates have some visible light hammering around the pivot holes and in the case of the backplate the upper pillar fixing points. The hammer spring is nicely worked but has been repaired near its tip and the fly back pivot has been repaired by shortening the arbor and screwing a block to the inside of the plate to provide a pivot hole for the shortened pivot. The dial is in clean condition with some light mellowing to the silvering. The minute hand may well be a replacement. The movement retains its original seatboard albeit with splits and losses. It also sags a little requiring thin packing slips to be applied to the underside to ensure the dial lines-up with the hood aperture. The cheek uprights of the case are untouched (other than historic crew fixing holes) hence we are of the opinion that the movement and dial are most likely original to the case. The case is generally in very good original condition. The hood is free from notable faults although at one point the rear corners of the top mouldings were cut at an angle so that the clock can be positioned across a corner; one side has been repaired back to original, the other is still cut at an angle. The mask around the dial (behind hood door) has a small chip near the 3 o'clock position. The trunk and base are all-original and are in fine condition with the backboard retaining all of its original height. The sides are a little bowed (to be expected) and there are a coupe of small chips/repairs to the rear crossbandeing in places. The door is straight and retain its original locks and hinges. The upper mouldings to both sides of the plinth are loose - they just require re-gluing. The lower inch of the box base has a faint shadow indicating that a skirt was probably fitted at some point; the current bun feet are therefore probably replacements. Faults to the case are otherwise limited to minor bumps, scuffs, shrinkage and other age-related faults and the colour has mellowed to an attractive light faded hue.Clock is complete with pendulum, pair of brass-cased weights, crank winder and a case key. Condition Report Disclaimer

A FINE GEORGE III TWELVE-TUNE MUSICAL LONGCASE CLOCK MOVEMENT MADE FOR THE MIDDLE EASTERN MARKET MARKWICK MARKHAM, LONDON, CIRCA 1775The substantial eight pillar triple train movement sounding the hours on a bell positioned vertically to the left of the T-shaped plates each measuring 9.25 inches high by 14 inches wide at the top before playing a choice of twelve tunes via a 13.25 inch pinned cylinder on thirteen bells with twenty-five hammers transversely mounted across the top of the mechanism, the going train with anchor escapement regulated by seconds pendulum, the 13 inch brass break-arch dial with calendar aperture and subsidiary seconds dial to the finely matted centre within applied silvered chapter ring with Islamic numerals and conforming five minute annotations beyond the minute track, with pierced blued steel hands and fine scallop shell centred foliate cast spandrels to angles with the upper two interrupted by subsidiary Strike/Not Strike and Chime/Not Chime selection dials, the arch with central scroll engraved lunette beneath inset silvered arched panel engraved Markwick Markham, LONDON, within herringbone engraved upper margin and curved silvered plate engraved with tune selections Sabac Hafif, Beni Saikil, Charles of Sweeden, A Polonoise, A Trumpet Tune, A Minuett, Amelia's Minuett, Minuett by Senesino, Bury Fair, P: W:'s March, March in Scipio and Gens de Arms March with scroll-pierced steel selection pointer pivoted from the centre of the lower edge, now in a mahogany case of similar age but of north country origins with architectural open ogee-arch pediment over hinged glazed dial aperture flanked by free-standing Corinthian columns to hood, the trunk with blind fret banded concave throat over break-arch moulded edge door flanked by canted angles decorated with geometric blind frets, on plinth base with conforming top moulding over shaped panel decorated front and ogee bracket feet.236cm (93ins) high, 59.5cm (23.5ins) wide, 31cm (12.25ins) deep. James Markwick senior is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as apprenticed in 1756 to Edmund Gilpin (through Richard Taylor); he initially worked at Croydon before returning to London where he gained his freedom of the Clockmakers' Company in 1666. In 1673 he took-over the former business of Samuel Betts at behind the Royal Exchange. Markwick had a turbulent relationship with the Clockmakers' Company - in 1676 he was fined for abuse of the Master at the Steward's feast and was often reprimanded for not attending court. James Markwick junior was born in Croydon in 1662 and was apprenticed to his father gaining his freedom (by patrimony) in 1692. He initially went into partnership with his father before gaining outright control of the business on the latter's retirement to Pevensey in Sussex in around 1700 (where he subsequently died in 1716). In around 1710-15 James Markwick junior went into partnership with his son in Law, Robert Markham, which lasted until the former's death in 1730. The business was subsequently continued by Markham and his successors with Francis Perigal senior (Freed 1746) joining the business in around 1750. During the latter half of the 18th century the firm of Markwick, Markham (and Perigal) specialised in producing clocks and watches for export to the Middle East including musical clocks. Amongst the selection of English melodies the maker has included two tunes to cater for the intended market with 'Sabac Halif' broadly translating as 'morning light'. The clock can be in part dated from the tunes with 'Amelia's Minuett' or 'Princess Amelia's Minuet' (commemorating Amelia Sophia Eleanor, second daughter of King George II), first appearing in a manuscript by Kames Gillespie of Perth in 1768. Condition Report: Movement is in very good original condition with no visible evidence of alteration or noticeable replacements with the probable exception of three of the music bells. The movement is a little dirty/neglected hence will require a gentle clean/service before putting to use. All levers/detents for tune selection/silencing etc are present. We have not set the clock up to test functionality however are advised that it was running in the vendors house until a few years ago. The dial is in good original condition with faults limited to a bruise to the matting near the left-hand winding hole which has received some re-working to the matting to reduce its visibility. The hands all appear original, the silvering and areas of brass have generally mellowed/tarnished a little. The movement and dial retain their original seatboard.The case is not original to the movement and dial however is in very good condition with faults very much limited to minor bumps, scuffs, shrinkage, wear and other age-related blemishes.Clock has pendulum, three plain lead weights, case key and a crank winder.  Condition Report Disclaimer

A VERY RARE FRENCH HOUDIN-TYPE GILT BRASS MYSTERY GLASS-DIAL NIGHT TIMEPIECEUNSIGNED, MID 19th CENTURYThe circular eight-day single train movement with platform Debaufre-type frictional rest escapement regulated by sprung monometallic balance, the front motionwork incorporating pulley and continuous coiled spring belt continuing up into the superstructure to drive a revolving circular glass plate, set behind the conforming 4 inch frosted Roman numeral hour disc, fitted with single gilt arrow-shaped hour hand at the centre, the outer track of the dial divided for five minutes and set within a brass ring, over twin griffin-cast supports issuing from a fluted acanthus cast post with lappet leaf decorated collar, the plinth-form base applied with a small candle holder cast as a dolphin set behind the dial over shallow concave sides and repeating oval motif cast caddy top mouldings, above architectural rectangular pilaster corner uprights flanking shaped panels cast in the Renaissance manner with foliate panels to front and sides, the rear with plain pin-hinged door, the moulded panelled apron skirt applied with Baroque strapwork mount to front and rosette decorated plinths to angles.34.5cm (13.5ins) high, the base 12cm (4.75ins) square.The present lot is a very rare variant following in the manner of Robert Houdin who developed this form of mystery timepiece during the 1830's. Houdin's timepieces were made with movements concealed within a decorative shaped base and utilised a pin-wheel and take-off arbor to drive the rear glass plate. The current lot, however, uses a much simpler system. A tightly-coiled spring 'belt' is driven by a pully fitted to the front of the movement, this passes through the griffin cast mounts and over the of the rear revolving glass plate and is concealed within the brass frame bordering the dial. The plate rotates and the hand fixed to its centre provides the time on the separate stationary frosted glass hour dial. A further noteworthy detail is that the movement incorporates a Debaufre-type frictional rest escapement as used by Paul Garnier in his early carriage clocks. The provision of a candle holder behind the translucent dial disc is also a useful addition as it allows the present lot to function as an effective night timepiece.  Condition Report: The movement is complete and in working order with no visible evidence of alteration or noticeable replacements. The mechanism is a little dirty hence a sensitive clean/service is advised. The drive to the dial is present however the finely coiled wire/spring belt is not being driven by the pulley at the front of the movement due to lack of friction (pully turns but slips within the belt). The glass dial plate with the hand turns freely together with the belt - hence if the friction between the drive pulley and the belt itself could be improved then the dial would most likely operate correctly. The glass dial plates appear original and are undamaged, the numerals are very slightly faded. The bezel ring around the dial is tarnished/discoloured at the front but retains good gilt finish at the rear. The case is generally in very good original condition retaining gilt finish with only minor spotting/discolouration and edge wear in places; the finish is a little dull/dirty so may benefit from a gentle clean if looking for a strong bright finish.Timepiece has a winding key. Condition Report Disclaimer

A FINE FRENCH EMPIRE ORMOLU AND PATINATED BRONZE FIGURAL MANTEL CLOCK WITH BACCHUSUNSIGNED, THE CASE ATTRIBUTED TO PIERRE-PHILIPPE THOMIRE, PARIS, CIRCA 1805The eight-day two train countwheel bell striking movement with anchor escapement regulated by disc bob pendulum with silk suspension, the 5 inch circular slightly convex white enamel Roman numeral dial with Arabic fifteen minutes within the minute ring and fine pierced and sculpted gilt brass hands within crisp engine-milled bezel, the case modelled as young Bacchus seated on a lion's skin draped over the dial flanked by rocky outcrops applied with a tambourine and a set of pipes, beneath the dial is a pendant apron finely cast with fruiting vines, the D-ended break-fronted plinth base inset with frieze relief cast with Bacchus being drawn on a cart by lions lead by trumpeting putti accompanied by female muses, the rounded ends applied with generous anthemion and flower motifs with husk and fruiting vine drapery mounts to panels between, on six engine-milled toupe feet.52cm (20.5cm) high, 42cm (16.5ins) wide, 13cm (5.25ins) deep. A very closely related clock to the present example is illustrated in Niehuser, Elke FRENCH BRONZE CLOCKS on page 221 (image no. 511). Another example attributed to Thomire is in the Collection Mobilier National, Paris (inventory no. GML-4591-000). Pierre-Philippe Thomire (born 1751) was one of the most important bronze casters of 18th century France, and was later granted the title Ciseleur de l'Empereur (chaser to the Emperor) by Napoleon Bonaparte. Early on in his career he worked for Pierre Gouthière, ciseleur-fondeur du roi, and toward the mid-1770's began working with Louis Prieur. After the Revolution, he purchased the stock of Martin-Eloi Lignereux, thus becoming the most important suppliers of furniture bronzes for châteaux and Imperial Palaces. His prolific firm not only produced bronze ornaments, but also created mounts for furniture and porcelain, collaborating for example with the renowned manufactory of Sèvres. Thomire retired in 1827 and died in 1843. Condition Report: CONDITION OVERVIEW - Movement appears complete and original, is in working condition however a clean/service is required. Dial has some light hairline cracking through the X numeral. The case retains original gilding but with some noticeable wear/oxidation. This model usually has a lyre beneath the stretched-out hand of the figure - there is no evidence (holes etc) of this clock ever being fitted with one. The laurel in his left hand may be incomplete.Clock has pendulum and a winding key. Condition Report Disclaimer

A SWISS LOUIS XVI ORMOLU MOUNTED CARRARA MARBLE SMALL MANTEL CLOCKUNSIGNED, LATE 18th CENTURYThe circular twin going barrel bell striking movement with anchor escapement regulated by disc bob pendulum now incorporating rise/fall regulation to suspension, the backplate with visible rack-strike work over stamped serial number 255 to the flattened lower margin, the 4 inch circular white enamel convex Roman numeral dial with Arabic five minutes to outer track and fine scroll chased and engraved gilt brass hands set behind a hinged convex glazed engine-milled bezel, the case with oval vase surmount issuing gilt foliate sprays and with husk festoon linked twin scroll handles, over bowfronted arched central section with tied floral and laurel wreath decoration beneath the dial, bead-decorated surround and capped with out-swept acanthus foliage connecting with the sculpted marble hipped scroll side ornaments each enveloped by gilt leafy vine trails, the bowed breakfronted D-ended base with inset panels decorated with looped gilt leafy trails, on four gilt disc feet applied onto a further conforming cavetto moulded plinth.39.5cm (15.5ins) high, 25cm (10ins) wide, 10cm (4ins) deep. Condition Report: The movement is in relatively clean condition; the going train will run, the strike train mainspring is 'slipping' hence either requires a replacement or, in the case of the spring just becoming loose within the barrel, the original re-attaching. The suspension would have most likely originally been silk suspension with a regulation post (for winding the thread) the present rise/fall arrangement is very well executed and connects to a square now positioned to the dial above twelve o'clock (between stamped letters 'A' and 'R'). The backplate has a few small spare holes towards the top right - these are almost certainly left over from the earlier silk suspension arrangement and possibly from an alternative bell stand (the present stand may well be a later replacement). The dial has poorly executed filling to chipping around the right-hand winding hole; the left hand hole has some miniscule edge fritting otherwise enamel appears to be in fine condition. The case is in sound original condition with damage fundamentally limited to minor edge chipping a wear to the marble (most noticeably around the case). The mounts appear complete and undamaged and retain original gilding with minimal wear; the vine trail mounts to the side ornaments are loose/wobbly. The marble is very dirty/dusty hence the appearance of the clock would no doubt be transformed with a good sensitive clean.Clock has pendulum but no winding key. Condition Report Disclaimer

A FINE PATINATED AND GILT BRONZE TABLE REGULATOR WITH SIX-LEGGED GRAVITY ESCAPEMENTSINCLAIR HARDING, CHELTENHAM, CIRCA 1985-90The circular gilt four double-screwed columnar pillar single chain fusee movement with Harrison's maintaining power, external six-legged gravity escapement incorporating jewelled pallets pivoted beneath sub frame mounted on the backplate, and regulated by half-seconds pendulum with wire rod and large diameter heavy gilt brass cylindrical bob, the 6 inch circular silvered dial with eccentric Roman numeral chapter ring interrupted by slender subsidiary seconds ring at six o'clock and with separate outer minute track, applied onto the frosted silvered ground over two curved plates signed SINCLAIR, HARDING to lower margin, with blued steel spade hands within canted gilt circular surround, the case with fluted urn finial to the gilt line bordered stepped cavetto moulded panel upstand over keystone latch for the full-height bevelled front glass and rectangular section patinated bronze corner uprights incorporating horizontal gilt line details at the base of the arch, the sides with curved glasses following the profile of the arch over gilt rail and further rectangular windows, the rear matching the front, the interior with gilt floor applied with silvered pendulum beat scale calibrated 5-0-5 and engraved with serial number 869, on stepped black marble plinth base with chamfered edges and canted angles over brass ball feet.56cm (2ins) high, 26cm (10.25ins) wide, 23cm (9ins) deep. The Cheltenham based clockmaking firm Sinclair Harding was established by Bill Sinclair and Mike Harding in 1967. Between 1971 and around 1995 the business evolved from being initially focussed on restoration and repair to designing and building their own clocks including chiming longcase and table clocks, their design of 'sea clock', giant and perpetual calendar carriage clocks. In 1995 Mike Harding retired leaving the firm in the hands of Robert Bray; the following year Sinclair Harding were commissioned to make the clock for the Oval cricket ground and the business was relocated to North Yorkshire. In 1999 their first scale version of John Harrison's sea clock was produced adding to their ever increasing catalogue of complex timepieces, and 2010 saw Robert Bray awarded the Barrett Silver Medal by the British Horological Institute as well as being appointed Vice President. The firm have always been regular attendees at Baselworld and in 2017 exhibited their Harrison H1 timepiece at Salon QP. The Gravity escapement in the current lot has its roots in the exploratory designs of some of the leading late 18th and early 19th century makers such as Berthoud, Mudge, Cumming and Hardy. Bloxam had come close to perfecting the design in 1853 however was still plagued by the fault encountered by earlier attempts in that the pallets tended to bounce off the escapement locking surface; known as 'tripping'. Edward Denison (later Lord Grimthorp) perfected the gravity escapement in 1860 by eliminating the tripping problem. He did this through the connection of a fly (air brake), directly to the escape arbor via a friction clutch. It allows the fan to advance slightly after the escapement engages the pallet. The inertia provided by the weight of the fly keeps the escapement seated against the pallet during locking; in essence acting as an 'energy sink'. This escapement provides a nearly detached pendulum from the rest of the clockwork and, as there is no sliding friction, there is no need to oil the escapement. These features made the escapement perfect for use in turret clocks where a high degree of accuracy can be maintained with minimal maintenance. There are two principal designs of gravity escapement the first is the double three-legged type the second in the four-legged design. The former uses two pairs of three legs for the pallets and three impulse pins at the centre whilst the second has four legs and four pins. The disadvantage of both of these designs is that the escape arbor revolves either 1/6 (double three legged) or 1/4 (four legged) for each beat of the pendulum hence the train of the timepiece needs suitable long gearing to maintain a reasonably long duration. The current movement is unusual in that it utilizes a six-legged arrangement which has no doubt been employed to facilitate running with a half-seconds pendulum.   

AN AUSTRIAN BIEDERMEIER GILT MOUNTED EBONISED GRANDE-SONNERIE STRIKING ARCHITECTURAL MANTEL CLOCKUNSIGNED, PROBABLY VIENNA, CIRCA 1830The four pillar triple train short duration movement with anchor escapement regulated by sunburst-mask bob pendulum with silk suspension, and sounding the quarters on a coiled gong followed by the hours on a second larger gong at every quarter hour or on demand via a pull trip repeat function, the 5 inch circular gilt brass dial with small concentric enamel calendar ring to the geometric engine-turned centre within enamel chapter ring with vertical Arabic hour numerals, with steel hands set within deep engine-milled surround behind hinged brass convex glazed bezel, the ebonised case with shallow-arch pediment fronted with female mask centred gilt brass mount to tympanum and further anthemion and rosette modelled mounts to the quadrants around the dial flanked by carved giltwood bird inhabited leafy spray side ornaments, over base with colonnade of four alabaster columns centred with a gilt brass rams head and swag mount over standing low-relief figure of Venus disarming Cupid, on concave centred plinth base applied with further gilt foliate mounts over turned feet.57cm (22.5ins) high, 35.5cm (14ins) wide, 14cm (5.5ins) deep. 

A VERY FINE WILLIAM III WALNUT AND ARABESQUE MARQUETRY QUARTER-REPEATING MONTH-GOING LONGCASE CLOCK THOMAS WHITE, LONDON, THE CASE IN THE MANNER OF GERRIT JENSEN, CIRCA 1695The substantial six finned and latched two train bell striking movement with plates measuring 8.375 inches high by 6 inches wide cut with aperture for the escapement pallets at the rear, the five-wheel going train with anchor escapement incorporating inverted Y-shaped pallets regulated by one-and-a-quarter seconds pendulum incorporating a second false bob and regulation adjustment at lenticle height, the hour striking train with large diameter hammer pin wheel and internal rack gathered via a flag to the arbor behind the third wheel, the pull-quarter repeat mechanism powered by a leaf spring and sounding a peel for each quarter on a graduated nest of three bells before releasing the hour strike train, the 12 inch square brass dial with subsidiary seconds dial and chamfered calendar aperture incorporating pin-hole adjustment to the very finely matted centre, within applied silvered Roman numeral chapter ring with stylised cruciform half hour markers and small Arabic five minutes beyond the minute track, with fine scroll pierced and chased steel hands and winged cherub and foliate scroll cast spandrels to angles set within a leafy herringbone engraved border interrupted with signature Thomas White, Londini fecit to the lower margin, the case with repeating leaf inlaid lip to the ogee cornice and foliate scroll pierced fret to frieze, over hinged front veneered with fine leafy trails to the frame of the glazed dial aperture and applied with three-quarter columns with crisply cast capitals and bases to the front angles, the sides with hinged doors inset with fine scroll pierced frets and with conforming quarter columns set against bargeboards at the rear continuing up past the frieze to meet the underside of the lintel, the trunk with concave throat moulding decorated with a central stylised scallop shell flanked by leafy strapwork infill and applied with generous volute scroll-carved corbel ornaments to front angles, the 42 inch rectangular door centred with a brass-bordered circular lenticle and veneered with three shaped triple-lined edged panels decorated with further symmetrical foliate strapwork designs within a figured walnut field, bordered by a conforming line-edged band of repeating leaves and half-round cross-grain edge mouldings, the surround fronted with further conforming scrollwork and the sides with twin triple-line edged panels within crossbanded borders, the plinth base with marquetry decorated cavetto top moulding over conforming shaped panel incorporating concentric designs to the foliate scroll decoration within leaf-banded scroll trail decorated borders, on cavetto moulded skirt base.221cm (87ins) high, 55cm (20ins) wide, 27cm (10.5ins) deep. Provenance:The property of a private collector, acquired in Portugal. Literature:Dzik, Sunny and Still, Roger BENEATH THE DIAL, English Clock Pull Repeat Striking 1675-1725 pages 558-560. Dzik notes that Thomas White was born in County Pembrook, Ireland in 1644 and trained as a clockmaker in Dublin (under John Turner) before moving to London in the early to mid 1670's. He married in London in 1674 and was made a 'free Brother' of the Clockmakers' Company in January 1683/4. Thomas White had a working association with Thomas Tompion taking-on the latter's first address on Water Lane when Tompion moved to larger premises on the corner of Fleet Street in 1678. White is thought to have retired after vacating Tompion's former premises by 1694 and probably died before 1700. Of Thomas White's work the present clock is one of only two clocks by him known. His other clock is an eight-day longcase clock (case sadly lost) incorporating full Tompion-type pull-quarter repeating illustrated in Evans, Jeremy THOMAS TOMPION, at the Dial and Three Crowns on page 52 (Figures 92 and 93). The movement of the present clock is discussed in detail by Dzik and Still and is testament to the maker's highly ingenuitive approach. The quarter-repeat work is particularly notable for the sophisticated economy of its design. Although there are some visual similarities with Tompion's system (most notably the pivoted geared tooth sector to the activation arbor) White has devised a much-distilled mechanism by simplifying and refining elements. An example of this is the quarter pinwheel, which is reduced to three pins and mounted via a ratcheted wheel so the train remains stationary during pulling. The three quarter bells are all operated by each of these three pins via a single lever which, when drawn back, releases a series of hooks to the bell hammers causing all the bells to sound in sequence. The strike train is notable in that it requires enough facility in the train to allow for reasonable operation of the repeat work throughout the month. This is achieved by gearing with a large diameter hammer pin wheel. The rack is very finely made, with an exquisite rack hook, and is released after the quarters have sounded via a carefully worked S-shaped detent engaging with the strike train rack hook in a highly controlled manner. The dial compliments the movement having particularly fine matting to the centre and well-sculpted hands. The chapter ring emulates Tompion but with slight additional flourishes to the half-hour markers; the 'herringbone' engraved border is also finely drawn and the scripted signature beautifully executed. The case of the present clock is particularly fine with details such as the bargeboards at the rear of the hood rising past the frieze to meet the underside of the lintel, extensive use of frets, and crisp gilt brass column castings, being typical of examples made to house movements by Thomas Tompion. The carved volute scroll ornaments to the throat are notably rare embellishments only seen on the highest status examples including Tompion No. 275 - a walnut grande-sonnerie striking longcase clock believed to have been made for William III, circa 1696 (See Evans, Jeremy; Carter, Jonathan and Wright, Ben THOMAS TOMPION, 300 YEARS pages 492-93). The marquetry veneers, however, are very unusual for a longcase clock and depart from standard 'Tompion' practice who is not known to have decorated his clocks in this manner. When considering marquetry clocks in general, those veneered with arabesque/seaweed tend to have 'all-over' decoration to the front rather than in panels. Although the use of panels is known (see Cescinsky, Herbert and Webster, Malcolm English Domestic Clocks page 157) the actual shape of the those on the current lot is highly unusual in that the upper and lower margins incorporate convex shoulders rather than being of the simpler normal break-arch profile. This shape of panel, however, is often seen on contemporary case furniture including examples attributed to the workshops of the Royal cabinet maker Gerrit Jensen. Amongst such examples are two cabinets made by Jensen for the Duke of Devonshire at Chatsworth, and a kneehole desk in the Royal Collection at Windsor. A bureau on stand, exhibiting similar shaped panels to the fall (as well as triple-line stringing and foliate banded borders), is illustrated in Bowett, Adam English Furniture 1660-1714 page 217, Plate 7.43 and on dust jacket. The individual high-quality approach to both the movement and case of the present clock is indicative of a clockmaker... TO READ MORE CLICK HERE.

A GEORGE III OAK CASED QUARTER-CHIMING EIGHT-DAY LONGCASE CLOCKHENRY GAMBLE, BRAMLEY, THIRD QUARTER OF THE 18th CENTURYThe substantial four pillar triple train movement musical chiming the quarters on a graduated nest of eight bells and sounding the hour on a further larger bell, the going train with anchor escapement regulated by seconds pendulum, the 12 inch brass break-arch dial with arched calendar aperture and subsidiary seconds dial to the fine silvered Ho-Ho bird inhabited foliate scroll engraved centre within applied silvered Roman numeral chapter ring with Arabic five minutes beyond the minute ring, with pierced blued steel hands and female-mask centred cast brass spandrels to angles, the arch with silvered boss signed Henry Gamble, BRAMLEY flanked by dolphin cast mounts, the case now with later carved decoration throughout with open arch pediment and rosette decorated frieze over hinged break-arch glazed door flanked by free-standing columns to hood, the trunk with leaf decorated ogee throat moulding over shaped-top trunk door carved in relief with Renaissance style grotesque inhabited strapwork scrolls within a leafy trail decorated surround, the raised panel fronted plinth base carved with floral motifs within geometric surround, on bracket feet.230cm (90.5ins) high, 57.5cm (22.75ins) wide, 29cm (11.5ins) deep. Henry Gamble is recorded in Loomes, Brian Watchmakers and Clockmakers of the World, Complete 21st Century Edition as born circa 1720 and working in Bramble, Leeds 1739-52. He worked at Farnley (near Pudsey) and died in 1780 'suddenly after eating a hearty dinner'. 

A FINE GEORGE III MAHOGANY QUARTER-CHIMING EIGHT-DAY LONGCASE CLOCK WITH MOONPHASETHOMAS WAGSTAFFE, LONDON, CIRCA 1770The substantial six pillar triple train movement with anchor escapement regulated by seconds pendulum, sounding the quarters on a graduated nest of eight bells and striking the hour on a further larger bell, the 12 inch brass break-arch dial with calendar aperture and subsidiary seconds to the silvered centre within conforming applied Roman numeral chapter ring with Arabic five minutes to outer track, with scroll-pierced steel hands and applied rococo scroll cast spandrels to angles, the arch with rolling moonphase incorporating engraved age-of-the-moon scale to the circumference of the lunar disc over lunettes engraved as terrestrial globes beneath signature Thomas Wagstaffe, London to upper margin, the figured mahogany case with concave-sided 'pagoda' superstructure fronted with a shaped foliate pierced fret over break-arch cavetto cornice and brass stop-fluted columns flanking the hinged glazed dial aperture, the sides with rectangular scroll-pierced sound frets and conforming quarter columns set against bargeboards at the rear, the trunk with shaped 'block-top' door fronted with flame figured veneers within complex mouldings flanked by brass stop-fluted quarter columns, the plinth base with concave top moulding over applied shaped panel to fascia, on moulded double skirt incorporating shaped apron to lower margin and squab feet.243cm (95.75ins) high, 56cm (22ins) wide, 26cm (10.25ins) 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 fine clean working condition and is fundamentally original with the only noticeable detail being that the strike train was once converted to sound on a gong screwed to the case backboard. It has since been converted back however there are two spare threaded holes (next to the quarter train barrel pivot) and a part-round circular cut-out to the edge at the hour hammer pivot. The mechanism otherwise appears to be all-original with no other evidence of alteration or with noticeable replacements. The dial is in fine original condition with some slight mellowing to the silvering and old lacquer surface to the brass. There are no discernible losses to the painted lunar disc. The movement rests on an old but non-original seatboard onto cheek uprights of the case which have received some slight cutting back/levelling. With this detail in mind we cannot confirm whether the movement and dial are original to the case however as the fitment of an hour gong conversion is evidenced in both the movement and case it would appear that they have been together for a long time. This coupe with the fact that they are both a very good match in quality, age and fit suggests that they have always ben together.The case is in fine original condition and of good colour with notable faults limited to a slight warp to the trunk door causing the top and lower left-hand corner to project forward by around 6-7mm respectively. Faults to the case are otherwise very much limited to minor bumps, scuffs, shrinkage and other age-related blemishes. The trunk door lock and hinges are original.Clock is complete with pendulum, three brass-cased weights, winder and two case keys. Condition Report Disclaimer

AN UNUSUAL GEORGE I WALNUT OUTER DISPLAY CASE FOR A TABLE CLOCKANONYMOUS, CIRCA 1720The domed caddy superstructure capped with a rectangular upstand set on a cavetto moulded collar and veneered with crossbanded burr-walnut to top surface, flanked by four ball finials each applied onto a projecting plinth, over generous cavetto moulded cornice and hinged front panel centred with a 7 inch glazed dial aperture enclosing interior measuring 10.75 inches wide, 6.625 inches deep and 15 inches high, the sides with gilt brass carrying handles within crossbanded panels and the rear faced with a conforming arrangement of veneers, on cavetto moulded base incorporating bracket feet.51cm (20ins) high, 35.5cm (14ins) wide, 25.5cm (10ins) deep. The current lot is unusual in that that it is clearly designed to display a 17th century table clock whilst serving as a protective case. Although outer protective cases for table clocks are known they are scarce and generally utilitarian in their form being mostly made of oak with iron fittings; one such case (for a clock by Joseph Windmills) is illustrated in Dawson, P.G.; Drover, C.B. and Parkes, D.W. Early English Clocks on page 476 (Plates 702/03). The present case, although clearly designed to house a 17th century table clock with 7 inch dial, would appear to stylistically date to around 1720. Indeed the unusual arrangement of finials are suggestive of the architectural influences of Vanbrugh and the bracket feet would indicate a date of around 1720. Furthermore the overall, slightly naïve, proportions of the case would also suggest that its origins are provincial perhaps North Country or even Irish. From this it may be reasonable to suggest that the owner of a late 17th century London-made table clock was looking to perhaps 'update' the appearance of his expensive clock, hence rather than re-case the movement and dial, he sought to have an outer case made thus retaining the clock itself in its original form. Notwithstanding the rarity of the present lot another outer case, this time designed with a glazed front applied with repousse mounts to display a clock by Nathaniel Hodges, is illustrated by Dawson, Drover and Parkes on page, 460 (Plate 677). The practice of housing clocks in purpose-made outer display cases would seem to be logical when considered alongside the contemporary approach to watches, which were more often than not pair or triple-cased.

A VICTORIAN SILVER TABLE LAMP by the Goldsmiths & Silversmiths Company, London 1898, of Corinthian column design with leaf capped and gadrooned base, on ebonised plinth, converted to electricity with later bayonet fitting, 53cm high x 18.5cm square

Richard Cosway RA (British, 1742-1821)A portrait miniature of Georgiana Charlotte Cholmondeley née Bertie (1764–1838), when Countess of Cholmondeley, wearing a white dress and coral necklace, her dress and powdered hair decorated with strands of pearls. Watercolour on ivory, gold frame, the reverse with a painted ivory mourning miniature depicting a lady holding a floral wreath and standing beside a funerary plinth set with gilt wire and seed pearls, supporting a flaming heart beneath a winged cherub, set within a glazed aperture and a blue glass surround. Oval, 70mm (2 3/4in) highFootnotes:Born Lady Georgiana Charlotte Bertie to General Peregrine Bertie, 3rd Duke of Ancaster and Kesteven PC (1714-1778) and his second wife Mary. Georgiana was the eldest of three siblings. Georgiana married the British peer and politician, George James Cholmondeley, 1st Earl of Cholmondeley, KG, GCH, PC (1749–1827) in 1791. Their family home was Cholmondeley Castle in Cheshire. In 1795, Georgiana Cholmondeley was appointed Lady of the Bedchamber to the Princess of Wales when still a Countess. George was created Earl of Rocksavage (County of Chester) and Marquess of Cholmondeley in 1815. Together they had two sons and one daughter: George Horatio Cholmondeley, later 2nd Marquess of Cholmondeley, William Henry Hugh Cholmondeley, later 3rd Marquess of Cholmondeley, and Lady Charlotte Georgiana Cholmondley. Their father, when an Earl, already had an illegitimate daughter, Harriet, born around 1790 to his mistress, Madame Saint-Albin. Also living in the household was Georgiana Seymour, an illegitimate daughter of an earlier mistress, Grace Dalrymple.Lord Cholmondeley, who was fifteen years Georgiana's senior, died in 1827, and was succeeded by the couple's eldest son George. Georgiana died as the Dowager Marchioness of Cholmondeley at Carlton House Terrace in London, aged 73.This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the UK, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com

A Stuart Turner Ltd vertical engine and water tank, the cast engine stamped 270 with spark plug, 6” (15cm) 272 cast flywheel with pulley grooves, exhaust, large water tank with tap, mounted copper tank with water glass and other fittings, mounted on a stained wooden plinth, 16 ½”x8” (42x20.5cm), 20” (51cm) high. Collection only no in house shipping on this item, or arrange shipping via Mail Boxes Tunbridge wells/Jentel Packing

An interesting Stuart Turner vertical petrol engine with raised water tank, mounted cast cylinder with spark plug and exhaust, 3 ¾” (9.5cm) dia. solid flywheel with start pulley, carburettor, copper piping to brass water tank with two attached side tanks mounted on a turned wooden plinth the whole mounted on a stained wooden base, 11 ½”x6 ½” (29x16.5cm), 11” (28cm) high. Collection only no in house shipping on this item, or arrange shipping via Mail Boxes Tunbridge wells/Jentel Packing

A good two cylinder horizontal marine engine, with 1 ½” bore x 2 ½” stroke wooden clad brass cylinders each with single guide bar, side mounted valvechests, piping, lever for adjusting gears elevation and ridged solid flywheel, finished in black with gold lining, mounted on a stained wooden plinth, 21 ¼”x11 ¾” (51.5x30cm), 7 ¾” (20cm) high.Collection only no in house shipping on this item, or arrange shipping via Mail Boxes Tunbridge wells/Jentel Packing

A large horizontal single cylinder steam engine, installed in a church in Devon in 1880 to power the organ bellows, removed in 1920. With 2” bore x 3” stroke wooden clad brass cylinder with guides, side mounted valvechest, piping and cock stop, 11” (28cm) spoked flywheel, all mounted on a red painted cast base mounted on a stained wooden plinth, 27 ¼”x10” (69x10.5cm), 12” (30.5cm) high. Collection only no in house shipping on this item, or arrange shipping via Mail Boxes Tunbridge wells/Jentel Packing

BRONZE FIGURE OF THE HINDU GOD OF WAR SOUTHERN INDIA, LATE 19TH CENTURY multi-armed and multi-headed, standing on a square low plinth with a peacock at his feet, each hand holding a symbolic war elementDimensions:60cm highProvenance:Provenance: Purchased at auction in Sri Lanka in 1973 by the present vendor's familyNote: Note: Karttikeya, also known as Skanda, Subrahmanya, Shanmukha, Murugan, and Seyyon is the Hindu god of war. He is the son of Parvati and Shiva, the brother of Ganesha and a god whose legends have many versions in Hinduism. Karttikeya has been an important deity in the Indian subcontinent since ancient times, worshipped as Mahasena and Kumara in North India and is predominantly worshipped in the state of Tamil Nadu and other parts of South India, Sri Lanka, Singapore, Malaysia and Mauritius by Tamils as Murugan.

VICTORIAN MAHOGANY DRAWER BASE LINEN PRESS, wooden knop handles and plinth base, 112cm width

A reproduction mahogany pedestal desk inset gilt-tooled crimson leather, fitted with arrangement of eight drawers & each pedestal on a plinth base, 122cm wide x 75cm high x 61cm deep.

A white painted pine tall standing open five-tier bookcase on a plinth base 119.5cm x 178.5cm high x 30cm deep.

A continental fruitwood dwarf chest fitted four long drawers with brass swan-neck handles; & on a shaped plinth base, 91cm wide x 78cm high x 45cm deep.