We found 173444 price guide item(s) matching your search

Bronze figure of the Dying Gaul, after the Antique, on oval plateau base, further mounted on black marble plinth, 17cm diameter x 10cm high overall

Patinated bronze figure of Discobolus after the Antique on circular base and marble plinth, 26cm high/28cm high including base

An 18th century boxwood figure, carved as the Madonna, 15cm high, later oak plinth, 20cm high overall

In the manner of Derrick Kitchen (mid-20th century), a wooden sculpture, Abstract Human Form, plinth base with brass wire support, 44.5cm high overall

Tribal Art - a large Dogon figural heddle pulley, 68cm high, Mali, West Africa, collector's display plinth, 71cm high overall

Tribal Art - a Bambara heddle pulley, carved as a janus figure, 18.5cm high, Mali, West Africa, collector's display plinth

Automobilia - Rolls-Royce - a gilt metal 'car mascot' desk sculpture, Spirit of Ecstasy, after Charles Sykes, turned oak plinth, 18cm high

Minichamps (Paul's Model Art) - "James Bond" BMW 750IL (1/24th scale) - taken from the film "Tomorrow Never Dies" - features include opening doors, bonnet & boot - condition is Mint including display plinth, polystyrene packaging & outer carded picture box are Excellent - see photo.

Code 3 Collectables 12990 1/32nd scale Seagrave Rear Mount Ladder 10 Fire Engine - FDNY - Fire Department City of New York - Mint with inner packing, plinth, certification and Good original outer transit carton.

Matchbox Models of Yesteryear "Fire Engine Series" a group of special edition models YSFE03 Busch Self Propelled Fire Engine, YSFE04 1927 Ahrens Fox, YSFE05 Merryweather Horsedrawn Fire Engine, YSFE01 1930 Ahrens fox fire engine with plinth - Near Mint to Mint in Good to Excellent packaging. (4)

Kenner, KED041 Rolls Royce Silver Shadow II, Dark red, Tan Roof, Chrome trim appears generally Mint. Mounted on wooden plinth with rigid perspex case, Within Good Plus Blue lift off lid box.

A Mixed group of unboxed and boxed Models, to include Corgi Cadburys x 3, Superhaulers, various magazine issues Including century of cars - magazines and models in bag, some unboxed models on plinth including Renault alpine and BMW 507, Also Includes 9 x Matchbox Skybusters Red Arrows (2 are on Promotional Blister Cards) plus others. All appear Generally Excellent to Near Mint, a few models are Fair. (QTY)

Minichamps "James Bond" BMW R1200C Motorcycle (1/18th scale) taken from the film "Tomorrow Never Dies" finished in cream, black, silver, chrome trim - mounted on plinth - condition appears to be generally Mint, polystyrene packaging is Excellent including carded picture box with original BMW agent sales receipt - see photo.

Maisto 33201 1/12th scale 1992 Jaguar XJ220 - metallic silver, dark grey interior, mounted on stepped plastic plinth - generally Near Mint in a Good box (also includes transit carton.

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.

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

†&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