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Click here to subscribeOak and mahogany longcased clock, Jno. Hughes, Carnarvon, painted square rman dial decorated with ships, subsidiary seconds, date aperture, 8-day stiking movement on a false plate, in a flat topped hood with fluted columns on a quarter column trunk and set out plinth, height 195cm (two weights, pendulum). *See clocks and watches proviso .
A 19TH CENTURY SCOTTISH MAHOGANY LONGCASE CLOCK, the circular dial with Roman numerals and subsidiary seconds dial, signed James Howden, Edinburgh, of eight day movement striking on a bell, the circular cushion moulded door with a gilt bezel, the trunk with canted corners, flanking a shallow arch door, on a deep plinth with bracket feet, 203cm high
A 19TH CENTURY FIGURED WALNUT SIDE CABINET, with a short raised back, the serpentine top above a pair of doors, each with gilt metal foliate pierced oval panels, flanked by two side doors each with inset panel and divided by scroll and pendant front capitols to half round pilasters and on plinth base, 173cm wide x 53cm deep x 102cm high. See illustration
A 19TH CENTURY FIGURED WALNUT MUSIC CABINET, with a pierced gilt brass gallery and side handles, the eared top inlaid in satinwood with foliate sprays linked by stringing, the single glazed door flanked by turned pilasters with tulip calyx, the interior fitted with two shelves and sheet music divisions, on a plinth base with ceramic castors, 66cm wide x 39cm deep x 99cm high
Pair of silver candlesticks, baluster columns with engraved pattern, domed foot on plinth bases with scalloped edges, approx. 10.5” tall, weighted bases, some wear & small dints, two very small pin prick holes on one candlestick, makers mark indistinguishable, h/m London 1930 (gross 44.36oz)
Antique Brass Carriage Clock, engraved dedication to front of plinth dated 1878, approx. 7” tall inc. handle, white enamel dial with Roman numerals, manufacturers details worn away but you can make out `LONDON`, movement has makers mark `RC`, does not appear to be working, average condition with some wear
Two ornate ormolu mantle clocks, with figures of huntsmen, one on wooden plinth, both approx. 12.5” tall, & a large French style gilt metal mantle clock with top acorn finial, lions head handles, enamelled chapter ring, approx. 18” tall, don`t appear to be working, reproductions, in poor condition, some damage (3) Care! High International Shipping Charges
A French brass novelty ‘mortar cannon’ timepiece. Unsigned, late 19th century. The circular eight-day movement with replaced platform lever escapement and punch numbered 1326 to backplate, the circular white enamel Roman numeral dial with Arabic five minutes to outer track and blued steel spade hands, the case cast as a mortar cannon with bevel glazed bezel to muzzle, lifting handle to reinforce and button shaped cascabel to rear cover, pivoted via trunnions on shaped outline cheeks united by cast cross members and attached via decorative lugs to a rectangular veined red marble square slab plinth with brass fillet to base, 12.5cm (5ins) high.
A fine French Napoleon III Louis XVI revival patinated and gilt bronze figural mantel clock. The dial bearing signature for Ferdinand Berthoud, the case by Eugene Bazart, Paris circa 1860. The rectangular eight-day bell striking movement with stamped trademark of a square-rigged ship with initials JLF/EMS to shrouds and numbered 16306 to backplate, the white enamel Roman numeral convex dial bearing signature in red script Ferdinand Berthoud, A PARIS to centre, with fine foliate pierced and chased gilt hands and Arabic five minutes to outer track within fine guilloche chased gilt bezel, the case with patinated figure of a winged cherub wearing a sword standing beside the dial with floral trail surmount and resting on billowing clouds beside martial trophy, the bowfronted base with repeating triform motif inset panel terminating with leafy rosettes to angles, on conforming shaped white marble plinth with generous gilt disc feet, The rear with cast signature Eug. Bazart, Paris, 47cm (18.5ins) high. Eugene Bazart was a maker of fine decorative objects who worked in Paris circa 1850-75. The current clock is a faithful replica of a Louis XVI model which even bears the signature of an eminent Louis XVI horologist in order to make it appear as authentic as possible. The quality of the chiselling and gilding to the castings of the current lot equals that of the original, and reflects the standards set out by the leading ebenistes of the period such as Befort Jeune and Henri Dasson.
A fine French Napoleon III ormolu mantel clock. C.H. Boye, Paris, circa 1870. The eight-day two train bell striking movement stamped with oval trademark C.H. BOYE, BREVETE S.G.D.G and numbered 1496 to backplate, the convex white enamel Roman numeral dial with Arabic five minutes and fine pierced and chased gilt hands within milled glazed bezel, the case in the Louis XVI taste with oak-leaf festoon draped twin handled urn surmount with fruiting foliate knop above acanthus moulded collar and shaped side sections capping elaborate large foliate side scrolls flanking dial, with ribbon crest above bezel set into a vertical fluted drum raised on a waisted pedestal upright, the shaped plinth base with conforming acanthus mouldings over Vitruvian scroll and rosette inset panels, on waisted fluted feet with leafy collars, 51cm (20ins) high.
A French Louis XVI style ormolu mounted marble mantel clock. Unsigned, Paris, 19th century. The eight-day outside countwheel bell striking movement with circular white enamel convex Arabic numeral dial inscribed a Paris to centre and with pierced and engraved gilt brass hands within an engine turned glazed bezel, the case with chased gilt surmount modelled as a cherub with a flaming torch supported on a billowing cloud above moulded white marble cornice and side scrolls flanking a black marble rectangular central section applied with cast stylised foliate scroll mounts around dial, on black marble banded plinth base applied with conforming foliate mounts to lower edge and on engine turned gilt feet, 34cm (13.5ins) high.
A French Empire ormolu figural mantel clock Choiselat-Gallien, Paris, early 19th century. The outside countwheel striking movement with silk suspension and circular white enamel Roman numeral dial signed CHOISELAT-GALLIEN, Fab’t de Bronzes du Garde-Meuble, LESIEUR Hs, A PARIS to centre within gilt lotus leaf cast bezel and set into a rectangular plinth with scroll cast decoration above and below and surmounted with an oil lamp and two books applied beside classical male scholar seated on an X-frame stool onto a rectangular base applied with central urn and wreath flanked by flaming torches to front and on engine turned bun feet (lacking pendulum, bell and minute hand), 38cm (15ins) high.
A Victorian carved walnut Gothic Revival quarter chiming bracket clock. J.W. Benson, London, late 19th century. The substantial four pillar triple chain fusee movement with anchor escapement and Brocot type pendulum regulation, chiming the quarters on four graduated gongs and sounding the hour on a further larger gong, the 8 inch single sheet silvered brass shaped-top Roman numeral dial signed J.W. BENSON, LUDGATE HILL, LONDON to centre, with regulation square at 12 o’clock and subsidiary STRIKE/SILENT selection dial within foliate scroll engraved infill to arch, the gabled case with leaf-capped pyramid spire finials and stepped crenulations to ridge, the front with central hanging arch above the foliate carved shaped-top glazed front door inset with a shaped silvered brass fillet, flanked by projecting crenulated cluster columns capped with conforming hanging arches, the sides with pointed arch tracery frets, on repeating arch panel plinth base with moulded skirt and block feet, 75cm (29.5ins) high; complete with original wall bracket with conforming moulded platform above pierced and carved shaped side supports fronting shaped back panel, 34.5cm (13.5ins) high, the clock and wall bracket 110cm (43ins) high overall.
A Victorian carved oak quarter chiming bracket clock. Unsigned, late 19th century. The substantial four pillar triple chain fusee movement with anchor escapement and chiming a choice of two melodies on a nest of eight graduated bells every quarter and striking the hour on a gong, the 10.5 x 8 inch single sheet silvered brass Roman numeral dial with foliate scroll engraved infill to spandrels and upper margin with canted upper angles and incorporating subsidiary WHITTINGTON CHIMES/CAMBRIDGE CHIMES and CHIME/SILENT section dials, the case with scroll carved crest flanked by ball finials capping carved corbels with moulded cornice and panel frieze between, the front with brass fillet inset glazed door decorated with floral panel infill to upper quadrants and flanked by Corinthian pilasters, the sides with rectangular scroll pierced sound frets, the plinth base inset with carved panel flanked by rosettes beneath dial, on moulded skirt with disc feet, 65cm (25.5ins) high.
A French malachite inset Belge noir marble perpetual calendar mantel clock with moonphase. Henry Marc, Paris, Late 19th century. The eight-day bell striking movement stamped with oval trademark H’Y MARC, PARIS and numbered 50133 to backplate, the two piece white enamel Roman numeral dial with visible Brocot escapement to the recessed centre, regulation square at twelve o’clock and blued steel Breguet style moon hands within a bevel glazed cast brass bezel, set above a conforming two-piece calendar dial with day of the week and date of the month subsidiary dials flanking cloud painted moonphase aperture to the recessed centre, the outer ring annotated with the months and the equation of time to inner edge within conforming glazed bezel, the case with moulded shallow arch pediment and scroll shaped ears fronted with gilt incised stylised foliate decoration and moulded borders above break-arch waisted front with conforming gilt line infill around the malachite inset panels between the two dials and with sides terminating with scrolls at the base, on cavetto moulded shallow plinth with decorative shaped apron further inset with malachite panels and incorporating bracket feet, 46cm (18ins) high.
A French gilt brass mantel clock in the Greek Revival taste. The movement by Samuel Marti et Cie, Paris, late 19th century. The eight-day two train bell striking movement with S. Marti et Cie, MEDAILLE DE BRONZE roundel and stamped 5277 to backplate, the dial cast as a shield with concentric geometric and laurel band convex centre within chapter ring applied with raised black Roman numerals, the case with seated cherub surmount to the elaborate double scroll surmount above lotus leaf moulded break-arch cornice and female terms flanking dial, the sides applied with stylised seated winged griffin supports, the break-fronted wide plinth base with geometric mouldings and inset with relief cast figural frieze panels and with stalks to the front angles, on block feet with central cartouche between and flanked by scroll pierced side supports, 41cm (16ins) high.
A French brass inlaid ebonised portico mantel clock. Unsigned, mid 19th century. The eight-day striking movement with anchor escapement and numbered 13169 to backplate, with a gilt on black marble Roman numeral dial with mottled marble inset centre and decorative scroll-cast gilt brass bezel, the case with brass strung entablature incorporating gadrooned cornice moulding above four spiral twist columns with gilt engine-turned capitals and bases and with movement and dial set between, on conforming stepped skirt base with block feet (dial probably a replacement), 46cm (18ins) high; with a foliate inlaid ebonised plinth stand 7cm (2.75ins) high, the clock and stand 53cm (21ins) high overall.
A fine French Empire gilt and patinated bronze portico mantel clock. N. Jennart, Brussels, early 19th century. The two train outside countwheel bell striking movement with silk suspension for the female mask sunburst bob pendulum, the convex white enamel Roman numeral dial signed N. Jennart, a Bruxelles to centre, with fine gilt hands and milled bezel, the gabled case with ball finials above gadroon moulded cornice and applied opposing trumpeting Fortuna figural mounts flanked by standing putti to the angles of the pediment, the front pilaster uprights applied with stylised pedestals surmounted with griffins supporting a baton passing beneath the dial and draped with a lambrequin apron flanked by squirrels, each side with pierced infill to the top of the pointed arch aperture, on inverted Gothic arch tracery decorated plinth base with female mask rosette applied angles and skirt base with turned feet, 42.5cm (16.75ins) high.
A monumental oak eight-day quarter chiming longcase regulator with moonphase. Unsigned, circa 1900. The substantial four pillar triple train movement with Harrison’s maintaining power, deadbeat escapement and mercury jar compensated pendulum, chiming a choice of three melodies on either eight bells or four gongs and striking the hour on a further larger gong, the 14 inch silvered brass break-arch dial with subsidiary seconds dial within applied chapter ring with raised gilt Arabic numerals, the angles with cast brass bird and urn pattern spandrels incorporating subsidiary CHIME/SILENT and WHITTINGTON/CAMBRIDGE/ WESTMINSTER selection dials to the upper pair, the arch with rolling moonphase calibrated for the age of the moon to upper edge and with pair of globe lunettes beneath the upper border with scroll engraved infill, the Art Nouveau influence break-arch case with leafy scroll carved crest above moulded cornice and line-incised border to the glazed dial aperture flanked by foliate carved baluster pillars to hood, the trunk with inverted breakfront ogee moulded throat above rectangular glazed door flanked by triform half-pilasters with globular capitals and foliate bases, the plinth centred with an inverted break-arch panel flanked by swollen acanthus carved uprights to front and sides terminating with a shaped skirt, 259cm (99ins) high.
A Scottish Regency mahogany eight-day longcase clock. G. Lumsden, Edinburgh, circa 1825. The four pillar rack and bell striking movement with 13 inch circular white painted Roman numeral dial with subsidiary seconds and calendar dials and signed G. LUMSDEN, EDINBURGH to centre, the drum-head case with giltwood canted fillet to the glazed hinged dial surround above waisted section and raised throat mouldings, the trunk with shallow-arch top caddy moulded door flanked by canted angles, on shaped panel outline fronted plinth base with moulded skirt, 201cm (79ins) high. A George Lumsden is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Pittenweem, 1818-49.
A rare George I oak eight-day musical longcase clock. Benjamin Rodgers, Chesterfield, circa 1730. The substantial five-pillar triple train inside countwheel bell striking movement playing a choice of two tunes via eight bells with fifteen hammers every four hours, with original anchor escapement and outside fly with adjustable vanes for the music train, the 12 inch square brass dial with subsidiary second dial and foliate engraved calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with foliate half hour markers, Arabic five minutes to outer track and signed Benjamin Rodgers to lower edge, the angles with applied female mask and scroll spandrels, with tune selection lever at 9 o’clock and pierced steel hands, the case with elaborate stepped and moulded caddy surmount above ogee cornice, plain frieze and three quarter columns to the glazed hood door, the trunk with complex mouldings to throat above rectangular door with canted upper angles, decorative brass hinges and centred with a gilt lenticle, on plain plinth base with moulded skirt, 242cm (95.5ins) high. Benjamin Rodgers is recorded in Hughes, Roy G. and Craven, Maxwell Clockmakers & Watchmakers of DERBYSHIRE as working in Chesterfield circa 1729-40. The current lot formerly belonged to the collection of the late John Hooper and was purchased by the current owner in these rooms from the sale of the Library & Workshop of John Hooper 10th February 2009 lot 99 for £3,800 hammer.
A mahogany domestic longcase regulator. Barraud, London, early 19th century and later, the case circa 1760. The five pillar movement now with deadbeat escapement, Harrison’s maintaining power, wood-rod pendulum and striking the hours on a gong, the 12 inch cream painted Roman numeral break-arch dial with subsidiary seconds dial to centre, STRIKE/ONE/SILENT selection lever at 12 o’clock and with gilt floral spray painted decoration to spandrels beneath arch signed BARRAUD, London, now in a break-arch case with foliate scroll pierced blind fret to frieze and brass stop-fluted Corinthian pilasters to hood above break-arch door to trunk, on plinth base with moulded double skirt, 230cm (90.5ins) high. Paul Philip Barraud is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as becoming a Liveryman of the Clockmakers’ Company in 1796 and appointed Master in 1810. He is listed as a fine watch and chronometer maker who worked in partnership with W. Howells and G. Jamisen for making Mudge’s timepkeepers. He had two sons; Frederick Joseph (worked 1806-25) and John (worked from 1813), with whom he formed a partnership in 1811 which lasted until his death in 1820. The firm was continued by his son taking John Richard Lund into partnership in 1838. The business was finally wound up in 1925. The going train of the current lot was upgraded from a relatively standard eight-day longcase movement to regulator specification and the strike train converted from bell striking to gong striking during the mid to late 19th century. The dial has been expertly re-touched however images of the dial prior to restoration are included with the clock, and serve to suggest that the Barraud name is original to the dial. The case is a good early George III London-made mahogany example in sound condition.
A George III mahogany eight-day longcase clock. Thomas Ogden, Halifax, circa 1760. The five finned pillar rack and bell striking movement with 13 inch brass break-arch dial with recessed subsidiary seconds dial, ringed winding holes and calendar aperture to the foliate scroll engraved matted centre within applied silvered Roman numeral chapter ring with foliate half hour markers, Arabic five minutes to outer track and signed Thos. Ogden, Halifax to lower edge, the angles applied with female mask and scroll cast spandrels beneath arch with circular aperture with rocking Chronos figure within silvered ring engraved TEMPUS FUGIT flanked by dolphin cast mounts, in a pagoda top case with break-arch cavetto cornice and foliate carved fret to frieze above brass stop-fluted columns flanking door to hood, the trunk with geometric break-arch door flanked by conforming quarter columns to angles, on shaped raised-panel fronted plinth base with shallow moulded skirt, 249cm (98ins) high. Thomas Ogden is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Halifax as born in 1692 and dying in 1769. As with many leading makers of the period Ogden was a Quaker and is thought to have also supplied other makers; his work tended to be distinctive, of high quality and often incorporating complications such as spherical moons or astronomical features.
A walnut and floral marquetry eight-day longcase clock. The dial bearing signature for David Lestourgeon, London, early 18th century and later. The later century four pillar rack and bell striking movement fitted to the original 12 inch square brass dial with ringed winding holes, subsidiary seconds dial and herringbone border engraved calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with cruciform half hour markers Arabic five minutes to outer track and bearing signature D. Lestourgeon, London to lower edge, the angles applied with twin cherub and crown cast spandrels, in a case with later inlaid ogee shaped caddy upstand above moulded cornice with plain frieze and three-quarter columns applied to the foliate trail decorated hood door, the trunk with conforming concave throat above elaborate brass lenticle centred door decorated with intense bird inhabited foliage on an ebonised ground and with decorative repeating border to surround, the sides with twin triple-line bordered crossbanded panels, on later line panel inlaid plinth base with moulded skirt (with alterations), 250cm (98.5ins) high.
A William III walnut and floral marquetry eight-day longcase clock. Thomas Baley, London, circa 1695. The six finned and latched pillar inside countwheel bell striking movement with 11 inch square brass dial with subsidiary seconds dial, ringed winding holes and calendar aperture with scroll engraved detail to the matted centre within applied silvered Roman numeral chapter ring with stylised sword hilt half hour markers, Arabic five minutes to narrow outer track and signed Tho. Baley, London to lower edge, the angles with gilt winged cherub head and foliate cast spandrels within a scribed line border, the case with moulded cornice and plain frieze over foliate trail inlaid hood door applied with ebonised three quarter columns to front angles, above convex throat moulding and 42 inch door centred with an oval lenticle and inlaid with three shaped marquetry panels decorated with bird inhabited foliage on an ebonised ground within a walnut field, the sides with twin line edged panels with crossbanded surrounds, on conforming marquetry panel fronted plinth base with later applied moulded shallow skirt (case requires mainly cosmetic attention), 201cm (79ins) high. Although several makers with the surname Baley are recorded working in London during the latter years of the 17th century, none of them appear to have had the forename name ‘Thomas’. The current lot is noteworthy in that the movement is of fine quality and original to the case which has survived largely intact and unrestored.
A rare William III ebonised thirty-hour longcase clock. William Kenyon, Liverpool circa 1690-95. The four finned pillar countwheel bell striking two-handed movement with anchor escapement and 9.75inch square brass dial with circular calendar aperture to the symmetrical tulip decorated foliate engraved centre incorporating unusual ‘basket of bread’ motif to upper margin and with ring turned centre aperture, within applied silvered Roman numeral chapter ring with stylised sword hilt half hour markers, Arabic five minutes to outer track and signed W’m Kenyon, Leverpoole to lower edge, with pierced steel hands and applied winged cherub head and scroll cast spandrels to angles, the case with ogee cornice and swollen frieze above three-quarter pilasters to the glazed hood door above convex throat and slender trunk with rectangular door, on conforming plinth base with moulded skirt, 203cm (80ins) high. William Kenyon is recorded in Loomes, Brian LANCASHIRE CLOCKS and CLOCKMAKERS as believed born in 1667, Loomes further notes that various children, fathered by a William Kenyon, were born between the dates 1708-20. A James Kenyon is also recorded as working at Redcross Street in 1715 then Newmarket in 1725 and was declared insolvent in 1743. The delicate light symmetrical arrangement of engraved foliate scrolls with large tulip blooms issuing from a central element towards the lower margin of the dial centre of the current lot is very similar in style and feel to the engraving to the dial centre of a lantern clock by John Barton of Aughton/Ormskirk illustrated in Loomes, Brian LANTERN CLOCKS & Their Makers page 303. As Loomes suggests that the lantern clock by Barton dates to the 1690’s it would, on stylistic grounds, be reasonable to suggest that the current lot would date to the same decade. This date for the clock is perhaps further supported by the fact that Kenyon would have been of active working age at the start of the decade. As the cataloguer does not know of any other Liverpool-made clocks dating to before 1700 it would perhaps be reasonable to suggest that the current lot is possibly the earliest surviving clock to have been made in the city.
A fine and rare Charles II key-wound thirty hour longcase clock. Unsigned, circa 1675-80. The two train outside countwheel bell striking single-handed movement with five finned pillars latched to the backplate and with visible motionwork below the countwheel, the early form of anchor escapement with offset pallets pivoted at the rear via a separate single footed cock beneath pendulum suspended from a forged steel arm, the 9.25 inch square brass dial with winding holes to the fine boldly engraved foliate decorated centre incorporating tulip blooms, with heavy gauge blued-steel hand within applied narrow silvered Roman numeral chapter ring with stylised wheatear half hour markers and quarter hour inner track, the spandrels decorated with further flowerheads within a line engraved border, with brass wire rod pendulum with effective length of 43 inches and fat lenticular bob, the 4.5 lb going driving weight with relief lettering IOSEPH IACKEMAN to upper surface, in an oak case of later date with ogee cornice and foliate scroll carved and pierced frieze above glazed door to hood and projecting concave mouldings to throat, the trunk with slender twin geometric panel fronted door, on plinth base with shallow moulded skirt, 212cm (83.5ins) high. The current lot is illustrated and discussed in Darken, Jeff and Hooper, John English 30 Hour Clocks, Origin & Development 1600-1800 pages 63-6. The movement has many unusual features including the placing of the movement pillar latches and the motionwork on the backplate (rather than the frontplate). This inventive approach to construction and layout perhaps served to assist in the disassembly of the movement. The engraving to the dial is also of particularly fine quality and can be directly compared to a keywound clock (originally made with verge escapement) by Thomas Tompion illustrated in Robinson, Tom THE LONGCASE CLOCK pages 62-3. It is perhaps surprising that this relatively sophisticated, high quality clock is not signed, however a clue to this apparent lack of signature may lie in the inscription IOSEPH IACKEMAN cast in relief to the upper surface of the driving weight. Joseph Jackman is recorded in Loomes, Brian The Early CLOCKMAKERS of Great Britain as promising the Clockmakers’ Company in September 1682 that he would join at the next quarter court, but did not. This suggests that he working as a clockmaker outside the control of the Clockmakers’ Company, hence would be liable to a fine/prosecution if he was seen to be trading. With this in mind it is also interesting to note that Loomes also records a maker with the surname Jackson of Newington in Surrey having a watch confiscated by the Clockmakers’ Company in 1677. The fact that this 4.5lb driving weight would be of little use for any other clock made at this time (either eight-day or thirty hour with Huygens endless rope drive) adds to the possibility that it is original to the movement hence the probability that the movement and dial were made by Joseph Jackman.
The Leicester Mercury Silver Challenge Bowl A large Edwardian montieth shaped bowl, by Charles Stuart Harris, London 1902, shaped moulded rim with mask heads, moulded girdle, lion mask loose ring handles, domed foot, engraved "The Leicester Mercury Silver Challenge Bowl Value 70 Guineas Donors, Messrs F. Hewitt & Sons Ltd., Leicester. "To Leicester Competitive Festival of Music Council 1924 for Competition by All the 1st Prize Choirs of Each Annual Festival at the Final Evening Concert Held for Any One Year" weight approx. 120ozs diameter 46cms, (18"), height 28cms, (11"), on a wooden plinth, with a silver band.
A French ebonised and gilt metal portico clock, signed `Sharrier`, second half of the 19th century, refurbished, the canopy supported on four solomonic, plinth base, decorated with gilt beads and appliqués, enamelled dial, French cylinder movement by Japy Freres et Cie, striking on a bell, 49cms, (19½"), under a glass dome with an ebonised plinth, 66cms, (26") overall.
A Louis XVI style gilt metal and Sevres style porcelain mantel clock, French mid 19th Century, with an urn finial, the case with panels, decorated with musical trophies, flowers and pendants, on a bleu celeste ground, the dial centred with cherubs, signed `Russell, Malvern`, cylinder movement, striking on a bell, 46cms, (18"), on a mahogany plinth, under a glass dome, 61cms, (24") overall.
A Louis XVI style gilt metal and Sevres style porcelain mantel clock, French late 19th century, campana urn finial, (damaged), the dial fascia painted with figures in the manner of Fraganard, on a bleu celeste ground, the case with volute scrolls, ribbon cresting and oak-leaf pendants, raised on lion paw feet, French cylinder movement, signed - S. Marti, striking on a bell, on a shaped gilt wood plinth, 43cms, (17") overall.
A French gilt metal and Belge Noir matched three-piece clock garniture, the clock with a shallow campana top, over a plinth section, cast foliate and scrolled appliqués, white enamelled dial, indistinctly signed - Champion...., French cylinder movement by Jappy Freres, striking on a bell, 47cms, (18½"), together with a pair of ornamental urns, with shallow campana bowls, 25cms, (10").
A suite of Globe Wernicke light oak library furniture, comprising a bureau, fall front enclosing a part fitted interior, single shaped drawer below with single bookcase section fitted under, with a flap front, on a shaped plinth, labelled, `The Globe-Wernicke Co. Ltd, Office and Library Furnishers, London`, width 86cms, (34"), depth 49cms, (19"), height 112cms, (44"), together with two four-section bookcases, with flap fronts, width 87cms, (34"), height 147cms, (58").
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