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A COLLECTION OF THIRTEEN BOXED CORGI VEHICLES, to include 1:50 scale MAN Continental curtainside 75802, three Superhaulers, London gift set 60003, Land Rover & Mini set 60006, 1:50 scale Foden dropside Wagon 80205 etc.

THREE BOXES 1:18 SCALE DIE CAST CARS, to include Corgi MGF closed top Rover Team Spirit 46703, Maisto Morgan Aero 8 and Pauls Model Art Michael Schumacher Collection 1998 Ferrari

A BOX OF MISCELLANEOUS DIE CAST ITEMS, to include boxed Lledo Brewing In Britain Scammell, six wheel box van, two Corgi Cadburys Boost Superhauliers 59519, Corgi JPS Lotus Formula 1 car 190, Polisitil 1:25 scale Tyrell Ford etc

THIRTY BOXED CORGI MINIS, all 1:36 scale, to include 04433, 04423, 04422, 04415, 04426, 04506, 04424, 04425, 04431, 04427, 04439, 04437, 04435, 04420, 04407, 04405, 04402, 04414 etc., include several limited edition Minis

A 19th century Derbyshire Ashford marble desk thermometer, the ivorine scale inscribed R Hartle, Matlock, inlaid with panels of malachite, fossil stone, alabster and other specimen stones, mercury cistern, 23cm high, c.1860

A Fowler's Textile Calculator, short scale type, 9cm over loop, cased; slide rules, various manufacturers (4)

A scale brass model of a First World War tank, two brass figurines of soldiers with rifles, a cross, a model of a lion, an a coopered spirit barrel.

Maurizio Cattelan (Italian, b. 1960), Massimiliano Gioni (Italian, b. 1973), and Ali Subotnick (American, b. 1972). Wood, brass, steel, aluminum, resin, plastic, glass, and electric lighting 1:6 scale reproduction of "The Wrong Gallery," once New York's smallest exhibition space, 2005. Published by Cerealart Multiples, Philadelphia. With the power cord and pink "Wrong Times" gallery newspaper. The gallery is numbered 181/2500 along the underside.Height: 18 1/2 in x width: 11 1/2 in x depth: 6 3/4 in.Condition: The artwork is in good condition overall with no major issues. The lighting works though it has not been tested for prolonged use. Light wear throughout consistent with age and use.

Large live steam scale model train built by Richard "Dick" E. Johnson, assembled ca. late 20th century. Custom scale, approximately 3 1/2 gauge, ca. 1986. Copper boiler. The train is similar in style to 1930s-1940s British prairie locomotive steam engines. Possibly built to resemble a grain train. The engine comes with an accompanying car. With a wooden display stand. With a locomotive boiler test and inspection certificate.Train; height: 10 in x width: 27 in x depth: 7 1/2 in. Car; height: 8 in x width: 18 in x depth: 7 in. Wood; height: 1 1/2 in x width: 41 in x depth: 9 1/4 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.

Sam Gilliam (American, 1933-2022). Small acrylic on birch plywood titled "Mark Squared" depicting a colorful abstract composition, 2000. With a three-dimensional element in the form of an irregular-shaped wedge projecting from the lower half of the artwork. Signed, titled, and dated along the verso.Provenance: Private Minnesota collection.Lot Essay:Sam Gilliam was one of America's foremost Black artists and a leader in the color field and lyrical abstraction movements. He was influenced by German Expressionists such as Emil Nolde, Paul Klee, and Nathan Oliveira. He was additionally influenced by Vladimir Tatlin, Frank Stella, Hans Hofmann, Georges Braque, Pablo Picasso, and aul Cezanne. An artist from an early age, he was always interested in art and eventually studied fine arts at the University of Louisville, admitted as the second class of black undergraduate students to the school.Around 1965, he became the first artist to introduce the idea of an unsupported canvas, draping the paintings from ceilings, walls, and floors. These works were immensely popular and led to exhibitions and commissions worldwide including representing the United States at the 36th Venice Biennale. He moved away from this in later years to focus on jazz-inspired works like his Black Paintings, so-named because they are painted in shades of black. His works shifted once more in the 1980s to resemble the African patchwork quilts of his childhood. Though he was largely overlooked throughout the late 1980s and 1990s, his career saw a resurgence following a retrospective at the Corcoran Gallery in 2005.From then until his death in 2022, his works came into the collections of the Museum of Modern Art (MoMA) and the Metropolitan Museum of Art among others. He also had successful exhibitions including a second show at the Venice Biennale (2017), a large-scale draped painting titled "Yves Klein Blue" in Giardini's central pavilion for the show "Viva Arte Viva," and his first European retrospective in 2018 hosted by the Kunstmuseum Basel.His honors and awards were plentiful including eight honorary doctorates, several National Endowment for the Arts grants, the Longview Foundation Award, and a Guggenheim Fellowship. In 2015 he was awarded the Medal of Art by the U.S. State Department for his longtime contributions to art in embassies and other diplomatic facilities as well as his cultural diplomacy, which showcased his works in over 20 countries during his career.From 1962 until the 1980s, Gilliam was married to Dorothy Butler, the first African-American female columnist at The Washington Post. They had three daughters together. In 2018, after a 35-year partnership, he married Annie Gawlak, owner of the former G Fine Art gallery in Washington, D.C. On June 25, 2022, Gilliam died in his home at the age of 88 after a long, varied, and ultimately successful career creating the art that he loved.Height: 12 in x width: 12 in x depth: 4 in.Condition: The artwork is structurally sound. All pieces are firmly attached. There are no splits, losses, or repairs to the wooden components. Natural bubbles to the paint surface original to the artistic process. Along the lower right of the red panel there are three small spots (the largest measuring 3/4 inch x 3/4 inch) that fluoresce under UV light and appear uneven when compared to the rest of the work which is quite smooth, save for the aforementioned bubbles. This is likely an area of pooled varnish. There is some slight yellow discoloration to the varnish throughout. Some scratches to the metal along the verso of the work.

Large live steam brass scale model train built by Richard "Dick" E. Johnson, assembled in 1979. Custom scale, approximately 3 1/2 gauge. Similar in style to American-style steam engines. With the initials of the Denver, South Park, & Pacific Railroad and "Alpine" along the side. While it bears the name of the 19th-century historic "Alpine" steam engine, it seems unique from this train. A metal plaque bearing Johnson's initials and build year along the side. With a wooden display rail and metal stand.Train; height: 17 1/2 in x width: 48 1/2 in x depth: 7 1/2 in. Track; height: 3/4 in x width: 54 3/4 in x depth: 7 1/4 in. Stand; height: 12 in x width: 60 1/2 in x depth: 10 1/4 in.Condition: There is some wear and oxidation throughout, especially along the front headlamp, some interior pipes, and the top of the tallest piece near the nose of the train. Light wear and some areas of small oxidation or discoloration throughout the rest of the train. Some pieces are slightly stiff. Some dirt/dust collected in the recessed areas of the train. A few small losses to the painted decoration. We are unable to test if the train runs.

Marc Chagall (Russian/French, 1887-1985). Lithograph on Arches paper titled "Paris of Dream" depicting a dream-like depiction of Paris, 1969-1970. Pencil signed along the lower right; numbered 12/75 along the lower left. With a certificate of authenticity from Cass Publishing. As the artist described these works, "Visions of Paris which are perhaps the same and also different. Paris, reflection of my heart. I'd like to fade into it, not be alone with myself."Literature: Mourlot 600.Provenance: Cass Publishing, Minnetonka, Minnesota; Private Collection, Minnesota.Lot Essay:Marc Chagall (born Moishe Shagal) was a Russian-French artist of Belarusian Jewish origin. An early modernist, he was associated with several major artistic styles and created works in a wide range of artistic formats, including painting, drawings, book illustrations, stained glass, stage sets, ceramics, tapestries and fine art prints.Art critic Robert Hughes referred to Chagall as "the quintessential Jewish artist of the twentieth century" (though Chagall saw his work as "not the dream of one people but of all humanity"). According to art historian Michael J. Lewis, Chagall was considered to be "the last survivor of the first generation of European modernists". For decades, he "had also been respected as the world's pre-eminent Jewish artist". Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the UN and the Art Institute of Chicago and the Jerusalem Windows in Israel. He also did large-scale paintings, including part of the ceiling of the Paris Opera.Before World War I, he travelled between Saint Petersburg, Paris, and Berlin. During this period he created his own mixture and style of modern art based on his idea of Eastern Europe and Jewish folk culture. He spent the wartime years in Soviet Belarus, becoming one of the country's most distinguished artists and a member of the modernist avant-garde, founding the Vitebsk Arts College before leaving again for Paris in 1923.He had two basic reputations, writes Lewis: as a pioneer of modernism and as a major Jewish artist. He experienced modernism's "golden age" in Paris, where "he synthesized the art forms of Cubism, Symbolism, and Fauvism, and the influence of Fauvism gave rise to Surrealism". Yet throughout these phases of his style "he remained most emphatically a Jewish artist, whose work was one long dreamy reverie of life in his native village of Vitebsk." "When Matisse dies," Pablo Picasso remarked in the 1950s, "Chagall will be the only painter left who understands what colour really is".Sight; height: 40 1/2 in x width: 28 in. Framed; height: 57 1/4 in x width: 45 in.Condition: The artwork is in good condition overall. There are no rips, major creases, or restorations. No issues when inspected under UV light. The artwork is hinged along the upper edge in three spots (corners and center). It is floated in the frame. The sheet is very lightly toned and there is a very slight undulation to the sheet. There is an approx. 7 inch long crease along the lower right margin. Several handling marks throughout the margins. Some wear to the deckled edge; possibly original to the artistic process. The work is titled with pencil along the lower margin of the verso. There is some light wear to the mat. Some light wear to the frame; framed under glass.

Sam Gilliam (American, 1933-2022). Lithograph and etching in colors on handmade paper titled "Lattice III" depicting a bloom of bright colors with an overlay of crisscrossing lines in dark blue, 1982. Pencil signed, dated, and titled along the lower edge.Lot Essay:Sam Gilliam was one of America's foremost Black artists and a leader in the color field and lyrical abstraction movements. He was influenced by German Expressionists such as Emil Nolde, Paul Klee, and Nathan Oliveira. He was additionally influenced by Vladimir Tatlin, Frank Stella, Hans Hofmann, Georges Braque, Pablo Picasso, and aul Cezanne. An artist from an early age, he was always interested in art and eventually studied fine arts at the University of Louisville, admitted as the second class of black undergraduate students to the school.Around 1965, he became the first artist to introduce the idea of an unsupported canvas, draping the paintings from ceilings, walls, and floors. These works were immensely popular and led to exhibitions and commissions worldwide including representing the United States at the 36th Venice Biennale. He moved away from this in later years to focus on jazz-inspired works like his Black Paintings, so-named because they are painted in shades of black. His works shifted once more in the 1980s to resemble the African patchwork quilts of his childhood. Though he was largely overlooked throughout the late 1980s and 1990s, his career saw a resurgence following a retrospective at the Corcoran Gallery in 2005.From then until his death in 2022, his works came into the collections of the Museum of Modern Art (MoMA) and the Metropolitan Museum of Art among others. He also had successful exhibitions including a second show at the Venice Biennale (2017), a large-scale draped painting titled "Yves Klein Blue" in Giardini's central pavilion for the show "Viva Arte Viva," and his first European retrospective in 2018 hosted by the Kunstmuseum Basel.His honors and awards were plentiful including eight honorary doctorates, several National Endowment for the Arts grants, the Longview Foundation Award, and a Guggenheim Fellowship. In 2015 he was awarded the Medal of Art by the U.S. State Department for his longtime contributions to art in embassies and other diplomatic facilities as well as his cultural diplomacy, which showcased his works in over 20 countries during his career. From 1962 until the 1980s, Gilliam was married to Dorothy Butler, the first African-American female columnist at The Washington Post. They had three daughters together. In 2018, after a 35-year partnership, he married Annie Gawlak, owner of the former G Fine Art gallery in Washington, D.C. On June 25, 2022, Gilliam died in his home at the age of 88 after a long, varied, and ultimately successful career creating the art that he loved.Sight; height: 32 x width: 44 1/4 in. Framed; height: 39 1/2 x width: 50 1/4 in.Condition: The artwork is in good overall condition. There are no areas of restoration visible under UV light. The colors are bold and bright. Due to the nature of the paper, it is difficult to determine whether or not there are minor losses along the edge. The print is hinged with framer's tape. There is wear to the frame.

Doxa. A Limited Edition stainless steel automatic calendar chronograph wristwatchModel: Coppa Milano Sanremo, No.084/250Reference: CMS03Date: Purchased 9th April 2003Movement: 40-jewel Cal.283 automaticDial: Black, applied polished baton hour markers, white outer minute divisions with luminous dot 5 minute markers, raised outer tachymetre scale, subsidiary dials at 12, 9 and 6 for seconds, 30 minute and 12 hour recording, date aperture at 3, polished pointed baton hands with luminous inserts, red tipped centre chronograph handCase: Brushed and polished round, screw down back, uni-directional calibrated bezel, screw down crown flanked by twin pushersStrap/Bracelet: Black Doxa leatherBuckle/Clasp: Signed steel buckleSigned: Case, dial & movementSize: 42mm Accompaniments: Doxa box (AF), Guarantee CertificateFor further information on this lot please visit Bonhams.com

Breitling. A stainless steel and gold automatic calendar chronograph bracelet watchModel: Chronomat 44Reference: CB0110Date: Purchased 25th July 2016Movement: Jewelled automaticDial: Black, applied gilt dart hour markers with luminous tips, white outer 1/5th second divisions, raised tachymetre scale, subsidiary dials at 3, 6 and 9 for seconds, 30 minute and 12 hour recording, date aperture between 4 and 5, gilt pointed baton hands with luminous inserts, centre chronograph handCase: Brushed and polished tonneau form, screw down back, crown flanked by twin chronograph pushers, gold uni-directional calibrated bezel, No.3188251Strap/Bracelet: Fitted steel and gold brick linkBuckle/Clasp: Signed folding claspSigned: Case, dial & movementSize: 44mm Accompaniments: Breitling travel case, outer card, spare links, Attestation de Chronometre, brochures, International Warranty For further information on this lot please visit Bonhams.com

Patek Philippe. An 18K gold manual wind chronograph wristwatchReference: 5170J-001Date: Purchased 12th September 2012Movement: 33-jewel Cal.29-535 manual wind, adjusted to heat, cold, isochronism & 6 positions, Gyromax balance, No.5664586Dial: Silvered, applied gilt baton hour markers with Roman numeral 12 and 6, black outer 1/5th second track with Arabic 5 minute markers, black pulsations scale, subsidiary dials at 3 and 9 for seconds and 30 minute recording, gilt pointed baton hands, centre chronograph handCase: Polished round, screw down exhibition back, crown flanked by twin rectangular chronograph buttons, No.4579903Strap/Bracelet: Brown Patek Philippe alligator leatherBuckle/Clasp: Signed 18K gold folding claspSigned: Case, dial & movementSize: 39mm Accompaniments: Certificate of OriginFootnotes:The reference 5170 was launched in 2010 and notably housed Patek Philippe's first in house chronograph, calibre 29-535. At the time it was introduced it was only available in yellow gold and was created to replace the reference 5070. Since then, the model has been made available in several different metals and dial configurations.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the UK, see clause 13.For further information on this lot please visit Bonhams.com

Omega. A stainless steel manual wind chronograph wristwatchModel: De VilleReference: 145.017Date: Circa 1970Movement: 17-jewel Cal.860 manual wind, No.32832679Dial: Brushed grey, applied white baton hour markers, white outer 1/5th second divisions, white tachymetre scale, subsidiary dials at 3 and 9 for seconds and 30 minute recording, white baton hands with luminous inserts, centre chronograph handCase: Brushed and polished round, screw down back, crown flanked by twin chronograph pushersStrap/Bracelet: Associated black leatherBuckle/Clasp: Signed steel buckleSigned: Case, dial & movementSize: 36mmFor further information on this lot please visit Bonhams.com

BERLIOZ HECTOR: (1803-1869) French Composer. A rare and extremely fine A.M.Q.S., `H. Berlioz´, one page, oblong 4to, Vienna, 3rd February 1840, to Ch. Walter, in French. Berlioz has very carefully and cleanly penned a ten bars musical quote, which he entitles `Thème de l´adagio de Romeo et Juliette (scene d´amour)´ (Translation: `Theme of the adagio of Romeo & Juliette (love scene)) Berlioz also annotates to the heading the musical tempo `Andante´. Signed and inscribed by Berlioz `Pour l´album de Mr. Ch. Walter, avec mille remerciements de la part de son dévoué H.Berlioz´ (Translation: `For Mr. Ch. Walter´s autograph album, with a thousand of thanks from his devoted H.Berlioz´) Also dated in Berlioz´s hand. EX Berlioz composed his choral symphony Romeo et Juliette in 1839. It was premiered on 24th November 1839. This large-scale work is regarded as one of Berlioz's finest works, and is widely considered his most comprehensive and detailed programmatic piece. The composition of Romeo et Juliette was made possible by the generous gift of 20,000 francs by Niccolo Paganini after hearing a performance of Harold en Italie in Paris in 1838, the great virtuoso had publicly knelt before Berlioz and hailed him as the heir of Beethoven. Paganini died shortly after, and did not read or hear the piece. Berlioz used the money primarily to repay his debts, and afterwards was still left with a good sum of money, which he used to allow himself to put his full focus towards working on "a really important work", unobstructed by his usual time-consuming obligations as a critic. The present Autograph Musical Quote was signed only two months after its premiere.

A LATE VICTORAIN OXIDISED AND SILVERED BRASS DESK THERMOMETERUNSIGNED, LATE 19th CENTURYWith mercury tube applied to a silvered Fahrenheit scale, set between two columns uprights cast in the ancient Egyptian taste with lapper leaf bases and concentric ring decorated shafts beneath a rococo scroll pierced surmount.21cm (8.25ins) high, 11cm (4.25ins) wide, 6cm (2.25ins) deep. 

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 GEORGE III MAHOGANY SMALL TABLE/BRACKET CLOCK WITH SILENT VERGE ESCAPEMENT AND ALARMJOHN TAYLOR, LONDON, CIRCA 1800The five pillar twin fusee bell striking movement with verge escapement incorporating sprung pallets regulated by lenticular bob pendulum with holdfast to the backplate, the alarm powered via a line-wound external standing barrel applied to the upper left hand corner of the movement and sounding via a vertically pivoted hammer on the hour bell, the geometric border engraved backplate signed John Taylor, London to an oval cartouche to centre, the 6 inch single-sheet silvered brass arched Roman numeral dial with alarm setting disc and signed John Taylor, LONDON to centre within Roman numeral chapter ring with Arabic five minutes to outer track, with scroll-pierced steel hands beneath subsidiary foliate trail decorated STRIKE/SILENT selection dial to arch, the break-arch case with hinged brass carrying handle over dupont and cavetto top mouldings and arch-glazed front door incorporating brass fillet mouldings to the aperture and rounded brass stringing to leading edges, the sides with arched brass fish scale sound frets and the rear with arch glazed door set within the frame of the case, on cavetto moulded skirt base with brass ogee bracket feet.33cm (13ins) high with handle down, 24.5cm (9.75ins) wide, 18cm (7ins) deep. Several makers with the name John Taylor are recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working around 1800 including one apprenticed in 1796 and another working in Clerkenwell 1805-24. The provision of an alarm together with a 'silent' escapement indicates that the present clock was most likely made principally for use in a bed chamber. Traditionally table or bracket clocks were made the intention to be used upstairs at night and then taken downstairs during the day. This is the reason why carrying handles are normally fitted and repeat-work often incorporated (to allow the time to be ascertained during hours of darkness).   Condition Report: Movement is in fine clean fully working condition with no visible evidence of alteration or noticeable replacements, The dial is in fine condition; the hands are possibly well-made replacements. The case is in very good condition with noticeable faults limited to some minor front-to-back shrinkage cracking to the curved top, and some historic small patch repairs to the veneer overlap of the rear door as well as to the lower edge of the left hand side fret aperture. Faults otherwise appear to be very much limited to minor shrinkage and a few historic bumps and scuffs etc.Clock is complete with pendulum, winder and a case key. Condition Report Disclaimer

A LATE VICTORIAN/EDWARDIAN WALL MOUNTED REGULATOR TIMEPIECEJ. SMITH AND SONS, LONDON, CIRCA 1900The substantial four double-screwed columnar pillar movement with thick plates measuring 9.5 inches high by 7 inches wide enclosing four-wheel train with Harrison's maintaining power, five-spoke wheel crossings and deadbeat escapement incorporating jewelled pallets regulated by cylindrical steel cannister enclosed mercury compensated pendulum suspended via a wide jaw from the case backboard, the 12 inch square single-sheet silvered brass dial with subsidiary seconds over Roman numeral hour dials and signed J. Smith & Sons, London to centre, within outer minute ring annotated with Arabic five minutes to outer track, with blued steel spade hands within applied canted silvered surround, the case with generous triangular pediment incorporating ogee upper mouldings over cushion moulded glazed door to hood, the trunk with panel-glazed door enclosing deep blue velvet-lined interior over ogee-shaped lower edge mouldings.166.5cm (66.5ins) high, 52cm (20.5ins) wide, 26,5cm (10.5ins) deep. The clockmaking business of John Smith and Sons of Clerkenwell can trace its roots back to 1780 however gained much greater significance when they became established in St. John's Square, at the former manufactory of Colonel Mangier, from 1844. The firm ran extensive workshops which incorporated a dedicated brass foundry, clock case workshop and assembly areas for the various types of clocks produced, and was featured in the 20th September 1851 issue of the Illustrated London News in an article entitled 'Visit to a Clerkenwell Clock Factory'. At the Great Exhibition held that year they exhibited a year going calendar clock and another chiming clock, sounding on 8 bells and striking on a gong. Ultimately John Smith and Sons perhaps became best known for their skeleton clocks, many of which were illustrated in their 1865 catalogue including models based on Litchfield Cathedral and York Minster, however they also produced many fine chiming bracket clocks, longcase regulators, wall clocks and public clocks. The business continued to produce clocks until 1938 when, due to the decline in demand for mechanical timepieces, they diversified to become specialist material stockholders and still continue in this role today. Condition Report: Movement is in fine original condition although it is somewhat dirty/neglected. The pinions exhibit only very light wear and all the pivots are sound. The pallets appear free from chips or noticeable wear. There are no other visible faults to the train. The pillars, plates etc retain old lacquer finish which has mellowed to a dull golden hue. The crutch forks are fixed via a stem threaded into the boss at the base of the crutch, this has sheered hence will require drilling and tapping for a replacement; the fork will presently stay in place through friction but will not stay in place if an attempt is made to impulse the pendulum. The gut line has degraded hence is incomplete however a replacement line is included (the previous owner - an elderly horologist, never got around to servicing it and putting it back into use) a crossed-out pulley is present with the timepiece. The pendulum is suspended from an iron bracket applied to the backboard; the original T-bar suspension spring assembly is present. The pendulum has cylindrical steel cannister filled with mercury for the bob and is in good original condition but with slight overall oxidation/tarnishing to the original finish. The dial is in good origin albeit neglected condition with heavy tarnishing to the silvering; the engraving shows no discernible wear. The movement and dial rest on a mahogany seatboard screwed to the case and is secured by thumb screws through the bottom pillars. The case backboard is of fielded panel construction finished flush at the front with the interior lined in blue velvet. There is no evidence of the inside of the backboard ever being veneered and the velvet appears original. The joints in the backboard have opened a little causing some lines/splits to appear in the velvet. The velvet also shows evidence of a bracket being fitted behind the pendulum about halfway down the rod - this is most likely for some form of electrical contact switch assembly as the pendulum is fitted with a brass disk to the rod and the sides of the case also have a pair of holes possibly for wires to exit. There is also evidence that a beat scale was fitted at some point. The panelled backboard terminates at the throat and a section of later plywood is now fitted behind the hood braced by a large iron plate screwed to the rear. It is probable that the original backboard became structurally unsound behind the hood (due to having to carry the weight of the timepiece) due to its panelled construction hence was cut and the upper section replaced. If this was the case the cut was done very cleanly and early in its life. The unserside has sockets indicating that a pair of support brackets were fitted at some point. The rest of the case is in sound original condition retaining original locks and hinges and with damage limited to minor bumps, scuffs, small veneer chips and edge bruising.Clock has pendulum, original brass-cased weight, two case keys and a crank winder. Condition Report Disclaimer

A REGENCY BRASS MOUNTED SMALL TABLE/BRACKET CLOCKVESPER, LIMEHOUSE, CIRCA 1825The five pillar twin fusee bell striking movement with arched plates and anchor escapement regulated by lenticular bob pendulum, the geometric border engraved backplate signed Vesper, Limehouse within an oval cartouche to centre, the 5.75 inch circular convex cream painted Roman numeral dial signed Vesper, Limehouse to centre, with pierced steel baluster arrow-shaped hands and N/S strike/silent selection switch to top edge, the break-arch case with hinged brass carrying handle to the curved top applied with central raised pad bordered with brass fillet mouldings, over complex top mouldings and hinged front applied with cast convex-glazed cavetto moulded circular brass bezel over pair of brass scroll pierced lower quadrant frets flanked by moulded brass inset front angles, the sides with arched brass fish scale sound frets and the rear with break arch glazed door set within the frame of the case, on cavetto moulded skirt base with brass ogee bracket feet.31cm (12.25ins high) with handle down, 24.5cm (9.75ins) wide, 18.5cm (7.25ins) deep. Two clock makers with the surname Vesper are recorded in Baillie, G.H. Watchmakers & Clockmakers of the as working during the early 19th century. The first, William Vesper, is listed as being in London 1763-1824, and the second, J. Vesper, again in London, during the early 19th Century. Loomes in Volume 2 notes further makers with this surname working from 1828 onwards. Limehouse is a district in London just north-east of the City in the modern-day Borough of Tower Hamlets (E14). Condition Report: Movement is in clean fully working condition with no visible evidence of alteration or any noticeable replacements (other than the bell and possibly the pendulum); there are two small holes to the backplate indicating that a pendulum holdfast was previously fitted which is no longer present. The dial is in fine condition with some evidence of well executed re-touching to the winding holes and probable 'strengthening' to the numerals and signature, the minute hand has been repaired. The case is in very fine condition and of very nice colour with faults limited to very slight shrinkage and a few negligible age-related blemishes.Clock is complete with a pendulum, crank winder (handle damaged) and a case key.Condition Report Disclaimer

A REGENCY MAHOGANY BRASS INLAID MAHOGANY BRACKET CLOCK WITH TWO-IN-ONE QUARTER-STRIKINGGRAVELL AND SON, LONDON, CIRCA 1825The five pillar twin chain fusee movement ting-tang striking the quarters on a graduated pair of bells and sounding the hour on the larger of the two, with shallow-arch plates and deadbeat escapement for regulation by relatively long lenticular bob pendulum and incorporating banking pins for the crutch to the backplate, over engraved signature GRAVELL & SON, LONDON and serial number 4036 to centre, the 8 inch circular silvered brass Roman numeral dial further engraved GRAVELL & SON, LONDON, 4036 to centre and with steel spade hands set behind a hinged convex glazed cast brass bezel, the break-arch case with hinged brass carrying handle secured to a single brass fillet-edged panel to the curved top over ebonised shallow cavetto cornice and brass fillet edged recessed panel inlaid with stylised foliate designs beneath the dial, with canted angles further decorated with brass rosette and line decoration and the sides with arched brass fish scale sound frets, the rear with arched aperture to a door set within the frame of the case, on skirt base incorporating fluted ebonised band to upper margin and shaped brass line borders to fascia over brass ball feet, (lacking pendulum and rear door glass).44.5cm (17.5ins) high with handle down, 11.25ins (28.5cm) wide, 17cm (6.75ins) deep. The partnership between William Gravell and his son of the same name succeeded Gravell and Tolkien who are recorded in Baillie, G. H. Watchmakers & Clockmakers of the World as taking on Eardley Norton's business in 1792, and working from St. John s Clerkenwell, London 1795-1820. Gravell and Tolkien continued the serial numbering system instigated by Norton, which in-turn was continued by Gravell and Son and then William junior alone (who subsequently worked from Charterhouse Square and served Master of the Clockmakers Company 1841-42). Condition Report: The movement appears complete and all original with no visible evidence of alteration or noticeable replacements. The going train is running (abeit lazily) and is lacking the pendulum which was most likely half-seconds in length requiring a slot to be cut into the base of the case to allow clearance for the bob. The strike/quarter train is currently not operational most likely due to something 'catching' within the under-dial work or due to dry/gummed-up oil; the spring is wound and there are no obvious visible defects. The movement appears essentially untouched and a little neglected hence a gentle celan/service is required. The dial silvering is a little rubbed/tarnished otherwise the dial is in good original condition. The case is generally in good original with some slight veneer shrinkage cracking and a small chip to the leading edge of the curved top. The slender horizontal section to the left of the curved top is missing a slip of veneer to the upper surface. The front has some very slight lifting to the brass inlay beneath the dial. The rear door is lacking its glass and has wear/losses to the veneer overlap of the now vacant aperture and outside edge. Faults to the case are otherwise limited to minor bumps, scuffs, wear and other blemishes commensurate with age and use; the base has a brass-edge hole to centre indicasti9ng that the clock was at some time secured to a wall bracket.There is no pendulum or winder present but there is a case key. Condition Report Disclaimer

†&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 FINE RARE GEORGE III TWELVE-TUNE MUSICAL BRASS MOUNTED MAHOGANY TABLE CLOCK WITH DOUBLE AUTOMATON THOMAS MONKHOUSE, LONDON, CIRCA 1775The substantial eight pillar triple fusee movement sounding the hours on a bell positioned behind the automaton above the T-shaped plates each measuring 8.25 inches high by 12 inches wide at the top before playing a choice of twelve tunes via an 11 inch pinned cylinder on thirteen bells with twenty-four hammers transversely mounted across the top of the mechanism, the going train with verge escapement regulated by short bob pendulum with holdfast hook to the symmetrical foliate scroll engraved backplate signed Tho:'s Monkhouse, London to centre, the 9 inch arched brass dial painted with an English arcadian landscape with figure tending sheep before a lake and castle and with recessed shaped signature plate engraved Tho's Monkhouse, LONDON to upper margin to centre, within applied silvered Roman numeral chapter ring with Arabic five minutes beyond the minute track, with pierced blued steel hands and rococo scroll cast spandrels to angles with the upper two interrupted by polychrome floral painted subsidiary Strike/Silent and Chime/Silent selection dials, the arch with fine painted scene of a quintet incorporating triple-action automaton features to simulate playing of string instruments, set on a gallery over recess painted with backdrop of a crowd with two companion male a female automata figures with articulated waists appearing from each side and moving to simulate dancing whilst the music is in play, flanked by curtain-draped columns within arch applied with curved silvered plate engraved with tune selections Cassino, Minuet, Cicely Badger, Sukey bids Me, Minuet, Scots Bonnet, March, Berks of Abergeld, The Waterman, Langolee, Air de Jolie and The Egg Hornpipe with scroll-pierced steel selection pointer pivoted from the centre of the lower edge, the figured mahogany veneered inverted bell-top case with brass flambeau urn finials over double cavetto top mouldings and rectangular front door with brass fillet bordered glazed dial aperture and scroll-cast brass upper quadrant frets, flanked by canted angles applied with generous cast brass female terms, the sides with substantial hinged brass carrying handles over concave-topped rectangular brass fish scale sound frets within fillet surrounds, the rear with break-arch glazed door incorporating scroll-pierced upper quadrant frets flanked by canted angles applied with conforming female terms, on generous cavetto moulded skirt base with moulded brass squab feet.71cm (21ins) high, 43cm (17ins) wide, 27.5cm (10.75ins) deep. Provenance:Purchased at Bonhams, London sale of FINE CLOCKS 19th June 2019 (lot 41) for £17,562.50. Thomas Monkhouse is recorded in Loomes, Brian Watchmakers and Clockmakers of the World, Complete 21st Century Edition as working in London circa 1760. Although very little is known about him Thomas Monkhouse was clearly a very skilled maker who appeared to specialise in the production of musical and chiming clocks. The tunes played by the current clock aid to dating with the most relevant being 'The Waterman', which is from a comic opera of 1774 by Charles Dibdin. Amongst the other melodies 'Scots Bonnet' also known as 'Blue Bonnets Over the Border' was first registered in 1857; 'Cicely Badger' relates to a character in Samuel Richardson's 1753 Novel 'The History of Sir Charles Grandison'; 'Cassino', registered in 1770, was a country dance tune popular in both England and America; and 'Sukey Bids Me' was a country dance printed in 'The Universal Magazine of Knowledge and Pleasure in 1749. Condition Report: Movement is in fine clean fully working condition with no visible evidence of alteration or noticeable replacements. The dial is also in fine condition with minimal rubbing/wear around the winding holes; the painted finish appears original with some slight touching-in in places. The tune selection pointer appears to be a well-made replacement, the other hands are original and in good condition. Both automata are operational - the upper with the band playing is connected to the escapement hence operates whilst the clock is running; the lower dancing figures whilst the music is playing.The case is in fine condition with only minor repairs/restoration evident. The mask around the dial has been 'strengthened' by adding thin timber plates/packing to the inside around the arch and to the lower corners. The rear door hinges where attached to the carcass of the case have been strengthened by applying filler paste to consolidate the timber at that point. The front door has a veneer patch repair to the lower right-hand corner, otherwise faults to the case are very much limited to minor bumps, scuffs, shrinkage and wear commensurate with age and use.Clock is complete with case key and a winder. Condition Report Disclaimer

†&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 GEORGE IV BRASS MOUNTED MAHOGANY QUARTER-CHIMING BRACKET CLOCKJAMES BANNISTER, LONDON, CIRCA 1825The substantial seven knopped pillar triple chain fusee movement chiming the quarters of a graduated nest of eight bells and sounding the hour on a further larger bell, the going train with anchor escapement regulated by heavy lenticular bob pendulum incorporating holdfast to the movement backplate, the 9 inch arched dial polychrome painted with rural landscape scene of a cottage to centre within applied silvered Roman numeral chapter ring with Arabic five minutes beyond the minute track and signed Ja's Bannister, LONDON to lower margin, with pierced gilt brass hands beneath arch with subsidiary CHIME/SILENT selection dial within painted coastal scene with a square rigged-ship passing a castle, the case with cavetto moulded shallow arch top over brass line decorated tympanum and brass-fillet bordered glazed aperture to the hinged front panel incorporating brass line bordered upper quadrants an brass inset canted front angles, the sides with gilt foliate ring handles over rectangular fish scale sound frets, the rear with rectangular glazed door set within the frame of the case, on moulded skirt incorporating brass line decoration to front over brass ball feet.53cm (21ins) high, 33cm (13ins) wide, 20cm (8ins) deep James Bannister is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London 1818-35. 53cm (21ins) high, 33cm (13ins) wide, 20cm (8ins) deep. 

Y&nbspA REGENCY BRASS INLAID MAHOGANY BRACKET CLOCK RICHARD MACKEY, LONDON, EARLY 19th CENTURYThe five pillar twin fusee bell striking movement with shouldered plates and anchor escapement regulated by half-seconds geometric border-engraved lenticular bob pendulum, the conforming border decorated backplate with N/S strike/silent selection lever to upper left over central oval lozenge signed Richard Mackey, LONDON and pendulum holdfast, the 7 inch circular convex cream painted Roman numeral dial with steel moon hands set behind hinged cast brass convex glazed bezel, the arched case with ebony strung edge and line-outlined shaped panel to fascia beneath the dial, the sides with foliate cast gilt ring handles over brass fish scale sound frets, the rear with arch glazed door set within the frame of the case on cavetto moulded skirt base with brass ball feet, with a brass inlaid mahogany wall bracket, with brass rosette and line decorated fascia to table over lozenge-centred decorative line-bordered down-curved foot, (2). The clock 34.5cm (13ins) high, 23.5cm (9.25ins) wide, 16cm (6.25ins) deep; the clock and wall bracket 50cm (19.75ins) high overall. A clockmaker with the name Richard Mackay does not appear to be recorded in the usual sources as working in London during the early 19th century. However, included in the current lot is an indenture admitting William Henry Mackey as an apprentice Waterman and Lighterman under a Richard Mackey dated 26th September 1812. This document may or may not relate to the name that appears on the movement of the present clock but, may be of some historical interest. 

A SWISS CONTEMPORARY GILT BRASS 'ARMILLARY' DESK TIME-ZONE CALENDAR TIMEPIECEJEAN ROULLET 'G-LINE', FOURTH QUARTER OF THE 20th CENTURYThe quartz movement with dial-setting adjustment and signed Jean Roulet, Le Locle to rear cover, the 4.5 inch circular silvered dial with subsidiary month-of-the-year, day-of-the-week and date-of-the-month dials over rolling moonphase aperture and text G-line to centre within applied gilt Arabic Roman hour numerals and minute markers to outer track, with gilt hands set within convex glazed canted bezel, the case modelled as an armillary sphere with the movement pivoted vertically at a slight angle within a meridian crescent joined by a canted ring decorated with the signs of the zodiac to outer edge, enclosing a further angled horizontal ring encompassing the dial with adjustable outer twenty-four hour scale around annotations for various cities within subdivisions labelled EUROPE, RUSSIA, CHINA and AMERICA, the base cast as ring with angled upper edges to cradle the meridian.19cm (7.5ins) high, 18cm (18ins) diameter. Provenance:From the private collection of a titled family.  

AN OXIDISED BRASS ANEROID POCKET BAROMETER WITH ALTIMETERJ.H. STEWARD, LONDON, CIRCA 1900The 2.5 inch circular silvered register calibrated in barometric inches divided into tenths and inscribed COMPENSATED over J.H. Steward, 406. Strand., 457. West Strand & 7. Gracechurch St., LONDON., 3711 to centre, within outer rotating bezel altimeter scale calibrated for 0 to 10000 feet divided for every twenty-five feet, set behind integral bevelled edge glass within knurled moulded surround, the cylindrical case with suspension post; with original leather outer protective case secured to the instrument with brass screws to the rear and pasted with a CORRECTION label to inside of the front cover. The instrument 7cm (2.75ins) diameter, 2.5cm (1in) deep.  James Henry Steward is recorded in Banfield, Edwin BAROMETER MAKERS AND RETAILERS 1660-1900 as a maker of all types of barometers who worked from several addresses in London, including; 406 Strand (1857-1900 and beyond), 67 Strand (1867-8), 63 St. Pauls Churchyard (1867-80), Cornhill (1867-92), 66 Strand (1869-88), 456 Strand (1879-88), 474 West Strand (1886-1900 and beyond) and 7 Gracechurch Street (1893-1900 and beyond). He advertised as maker of the celebrated Lord Bury telescope and maker of the Fitzroy barometers, 'as in use at all railway termini and principal hotels in London'. 

A BRASS ELECTROMAGNETIC BALANCE MANTEL TIMEPIECE EUREKA CLOCK COMPANY LIMITED, EARLY 20th CENTURYThe movement with large diameter sprung split bimetallic balance applied with timing weights to circumference and with transverse electromagnetic impulse coil to centre oscillating against a sprung detent contact breaker and cam operating a lever and ratchet shunt for the motionwork, the rear with visible ball bearing pivot, the front with visible motionwork and FAST/SLOW adjustment scale inscribed EUREKA, CLOCK Co. LTD. LONDON, PAT. No. 14614-1906, No. 3656 within the 4.25 inch cream enamel chapter ring with vertically orientated numerals, with steel spade hands and spun brass bezel, the whole raised on two cylindrical supports onto a circular cavetto moulded skirt base carrying a domed glass cover.25.5cm (10ins) high overall, 21cm (8ins) diameter at the base. The Eureka mantel timepiece was invented by Timothy Bernard Powers of New York shortly after 1900 and Patented in 1906. It is thought that around 10,000 were made by the Eureka Clock Company, London before their demise in 1914. The design of the balance is such that a constant voltage (of 1.5 volts) is required to ensure consistency in the amplitude of oscillation. Unfortunately early 20th century battery technology struggled to deliver a suitably stable output hence such timepieces acquired a reputation for poor timekeeping. Nowadays, once correctly set-up, good timekeeping can be achieved through use of modern cells which provide a much more consistent voltage output. 

†&nbspA REGENCY BRASS MOUNTED MAHOGANY TABLE/BRACKET CLOCKTHE DIAL INSCRIBED FOR GEORGE LEFEVRE, WISBECH, CIRCA 1825The five pillar twin fusee bell striking movement with shouldered plates and anchor escapement regulated by lenticular bob pendulum incorporating stirrup-type regulation adjustment and holdfast to the geometric border engraved backplate, the 8 inch circular slightly convex cream painted Roman numeral dial inscribed Geo. Lefevre, WISBECH to centre and with pierced steel hands, the break-arch case with hinged brass carrying handle to the curved top applied with central raised pad bordered with brass fillet mouldings, over complex top mouldings and hinged front applied with cast convex-glazed cavetto moulded circular brass bezel over pair of brass fish scale lower quadrant frets flanked by moulded brass inset front angles, the sides with arched windows and the rear with arch glazed door set within the frame of the case, on generous cavetto moulded skirt base with brass ogee bracket feet.41.5cm (16.25ins) high with handle down, 33cm (13ins) wide, 20cm (8ins) 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 Lefever is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working in Wisbech circa 1830-40. Condition Report: Movement is in clean fully working condition with no visible evidence of alteration or noticeable replacements. The numerals and signature to the dial have been re-touched; the cream ground is old/original with some very slight rubbing/wear in places. The case is in sound condition. The top has some shrinkage cracking/movement but no losses tot eh veneers (except for a tiny chip to the rear right hand corner of the pad). There is a small historic well-matched veneer patch repair to the left hand flat top surface towards the rear. The front door has old veneer patch repairs to the arch above the dial and just beyond the brass bezel between IIII and V. The left hand side has slight wear/losses to the veneer overlap bordering the leading edge of the arched aperture and small historic veneer slip repairs to the opposing rear edge. The left-hand side has similar repairs to the aperture overlap and a small chip to the arch section. The front left-hand corner near the hinge, faults are otherwise limited to minor bumps, scuffs, shrinkage etc. commensurate with age and use. The rear door is lacking its lock.Clock has a winder but no case key. Condition Report Disclaimer

A WALNUT TABLE CLOCKSAMUEL WHICHCOTE, LONDON, MID TO LATE 18th CENTURY The five pillar twin fusee bell striking movement with verge escapement regulated by short bob pendulum, the backplate engraved with Ho-Ho bird inhabited symmetrical foliate strapwork incorporating a basket of fruit to centre, the 9 inch brass break-arch dial with shaped false bob and calendar apertures to the 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 steel hands and unusual female bust and scroll cast spandrels to angles, the arch with circular silvered boss signed Samuel Whichcote, LONDON flanked by conforming mounts, in a case with hinged brass carrying handle to the stepped ogee superstructure over generous cavetto moulded cornice and herringbone banded hinged break-arch glazed front door incorporating brass fish scale frets to upper quadrants flanking the arch, the sides with rectangular windows and the rear with rectangular glazed door set within the frame of the case, on generous ogee moulded skirt base with brass bracket feet.55cm (21.5ins) high with handle down, 36cm (14.25ins) wide, 21.5cm (8.5ins) deep. Samuel Whichcote is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as apprenticed in 1716 and gaining his freedom of the Clockmakers' Company in 1724. He worked in Fleet Street, was appointed Master of the Clockmakers' Company in 1748 and is believed to have died in 1775. The case of the current lot does not conform to the usual 'London' form hence is most likely of provincial or possibly Continental construction. The engraving on the backplate conforms to 'Style E' design of 'Fruit and Flower Baskets' as categorised by Sunny Dzik in ENGRAVING ON ENGLISH TABLE CLOCKS, Art on a Canvas of Brass; Dzik illustrates two very closely comparable backplates executed for clocks by David Hubert and Richard Ellis on page 301 (Figure 17.8). Condition Report: Movement is complete and in original condition with no visible evidence of alteration or noticeable replacements including the escapement. The movement is currently in dirty condition and the fusee line for the going train has snapped however when motive power is manually applied to the train it will run. The strike train is in working condition. Movement does require a clean and sympathetic service. The dial is in dirty/neglected condition with patchy tarnishing to the silvering throughout. The backing plate for the false bob aperture is missing and the hands are probably replacements. The calendar ring is present. The case is very heavily faded/washed-out from the rear and to the sides, otherwise it is in very sound original condition with faults limited to minor shrinkage and age-related slight bumps, scuffs and other blemishes commensurate with age and use.Clock has a case key and winder. Condition Report Disclaimer

A GEORGE III BRASS MOUNTED MAHOGANY TABLE/BRACKET CLOCKBENJAMIN REED, PLYMOUTH, CIRCA 1800The five pillar twin fusee bell striking movement with anchor escapement regulated by lenticular bob pendulum, the symmetrical foliate scroll engraved backplate signed Benj'n Reed, PLYMOUTH to centre over pendulum holdfast clip, the 18 inch single sheet silvered brass Roman numeral dial signed Benjamin Reed, PLYMOUTH over subsidiary calendar dial to centre, with pierced steel hands, Arabic five minutes to outer track and stylised husk and acanthus scroll engraved lower spandrels, the upper spandrel engraving continuing upwards to flank the subsidiary STRIKE/SILENT selection dial, the break-arch case with hinged brass carrying handle and complex top mouldings over hinged glazed front inset with brass fillet mouldings to the dial aperture and with brass-edged front angles, the sides with arched brass fish scale sound frets and the rear with break-arch glazed door set within the frame of the case, on cavetto moulded skirt base with brass ogee bracket feet.43cm (17ins) high with handle down, 31cm (12.25ins) wide, 19.5cm (7.75ins) deep. Benjamin Reed is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Complete 21st Century Edition as working in Plymouth 1798-1807; Loomes also notes a B. Reed as working in Plymouth in 1795. Condition Report: Movement is in relatively clean working condition with no visible evidence of alteration or noticeable replacements. The pendulum has a large heavy bob which has required the lower rail of the back door and case to be 'scooped' to allow clearance - this appears to be an original feature dating to when the clock was made. The dial is in fine condition with nicely executed delicate engraving. The case is in sound original unrestored condition. The top has uneven fading/discolouration to the veneers and some movement/cracking to the veneers but no losses. The front door has some slight movement/shrinkage cracking to the frame but is structurally sound. The sides are in good original condition. The rear door has a veneer patch repair (now with small corner chip) to the upper left hand corner and a small veneer chip to opposing side. The upright next to the lock shows evidence of a turn-latch being applied at some point. The colour of the sides and rear is also neglected/uneven particularly with regards to the veneer patch repair to the door.Generally a good original clock which only really requires some cosmetic attention to the case finishes. Clock is complete with winder and case key. Condition Report Disclaimer

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

A FINE GEORGE III MAHOGANY BAYONET-TUBE MERCURY STICK BAROMETER WITH HYGROMETER AND THERMOMETERSAMUEL TOULMIN, LONDON, CIRCA 1775The caddy moulded case with open triangular pediment above hygrometer with independent adjustment for the beard pointer via a brass turn-screw set beneath, over inset silvered vernier scale with curved lower angles and calibrated in barometric inches to the right hand margin opposing weather observations to the left, the upper margin signed Toulmin Strand London, the trunk inset with silvered arched Fahrenheit scale mercury tube thermometer with domed brass protective cover to the bulb and decorative engraved border, the rounded base with circular moulded cistern cover and brass level adjustment screw to underside.109cm (43ins) high, 17cm (6.75ins) wide. Provenance: Property of Harry Taft Hayward (1868 - 1930) and Edith Wires (1872 - 1962) Skyring House, Worthing, and thence by descent.  Samuel Toulmin is recorded in Banfield, Edwin BAROMETER MAKERS AND RETAILERS 1660-1900 as working from Strand, London 1757-83. Condition Report: Tube is present and appears intact however almost all of the mercury has gone. The cistern cover is securely fixed hence we are unable to establish whether the cistern is complete or the condition of the concealed part of the tube. The lever adjustment screw is present hence it is most likely the cistern is present but is no longer fluid-tight. The hygrometer is complete and the adjustment action is operational. The thermometer is complete, the tube filled and providing appropriate reading. The silvered scales have overall browning to their lacquer otherwise are in sound condition albeit with some very slight wear to the engraving (no doubt from previous re-silvering). The case is in sound original condition however the pediment is currently detached and is lacking the return mouldings to the sides. There is also a loss to the lower tip of the side 'corbel' moulding (to the left-hand side) as well as some wear/chips to the extremities of the mouldings in general. The trunk has some veneer shrinkage cracking to the front otherwise the case is in original relatively untouched condition with faults limited to minor bumps, scuffs, shrinkage and wear commensurate with age and use. Condition Report Disclaimer

A FINE GEORGE III MAHOGANY QUARTER-CHIMING EIGHT-DAY LONGCASE CLOCK WITH MOONPHASETHOMAS WAGSTAFFE, LONDON, CIRCA 1770The substantial six pillar triple train movement with anchor escapement regulated by seconds pendulum, sounding the quarters on a graduated nest of eight bells and striking the hour on a further larger bell, the 12 inch brass break-arch dial with calendar aperture and subsidiary seconds to the silvered centre within conforming applied Roman numeral chapter ring with Arabic five minutes to outer track, with scroll-pierced steel hands and applied rococo scroll cast spandrels to angles, the arch with rolling moonphase incorporating engraved age-of-the-moon scale to the circumference of the lunar disc over lunettes engraved as terrestrial globes beneath signature Thomas Wagstaffe, London to upper margin, the figured mahogany case with concave-sided 'pagoda' superstructure fronted with a shaped foliate pierced fret over break-arch cavetto cornice and brass stop-fluted columns flanking the hinged glazed dial aperture, the sides with rectangular scroll-pierced sound frets and conforming quarter columns set against bargeboards at the rear, the trunk with shaped 'block-top' door fronted with flame figured veneers within complex mouldings flanked by brass stop-fluted quarter columns, the plinth base with concave top moulding over applied shaped panel to fascia, on moulded double skirt incorporating shaped apron to lower margin and squab feet.243cm (95.75ins) high, 56cm (22ins) wide, 26cm (10.25ins) deep. Thomas Wagstaffe is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working from Carey Street and Grace-Church Street, London 1756-93. Wagstaffe was a devout Quaker with strong ties with his brethren in Philadelphia, U.S.A. He is known to have supplied movements and dials for casing locally in Philadelphia with examples noted in Moore, George and James, Arthur Thomas Wagstaffe, Quaker Clockmaker published in the December 1976 issue of the 'National Association of Watch & Clock Collectors Bulletin' (pages 534-35). Condition Report: Movement is in fine clean working condition and is fundamentally original with the only noticeable detail being that the strike train was once converted to sound on a gong screwed to the case backboard. It has since been converted back however there are two spare threaded holes (next to the quarter train barrel pivot) and a part-round circular cut-out to the edge at the hour hammer pivot. The mechanism otherwise appears to be all-original with no other evidence of alteration or with noticeable replacements. The dial is in fine original condition with some slight mellowing to the silvering and old lacquer surface to the brass. There are no discernible losses to the painted lunar disc. The movement rests on an old but non-original seatboard onto cheek uprights of the case which have received some slight cutting back/levelling. With this detail in mind we cannot confirm whether the movement and dial are original to the case however as the fitment of an hour gong conversion is evidenced in both the movement and case it would appear that they have been together for a long time. This coupe with the fact that they are both a very good match in quality, age and fit suggests that they have always ben together.The case is in fine original condition and of good colour with notable faults limited to a slight warp to the trunk door causing the top and lower left-hand corner to project forward by around 6-7mm respectively. Faults to the case are otherwise very much limited to minor bumps, scuffs, shrinkage and other age-related blemishes. The trunk door lock and hinges are original.Clock is complete with pendulum, three brass-cased weights, winder and two case keys. Condition Report Disclaimer

A mixed lot to include a pair of antiquarian coloured prints depicting 'The Latest and Newest London & Paris Fashions 1847 morning and evening dresses, a pair of signed Ashley decorative plates, an Alan Whitehead watercolour of moored boats, a late 19th American wall clock and mixed prints, a wooden trunk, mixed framed and glazed silks, music sheets to include Eastenders and Waymaster scale, and a set of shop scales A/F Location: LWB/A1M

A mixed lot to include a pair of golden crown binoculars, a finecast 3/8 scale model kit & Spalding KR0 - flite gold balls and others along with an Indian made KukriLocation:

King & Country EA031 Churchill and his Generals with Humber staff Car, Generals Montgomery and CIGS Alan Brooke and MP Driver, EA17 SAS David Sterling and EA40 SAS 'Paddy' Mayne with 1/32 scale Forward MarchCC59183 Eisenhower and CC59158 El Alamein British Mine Detector in original boxes (Condition Excellent, boxes Good (9)

Corgi Aviation Archive limited edition 1/72 scale Dornier Do17 Fighter plane, green camouflage finish, boxed with inner packing and stand, mint condition, box very good.

Corgi 1:43 scale boxed Batman vehicles, six Batmobiles, Jokermobile, Two-face car and Hotwheels Batman set of five, excellent boxed condition, (9 items).

Collection of boxed TM & DC Comic 1:43 scale model Batman vehicles, seventeen various Batman vehicles in original boxes, excellent condition.

Heritage Racing Damon Hill Williams Renault FW18 Formula 1 Racing 1:18 Special Edition, Heinz Harald Frentzen Edition, Williams Renault 1997 1:18 scale, Heritage Classics HF006 Damon Hill helmet and a Heritage Classics 5017 Williams Renault FW16 Damon Hill model all in mint boxed condition. (4 items)

Collection of Aircraft kits, seventeen 1:72 Airfix military planes, Revel two 1:48 scale kits Spitfire and Pilot and Ground crew and twelve 1:72 scale fighter planes and five kits by various makes, majority unopened, others contents with in unopened bags or appear complete, (36 items).

Corgi Toys trade Pack of six 1505 Garage Attendants for Corgi Kits, six scale figures per pack, in mint boxed condition, original factory shrink wrap is good, some small tears.

Forty Five Racing Champions Drag Racing Models, 1:444 scale diecast replica with collectors cards and stands,1997 edition, plus other models, all in mint boxed condition, some of the header cards have age wear, (48 items)

Elastolin 60mm scale set U-75-11 British Infantry marching at the slope in original stand-up box nine marching with officer, and one mounted cavalryman (Condition Excellent, box Good) 1947 (11)

Two First Gear Boxed Trucks, Including: 1:34 scale Diecast metal Mack Granite Tractor with Dump Trailer, 19-3301, and 1:34 scale Diecast metal Mack Excavating Model R-600 Lowboy Trailer No.2, 19-2660, models are in a near mint condition, both suffer from age wear on box.

Two Universal Hobbies Boxed Tractors, Including: 1:16 scale Massey Ferguson 135, UH2697U, and 1:16 scale Massey Ferguson 135, UH2698U, models are in a near mint condition, both suffer from age wear on box.

Quantity of Police Vehicles Models, including: boxed Dinky Toys Police Cars, 244 Plymouth Police Car, black/white, red interior, speedwheels , 277 Police Land Rover, dark blue/white body, with police figure, both in mint boxed original condition, some slight edge wear to boxes, plus 256 Humber Hawk police car, 269 Jaguar Motorway Police Car, white body/interior, aerial, 250 Police Mini cooper, missing aerial, French Dinky 507 Peugeot J7, repainted into a French police , 42a Police call box all in fair to good condition and two Boxed Mira Spain Police Cars, 1:43 scale, Ref 4008 Seat 1200 Policia, metallic green, Ref 4001 Mercedes 450 Policia metallic blue body, both in Perspex display boxes and Schuco Audi 80 Polizei, in window display box. (10 items)

Professionally made 2” Scale Clayton Live Steam Articulate Lorry, model finished in green livery, with plank detailing to trailer back & cab. L. 159cms W. 34.5 H.46cms. Please Note: C&T Auctioneers and Valuers are not able to convey any guarantees or warranties as to the safety of the boiler or their present condition. We are unable to offer in-house shipping for this lot.

Corgi Aviation Archive limited edition 1/72 scale Heinkel He111 H-16 Fighter plane, green finish, boxed with rocket, inner packing and stand, mint condition, box very good.

Minichamps Boxed 1:35 scale T34/76. Leningrad Front 1943 Tank, model is in mint condition, some age wear on box.

King & Country EA42 SAS Desert Bentley with twin Lewis Guns, Bren Gun and Driver, and 1/32 scale Forward March CC59178 Alamein German Mortar Team, CC59179 Dismounted British Tank Crew (two missing) with sem-flat Matilda Tank backdrop and Forces of Valour German Paratroop KS 750 Zundapp Moter Cycle Combination and Trailer with crew and accessories (not counted) in original boxes Condition Excellent, boxes Good, one box Fair -Poor) (10)

Collection of boxed Airfix Aeroplane kits, fifteen 1:72 scale planes including Avro Shackleton MR.2, Short Stirling, Handley Page Halifax BIII and others, four 1:48scale planes and two 1:32 scale classic motor cars, majority unopened, four opened but contents either un unopened bags or appear complete, (21 items).

Universals Hobbies 1:16 Scale Ford DOE “Triple D”, Item No. UH2637U, model is in a mint condition, Box slightly has some age wear.

Corgi Aviation Archive limited edition 1/72 scale Junkers JU52 Fighter plane, camouflage finish, boxed with inner packing and stand, mint condition, box good couple of dents to lid.

Eighteen Boxed Model Club 33 Polistil Racing Cars, scale 1:41, circa 1978,CE 104 Lotus J.P.S. 78, CE 105 Renault RS 01, CE 106 Brabham BT45C,CE 107 Ferrari 312 T2, CE 108 March 761 Beta, CE 109 March 761 Ovoro, CE 110 Tyrrel 008, CE 111 Ferrari 312 T3, CE 112 Copersucar FA5, CE 117 Ferrari 312 T4, CE 118 Ligier JS11, CE 119 Lotus 80, CE 120 Brabham Parmalat BT48, CE 121 Alfa Romeo 179 CE 122 Ferrari 312 T5 and 2 x CE 123 Williams F.W07, all in mint original condition, window display boxes are fair to excellent. (18 items)