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A very rare German Renaissance four-train double-hour and quarter-striking table clock movementUnsigned, probably Augsburg or Nuremburg, circa 1575The iron, steel and brass posted quadruple-chain fusee movement with square section corner uprights enclosing going train with verge escapement now regulated by a foliot oscillating above the top plate, set to the right beside the quarter-striking train which in-turn is positioned in front of the two side-by-side hour-striking trains behind, each originally with locking plates to the rear pivot plates (now lacking) and vertically pivoted hammer arbors, the wheelwork entirely of iron except for the spring barrel walls and fusee and each of the trains set between individual pairs of vertical pivot plates, the quarter train with nag's head release via a starwheel to the going centre arbor and countwheel set behind the dial incorporating trip for the first hour striking train, the second hour train originally tripped by the first via detents set to the rear of the movement (now lacking), the front with rectangular gilt brass dial applied with later vestigial alarm disc and Roman numeral chapter ring incorporating cruciform hour markers, with sculpted steel hands formed as a sword and halberd within applied original outer minute track set within fruit inhabited foliate scroll engraved surround incorporating inverted cupola pendant apron panel, the rear with twin side-by-side hour striking dials (one lacking annotated countwheel dial insert) applied to a conforming foliate strapwork engraved panel, distance between top and bottom plates 20cm (7.875ins); 38cm (15ins) high overall including the two-tier bell stand. Provenance: Property of a private collector; purchased at Bonhams and Goodman sale of the The Melbourne Clock Museum, 29th April 2008. When considering the potential date of the current lot a cursory survey of dated German Renaissance table clock movements made during the second half of the 16th century reveals that the use of brass within the mechanism became more widespread as the century progressed. Initially brass was employed just for the fusees and spring barrel walls, then also for the movement pivot plates, and finally (by around 1600-20) for the wheelwork as well. With this in mind the current movement (using brass only for the fusees and spring barrel walls) can be dated to around 1575. This approximate date is also supported by the lack of warning to the striking mechanism as this was not generally adopted until around 1600. In addition to this the engraved decoration to the dial panels exhibits a mixture of naturalistic leafy foliate scrolls and formal strapwork into a matted ground which can be compared to the background decoration seen on a complex astrolabe-dialled table clock dated 1568 attributed to Jeremias Metzger for Casper Bohemus of Vienna in the collection of the Metropolitan Museum of Art, New York (illustrated in Maurice, Klaus and Myer, Otto THE CLOCKWORK UNIVERSE, German Clocks and Automata 1550-1650 on page 185).The unusual specification of the striking mechanism, where the full-hour is repeated shortly after the initial sounding, is believed to have been adopted to confirm the hour in the event that the strike was misheard the first time around. This repeat-hour striking system is most often associated with Italian clocks using the six-hour system where it is given the term 'Ribotta'. In German Renaissance work however re-striking hours are particularly rare although not unheard of; indeed a clock utilising this system, albeit in a two train configuration, was sold at Patrizzi and Company's sale of Pre-pendulum European Renaissance Clocks held in Milan on the 24th May 2009, lot 56. The present mechanism is very unusual, perhaps unique, in that the repeat-hour employs and entirely separate second hour train complete with additional fusee. This results in the movement being 'quadruple' fusee and it is believed to be the only one of its type.Condition Report: The going train has at one time been converted to verge escapement regulated by short pendulum and has subsequently been converted back to verge with balance although regulation is now erroneously by foliot rather than balance. The second wheel is also brass (most likely left over from the pendulum conversion). The brass spring barrel wall has now been soldered to the iron/steel end plate and there is also a solder angle patch repair near the spring anchor rivet. The quarter train survives complete and appears all-original except possibly for the brass fusee which may be a replacement (colour has a copper hue). The star wheel release to the strike train is present as are the detents and countwheel.The first hour striking train (rear left) appears complete and original except for the release detent and the countwheel which are both missing; the starwheel/release pin to the under-dial motionwork id also missing. The second striking train also appears complete and original except for the release detent and the countwheel which are both missing; the hammer is also missing (vertical arbor is present) and the brass fusee may be a replacement (colour has a slightly copper hue).All four trains will turn and it seems that some careful conservation such as cleaning of pivots etc has taken place within the relatively recent past. The alarm mechanism is entirely missing leaving holes in the movement top plate, there are a few other vacant holes present relating to the previous balance and pendulum escapements as well as the case which is no longer present.The dial plate has replaced alarm disc (now fixed tight with rivets) and chapter ring - these would appear to date to somewhere between 1670 and 1740 hence are probably contemporary with the earlier pendulum conversion of the going train. The rest of the plate is original however has some small spare holes including one beyond the minute track between the IX and X numerals and another to the centre just above the apron; the purpose of these holes in not clear. The hands are probably late 19th century. The rear plate is missing one of its hour counting dials, the other appears to be a fairly early replacement made from copper. Otherwise plate is original but is missing a small length of the raised border around the left hand dial has a spare hole above each dial and a third to the centre just above the apron. Both dials are secured by modern screws.The movement has a forged two-tier bel stand but no bells or winding key. Condition Report Disclaimer

Y A French Louis XIV gilt brass mounted Boulle bracket clockEtienne Le Noir, Paris, early 18th centuryThe rectangular five baluster pillar movement pinned at the rear, with large spring barrels and verge escapement regulated by half seconds disc bob pendulum with silk suspension, the backplate with large diameter external countwheel for sounding the hour and once at the half hour on a bell mounted within the superstructure of the case over engraved signature Estienne Le Noir A Paris to the lower margin, the 8.5 inch circular twelve-piece cartouche numeral dial with centre incorporating scroll cast decoration and an portrait bust of Louis XVI over a crown within chapter ring with enamel Roman hour numerals and rococo scroll cast borders and every minute numbered to outer track, with sculpted blued steel hands, the engraved cut brass and brown stained shell marquetry veneered case with cast winged putto surmount and gilt flambeau urn finials applied to the ogee shaped upstand veneered with figural scrollwork and with acanthus corner mounts over contra-parti frieze emerging from the sides of the gilt architectural moulded break-arch cornice, the front with heavy cast break-arch glazed hinged bezel enclosing scroll cast apron mount centred with a spread-eagle over enamel nameplate Estienne, Le Noir, AParis within floral trail and panel inlaid surround, the canted front angles applied with fine scroll-cast mounts incorporating musical trophies and the angled sides with brass bordered rectangular windows and further conforming mounts to rear over swollen marquetry decorated lower sections, the base with generous gilt brass scrolls flanking shaped apron centred with a female mask, on leaf cast bun feet, 81cm (32ins) high. Two generations of clockmaker with the name Etienne LeNoir were working at the time the current lot was made. Etienne LeNoir I was born in 1675 and died in 1739, whilst his son was born in 1699 and became a Master in 1717. Etienne LeNoir II was subsequently joined in partnership by his son Pierre-Etienne (born in 1724) after he became a Master in 1743 which lasted until around 1778 when Etienne II died.Condition Report: Movement is in fine clean fully working condition having been recently serviced. The escapement appears to be a very well executed restoration as evidence in the form of a filled-in slot to the centre of the top of the backplate would suggest that it had been previously converted to anchor/recoil at some point in the past. The dial has hairline cracks to the XI and III cartouche numerals as well as the signature plaque (all visible only on closer examination), otherwise faults to the numerals are limited to a few very light blemishes. The case is generally in good condition for a Boulle case of this type with some slight lifting and some historic localised replacements to the brass in places. The mounts are all present and in good condition. Clock has pendulum, case key and a winding key.Dimensions at the base 43cm (17ins) wide; 15cm (6ins) deep at the feet (18cm, 7ins deep including from mount). Condition Report Disclaimer

Y A fine French Louis XV gilt brass mounted small Boulle bracket timepiece with silent pull quarter-repeatAntoine Thiout, Paris, mid 18th centuryThe eight-day movement with tapered plates incorporating concave lower angles united by four angular baluster pillars pinned through the backplate signed Thiout AParis to lower margin, the silent pull repeat mechanism sounding on a bell mounted within the superstructure of the case, the 5.5 inch circular thirteen-piece cartouche numeral dial with convex white enamel centre within chapter ring with blue-on-white Roman hour numerals within rococo borders and Arabic five minutes to outer track, with sculpted blued steel hands the engraved cut brass and brown shell marquetry decorated case with seated putto surmount to the concave-sided superstructure veneered with leafy scroll decoration and applied with foliate mounts to angles over generous leaf cast arched cornice, the front with brass-framed arched glazed door enclosing marquetry decorated floor and back panel to interior and incorporating cast panel featuring an eagle grappling a serpent to apron, the surround decorated with leafy scrolls within line border, the sides with recessed arched windows within leaf cast surrounds over hipped swollen base sections, on feet cast as dragons with foliate apron between, 49.5cm (19.5ins) high.  Antoine Thiout is recorded in Baillie, G. H. Watchmakers & Clockmakers of the World as a 'very famous maker' born in 1692, appointed Jure in 1743 and dying in 1767. He is perhaps best known for his 1741 publication Traite d'horlogerie which is generally considered as one of the classic horological works of 18th century. Amongst his patrons were the duc d'Orleans and the Dowager Queen of Spain; examples of his work reside in many important European collections including a bracket clock in the Garde Meuble, Paris.Condition Report: Movement has been converted from verge escapement to anchor and the going train will run. The wheelwork of the repeat train is complete however the rack-pull lever is lacking (snail and starwheel are present). The spring box is intact and the train will run through. One of the two vertical hammer arbors are lacking as are both the hammer arms. The dial has hairline crack across the enamel disc centre and the I, IIII and VI cartouche numerals have small edge chips; the rear is lacking a securing latch otherwise dial is in good original condition albeit a little tarnished/discoloured and with finely worked hands.The case is in fine condition with faults limited to some light blooming to the shell veneers in places and some patchy tarnishing to some of the brass marquetry.Clock has a case key but no pendulum or winder. Condition Report Disclaimer

A George II parquetry inlaid oak eight-day longcase clockJohn Seddon, Frodsham, circa 1740The four finned pillar inside countwheel bell striking movement with anchor escapement regulated by seconds pendulum, the 12.5 inch square brass dial with ringed winding holes, calendar aperture and subsidiary seconds dial to the matted centre decorated with an engraved concentric herringbone band and signed John Seddon, Frodsham to a decorative panel above the calendar, within applied silvered Roman numeral chapter ring with elaborate foliate half hour markers and arcaded minute ring with Arabic five minutes to outer track, with scroll pierced steel hands and mask and scroll cast spandrels to angles, the case with ogee caddy over generous double-ogee cornice, fretwork frieze and hinged glazed dial aperture applied with three-quarter columns to angles, the sides with break-arch windows over concave throat moulding and shaped 'Dutch gable' shaped top crossbanded trunk door centred with a parquetry star and flanked by chevron banded uprights to surround, on conforming star decorated plinth base with parquetry border, ogee top mouldings and caddy moulded skirt, 216cm (85ins) high. Records relating to the Seddon family of clockmakers from Frodsham, Cheshire first appear in the Parish baptismal entries for the children of Mary Cook and John Seddon (described as a clockmaker by trade) in 1676, followed by the supposed supplying of a turret clock by John Seddon to Poole Hall in 1704. Frodsham Parish records apparently further record a John Seddon complaining of an Edward Cook in 1713. Finally Daniel Seddon, Clockmaker from Frodsham, is recorded as working 1754-85. John and Daniel Seddon were makers of very fine clocks some of which incorporated spherical globe moons in the arch and invariably displayed fine engraved detail. The current lot is typical of Seddon's work with fine decorative detailing to the movement and lively engraving to the dial. The case also exhibits parquetry star motifs which again is often seen on those housing movements by the Seddon family.Condition Report: The movement is complete and in clean working condition with no evidence of alteration or noticeable replacements. The dial is also in clean condition and free from visible defects other than a few light spots of discolouration.The movement has a replacement seatboard which rests on sections separately applied to thin the side uprights of the case. The presence of a replacement seatboard and sections applied to case uprights means that we cannot offer any assurances that the movement and dial are original to the case however we are generally of the opinion that they probably are (on stylistic grounds) and that the replacements to the seatboard and cheek uprights were most likely done for purely practical reasons. The case generally is in good condition having fairly recently had cosmetic work by the previous owner (an elderly lady now deceased) done to make it eminently presentable. Consequently the base has been rebuilt with a new skirt. Faults are therefore otherwise generally limited to some historic bumps, scuffs, shrinkage and other age related blemishes.Clock is complete with two weights, pendulum, case key and winder. Condition Report Disclaimer

A mahogany fusee dial wall timepiece with 9 inch dialThe dial signed for Benjamin Ward, late 18th century and laterfour pillar single fusee movement now with anchor escapement regulated by lenticular bob pendulum and tapered plates, the 9 inch circular silvered brass Roman numeral dial inscribed Benj'n Ward, LONDON beneath blanked-off false-bob aperture to centre, with Arabic five minutes to outer track and blued steel hands set behind hinged ogee-profile glazed wooden bezel, in a case with moulded surround fronting dovetail jointed mahogany box incorporating door to right hand side and pendulum access flap to underside, and with shaped extensions to the upper and lower edges of the backboard behind, (case probably of 20th century construction), 30.5cm (12ins); 39cm (15.25ins approx.) high. Provenance: The beneficiary of the Estate of a private collector, East Midlands. Two makers with the name Benjamin Ward are recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London during the latter part of the 18th century. The first is noted as working from Norton Folgate circa 1765-90 and the second from St. Georges Fields 1799-1808.The case of the current lot, although faithfully constructed, is most likely of 20th century manufacture. From this it is perhaps appropriate to speculate that the movement and dial may have started life housed in a carved giltwood 'cartel' type case, which, as with so many of that type, may have been become worn and damaged beyond economic repair. 

A George III giltwood cartel wall timepiece with 7 inch dialWilliam Gibbs, London, circa 1760The four pillar single fusee movement with verge escapement regulated by short bob pendulum, the 7 inch circular brass Roman numeral dial with false bob aperture and signed W'm Gibbs, London to centre and with Arabic five minutes to outer track, with scroll-pierced steel hands set behind convex-glazed hinged ogee-profile cast bezel, the case with winged eagle surmount over flowering rococo scroll carved and pierced surround to the dial, 73cm (28.75ins) high; 51cm (20ins) wide. William Gibbs is recorded in Baillie, G.H Watchmakers & Clockmakers of the World as apprenticed in 1736.Condition Report: Movement is in relatively clean working condition and appears free from any visible alteration. There is no evidence of the movement having ever being converted to anchor escapement however the present escapement is probably a service replacement. The dial has lost its silvering otherwise is in sound condition retaining its original hands. The bezel is in good condition with no breaks/repairs to the hinge; the lock is present but has no key. The case is in sound fundamentally original condition and is complete (including the eagle's head which due to its orientation is not obvious in the image). The right hand side has had some work done perhaps to repair restore some of the scrollwork - from the rear all the timber looks original (ie. no re-making of missing elements) hence these repairs are probably superficial. Most od the case retains old (probably original) water gilt finish but with noticeable wear/rubbing revealing iron red bole beneath. both wings of the eagle at some point has been broken-off and poorly re-glued and the rear has later framing applied to the edge of the aperture to take a rear cover which is no longer present.Timepiece has a winding key. Condition Report Disclaimer

An impressive George III eight-day musical longcase clock with moonphaseRichard Bullock, Ellesmere, circa 1775The substantial seven pillar triple-train bell striking movement with T-shaped plates, anchor escapement regulated by seconds pendulum and playing a choice of seven tunes every three hours on a graduated nest of ten bells with twenty hammers via a 11.25 inch pinned cylinder mounted transversely across the upper edge of the backplate, the 13 inch brass break-arch dial with subsidiary tune selection dial annotated EASTER HYMN/MARCH IN PTOLOMY/BANK OF FLOWERS/BEILLISLE MARCH/ROAST BEEF/NANCY DAWSON/HARVEST HOME to the symmetrical foliate scroll engraved dial centre incorporating oval reserve signed Rich'd Bullock, Elles mere, No. 539 around the calendar aperture to lower margin, within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track, with scroll pierced blued steel hands and crested female mask and scroll cast spandrels to lower angles opposing subsidiary STRIKE/NOT STRIKE and CHIME/NOT selection dials to the upper, beneath arch with rolling moonphase incorporating conforming mask-centred mounts to lunettes and unusual Classical capriccio landscape painted decoration opposing starry sky with a comet to the concentric age-of-the-moon annotated lunar disc, in a case possibly by Gillows of Lancaster with carved lobed finials over dentil cavetto moulded swan-neck pediment incorporating leafy pendant scroll and blind-fretwork infill over ogee bolection moulded break-arch glazed hinged dial aperture enclosing gilt leaf carved mask around the dial, flanked by free-standing Gothic cluster columns and the sides with rectangular sound frets and conforming columns set against bargeboards at the rear, the trunk with dentil cavetto throat and blind fretwork frieze over ogee lancet triple arch-topped flame-figured door flanked by cluster columns to angles, the plinth base with stepped ogee top mouldings over shaped chevron-line panel bordered fascia flanked by moulded canted angles over ogee bracket feet, 241cm (95ins) high excluding top finial; 254cm (100ins) high overall. Provenance: The beneficiary of the Estate of a private collector, East Midlands. Research undertaken by Brian Loomes places the earliest record of the Bullock family of clockmakers in Ellesmere, Shropshire through the Baptism of Sarah Bullock daughter of Edmund Bullock, clockmaker on 8th July 1708. Loomes further notes a baptism of an Edmund Bullock at nearby Wrockwardine in 1686, which most likely records the year of his birth. Of Edmunds work several turret clocks are known (including an example made for Chirk in 1712), numerous longcase clocks many of which are numbered, a sundial dated 1726 and at least one table clock. Edmund Bullock's son, Richard, was born in 1718/19 along with his twin sister, Hannah. Richard followed his father in becoming a clockmaker, although his exact dates appear to be unrecorded it can be safely assumed that he was working, probably alongside his father, by around 1740. Richard also numbered his clocks and maybe continued the series first established by his Edmund although there are no records to confirm this. The current lot is a particularly impressive example and would have been a very expensive commission most likely placed by a very wealthy local land owner. The mechanism is rare in that it has survived unaltered, which is unusual for a musical clock of this complexity. The quality of the case certainly befits that of the movement and exhibits details which may support an attribution to Gillows of Lancaster; namely the ogee-moulded frame to the hood door, fine quality carving to the pediment and sparing/restrained use of parquetry stringing. Condition Report: Movement is complete and appears all original with no visible alterations or missing items and replacement limited to some historic re-pinioning (undertaken at time of past servicing to counter wear in the relevant pinions). The hammers and bells generally sound cleanly on the bells and testing through manual operation of the mechanism suggests that the pin/hammer tail engagement is generally very good. The tune selection feature is present and functional however the return spring that holds the lateral position to the barrel is a bit weak for its purpose. Although the trains will run/operate the mechanism is generally in dirty/neglected condition so will need a gentle clean/service before putting to use.The dial is generally in good original condition albeit with some discolouration, tarnishing and wear to the finishes. All functions (calendar, strike/time selection, moonphase, tune selection and seconds) are operational. The moon disc has some slight flaking to the painted decoration otherwise is in very good original condition.The movement retains its original seatboard. The seatboard however does not stretch to the full width of the cheeks hence much of the support is reliant on blocks applied to the inside of the cheek uprights; such blocks are present but appear fairly recent. The upper surface of the cheeks however appear undisturbed. Due to the seatboard appearing a little narrow for the case we cannot offer any assurances that the movement and dial are original to the case.The case is generally in good condition with faults mainly limited to age related bumps, scuffs, wear, a few very small repairs and slight shrinkage. The finish is a little flat hence case would benefit from a good polish. The hood has carved gilded wood dial surround applied to the inside edge of the mask. This is an unusual (and visually striking) detail may not be original which adds weight to the probability that the movement and dial are not original to the case (as this detail serves to 'adjust' the dimensions of the mask to accommodate the current movement and dial). Notable other faults to the case include a length of slender dentil moulding missing from the throat to the left hand side, a vertical shrinkage crack to the left hand side of the trunk. The moulded skirt and ogee bracket feet are replacements probably dating to the early 20th century.Clock is complete with pendulum, three weights, case key and winder. Condition Report Disclaimer

A George III gilt brass mounted musical table clockMerlin, London, circa 1765-75The substantial six pillar triple fusee movement with verge escapement regulated by short bob pendulum and playing a choice of two tunes on a graduated nest of eight bells with sixteen hammers every hour prior to sounding the hour on a further larger bell, the backplate finely engraved with asymmetric foliate scrolls and with external fly for the music train, the 8 inch brass break-arch dial applied with circular convex white enamel disc signed MERLIN, LONDON to centre within Roman hour chapters and Arabic five minutes beyond the minute ring, with scroll-pierced steel hands, moulded brass bezel surround and fine chased leafy scroll cast spandrels to angles, the arch with central conforming enamel calendar dial flanked by further SONNE/NON SONNE and MENUET/ALLEMANDE selection dials within conforming applied foliate pierced and chased infill, the bell-top case with hinged brass carrying handle and top plate to the gilt fillet-bordered superstructure flanked by pineapple finials over twin cavetto top mouldings and brass fillet inset glazed dial aperture to the front door incorporating fine engraved foliate scroll pierced brass quadrant frets to upper angles, flanked by canted angles applied with gilt female terms over floral trails, the sides with brass fillet-bordered circular over concave-topped scroll-pieced sound frets, the rear matching the front including fine engraved frets to the upper quadrants, on cavetto moulded skirt base faced in brass over ogee bracket feet, 52cm (20.5ins) high excluding handle. John Joseph Merlin was born in Huys, near Maastricht, Belgium in 1753. It is believed that he was of Huguenot extraction and his family were probably mechanically minded. Very little is known regarding Merlin's apprenticeships or training prior to his arrival in Paris in around 1754 (possibly under the encouragement of Academie des Sciences) where he made his mark in mechanical circles before travelling to London (within the entourage of the Comte de Fuentes, the Spanish Ambassador Extraordinary) In 1760. Such was Merlin's skill that by 1763 he was noted as being involved in the finishing of a large barrel organ for the Prince of Wales at Carlton House and subsequently became involved with James Cox during the lead-up to the creation of Cox's Museum in Spring Gardens in 1772/3. In 1773 Merlin is noted as working from 42 Queen Anne Street East and filed a patent for a Dutch Oven; with another submitted the following year for a compound-harpsichord. He worked principally as a 'mechanic', and maker of engines, mathematical instruments, clocks and watches and became successful in his trade. Notwithstanding this Merlin encountered difficulties selling his design of compound-harpsichord which he puts down to the lack of willingness from tutors in music to recommend it without a bribe(!). None the less when moved to 11 Princes Street, Hanover Square in 1783 he was no longer interested in pursuing patents but was content to trust instead in his 'own superior ingenuity and to his exertions in the line of mechanism' and established his own 'Merlin's Museum' to showcase his abilities.By 1788-89 Merlin's Museum had become one of the 'shows' of late eighteenth century London and through his unrelenting energy and fertile mind continued to expand until his health started to wane during the 1790's with him finally succumbing to his ailments in 1801. Despite the instruction in his Will for the museum to be sold-off on his death Merlin's Museum appeared to remain open in some form or other until around 1808 when it was dispersed with works such as the unfinished 'silver lady' automaton being acquired by Thomas Weeks for his own Museum. Of Merlin's horological work it is thought that he may have had an input in the design and execution of James Cox's famous 'Perpetual Clock' (now in the collection of the Victoria & Albert Museum item number O297335). In addition to this several watches signed by him are known as well as fine wall regulator with fired enamel dial, centre seconds and further enamel fine regulation adjustment dial to the pendulum bob; and a series of unusual skeleton clocks of multi-plane design incorporating rotating 'band' chapter rings - an example of which resides at Kenwood House, Middlesex. The current lot was probably supplied by Merlin to one of his Parisian clients/contacts soon after his arrival in London hence the French annotations to the dial coupled with the style of the enamelling to the central hour disc which also has a distinct French feel.Condition Report: Movement is in good relatively clean fully working condition with no visible evidence of alteration or noticeable significant replacements. The escapement appears original as does the pin-barrel and music work. The music will play as intended however some of the bells are touching and one or two of the hammers need adjustment so would benefit from general tweaking to obtain the best sound. The movement generally would generally benefit from a gentle clean/service if putting into long tern use.The dial is generally in fine condition with no visible faults of any significance; the winding holes have some very slight wear and on very close examination may have seen some very well executed restoration in the past. The spandrel mounts are finely finished and appear to retain original finish albeit now a little muted/mellow in colour. The minute hand may be a replacement.The case may have originally been ebonised (the interior is finished black). The veneers to the superstructure appear to be padouk (or a similar timber) the rest appear to be a mixture of fruitwood and other timbers all stained to match; consequently it is likely that many of these veneers are replacements applied at the time the finish of the clock was changed from being ebonised. The side frets are generally very good with only one or two small losses, the brass quadrant frets to the front and rear doors are finely executed and are appear undamaged. The mounts are somewhat dirty/discoloured but seem to retain original gilding. Visible faults to the rest of the case are otherwise very much limited to minor bumps, scuffs, slight shrinkage and wear commensurate with age and use.Clock has winder and a case key. Condition Report Disclaimer

A rare George II small black japanned thirty-hour longcase clock with 8.25 inch dialJohn Worsfold, Dorking, circa 1735The posted countwheel bell striking movement with anchor escapement regulated by seconds pendulum and rectangular section corner uprights riveted to both the top and bottom plates fitted with 8.25 inch square brass dial with matted centre and pierced steel hand within applied Roman numeral chapter ring with fleur-de-lys half hour markers and unusual mask and scroll cast spandrels to angles, the black japanned case with generous ogee cornice and plain frieze over gilt floral trail decorated hinged glazed dial aperture flanked by three quarter columns and further large foliate sprays to sides with conforming quarter columns set against bargeboards to the rear, the trunk with trellis panel painted concave throat over caddy moulded door faintly decorated in raised gilt with pagodas within an Oriental garden landscape bordered by further trellis panels to the surround, the sides with large scale foliate trails, over conforming decorated plinth base incorporating tall moulded skirt, 189cm (74.5ins) high. John Worsfold is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as born in 1704; Loomes records him in Volume 2 as working in Dorking in 1728. The current lot is appears to be a particularly rare survivor with its relatively fragile pine case and original decoration being largely intact; its small proportions are also noteworthy. 

A fine Charles III olivewood and parquetry inlaid oyster eight-day longcase clock with ten inch dialWilliam Clement, London, circa 1680The five finned and latched pillar bell-striking movement with plates measuring 6.5 by 5 inches and anchor escapement regulated by seconds pendulum, the strike train with external countwheel for sounding the hour on a bell mounted above the plates, the 10 inch square brass dial with finely matted centre within applied silvered Roman numeral chapter ring with stylised two-tier trident half hour markers and Arabic fine minutes within the outer minute track, with sculpted pierced steel hands, gilt winged cherub head cast spandrels to angles and engraved signature William Clement Londini Fecit to lower margin, the case with rising hood fitted with a cherub-mask centred floral carved ebonised swan-neck crest over ogee cornice and foliate scroll pieced frieze fret to the entablature, above fixed glazed dial aperture flanked by ebonised Solomonic columns, the sides with rectangular glazed windows and conforming quarter columns set against bargeboards at the rear, the trunk with convex throat over 40 inch rectangular door inlaid with an oval starburst parquetry panel incorporating inter-looped subsidiaries above the oval lenticle and a matching slightly lobed panel beneath, set into an oyster olivewood ground with conforming quadrant decoration at the angles, line borders and ebonised D-moulded surround, the sides veneered with single panels of further olivewood oysters within crossbanded borders, the plinth base with stepped ogee part-ebonised top moulding over conforming oval and quadrant panel parquetry decoration and standing on ebonised bun feet, 199cm (78.5ins) high. William Clement is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born before 1622, possibly 1621 in St. Albans. He was made a Freeman in the Blacksmiths Company in 1654 and rose to the Livery in 1664. From around 1665 Clement lived in the Parish of St. Saviours, Southwark, possibly to escape the plague from which his two sons William and Francis may have died. In 1659 a William Clement was commissioned as Lt Colonel in the White Regiment of Foot of the Parliamentarian Army. Clement was still alive in 1675 however records from this time onwards become confused with that of his son of the same name.In 1671 William Clement supplied a turret clock for Kings College, Cambridge, this clock was traditionally considered to be the earliest surviving timepiece to be regulated by anchor escapement and long pendulum supporting the possibility that Clement was the inventor. This view was further perhaps fortified by an entry in Smith, John Horological Disquisitions (1694) which states 'Mr William Clement, had at last the good fortune to give it the finishing stroke, he being indeed the real contriver of that curious kind of long pendulum, which is at this day so universally in use among us'. From this it would be fair to interpret Smith as not crediting Clement with the actual invention of the long pendulum, but perhaps is instead indicating that he devised the arrangement subsequently universally adopted which must be the recoil anchor. Two years later William Derham in The-Artificial Clock-Maker puts the case forward for Dr. Robert Hooke, who it is said demonstrated the long pendulum to the Royal Society soon after the Fire of London, however it is not clear whether this was with a form of recoil anchor escapement (although it is generally accepted that Hooke devised the spring pendulum suspension). Another contender for its invention is Joseph Knibb who, in early 1670, supplied a turret clock for Wadham College, Oxford, complete with anchor recoil escapement and long pendulum. But again there is no documentary evidence to support a view that Knibb actually devised this form of regulation. In 1677 William Clement was made a Free Brother of the Clockmakers Company and the following year was appointed Assistant by unanimous consent and approbation and for good reasons and especial esteem. He later served as Warden in 1690 and Master in 1694. In 1697 Clement signed the Oath of Allegiance and was from September of that year excused from attending meetings on account of his age. From April 1704 he received charity payments from the Company until his death in July 1709.  The case of the current lot is fine example of a rare type which appear to have only been made in fairly small numbers for the relatively short time span of circa 1680-85. Two comparable cases housing movements and dials by Joseph Knibb are illustrated in Dawson, Percy G.; Drover C.B. and Parkes D.W. Early English Clocks on page 254 (Plate 340) and Lee, Ronald A. The Knibb Family * Clockmakers on page 32 (Plate 23); another this time for a movement and dial by Joseph Windmills, is pictured in Bruton, Eric The Wetherfield Collection of Clocks on page 134 (number 83); and finally a fourth by Tompion can be found in Dawson, Percy G. THE IDEN CLOCK COLLECTION on page 70. The dial of the present clock notable in that there is no subsidiary seconds to the centre, this very much follows the practice of Joseph Knibb, who from about 1680, appeared to more often than not dispense with the provision of a subsidiary seconds dial. From this it would seem that with the current clock Clement was keeping abreast of fashion by supplying an example which emulated that of his prolific rival.  

A fine Charles II ebonised thirty-hour longcase clock with unusual figural engraved 10 inch dialUnsigned but possibly by John Wise, London, circa 1678The four-finned and latched pillar bell striking movement with plates measuring 6.75 by 4.75 inches and anchor escapement regulated by seconds pendulum, the strike train with double-cut external countwheel and sounding on a large vertically planted bell supported above the plates on a large triangular iron stand screwed to the backplate, the 10 inch square brass dial finely engraved with figures morphing into bold foliate scrolls depicting a Centaur with a bow and arrow challenging a dolphin over a trumpeting putto and incorporating calendar aperture to centre, within an applied silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers and Arabic five minutes within the outer minute track, with fine generous scroll-pierced sculpted steel hands and the upper spandrels engraved with reclining naked figures of Chronos to the left opposing a cellist to the right, the lower spandrels with stylised foliate designs within line scribed border to the edge of the dial plate, the case with triangular pediment over generous ogee moulded cornice, plain frieze and Solomonic twist three-quarter columns flanking the fixed dial aperture, the sides with large rectangular windows and conforming quarter columns set against bargeboards at the rear, the trunk with convex throat moulding over 41 inch rectangular door centred with an oval lenticle and with early type eagle-head cast brass escutcheon mount within D-moulded surround, on plinth base with stepped ogee top moulding and bun feet, 204.5cm (80.5ins) high. The current lot is extensively photographed and described in Darken, Jeff and Hooper, John English 30-Hour Clocks Origin & Development 1600-1800 pages 59-63 and 324. In addition of having the rare feature of a double-cut countwheel (that revolves once rather than twice every twenty-four hours), Darken and Hooper also note that the wheels are mounted directly onto shaped and tapered arbors without the use of collets. The inverted Y-shaped bell support is also highlighted with this feature leading Darken and Hooper to confidently suggest an attribution to John Wise senior (along with the countwheel and general 'feel' of the movement). Finally the cataloguer also notes that the turning of the movement pillars, with the fins being divided from the knops by fluid u-shaped channels, is executed in a manner often seen in movements by the Wise family; an example sharing this detail by Thomas Wise was sold in these rooms 7th September 2010 (lot 112). Indeed the movement is very well built with confident detailing and generous use of materials throughout which certainly befits a maker of Wise's calibre. John Wise senior is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born in Banbury, Oxfordshire in 1624 and apprenticed to Peter Closon through Thomas Dawson in 1638, gaining his Freedom in October 1646. He apparently lived in Warwick 1653-68 where he repaired the clocks at St. Nicholas and St. Mary`s churches, the latter providing the venue for the baptism of three of his children. He moved back to London in 1669 where he was re-admitted to the Clockmakers` Company by redemption. He took many apprentices including no less than six of his sons; Richard (Free 1679), John (Free 1683), Thomas (Free 1686), Joseph (Free 1687), Peter (Free 1693) and Luke (Free 1694). He worked from 'neer the Popeshead in Moorfields' and was recorded as a recusant in 1682/3. John Wise senior died in 1690 and was buried at St. Andrew's, Holborn.The extraordinary engraved decoration to the dial of the current lot is both very fine in its execution and highly original in its design. Although extremely unusual this particular type of decoration is not unique as one or two other examples are known to exist including a hooded wall clock and a dial from which the upper spandrel decorations were transcribed and used to decorate the cover and frontispiece of W.F. Bruce's 2013 catalogue of EARLY ENGLISH LANTERN CLOCKS 1615-1700.Finally the case being ebonised pine is a notably rare survivor. The hood has the early feature of large side windows and has not been cut for a door at the front. Although retains its original rising channels to the rear inner edges the corresponding tongues to the backboard are no longer present hence it can now be drawn forward rather than having to be drawn upwards to expose the dial. The trunk door is also fitted with a rare form of 'eagle-head' cast brass key escutcheon mount which is only generally seen on early architectural cases.  

A William III walnut and floral marquetry longcase clock of one month durationThomas Stubbs, London, circa 1695The six finned pillar bell striking movement with five wheel trains, high position external countwheel and anchor escapement regulated by seconds pendulum, the 12 inch square brass dial with ringed winding holes, conforming calendar aperture and subsidiary seconds dial to the rosette decorated matted centre within applied Roman numeral chapter ring with stylised sword hilt half hour markers, Arabic five minutes to outer track and signed Tho: Stubbs, Londini Fecit to lower edge, with fine pierced and sculpted steel hands and winged cherub mask and scroll cast spandrels to angles within a fine herringbone engraved border, in a case with ebonised ogee moulded cornice and floral trail engraved frieze over fixed glazed dial aperture incorporating conforming marquetry to surround and flanked by Solomonic three-quarter columns to the front angles, the sides with rectangular windows and conforming quarter columns set against bargeboards at the rear, the trunk with stylised dolphin and floral trail decorated convex throat moulding over 42 inch rectangular door inlaid with an architectural urn within bird inhabited flowering foliage into an ebonised ground and centred with an oval lenticle, the sides now veneered with twin line-bordered panels over base with stepped ogee top moulding and later floral marquetry to fascia, on moulded skirt, (case with historic repairs/restoration), 220cm (86.5ins) high. Thomas Stubbs is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as apprenticed to John Lyon of Warrington and was made a Free Brother of the Clockmakers' Company in 1685. He did not sign the 1697 oath of allegiance and Loomes notes that there appears to be no record of him after 1698.Condition Report: Movement has survived in good original condition with the only noticeable replacements being the escapewheel and pallets. The mechanism will run and strike however the line for the strike train is currently snapped and the mechanism is in dirty/neglected condition hence a sensitive clean/service will be required before the clock could be put to use. The seatboard is probably original however it rests on blocks approximately 1 inch thick applied to the tops of the cheeks hence we cannot offer any assurances that the movement and dial are original to the case although both are very well suited and are a very good match in both age, quality and proportions. The movement is also secured in position via an iron steady post mounted on the backboard and pinned through the backplate. This detail has significant age but may not be original.The dial has lost its silvering and is a generally somewhat dirty/discoloured but otherwise appears to be in sound original condition retaining original hands and spandrels.The case can be best overall described as being sound but in unrestored 'country house' condition with 19th century restoration/improvement and overall minor shrinkage bumps, scuffs and other faults commensurate with its age and a period of neglect. The top board to the hood is an older replacement with some historic worm damage, the hood was rising and now slides forward - the front has never been cut for a door and the carcass is very sound with relatively minimal movement. Externally the veneers to the sides are 19th century replacements (burr figured) and there are some losses to the chin mouldings most notably to the rear of the left hand side. The trunk has also had the sides and the frame surrounding the door have also been re-veneered in burr figured timber (possibly elm or maple?) most likely during the 19th century but otherwise are in good condition. The trunk door retains original marquetry veneers with some minor lifting towards the upper and lower margins (where the bracing clamps are joined to the main board of the door). Internally the trunk door hinges are 19th century replacements but the lock appears original. The backboard continues into the base but stops probably around 4-5ins short of where the original level of lower edge of the external 'box' of the base would have been. The sides continue down to the same level - it is possible that this is the original length of each (being a 12 inch dial case) or they have lost up to 4-5 inches off their height at the bottom. The exterior 'box' of the base is entirely 19th century (including the top mouldings which abut the lower edge of the door) and have been veneered in the same burr veneers as the sides of the trunk and hood. The front incorporates marquetry which despite a heavy vertical crack down the centre appears essentially complete. The skirting is also a 19th century addition. The clock has a pair of heavily modified brass-cased weights, a pendulum and case key but no winder. Condition Report Disclaimer

A George III brass mounted mahogany table clockBenjamin Sidey, London, circa 1785The five pillar twin fusee bell striking movement with chinoiserie backplate engraved with a pagoda framed by a trellis and pair of pilasters issuing stylised palm leaves within a geometric border, the 7 inch brass break-arch dial with calendar and false bob apertures and silvered nameplate signed Benj Sidey, London to the finely matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to the outer track, with pierced steel hands and rococo scroll cast spandrels to angles beneath arch centred with a subsidiary Strike/Silent dial flanked by conforming mounts, the triple-pad top break-arch case with hinged brass carrying handle to brass fillet-bordered top panel over complex arch mouldings and hinged front door inset with conforming brass fillet surround to the glazed aperture, the sides with arched brass fishscale sound frets and the rear with break-arch glazed door set within the frame of the case, on cavetto moulded skirt base, 38cm (15ins) high excluding handle. Benjamin Sidey Jnr is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as apprenticed (presumably to his father of the same name) in 1731 and gaining his freedom of the Clockmaker's Company in 1738. He subsequently worked from Moorfields, London until 1795.Condition Report: The movement has been converted from short bob pendulum regulated verge escapement to anchor escapement. This has been done with minimal intervention to the plates although the backcock is a replacement. The clock therefore has potential for reconversion (if so desired) back to verge which could be done leaving little to no visible evidence of having ever been anchor. Otherwise movement has no visible evidence of alteration or significant replacements. The movement is in working condition although a gentle clean/service is advised before putting it into service.The dial is in good original condition retaining attractive old surface exhibiting some discolouration to the silvered areas. The hands appear all-original.The movement and dial appear original to the case and retains the original seatboard which now has some metal plates to ensure sound support for the movement. The securing bolt for the base pillar is present but is snapped; there is evidence in the rear side uprights of the case of movement of simple movement securing brackets being fitted at sometime with one matching a corresponding hole on the movement backplate, these brackets are no longer present and in our opinion do not indicate/confirm that a different movement was fitted to the case at some time.The case is generally in presentable condition with faults mainly limited to relatively minor shrinkage, bumps, scuffs, bruising and wear commensurate with age and use as well as a few historic veneer patch repairs. The front door is missing vertical brass strips to the front edges and there is evidence of feet being fitted which are no longer present.Clock has pendulum, winder and two case keys. Condition Report Disclaimer

A rare group of 'Saxby's patent spherograph' marine navigational error calculator panelsPrinted by George Smith, Watts and Company for S.M. Saxby and H. Wood and Company, Liverpool, 1856-57Comprising SAXBY'S SPHEROGRAPH No. 2, FOR GREAT CIRCLE SAILING AND THE MEASUREMENT OF NAUTICAL DISTANCES WITHOUT ANY CALCULATION, Drawn and Engraved by Edward Powell of the Hydrographic Office, Admiralty incorporating rotating panel pierced with pair of lunettes inset with calibrated tracing paper within a surround annotated for Northern and Southern Hemispheres, the upper margin with Royal coat of arms and inscribed By Her Majesty's Royal Letters Patent and signed in ink S.M. Saxby opposing issue No. 6 over Date 16th Feb 1857, the verso with Directions For Use, together with KEY TO SAXBY'S PATENT SPHEROGRAH No. 2 and KEY TO SAXBY'S PATENT SYSTEM OF GREAT CIRCLE SAILING, each with matching signatures, issue numbers and dates; SAXBY'S SPHEROGRAPH No 3, LATITUDE, TIME &c. similarly constructed, signed, numbered No. 18 and dated 20 July 1857 together with another identical unsigned and undated; SAXBY'S SPHEROGRAPH No 4, FOR CORRECTING LUNAR DISTANCES WITHOUT THE AID OF LOGARITHMS AS ACCURATELY AS IT CAN BE DONE AT SEA BY CALCULATION again similarly constructed, signed, numbered No. 1 and dated 13 July 1857; a KEY TO SAXBY'S SPHEROGRAPH signed, numbered No. 2 and dated Nov 24 1856; and two further panels No. 1 KEY TO SAXBY'S PATENT SPHEROGRAPH plus No 4 CORRECTION OF LUNAR DISTANCES both unsigned and undated, each panel 32cm (12.5ins) by 29cm (11.375ins) and contained in an original mahogany protective box (9). The current lot was developed during the 1850's by Stephen Martin Saxby in order to assist mariners to calculate inherent errors in magnetic compass reading without having to resort to calculations in complex spherical trigonometry (which were possible with the knowledge of the approximate latitude and date). Saxby's design was devised as a representation of the celestial sphere onto which projections of the same both in the 'Horizon System' and the 'Equinoctial System' can be superimposed and correlated by rotating the latter until the polar axis pointed to the correct latitude indication in the projection of the Horizon System. The resultant device which essentially comprised of two diagrams rotating around a common centre and was given the name 'Spherograph'.Condition Report: Panels are largely intact but with dust staining and slight foxing throughout. Some of the tracing paper inserts have tears and losses. One of the panels is lacking its gilt embossed red leather title to the end; two others have small losses to the red leather title sections and all exhibit general wear and some losses to the red leather edging. Box is intact with some age related bumps, scuffs and shrinkage; there is no case key present. Contents appear not to be a complete set and has duplications (see catalogue description and online listing for images of all panels).Condition Report Disclaimer

A Scottish Victorian mahogany eight-day longcase clockThe dial signed for H. Connel, Glasgow, mid 19th centuryThe four pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch circular cream painted Roman numeral dial with subsidiary seconds over calendar dial and inscribed H. CONNEL, GLASGOW to centre and with blued steel spade hands, the unusual case with drum-head hood applied with baroque scroll carved crest over moulded glazed hinged dial surround incorporating angled gilt fillet to interior and with leafy ears beneath, the trunk modelled as a stylised Greek Doric half elliptic section column with the deep fluted tapered shaft veneered in flame figured mahogany and incorporating removable panel for pendulum access to the right hand side, on half octagon section triple recessed panel fronted plinth base incorporating angled skirt over bun feet, 208cm (82ins) high. Provenance: The property of a private collector, Hertfordshire. A Hugh Connell is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working in Glasgow circa 1860.The unusual form of the case of the current lot appears to have been unique to Glasgow and surrounding areas and is reminiscent of Scandinavian examples made in the Biedermeier manner. Condition Report: The movement is in clean working condition with no obvious evidence of alteration or significant replacements. The dial has been refinished hence is now in clean condition with visible defects limited to a couple of light surface scuffs which would probably clean/buff out. The minute hand is probably a replacement. The movement and dial sit on the seatboard at the correct level in the case hence the movement and dial are most likely original to the case.The case is generally in good original condition with faults limited to minor shrinkage, slight bumps, scuff and scratches commensurate with age and use.Clock has pendulum, two weights a case key but no winder. Condition Report Disclaimer

Y A Charles II style small ebony architectural longcase clock case with 8 inch square dial apertureAnomynous, 20th centuryThe rising hood with triangular pediment over crisply moulded projecting cornice, lintel and Doric three-quarter columns with gilt caps and bases flanking fixed the dial aperture, the sides with tall rectangular glazed apertures and conforming half columns set against the rear stiles, the trunk with convex throat over 41.5 inch slender rectangular door applied with two long around a central short raised panels within a complex mounded surround, the sides of conforming panel outline, on stepped ogee top plinth base decorated with further matching panels to front and sides over moulded skirt, 187cm (73.5ins) high; with an ebonised table clock case, 19th century, with 6.25 inch square dial aperture and canted mouldings, (lacking handle), 29cm (11ins) high.Condition Report: The hood is missing the brass base to the left hand side rear half pilaster and has two losses (each approx. 4 ins long) of the veneer to the drop beneath the chin moulding - one to the front left and the second to the rear right hand side. The trunk door is bowed with the centre projecting forward by around 5/8ths of an inch at the lock. The base has a vertical crack to the front and is missing the length of moulding that forms the top of the right hand side panel. The skirt is lacking its top moulding to the front.The table clock case has no handle, front door glass and the locks are replacements, the caddy is lacking much of its finish also. The veneers are stained fruitwood onto a pine carcass. Condition Report Disclaimer

A German oak quarter-striking bracket clockWinterhalder and Hoffmeir, Schwarzenbach, early 20th centuryThe four pillar twin train movement with anchor escapement regulated by lenticular bob pendulum, ting-tang striking the quarters on a graduated pair of gongs and sounding the hour on the larger of the two, the backplate stamped W.&H., Sch over single digit 0, the 6.5 inch square brass dial with matted centre within applied silvered Roman numeral chapter ring incorporating cruciform half hour markers and Arabic five minutes to outer track, with steel hands and winged cherub mask spandrels to angles behind hinged bevel-glazed square brass bezel incorporating silvered canted surround to interior, the architectural case with rosette and leafy scroll carved infill to the tympanum over moulded cornice, rusticated frieze and Corinthian inspired reeded pilasters flanking the dial, on conforming stepped moulded base and with rectangular brass grille inset door to rear, 42cm (16.5ins) high. Provenance: The property of a private collector, Hertfordshire.Condition Report: Movement is complete, original and in working condition although a gentle clean/service is advised. The dial has some slight spotting to the matted centre otherwise is in good clean condition. Case has a few light surface scuffs and scratches but is generally in very good original condition with no serious defect.Clock is complete with pendulum and winding key. Condition Report Disclaimer

A rare German Black Forest inlaid mahogany spring-driven musical cuckoo mantel clockAttributed to Johann Baptist Beha, Eisenbach, and retailed by A. Wherly and Sheraton, Sunderland, circa 1880The wooden framed twin fusee movement with anchor escapement regulated by short pendulum with brass-faced bob, the hour strike train with outside countwheel and linkages to two bellows and a cuckoo automaton which appears from behind the door above the dial to announce the hour with a two-note call alternating with a hammer sounding on a gong fitted to the inside of the rear case panel prior to releasing a musical mechanism mounted within the base playing a tune via a 5 inch pinned cylinder and tuned steel comb, the 6 inch circular white enamel Roman numeral dial with pierced blued steel hands set within canted silvered metal surround behind hinged glazed brass bezel, the shallow-arch top case with twin doors for the cuckoo automaton to the foliate scroll inlaid tympanum and satin birch cavetto cornice over conforming scroll decorated spandrel infill to the line-bordered fascia, the sides with hinged doors with the right hand side accessing levers for silencing either the hour gong or cuckoo call, the rear with full-height lift-out panel applied with paper trade label inscribed A. WHERLY & SHERATON, CLOCKMAKERS, JEWELLERS, & c., 66 HIGH STREET WEST, (Opposite King Street), Bp Wearmouth, Sunderland... to interior, on tall ogee-outline skirt base decorated with further marquetry motif within line border to front over squab feet, 44cm (17.25ins) high; with a modern walnut wall bracket, of complex stepped moulded profile, the clock and wall bracket, the clock and wall bracket 56cm (22ins) high overall. Provenance: The property of a private collector, Hertfordshire. Johann Baptist Beha was born in Oberbrand, 1815 and was trained as a clockmaker by his father, Vinzenz, before setting-up on his own in Eisenbach in 1845. He specialised in cuckoo clocks and through his continuous development became the leading maker of fine and complex examples. His main export markets were to Russia (where he had a distribution warehouse in St. Petersburg) and the British Isles. He died in 1898 leaving the business to be continued by his sons Lorenz and Engelbert.Condition Report: Movement appears complete and fundamentally all-original and has been fairly recently (within the last five years or so) overhauled/restored to a high standard by a suitably skilled horologist hence is in full working order including the automaton and music mechanism in the base. The bellows for the bird call have been re-lined and the music mechanism in the base overhauled with no visible damage/losses to the teeth of the comb.The dial has numerous light hairline cracks to the enamel and some filled-in chips around the right-hand winding hole. The case is in good condition with significant faults limited to a well-executed repair to the left hand tip of the cornice mouldings, a patch repair to the rear panel, overall light bumps, scuffs, shrinkage and wear commensurate with age and use.Clock has pendulum and winding keys both for the clocks and music mechanisms. Condition Report Disclaimer

Y A French Louis Philippe rosewood mantel clock and wall bracketLeRoy, Paris, circa 1845The circular countwheel bell striking movement with anchor escapement regulated by half-seconds disc-bob pendulum incorporating silk suspension, the backplate stamped LEROY, A PARIS over number 320 9*2, the circular white enamel Roman numeral dial inscribed LE ROY A PARIS to centre and with blued steel moon hands set within concentric band decorated brass surround behind hinged bevel-glazed bezel, the rectangular case with recessed panels to top front and sides each decorated with beaded quarter fillet mouldings and the rear with plain lift-out panel, over generous bead-banded cavetto moulded skirt base inset with conforming panels and with squab feet, the wall bracket contemporary with the clock with ripple-moulded table over serpentine scroll shaped support and inverted onion-shaped pendant back panel, the clock 41.5cm (16.25ins) high; the clock and wall bracket 49.5cm (19.5ins) high overall. The clockmaking firm Leroy can be traced back to 1785 when the business was founded by Basille Charles Le Roy at 60 Galerie de Pierre, Palais Royal, Paris. During the Revolutionary years the firm relocated to 88 Rue de L'Egalite before finally settling at Galerie Montpensier, 13 and 15 Palais Royal. In 1828 Basille Charles died leaving the business to his son, Charles-Louis, who continued producing clocks signed 'Le Roy & Fils' until 1845 when the firm was sold to his former employee Casimir Halley Desfontaines; who in turn was succeeded by his son M. George Halley Desfontaines in 1883. In 1888 M. George Halley died leaving the business to his brother Jules Halley who then took-in as a partner Louis Leroy (apparently no relation to the founders of the firm). In 1899 the firm left Palais Royal and moved to Boulevard de La Madeleine where it continued trading in the hands of various successors until well into the 20th century. Condition Report: Movement is in clean working condition with no visible evidence of alteration or significant replacements. The dial has repaired chipping to lower edge and significant cracking across the centre which has required some filling and stabilisation. The case is good original condition although is missing a 2 inch length of vertical bead quarter moulding to the left hand side of the front apron and another to the front of the left hand side as well as the adjacent piece of timber that forms the panel upright. The top panel is also missing a small length to the rear right hand corner. Otherwise case is generally in fine condition only having minor bumps, scuffs, very slight shrinkage and other age related blemishes.The bracket top panel is warped (curls-up to the left) and is has wear to the upper edge of the front moulding to the front left otherwise is in good original condition.Clock is complete with pendulum and winder. Condition Report Disclaimer

A Victorian mahogany fusee wall dial timepieceSigned for John Bennett, London, third quarter of the 19th century The four pillar single fusee movement with anchor escapement regulated by lenticular bob pendulum, the 12 inch circular white painted Roman numeral dial inscribed JOHN BENNETT, 64 & 65 Cheapside, LONDON to centre and with steel spade hands set behind a brass hinged glazed bezel within a turned wooden surround, the box case secured to the dial with pegs and incorporating door to right hand side and pendulum access flap to the rounded base, (signature retouched), 36cm (14ins) diameter.Condition Report: Movement is complete, original and in working order. The dial has flaking near the IIII numeral and has been restored in the past. The case is in sound condition with the most significant fault being some cracking to the wooden dial surround at IX faults otherwise limited to minor shrinkage, a few bumps, scuffs and other age related blemishes.Timepiece has pendulum but no case key or winder Condition Report Disclaimer

A Victorian mahogany fusee wall dial timepieceSigned for Charlton, Yarmouth, late 19th century The four pillar single fusee movement with anchor escapement regulated by lenticular bob pendulum, the 12 inch circular white painted Roman numeral dial inscribed CHARLTON, YARMOUTH to centre and with steel spade hands set behind a brass hinged glazed bezel within a turned wooden surround, the box case secured to the dial with pegs and incorporating door to right hand side and pendulum access flap to the rounded base, (dial retouched), 36cm (14ins) diameter. Provenance: The property of a private collector, Hertfordshire.Condition Report: Movement is complete, original and in working order. The dial has slight flaking/lifting around one dial foot fixing (near the IIII numeral) and has been restored in the past. The case is in sound condition with the most significant fault being some losses to the veneer to the base otherwise faults are generally limited to minor shrinkage, a few bumps, scuffs and other age related blemishes.Timepiece has pendulum and a case key but no winder. Condition Report Disclaimer

Y A Edwardian silver mounted gold and abalone shell inlaid lancet-shaped mantel clockUnsigned, London 1907The French eight-day two-train gong striking movement with silvered platform lever escapement and stamped with serial number 297 to the lower left hand corner of the backplate, the 2.5 inch circular white enamel Roman numeral dial with blued steel spade hands behind convex glass with moulded bezel, the lancet-shaped case with front finely inlaid with an engraved gold ribbon bow issuing abalone highlighted floral sprays over the dial and with conforming central urn and foliate ribbon swag decoration beneath, with scallop-bordered silver frame surround and stylised scroll-pierced lancet frets to sides, the rear with door matching the profile of the case within conforming silver surround, in stepped skirt base, Hallmarks for London 1907 makers H.B.A. for J. Batson and Son (Henry John Batson and Albert Edward Batson), 18.5cm (7.25ins) high.  Provenance: The beneficiary of the Estate of a private collector, East Midlands. Condition Report: Movement is in relatively clean working condition with no visible signs of alteration or significant replacements. Dial appears free from visible damage. Case is generally in fine condition with faults limited to some slight surface cracking to the shell to the margin above the I/II numerals of the dial and some very slight historic fritting to the screws positioned within the surround of the rear door. The lower tier of the skirting also has a few very slight blemishes. All marquetry elements appear complete and undisturbed, all silver mounts are present and in good condition. Clock has a winding key. Condition Report Disclaimer

A French Rojo inset Belge noir marble mantel clock in the Egyptian tasteRetailed by Howell James and Company, London, circa 1875The circular eight day bell striking movement with anchor escapement regulated by disc bob pendulum incorporating Brocot type regulation to suspension, the backplate stamped H.L.F., R'TE S.G.D.G. over serial number 6440, the circular white enamel Roman numeral dial indistinctly inscribed Howell James & Co., To The Queen to centre and with gilt spade hands within moulded gilt surround fitted with hinged bezel-glazed hinged bezel, the tapered plinth-shaped case with shallow upstand over convex moulded red marble cornice and inset triangular quadrant panels to the fascia over conforming canted top moulding to the diamond lozenge inset skirt base, 23.5cm (9.25ins) high. Provenance: The property of a private collector, Hertfordshire.Condition Report: Movement is in working condition with no visible signs of alteration or significant replacements however it is a somewhat dirty/discoloured hence a precautionary gentle clean/service is advised. The retailer's signature to the dial is rubbed but still discernible; otherwise dial is in good condition with no visible cracks or chips. The case is free from serious damage however there is overall light edge chipping to the black marble with the most significant being one around 5mm across to the lower right hand corner of the skirt.Clock has a pendulum but no winding key. Condition Report Disclaimer

A French ormolu and verde antico marble mantel clock in the Empire tasteThe movement stamped for Samuel Marti, Paris, early 20th centuryThe circular eight-day bell striking movement with anchor escapement regulated by disc bob pendulum incorporating Brocot type regulation to suspension, the backplate stamped with Samuel Marti, MEDAILLE D'OR, PARIS 1900 roundel and serial number 9739 over further number 7 2 to lower margin, the two-piece dial with gilt centre cast with pair of seated winged lions within narrow white enamel Roman numeral chapter ring, with blued steel moon hands set within guilloche decorated surround behind a hinged bevel-glazed bezel, the case with gilt eagle surmount to the cavetto moulded marble and leaf cast superstructure flanked by flambeau finials over repeating projecting acanthus leaf decorated gilt cornice and inset rectangular marble section housing the movement, with stylised horse-drawn chariot and drapery swag cast mount beneath dial and scroll motif to sides, flanked by free-standing marble columns with Egyptian style foliate capitals to angles, on skirt base with repeating leaf cast gilt mouldings and paw feet, 48cm (19ins) high.Condition Report: The movement is in relatively clean working condition with no visible evidence of alteration and or significant replacements. The dial is in fine condition with no visible damage. The case is in good condition with the only significant fault being three filled holes to the marble along the face of the front skirt suggesting that there was a mount fitted there at one time which is no longer present. Faults are otherwise limited to minor edge chipping, some light filling to the marble (probably part of the finishing process from when the clock was made) and light rubbing to the gilding.Clock has a pendulum and winding key. Condition Report Disclaimer

A French Louis XVI style ormolu and white marble figural mantel clock 'Amor loses his weapons'The dial bearing signature for Festeau le Jeune, Paris, late 19th centuryThe circular eight-day bell striking movement with anchor escapement regulated by disc bob pendulum incorporating Brocot type regulation to suspension, the backplate stamped with A.D. MOUGIN, DEUX MEDAILLES roundel beneath serial number 52937 to upper left and further number 7 7 to centre, the circular white enamel Arabic numeral dial bearing inscription in puce Festeau le Jeune, A PARIS to centre, with vertical hour numerals, puce Arabic quarters to outer track and fine scroll engraved and pierced gilt brass hands set behind engine-milled convex glazed hinged cast brass bezel, the case cast with surmount of flaming torch and arrows bound to a floral wreath amongst billowing clouds over the dial flanked by standing robed figure of Venus opposing the infant Amor with the fascia between centred with a shaped panel inset with mount cast with ribbon-tied floral festoons around a central sunburst mask motif, on conforming platform base inset with further leafy mounts to front over toupe feet, 42cm (16.5ins) high. A version of this model dating to circa 1780 and housing a movement by Adam Lechopie, Paris is illustrated in Niehuser, Elke FRENCH BRONZE CLOCKS on page 131 (figures 214-15).Condition Report: Movement is in clean working condition with no visible evidence of alteration or significant replacements. The dial has a localised series of small hairline cracks in the vicinity of the dot minute ring between the 2 and 3 numerals, there is also some light concentric scratching between the 9 and 10 numerals and two tiny chips to the right hand winding hole. The case is generally in fine condition with the mounts retaining original gilding throughout with only very light wear or discolouration. The cherub is missing something (an arrow?) from his left hand and there is a filled blemish to the marble to the left hand side return of the projecting panel beneath the dial. The same panel has some slight chipping to the surround around the inset festoon cast mount. Faults to the case are otherwise very much limited to a few minor edge chips to the marble (an be felt rather than seen).Clock is complete with pendulum and a winding key. Condition Report Disclaimer

A fine French porcelain inset ormolu 'Japonaise' mantel clock garniture The porcelain front panel signed for C. Kiffert, circa 1880The circular eight-day gong striking movement with recoil escapement for regulation by disc bob pendulum incorporating Brocot type rate adjustment to the suspension, the backplate stamped with serial number 5797 to upper left hand margin, the rectangular mid blue ground simulated cloisonné porcelain dial panel painted with bird and butterfly amongst chrysanthemum blooms to centre within pseudo Japanese character gilt cartouche numeral chapter ring and with fine pierced and engraved brass hands, the surround populated with additional insects and birds within flowering foliage incorporating shaped ornithological panels with the lower one signed C. Kiffert to left hand margin, the case with fine porcelain surmount modelled as a zoomorphic dragon carp set on a rectangular four-legged plinth over shaped stepped platform decorated with incised geometric patterns and with galleried bollard finials to corners, with cavetto top mouldings centred with a geometric decorated pendant panel flanked by stylised scroll-pierced projecting corbels to the front, over line-incised frame around the dial panel terminating with smaller conforming apron panel to the lower margin, the sides with arcaded panels inset with further matching porcelain panels each painted with a fan and geometric panel within a simulated cloisonné field decorated with birds and butterflies within delicate flowering foliage, the rear with hinged circular cover for the movement within geometric line decorated panel infill flanked by further pieced projecting corbels, on elaborate waisted cavetto moulded base bordered with geometric incised half-round band to upper margin and applied with scroll pierced projections matching the upper corbels to sides, over swollen skirt inset with further bird and flower painted porcelain panel flanked by geometric blind fretwork infill to front apron and incorporating elephant mask feet, the porcelain panels and case each inscribed with serial number 32495 to rear, 51cm (20ins) high; the matching side pieces each modelled in ormolu mounted porcelain as a square section tapered shoulder vase painted with birds, insects and panels on a simulated cloisonné ground with elephant mask handles over elaborate waisted base incorporating blind fretwork to apron and scroll feet, each 17cm (10.5ins) high, (3). The current lot can be directly compared to another garniture of almost identical pattern (with the exception of having additional candelabra extensions to the side pieces) which was sold at Christies, London The Opulent Eye - 19th Century Furniture, Sculpture & Works of Art 6th March 2014 (lot 197) for a premium inclusive £35,000.The full identity of the painter of the porcelain panels of the current lot, C. Kiffert, appears not to be recorded, however this signature is sometimes seen on large impressive porcelain vases often executed in the style of Sevres. One such example was sold at Christies, London 19th Century Furniture, Sculpture, Works of Art & Ceramics 27th September 2007 (lot 63) for a premium inclusive £18,500. The painted porcelain surmount adorning the present clock is unusually modelled as a carp with a dragon's head. This form comes from the legend of Koi-no-Takinobori which has its roots in ancient China wherein carp swim, against all odds, up a waterfall known as the 'Dragon Gate' at the headwaters of China's Yellow River. The gods are very impressed by the feat, and reward the few successful carp by turning them into powerful dragons. The story symbolizes the virtues of courage, effort, and perseverance, which correspond to the nearly impossible struggle of humans to attain Buddhist enlightenment.Condition Report: Movement appears complete and all original with no visible alteration or significant replacements. Although the mechanism will run and strike it is in dirty/neglected condition hence requires a clean/service. The dial panel is free from visible chips or cracks other than some very slight nibbling around the winding holes. The numerals may have been re-touched/strengthened and there is a slight firing blemish near the VIII numeral otherwise panel is in good albeit slightly dirty condition with minimal wear to the gilding. The side panels are free from visible damage or restoration and have minimal gilt wear however are a little dirty. The dragon fish figural surmount has had some chipping to the whiskers touched-in with red pigment - this will require attention to bring the figure back to fine condition. The securing studs for the platform holding the surmount are presently incomplete hence it can be lifted straight-off the case. The gilding to the brass is original and generally in sound albeit very dirty condition but has some noticeable rubbing to high spots. Both side pieces are generally in good original condition although one has cracking and related small shallow chips to the base part of the ceramic. Otherwise faults are limited to very light gilt wear.The clock has a pendulum but no winding key. Condition Report Disclaimer

A Continental painted mirror disguised as a shutter, with fretwork surround, in green shades 90cm h x 80cm w Location: A1

City of London 'New Broad Street' sign 30x12" metal surround

1880's mirrored wall sconce with velvet surround and beveled mirror

Victorian mirrored wall sconce with velvet surround and beveled mirror with two brass candle holders 47x26 cm

ENGLISH SCHOOL ARTS & CRAFTS FIRE SURROUND, CIRCA 1900 copper, with applied Ruskin roundel and repoussé decoration(110cm wide, 103.5cm high, 16cm deep (canopy); interior 46cm x 62cm high)

ENGLISH SCHOOL ARTS & CRAFTS FIRE SURROUND, CIRCA 1900 copper with repoussé decoration, with adjustable jambs(Exterior 162cm wide 119.5cm high, 22cm deep; Interior 83cm-90cm wide, 97cm high)

ENGLISH SCHOOL ART NOUVEAU COMBINATION FIRE SURROUND, CIRCA 1910 cast iron, overpainted in white, with ceramic tile insert, stamped registration number 388590(Exterior 147.5cm wide, 140cm high,29cm deep; Interior 46cm wide, total height (inc. hood) 81cm)

the rosewood inlaid top with lozenge and ebony bird inlay with bone surround, on bobbin turned support and iron stretcher 66 x 75 x 55cmFootnote: Provenance: From the collection of Claudine Auger (1941-2019), Belgravia, LondonCondition report: Associated top is scratched, worn and associated to base, with a polyurethane finish. The underside with wear as you would expect to bobbins, heavy in areas, feet worn.

with later marble surround 12.5 x 25.5cm (28.5 x 42cm including frame)Footnote: Provenance: With Robert Miller, Hereford, June 2008, Private collection, Kensington, London

the rectangular case on moulded breakfront plinth base, with twin dials within a foliate engraved gilt surround, two part enamel dial having Roman numerals and visible Brocot escapement, bell striking drum movement, above calendar dial with moonphase aperture, indicating year, month, day and date, the backplate marked 'P B Seul Brevete', some damage to case in places 46cm high, 35cm wideCondition:Some chips and cracks to the case (see photos). Movement appears fully wound, and ticks for a short time. Does not appear to strike.Dial door a little tight to close/open.Sold as seen.

A Victorian large brooch set agate in 9 carat hallmarked gold chased surround

A vintage Pietra-Dora brooch showing blue and white flowers in a plain oval surround testing 9ct

A flower carved shell cameo brooch/pendant in yellow metal surround, stamped 14k and 2 other female bust cameos, one is 9ct hallmarked gold surrounded with 9ct hallmarked gold chain, 1.6gm

A Victorian double sided mourning brooch with black enamel and rococo gilt surround, height 5.5cm

A CARVED PINE FIRE SURROUND / CHIMNEY PIECE IN GEORGE II STYLE 19TH CENTURY the breakfront mantel above leaf, ovolo and dentil mouldings, the frieze decorated with ribbon tied oak leaves, with scrolling fruit and flowers, the jambs with conforming decoration 141.4 x 195.8cm external, 105.5 x 119.8cm internal

A CARVED PINE FIRE SURROUND / CHIMNEY PIECE IN ADAM STYLE LATE 19TH CENTURY the breakfront mantel above leaf and dentil mouldings, with a central tablet with a pair of griffins flanking a central urn, with scrolling leaves and husks issuing from ram's heads 143.2 x 158cm exterior, 113 x 115cm internal

A Roland RX-5 64 voice synthesizer together with a pair of Samsung surround sound speakers

A Tannoy 5.1 sub woofer together with a set of five Cambridge audio surround sound speakers

Two fire surround together with brass fire screen H111, W133, D16cm, H105, W114, D31cmCondition report: All in good order - the brass fire screen opens to 95 cm wide x 62 cm high

Pine fire surround with carved decoration, 154cm wide, 29cm deep, 122cm high

A bronze model of a stag's headSet within an oak leaf surround,30cm high, together with a small Victorian cast iron model of a recumbant hound, resting on a shaped plinth ground and a small desk bronze bust of Ajax, the hound, 19cm wide, 9cm deep, 9cm high (7in wide, 3 1/2in deep, 3 1/2in high) (3)For further information on this lot please visit Bonhams.com

A bevelled wall mirror in painted surround

A 5ft wooden bed surround

A quantity of Pioneer surround sound speakers

A quantity of LG surround sound speakers

An oak draw leaf dining table with applied Jacobean style mouldings, raised on square cut supports, united by a stretcher surround, 312cm long (extended) x 102cm wide, together with a set of eight (6+2) associated Cromwellian style dining chairs with upholstered seats and backs, raised on square cut and chamfered supports

A contemporary reproduction Regency style gilt framed wall mirror of rectangular form with bevelled edge plate, reeded slip and moulded surround, labelled verso Anthony Reed Looking Glass Manufactury number 96 Walcot Street, Bath, 74 cm wide x 104 cm high

A cast iron fireback of stepped arched form, with raised relief armorial detail, Latin script and scrolling acanthus surround, dated 1906, 55cm wide x 76cm high

An art deco style floorstanding brass framed shop display cabinet with canted corners and glazed surround, enclosed by a single door, raised on square cut supports, labelled to interior - Sage & Co Ltd, London, approx 120cm wide x 62cm deep x 85cm high (AF)

Yellow metal stick pin set with an oval cabochon dark stone, possibly opal or ammolite, within diamond surround, diamonds 0.03cts each approx, 7.7cm long, 4g, contained in a Hunt & Roskell case

A Victorian Mahogany writing slope, with brass mounts to the corners, straps and decoration to the top. H: 16cm, W:45cm, D: 24.5cm. The bottom half of the slope is missing together with the brass key surround. Some damage to the compartments inside.

A Georgian Oak Panelled Coffer - with ivory key hole surround. H: 91cm, W:124cm, D:49cm.

Weddell, 19th Century hand coloured engraving 'Homeria Collina', housed within a glazed frame with carved acorn and leaf surround, 12.5cm wide x 21cm high

An antique Georgian fireplace carved in pine. This original, large and exquisitely carved fire surround features dog-leg jambs decorated with scrolled side brackets and fluted oak branches. A detailed and imposing carved central frieze depicts a Neoclassical urn motif, flanked by two classical earns and Garland swags. 1720mm wide200mm deep1360mm high