We found 10269 price guide item(s) matching your search

A box of mantel clocks to include; 1930s oak example, composition starburst Smiths eight day wall clock, metal figural table clock, small brass lantern clock etc

A box of assorted plated wares to include four piece tea set, dressing table set, assorted cutlery, oak biscuit barrel, Smith's mantel clock, etc, together with a box containing assorted glassware to include three decanters

Plated candlesticks, clock, dressing table pot etc.

Matchbox caravan, metamec clock, dressing table sets etc.

A small swing frame dressing table mirror and an American mantel clock

Edward Tutet, London. A fine late 18th century mahogany table clock, the inverted bell top case with hinged handle, the silvered dial with Roman and Arabic numerals and date aperture, having eight day twin fusee movement and verge escapement, the backplate with chinoiserie engraving, striking bell. H.43cm

The Sinclair Harding Table Clock with detachable alarm by Sinclair, Harding & Company of Cheltenham, numbered to underside A088, 23 cm tall approx (including alarm), detailed with chased foliate decoration, the alarm supported on three stylised fishes, complete with key together with certificate of authenticity, care and instruction documentation, etc (item displayed upon silver cabinet alongside Lot 326)

A French table clock in Rococo style , 19th century A French table clock in Rococo style , 19th century, the eight-day bell striking movement with anchor escapement stamped AD Mougin, Deux Medailles, and numbered 291 to backplate, the circular white enamel Roman numeral dial with Arabic five minutes to outer track numerals behind convex bevel glazed hinged bezel, the waisted green painted case with gilt bronze surmount and mounts, and set on four shaped feet, 48cm high

A flame mahogany hour repeating table clock , 19th century A flame mahogany hour repeating table clock , 19th century, the five pillar twin chain fusee and bell striking movement with anchor escapement and 11inch enamel break-arch dial marked for JNo. Lawson Bradford to centre and with Behold now is the accepted time, Behold now is the Day of Salvation text above, within Roman numerals and arabic five minutes to inner track the angles painted with figures beneath arch with horse trading scene, the dial and movement fitted to falseplate marked Walker & Hughes, Birmingham, the domed case with brass string inlay and flanking ring handles above silk lined grilles and on plinth base - 60.5cm high, 37cm wide, 23cm deep

An early 18th Century ebonised table clock by Joseph Jackman of London Bridge, the 7.5ins arched brass dial with wide silvered chapter ring with Roman and Arabic numerals, the matted dial centre with "mock" pendulum, aperture and date aperture, twin knopped/strike and calendar dial to arch and bold winged cherubs head spandrels to the eight day two train movement with verge escapement striking on a bell, the backplate engraved with bold leaf scroll ornament and maker's name and address, contained in ebonised case with moulded bell shaped top, folding brass handle and four brass pineapple finials, the arched door with front and rear, the front inset with gilt brass infill spandrels and with arched glazed side panels, on bracket feet, 17.5ins high (extensively restored and re-converted to verge escapement by Leslie Brundle, and with quarter repeating work missing - case also extensively restored) Note : Joseph Jackman recorded working London 1708-1716 Provenance: From the Private Collection of Clocks belonging to the late Tony Hill of Cliftonville, Margate, Kent

An early 18th Century ebonised table clock by John Topping of London, the 6ins arched brass dial with wide silvered chapter ring with Roman and Arabic numerals, with large calendar dial, strike/silent dial and regulation dial to arch, the matted dial centre with "Mock" pendulum aperture and winged cherubs head pattern spandrels to the eight day two train movement with verge escapement striking on a bell, the backplate finely engraved with birds, urns of flowers and bold leaf scroll ornament, contained in ebonised case with bold folding brass loop handle above bell shaped top, the side panels inset with twin fretted panels, on bracket feet, 16.5ins high (extensively restored and rebuilt by Leslie Brundle and apparently quarter repeating work missing) Note : John Topping recorded London, Apprentice 1691, Died 1747, described himself as "Memory Master" Provenance: From the Private Collection of Clocks belonging to the late Tony Hill of Cliftonville, Margate, Kent

A set of tan leather-mounted desk items,after Jacques Adnet, a Jaeger-LeCoultre clock, a table lighter, a jar and cover, a letter rack and pen tray (qty.)

A collection of Mason's china items in Chartreuse pattern to include a table lamp, clock, ginger jar and other items.

Oak cased Ansonia mantel clock, Edwardian mahogany cased table clock and a Victorian carved mahogany watch stand,

A Victorian beadwork table centre, a pair of carved panels, a warming pan, a hunting horn, two balance scales, a picnic basket, and an anniversary clock

A pair of wall lights; a table lamp; a wooden rack; mantel clock; pair of glass candlesticks; an Art Deco style pitcher holder; glass cotton vase; a circular tray; a decanter; box; and duck brush.

A Late 19th Early 20th Century Dresden Porcelain Table Clock, decorated with figures and putti amongst foliage and highlighted with gilt (clock movement missing), 40 cms high

A Late 19th Early 20th Century Berlin Porcelain Three Branch Candelabrum with Putti Cresting, together with another similar candelabrum and a similar porcelain table clock

A pigeon clock and spelter pigeon table lamp

Two cast brass chariots, an Art Nouveau sculptural table lamp and a sculptural mantel clock.

A box of mixed ietms including a pewter mug, a military themed table lighter, a pair of wooden candlesticks, two gold coloured rings, a Taumpf mantle clock together with a large brass engraved plate

Large and impressive reproduction boulle effect clock with shaped 2 tier table base 82" tall overall x 33" wide at the widest part , Italian made, with quartz movement

A Brass Table Lamp With Red Shade, along with a set of clock workings (AF)

Silver and tortoiseshell faced dressing table clock, Birmingham 1920, balloon shape, white enamel dial, Swiss movement, 12cm.

Modern table top clock, 59cm overall, a wooden candlestick, a pair of ebonised wood vases, a turned wood vase, (5).

Large collection of Mason's 'Mandalay' china including planter, table lamps, comport, tureen, clock, plates, jugs, vases, etc

Four table lamps, oak mantel clock, Royal Doulton 'Pastorale' and other teaware, two powder flasks, two Hummel figures, pictures, etc

Glassware, china, cutlery, coins, clock, candelabra, two table lamps, etc

An English Art Deco period ivory strung mahogany table clock 1920s-30s, arched case with silvered Arabic dial, 4.5in. (11.5cm.) high.

A 1930s oak cased Napoleon hat eight day clock, the circular dial set with Arabic numerals,with a presentation plaque engraved "Present to Mr RO Hughes by the staff and friends and Bodorgan Station, Oct 1933", also a pair of brass candlesticks, shoe horn and nips, a wooden table lighter and a box and "Nivellator" conversion degrees from inches to yard.

A FLORALLY ENCRUSTED PORCELAIN MANTEL CLOCK, (with key and pendulum) (s.d.) and a embroidered table runner (2)

19th Century miniature gilt metal mounted table long case clock with overall birds and flower painted decoration on a gilded ground. Enamelled face with brass drum movement. *** CONDITION REPORT: Not a pendulum clock. the case is fair - some wear and loss to finish in places but no significant damage - metal mounts all present.

A Queen Anne green japanned table clock with pull-quarter repeat on six bells Markwick, London, circa 1710 The six finned pillar twin fusee bell striking movement with verge escapement regulated by short bob pendulum and pull-quarter repeat on a nest of six graduated bells, the backplate engraved with symmetrical foliate scrolls incorporating eagle head motifs around a central basket of flowers to upper margin, the 7 inch brass break-arch dial with false bob and calendar apertures to the matted centre within applied Roman numeral chapter ring with fleur-de-lys half hour markers, Arabic five minutes to outer track and signed Markwick, London to lower edge, with delicate pierced steel hands and angles applied with Indian mask and scroll cast spandrels beneath herringbone bordered arch centred with blued steel disc to the subsidiary Strike/Silent selection dial flanked by mounts cast as putti with flaming torches riding foliate scrolls, the green japanned case with generous cast hinged brass handle to the bell-top superstructure decorated in raised polychrome and gilt with robed figures at a table within oriental garden landscape, the front door with conforming standing figures to stiles within stylised gilt foliate infill, the sides with rectangular windows beneath lozenge-shaped apertures within further raised foliate and oriental motif borders, the rear door with rectangular glazed aperture, on complex moulded base with simple squab feet (with touching-in/repairs to the original decoration) 43cm (17ins) high excluding handle. James Markwick senior is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as apprenticed in 1756 to Edmund Gilpin (through Richard Taylor); he initially worked at Croydon before returning to London where he gained his freedom of the Clockmakers' Company in 1666. In 1673 he took-over the former business of Samuel Betts at behind the Royal Exchange. Markwick had a turbulent relationship with the Clockmakers' Company - in 1676 he was fined for abuse of the Master at the Steward's feast and was often reprimanded for not attending court. James Markwick junior was born in Croydon in 1662 and was apprenticed to his father gaining his freedom (by patrimony) in 1692. He initially went into partnership with his father before gaining outright control of the business on the latter's retirement to Pevensey in Sussex in around 1700 (where he subsequently died in 1716). In around 1710-15 James Markwick junior went into partnership with Robert Markham which lasted until the former's death in 1730. The business was subsequently continued by Markham and his successors and specialised in producing clocks and watches for export to the Middle East. The current lot was probably made by James Markwick junior after his father had retired to Pevensey in Sussex but prior to going into partnership with Robert Markham; this would date the clock to around 1710. The mounts applied to the arch of the dial are of a design used by other leading makers such as Daniel Delander on some of their early break-arch dialled table clocks. A related green japanned table clock residing in the collection of the Victoria and Albert Museum, London is illustrated by Robert Donaldson in his article EARLY ENGLISH JAPANNED TABLE CLOCKS published in ANTIQUARIAN HOROLOGY vol. XXXII, no. 2, page 219 (fig. 18).

A Regency mahogany bracket or table clock the white convex Roman dial signed Freeman, London, the twin fusee movement with pull repeat and bell strike, the arched case with gilded top handle, twin ring side handles and fish scale arched frets, the front with boxwood line inlay upon brass ball feet, 46cm high including handle

A collection of brewery related items, including Burton Cooper signed butler 1977, bronzed figure, a Bourdon pressure gauge converted to a wall clock, two table lamps made from bar pump handles and a brass slipper box (5)

A table alarm clock by Ernest Borel, in the form of a large 18th century pocket watch

An early 20th century silver framed dressing table clock, by James Griffiths, Chester 1927, the eight day timepiece with circular dial contained with a gilt Greek key decorated bezel in a rectangular engine turned frame mounted on a similarly decorated double pillar stand with four bun feet, 10.5cm high In good condition, movement in working order

A fine and rare German Renaissance gilt metal circular horizontal table clock with separate overhead alarm mechanism Hans Gotbub, Strasbourg, circa 1590 The circular gilt brass single fusee movement with four double-baluster turned pillars pinned through the backplate, verge escapement regulated by un-sprung two-arm balance and pinned end cap for the mainspring barrel, the concentric ring engraved backplate stamped *HANS*, *GVOT*, *BVOB* over city stamp for Strasbourg (arranged as a shield surmounted by five stars) and applied with fine symmetrical scroll pierced and engraved balance cock with conforming large foot and decorative mainspring set-up ratchet, the upper surface now fitted with a later circular brass Roman numeral dial with symmetrical foliate scroll engraved centre, cruciform half hour markers and single iron hand, the circumference of the case chased and engraved in relief with continuous scene of a rabbit hunt with two figures and four hounds pursuing a hare through an Arcadian landscape towards a net tied between two trees within cast moulded borders, the underside with ring turned blanking plate, on three later winged cherub feet, the top fitted with separate overhead alarm mechanism made with circular plates united by three rectangular section pillars enclosing a spring and contrate wheel driving the verge for the hammer, housed within a moulded shallow drum-shaped case surmounted by a bell with decorative top washer, the underside with hour hand mechanism release detent set between the three down curved supports engaging with the upper rim of the clock beneath, (restoration to the movement), diameter of clock 9.5cm (3.75ins); 15cm (6ins) high overall. Provenance: From the estate of an esteemed antiquarian horologist, acquired at Christie's, London, 5th July 2002 (lot 2). Literature: Maurice, Dr. Klaus Die deutsche Raderuhr, figure 509. A related hour-striking clock with automaton figure by 'Hans Gutbub' complete with a similar relief decorated frieze depicting a hunting scene and winged cherub mask feet is illustrated in Tait, Hugh Clocks and Watches, BRITISH MUSEUM 0n page 34 (figure 39). The general form and layout of the current lot has its roots in the earliest portable spring driven 'tambour' timepieces such as those made by Peter Henlein of Nuremburg (1485-1542). The fitment of the alarm mechanism as a separate assembly above the dial (so that it can activated by the hour hand) appears to be a system preferred by German makers for their alarm timepieces although early French examples of the Blois school also often used this system (see Cardinal, Catherine and Vingtain, Dominique TRESORS d'HORLOGERIE page 60 figure 54 for a similar example by Nicholas Plantart of Abbeville from the collection of Musee International d'horologerie at La Chaux-de-Fonds, Switzerland). Latterly, for hour-striking clocks, French makers tended to incorporate the bell within a pierced dome above the movement surmounted by the dial whilst German makers preferred to house it in the base. The change from iron to brass as the principal material employed in the construction of clock movements appeared to first occur in France, with movements dating as early as 1550 being entirely made of this material. In Germany makers seem to continue to use iron for wheelwork and movement frames (particularly for the larger clocks) for longer - up until the last quarter of the 16th century. Brass was then slowly introduced, firstly for spring barrel walls, fusee's and movement plates; with the wheelwork and movement frame posts completing the transition by around 1600. The reason why the French adopted brass earlier than German makers was probably simply due to the fact that it was more accessible to them - with the principal European foundries at this time being located mainly in the Burgundian territories of the Low Countries (particularly around Dinas in modern-day Belgium). Germany on the other hand were leaders in the production of high quality iron (although they were also significant producers of copper and brass) which, combined with the strong traditions of the guild systems in centres such as Augsburg and Nuremburg, resulted in the transition to brass taking longer. The current lot being made in Strasbourg naturally demonstrates both German and French influence in its construction and detailing. The predominant use of brass for the movement (rather than a combination of steel wheelwork and movement posts with brass fusee and spring barrel walls) is typically French (as is the ring-turned decoration to the movement backplate); whilst the relief chased and engraved hunting scene to the exterior is distinctly Germanic in its design and execution. Indeed the highly decorative nature of exterior is reminiscent of that seen on the exceptional clocks from the 'Orpheus' series; these incorporate relief panels decorated with Orpheus in the Underworld after engravings by Virgil Solis (see Coole, P.G. and Neumann, E. THE ORPHEUS CLOCKS Hutchinson, London 1972).

A fine Germanic gilt brass hexagonal horizontal striking table clock Signed for 'Marquick', London, early 18th century The hexagonal twin fusee movement with five double baluster finned pillars pinned through the backplate, verge escapement regulated by sprung three-arm balance with Tompion type regulation and rack hour striking sounding on a bell mounted beneath the movement, the backplate with fine large symmetric foliate scroll pierced balance bridge over silvered regulation disc within extensive conforming applied gilt infill opposing signature Markwick, London, the dial with two floral scroll bordered cartouches engraved Marquick, London to the matted centre within silver champleve Roman numeral chapter ring with lozenge half hour markers and Arabic cartouche five minute numerals to outer track incorporating S/N strike/silent switch at twelve o'clock, the angles of the hexagon engraved with delicate leaf infill, the case with cushion top mouldings above shaped side glasses and leafy mounts to angles over cavetto moulded base fitted with hinged bottom panel incorporating the bell secured by a strap and three later rococo scroll cast and pierced feet, 13.5cm (5.25ins) wide approx.; 12cm (4.75ins) high. The engraved name Marquick on the current lot appears to be a misspelling of Markwick. James Markwick senior is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as apprenticed in 1756 to Edmund Gilpin (through Richard Taylor); he initially worked at Croydon before returning to London where he gained his freedom of the Clockmakers' Company in 1666. In 1673 he took-over the former business of Samuel Betts at behind the Royal Exchange. Markwick had a turbulent relationship with the Clockmakers' Company - in 1676 he was fined for abuse of the Master at the Steward's feast and was often reprimanded for not attending court. James Markwick junior was born in Croydon in 1662 and was apprenticed to his father gaining his freedom (by patrimony) in 1692. He initially went into partnership with his father before gaining outright control of the business on the latter's retirement to Pevensey in Sussex in around 1700 (where he subsequently died in 1716). In around 1710-15 James Markwick junior went into partnership with Robert Markham which lasted until the former's death in 1730. The business was subsequently continued by Markham and his successors and specialised in producing clocks and watches for export to the Middle East. The general form of the current is typical of comparable examples produced in Germany and other central European centres such as Gdansk during the first quarter of the 18th century. However the design and finish of the balance bridge is of a quality that may indicate that the clock was finished in London. This possibility is further supported by the design of the chapter ring which is distinctly 'English' in its detailing. From this it is perhaps appropriate to speculate that the current lot may have been acquired in a partially unfinished state from a central European workshop by Markwick, who then subsequently finished it for retail to a domestic English purchaser. Bearing this possibility in mind it is likely that the misspelling of Markwick's name was deliberate as it would allow him to 'distance' himself a from the clock if need be (as signing of an import as one's own work would have been frowned upon by the Clockmakers' Company).

A fine small George II Anglo-German gilt brass hexagonal horizontal striking table clock with alarm Signed for Cabrier, London, circa 1725 The hexagonal single fusee movement with four knopped and finned pillars pinned through the backplate, verge escapement regulated by sprung three-arm balance with Tompion type regulation and engraved standing barrels for the alarm and rack hour striking mechanisms sounding on the same bell mounted beneath the movement, the backplate with fine asymmetric Ho-Ho bird inhabited foliate scroll pierced balance cock incorporating conforming broad foot beside silvered regulation disc within applied gilt infill opposing signature Cabrier, London, the silver champleve dial with Arabic alarm setting dial to centre and steel beetle and poker hands within a Roman numeral chapter ring with lozenge half hour markers, arcaded minute ring and Arabic lozenge five minute numerals to outer track, the angles of the hexagon engraved with delicate floral scroll and scallop shell infill, the case with serpentine outline ogee top mouldings above scroll-border decorated cartouche side glasses and grotesque male mask mounts to angles over conforming ogee moulded shaped base fitted with hinged bottom panel incorporating the bell secured by a four-legged strap, pendant finials and three fine baroque 'C' scroll feet, (unrestored with one bent foot and two damaged side glasses) 9.5cm (3.75ins) wide; 8.2cm (3.25ins) high. Charles Cabrier senior was probably a Huguenot immigrant who is recorded in Loomes Brian CLOCKMAKERS OF BRITAIN 1286-1700 as admitted by redemption into the Clockmakers' Company in 1697/8. He is thought to have worked in Lombard Street and had a son of the same name who was apprenticed to him in 1717. Charles junior gained his freedom of the Clockmakers Company in 1726 and possibly worked with his father until the latter's death in around 1736. He served as Warden of the Clockmakers' Company in 1750 and was appointed Master in 1759. Records suggest that Charles junior worked ¾hind the Royal Exchange' and had a son who he also named Charles who was made free of the Clockmakers' Company by patrimony in 1756 and is believed to have worked until his death in 1777. The Cabrier dynasty were fine makers who supplied clocks for various export markets including Russia and France. Perhaps their most famous surviving work is a magnificent pair of ormolu mounted japanned musical automaton table clocks reputedly made for the King of Nepal in around 1770 (illustrated in Barder, Richard, The Georgian Bracket Clock 1714-1830 page 161, colour plate 27). The general form of the current lot together with the use of standing barrels to drive both the alarm and hour-strike mechanisms is typical of comparable examples produced in Germany and other central European centres such as Gdansk during the first quarter of the 18th century. However the design and finish of the balance cock coupled with the script of the signature would indicate that the clock was either made or finished in London. This possibility is further supported by other details such as dial winding (rather than from beneath) and the use of distinctly English ¾etle and poker' hands. From this it is perhaps appropriate to speculate that the current lot may have been acquired in an unfinished state from a central European workshop by Cabrier, who then subsequently finished it for retail to a domestic English purchaser. Other similar horizontal table clocks signed by English makers are known including another inscribed by Cabrier that was sold at Christies THE ALBERT ODMARK COLLECTION OF IMPORTANT CLOCKS AND WATCHES 11th March 2005 (lot 424). A small series of related clocks signed either Kriedel or Ledeirk, London also survive; these were almost certainly supplied directly from Germany for retail in the English market by the German clockmaker Johann Gottfried Kriedel who worked in Bautzen during the first half of the 18th century. Given the apparent ready demand for such small portable table clocks it is surprising that English makers did not look to directly fill this gap with their own models. Perhaps demand was not deemed sufficient to warrant the need to compete with such imports or maybe English makers felt that coach clocks or small lantern alarm timepieces more than adequately satisfied this corner of the domestic market.

A fine small George III mahogany domestic longcase regulator made for the Middle Eastern market George Prior with movement supplied by John Thwaites, London late 18th century The substantial eight-day centre-seconds movement with bottle-shaped plates united by six distinctive tapered baluster pillars and stamped T. THWAITES over indistinct number 1933 to frontplate, the train with Harrison's maintaining power, high pinion count, six-spoke wheel crossings throughout and Graham type deadbeat escapement with jewelled pallets regulated by wood-rod seconds pendulum with wide-jaw suspension, large brass-faced lenticular bob and calibrated rating nut, the 10 inch ogee-arch shaped brass dial with circular white enamel convex centre signed GEORGE PRIOR, LONDON within 'Turkish' numeral chapter ring and five minutes to outer track, with steel seconds hand and pierced brass hour and minute hands within applied engraved ogee-arch-shaped mask finely decorated with a pendant incense burner within crescent motif flanked by generous foliate scrolls to upper margin over conforming leafy sprays to lower spandrel areas, the case with ogee-arch shaped cavetto moulded cornice and conforming shaped frieze inset with fine scroll-pierced brass sound frets to front over glazed hood door flanked by fluted canted angles and with rectangular brass fishscale fret-backed glazed apertures to sides, the trunk with convex throat moulding over caddy-moulded ogee-arch flame figured veneered door, on plinth base with conforming raised panel to front and double skirt, 194cm (76.5ins) high. Provenance: The estate of a connoisseur collector of regional furniture, works of art and clocks. By repute acquired from a member of the diplomatic service who purchased it from a government department in Istanbul. Of George Prior relatively little is known other than he was born in 1732 and his working dates were 1762-1813. He was based at 31 Prescot Street, Goldman's Fields, London and was succeeded by his son Edward in 1814. John Thwaites was born in 1757 the son of Ainsworth Thwaites who was apprenticed in 1735 and worked from Rosoman Row, Clerkenwell, London 1751-80. Ainsworth was an accomplished maker who supplied the clock for the tower at the Horse Guards Parade, London. John Thwaites succeeded his father, presumably on the latter's death in 1780, before moving to Bowling Green Lane. He worked alone until 1817 when he took his wife s nephew, George Jeremiah Reed, into partnership. John Thwaites and the subsequent partnership were well known for supplying all forms of clocks and movements either wholesale for others to retail, or signed by themselves. The partnership continued under John Thwaite's leadership from several addresses in London until his death in 1842. George Prior predominantly specialised in the supply of clocks and watches to the Ottoman market trading through British merchants based in major Middle Eastern ports such as Istanbul. This lucrative market was built on the historic tradition of presenting clocks and watches to the Ottoman Court since the late 17th century. However, by the end of the 18th century, trade had expanded to the extent that George Prior could not satisfy demand for his products alone hence he collaborated with other makers in order to increase his supply. A natural choice of collaborator was John Thwaites who by the end of the 18th century had established himself as a fine maker willing to supply movements for retail by others. The movement of the current lot can be closely compared with that of a longcase regulator by John Thwaites sold at Christie's, King Street, Important Clocks and Marine Chronometers 13th December 2000, lot 65. Both timepieces share the same 'bottle-shaped' plates, distinctive tapered baluster pillars, wide jaw pendulum suspension, escapement and detailing to the wheelwork. Indeed the only significant difference between these two movements is in the positioning of the train between the plates which varies in order to allow the current lot to have centre seconds (versus standard regulator dial layout). Another example of the collaboration between John Thwaites and George Prior takes the form of an impressive musical table clock residing in the collection of The Victoria and Albert Museum (Museum number W.1:1, 2-1971). This table clock was bequeathed by Lady Lorraine in 1971 and features an almost identical circular enamel dial centre to the current lot, and is housed in a fine gilt brass mounted cream japanned case with cut glass spherical dome surmount and finials. A comparable longcase regulator also made for the Middle-Eastern market by Markwick Markham Borrell, London (with movement probably supplied by John Thwaites) was sold at Christies, King Street, London on the 23rd May 2010 (lot 38) for £23,750.

A fine and rare George II gilt brass mounted burr walnut table clock Robert Higgs, London, circa 1750 The six pillar twin chain fusee bell striking movement with verge escapement regulated by small lenticular bob pendulum incorporating rise/fall regulation to the suspension and leafy foliate scroll engraved backplate signed Robert Higgs, London to a central cartouche, the 7 inch brass break-arch dial with shaped silvered maker's nameplate engraved Robert Higgs, London beneath false bob aperture to the finely matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track, the lower angles applied with female mask and foliate scroll cast spandrel mounts, the upper angles incorporating subsidiary silvered Adelantar/Atrafar and Tocar/Silencio selection dials beneath arch with further calendar ring enclosing a matted centre and flanked by conforming Indian head cast mounts, the impressive burr walnut veneered inverted bell top case capped with ball and spire finial to the scroll-outline upstand over gilt brass upper moulding and four further gilt finials to superstructure, the front with further gilt brass principal top moulding above door applied with gilt half-round raised borders to the dial aperture and upper quadrant frets flanked by canted angles adorned with fine female caryatid and tied rose drapery cast mounts, the sides with generous hinged brass handles over circular and concave-topped glazed apertures with raised gilt brass surrounds, the rear matching the front with caryatids to angles, on gilt cavetto moulded shallow skirt base with generous cast squab feet, 51cm (20ins) excluding top finial; 56cm (22ins) high overall. Robert Higgs is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as apprenticed in 1743 and gaining his Freedom of the Clockmaker's Company in 1750. He worked from Sweetings Alley and took his brother Peter into partnership in 1770. James Evans is recorded by Baillie as also working from Sweetings Alley from 1773. In 1775 he went into partnership with Robert and Peter Higgs; the firm subsequently moved to Exchange Alley and continued in business until around 1825. The partnership of Higgs and James Evans specialised in producing clocks for the export market - particularly to Spain hence a significant proportion of surviving examples being annotated and signed in Spanish. The current lot is a particularly impressive model with fine quality burr walnut veneers and crisply cast fire-gilt brass mounts echoing the work of the finest makers of the period such as John Ellicott. Walnut veneered table clocks from this period are notably rare. The possible reasons for this are given by Richard Barder in The Georgian Bracket Clock (pages 50-51) where it is suggested that the general shortage of walnut after the harsh winter of 1709 meant that veneers were mainly reserved for the best pieces of furniture or high-status longcase clocks. Table clocks being relatively small objects suited the use of ebony or ebonised finishes better (with the brass and silvered finishes of the dial and mounts creating a pleasing 'contrast' with the black finish) thus the fashion for black veneers probably persisted out of necessity until figured mahogany veneers became accessible/fashionable (from the 1760's). The current lot can be stylistically dated very close to 1750 hence would have been one of the first clocks made by Robert Higgs after he gained his freedom of the Clockmakers' Company. Interestingly the two subsidiary dials within the upper spandrels areas are annotated in Spanish indicating that the clock was supplied to an Iberian client. However the signature to both the dial and backplate are written in their English form which perhaps suggests that the clock was possibly originally made for the domestic market but ended up being exported to Spain. The fact that the clock was supplied for export to Spain indicates that Robert Higgs was forming relationships with Spanish clients very early in his career. This proved to be an astute move as many of his later important commissions were for Iberian clients.

An unusual George II brass mounted ebonised balloon-shaped table timepiece John Hallifax, London, circa 1750 The four pillar single fusee movement with circular plates and verge escapement regulated by 10.75 inch pendulum with large pear-shaped bob, the 8 inch circular brass dial with shaped silvered plate engraved Jn'o: Hallifax, Fleet Street, LONDON to the matted centre within applied Roman numeral chapter ring with Arabic five minutes to outer track and pierced steel hands, in a waisted arch-shaped case with generous cast brass pineapple finial to the concave-sided upstand over full-height brass fillet inset glazed front door with aperture following the shaped of the case, the sides with applied tall brass-edged panels, the rear with plain rectangular door, on ogee moulded shallow skirt base with brass bracket feet (generally distressed), 48cm (19ins) high excluding finial; 54.5cm (21.5ins) high overall. Provenance: The estate of a connoisseur collector of regional furniture, works of art and clocks. John Hallifax is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Fleet Street, London until his death in 1758. The case of the current lot can be described as a precursor to the standard Regency ºlloon-shaped' bracket clock which became popular during the first quarter of the 19th century and can be compared to a fine gilt brass mounted tortoiseshell veneered example housing a quarter chiming movement by Justin Vulliamy in the Royal collection (illustrated in Jagger, Cedric ROYAL CLOCKS page 88, fig. 121). This design probably evolved from the typical French Louis XV waisted form of which an 'English' version, housing a slightly earlier quarter-chiming movement by John Hallifax, is illustrated in Nicholls, Andrew, English Bracket and Mantel Clocks on page 90 (fig. 24). Please Note: Please note: Evidence in the dial plate (four spare holes) indicates that the current movement is not original to the dial and case.    

A fine and impressiveVictorian silver mounted walnut quarter-chiming presentation bracket clock with wall bracket John Moore and Sons, London, dated 1867 The six finned baluster pillar movement chiming the quarters on a nest of eight graduated bells and sounding the hour on a coiled gong, the going train with anchor escapement regulated by heavy lenticular bob pendulum with pivoted beam rise/fall regulation to the suspension, the 8.25 inch wide single sheet silvered brass arched dial signed JOHN MOORE & SONS, CLERKENWELL, LONDON, 14239 to centre and with blued steel hands within fine foliate strapwork engraved decoration to lower angles beneath arch incorporating subsidiary SLOW/FAST regulation and STRIKE/SILENT selection dials within conforming foliate infill, the ogee arch-top case surmounted by fine cast and chased Gothic foliate bud finials united by a pierced gallery running front to back over four further finials flanking the pediment applied with an oval silver gilt panel engraved with a view of St. Pauls Church, Rusthall and a pair of cast leafy rosettes to front, the hinged glazed dial surround decorated with further small silver rosettes to frame and with canted silvered brass fillet to interior, the angles inset with Gothic columns incorporating leafy caps and the sides with foliate scroll-pierced arched sound frets, on inverted breakfronted skirt base centred with further shaped gilt cartouche engraved PRESENTED BY, FRIENDS & NEIGHBOURS, TO EDWARD OTTLEY WOLLASTON ESQ., ON HIS LEAVING THE PARISH OF, ST PAUL'S RUSTHALL flanked by additional rosettes and concave moulded sections beneath the pillars, on original wall bracket with moulded inverted breakfront table over pierced scroll outline side supports, the mounts hallmarked for London 1867 (maker's mark S.S ), the clock 72.5cm (28.5ins) high; the clock on wall bracket 97.5cm (38.5ins) high overall. John Moore and Sons succeeded the partnership of George Handley and John Moore (both of whom were apprenticed to, and were successors of John Thwaites who died in 1800) on the death of George Handley in 1824. The firm worked from 38-9 Clerkenwell Close and became particularly well known for producing public clocks and supplying movements to other makers. The last of the Moore dynasty of clockmakers, Henry James, died aged 60 in 1899, however the firm is thought to have continued into the early years of the 20th century. St. Pauls Church, Rusthall, Tunbridge Wells was built to a design by Henry Isaac Stevens (1807-73) and was consecrated on 14th August 1850.

A fine, impressive and very rare Victorian engraved gilt brass and malachite inset clock with thermometer and aneroid barometer in the form of a full-sized occasional table Thomas Cole, London, number 1 545, circa 1860 The eight-day movement resembling that of a standard Cole strut clock with rectangular frontplate stamped with serial number 1 545 and applied with two separate shaped backplates for the going and strike trains each with going barrels, six-spoke wheel crossings and three pillars secured by screws from the rear, the going train incorporating vertical shaped platform English lever escapement regulated by sprung three-arm steel monometallic balance, the strike train sounding the hours on a coiled gong mounted behind the movement, the left hand backplate stamped THOMAS COLE, LONDON to lower edge, the 10 inch circular silvered Roman numeral dial incorporating recessed circular subsidiary barometer scale calibrated in barometric inches and with the usual observations and a curved Fahrenheit scale mercury thermometer to the finely engraved centre decorated in the Greek revival manner with hatched radial rosette incorporating anthemion motifs within a Vitruvian scroll border, with plain minute and cruciform hour blued steel hands within generous gilt cavetto moulded bezel incorporating concentric bead-cast borders and fitted with a heavy bevelled glass, the case with table-top incorporating quatrefoil lobed rim applied with eight malachite roundels set in pairs between anthemion and stylised scroll decorated projections of the stepped rim, the shallow dome-shaped rear panel centred with a square box enclosing the movement and incorporating winding/hand setting holes and shuttered escapement viewing aperture to underside, the whole mounted via hinged screw pivots and a curved graduated stay onto a conforming square plate attached by a rotating joint onto the elaborate two-tier triform base, the upper section with three slender square section uprights incorporating outswept bracket-shaped terminals to top over stylised panel and foliate scroll engraved feet resting onto a concave-sided platform stage with conforming fine foliate motif and gadroon border engraved detail, the lower tier with three further panel decorated square section baluster uprights mounted onto a substantial stepped triform block applied to a wide platform base adorned with three finely cast recumbent sphinxes within further finely worked stylised scroll and gadroon engraved borders, the underside with three adjustable disc-shaped levelling feet (surface with overall brown patination, barometer mechanism lacking), 49.5cm (19.5ins) wide across the top; 75.5cm (29.75ins) high with table top in horizontal position. Provenance: The current lot was a given to the vendor's father, a doctor, from a very grateful patient during the early 1960's, thence by descent to the present owner. The life and work of Thomas Cole is extensively documented in Hawkins, J.B. THOMAS COLE & VICTORIAN CLOCKMAKING. Thomas Cole was born in Nether Stowey, Somerset in 1800. His father, Thomas senior, was a local clockmaker who is now known to have moved his family to Taunton in around 1815; he was a talented maker who probably taught both Thomas and his older brother, James Ferguson, the clockmaking trade. By 1821 James Ferguson had moved to London and filed a Patent for a pivoted detent escapement, by 1823 he was working from New Bond Street where he was joined by his younger brother, Thomas. Over the next twelve years the two brothers worked alongside each other and produced a series of highly complicated silver 'humpback' carriage clocks very much in the manner of Abraham Louis Breguet (leading some to speculate a connection between Breguet and the Cole brothers). The brothers then went their separate ways with James Ferguson going on to explore his technical abilities later developing a series of escapement designs including a 'resilient' lever escapement (1830), a 'double rotary' escapement (1840), a detached escapement calliper (1849) and an escapement with negative diameter (1859). Thomas Cole sought to specialise in small decorative timepieces of the highest quality. By 1845 he was advertising himself as a Þsigner and maker of ornamental clocks' and in 1851 submitted examples for display at the Great Exhibition, both under his name, and on the stands of other leading retailers such as Hunt & Roskel and Hancocks. He then went on to exhibit at the Paris Exhibition of 1855 where his entry warranted an 'Honourable Mention', and again at the British International Exhibition in 1862 where he was awarded a medal for 'Excellence of taste and design'. Thomas Cole was elected to the Royal Society of Arts in June 1861; he died three years later of typhoid fever, at his home at 1 Westbourne Park Road, Paddington, leaving his second wife Charlotte and their three children (two boys and one girl). The originality and inventiveness of design coupled with the exceptional quality of finish ensured an enduring popularity for Thomas Cole's work, mainly from the rising Nouveau Riche class of Victorians made wealthy from the Industrial Revolution. Until the discovery of the current lot only two other full-sized 'table' clocks by Thomas Cole were known. Both of these were first documented as consecutive lots offered at Christie's, King Street, Important Clocks and Marine Chronometers 13th December 2000 (lots 63 and 64). The first was numbered 1884 and was signed for the retailer's Hunt and Roskell, London; whilst the second bore the numbers 1578 and 1505 and was dated March 1862 to the going spring barrel. Both of these clocks were very similar only differing in detail - mainly in the design of the engraving; they sold for the premium inclusive amounts of £69,750 and £71,950 respectively. It seems that these two examples were purchased by the same buyer as they were offered again by Christie's, in their sale of Magnificent Clocks, on the 15th September 2004. Presented together as a 'harlequin pair' (lot 29) they realised £81,260 including buyer's premium. Finally number 1884 appeared for a third time at Christies where it was sold for £73,250 on 15th March 2012 (lot 25). Although the current lot is outwardly similar than the other two known examples overall refinements and improvements in both its specification and detailing are evident. The dial incorporates the additions of a barometer scale and thermometer whilst the rim of the table is generally of increased complexity featuring a stepped layered edge. The base is also more substantial with the central platform being significantly wider than on the other examples. This allows the lower tier of baluster supports to be spread further apart and the base plate to have an increased footprint resulting in improved stability and more satisfactory proportions. In addition to this the horizontal elements of the both the central platform and the base are extensively engraved compared to the relatively simple single geometric band seen on the lowermost step of the other two examples. Overall the detail design of the engraved enrichments possessed by the current lot are particularly harmonious being in the Greco-Egyptian style throughout. This style of decoration was made popular by Thomas Hope during the first quarter of the 19th century and seems to have been used relatively sparingly by Cole and then only for his finest examples.

A Queen Anne ebonised longcase clock of one month duration Andrew Dunlop, London, early 18th century The five finned pillar high-position internal countwheel bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch square brass dial with ringed winding holes, recessed silvered subsidiary seconds ring and foliate-border engraved calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers, Arabic five minutes to outer track and signed And'r Dunlop, London to lower margin, with foliate pierced blued steel hands and unusual winged cherub head and drapery lambrequin decorated foliate cast spandrels to angles, in an ebonised case with moulded cornice over integral three-quarter columns to the glazed hood door, the sides with rectangular windows and quarter columns applied to bargeboards at the rear, the trunk with rectangular door bordered with half-round mouldings and centred with a circular brass lenticle, on plain plinth base now applied with a moulded skirt and standing on bracket feet, 219cm (86ins) high. Andrew Dunlop is recorded in Loomes Clockmakers of Britain 1286-1700 as working in Aberdeen until around 1700 before moving to London where he worked from Spread Eagle Court, Grey's Inn. He joined the Clockmakers' Company in 1701 and took in Thomas Hague as an apprentice in 1719 followed by his son, Conyers, in 1725. He is thought to have died in 1732 and was succeeded by his son. The work of Andrew Dunlop is described in Maxwell-Irving, A.M.T ANDREW DUNLOP, C.C. 1701-32 (see ANTIQUARIAN HOROLOGY Vol. XV, No. 1 pages 36-46) where particular focus is given to his watches which are described as being of the 'finest quality'. A fine silver mounted ebony grande sonnerie striking table clock made by Andrew Dunlop for Daniel Delander was sold in these rooms on Tuesday 17th March 2015 lot 82 for a hammer price of £20,000.

A fine William IV ebonised table clock with original numbered winding key Benjamin Lewis Vulliamy, London, number 1260, circa 1835 The five pillar twin fusee rack and bell striking movement with half deadbeat escapement regulated by heavy lenticular bob pendulum with pivoted beam rise-fall regulation, the backplate signed Vulliamy, LONDON and numbered 1260 over pendulum screw bracket, the 7 inch brass break-arch dial with small calendar aperture to the finely matted centre within applied Roman numeral chapter ring with Arabic five minutes to outer track, with pierced blued steel hands and applied rococo scroll cast spandrels to angles beneath relatively shallow-profile arch applied with subsidiary silvered pendulum regulation and STRIKE/SILENT selection rings flanking a shaped silvered nameplate engraved VULLIAMY, LONDON, 1260 to upper margin, the inverted bell-top case with hinged brass carrying handle and crisp top-mouldings above brass fillet inset glazed dial aperture and foliate pierced upper quadrant frets to the front door, the sides with typical Vulliamy pattern symmetrical foliate scroll pierced arched sound frets, the rear with rectangular door incorporating break-arch glazed dial aperture and raised edge mouldings, on conforming moulded skirt base with generous cast brass squab feet, 40cm (15.75ins) high excluding handle. Provenance: The property of a private collector. Benjamin Lewis Vulliamy is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as born 1780 to Benjamin Vulliamy and gaining his freedom of the Clockmakers' Company in 1809. He worked from 52 Pall Mall, served as Warden 1821-5 and was appointed Master five times. He was the last of the celebrated dynasty of Royal clockmakers which started with his grandfather, Justin, forming a partnership with George II's clockmaker, Benjamin Gray. Benjamin Lewis Vulliamy was perhaps one of the most influential horologists of his time publishing many works and undertaking numerous high profile public commissions as well as holding the Royal Warrant. He supplied many clocks to the Royal family including the turret clock for Windsor Castle in 1829 (replacing an earlier movement by Joseph Knibb); However his horological legacy is perhaps somewhat slightly blighted by his tendency to undertake controversial alterations to earlier important clocks by makers such as Tompion. The confident and distinctive design of the current lot with dial incorporating twin subsidiaries to the shallow arch and case with squat proportions to the caddy surmount, crisp mouldings and design of side frets is highly typical of those produced by Vulliamy family. Indeed the general appearance/proportions of the present clock remains essentially unchanged from those first made by Justin Vulliamy during the third quarter of the 18th century. The movement of the current lot is also of the finest quality with plates measuring approximately 4mm in thickness enclosing precisely cut wheelwork. Overall the clock has survived in fine original condition retaining its original numbered winding key and with no visible repairs or replacements to the movement. The condition of the case also echoes that of the movement with fine honest mellow patination to the veneers and brass mounts.

A fine Queen Anne ebonised eight-day longcase clock Richard Street, London, circa 1705 The substantial five fully latched and crisply turned finned pillar inside rack and bell striking movement with anchor escapement, unusually long crutch and 12 inch square brass dial with subsidiary seconds dial and calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with cruciform half hour markers, Arabic five minutes to outer track and signed Rich. Street, London to lower edge, with delicate pierced steel hands and rare gilt twin cherub and female cast spandrels to angles, the ebonised case with gilt ball and spire finials to the domed caddy surmounted fine foliate fretwork fronted box upstand above moulded cornice and further conforming foliate pierced fret to frieze, generous three-quarter columns with gilt caps and bases to glazed hood door, the sides with rectangular windows and rear quarter columns each set against bargeboard rising up to the underside of the cornice projection, the trunk with convex throat above 42 inch rectangular door pasted with rare original paper Equation of Time table with printed repeat signature Sold By RICH STREET Clockmaker at ye Dial & Two Crowns over againft St. Dunftans Church in Fleet-Street LONDON, on plain plinth base with two-tier moulded skirt, 234cm (92ins) high excluding finials, 244cm (96ins) high overall. Richard Street is an important but relatively enigmatic maker who is recorded in Baillie G.H. Watchmakers & Clockmakers of the World as gaining his freedom of the Clockmakers' Company in 1687, made Assistant in 1713 and appointed Warden 1716. He was a fine maker who had close working connections with Thomas Tompion for whom it is thought he made repeating watch movements (see Evans, Jeremy THOMAS TOMPION at the Dial and Three Crowns page 114). Street is perhaps best known for his commission by Sir Isaac Newton to supply a monumental month duration longcase clock for presentation to Dr. Bentley for the Observatory at Trinity College Cambridge in 1708; he also, alongside William Wright, took over the maintenance of the turret clock at St. Pauls Cathedral from Langley Bradley in 1716. A year going clock in an Arabesque marquetry case by Street also survives in the Collection of the National Trust at Melford Hall, Suffolk. The current lot is very rare in that the original paper Equation of Time table survives almost entirely intact pasted to the inside of the trunk door. A less complete but otherwise identical table is illustrated Robinson, Tom THE LONGCASE CLOCK on page 170 (fig. 8/16) where it is noted that the design is the same as those produced by Tompion at this time. The complete nature of the example supplied with the current lot allows all the text to be made out, including the name of the engraver. Above the table; A Table, OF THE, Equation of Days, SHEWING, How much a good, Pendulum Watch Ought to be faster, or slower than a, True Sun Dial, Every Day in ye Year. Sold By RICH STREET Clockmaker at ye Dial & Two Crowns over againft St. Dunftans Church in Fleet-Street LONDON. Below the table; Let the Watch so much Faster or Slower than ye Time by the, Sun according to the Table for the Day of the Month when you, set it and if the Watch go true the Difference of it from ye Sun, any Day afterward will be the same with the Table. I Sturt Sculp. Tompion's influence/connection with Richard Street becomes even more apparent when the rest of the current lot is examined. The fully latched movement is very well made with exceptional pillars and large plates measuring almost 8 by 6 inches. The use of inside rack and the delicate functionality of the wheelwork echoes Tompion's exacting standards however Street has detailed the movement in such a way as to give it his own identity. The dial is clean and refined in its design and utilises a rare pattern of spandrel which is generally only found on the finest of twelve inch dials from this period. The proportions and external detailing of the case is almost indistinguishable from those supplied to Tompion and again is very well made.

A fine Charles II eight-day longcase clock movement with 10 inch dial and alarm The dial signed for Joseph Knibb, London, circa 1680 The six knopped, finned and latched pillar movement with rectangular plates measuring approximately 7.5 by 5.125 inches, the going train regulated by anchor escapement for a seconds period pendulum with separately cocked escapement pallet arbor and figure-of-eight shaped pallet aperture to the backplate, the strike train with external countwheel and detent for sounding the hours on a bell mounted above the plates, the alarm train planted between the plates above the going greatwheel with spring barrel wound through the dial against a ratchet with sprung pawl mounted on the backplate, driving via an intermediate wheel with locking hoop a vertical verge crownwheel for the alarm hammer arbor with looped brass head sounding on the hour bell above, the 10 inch square gilt brass dial with three winding holes and rose engraved alarm disc to the finely matted centre within applied 1.5 inch wide silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers and Arabic five minutes within the narrow outer track, the angles applied with winged cherub head spandrels within a line scribed border interrupted with engraved script Ioseph Knibb London to lower margin and with alarm locking lever to upper margin, (lacking pendulum, weights and seatboard). Joseph Knibb was born the fifth son of Thomas Knibb of Claydon, Oxfordshire in 1640. He is generally thought to have been apprenticed in around 1655 to his cousin Samuel Knibb in Newport Pagnell, before moving to Oxford circa 1662 (the same year that Samuel moved to London). Joseph initially struggled to trade in Oxford due to restrictions placed by the City authorities which were only relaxed on payment of a fine in 1668. It was about at this time that Joseph Knibb would have issued his copper trade tokens (an example of which was sold in these rooms 10th February 2009, lot 104 for £1,600 hammer) as well looking to undertake work to convert the turret clocks of St. Mary the Virgin and Wadham College to anchor escapement with long pendulum. In 1670 Joseph moved to London handing over the Oxford business to his younger brother, John. The reason for this move was probably to administer the estate of Samuel who is thought to have died by the summer of 1671. Joseph Knibb presumably took on Samuel's former workshop as by 1675 he was recorded as working from 'The Dyal' near Sargeants Inn in Fleet Street. By 1693 he had moved to 'The Clock Dyal' Suffolk Street, near Charing Cross. As Joseph became established in London his work became more individual/distinctive, often demonstrating an inventive and refined approach both in the detailing and specification of the movements and choice of case design. He is perhaps best known for his experimentation with alternative striking such as Dutch, Roman and double-six grande sonnerie as well as long duration clocks. In 1697 Joseph Knibb sold up the London business (presumably to Samual Aldworth, former apprentice of John Knibb of Oxford) and retired to Hanslop in Buckinghamshire where he died in December 1711. The current lot can be closely compared to the movement of a miniature eight-day longcase clock by Joseph Knibb housed in an oyster olivewood and marquetry case described and illustrated in Darken, Jeff (ed.) HOROLOGICAL MASTERWORKS pages 162-5. This movement shares the same slightly unusual casting for the pallet arbor cock (complete with wedge-shaped pivot end cap), figure-of-eight pallet aperture and pendulum suspension post riveted directly into the backplate. The wheel collets also match as does the detailing to the countwheel at the centre. Both the current lot and the miniature longcase movement also exhibit details typical of Joseph Knibb namely the lack of bridge for the hour wheel to the frontplate, slender pillars and relatively thin plates. In addition to the current lot and the miniature longcase clock, a 'three-in-two' quarter striking movement featuring the same pallet arbor cock casting, figure-of-eight aperture and pendulum suspension is illustrated in Dawson, Percy G., Drover, C.B. and Parkes, D.W. Early English Clocks pages 206-7 (plates 275 and 276). This third movement is described as probably being one 'bought-in' by Knibb for finishing in his workshop. It is very rare for an hour-striking eight-day longcase clock of this period to be fitted with an alarm mechanism although thirty-hour clocks were often supplied with this facility - probably reflecting their intended ºckstairs use'. The design of the mechanism installed into the current lot is also unusual in that it is positioned between the plates and is powered by a spring barrel - rather than being of the usual transverse weight-driven arrangement fitted to one side of the movement (as seen on some thirty-hour examples and later eight-day clocks). The reason why a spring-powered system was chosen for the current movement was probably simply due to the inherent lack of space for driving weights to descend within the relatively slender trunk of the case (already occupied by two relatively large weights and a pendulum). This problem of lack of available space was not shared by contemporary thirty-hour examples as they generally utilised a single weight (via Huygens's endless rope system) hence had enough space for the alarm weights to be accommodated. It is perhaps interesting to note that the design of the alarm work, in particular the ratchet for the barrel applied to the backplate, reflects those seen on a table clocks by the Knibb family including one by John Knibb illustrated in Lee, Ronald A. The Knibb Family * Clockmakers on Page 129 (plate 140). Furthermore the frontplate exhibits marking-out for the alarm train (in addition to the going and strike trains) confirming that the movement was made with this feature. The dial of the current lot has age and was clearly made for the movement with no matting behind the alarm disc and rich gilding to all areas except to those obscured by the chapter ring (normal practice for the period). Although there are a few unexplained historic filled holes to the plate none of these appear to directly indicate that the dial was ever fitted to another movement. The rear of the plate also has various repairer's marks dating back to the early 19th century, one of these inscriptions (dated 1833) encroaches one of the filled holes further indicating that these holes are historic and not 'suspicious' in nature. The front of the dial also has another faint repairer's mark dated 23rd January 1798 adjacent to the signature. The signature itself can be compared to that seen on the miniature longcase (which also incorporates London rather than Londini Fecit ) whilst the proportion of the space beyond the chapter ring up to the scribed line border echoes that seen on the dial of the three-in-two quarter striking clock. These inherent similarities would suggest that the current lot was made at the same workshop and at the same time as these other two examples.

A fine and very rare Charles II night timepiece Joseph Knibb, London circa 1670-75 The rectangular six finned and latched pillar single fusee movement with backplate measuring 7.75 by 5 inches and horizontal silent verge escapement regulated by short bob pendulum, the sides with black japanned metal dust covers, the top with similar shutter extended at the rear to provide a platform for the light source, the frontplate with integral cast arched extension to the upper edge to carry the revolving hour disc driven by motionwork behind and incorporating two smaller revolving discs each pierced with Arabic hour numerals visible through circular apertures cut within the outer concentric band of the principal disc, the 9 inch square gilt brass dial with break-arch centre panel painted with a scene of horsemen dismounting within a pastoral landscape beneath pierced arched sector to reveal the revolving chapter hour disc painted with cherubs in flight on a sky blue ground behind, the upper margin with pierced Roman numerals I, II and III for the quarters and incorporating scalloped inner edge with each division denoting the minutes, the lower margin signed Joseph Knibb Londini fecit over an engraved perspective pavement flanked by vertical panels engraved with delicate floral trails and paired Corinthian columns, the upper angles decorated with tied foliage flanked by grotesque lion's masks, in a gilt brass mounted ebony veneered table-top case with triangular tympanum applied with square panel outline mouldings to upper surfaces and with fine gilt mount modelled as an elaborate Baroque shield flanked by cherubs to front, the lintel with generous gilt festoon swags of fruiting foliage over rectangular glazed front door applied with raised moulding to the aperture and flanked by solomonic twist Corinthian columns with finely detailed capitals and bases, the sides with rectangular blind panels and conforming quarter columns applied to bargeboards at the rear, the base with projecting plinths for the columns at the angles, the rear with flat surface applied with geometric border mouldings behind the pediment over rectangular door with conforming panel decoration (movement with restoration, case now with removable superstructure, some restoration and adaptations), 52cm (20.5ins) high. Provenance: Formerly the property of H. Alan Lloyd, sold on instruction of his widow at Sotheby's, London, 2nd December 1974 (lot 33); sold again at Antiquorum, Geneva in their sale titled THE ART OF BRITISH HOROLOGY 21st October 1995 (lot 13) for a hammer price of CHF 50,000 (approximately £32,000 including 10% buyer's premium). Literature: Illustrated in Lloyd, Alan H. OLD CLOCKS (first published 1951) Plates 46 C. and D. Joseph Knibb was born the fifth son of Thomas Knibb of Claydon, Oxfordshire in 1640. He is generally thought to have been apprenticed in around 1655 to his cousin Samuel Knibb in Newport Pagnell, before moving to Oxford circa 1662 (the same year that Samuel moved to London). Joseph initially struggled to trade in Oxford due to restrictions placed by the City authorities which were only relaxed on payment of a fine in 1668. It was about at this time that Joseph Knibb would have issued his copper trade tokens (an example of which was sold in these rooms 10th February 2009, lot 104 for £1,600 hammer) as well looking to undertake work to convert the turret clocks of St. Mary the Virgin and Wadham College to anchor escapement with long pendulum. In 1670 Joseph moved to London handing over the Oxford business to his younger brother, John. The reason for this move was probably to administer the estate of Samuel who is thought to have died by the summer of 1671. Joseph Knibb presumably took on Samuel's former workshop as by 1675 he was recorded as working from 'The Dyal' near Sargeants Inn in Fleet Street. By 1693 he had moved to 'The Clock Dyal' Suffolk Street, near Charing Cross. As Joseph became established in London his work became more individual/distinctive, often demonstrating an inventive and refined approach both in the detailing and specification of the movements and choice of case design. He is perhaps best known for his experimentation with alternative striking such as Dutch, Roman and double-six grande sonnerie as well as long duration clocks. In 1697 Joseph Knibb sold up the London business (presumably to Samual Aldworth, former apprentice of John Knibb of Oxford) and retired to Hanslop in Buckinghamshire where he died in December 1711. The current lot is one of four documented night clocks by Joseph Knibb with the other three being illustrated in Lee, Ronald A. The Knibb Family * Clockmakers pages 151-3. All of these examples are timepieces only and utilise the same ingenious system to indicate the time: The hour numeral traverses the 180 degree arched aperture in the dial plate past minute divisions denoted by small scallops cut into the upper edge and the quarters by large pierced Roman numerals above. This is enabled by having the Arabic hour numerals pierced in two secondary discs applied to the rear of the principal hour disc. As the hour disc revolves (once every two hours) these secondary discs are alternately advanced in one numeral increments via pins to the rear of each engaging with a flag attached to the lower part of the movement frontplate. This system ensures that the next hour appears to the left of the dial as the last disappears to the right (hence requires one of the secondary discs to be pierced with the odd hour-numerals and the other the even). This mechanism can also be seen on a longcase night clock, dating to around 1669, attributed to the Fromanteel workshop which is illustrated and described in Darken, Jeff (ed.) HOROLOGICAL MASTERWORKS pages 90-93. The existence of this slightly earlier clock suggests that this system was probably developed by the Fromanteels prior to Joseph's arrival in London in 1671. The advantage of this type of dial layout is that it negates the need to provide a separate chapter ring for daytime use as seen on other examples by makers such as Edward East and John Hilderson (see Dawson, Percy G., Drover, C.B. and Parkes, D.W. Early English Clocks pages 513-5, plates 759-63 for an example by John Hilderson). The engraved decoration and layout of the dial of the current lot is generally similar to the three other examples illustrated by Lee but has some detail differences - most noticeably in the design of the upper spandrel ornament. These differ in that the other three have decoration composed with a dog rose over pomegranate and other fruit whilst the current lot is engraved with foliate scrolls terminating with grotesque lions masks. The dog rose and pomegranate design is of a type seen on other standard clock dials by makers such as Edward East, as well as examples by Knibb made during his formative years in Oxford (including an ebonised architectural longcase clock which was sold in these rooms on Tuesday 11th March 2014, lot 143, for a hammer price of £230,000). From this it is perhaps appropriate to speculate that the dial of the current lot was most likely engraved by a different hand - probably the same individual responsible for an almost identical dial for a hour-striking night clock by Henry Jones illustrated in Early English Clocks on page 521 (plate 770). The case of the current clock is essentially 'of the period' and can be directly compared to one housing a standard table clock movement and dial by Edward East illustrated in Early English Clocks page 174 (plate 235). However alterations including the top being cut just below the lintel to make it removable (presumably to allow the lamp to vent when used at night) and the provision of an additional baseboard for the movement to sit-on would indicate that the case is not original to the movement and dial.

A fine George II cased set of mathematical drawing instruments Thomas Heath, London, circa 1740 The lower tier comprising: A large mathematical sector rule signed and engraved No. 43 annotated with the usual logarithmic, trigonometric and other scales; an oblong protractor rule signed and engraved with trigonometric scales to verso; an expanding parallel ruler with hinged perpendicular distance scales at each end; a set of gunner's callipers, one side with table annotated with tables of the specific weights of named metals and other substances opposing scale giving ordnance bore sizes, the axis with protractor scale and the outer straight edge calibrated in metric inches, the reverse with table for IRON GUNS, Proof, Service tabulated for 1-42 pounder cannon to upper limb and conforming table for BRASS GUNS to lower limb, the axis with scale for shot size, the pointers with iron blade inserts, signed; a large brass proportional dividing compass with sharp steel tipped arms each pierced with long slots for the sliding pivot assembly with knurled screw for securing against scales divided for Circles and Lines, signed; a compass beam calibrated for barometric inches and with fine screw adjustment to one end; together with a large hinged compass with series of interchangeable attachments for the legs and small quantity of other items. The upper tier comprising: An ivory sector rule engraved with trigonometric tables and calibrated for various European inch measurements; a group of five small ivory rules each divided for differing Poles and Parts ; a circular protractor with single crossing; an adjustable folding rhombus incorporating vernier protractor scale for setting the smaller internal angles, signed; a double ended compass, together with a set of dividers, an assortment of various tips and other accessories. All contained in a green-velvet lined fishskin covered box with decorative external brass clasp to exterior, the box 41cm (16ins) wide. Thomas Heath is recorded in Clifton, Gloria Directory of British Scientific Instrument Makers 1550-1851 as apprenticed to Benjamin Scott in 1712. Heath presumably gained his freedom of the Grocer's Company before 1720 when he is recorded as working from 'Hercules & Globe next the Fountain Tavern' in the Strand, London. Latterly (from 1734-46) he also worked from an address with the same name near Beaufort Buildings as well as a third premises near Exeter Buildings (1750). He was known to have sold compasses, an astronomical clock, gunner's callipers, theodolites, sundials, sectors, barometers and drawing instruments and took many apprentices including George Adams (I) in 1726/7. In 1751 Thomas Heath went into partnership with former apprentice, Tycho Wing, with the latter acquiring the business outright in 1753 (which he continued until his death in 1773).

A rare gilt brass group of three 'tulip' clock finials Anomynous, circa 1680 Each formed with six finely chased acanthus petals curving upwards to form a cup around a central knopped upright over small circular moulded foot, (one lacking a petal), each approximately 5cm (2ins) high excluding screw. These three finials are of the type used to surmount the pediment of a fine miniature gilt brass mounted olivewood oyster veneered longcase clock by Edward East with unusual pierced gilt dome illustrated in Dawson, Percy G., Drover, C.B. and Parkes, D.W. Early English Clocks on page 255 (plate 343). Similar finials are also used to adorn the famous 'Tulip Tompion' two in three grande sonnerie striking table clock (Thomas Tompion 18) illustrated in Evans, Carter and Wright THOMAS TOMPION 300 YEARS pages 386-87.

An extremely rare Charles II diamond-shaped wall clock dial Ahasuerus Fromanteel, London, circa 1660-5 The 6 inch square plate engraved with a five-petal rose over signature Aha. Fromanteel within an intense field of asymmetric flowering foliage incorporating tulips and other blooms to centre, within applied narrow Roman numeral chapter ring with stylised wheatear half hour markers and inner quarter track, the upper and lower spandrel areas applied with silver coloured metal mounts cast in relief with further foliate sprays, now with a vestigial scroll-pierced steel hand an mounted in a moulded ebony frame, overall width corner-to-corner 26.5cm (10.5ins). Ahasuerus Fromanteel was born in Norwich in 1607 and was apprenticed there to Jacques van Barton before moving to London in 1631 where he became a freeman of the Blacksmiths' Company. The following year he was admitted as a Free Brother to the newly formed Clockmakers' Company. Fromanteel initially worked from East Smithfield but by 1640 he had moved to the Parish of St. Mary's Whitechapel and then finally to St. Saviour's, Southwark by 1650. Fromanteel took many apprentices including three of his sons; John in 1654, Abraham in 1662 and Daniel in 1663 (not freed). As part of his apprenticeship John Fromanteel was sent to The Hague to work with Saloman Coster from whom he acquired the knowledge of the first pendulum clocks. Subsequently, in September 1658, Ahasuerus Fromanteel posted his now famous advert in Mercurius Politicus announcing the introduction of the pendulum clock to England. The first of these timepieces appear to have been spring-driven however the longcase clock was subsequently developed/introduced within a year. This sequence of rapid technological advancements can almost entirely be attributed to the Fromanteel workshop leading many to describe Ahasuerus Fromanteel as the úther of English clockmaking'. Ahasuerus Fromanteel is believed to have left London in fear of the plague in around 1665, first travelling to Colchester, then onto Amsterdam where he set up in business in 1668. By 1676 Fromanteel was back in England (pesumably leaving the Amsterdam business in the hands of his sons John and Ahasuerus II) where he died in 1692/3 and was buried at St. Mary's Whitechapel on 31st January 1693. The current lot appears to belonged to one of a very rare group of domestic wall clocks with diamond-shaped dials as discussed by Bill Linnard in his three articles entitled Diamonds are Forever?, More Diamond Dials and Diamonds Galore published in the May 2005, April 2006 and April 2007 issues of the Horological Journal respectively. Linnard surveys thirteen other examples which he dates between circa 1670 and 1740. The earliest example he describes is a thirty-hour single-handed spring driven timepiece by John Wise of London which he dates to around 1670, with the next being the circa 1680 weight-driven alarm timepiece by Joseph Knibb illustrated in Dawson, Percy G., Drover, C.B. and Parkes, D.W. Early English Clocks on page 530 (plates 781-3). Other examples by Leading London makers such as Tompion (now cased as a table clock) and Samuel Watson are also discussed. The reason why these diamond shaped timepieces were made is not clear, they may have simply been following the tradition of lozenge-shaped dials for church clocks or perhaps they reflect a Continental influence as many German Renaissance monstrance clocks were made with lozenge-shaped dial surrounds (see Maurice, Klaus and Mayr, Otto THE CLOCKWORK UNIVERSE, German Clocks and Automata 1550-1650 page 206 for an example by Paulus Braun, Augsburg, circa 1600). The engraving to the centre of the current dial can be broadly compared to that seen on a hooded wall clock by Joseph Knibb of Oxford illustrated in Lee, Ronald A. The Knibb Family * Clockmakers on page 63 (plate 58). The provision of a winding hole (now filled/moved) would suggest that the original movement was most likely spring-driven and probably regulated by a verge escapement with a short-bob pendulum. This dial is probably the earliest English diamond-shaped example to have survived and to the best of the cataloguer's knowledge is the only one by Fromanteel.

A William and Mary style walnut hooded wall clock case Anonymous, probably mid to late 20th century The hood with shallow lunette pediment over complex crossgrain moulded cornice and quarter-round fillet inset glazed aperture for a 5 inch square dial, the sides with conforming rectangular windows, the bracket with further complex mouldings to the table over fine symmetrical foliate scroll carved shaped pendant apron flanked by conforming side supports carved in relief with further acanthus foliage on a matted ground to sides, (lacking section of moulding to tympanum), 33cm (13ins) high. The design of the current lot resembles that for a case housing an alarm timepiece movement and dial by Thomas Tompion (number 419) illustrated in Evans, Carter and Wright THOMAS TOMPION 300 YEARS on pages 544-45.

A very rare patinated brass noon sundial Unsigned, probably late 18th century The angled gnomen set at 51 degrees applied to a rectangular plate with rounded ends engraved with a sector for the hours XI - I with arrow half hour markers and principal quarter divisions further sub-divided, 15cm (6ins) long by 6.3cm (2.5in) approx. wide. The current lot appears to be a very rare form of garden sundial purpose made only to indicate one hour each side of noon. The most likely reason why such a dial was made was to allow the time of a mechanical clock to be set against the Sun's Zenith at noon with the assistance of an equation of time table. This would suggest that the current lot may have been specifically supplied as an accessory alongside a clock (and equation table) to a client who had no other means of telling the time.

A fine English patinated brass garden sundial with equation of time Unsigned, early 19th century The 11.75 inch circular plate fitted with angled gnomen set at 51 degrees and centred with an eight-point compass rose with stylised leafy scroll decoration to segments annotated N, NNE, NE, ENE, E, SE, ESE S, SSW, SW, WSW, W, WNW and NW within the inner track, the middle band with equation of time table incorporating annual calendar within chapter ring with engraved inner border and Roman numerals IIII-XII-VIII with tied lozenge half hour markers and inscribed with the motto SIC FLUIT VITA between the IIII and VIII numerals, the outer track divided into thirtieths denoting two minute intervals, 28.8cm (11.75ins) diameter. The general design and features such as the annotations to the equation of time scale and tied asterisk half hour markers seen on the current lot can be directly compared to an example by Whitehurst and Son of Derby (dated 1812) currently in the Derby Museums collection. The provision of an equation of time table allows mean time to be calculated from solar time provided by the sundial - this allows the time on a clock or watch to be set from the dial with a reasonable degree of accuracy.

A Japanese engraved brass Kake-Dokei lantern clock with double foliot regulation and alarm Unsigned, mid to late 19th century The weight-driven posted countwheel striking movement with double-crownwheel escapement regulated by one of two foliot balances at one time each applied with adjustable curser weights and with automatic switching between the two via linkages engaging with pins applied to the rear of the countwheel, the spring-driven alarm mechanism positioned behind the dial at twelve o'clock wound via a key to front and sounding on the 'pork pie' hour bell mounted on a baluster-turned post above the frame, the rectangular asymmetric floral spray engraved dial plate with upper central rotating ring-turned disc applied with the pierced steel hand and an adjustable alarm setting pin within chapter ring engraved with twelve panels with characters for the Japanese hours tokis over zodiacal symbol with inner edge divided into ten buns , over two calendar apertures for the Twelve Terrestrial Branches and the Ten Celestial Stems of the traditional Japanese calendar set beneath the chapter ring, the case with elaborate baluster-turned decorative corner posts, asymmetric foliate spray engraved side panels retained by sprung latches and conforming fixed panel to rear, 22cm (8.75ins) high including feet, now contained in a later glazed mahogany hooded case of traditional design with stepped superstructure over rectangular front window and brass grille frets above further glazed apertures to sides, the bracket with shaped apron to table and drilled for fixing to the wall at the top of the backboard, 46cm (18ins) high overall. The first mechanical clocks were introduced to Japan by Jesuit Missionaries during the second half of the 16th century, some of whom settled on the island of Amakusa and assisted Japanese craftsmen in developing their own clocks. The Japanese system of temporal hours presented a problem for these early craftsmen as each twenty-four hour period was divided into night and day with the hours for each starting or ending at dawn or dusk. With this system the hours for each varied throughout the year as the seasons changed. To compensate for this Japanese makers developed the double foliot system which allowed the effective rate of the clock to be changed automatically at dusk or dawn - to reflect the different length of the hour for each. Naturally, as the seasons developed, the beat rate for each foliot needed to be updated on a regular basis; this was usually undertaken by a local clockmaker who would adjust the position of the cursor weights on each foliot. Technologically Japanese lantern clocks generally reflect the early European models that were imported during the late 16th century, with the basic design and form remaining essentially the same throughout the Edo period (1603-1868). This apparent lack of technological development within Japanese clockmaking was due in part to the fact that the state was essentially closed-off to outsiders whilst under the control of the Shogun. Also during this time Japan was predominantly an agricultural society which meant that accuracy in timekeeping was simply not required, hence there was no need to improve the technology (which would have been extremely difficult within the system of unequal temporal hours). Ultimately during the subsequent Meiji period Japan adopted the Western system of equal hours (in 1872) which rendered the double-foliot system obsolete. The current lot is a fine example of a fully developed double-foliot Kake-Dokei complete with alarm and calendar dating probably to shortly after 1850. The movement is finely executed and the case confidently engraved. Technologically it presents as a fascinating insight into traditional Japanese clockmaking and strongly reflects the crafts 16th century European roots.

A limited edition photolithographic reproduction of a phase II Roman striking table clock by Joseph Knibb David Penny, 1981 With Clockmakers' Company 350th year commemorative blindstamp, signed and numbered 165/250 in pencil to lower left corner, framed and glazed, 37cm (14.5ins) x 58cm (22.75ins) approx. to mount.

An American lacquered brass and electro-copper four glass table clock, Ansonia, New York, rococo style urn finial and with Rococo scroll appliques, ivorine chapter ring with Arabic numerals, visible escapement, cylinder movement with a faux mercury compensated pendulum, striking on a gong, 39cm.

Vienna wall clock, table linen, brass companion set and pair of chamber sticks, copper kettle and needlework picture