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A Black Forest carved wood cuckoo table clock, late 19th century, the skeletonised movement with fusee for the going train and barrel for the strike train operating the cuckoo automaton who announces the hour and half hour via a door to the gable of the case, the dial with white Roman numerals and pierced faux bone hands in a gabled case with pierced Gothic pendant decoration to pediment and conforming shaped gallery to the blind fret panel inset stepped base incorporating bracket feet with shaped apron between, 53cm (21ins) high

"German Art Deco oak cased chiming clock made by Mauthe, another similar clock and an Art Deco fan shaped easel table mirror (3)"

A travelling vanity case with contents of ebony dressing table items and chromed jars, together with a small attaché case and contents to include Havana cigars, costume jewellery, travelling clock, match boxes, two pocket watches, cigarette lighter in the form of a shell case, a Festival of Britain 1951 medallion, a Crystal Palace Electrical Exhibition 1892 medallion, a small jewellery box with various contents, etc

18th Century brass mounted ebonised cased table clock by Fromanteel & Clarke, matted brass dial with silvered chapter ring having Roman and Arabic numerals, cast angel spandrels, calendar aperture and mock pendulum, signature to the chapter ring, fusee movement striking on seven bells, back plate engraved with scrolls and flowers and bearing signature Fromanteel & Clarke, ebonised case with embossed and pierced top section decorated with classical figures and portraits, four pineapple finials and standing on turned brass feet, 41.5cm high with handle raised

A GEORGE III MAHOGANY TABLE CLOCK, the arched painted Roman dial signed Hatton & Harris, Cornhill, London, with strike/silent to the arch, the twin train fuseé movement with anchor escapement and bell strike, the back plate also signed and with engraved border and matching pendulum bob, the break arch case with pad top and swing handle over brass fish scale side frets and glazed door, raised on brass ball feet, 15 1/4" high

A 19TH CENTURY BURR WALNUT VENEERED TABLE CLOCK CASE with arched glazed door and applied scroll mouldings, 21" high

A 19TH CENTURY MAHOGANY TABLE CLOCK CASE of plain moulded rectangular form, having an arched glazed door and twin pierced brass oak leaf and acorn side frets, 19 ½" high

A 19TH CENTURY ROSEWOOD TABLE CLOCK, having a Roman dial inscribed Bennett, 65 Cheapside, London, with twin train fuseé movement and bell strike, the case with foliate scroll moulded arched top over an inset panel and metal side frets, skirt base and bun feet, 17 ¾" high

AN EARLY 20TH CENTURY MAHOGANY TABLE CLOCK, the silvered dial with two chapter rings having Roman and Arabic numerals and three train German chiming movement, the break arch case with boxwood stringing, twin metal side frets and skirt base raised on brass ogee bracket feet, 18 ½" high

AN EARLY 20TH CENTURY MAHOGANY TABLE CLOCK, the convex silvered dial with Arabic numerals inscribed Sedman, Scarborough, and ting-tang Winterhalder & Hoffmeier movement, the arched case with twin inset panels, skirt base and brass ogee bracket feet, 14" high

A 19TH CENTURY FRENCH POLISHED SLATE AND ORMOLU TABLE CLOCK by F. Barbedienne, Paris, the black dial with applied gilt Roman numerals and twin train movement with bell strike, the under-slung works beneath a flat top mounted with a classical lidded urn of fluted form with twin open handles and swag decoration, the whole raised on foliate decorated feet (the dial, ormolu and movement signed), 26" high

AN EARLY 20TH CENTURY GERMAN WALNUT TABLE CLOCK, the arched gilt dial with silvered Roman chapter ring with Arabic five minutes, matted centre and slow/fast ring above, flanked by scroll mounts, the twin train Winterhalder & Hofmeier movement striking the hours and quarters on two coiled gongs, the case with raised arched top over half column sides and moulded base, 15" high

An Ebonised and Brass Inlaid Striking Table Clock, signed Perigal & Duterrau, London, circa 1820, the lancet top case with brass inlaid front, side sound frets and lion mask carrying handles, raised upon brass ball feet, 7-inch circular painted dial with Roman numerals, twin fusee movement with anchor escapement and striking on a bell, backplate signed and engraved to the borders, secured by brackets, 41cm high

A Mahogany Inlaid Striking Table Clock, circa 1890, the arched top with brass ball finials, pierced wooden side frets, brass stop fluted corners, inlaid stringing and butterfly to the front, raised on brass ball feet, 5-3/4-inch silvered dial with Roman numerals, fast/slow adjustment above 12, twin fusee movement with anchor escapement and striking on a gong, 50cm high

A Small Mahogany Inlaid Chiming Table Clock, retailed by Elkington, circa 1900, the arched case with inlaid stringing and scroll decoration to the canted corners and base, pierced side sound frets, silvered presentation plaque to the front door The Carnegie Hero Fund Trust for the heroic endeavour to save human life at the Old Fold Pit, felling on October 31st 1911 To James Frederick Booth, signed 5-inch arched silvered dial with applied Arabic numerals and three dials for chime/silent, St Michael/Westminster, fast/slow selections, engraved to the corners with floral decoration, triple fusee movement with anchor escapement, quarter chiming with eight hammers striking eight gongs and a further hammer striking a larger gong for the hours, secured by brackets, 33.5cm high

A Mahogany Striking Table Clock, signed Jno Parker, London, the single pad top arched case with carrying handle, pierced side sound frets, moulded rectangular base, 7-inch arched silvered dial with Roman numerals, the arch with strike/silent selection (now detached), twin fusee movement with anchor escapement and rack striking on a bell, backplate with highly elaborate scroll engraving throughout and signed, 37cm high

An Oak Chiming Table Clock, signed Lund & Blockley, To The Queen, Pall Mall, London, 2/814, circa 1870, the arched case with applied metal mounts to the front, pierced side sound frets, rectangular base raised on block feet, signed 8-inch silvered dial with Roman numerals, engraved scroll decoration to the corners, the arch with subsidiary dials for fast/slow and chime/silent, triple fusee movement with anchor escapement, eight hammers chiming onto a nest of eight bells and a further hammer striking a gong for the hours, backplate signed and secured by brackets, 49cm high

A Burr Walnut Striking Table Clock, the arched veneered case with side carrying handles and sound frets, inlaid stringing to the front and raised on brass ball feet, 9-inch circular painted dial with Roman numerals, twin fusee movement with anchor escapement and striking on a bell, dial and movement later, 47cm high

A 19th Century Rosewood Striking Table Clock, the chamfered top with pineapple finial, side carrying handles and sound frets, recessed panels to the front with brass inlay and mounts, raised on brass ball feet, 6-inch silvered dial with Roman numerals, twin fusee movement with anchor escapement and striking on a bell, 41cm high

A Rosewood Chiming Table Clock, signed Martin, Baskett & Martin, Cheltenham, circa 1860, the Gothic style case with arched top and single finial, pierced side sound frets, signed 8-1/2-inch one piece silvered dial with Roman numerals, the arch with strike/silent selection, triple fusee movement with anchor escapement and quarter striking eight hammers onto a nest of eight bells, a further hammer striking a gong for the hours, backplate signed and secured by brackets, 73cm high, together with matching wall bracket

A Regency Rosewood Striking Table Clock, surmounted by a pineapple finial, side carrying handles and sound frets, recessed panels to the front and brass mounts, raised on brass ball feet, indistinctly signed 8-inch painted dial with Roman numerals, twin fusee movement with anchor escapement and striking on a bell, secured by brackets, 50cm high

A Good George III Mahogany and Gilt Metal Mounted Striking Table Clock, signed Thos Pace, London, circa 1790, the inverted bell top with urn shaped finials, side carrying handles and mask and scroll gilt metal sound frets, mask and floral mounted front canted corners, raised on scroll feet, pull repeat cord to the underside, signed 8-inch arched brass dial with a central circular silvered dial with Roman and Arabic numerals, date aperture, the arch with strike/silent selection, twin fusee movement with verge escapement and striking on a bell, backplate finely engraved with floral and scroll decoration, secured by brackets, seatboard inscribed with an old label, 60cm high Thomas Pace, a fine clockmaker, is recorded working at Whitechapel, London 1784-1825. He has a lever pocket watch in the Guildhall Museum. See Baillie (GH) Watchmakers & Clockmakers of the World, pg.241.

A Fine George III Mahogany Brass Mounted Striking Table Clock, signed Yeldrae Norton for (Eardley Norton), London, No.1381, circa 1760, the inverted bell top with carrying handle, four foliate urn finials, glazed side viewing windows and pull repeat cord, front canted corners with applied mask and floral brass mounts, moulded base raised on ogee bracket feet, 7-inch arched brass dial with silvered Roman and Arabic chapter ring, signed matted dial centre with date aperture and numbered on a silvered recessed plaque, the arch with strike/silent selection, twin fusee movement with verge escapement and striking on a bell, bob pendulum, backplate with engraved scroll work and numbered 1381, also stamped to the side of the movement edge, secured with brackets, 51cm high Eardley Norton is recorded as a maker of great repute and was working from 49 St.John Street, Clerkenwell in the mid 18th century. He was free of the Clockmakers Company from 1770-1794. In 1771 he patented a striking mechanism and many of his clocks and watches are in major collections and museums around the world today.

A Fine and Rare George II Ebonised Pull Quarter Repeating Alarm Table Clock with Unusual Dial Display, signed William Scafe, London, circa 1730, the inverted bell top with acorn finials, side carrying handles and pierced wood sound frets, pull repeat cord, raised on block feet, 8-1/2-inch arched brass dial with Roman and Arabic silvered chapter ring, matted dial centre with alarm dial and mock pendulum aperture, the arch with silvered plaque with strike/silent selection and signed corresponding hand, date subsidiary dial and engraved sunburst decoration to the dial plate, twin fusee movement with verge escapement, quarter striking four hammers onto a nest of four bells and a further hammer striking a bell for the hours, backplate displaying two racks and engraved throughout with mask, bird and scroll decoration and signed to the centre, secured by brackets, 55cm high William Scafe is recorded as a maker of repute, who worked at King Street, Guildhall, London in 1721, and was Master of the Clockmakers Company 1749-64. He is best known for the distinctive design to his dials and workmanship. See Baillie (GH) Watchmakers & Clockmakers of the World, pg.283. A very similar table clock is illustrated in Barder (Richard CR) The Georgian Bracket Clock 1714-1830, pg.52.

An Art Deco Shagreen and Ivory Veneered Table Clock, the shaped case on a stepped base, with circular French silvered dial and movement, rosewood carcase, 16.5cm

Household effects to include mantel clock, rack plates, toys, books and table lamps.

Miss Joan Spence was born in Kobe in Japan, where her father, and possibly grandfather, were importers/exporters. Joan was keen on sports, influenced by her father who introduced golf and rugby to Kobe, and several trophies that she won are in the sale. Her mother was a collector and bought largely blue and white Arita wares, mostly from the first half of the nineteenth century - and used them. Shortly before Japan`s bombing of Pearl Harbour on 7 December 1941, all aliens were obliged to leave with immediate effect taking only one packing case with them. With the help of their Korean driver and her father`s contacts, Joan and her mother managed to escape with eight cases on the Empress of Asia to Vancouver. When Joan inherited the collection, she continued the practice of using the porcelain. She married Mr Ronnie Day. On 28 June 1990, at the Hexham Antiques Roadshow, Mrs Day came to my table and unpacked a Japanese plate of a type then identified as Kakiemon, now Arita, Kakiemon type. She had two others and I decided she should be recorded. As each plate was produced and valued, Joan (as I came to call her) announced she had five, eight, ten more. Over the years I visited her, photographed the collection and got to know her well. She was one of a kind. Curiously, her biological clock had stuck on Kobe time and she was never available before midday. Odd pieces were given away, but the collection is largely as it left Japan in 1941. The blue and white was Japanese domestic ware, not exported, and is therefore rarely encountered in the West. Most of it is well executed and very decorative, and, dare one say it, usable. David Battie JAPANESE BLUE AND WHITE PORCELAIN, EIGHTEENTH/NINETEENTH CENTURY To avoid repetition, the following lots are all understood to be Japanese Arita porcelain dating from the 18th or 19th centuries, and painted in underglaze blue unless otherwise stated. Six small Dishes, of oval section, painted with rakes and ju, 14.4cm (6)

A box of miscellaneous items to include a mid 20th century clock garniture in the Art Deco taste, a set of green pressed glass dressing table items, and a Myott, Son & Co. pottery jug

Three boxes of decorative items including a plated candelabra, two table lamps, wall clock, oval mirror, picnic set, etc.

A retro Imhof gilt metal dressing table clock

A Must de Cartier boxed bedside table clock

Boxed fish servers, canteen of cutlery, oak mantle clock and a card table (4)

A George V Silver Dressing Table Swing Clock having engine turned decoration (1 support screw missing) on oval base, Birmingham 1930, 10cm high

Group of Halcyon Days enamel boxes including a backgammon table and Millennium pocket travel clock (5)

An Art Deco marble table mirror, carved with two budgerigars, and a Temco chrome mantel clock.

LATE VICTORIAN GILDED CAST METAL TABLE CLOCK the white enamel circular dial with coloured floral designs and numbers in black, over a porcelain panel depicting cherubs, 30.5cm high

* CARTIER - a small table clock in the form of two leather bound books. The spine of each book with gilt name CARTIER. 11cm high.

Two boxes inc. table top milk churn, carriage clock etc

Silver mounted dressing table wares, comprising; a hand mirror, a hairbrush and two clothes brushes, the mounts decorated with floral swags and with tied bows, Birmingham 1915 & 1916, a silver mounted clock frame, a comb mount, a plated metal mounted four piece dressing set, six mostly European small brushes and a nail buffer.

An early 20th century figural ceramic clock, possibly Sitzendorf, with chiming clock movement, together with a ceramic figural table lamp encrusted with flowers, 40cm high.

An Edwardian cocquillage inset two handled mahogany gallery tray, now fitted as an occasional table, 61cm (24in) wide, together with a George II style kettle stand and a balloon clock

A Danish studio pottery table lamp, a Smith Bakelite electric mantle clock, another similar clock, a wall mounting mahogany cased barometer and other items including: a walnut writing slope.

A cuckoo clock, butter dish and cover, planter, cased cutlery, table lamp, plated pedestal dish etc.

An oversize ormolu mounted mahogany cased fusee movement 8-day chiming table clock, presented in the anglo-indian style, chiming on eight bells, eight gongs to westminster chimes sounding the quaters. 81cm high.

An early 20th Century travelling or table clock of diamond-shaped form by C.F. Hancock, 39 Bruton Street London. The gilt metal case engraved with acanthus leaves enclosing the silvered dial with similar foliate decoration and Roman numeralled chapter ring, complete with fitted case, 10.5cm high.

AN EARLY 20TH CENTURY TABLE TIMEPIECE, by the British United Clock Company, modelled as a miniature longcase clock with a boulle style and gilt metal case, the enamelled two-part dial with Arabic numerals, spring wind movement, 26.5cm high

A French metal mantel clock with pendulum, German pierced top table and chair, green rococo style sofa and a Dresden type porcelain girl with a lace skirt. c1900

A novelty 1950s table watch in the shape of a globe, a 20thC Mystery clock designed as a bird in a cage, another similar, a modern brass lantern clock, a clock in the shape of a guitar and four other novelty clocks. (9).

A selection of brass longcase, table and bracket clock case mount castings, 17th/18th century design, mid to late 20th century. Including a pair of early pattern Corinthian column capitals and bases, festoon swag and other longcase hood mounts, Knibb and Tompion pattern table clock mounts and a small quantity of other related items.

An impressive French engraved gilt brass Renaissance style table clock, Planchon, Paris, late 19th century. The eight-day two train gong striking movement with VINCENTI & Cie, MEDAILLE D`AGANT 1855 medallion and stamped PLANCHON, PALAIS-ROYAL to backplate, the dial with demi-lune aperture painted with sun opposing a moon on a 24 hour disc so that each in-turn act as the hour hand against the engraved Roman numerals to the arch of the aperture, within raised silvered minute ring with steel hand applied with brass solar mask, the case modelled as an oversized German Renaissance `Turmchenuhr` with spire finials and fishscale engraved cast ogee shaped cupola to the double galleried tower upstand within further baluster arcade with conforming corner finials, the front engraved with flowering foliage within an arch with cloud infill around minute ring, the angles applied with baluster three-quarter pilasters with foliate capitals and bases on two-tier plinths, the left hand side engraved with a sunburst decorated mock quadrant sundial scale above fine recessed stylised dolphin and foliate scroll decorated panel and strapwork cast mount bearing date 1554, the right hand side engraved with an allegorical figure dressed in Renaissance style armour looking into a solar disc within an arch, with conforming recessed engraved panel and strapwork mount relief cast Planchon, Palais-Royal beneath, the rear with rectangular door, 65cm high. Matieu Planchon was apprenticed to his father and subsequently worked for several of the leading French makers including Robert Houdin prior to setting up business at Palais Royal, Paris in 1890. He specialised in high-end novelty clocks such as floating turtle timepieces, and imaginative recreations of Renaissance and other historic models. The current lot demonstrates his high quality approach in both attention to detail of the design and in the execution, the scale of the clock is also perhaps suggestive of an object made for exhibition.

An unusual small brass mounted table clock with rocking figure automaton, Now bearing signature for Vulliamy, London, basically early 19th century. The five pillar twin fusee bell striking movement with anchor escapement and shouldered plates, the pallet arbor fitted with an arm applied with a pivoted figure of a seaman who `dances` within a crescent shaped scene of sailors playing instruments and dancing on the deck of a ship, the 6 inch cream painted convex Roman numeral dial now bearing signature VULLIAMY, LONDON to centre and now in a single pad top break-arch case with brass carrying handle above brass fillet bordered crescent aperture for the automaton and glazed circular glass bezel for the dial, the sides with arched brass fishscale sound frets, on moulded skirt base with brass claw and ball feet, 36cm (14ins) high excluding handle.

An Austrian ebonised miniature grande sonnerie table clock, Joseph Bauer, Debretzin, late 18th century. The short-duration triple train movement with verge escapement striking the quarters on a bell and sounding the hour every quarter on a larger bell, the 3.5 inch brass break-arch dial with false bob aperture to the foliate scroll engraved centre within applied Roman numeral chapter ring with lozenge half hour markers, arcaded minute ring and Arabic five minutes to outer track, the angles with scroll cast spandrels beneath arch centred with a domed boss signed Joseph Bauer, Debretzin within conforming engraved infill, the inverted bell-top case with cast brass putto surmount and vase finials above engraved brass foliate frets to the upper quadrants of the giltwood mounted front door, the sides with conforming lozenge shaped frets over break-arch side windows, on moulded base with brass paw feet, the clock 26cm high (10.25ins) high, 29.5cm (11.75) ins high including surmount.

A German Baroque small giltwood timepiece `prunkuhr`, Elias Weckherlin, Augsburg, late 17th century. The short duration four back-pinned pillar chain fusee movement and verge escapement elevated on an extended section of the frontplate to allow correct positioning of the front swinging pendulum, the backplate with iron motionwork to facilitate winding through the dial via the centre arbor and elaborate foliate engraved and pierced cock for mainspring set-up ratchet, the upper margin signed Elias Weckherlin, Augusta, the 9 x 6.5in gilt copper dial with arcadian landscape engraved dial centre within applied brass Roman numeral chapter ring with calendar to the inside edge, the upper and lower sections of the dial engraved with flowering blooms and with pendulum pivoted on a cock with fine foliate pierced and engraved foot to upper margin, the movement fitted via the dial into a box-form inner case with sliding rear door retained via side screws into the further outer case with glazed front door, elaborate crest and scroll carved side sections, on wide cavetto moulded base with disc feet, 39cm (15.5ins) high. Elias Weckherlin is recorded in Britten Former clock and watch makers as working in Augsburg 1646-88 where it also noted that watches by him are in the British Museum, Frankel, Ilbert and Damiano collections. The current lot demonstrates a relatively early approach to the application of the pendulum in German clockmaking with the movement bearing some similarities to the earliest pendulum clocks. The position of the pendulum itself, at the front of the clock, has a practical application by being easier to start, this coupled with the innovation of the centre arbor being a winding square makes the short duration nature of the timepiece easier to live with. Further features such as the winding motionwork and elaborate foliate pierced and engraved cock for the spring set-up ratchet on the backplate (which is reminiscent of features seen on Augsburg horizontal table clocks of this and earlier periods) identifies the current lot as an interesting, early regional variation of the spring driven table clock. A similar timepiece by Marcus Bohm, Augsburg in an ebonised case was sold at Christie`s Amsterdam sale of The P.C. Spaans Collection of Important Clocks 19th December 2007 lot 419.

A Germanic gilt brass small hexagonl horizontal table clock with alarm, C.L. Leysaht, Zittau, early 18th century. The six pillar rack and bell striking movement with fusee and verge escapement regulated by a monometallic sprung balance to going train, the strike train with standing barrel and sounding on a bell mounted within the base of the case, the alarm train with further standing barrel and verge operated hammer on the same bell, the backplate with foliate scroll pierced balance bridge, silvered regulation dial and signed C L Lesaht, Zittau to one edge, the dial with pewter alarm setting disc within conforming applied 3 inch Roman numeral chapter ring with Arabic five minutes to outer track, with steel beetle-and-poker hands, the horizontal case with caddy moulded dial surround above glazed sides divided by line-engraved pilasters to angles, on cavetto moulded base with six disc turned feet, (strike train with replacements), 10cm (4ins) wide.

A George III brass mounted quarter chiming table clock, Daniel De St. Leu, London circa 1765. The six pillar triple fusee movement with verge escapement, chiming the quarters on a nest of eight graduated bells and striking the hour on a further bell, the backplate signed Dan:l De St. Leu, Watchmaker to her Majesty, London beneath an engraved basket of flowers within fine profuse foliate engraved infill, the 8 inch brass break-arch dial with calendar aperture and arched recessed silvered plaque with repeat signature to the matted centre within an applied silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers and Arabic five minutes, the angles with foliate scroll cast spandrels beneath star-centred subsidiary Strike/Silent dial flanked by conforming mounts to arch, with a distressed bell-top case with unusual martial trophy cast mounts to the front canted angles and with brass handles above foliate scroll cast pierced arched sound frets to sides, on moulded base with scroll cast brass feet (case distressed incomplete and with other faults), 53cm (21ins) high. Daniel De St. Leu is recorded in Baillie G.H. Watchmakers & Clockmakers of the World as working in London 1753-97. He was appointed Watchmaker to the Queen in 1765 and made many clocks for export including a very fine silver mounted table clock for the Spanish Court.

A fine George II mahogany table clock with pull quarter repeat and carved mouldings. Delander, London, circa 1730. The six pillar bell striking movement with rise/fall regulation for the verge escapement and pull quarter repeat on a nest of six graduated bells, the backplate boldly signed Delander, London to centre, the 6.5 inch brass break-arch dial with false bob aperture and arched cartouche further signed Delander, London to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track, the angles applied with unusual basket of flowers and scroll cast spandrels, the arch with subsidiary regulation dial flanked by Indian mask and scroll cast mounts, the inverted bell-top top case with cast brass handle above ribbon tied foliate carved raised mouldings bordering the front door aperture flanked by egg-and-dart decorated caddy-moulded angles, the sides with conforming raised mouldings to the circular over concave-topped apertures, the rear door with break-arch window and remnants of the original foliate pierced sound frets to upper quadrants, on cavetto moulded base with squab feet, (case with some losses to veneers, lacking pendulum), 42cm (16.5ins) high. Daniel Delander was apprenticed to Charles Halstead in 1692, although possibly in name only (in order to circumvent the Clockmakers` Company rules regarding number of apprentices allowed) as he was known to be working in Tompion`s workshop in 1693. Delander gained his Freedom in 1699 and continued for a few years working as journeyman with Tompion. He subsequently set up on his own working from Devereux Court before moving to `within Temple Bar`, Fleet Street from where he is thought to have worked until his death in 1733. Daniel Delander was succeeded by his son, Nathaniel who gained his Freedom of the Clockmakers` Company in 1721, he is recorded working from Fleet Street and later Royal Exchange, was appointed Master of the Clockmakers` Company in 1747 and died 1762. The working relationship between Daniel and Nathaniel Dalender appears to be unknown except for the fact that Nathaniel succeeded his father in 1733, however it is possible that they worked in partnership during the latter years of Daniel`s career, hence why many of the clocks from this period are signed with the surname only. Daniel Delander`s work often demonstrates his former Master`s influence in particular the consideration given to the proportions and detail finish as well as the workmanship and specification of the movements. Delander was never one to let fashion overtake him, always being at the cutting edge with regards to design and use of materials. He is perhaps best known for his exquisite small walnut precision longcase clocks with duplex escapements made during the 1720`s as well as the silver mounted grande sonnerie table clock formerly in the Rous Lench Collection which is illustrated in Dawson, Percy G., Drover, C.B., and Parkes, D.W. Early English Clocks on page 411. The current lot, with its carved mouldings, can be directly compared to another example by Delander sold at Phillips, New Bond Street, Clocks and Watches 17/12/1996 lot 174. These two clocks differ in that the example sold at Phillips is veneered in walnut (but is of exactly the same proportions with the same pattern of carved mouldings) and has silver spandrels of a pattern used on earlier clocks by Delander. This suggests that the current lot is marginally later in date, perhaps dating to very shortly after the import duty for mahogany was lifted in 1727. A third, perhaps marginally later again, mahogany cased clock from the Delander workshop was sold at Christie`s, London Important Clocks and Watches 4/07/1990 which shares the same proportions and specification (including a backplate with signature on a plain background) but has simpler linear raised mouldings. The restrained approach to the movement backplate, which is plain except for a finely scripted signature, demonstrates the influence of Tompion`s successor, George Graham who shared Delander`s refined confident approach.

A George III ebonised table clock, John Fladgate, London, circa 1775. The six-pillar twin fusee bell striking movement with rise/fall regulation and lenticular-bob pendulum for the verge escapement and signed Jno. Fladgate, London to the foliate scroll engraved backplate applied with pendulum holdfast clamp to centre, the 6 inch brass break-arch dial with matted centre and blued steel hands within applied silvered Roman numeral chapter ring with Arabic five minutes to outer track and with rococo scroll cast spandrels to angles, the arch with subsidiary regulation dial flanked by conforming mounts, in an inverted bell top case with brass carrying handle and pineapple finials above foliate pierced upper quadrant frets and raised mouldings flanked by caddy moulded angles to front door, the sides with circular over concave-topped rectangular side windows, on moulded base with brass bracket feet, 41cm (16ins) high. John Fladgate is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as admitted to the Clockmakers` Company in 1743 and first working in partnership with Richard Wilder until the firm was dissolved in 1775. Fladgate subsequently worked alone until his death in 1781 with the business continued by his widow until 1793.

A George III brass mounted mahogany quarter chiming musical table clock, John Taylor, London, circa 1800. The substantial six pillar triple fusee movement chiming a choice of two phrases for the quarters on eight bells and completing the tune on the hour, the backplate signed John Taylor, London to an engraved oval cartouche, the 8 inch gilt brass break-arch dial plate applied with silvered circular Roman numeral dial with subsidiary calendar dial to centre, within finely chased wreath and foliate trail applied spandrels, the arch with subsidiary Chime/not Chime and Dance/Jig tune selection dials flanking shaped recessed silvered plate with repeat signature, the break-arch case with brass ball finials and foliate pierced frets to the concave sided upstand above conforming crescent-shaped fret to the brass fillet inset front door, flanked by stop-fluted columns to front angles and hinged handles above arched fishscale sound frets to sides, on moulded plinth base with brass bracket feet, (escapement with alteration), 66cm (28ins) high. Several makers with the name John Taylor are recorded working in London during the late 18th and early 19th centuries, however the most likely maker of the current lot is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as being admitted to the Clockmakers` Company in 1796 and may be the same maker who is subsequently listed as working from Clerkenwell 1805-24.

A Charles II style ebonised table clock, Stewart Newnham, Cuckfield, mid 20th century. The four pillar twin fusee bell striking movement with anchor escapement and 7 inch square brass dial with matted centre within an applied silvered Roman numeral chapter ring with cruciform half hour markers, Arabic five minutes within the outer track and signed Stuart Newham, CUCKFIELD to lower edge, the case with scroll cast hinged carrying handle to the domed caddy applied with foliate mounts, the front door with sound fret to upper rail and cast escutcheons, the sides and rear door with rectangular glazed panels, on moulded base with brass disc feet, 30cm (12ins) high excluding handle.

An important Charles II walnut table clock, John Wise, London 1675-80. The substantial seven double-baluster turned latched pillar twin fusee movement with bolt-and-shutter maintaining power and striking on a bell mounted above the 9 x 6 inch movement plates via an outside countwheel and vertically pivoted hammer with fine scroll engraved `S` shaped top pivot potance, the large spring barrels with substantial blued steel turned set-up wheels and clicks mounted on the backplate with engraved John Wise, Londini fecit signature between, the 9 inch square gilt brass latched dial with calendar aperture and shutters engraved with male and female profile portraits to the finely matted centre within applied silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers and Arabic five minutes within the outer minute track, with scroll pierced blued steel hands and the angles applied with gilt winged cherub head cast spandrels with bolt-and-shutter lever slot between the lower two, the case of Knibb `phase I` design with foliate cast gilt hinged handle to the shallow dome above foliate scroll pierced fret to the upper rail of the front door, the sides with rectangular glazed apertures, on moulded base with later brass squab feet, (now with anchor escapement and later movement securing brackets), 37cm (14.5ins) high. Provenance: the property of a Gentleman, Oxfordshire. The current lot is a `family` piece which to the vendor`s knowledge has been in been in the family collection for as long as anyone can recall (at least three generations). John Wise senior is recorded in Loomes, Brian The Early CLOCKMAKERS of Great Britain as born circa 1625 and apprenticed to Peter Closon through T. 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 is thought to have been working from `neere the popeshead in Moorfields` in the year of his death in 1693. Although several early longcase and lantern clocks by John Wise senior are known, table clocks however appear to be extremely rare. Perhaps the best known example is an unusual single-handed timepiece is illustrated in Darken, Jeff HOROLOGICAL MASTERWORKS pages 82-3. Despite obvious differences, this timepiece does share some similarities with the current lot, for example the wheel-work has the same finned-collet design and the stopwork has the same pronounced disc cam to the fusee. The case also utilises the same highly individual casting for the carrying handle albeit in a more complete form. The movement of the current lot is of notably substantial construction, which although in itself is not particularly unusual for the period is noteworthy. The detail design and layout of the movement is perhaps more interesting in the way that it does not immediately conform with the prevalent Fromanteel/Tompion/Knibb and East/Jones schools of clockmaking. The backplate layout with its external clicks, positioning of the countwheel, and the way in which the movement is signed is perhaps more similar to a movement by Matthew Crockford (with altered dial and associated architectural case) which was sold at Sotheby`s London Important Clocks.. 13/10/1988, lot 211. The Crockford movement also shares the same number of movement pillars, has maintaining power, calendar aperture and is of similar dimensions. The double baluster movement pillars used on the current lot are similar in weight and detail to the single baluster design used by Edward East (see Dawson, Percy G., Drover, C.B. & Parkes, D.W. Early English Clocks page 86, plate 106) but differ by being doubled to compensate for the greater relative distance between the plates. The vertically pivoted hammer used on the current lot is an unusual, perhaps archaic detail. The case very closely resembles those used by Joseph Knibb for his `phase I` clocks and can be directly compared to an example illustrated in Dawson, Percy G., Drover, C.B. & Parkes, D.W. Early English Clocks page 418, plate 596.