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A George III mahogany table clock, John Waldron, London, circa 1760. The five-pillar twin fusee bell-striking movement with verge escapement, hour trip-repeat and delicate foliate-scroll engraved backplate, the 8 inch square single-sheet silvered Roman numeral dial (viewed through a brass-bezel lined 7.5 inch circular aperture to the front door) with calendar aperture, blued steel hands and signed John Waldron, Cornhill, London to centre, with Arabic five minutes and Strike/Silent switch at 12 o'clock, the mahogany bell top case with brass carrying handle above circular brass-bezel applied quarter veneered front door and rectangular side windows, on mounded base with brass ogee bracket feet, 43cm high excluding handle. Provenance: The property of a private collector. John Waldron is recorded as working in Cornhill 1765-82. The design of the current lot with the circular aperture in the front door only revealing the central section of the square dial was first introduced by John Ellicott in around 1760. The above description should be read in conjunction with IMPORTANT NOTES REGARDING THE CATALOGUING OF CLOCKS printed in the sale catalogue. Visit www.dnfa.com for condition reports.

Thomas Tompion, London, an important William and Mary eight-day longcase clock in a 'mulberry' veneered case, number 253, circa 1695. The fully-latched five knopped and finned pillar inside countwheel bell-striking movement with anchor escapement, bolt-and-shutter maintaining power and long crutch, the backplate cut with an aperture for the anchor pallets and punch-stamped 253 to the centre of the lower edge, the 11 inch square brass dial with subsidiary seconds dial and calendar aperture with pin-hole adjustment to the finely matted centre within an applied silvered Roman numeral chapter ring with cruciform half-hour markers and Arabic five minutes to the narrow outer track, with fine pierced blued-steel hands and angles applied with winged cherub mask and scroll cast spandrels with foliate engraved infill between, maintaining power lever at 2 o'clock and signed Tho: Tompion, Londini fecit to lower edge, in a stained field maple ('mulberry') veneered case with moulded cornice and foliate pierced fret above rectangular side windows and plain integral pilasters to hood, the trunk with convex throat moulding and 42 inch rectangular door with brass edged circular lenticle, each side divided by fine narrow ebony and box triple-line inlay into two panels, the base with conforming border, on a later mounded skirt, case with some restoration, 203cm high. Thomas Tompion has often been referred to as the 'father of English clockmaking'. When considering the legacy of his work and influence on subsequent generations of clockmakers, such a compliment is justly deserved. Born in Ickwell, Suffolk in 1639 Thomas Tompion appears to have developed an affinity for metalworking from his father, also named Thomas, who worked as a blacksmith. By 1670 Tompion had moved to London and had become involved in the clockmaking trade. Although there is no record of his apprenticeship or whether he had received any formal training prior to moving to London, he quickly became established, becoming Free of the Clockmakers Company in 1674. His early clocks demonstrate a close working relationship with the Fromanteel, East and Knibb workshops. Around this time Tompion became friendly with the eminent mathematicians and scientists Jonas Moore and Robert Hooke, perhaps the most progressive and inventive minds of the day. Such associations led to Royal commissions, firstly from Charles II for whom Tompion is known to have made one of the earliest balance-spring watches in 1676, and later William III who ordered numerous clocks to furnish his various palaces throughout his reign. As well as being an extremely talented artisan Tompion was also commercially minded, cleverly introducing serial numbering for his clocks in around 1682. This, as well as maintaining a high degree of refinement in both the construction and design of his clocks, ensured the highest level of exclusivity for clients purchasing examples from his workshop. By the 1690s his reputation was such that Tompion was receiving orders from all levels of European nobility. In around 1700 Tompion took a former apprentice, Edward Banger, into partnership however this arrangement came to an abrupt end in 1707-8 for reasons unknown. In 1711 a second partnership with George Graham was established who, in turn, inherited the business when Tompion died in 1713. Graham continued the business to the same exacting standards as his former master until his death in 1751. The current lot is numbered 253 which, according to Jeremy Evans (THOMAS TOMPION at the Dial and Three Crowns page 71), would date the movement and dial to around 1695. The movement, although of relatively standard specification, is very finely finished with details such as the fine wheelwork and exquisitely worked tail to the steel hammer spring being a delight to behold. The dial is a good example of Tompion's refined layout, with engraving almost certainly by 'G195'. The case exhibits details in design and construction commensurate with other examples supplied to Tompion by one of his many case makers at this time. Eight-day longcase clocks by Tompion are relatively rare with only ten known surviving examples numbered between 200 and 300 (compared to around 40 table clocks) dating approximately to the period 1692-8. Provenance: Acquired by Alfred Loader (Greiner) circa 1910, thence by descent. (Full provenance available in the printed catalogue). The above description should be read in conjunction with IMPORTANT NOTES REGARDING THE CATALOGUING OF CLOCKS printed in the sale catalogue. Visit www.dnfa.com for condition reports.

A fine George I quarter repeating ebonised table clock Thomas Hughes, London, circa 1725. The six knopped- pillar twin fusee bell-striking movement with verge escapement and pull-quarter repeat on a graduated nest of six bells, the backplate with original heart-shaped backcock and engraved with a ho-ho bird within symmetrical foliate scrolls and a herringbone border, the 8 inch brass break-arch dial with border-engraved calendar and false-bob apertures and shaped applied silvered nameplateThos. Hughes, LONDON to the matted centre, within an applied silvered Roman numeral chapter ring with diamond half hour markers and Arabic five minutes, with pierced blued- steel hands and female mask-and-scroll cast gilt spandrels to angles, the arch with silvered strike/silent ring flanked by conforming female sphinx cast mounts, the inverted bell top case with substantial brass handle and slender flambeau vase finials above blind fret infill and raised canted-angle corner panels to the break-arch frieze, gilt floral trail mounted canted angles and conforming break-arch windows to sides, on a double stepped and mounded base with squab feet, 51cm high excluding handle. Provenance: The propery of a private collector. Thomas Hughes is recorded in Baillie G. H.Watchmakers & Clockmakers of the World as becoming Free of the Clockmakers Company in 1712, Steward in 1730 and Master in 1742, he died in 1753. Thomas Hughes appears to have been a fine maker with noteworthy examples leaving his Broad Street Buildings workshop including a full Grande Sonnerie table clock only 25cm high -one of the smallest ever made. The current lot appears to have survived in very original condition retaining its original crown wheel escapement. The above description should be read in conjunction with IMPORTANT NOTES REGARDING THE CATALOGUING OF CLOCKS printed in the sale catalogue. Visit www.dnfa.com for condition reports.

A very fine Queen Anne brass mounted quarter-repeating ebony table clock, Richard Haughtin, London early 18th century. The five finned and knopped pillar twin fusee movement with verge escapement, rise/fall regulation and pull quarter repeat on six bells, the very unusual burnished gilt, foliate and herringbone-border engraved backplate with ho-ho bird above shaped reserve, signed Richard Haughtin, Fetter Lane, London to centre, the 7.5 inch gilt brass break-arch dial with ringed winding holes and herringbone border engraved calendar and false bob apertures to the matted centre within an applied Roman numeral chapter ring with stylised fleur de lys half hour markers and Arabic five minutes, with delicate pierced blued-steel hands and angles applied with finely cast female mask and drapery scroll spandrels with foliate engraved infill between, the arch with central gold damascened steel circular signature boss Richard Haughtin, Fetter Lane, London flanked by rosette engraved subsidiary regulation and Strike/Silent dials within a leafy scroll decorated burnished gilt field, the inverted bell-top case with gilt brass handle and foliate scroll pierced fret to the upstand flanked. by foliate cast finials, above brass lined break-arch windows to front, back and sides, the front door with fretwork infill to the upper quadrants and foliate cast brass escutcheons, on moulded base with cast brass squab feet, 47cm high excluding handle. Richard Haughtin was apprenticed to Peter Wise becoming Free of the Clockmakers Company in 1689. A fine maker with most clocks signed with his Fetter Lane address, the last known record of him dates to 1714. The current lot has many fine and rare features, these include very early use of the break-arch dial with extremely rare damascened steel signature boss, burnished gilding to both dial and movement (to the inside of the backplate and pillars as well as the engraved visible surfaces) and engraved decoration to backcock and rise/fall arm. This attention to detail coupled with the sophisticated dial layout and design of the case is reminiscent of the work of Daniel Quare (particularly whilst he was in partnership with Stephen Horseman). A clock of very similar specification and with gilded surfaces to the movement by Richard Vick is also known. The current lot confirms Haughtin's status as one of the finest makers of the period. The above description should be read in conjunction with IMPORTANT NOTES REGARDING THE CATALOGUING OF CLOCKS printed in the sale catalogue. Visit www.dnfa.com for condition reports.

Elizabeth II silver cased dressing table clock, Sheffield 1997, h. 20 cm

An Art Deco table clock with coloured mirrored backing and gilt metal chapter ring.

A circular bakelite occasional table, 33 1/2" diameter and a bakelite clock (2).

J. Radawski, Putawy, An early Polish table clock, the shaped square hinged gilt bronze case having a silvered chapter ring engraved with Roman hour numerals with the centre and corners engraved with floral decoration, having glazed sides enclosing a single fusee movement with engraved barrel, pierced and engraved backcock to the verge escapement and bell to the base, the backplate engraved with the maker's name 'Jirzy Radawski, Putawy, 1662' and having a pierced and engraved backcock with ruby endstone to the balance of the verge escapement, all raised on scroll feet, height 7cm, diameter 9cm square.

A novelty Marilyn Monroe electric table lamp, together with a pair of 19th century framed prints, oak footstool, black slate mantel clock, reproduction carved inro and two other items

An oak chiming table clock, Lenzkirch, German, circa 1900, 5.5'' dial with foliate spandrels, the oak case with gilt brass finials, term mounts on the canted corners and embellished throughout with further gilt mounts, 43 cm high.

A quantity of ceramics including a pair of Aynsley hexagonal porcelain table lamps decorated with birds and flowers, a Dresden bowl, two Halcyon Days enamel boxes, a glass salt, a Junghans Meister mantel clock, an alloy aeroplane model and sundry.

An early 19th Century japanned dressing table set, consisting of a ring box in the shape of a piano, a small clock, a calendar, brushes, glove stretchers, vaporizer etc.

A 19thC French bronze and ormolu table clock with female figure and bird adornments (AF).

Two circular brass table clocks and sundry clock cases, etc

An early 18th Century table clock movement by John Mitchell of London, the 7.5ins arched brass dial with silvered chapter ring with Roman and Arabic numerals, mock pendulum aperture and turned winding holes and date aperture, the arch with subsidiary calendar dial showing phases of the moon (not operative) to the two train movement now with anchor escapement and engraved back plate (formerly with verge escapement and quarter striking on two bells), contained in associated ebonised case with arched top, turned brass finials and folding brass loop handles, 19.5ins high Note : John Mitchell thought to be St. James Street, London, apprenticed to Jonathan Earles in 1712. Has repair mark to front plate dated 6th August 1735 - thought to have been converted about 1890. Note : Also bears label for S.J. Birt (Clockmaker), 21 Windmill Street, Brill, Buckinghamshire

Edwardian inlaid mahogany mantle clock by Barnby and Rust of Hull and a five piece green enamel dressing table set.

Wall mounted clock and barometer on mahogany plaque and two table lamps.

A 1930s blue pressed glass Coke Cola advertising table clock in the form of an umbrella

Interesting and probably unique scratch built fusee table clock, made by W. Turner, Clevedon, Somerset, the enlarged balance wheel escapement within a Perspex casing over an oak case housing a fusee movement and inset with a 2.25" dial, 13.5" wide

English mahogany single fusee table clock, the 6" white dial signed James Hind, London, within a foliate applied carved pillared case surmounted by a scrolled pediment, 14.5" high (part of cresting missing)

Chinese double fusee table clock, the movement striking on a bell, the 7.25" convex white dial within a foliate engraved gilt mask, the hardwood case supported upon an ornate pierced stand, 20.25" overall

Onyx-cased Table Clock, formed as a longcase clock, other Clocks, Lighters, etc.

A matched part silver dressing table set various dates, comprising, miniature clock, two cut glass bottles, two brushes, hand mirror and she horn; together with a small tortoiseshell lidded trinket box and a button hook (qty)

Two similar modern table lamps and a mantle clock

A PASSING STRIKE TABLE CLOCK in late 17th century style, the fusee movement striking on a bell, 6 1/2" square brass dial with silvered chapter ring having Roman and Arabic numerals, in walnut and ebonised oblong case, the caddy top with brass finials on square supports, pierced fret frieze on wrythen turned corner pilasters, moulded base and bun feet, late 19th/20th century, 19" high

AN EBONISED AND GILT METAL MOUNTED BASKET TOP TABLE CLOCK, 17TH Century, SAMUEL TINHAM, New Sarum, the 16cm (6.25") square brass dial with silvered chapter ring, Arabic five minute intervals, fleur de lys half hour markers, finely matted centre, date aperture and gilt winged cherub's mask spandrels, the five pillar, two train wire fusee movement with anchor escapement, rack striking on a bell, the back plate engraved with tulips and scrolling foliage and signed "Samuel Tinham, New Sarum fecit", the case with pierced basket top, pierced gilt brass side panels, the door with applied pierced gilt metal panels and with moulded plinth, 33cms high (with pendulum, crank winding key and case key) see illustration

A 1930's oak cased hall clock and an oak barley twist occasional table.

The British United Clock Co. Ltd. dressing table timepiece in ornate brass and glass case

Coloured and leaded glass clock with matching mirror, brass two branch table lamp, crystal dressing table set and other items

An Art Deco Table Lamp, the oval marble base mounted with a spelter deer, 18cms high, 27cms wide, Together with an Art Deco Clock, mounted on a black marble base with leaping deer, 14cms high, 24cms wide.

A Regency Mahogany Table Clock, with a double fusee movement striking on a gong, (coverted from bell strike), with shoulded plates with edgeline engraving, the circular convex cream dial with Roman chapter, measuring 20 cms diameter, with replacement blued steel hands, the shouldered oblong case with a caddy top, inlaid with brass banding, floral and drapery swags and foliate medallion, the sides with ring handles over silk lined metal grills, raised on ball feet, 56 cms high. * Note: Accompanied by a detailed description of the restoration work carried out in 1996, with the original hands and 1989 Insurance Valuation.

A Black Forest table cuckoo clock, late 19th century, the dial with bone hands and inlaid numerals, the oak case carved with birds and leaves, 44cm high

A mid twentieth century Jaeger Le Coultre table clock, the clear Perspex case containing gilt metal fish and foliage, skeleton movement, raised on a stepped gilt metal base, cased, 20cm high

A 19th century ebonised and gilt bronze chiming and repeating table clock by Charles Frodsham, with a triple fusee movement striking on a main bell and a further peel of eight, the backplate stamped 'Chas. Frodsham, 84 Strand, London, 1375,' with an 8 inch arched brass dial and silvered chapter ring, subsidiary Slow/Fast and Strike/Silent dials, flanking inscribed name plaque, the case with flaming urn finials, ribbon tied garlands, caryatids, masks and pierced side panels, a pair of side handles on scroll feet, the case stamped '14456,' the bell cast 'ID,' 27.5in (70cm) h; pendulum, door key

A table clock with an enamel dial in a silver and tortoiseshell case, by Charles & Richard Comyns, London 1920, of rectangular form with laurel border and pique decorated tortoiseshell front panel, 20 cm high to top of swing handle

Modern brass Carriage Clock, serpentine case, the dial with Roman numerals, decorated with a view of Chepstow Racecourse and an oak Table Barometer with an engraved back - "Presented to Major D.W. Murray-Smith by the Warrant Officers and Sergeants, Seventh Queen's Own Hussars, 27th May 1948".

A 19th century German mantle clock in an ebonised case, a walnut writing box, two further mantle clocks, and a small quantity of china and a dressing table set.

An enamelled silver table clock, The Magnus, by Archibald Knox, the case with pierced swing handle and enamelled ten silver and blue flower heads, the fused enamel dial with tempus fugit chapter ring, retailed by Liberty & Co, model No 5024, the case baring Birmingham hallmarks for 1902, 15cm (6") high. Exhibited at The Museum of Domestic Design and Architecture opening exhibition, 17th October- 9th February 2001 No 32 Literature S Martin Archibald Knox, London 2001 pp234

A dressing table set in case with clock, brushes etc

A slate mantle clock, a bentwood chair, folding table, leather case etc

A brass table top clock, postal scales, leather lawn tennis tape measure etc

A fine William and Mary marquetry table clock, the square brass face, 20cm, with cherub mask spandrels, silvered chapter ring with roman and arabic numerals, matt field and date aperture, five-pillar twin-barrel fusee movement, verge escapement, bob pendulum with heart shaped back cock, numbered external count wheel, the back plate engraved with tulips, in a square case with top handle and twist columns, finished with oyster veneer and floral marquetry including dyed ivory and glazed panels. Height 32cm. *For a similarly engraved backplate by Jones see Antiquarian Horology No2 Vol 28, June 2004, pp 203 - 4.

Brass table top lantern style clock by the Eureka Clock Co Ltd, London , the traditionally styled case with a dial centre aperture and bell top, the electro-magnetic movement powered by a 6v battery, Patent 14614 - 1906, No 2212. Height 41cm.

Ebony finished repeating table clock by Richard Lyons, generally late 17th century, square brass face, 17cm, gilt cherub mask spandrels, N-S lever at XII, silvered arabic and roman chapter ring, matt field with two winding holes, blued hands, the five-pillar fusee movement with verge escapement, quarter repeat on a three-bell carillon and hour bell (probably a late19th century addition), hour strike, bob pendulum, the back plate engraved with floral scrolls and inscribed Richard Lyons London, the bell topped case with cast floral handle, pierced frieze, glazed sides, on set-out plinth. Height 32cm.

A 1930's wood and gilt longcase clock, matching sideboard, a smaller sideboard, round dining table, two carvers and two side chairs. A set.

A Mixed Collection of Toys and Games, including a boxed Chad Valley Table Croquet set, Chad Valley Telephone set, inlaid cribbage board, card games, jigsaws, Spellicans game, Merelles game, Clock Golf, paint sets, ball mosaics, dominoes, Reversi etc., in two boxes.

An Edwardian lancet cased mantel clock, banded inlaid detail to borders, on brass bracket feet, 28 cm high; together with a mahogany candle box, the central brass plate " Liverpool Candle Company", 20th century, 38 cm high; a pair of pine corner brackets, 46 cm high; two oak milking stools, 14.5 cm high; a table top hoop game, 26 cm wide and an elaborately carved sandalwood box, 20 cm wide, (8).

A late Victorian stained mahogany tripod occassional table, with piecrust edged top above turned column, upon hipped scroll end supports, 71 x 46 cm, together with an early 20th century lancet top mahogany and inlaid mantle clock, (2).

A Birmingham Silver Cased Table Clock, embossed with whispers

A brass topped folding table on base, an Ekco mains radio, a part dressing table set and a cased mantel clock.

A 1930's chromium novelty table lamp, incorporating cream bakelite alarm clock, 12.5in.

Table Clock, with circular dial, contained within a mother of pearl case, three Wristwatches and a Pocket Watch, (5).

Early 20th century carved oak side table and a walnut Grandaughter clock

An Oak Striking Table Clock with Half Hour Passing Strike, signed Chas Taylor & Son, London and Bristol, circa 1880, the case with architectural top, fluted side columns, side fret sides, shaped rectangular base with padded feet, 7-inch arched silvered dial with Roman numerals, finely engraved scroll decoration and depicting an eagle and snake, dial signed, twin fusee movement with anchor escapement, half hour passing strike on a bell and striking a gong for the hours, movement backplate numbered "4330", movement secured by brackets, 65cm high see illustration

A late 19th Century Oak and ebonised Table Top Cuckoo Clock, the arched cased with applied Gothic style fruit panel and arcaded mask with buttressed corners, to a plinth base with scrolling apron, to a 5 ½” chapter ring, with applied Gothic Roman numerals, and replacement hands, to a square brass movement with pierced plates, back mounted count wheel and anchor escapement, strike on a coiled gong and further two replacement bellows, height 21”

A late Victorian coromandel sliding bookrack, with gilt brass mounts, retailed by A. Randle, High St, Southampton, a brass cased carriage clock with white enamel dial and key, a Bohemian red flash glass vase converted as a table lamp, a pair of Punch and Judy cast iron doorstop's and one other, a pair of opera glasses and an Italian gilt tray, (8).

A 14ct gold cased travelling dressing table clock, the eight-day clock contained in a fold-out 14ct gold case, monogrammed and with engine-turned decoration, 124gm. weight of gold case..

Heart shaped silver table clock, Chester 1910, 4" high PROVENANCE: Thetis Blacker.

A George III Scottish mahogany and brass-mounted striking table clock, circa 1790 By Alexander Dickie, Edinburgh the bell-top case with brass handle and four urn finials above glazed side panels and chamfered and fluted angles, on squat ogee feet, the brass-framed front door with winged cherub mounts, the brass dial with rococo spandrels and a silvered Roman and Arabic chapter ring with dot minute track, the silvered centre engraved with flowerheads and swags around the winding holes, with mock pendulum and date apertures, blued steel hands, with subsidiary rings for strike/silent and regulation to the arch, surmounted by a plaque signed Alexander Dickie/EDIN.R, the eight day twin wire fusee movement with five pillars and verge escapement striking on bell, the back plate engraved with leaf scrolls and flowerheads to the fusee arbors 29cm wide, 50cm high, 18.5cm deep

A Fine 17th/18th Century Brass German Table Clock having a single hour hand. The later ebony case having four glass panels revealing the spring driven fusée movement. The base plate opening to reveal pierced and scrolling decoration. The bell housed above the movement and below the face, probably Augsburg, 7½ ins x 9 ins (19 cms x 23 cms) and 5½ ins (14 cms) in height.