We found 10270 price guide item(s) matching your search

A reproduction brass table clock with detachable alarm, by Sinclair Harding, after an early German design, marked and numbered 349 to underside, 22 cm high overall.

After Rousseau, a 19th century French figural bronze table clock, in the form of a marching cherub, the figure in trailing swaddling, blowing a trumpet, wearing a sach across his chest accommodating drum sticks with an ormolu drum held to his side, the white enamelled dial accommodating black Arabic and dark blue Roman numerals, highlighted with polychrome floral borders, 2.5" in diameter, the figure standing on a gilded ground, signed Rousseau verso, raised on an inverted polished red marble stand with a beaded border, 36 cm high.

A brass and china table lamp together with a Smiths mantel clock, hip flask, brass drinks measures etc

A box of wall clock, ornate mantel clock, Tiffany style table lamp, metal ware, dressing table brush set etc

NOVELTIES. A KKW miniature camera table cigarette lighter, a miniature camera 'clock' with case & a Lledo Models of Days Gone Kodak van.

A QUANTITY OF OCCASIONAL FURNITURE, to include a cuckoo clock, seven various table lamps, mahogany mantel clock, brass fire screen and two Edwardian chairs (12)

A QUANTITY OF VARIOUS MISCELLANEOUS, to include an oak mantel clock, various brass items including an oil lamp with shade, two copper warming pans, Yamaha keyboard, three table lamps, mirror etc

A coppered five dial swivel table compendium, with compass on top, clock, barometer, hygrometer and thermometer, 11.5cm high

A Japanese parquetry table-top cabinet and a Comitti mantel clock cabinet height 35cm

A mahogany cased table clock with fluted column sides.

Large Collection of Royal Albert, old country roses items: to include tea set, coffee pot, place mats, table cloths, tureens, dinner plates, gravy boat, clock, novelty items, etc. (4 Trays)

Waterford Crystal Table Clock, (boxed), set of four Bohemia Pinwheel crystal brandy balloons, darts, C.D's, L.P's; together with sporting (cricket, football, boxing) literature, fishing, local history and other books:- Three Boxes

A "Ken Broadbent Quality Collages" Framed Picture, depicting Viking boat, with watch and clock parts decoration, a vintage ladies dressing table vanity set, to include a brush, a comb, a large hand mirror and two trinket style circular boxes, a rectangular box, with painted floral box, a hinged box, with studded detail, ladies purse, cameo style pill box:- One Tray

An Edwardian mahogany marquetry inlaid table clock later dial, together with a crossbanded rosewood box circa 1830

An oak striking table clock, circa 1890, arched case with acorn finials, side sound frets, silvered dial elaborately engraved, two subsidiary dials for strike/silent and fast/slow, twin fusee movement with anchor escapement and striking on a gong, 41cm high03.05.16, Case slightly faded, top side of the case with two cracks and two of the back finials are missing, front door is bowed, dial with small scratches, movement is complete, with pendulum.

"BIG BEN": A VICTORIAN BRASS TABLE CLOCK, 19th century, modelled as Big Ben, with an eight day bell striking movement, in a gilt metal case and on a stepped black slate base with square brass feet, 30" high

An Edwardian brass timepiece clock, 15cm high and six other table clocks

A 19th century French green boullework table clock with all over scroll design, giltmetal dial with enamel chapters and scroll feet, the French movement striking on a bell, 32cm high

Two Boxes Containing Ceramics and Glassware, Wall Clock, Pressure Cooker, Ice Bucket, Table Lamps etc

A Jaeger-LeCoultre perspex and gilt metal skeleton table clock, 20th century, with baton numerals, on a rectangular base, stamped '419' to the underside , 14.5cm diameter

An Art Deco Jaeger-LeCoultre 'Luxhora Duoface' electric chrome table clock , 1930s, with a spherical shade with nine different positions, fitted with a light and a double-faced clock with a printed rectangular dial, on an hexagonal plinth, 28cm high

A silver and cloisonne enamelled table clock, with skeletonised dial with Roman chapter ring, having floral swag and intaglio cabouchon to front, with display back and easel support, frame marked 925, H.12 W.9cm

An onyx cased mantle clock by David Hall along with an onyx effect and brassed table lamp with silk shade.

Wall barometer, carved wood box, carriage type clock, dressing table brushes, candlesticks and other items in one box

A dome topped mantle clock together with a turned wooden table lamp Condition Report: Available upon request

LOT OF COSTUME JEWELLERY, including brooches, chains and pendants, along with a group of wrist watches, a jewellery box with travel clock and a three piece dressing table set, some contained within a jewellery box modelled as a longcase clock, with clock function

Art Deco silver and guilloche enamel dressing table set comprising hand mirror, brushes, etui in Asprey of London of fitted case etc. by Cole Brothers Birmingham 1927 and other dates and a similar 8 day easel travel clock

A Victorian silver table oil lamp clock, James Deakin and Sons, Sheffield 1889, cylindrical form, wrythen fluted and reeded, with central Rococo scroll cartouche above insertable clock, surmounted by a gas wick burner and glass funnel, 33cm high overall

An Art Deco malachite and chrome timepiece, circa 1930, the square silvered clock face with luminescent Arabic numerals, on a table base, Swiss 8 day movement, 6.5cm high

A Japanese part tea set together with a Poole pottery part dinner set, other part sets, a Rapport mantle clock, a table lamp, flash glass decanter, drinking glasses, etc

A George III brass mounted mahogany table clock Thomas Hunter Junior, London, circa 1775 The five pillar twin fusee bell striking movement with trip hour repeat and fine asymmetric rococo foliate scroll and engraved backplate centred with a basket of flowers, the 7 inch single sheet silvered brass break-arch dial with calendar aperture and fine engraved signature Tho’s Hunter Jun’r, LONDON to the centre within Roman numeral chapter ring with Arabic five minutes to outer track, with pierced steel hands beneath subsidiary Strike/Silent selection dial to arch, the bell top case with hinged brass carrying handle and four pineapple finials to the gilt brass rococo scroll mount fronted superstructure over cavetto top mouldings, the front with conforming cast upper quadrant frets and raised mouldings bordering the glazed dial aperture to the door flanked by cast female caryatid applied canted angles, the sides with fillet moulded circular above conforming concave topped rectangular side windows, the rear with break-arch blind panel inset rectangular door set within the frame of the case, on cavetto moulded skirt base with brass ogee bracket feet, 49cm (19.25ins) high excluding handle. Thomas Hunter junior is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as apprenticed 1734 gaining his freedom in 1742, he worked from New Broad Street Buildings, was appointed Warden in 1762 then served as Master in 1765, he died in 1785.

A fine French Empire ormolu and breccia marble figural mantel clock ‘Homage to Josephine’ The movement by Marchand, the case possibly by Pierre-Philippe Thomire, Paris, circa 1805 The circular two train bell striking movement with anchor escapement regulated by disc bob pendulum with silk suspension, the 5.25 inch circular white enamel Roman numeral convex dial signed Marchand, Paris to centre with concentric date-of-the-month between the hour numerals and minute ring and with Arabic five minutes to outer track, with scroll pierced and engraved gilt hour and minute hands and steel calendar hand set behind hinged convex glazed cast gilt brass bezel, the case surmounted with a seated Classical female harpist with a flaming gueridon at her feet opposing winged Amour with quiver of arrows slung over his shoulder and gesturing towards a manuscript inscribed Bouton de rose next to an X-frame table with book resting on top, the dial with elaborate draped lambrequin cast with tassels beneath flanked by stepped D-ended plinth, the upper stage panel-cast with stylised Grecian masks flanked by alternating palmette and foliate scroll decoration to ends over breakfronted marble lower stage applied with mounts cast as putto terms holding aloft floral wreaths over gilt fillet moulding, on platform base with cast bun feet, 46.5cm (18.25ins) high. The movement of the current lot is probably by Charles-Frédéric Marchand who is recorded in Tardy DICTIONNAIRES DES HORLOGERS FRANCAIS as becoming a Paris maître in 1777 and working at Rue St. Martin the following year. Pierre-Philippe Thomire (born 1751) was one of the most important bronze casters of 18th century France, and was later granted the title Ciseleur de l’Empereur (chaser to the Emperor) by Napoleon Bonaparte. Early on in his career he worked for Pierre Gouthière, ciseleur-fondeur du roi, and toward the mid-1770’s began working with Louis Prieur. After the Revolution, he purchased the stock of Martin-Eloi Lignereux, thus becoming the most important suppliers of furniture bronzes for châteaux and Imperial Palaces. His prolific firm not only produced bronze ornaments, but also created mounts for furniture and porcelain, collaborating for example with the renowned manufactory of Sèvres. Thomire retired in 1827 and died in 1843. The design of the current clock was inspired by a poem entitled ‘Bouton de rose’ (rosebud), by Constance-Marie de Théis, Princess de Salm-Dyck (1767-1845). Published in 1785 in the Almanach des Grâces the poem became famous during the latter part of the 18th century, when it was set to music by the composer Louis-Barthélémy Pradher (1782-1843). The popular singer Pierre-Jean Garat (1762-1823) sang it in fashionable Salons, dedicating it to the beauty of Josephine, the wife of the future Emperor Napoleon.

A second period brass lantern clock with later spring movement The front fret signed for William Selwood, London, circa 1640, the movement late 19th century Now with four pillar single fusee movement with anchor escapement regulated by a short lenticular bob pendulum and passing strike sounding on the original bell above, the dial engraved with central flowerhead enveloped by stylised leafy floral sprays issuing from another flowerhead positioned just above six o'clock and incorporating large blooms to upper and lower margins, with original iron hour hand and later minute hand carefully made to match within applied narrow silvered Roman numeral chapter ring with stylised wheatear hour markers and engraved leafy infill to angles, the standard London second period 'Lothbury' frame with column turned corner posts beneath engraved foliate scroll pierced shield centred stapwork fret signed William sellwood at y’e Mermayd in Lothbury to lower edge and plain side frets, vase turned finials and domed bell bearer above, the sides with hinged brass doors, on turned ball feet, 38cm (15ins) high. William Selwood was born in Abingdon in Berkshire in 1607 and is recorded as a Free Brother in the Clockmakers' Company in 1633 until his death in 1653. He trained under Henry Stevens from 1624 to 1632, and worked at the Mermaid in Lothbury till his death in 1653. Selwood was succeeded by his is former pupil, Thomas Loomes, who married Mary, the daughter of Ahasuerus Fromanteel in 1654. A clock by Selwood with related dial engraving to the current lot (albeit around an alarm disc) is illustrated in White, George English Lantern Clocks on page 134 (figure III/14). White also illustrates two further dials by Henry Ireland and Thomas Knifton (both of whom were apprenticed to William Selwood) which also exhibit very similar engraving (figures III/15 and III/14 respectively). The design of fret used on the present clock is of the earlier 'strapwork' type (which was generally phased-out during the 1650's in favour of the later 'foliate' pattern - see White page 144), whilst the frame castings are of typical second period 'Lothbury' pattern which were mainly in use up until around 1660 (see lot 154). These details reflect the fact that by the 1650's Lothbury had become a hub for the horological trade mainly due to the abundant supply of brass and iron from nearby foundries. The efficient supply of raw castings lead to the emergence of a degree of standardisation (assisted by many workshops having shared roots) with regards to frame patterns, dial engraving and fret design. During the latter part of the 19th century the re-purposing of ‘historic’ objects became fashionable in order to create interiors which had an authentic feel of antiquity. Regrettably this fashion meant that many items (particularly furniture) were altered in form and/or had decorative elements added. At this time many original lantern clock survivors were converted from weight-driven to spring movements in order that they can rest on a table or mantelpiece, indeed they became so popular as decorative objects that reproductions began to be made. The current lot was converted at this time however the all of the original frame elements were retained as well as the hour hand hence the original appearance of the clock has been largely preserved and it has good rich patination.

A pierced brass table clock winding key Probably 20th century in the late 17th century style The loop pierced and engraved with asymmetric tulip stems; with four cast silver coloured metal winged cherub head spandrels in the late 17th century style for a 9.5 to 10 inch longcase clock dial, and a sculpted steel hour hand in the manner of John Knibb, late 17th century, measuring 3 inches from centre to tip, (6).

An unusual Austrian small early pendulum spring-driven timepiece Albrecht Erb, Vienna, third quarter of the 17th century The circular single chain fusee movement with three baluster-turned pillars pinned through the backplate and four wheel train incorporating verge escapement with escape wheel set above the plates and regulated by short bob pendulum suspended from combined top potance and pallet arbor pivot arm, the backplate with blued steel mainspring set-up ratchet incorporating sculpted scroll-pierced pawl spring tail and fine flowering poppy trail engraved and pierced gilt brass footed guard, the upper margin boldly signed Albrecht Erb, In Wienn, the 3.5 inch square gilt copper dial now with applied scroll engraved disc to centre within a silvered Roman numeral chapter ring with lozenge half hour markers and Arabic five minutes beyond the arcaded minute track, with pierced steel hands and fine foliate spray engraved infill to the spandrel areas beneath later added strapwork scroll engraved gilt brass arch panel, the movement and dial now mounted on a mahogany ogee moulded plinth with glass dome cover, the timepiece 12cm (4.25ins) high; overall height including base and dome 19.5cm (7.75ins) overall. Provenance: From the beneficiaries of the estate of the eminent Anglo-Austrian economist and philosopher Friedrich August von Hayek. Albrecht Erb is recorded in Baillie, G.H. Watchmakers and Clockmakers of the World as working as a master clockmaker in Vienna circa 1661. Britten, F.J. in Britten’s Old Clocks and watches and their Makers indicates that Erb was born in 1628 and died 1714. He is believed to have made watches, astronomical timepieces, horizontal table clocks and ‘Telleruhr’ (plate) pendulum timepieces. Examples of his work are in the collection of the Kunsthistoriches Museum Vienna and have been known to turn-up at auction with notable recent examples being a fine silver mounted horizontal table clock with grande-sonnerie striking which was sold at the Christies, New York sale of The Abbott Guggenheim Collection: A New York Kunstkammer 15th January 2015 (lot 96) for a buyer’s premium inclusive $47,500; and an impressive gilt brass Telleruhr offered at Sotheby’s, Paris sale entitled Pierre Berge -from one home to another 30th October 2018 (lot 4) for a premium inclusive 43,750 EUR. The arch to the dial of the current lot appears to be an 18th century addition hence in its original form the dial would have only been 3.375 inches square. This coupled with the overall compact nature of the movement suggests that it could have been made to ‘accessorise’ a table cabinet perhaps forming the centre-piece of an architectural pediment.

A very rare French Louis XIII small brass lantern or chamber clock G. Estienne, Caen, first half of the 17th century The posted two train bell striking movement with fine Roman Doric turned corner posts and separately wound trains with the going now with verge escapement for regulation by short small bob pendulum, the dial with fine foliate scroll decorated hour disc applied with sculpted steel trefoil hand tip and engraved with Arabic hour numerals for the alarm to outer track, within applied silvered narrow Roman numeral chapter ring with cruciform half hour markers, set onto a dial plate finely engraved with tulip, poppy, narcissi and other floral blooms and trails to the upper and lower margins, beneath conforming engraved shaped front fret centred with a vacant cartouche, small acorn finials and iron-strap bell bearer surmounted with a bulbous brass finial, the base with frame securing nuts and engraved G. Estienne ACaen to underside, (unrestored, formerly verge with balance regulation, lacking countwheel, pendulum rod, alarm and alarm hand; the bell and bearer replaced), 18cm (7ins) high excluding bell and bearer. G. Estienne of Caen does not appear to be recorded in the usual sources. The engraving to the dial plate of the current is very finely executed and composed of scrolling floral trails with different blooms arranged in a symmetrical manner. This engraving can be compared to that on the dial of a chamber clock dated 1588 by Francis Nawe illustrated in Dawson, Percy G.; Drover, C.B. and Parkes, D.W. Early English Clocks on page 18 (Plate 5), which although incorporates grotesques and a small amount of strapwork is very similar in feel and quality. Francis Nawe was a Huguenot immigrant who is believed to have come to London from Antwerp in around 1575 and died of the plague in 1593. Other timepieces with related engraving are two very similar small table clocks by Bartholomew Newsam illustrated in Early English Clocks on pages 26 (Plate 19) and 29 (Plate 26) and another drum clock by the same maker illustrated on page 28 (Plate 22). George White in English Lantern Clocks also illustrates the side panel of Francis Nawe’s 1588 clock (on page 58, Figures II/23 & 24) and notes that the designs were after Etienne de Laune and Abraham de Bruyn. When the engraving on these late 16th century clocks are compared to those a little later in date it becomes clear that the size of the flowerheads increased and the designs became more abstracted although the symmetrical balance remained. This is well illustrated on the dial of wall alarm timepiece dating to before 1615 by Robert Harvey, London, illustrated in White, George English Lantern Clocks on page 61 (Figure II/30). Interestingly on the same page White also illustrates a possibly English unsigned steel and brass chamber clock with related dial engraving and similar arrangement of hour hand tip applied to revolving disc (this time indicating the lunar calendar) within the chapter ring. One final clock with floral engraved dial worth considering is a silver example by David Bouquet dating to around 1650 illustrated in Early English Clocks on page 61 (Plate 69). The engraved blooms on this example are much larger than the present clock although some semblance of symmetry is retained whilst the quality of execution is good but not as fine as that on the current lot. From the above observations it would seem appropriate to suggest a date of around 1625 for the current lot. The movement was originally made with verge escapement with balance wheel regulation and has separately wound trains which also suggests an early date of manufacture.

A George III brass mounted mahogany table clock Thomas Lozano, London, circa 1780 The five pillar twin fusee movement with verge escapement regulated by short bob pendulum and striking the hour on a bell, with rococo scroll engraved backplate and 7 inch brass break-arch dial plate applied with circular white painted centre signed THO’s LOZANO, EN LONDRES within Roman numeral chapter ring and Arabic five minutes to outer track, with pierced brass hands, and rococo scroll cast spandrels to angles beneath subsidiary calendar dial flanked by conforming mounts to arch, the brass mounted bell top case with hinged brass carrying handle to the brass scroll pierced fretwork border decorated upstand over pinecone finials and cavetto top mouldings, the front door with inset brass fillet moulding to the glazed dial aperture, foliate and scroll cast upper quadrant frets flanked by canted angles adorned with fine female caryatid and pendant floral cast mounts, the sides with circular martial trophy cast brass frets over further concave topped rectangular sunburst cherub mask centred rococo scroll cast frets, the rear with rectangular break-arch glazed door set within the frame of the case, the cavetto moulded shallow skirt base with generous leafy scroll cast feet, 49cm (19.25ins) high excluding handle. Tomas Lozano was Spanish by birth and is known to have worked in both London and Spain. Whilst working in London it seems that he primarily produced timepieces for export to his native Spain; he is also known to have successfully repaired damaged marine chronometers for the Spanish Navy in 1786.

A rare Charles II longcase clock movement of around eight-week duration Possibly attributable to the Fromanteel workshop, London, 1675-80 The substantial five finned and latched pillar movement with plates measuring 8.125 inches by 5.25 inches enclosing delicate wheelwork, the five wheel going train with large diameter sixteen-groove barrel and anchor escapement for regulation by seconds pendulum, the strike train with high position external countwheel, now with a later 12 inch square brass dial with engraved signature Jam’s Berry, PONTEFRACT to the rococo scroll engraved centre. The current lot exhibits many features which are seen on other examples signed by either Ahasuerus or Johannes Fromanteel. Firstly the barrels are formed from split-castings where each cylinder is cast in two halves along the arbor axis and soldered together. Although barrels that are constructed in this manner were used by almost all workshops at this time it is believed that the castings themselves originated from the Fromanteels. Secondly the countwheel is secured by a brass spring cut with a keyhole to engage with a groove turned into the diameter of the pivot post. It would seem that makers of the Edward East school preferred to retain high-position countwheels with screws (see Dawson, Percy G.; Drover, C.B. and Parkes, D.W. Early English Clocks page 92, Plate 114 and page 111, Plate 139). Thirdly the fly to the strike train utilises a tab spring riveted to the leaf as a friction brake rather than an end leaf-spring preferred by Joseph Knibb (see Early English Clocks pages 136, Plate 175/76 and compare with Darken, Jeff (editor) HOROLOGICAL MASTERWORKS page 149). Finally the shape of the latches being simple fanned curves terminating with a distinctive thumbnail hook differs from those used by Knibb which generally have a down-sweep along the outer edge before the hook (compare Early English Clocks page 78, Plate 94 with page 107 Plate 134). Indeed the latches on the current lot are practically identical to those on a three-in-two quarter striking table clock movement by Johannes Fromanteel (formerly at Cassiobury Park) which was sold at Sotheby’s, London sale of Important Clocks, Wristwatches and Barometers 13th October 1988 (lot 178).In addition to the movement having the combination of the above details the overall feel of the mechanism , in particular the weight and proportions of the pillars and delicate nature of the wheelwork, is wholly commensurate with those made by John Fromanteel. It is also perhaps interesting to note that one of Ahasuerus Fromanteel’s sons, Abraham, worked in Newcastle upon Tyne at various points between 1674 and 1730 when he died there. The fact that a member of the family was based there well into the 18th century could possibly account for why the movement is currently fitted with a re-purposed dial made in Pontefract, Yorkshire.

A selection of cast brass table clock case mounts For use in the restoration of late 17th century clock cases Comprising a pair of multi-section brass Corinthian column capitals and bases, a set of four similar capitals, a foliate cast hinged handle, set of four acanthus decorated vase finials, two ‘Knibb’ pattern cherub head and scroll escutcheon plates and a selection of door hinges and locks, (qty).

ϒA fine and potentially historically important architectural table timepiece of three-month duration with silent-pull quarter repeat Robert Seignior, London, circa 1680 and later The substantial seven finned and latched pillar single fusee movement with plates measuring 10 by 7 inches enclosing a spring barrel of approximately 4 inches in diameter driving a five-wheel train with verge escapement regulated by short bob pendulum, the silent-pull quarter repeat train of the type first used by Joseph Knibb fitted to the top left hand corner of the movement and powered by a large curved leaf spring mounted on the backplate, sounding the quarters on a graduated pair of small bells followed by the hours on a single larger bell on demand only, now with a 10 inch square gilt brass dial with unusual sculpted silvered brass hinged lambrequin inscribed Robert Seignior, London revealing the single winding hole behind to the rose engraved and finely matted centre, within narrow silvered Roman numeral chapter ring with stylised trident half hour markers and Arabic five minutes within the outer minute track, with finely pierced and sculpted steel hands and crisply cast gilt winged cherub head spandrels, in a gilt brass ebony veneered case reconstructed using period elements with fine large gilt flambeau urn cast brass finial to the plinth-centred open arch pediment over crisply moulded entablature and Corinthian three-quarter columns with gilt multi-piece capitals and bases applied to the glazed front door, the sides veneered with rectangular panels and the rear with conforming entablature and three quarter columns flanking panel veneered door set within the frame of the case, the base with projecting plinths for the columns at the corners over crisply moulded shallow skirt, 59cm (23.25ins) high excluding finial; 68cm (26.75ins) high overall. Robert Seignio(u)r is recorded in Loomes, Brian The Early CLOCKMAKERS of Great Britain as apprenticed to John Nicasius gaining his Freedom of the Clockmaker’s Company in 1667. He worked in Exchange Alley and was often at loggerheads with the Clockmaker’s Company who called him to account for ‘contemptible words’ he had used to and about Thomas Claxton, the Master. He was also fined 20 shillings in October 1671 for calling the Clockmakers ‘a company of cheating knaves’. In August 1674 Robert Seignior was appointed the King’s Clock and Watchmaker ‘without fee’ until the death or surrender of office by Edward East, presumably to ensure succession of the role in the event of East`s demise. This appointment however was never formally fulfilled as East outlived Seignior who died in 1686; his premises at Exchange alley was subsequently taken-on by Daniel Quare. Due to Seignior not being able to formally fulfil his appointment as Royal clockmaker there is no mention of any specific Royal commissions except for one which is discussed in Jagger, Cedric ROYAL CLOCKS on page 31. In his text Jagger highlights an entry dated 9th December 1682 in a manuscript of a ‘Schedule of Receipts and Payments by Henry Guy Esq.., for the Secret services of His late Majesty King Charles the Second’: To Robert Seignior, For a clock bought of him and sett up in the Trea’ry Chambers, for the use of the Commissioners of His said Maj’ties Trea’ry…..£20. This being Seigniors only recorded Royal commission would have no doubt resulted in him producing something special. Indeed with the Treasury historically dividing yearly activity into quarters then what would be more appropriate than having a clock which you only had to wind at the end of each quarter With this question in mind then it may be appropriate to speculate that the movement of the current lot could possibly be from this long Commission. When the current lot was discovered abroad around fifteen years ago it sported an altered dial signed ‘Robert Seignior, London’. Examination of the trains and plates indicated that the timepiece was commensurate with early examples from his workshop and was originally of rare three-month duration with the repeat work being almost certainly an early addition to the movement. With early long duration spring clocks being extremely rare (indeed the current lot could even be the earliest surviving three month spring movement) the vendor chose to go to great lengths and expense to preserve the timepiece by reinstating an appropriate dial to enable it to be housed in a case rebuilt for the purpose from the remnants of a surviving period example. As such the current lot presents as an impressive architecturally perfect object which befits the movement’s rare and highly desirable specification. ϒ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.

A George III mahogany table clock Bearing a signature for Benj, Gray, London, late 18th century The five pillar twin fusee bell striking movement with verge escapement and trip repeat, the backplate engraved with a Neo-Classical urn centred cartouche within delicate rococo scroll infill, the 6 inch cream painted Roman numeral break-arch dial with calendar aperture and bearing inscription Benj. Gray, LONDON to centre, with Arabic five minutes to outer track and pierced brass hands beneath STRIKE/SILENT selection dial to arch above, the bell-top case with hinged brass carrying handle and vase finials over complex top mouldings, the front door with brass fillet bordered glazed dial aperture and scroll-pierced upper quadrant frets, the sides with break-arch windows and the rear with break-arch glazed door, on cavetto moulded skirt base with brass ogee bracket feet, (pallets and pendulum assembly lacking), 43cm (17ins) high excluding handle. Provenance: Brocket Hall, Hertfordshire.

An important Queen Anne ebonised eight-day longcase clock Michael Knight, London, circa 1705 The substantial five fully latched and crisply turned finned pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum with long crutch, the backplate with apertures cut for the pallets and for viewing the countwheel locking detent, with finely detailed steelwork incorporating Tompionesque scroll terminals to bell stand and hammer spring feet, the 12 inch square brass dial with subsidiary seconds dial, ringed calendar aperture and winding holes to the matted centre within applied silvered Roman numeral chapter ring with cruciform half hour markers, Arabic five minutes to outer track and signed MICH KNIGHT, LONDINI FECIT to lower edge, with pierced steel hands and double-screwed gilt twin cherub and crown cast spandrels to angles with foliate scroll engraved infill to margins between, the ebonised case with gilt brass ball finials to the ogee shaped 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 sound frets and rear quarter columns each set against bargeboard rising up to the underside of the cornice projection, the trunk with convex throat above 41.5 inch rectangular door, on ogee moulded plinth base applied with two-tier moulded skirt, 245cm (96.5ins) high excluding finials, 252cm (99.25ins) high overall. Michael Knight is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born circa 1659; he was apprenticed to Thomas Tompion (bound 1673/4 through Lionel Wythe) and took up his freedom of the Clockmaker’s Company after a warning to do so in 1681. Michael Knight took apprentices Thomas Day in 1682 (Freed 1691), Robert Youell (through Tompion - Freed 1697) and John Barnardiston in 1697 (Freed 1714). In 1697 Knight signed the Oath of Allegiance but little is known of him after 1699 when he stopped paying quarterage to the Clockmaker’s Company. The location of Michael Knight's workshop is indicated in an article by Evans, Jeremy MAINSPRING MAKERS OF LONDON AND LIVERPOOL - SOME OBSERVATIONS AND LISTS published in ANTIQUARIAN HOROLOGY Vol. XXVII, No. 1, Page 81 where reference under the entry for Micklewright indicates that the latter was believed to have been working in St. Sepulchres - 'in Red Cross Court next-door but one to Tompion's ex-apprentice Michael Knight'. Of Michael Knight only around ten surviving clocks are known listed in Evans, Jeremy; Carter, Jonathan and Wright, Ben THOMAS TOMPION, 300 YEARS. Most of these examples demonstrate a very close working relationship with Tompion with at least two reflecting an aptitude for producing work equal to Tompion's finest products. The first of these is a fine half quarter-repeating ebony table clock of typical 'Tompion phase II' design illustrated in ANTIQUARIAN HOROLOGY Vol X, No. 7, on Pages 782-83. The second is an important eight-day longcase clock (in a private collection) complete with Tompion pull-quarter repeat mechanism and housed in a fine walnut case closely resembling that of the 'Drayton Tompion' (which now resides at the Fitzwilliam Museum, Cambridge and is illustrated by Evans, Carter and Wright on page 510). When considering the strong similarity of Knight's work alongside that of his former Master coupled with the fact that there are very few clocks signed by him (despite his long career) it most likely that he was primarily employed by Tompion. Indeed the complexity and accomplished nature of the two examples noted above would suggest that he assisted Tompion with his more complex commissions. The movement of the current lot is almost indistinguishable from Tompion's work exhibiting an abundance of features diagnostic of his workshop. These include the back cock casting (with distinctive chamfered feet), pallet and countwheel locking detent viewing apertures to backplate and distinctive scroll-shaped tails to the hammer spring and bell stand. As with Tompion's work the movement is fully latched with fine knopped and finned pillars and the wheelwork precisely executed with shallow domed collets. The escapement of the present clock is also particularly noteworthy as it appears to be a rare original survivor. The dial departs a little from 'standard' Tompion design having ringed winding holes and calendar aperture to the matted centre. The bold signature engraved in block capitals appears to be typical of Knight and can be compared to that of the ebony 'phase II' type table clock described above. The case again is essentially indistinguishable of those housing movements and dials by Tompion made at this time exhibiting the fine proportions and detailing for which his workshop was known. The current lot affords the prospective purchaser the opportunity to essentially acquire a clock that is essentially a 'Tompion' in all but name. Indeed from a documentary point of view it would be reasonable to suggest that this clock perhaps has more to offer than a comparable signed by Tompion.

A novelty chalk table lamp, as a jockey and horse at the finish post; a wall clock; a model of an eagle; a resin model, of an owl (4)

Circular Mahogany Coffee Table with Clock Face Top. Decorative and unusual coffee table with vintage clock top. Stands on four tapered legs. Measures 22" width, 21" tall. Please see accompanying photographs.

Carrs of Sheffield Hallmarked Silver fronted Quartz dressing table Clock, approx 6.5 x 5cm with easel type stand

A wooden table, a/f., clock and paper parasol.

A decorative rosewood veneer wall bracket for clock or similar, inlaid stringing and floral motif, carved decoration and brass geometric cast fencing, 26cm tall, table area 33 x 22cm.

Glass vase, table clock etc.

An early 20th century cased and brass wall clock in the form of a ships wheel, the silvered dial with Arabic numerals, marked Arthur Beale, 194 Shaftesbury Avenue, WC2, single winding hole, along with a Mercedes manual wind brass and silver plated cased table clock, with carrying handle, int he form of a ships wheel and a small brass cased barometer

A group of three silver cased dressing table clocks and a pocket watch Douglas Clock Co., Birmingham 1898, modelled as a horse shoe, with central round dial in gilt bezel, Swiss movement, strut support; another clock, J B Chatterley and Sons Ltd, Birmingham 1898, of arched form, engine turned decoration, dial with Arabic numerals, brass bezel, strut support, Swiss movement; a silver cased miniature carriage clock, CMA, Sheffield 1983, plain angular case with slight engraved decoration, glazed sides and top, with carry handle; a pocket watch plain case, ribbed edge, the white enamel dial with a vignette of a lady and child on a settee, Arabic numerals, verge movement, French maker Francois Shardy (4) (Dimensions: Heights: 85mm, 80mm, 68mm, diameter: 55mm)(Heights: 85mm, 80mm, 68mm, diameter: 55mm)

Oak bureau, blanket box, standard lamp, Victorian wall clock, music stool, coffee table, folding table-screen, pair painted mirrors, two pictures and two gilt frames and bedroom chair (14).

TWO BOXES AND LOOSE SUNDRY ITEMS to include cut glass decanters, vase, bowl, storage jars, Caithness vase, modern Chinese baluster vase table lamp, Harry Potter hardback books, vintage childrens annuals, vintage cameras, 45 and 331/3rpm records, chiming mantel clock etc

A GERMAN CUCKOO CLOCK, with a jahresuhrenfabrik movement (two weights and pendulum), together with a stained glass shade table lamp and a Goodmans 18' LCD TV (3)

TWO BOXES OF SILVER PLATE etc, including a Kaiser bird cage clock, trays, table mats, goblets, vases, salt and pepper pots, sugar caster, boxed cutlery, etc (two boxes)

THREE BOXES AND LOOSE CERAMICS, PICTURES, GLASS, SUNDRIES ETC, to include Whitehall quartz clock, barometer, cut glass decanter, small Waterford crystal clock, Beswick coffee wares, Royal Doulton 'Rose Elegans', 'Larchmont', 'Cotillion', 'Burgundy' table wares, Greenwich cutlery etc

MAPPIN AND WEBB PARIS CLOCK, an Art Deco, chrome, brass and Amboyna table clock, circa 1935.

TREEN: A MONEY BOX IN THE FORM OF A WALL CLOCK, 15cm high; together with A NORWEGIAN TABLE SNUFF BOX, dated 1850. (2)

Collection of Bluebird Polly Pocket to include 1992 Princess Polly's Undersea Adventure with figure and otter, 1992 Princess Polly's Eastern Paradise with monkey and figure, Princess Polly's Woodland World with figure and squirrel, 1992 Fairy Garden Locket with fairy figure, 1992 Polly's Fairy Fashion Show with 2 x fairy figures, Crown and Flower garland, 1992 Fairy Fantasy with blue seal and fairy figure, 1992 Polly in the Nursery to include 2 x babies and doctor figure, 1989 Country Cottage with dog, cat and figure, 1989 Tammy's Palm Tree Island with Turtle, Outrigger and figure, 1989 Polly's Animal Hospital with dog, cat and figure (top discoloured), 1989 Polly's Flat with two figures (top discoloured), 1990 Fifi's Parisian Apartment with Fifi, Henrietta and Henri the French poodles, 1990 Green Pencil Case, 1989 Ring Collecting Case featuring 5 x rings, 1991 Polly Pocket Funtime Clock Playset with Father Time, Mrs. Chime, Rainy Day Polly Pocket, Sunshine Midge, 1990 Tiny Trinkets Dressing Table Playset with accessories

FOUR COALPORT FIGURINES, including two ladies of fashion together with two others, Wedgwood collectors plates and a cased wooden octagonal table clock

A German M40 helmet, two Chinese Pith paintings, a set of 19th century aviary balance scales, a amber glass and brass Corinthiun Columnar table lamp, sunburst wall clock and a brass standard lamp