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Lot 2295

A mid-19th Century red-stained tortoiseshell and brass boullework centre table with applied gilt metal mounted decoration, the serpentine top decorated with figures and foliate scrolls, the shaped frieze fitted with a single drawer, on cabriole legs, width approx 100cm.

Lot 2302

A late Victorian rosewood octagonal occasional table, raised on block legs united by an undertier, a jardinière stand and a two tier stand.

Lot 2303

A 20th Century reproduction mahogany square coffee table, with crossbanded and line inlaid decoration, raised on turned and reeded legs.

Lot 2311

A George V oak oval gateleg dining table raised on turned and block legs, together with four rail back dining chairs and a similar carver chair.

Lot 2606

An Art Deco Ronson chromium plated and faux tortoiseshell table lighter and stand of rectangular form, fitted with two square boxes with hinge lids flanking a `Ronson Touch-Tip` lighter (faults).

Lot 2693

A Victorian mahogany table-top display case with detachable rectangular glazed cover, on a moulded rectangular base and turned feet, length approx 58cm, containing a wooden model of a Far Eastern pavilion.

Lot 2701

A near pair of 20th Century blue and white porcelain table lamps of baluster form.

Lot 2702

A pair of 20th Century cast metal palm tree table lamps, on stepped bases.

Lot 2710

A Bussey`s table croquet, boxed, together with a `The Tower of Hannoi` puzzle by Milton Bradley Co, boxed.

Lot 2717

An early 20th Century porcelain table lamp with gilt metal laurel leaf mounts, painted with floral reserves on a pink ground, height approx 35cm.

Lot 2742

A pair of early 20th Century green veined marble and gilt metal mounted table lamps of urn form, with applied foliate herm handles and foliate scroll feet, height approx 43cm.

Lot 2743

A near pair of late 19th Century cast spelter figural table lamps with frosted flame shades supported by maidens, raised on circular green marble bases (faults).

Lot 2758

An early 20th Century Kashmiri floral painted octagonal table, on turned legs.

Lot 133

An Art Deco style chrome table lamp with coloured glass shade, 32cm high.

Lot 17

A late 19thC Japanese terrestrial table globe, with twelve paper gores printed, lightly coloured and notated in Japanese text, held in a metal ring and on a baluster turned column from a dished circular base, 24.5cm high.

Lot 270

A George V extensive silver dressing table set, engine turned with applied initials E.B. comprising two hair brushes, hand mirror, button hook, shoe horn, trinket box with silver top, scent bottle with top, nine other bottle tops (14) London 1935.

Lot 280

A silver table cigarette box with engine turned decoration, Birmingham 1922, a silver pepper pot, two silver golf trophy spoons, etc (8).

Lot 298

Five Old English Fiddle pattern table forks, various makers and dates, 11.5oz gross.

Lot 304

A matched set of William IV and later Fiddle pattern cutlery, by Joseph and Albert Savory and others, London 1834 and later, comprising six dessert spoons, six dessert forks, six table forks and six teaspoons, 40oz gross, together with six silver plated table knives and dessert knives.

Lot 324

An 18thC conical ale glass, engraved with hop decoration and with a folded foot, 14cm high; and a selection of 19thC port wine and other table glasses, and a rinsing bowl. (15)

Lot 328

Three part ivory backed dressing table sets, manicure implements and glove stretchers, mainly with monogrammed initials. (11)

Lot 333

The `Chasoco` oak table cigarette box with pull slide dispenser, and with silver mounts, circa 1915.

Lot 336

A novelty chrome table lighter, modelled as a jet fighter on a octagonal base inscribed `Pauline Robin`.

Lot 338

An Arts and Crafts beaten copper table cigarette box, the hinged lid set with an oval enamelled porcelain plaque, in a mottled green and blue glaze, the front embossed `Cigarettes`, 19.5cm x 12cm.

Lot 366

A suite of Royal Brierley and other Braemar pattern cut glass table glass, comprising eighteen tumblers in two sizes, twelve wines, five champagne, six sherry and six port glasses.

Lot 522

A vintage hand held telephone converted into a table lamp

Lot 23

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.

Lot 79

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.

Lot 97

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.

Lot 107

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.

Lot 110

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.

Lot 111

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.

Lot 125

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.

Lot 126

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.

Lot 127

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.

Lot 134

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.

Lot 150

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.

Lot 151

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.

Lot 152

A Queen Anne ebonised basket-top table clock with pull quarter repeat on five bells, David Lestourgeon, London, circa 1705. The six finned pillar twin fusee movement rack striking the hour on a bell and repeating the quarters on five bells with separately pivoted hammers, the symmetrical foliate scroll engraved backplate signed David Lestourgeon, London within a leafy cartouche surmounted by an eagle to centre and with herringbone engraved border to edges, the 7 inch square gilt brass dial with leafy border engraved calendar and signed false bob apertures to the matted centre within an applied silvered Roman numeral chapter ring with cruciform half hour markers and Arabic five minutes, the angles applied with winged cherub head spandrels, the case with winged caryatid cast handle to the ogee shaped relief foliate scroll and fanciful castle decorated repousse basket surmount above front door applied with further repousse mounts and sides with small over large rectangular glazed apertures, on later squat bracket feet, (movement with alteration to escapement, case with some faults), 41cm (16.25ins) high excluding handle. David Lestourgeon is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London 1698-1731 and is described as a fine maker.

Lot 153

*A George I ebonised table clock with pull quarter repeat and alarm, Andrew Dunlop, London, circa 1725. The five finned pillar twin fusee bell striking movement with verge escapement, pull quarter repeat on six bells and alarm sounding via two small hammers on the hour bell, the backplate engraved with a basket of flowers flanked by ho-ho birds within foliate scrolls and a herringbone decorated border, the 7.5 inch brass break-arch dial with subsidiary calendar and false bob apertures and signed And:r Dunlop, London to a burnished oval cartouche to the matted centre within an applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to outer track, the angles with applied female mask and scroll pattern spandrels and N/S switch at 9 o`clock beneath arch with rosette-centred silvered Arabic numeral alarm setting dial with blued steel pointer flanked by Indian mask and scroll cast mounts, the inverted bell top case with hinged carrying handle and brass finials above scroll pierced frets to the upper quadrants of the front door and break-arch side windows, the rear door with demi-line scroll-pierced sound fret above rectangular glazed panel, on cavetto moulded base with squab feet, 45cm (17.5ins) high excluding handle. Andrew Dunlop is recorded in Baillie G.H. Watchmakers & Clockmakers of the World as working in London 1701-32.

Lot 154

A Queen Anne brass mounted ebony table clock with pull quarter repeat, John Bushman, London, early 18th century. The six finned pillar bell striking movement with rise/fall regulation and pull quarter repeat on a nest of six graduated bells, the backplate engraved with a basket of flowers within symmetrical foliate scrolls, the 7 inch brass break-arch dial with ringed winding holes, false bob aperture and oval cartouche signed Jn:o Bushman, London to the matted centre within applied silvered Roman numeral chapter ring with lozenge half hour markers and Arabic five minutes to outer track, the angles applied with female mask and scroll cast spandrels with foliate scroll engraved infill between to lower and upper margins with the latter incorporating a N/S strike switch, the arch with subsidiary regulation dial flanked by unusual leaf-cast mounts within a foliate scroll engraved field, the inverted bell-top top case with Quare pattern foliate cast carrying handle and later vase finials above brass-edged upper mouldings and gilt scroll cast frets to the upper quadrants of the front door applied with raised mouldings, the sides with lozenge over break-arch glazed apertures and the rear door with break-arch window, on moulded base with brass bracket feet, (movement with alteration to escapement), 44cm (17.25ins) high. John Bushman (Buschmann) is recorded in Loomes, Brian The Early CLOCKMAKERS of Great Britain as a `High German` watchmaker born circa 1661 and made brother of the Clockmakers` Company in September 1692. He married Mary Wyatt in the Parish of St. Margaret, Westminster in December 1690, was made an Assistant of the Clockmakers` Company in 1720 and was believed to be working until 1725. Baillie records that he was born in Hagen, Germany. From this is possible that he was related to the Buschmann dynasty of clockmakers who worked from Augsburg throughout the 16th and 17th centuries. The current lot was made at a time when the introduction the break-arch dial was a relatively recent innovation. The elongation of the square section of the dial to provide an engraved reserve for the strike/silent switch, coupled with the relatively small arch applied with unusual mounts and with further engraved decoration results in an individual and attractive appearance. The case with its resulting slender proportions, tight mouldings and generous `Quare` pattern handle perhaps reflects the influence Huguenot immigrant clockmakers such as Claude DuChesne.

Lot 156

A Queen Anne brass mounted ebonised table clock with pull quarter repeat, Richard Peckover, London, early 18th century. The six finned pillar bell striking movement with verge escapement and pull quarter repeat on a nest of six graduated bells, the backplate engraved with a grotesque mask and a basket of flowers above festoon swag within symmetrical foliate scrolls, the 7 inch brass break-arch dial with ringed winding holes, herringbone border engraved shaped false bob aperture and oval cartouche signed Rich. Peckover, London to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to outer track, the angles applied with female mask and scroll cast spandrels beneath arch with blued steel disc centred subsidiary calendar dial flanked by conforming mounts, in an ebonised cherub and scroll repousse mounted dome top case with foliate cast carrying handle and vase finials above further repousse panel mounted front door, the sides inset with lozenge over rectangular gilt sound frets and the rear with conforming lunette shaped fret within gilts mounts to door surround, on cavetto moulded base with brass disc feet, movement with some restoration, 43cm (17ins) high. Richard Peckover is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World, Volume 2 as working circa 1700-54. In 1735 he was working in Change Alley, later moving to Royal Exchange by 1751. Baillie further notes that Peckover probably acquired the business of Quare and Horseman in 1733.

Lot 174

Twenty-eight approximately 1/1250 scale waterline models of merchant ships, including an Albatros-K-Modell No.Alk305, Hurst Point, boxed; Wirral Miniature Ships unnumbered Benavon, boxed; unknown Exxon Valdez; Klabautermann No.KLA32B, P. & O. Ferries Pride of Bilbao; Tri-ang Minic No.P622, (1/2000 scale) M.V. City of Durban, boxed; and Tri-ang Minic No.P622, (1/2000 scale) M.V. Table Bay, boxed.

Lot 16

A Stuart Turner model of a James Coombe table engine, based on a Bristol colliery engine, to an Andrew Smith design, with a single cylinder of 1 inch bore by 2 inch stroke, with brass drain cocks, finished in traditional green and black paintwork, with polished brightwork, mounted on a pollard oak plinth, 37cm high.

Lot 197

A collection of tools comprising an unusual long handled tool with a D-end saw blade stamped Thomas Ibbotson & Co, length of blade and shaft 49cm, with rosewood handle, also a large kitchen knife the single edged blade stamped `Sabatier Rue Sehonore-84`, length of blade 28cm, the steel ferule stamped `First Kitchen Maid`, with hardwood handle, also two antler handled knives by Rodgers Cutlers and three table knives stamped A Brooks Bank Sheffield (7)

Lot 473

A Edwardian inlaid mahogany cased Joseph Rogers & Sons silverplated twelve setting canteen in table top Wellington cabinet, including soup ladle, sauce ladle, tablespoons and forks, bone handled knives etc (part replaced and some losses)

Lot 474

A 19th century Gibson & Co of Belfast mahogany cased twelve setting canteen of silver-plated flatware to include soup spoons, table knives, teaspoons, knife rests, soup and sauce ladles, dessert knives and forks, bone handled knives etc, the twin door mahogany table top cabinet containing three fitted drawers, height 27cm

Lot 483

An early 20th century silver-plated Corinthian column form table lamp with floral wreath bound column, height 43cm (sold electrically untested)

Lot 485

A 19th century silver-plated Britanoid cut and frosted glass table centre on triform and mythical character column and base, height 28cm, diameter 23cm

Lot 525

A pair of Edwardian hallmarked silver Georgian style table candlesticks with splayed bases and removable socles, by William Hutton & Son, London 1901/2, height 18.8cm (2) (illustrated)

Lot 536

A late Victorian hallmarked silver repousse decorated rectangular dressing table tray with mask head and pierced border, length 31.5cm, width 22cm, indistinct maker`s mark, London 1894/5, the exterior edge inscribed `Alexander Gordon Hugh McBain`, 26th January 1960, weight approx. 16oz

Lot 537

An Edwardian hallmarked silver rectangular dished dressing table tray with repousse floral decorated main panel within pierced and cast border, length 29.2cm, width 22.cm, maker`s mark CH, Birmingham 1902/3, weight approx. 10.5oz

Lot 539

An Edwardian hallmarked silver five piece boxed dressing table set comprising hand mirror, two hair brushes, clothes brush and silver backed tortoiseshell effect comb by William Adams Ltd, Birmingham 1912/13 (case af)

Lot 543

An early 20th century matched hallmarked silver eight piece dressing table set, comprising shaped repousse decorated tray, hand mirror, clothes brush, pair bud vases, and three assorted dressing table pot, various makers including J & R Griffin Ltd, Spurrier & Co, etc, circa 1906/1908

Lot 549

A set of six George II hallmarked silver table spoons, with engraved monogram and family crest, by James Tookey, London 1756/57, weight approx 13oz (illustrated)

Lot 552

A collection of George III and later hallmarked silver flatware, comprising George Smith & William Fearn Fork, London 1794/05, five 1837 spoons by William Eaton, London 1837, also a soup spoon Sheffield 1936-07 and a ladle 1938/39 by FS Ltd, and a small table fork by Walker & Hall, Sheffield 1887/88 (9), weight approx 16oz

Lot 553

A collection of early Victorian hallmarked silver flatware, by William Eaton, comprising four dessert spoons, four table forks and two smaller forks, London 1839/40, weight approx 18oz

Lot 557

A set of twelve unusually marked teaspoons, (possibly Scottish) marked with Unicorn Head, letter G, indistinct anchor and makers mark D.G, also two late 18th century table spoons by Thomas Wallace, London 1789-90, and two further table spoons by Stephen Adams, London 1803/04 and 1873/74, combined weight approx 14oz (16)

Lot 558

A set of six mid Victorian hallmarked silver table spoons by Desire Williams & Co, Exeter 1876/77, weight approx 13oz (illustrated)

Lot 561

A collection of mid and late Victorian hallmarked silver flatware, comprising five table spoons, six large dinner forks and four smaller dinner forks by William Eaton, London 1840/1846, also two table spoons and a fork by George W Adams (Chawner & Co), London 1882/83, combined weight approx 43.5oz (18)

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