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Bamfords Auctioneers & Valuers
Lot 320

Two silver Old English pattern table spoons, London 1911; another, George II Hanovarian; Fiddle pattern, 8.6ozt

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Bamfords Auctioneers & Valuers
Lot 37

A George III oak occasional table, the circular top tilting on turned columns, tripod base, 73cm high, 90cm diam, c.1800

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Bamfords Auctioneers & Valuers
Lot 46

A Victorian footstool, tapestry top, 37cm wide, c.1860; a Victorian walnut shaped rectangular screen, tapestry banner, now converted to side table (2)

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Bamfords Auctioneers & Valuers
Lot 5

A Chinese carved Padauk-type wood, small occasional table / pot stand, 76cm tall x 43cm wide.

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Bamfords Auctioneers & Valuers
Lot 50

A Chinese hardwood coffee table or opium table, 37.5cm tall x 119.5cm wide x 79.5cm deep; another similar small side table, (2).

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Bamfords Auctioneers & Valuers
Lot 55

A hand carved Liberty style side table, octagonal top carved in the Japanese taste with blossoming flowers, shaped legs, under tier shelf, 70cm high, 45cm wide

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John Nicholson's
Lot 334

A JAPANESE MEIJI PERIOD CARVED IVORY NETSUKE - SHOKI AND ONI, shoki seated at his table aside an oni, signature to base, 3.6cm.

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John Nicholson's
Lot 340

A JAPANESE MEIJI PERIOD CARVED IVORY NETSUKE - RECUMBENT WARRIOR, the warrior lead aside on a low table holding his ushiwa fan, 3.6cm.

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John Nicholson's
Lot 397

A SET OF FOUR 19TH CENTURY TURKISH KUTAHIYA TABLE TOP TILES, decorated with floral motifs, each tile 20cm x 20cm.

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John Nicholson's
Lot 503

A VERY GOOD CHINESE RECTANGULAR LOW TABLE, POSSIBLY HUANGHUALI, with well carved pierced frieze, on four flattened legs with scroll feet, 105cm long, 53cm wide, 60cm high.

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John Nicholson's
Lot 509

A GOOD CHINESE CIRCULAR LOW HARDWOOD AND BURR WOOD INLAID TABLE, with a carved frieze on five curving legs with scroll feet, united by stretchers, 75cm diameter, 34cm high.

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John Nicholson's
Lot 566

A TURKISH POTTERY FOUR TILE TABLE PANEL, with vivid sprays of foliate design, each tile 21.5cm x 22cm, overall together 43cm square.

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John Nicholson's
Lot 694

A LARGE UNUSUAL JAPANESE GLAZED POTTERY BULBOUS WINE VESSEL, the body with an unusual glaze and decorated with enamelled female figures over a jardiniere upon a table, the top of the vessel with a large cork, the lower body with spout, 33cm high.

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Dreweatts 1759
Lot 1

A FRENCH 7.5 INCH TERRESTRIAL 'COSMOGRAPHE' TABLE GLOBEMAISON DELEMARCHE AND CH. HENARD ET CIE, PARIS, LATE 19th CENTURYThe sphere applied with twelve coloured printed gores annotated with warm and cold currents to oceans, major topographical features to land masses, with oceans, islands, countries and principal cities labelled, also with tropics, equinoctial and the Equator printed with Roman hour numerals using the Paris Meridian and divided into five minutes, the Southern Indian Ocean printed GLOBE, ADOPTE, PAR LE CONSEIL L'UNIVERSITE, Maison, DELAMARCHE, Paris, Rue Serpente 25, the sphere mounted on its axis over a metal disc applied with printed calendar inscribed CH. HENARD ET CIE, PARIS, COSMOGRAPHE, BREVETE S.G.D.G. FRANCE ET ETRANGER, on baluster-turned ebonised upright with knurled knob for rotating the globe against a fixed star incorporating hand for the calendar scale and with adjustable axis arc passing over the sphere, on cavetto moulded disc-shaped foot.42cm (16.5ins) high, 23cm (9ins) wide.Condition Report: Globe is in good original condition retaining original finish/varnish with only minor yellowing/fading and a few light surface scuffs. The calendar disc is a little dusty/dirty with a small scuff to the scale above JUILLET otherwise is in good original condition with minimal wear to the finish. The brass meridian arc is bent at the junction with its pivot at one end (should straighten) and the calendar pointer is also bent but intact. The gearing mechanism for rotating the globe and calendar dial is intact and in working order and the brass fittings retain their original gilt finish albeit with some discolouration and wear in places. The ebonised stand is also in good original condition with no splits and retains its original finish however the base is a little warped causing the globe to rock a little. Condition Report Disclaimer

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Dreweatts 1759
Lot 110

Ɵ MCGARVA, JAMESOLD CLOCKS, THORNLEIGH, VICARS CROSS 1951 AND 1952Two albums of photographs recording James McGarva's collection of clocks, the first compiled in 1950 containing bracket, mantel and lantern clocks including a Lantern and a table clock by Tompion, and a spring night clock by Johannes Fromanteel, the second dated 1952 containing longcase clocks including Tompion and Banger no. 352, each image annotated in white Gothic calligraphy and both volumes hard-bound in blue cloth with gilt titles to boards. The present lot is believed to be one of only two pairs of albums compiled by James McGarva to record his clock collection and was used by Ernest Edwardes to assist in his work 'The Grandfather Clock'. The presentation of photographs pasted along with scripted annotations in white ink very much follows (but in a much simplified manner) that used by Walter Iden in the compilation of his albums, an example of which was sold in these rooms in our sale of THE HOROLOGICAL WORKING LIBRARY OF CHARLES ALLIX Wednesday 22nd February 2012 (lot 58) for £5,500 hammer. 

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Dreweatts 1759
Lot 134

Y A CENTRAL BOULLE 'RELIGEUSE' TABLE CLOCK CASETHE APRON PANEL INSCRIBED FOR CAREL MEYBOS, POSSIBLY LOW COUNTRIES, LATE 17th CENTURY With flambeau finials to the engraved pewter and red shell foliate scroll premier-parti marquetry veneered domed superstructure above cast gilt brass gallery inset frieze incorporating projecting pedestals for the second tier of larger flambeau finials, complex ebony mouldings to cornice and further brass gallery inset inverted breakfront frieze, the front door with repeating leaf cast brass surround to the 5.5 inch square glazed dial aperture over conforming lower panel inlaid in pewter with signature Carel Meybos, flanked by full-height free-standing Corinthian columns with cast gilt brass capitals over leafy trail twist inlaid shafts and lyre-fronted panels to pedestals, the sides with scroll-pieced ebony arched sound frets incorporating leaf-cast brass surrounds beneath foliate scroll decorated upper quadrant panels and flanked by pendant fruit, the rear formed flush with single rectangular door, on ogee moulded inverted breakfront shallow skirt base with generous bras draped ball feet.48cm (19ins) high, 28cm (11ins) wide, 17cm (6.75ins) deep. Carel Meybos does not appear to be recorded in the usual sources however the spelling may suggest an origin in what is modern day Belgium. It would therefore be reasonable to suggest that the current case may have been supplied for a movement perhaps made in a city such as Antwerp of Liege during the last quarter of the 17th century.

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Dreweatts 1759
Lot 135

AN UNUSUAL LARGE GEORGE II/III EBONISED OVERSIZE TABLE CLOCK CASEANONYMOUS, MID 18th CENTURYThe inverted bell-top superstructure with hinged brass carrying handle over cavetto top mouldings, the front with internal aperture measuring 10 inches wide by 14 inches to the apex of the arch set behind break-arch glazed door incorporating glass panel infill to upper quadrants flanking the arch, the sides with circular over concave-topped windows and the rear with break-arch glazed door incorporating conforming upper quadrant panels set within the frame of the case, on cavetto moulded skirt base.62cm (24.5ins) high with handle down, 37cm (14.5ins) wide, 20.5cm (8ins) deep. Oversize table clocks are rare with most known examples apparently made by the Windmills workshop (see Neale, Joseph and Thomas Windmills, Clock and Watch Makers 1671-1737 page 176).Condition Report: Case is generally in sound original condition although the ebonised finish has been re-done fairly recently. The superstructure has some slight shrinkage cracking and both doors have lost their locks (filled-in and doors now secured by pivoted latches). The base panel is original and appears to have one corner hole (most likely for a repeat cord) otherwise is free of visible fixing holes; the upper surface of the base board has been lined with ebonised veneer -the reason for this is unclear. All mouldings appear to be present. Condition Report Disclaimer

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Dreweatts 1759
Lot 145

A RARE SWISS LACQUERED BRASS, STEEL AND IRON MODEL 256 HIPP CHRONOSCOPEPEYER, FAVARGER ET CIE, NEUCHATEL, FOR FRIEDRICH RUNNE, HEIDELBERG, CIRCA 1900The substantial rectangular four pillar movement with break-arch frontplate measuring 3.75 by 4.25 inches at the shoulders and conforming rectangular taller backplate, enclosing greatwheel with barrel, second wheel, and third wheel incorporating twin contrate wheels (for engaging/disengaging the dials) facing each other checked by a small pallet arm which moves back and forth (due to the action of the solenoid coils on a second arbor contained within the wheel arbor itself) positioned behind the break-arch section of the frontplate, the upper right hand corner of the backplate applied with block for holding a metal reed/lamella mounted via a single fixing and incorporating fine screw angle adjustment, the top edge of the plate stamped with serial number 18180, the rear mounted with two pairs of electric solenoid coils set one above the other within finely finished shaped brackets with plate between, the engagement of the plate fine-tuned via tension springs applied above and below each incorporating independent adjustment by a pivoted arm and cam system through calibrated levers set to each side of the backplate, the front with silvered disc set on a bridge, calibrated 0 to 100 to outer track and signed Payer Favarger & Cie, Nuechatel, Suisse, No. 18180 around a winding square to centre, with motionwork behind and further brass disc above, the mechanism mounted onto a insulated composition platform pierced in the centre for the driving weight, with electrical connection posts to rear and engraved Fr. Runne, Heidelberg to leading edge, raised on three column-cast iron supports united by a concave-sided stretcher formed with a ring at the centre over tapered feet, (lacking start/stop mechanism, weight, escapewheel, upper dial disc, hands and some other lesser components).49cm (19.25ins) high, 21.5cm (8.5ins) wide, 16cm (6.25ins) deep. Provenance: The presence of the engraved signature for Friedrich Runne of Heidelberg to the table of the current lot indicates that it was suppled to him at his workshop 'Präcisioins-Mechanik' at the Physiological Institute of the University. Heidelberg was one of the centres of early experimental physiology. Wilhelm Wundt, Hermann v. Helmholtz and Ernst Kraepelin were teaching there.  The Hipp chronoscope was developed by the German clockmaker Mattheus Hipp soon after he became established in Reutlingen, Germany during the 1840's as an improvement on an earlier model invented by Sir Charles Wheatstone. Rather than using a pendulum or oscillating balance to regulate the timekeeper Hipp's chronoscope utilises a metal reed which vibrates at a high frequency (around 1000hz) which, in turn, locks and releases an escapewheel checking its rotation to 91 times a second. The front of the timepiece would have had two dials, the upper with hand completing ten revolutions a second and the lower revolving once every ten seconds. Calibrations on the upper dial would therefore allow intervals to be timed to within a thousandth of a second. In practice the timepiece would be linked to an electrical input which would provide the signal for the duration of what is being timed (on then off). When ready the clock would be set running but with the dials disengaged, when the interval signal is received the dials would be engaged (via the activation of the solenoid) and then disengaged when the signal stops; the duration of the signal would then be recorded on the dials.One of the early applications of the chronoscope was to time projectiles however latterly they became increasingly used in the field of physiology and psychology as exemplified by the example house in the Science Museum (object number 1996-277/23) which was used by Bedford College School of Psychology, London University, to try and determine the speed of thought.After a stint working at the Telegraph works in Bern Matthias Hipp moved to Neuchatel where he set up his own factory in 1860 producing apparatus for telegraphy, electric timepieces and other related instruments including chronoscopes. In 1889 he entrusted the management of his works to two engineers Payer and Favarger who continued producing chronoscopes resembling that of the current lot until around 1906. Thoms Schaven in his article The Hipp Chronoscope records 17 examples of the model 286 (not including the current lot) with serial numbers ranging from 13482 to 20659. When considering his dating evidence the current lot can be dated within a year or two of 1900. 

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Dreweatts 1759
Lot 186

A RARE CHINESE GILT BRASS MINIATURE TABLE CLOCK WITH ROCKING FIGURE AUTOMATONUNSIGNED, PROBABLY GUANGZHUO WORKSHOPS, EARLY TO MID 19th CENTURYThe four knopped-pillar twin chain fusee back-winding bell striking movement with plates measuring 4.25 by 3.5 inches, Knife-edge pivoted verge escapement regulated by short disc bob pendulum and fitted with foliate motif engraved backcock apron, the backplate finely engraved with a central oval panel containing Prince-of-Wales feathers issuing from a coronet onto vertically hatched background, within a field of symmetrical Neo-Classical inspired leafy scrollwork bordered a slender wavy band, the 4.25 by 6.25 inch arched gilt brass dial applied with convex fired white enamel hour disc with minute band divided into fifths and Arabic fifteen minutes to outer track, with pierced gilt brass hands and chased gilt rosette-and-scroll pierced spandrels beneath arch painted in tones of red, blue, cream and brown with a figure of Chronos rocking with the motion of the pendulum between two trees within a European inspired lakeland landscape, the arched fire-gilded brass case with lobed orb finial to the ogee-shaped canopy superstructure applied with leafy scroll-chased mounts between beaded borders, the front with bead decorated hinged arched glazed brass door beneath shell-centred crest issuing leafy trails and pendant husks continuing down the front edges to flank the dial aperture, the sides with symmetrical scroll-cast mounts over oval fretwork panels each pierced and chased with blooming foliage within surround of repeating lappet-leaves decorated with further scrolling motifs to upper and lower margins, over swollen base sections applied with delicate pierced and chased fretwork mounts, the rear matching the front and raised on four leaf cast and chased scroll feet onto a fixed brass-topped hardwood plinth base applied with acanthus cast ogee moulding and with squat bracket feet.39cm (15.5ins) high, 22cm (8.625ins) wide, 15,5cm (6.125ins) deep. The Chinese pre-occupation with mechanical timepieces can trace its roots back to the Court of the Wanli emperor who received as a gift two timepieces from the Jesuit priest Matteo Ricci in 1601. During the 18th century (from Kangxi reign onwards) exotic musical automaton timepieces became highly desirable and thus a very important commodity with regards to maintaining healthy trade relations between London and the Chinese Court. By the time of the reign of the Qianlong emperor such examples of the clockmaking art had become so fashionable that they were often traded as gifts to eminent officials and wealthy merchants as well as the Court itself.Mechanical clocks also had a symbolic purpose to the emperor signifying the ability to master the time and the calendar. As such they cemented his position as the Son of Heaven of having divine powers and the ability to control the transcendence of time in the Universe. Clocks were also valued for their practical applications and symbolised the smooth running of the emperor's administration through efficient time management. This significance is perfectly illustrated by a poem composed by the Kangxi emperor entitled 'The Chanting of the Chiming Clock' which translates as: Methods originating from the West taught us with a keen heart.Wheels circle on a quarterly basis, hands move according to minutes.Dawn needs not to ne announced, golden clock reports in advanceWork hard on government affairs in the morning, memorials are never completed in a late manner The Qianlong emperor's interest in the clockmaking art led to the expansion of the imperial workshops employing both Chinese and European clockmakers. These skilled artisans were given unrivalled access to the finest raw materials available at the time including gold, jade, ivory and gemstones. The first references to the imperial workshops making mechanical timepieces can be found during the Yongzheng period from records dating to 1723. Local workshops established in Guangzhou, Yangzhou and Beijing produced timepieces based on European (mostly English) models but with re-worked details to cater for the domestic Chinese market. Testament to the quality of Chinese clocks made in Guangzhou is represented by the fact that the Qainlong Emperor received examples as imperial tribute and went on to amass a huge collection with 3,431 timepieces on display within the imperial palace complex at one time (see Moments of Eternity: Timepieces Collection from the Palace Museum exhibition catalogue, Macao, 2004, pages 448-49).The current lot draws on European models for its form and the engraving to the backplate very closely resembles English work as illustrated in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS, Art on a Canvas of Brass 1660-1800 on page 363 (Figure 20.7). The painting to the scene in the arch however is typical of Chinese work with details strongly delineated and executed in a bold palette of colours. The movement winding from the back also reflects Chinese preference for dials not to be interrupted by the presence of winding holes. The mounts show a high degree of hand finishing/chiselling, and the clock is particularly attractive due to its relatively small proportions.  

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Dreweatts 1759
Lot 200

A FINE AND UNUSUAL LOUIS XVI PORCELAIN INSET ORMOLU MANTEL CLOCK WITH CALENDARUNSIGNED, PROBABLY SWISS, LATE 18th CENTURYThe circular twin going barrel movement flattened to lower margin and with four pillars pinned at the rear, the going train with pin-wheel escapement positioned low-down between the plates for regulation by a pendulum incorporating pivoted beam regulation adjustment to suspension, the strike train with rack, star wheel, snail cam and related detents etc. positioned on the backplate for sounding the hours, the 6 inch circular convex white enamel dial with three subsidiary dials labelled in French for Days-of-the-week, month-of-the-year and date-of-the-month to centre within puce Arabic numeral hour chapter ring and outer Arabic five minute ring, with steel 'arrow' hands for the subsidiaries set behind fine scroll pierced and engraved hour and minute hands, the break-arch case with basket of fruit surmount and pineapple finials to the engine-milled top surface over bead cast circular border enclosing concave porcelain ring bordering the dial finely polychrome painted with four oval vignettes depicting 18th century semi-erotic figural scenes separated by Neo-classical foliate scrollwork onto a deep cobalt blue ground, the lower section with further circular porcelain panel painted with Ajax performing self-martyrdom before Odysseus set within a cast foliate wreath applied to out-swept panel flanked by gilt lattice overlaid blue porcelain panel infill and pilasters also decorated with blue porcelain set into oval panels above projecting cylindrical porcelain plinths each painted with panels of floral sprays, the sides with further set of pinecone finials over panel upright projecting in a curve at the base, the rear with circular aperture set within a series of inset panels, on inverted breakfront fluted cavetto mounded skirt base with toupe feet, (unrestored and lacking pendulum, bell, bezel, mounts to the superstructure and cap for the left hand porcelain cannister).53cm (21ins) high, 47.5cm (18.75ins) wide, 15cm (6ins) deep Provenance: Broadlands, Hampshire being the property of the 1st Earl Mountbatten of Burma and thence by descent. The visible strike-work positioned on the backplate of the movement of the current lot is typical of Swiss practice and is most often seen on bracket clocks made in the Neuchatel region from the 1770's onwards. The pinwheel escapement was invented by the Parisian clock and watchmaker Jean LePaute in 1753. Being a form of deadbeat escapement it ensured good timekeeping however was difficult to make due to the precision required in forming the pallets as the tolerances required for operation are very slight. Notwithstanding this the pinwheel escapement became increasingly popular during the latter years of the 18th century reaching its zenith in the first half of the 19th century through its use in table regulators. The dial with puce numerals and bold detailing to the subsidiaries would support the clocks Swiss origins. The case although is very much in the Louis XVI Neo-classical taste is somewhat unusual in its design which would also support manufacture away from Paris, however the quality of the casting is very fine. The porcelain elements are very much in the style of Sevres with fine quality painting (most notably to the panel beneath the dial) - it may well be that these elements were bought-in from Paris.  Condition Report: The movement appears essentially complete, is intact but currently not running due to neglect. The pendulum rise/fall regulation mechanism appears to be incomplete (lacking cam assembly to the back of the dial?) there are two spare threaded holes next to the hammer pivot whose purpose is not outwardly clear (nothing obvious missing from the strike) and another two at the base of the backplate possibly for a pendulum holdfast. The bell is lacking. The dial has a small chip to the left hand winding hole, very slight cracks/chips around the upper and lower fixing screws and a very light hairline through the centre. The hand for the upper right-hand subsidiary is lacking its tip, all others are intact. The minute hand has been half-replaced with plain (unengraved) brass and the hour hand is bent. The hands are not correctly secured. The case has several holes to the curved top sections indicating that further mounts were originally applied but are now missing. The top mount has some foliage detached at the apex. Both the rear and front bezels/covers are missing. The porcelain around the dial appears free from visible damage as is the plaque beneath and the blue-glazed backing panels. The left-hand drum has been broken into several pieces and repaired at some point, the left hand one is loose and apparently undamaged but is lacking its gilt bras cap. The underside of the drum has a blue double 'L' mark for Sevres. The case is generally dirty with wear and discolouration to the gilding including some Verdigris around the lower front panel.Clock does not have pendulum, bell or winder. Condition Report Disclaimer

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Dreweatts 1759
Lot 223

A FINE GERMAN RENAISSANCE GILT COPPER, STEEL AND BRASS ALARM TABLE CLOCK WITH AUTOMATON STAMPED WITH MAKER'S INITIALS A.S. POSSIBLY FOR ABRAHAN SCHUSTER, AUGSBERG, CIRCA 1580The substantial posted steel movement with brass fusees and pinned flanged caps for the steel-walled spring barrels, the back-wound going train now with verge escapement regulated by short bob pendulum swinging in-front of the dial, the strike train of single-arbor warnless type with nag's head lifting, shaped cam overlift and sounding via a vertically pivoted hammer the hours on a bell positioned within the domed superstructure above, the alarm with open coil-spring set beneath verge crownwheel for the vertical hammer arbor sounding on the hour bell and released via interconnected sprung detents positioned both behind the dial and directly beneath the bell, the baluster-alarm alarm pivot bar engraved with pendant drapery around a cartouche containing initials A S over pineapple town mark for Augsberg, the gilt copper dial with central alarm setting disc within an applied Roman numeral chapter ring incorporating squat wheatear half hour markers over lower section relief decorated with fruit inhabited strapwork, the architectural case with crescent-capped obelisk finial to a circular open-work baluster gallery containing polychrome painted wood figure of an acrobat who pivots back-and-forth along with the action of the hour hammer, set on top of a domed cupola decorated with alternating bands of matted and burnished gilt fish-scale tiles and incorporating arch-pierced gallery between moulded collars to lower edge and flanked by conforming obelisk finials applied onto foliate scroll engraved platforms to angles, with complex moulded cornice and square section architectural pillars to angles decorating with engraved guilloche scrolls to shafts, the side panels further repousse decorated with fruiting foliage within strapwork, the rear conforming but with applied rosette-centred strike indication dial and pair of winding holes, on elaborate canted base decorated in high relief with alternating panels of foliate strapwork incorporating acanthus bordered cartouches at the angles, on compressed bun feet.39.5cm (15.5ins) high, 19.5cm (7.75ins) square. Research undertaken by Jurgen Abeler notes several clockmakers with initials 'A.S.' working in Germany throughout the 16th and 17th centuries, however he only one, Abraham Scuster is recorded by him as working in Augsberg at the time the current lot was made. When considering the potential date of the current lot a cursory survey of dated German Renaissance table clock movements made during the second half of the 16th century reveals that the use of brass within the mechanism became more widespread as the century progressed. Initially brass was employed just for the fusees, spring barrel walls, then also for the movement pivot plates, and finally (by around 1600-20) for the wheelwork as well. With this in mind the current movement (using brass only for the fusees) can be dated to around 1575. This approximate date is also supported by the lack of warning to the striking mechanism as this was not generally adopted until around 1600. The decoration to the dial panels and more notably the base exhibits a mixture of fruit inhabited leafy foliate scrolls and formal strapwork which can be compared on stylistic grounds to the background decoration seen on a complex astrolabe-dialled table clock dating to circa 1570-80 illustrated in Maurice, Klaus and Myer, Otto THE CLOCKWORK UNIVERSE, German Clocks and Automata 1550-1650 on page 185 (item 22). The current lot benefits from surviving in particularly original condition with the trains intact save for escapement conversion from balance top pendulum regulation. The case has also survives with original gilding and the automaton is a scarce and appealing feature for a clock of this age. Condition Report: The movement appears all original with the exception of the escapement which has been converted from verge with balance to verge with pendulum swinging at the front. The pendulum conversion has required a steel potance to be applied to the top plate which cuts a slot out of the brass upper plate from the centre to the leading edge; the escapewheel is positioned between the top plate and this steel potance. The wheelwork is in clean condition, exhibits minimal wear and the trains are fully operational. The alarm release mechanism is a little unusual being positioned above the movement top plate beneath the bell. The chapter ring, alarm disc and hour hand are most likely 18th century replacements; the alarm dial to the rear is probably original. The superstructure appears original with the lower section in good condition with faults limited to a cut-out to the lower rim to allow for the pendulum and two of the tangs for the securing screws being incomplete the automaton figure is most likely a 19th century replacement and the three arms supporting the top finial assembly appear to be later replacements. One rear foot is a replacement otherwise in good original condition retaining its original thick fire gilding with relatively minor but noticeable rubbing/wear and discolouration. The silvered elements are fairly heavily rubbed/tarnished.There is no winding key present. Condition Report Disclaimer

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Dreweatts 1759
Lot 228

A RARE GEORGE II PROVINCIAL MAHOGANY TABLE CLOCKJONATHAN SMALLWOOD, LICHFIELD, CIRCA 1735The five finned pillar twin fusee bell striking movement now with anchor escapement regulated by lenticular bob pendulum incorporating rise/fall regulation to suspension and with arched apertures to the lower edge of both of the movement plates, the 7 inch brass break-arch dial with finely matted centre within applied Roman numeral chapter ring with fleur-de-lys half hour markers, Arabic five minutes to outer track and signed Jn'o Smallwood, Lichfield to lower margin, with pierced steel hands and Indian mask and scroll cast spandrels to angles beneath arch centred with subsidiary rise/fall regulation dial flanked by conforming mounts, the case with hinged brass carrying handle to the inverted bell-top superstructure over cavetto and ogee top mouldings and scroll pierced blind frets to the upper quadrants of the glazed front door, the sides with fillet-edged break-arch windows beneath further glazed infill panels, the rear with plain panel door set within the frame of the case, on shallow cavetto skirt base with squat block feet; with a later wall mahogany wall bracket with single scroll-outline support.The clock 42cm (16.5ins) with handle down, 25cm (10ins) wide, 16.6cm (6.5ins) deep. Jonathan Smallwood is recorded in Baillie, G.H. Watchmakers of the World as working in Lichfield circa 1730 with a sale of his stock taking place in 1741. A walnut table timepiece by him is illustrated in Cescinsky, Herbert and Webster, Malcolm R. ENGLISH DOMESTIC CLOCKS on page 289 (figure 317).Condition Report: As catalogued the movement has been converted from verge escapement to anchor escapement however as this has not involved any cutting-out to the plates or case (except for a small 'scoop' to the lower rail beneath the rear door) restoring the clock back to its original form should be straightforward and would leave little evidence. Movement otherwise is in good original condition with the strike train appearing entirely original. Although the mechanism is in relatively clean working condition a precautionary clean/service is advised before putting into long term use. The dial has a series of unused holes in the plate behind the chapter ring at XII, III, VI and IX. These holes appear to be 'cast' apertures that have not been finished/reamed to take any fitting hence are not in any way considered evidence of alteration to the dial. The dial also has practice engraving if a bird to the rear of the plate towards the centre. The chapter ring has lost its silvering but the engraving is still strong and finely executed. The hour hand appears to be a replacement and both hands have been repaired. Dial otherwise is in good original condition but is somewhat dirty/discoloured. The case is generally in good original unrestored condition with significant faults limited to a historic bump to the left hand front corner of the upper mouldings which has resulted in chipping/losses to both the front and side sections of mouldings at that point. The mask around the dial (behind the front door) has a small loss to the veneer overlap to lower right hand side of the arch and the rear door has wear/losses to the slender overlap moulding to the left hand vertical edge. The right hand side has a small filled hole near the front edge (probably from an earlier door clasp which has been removed). All feet are missing their moulded faces and the base board is warped and split due to overtightening of the movement securing bolts. Case has very good untouched patinated finish.Clock has a pendulum and a case key but no winder. The bracket is structurally sound but otherwise is in poor condition having patch repairs to the vertical faces of the table and overall wear/chipping etc. Condition Report Disclaimer

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Dreweatts 1759
Lot 243

Y A WILLIAM III EBONY TABLE CLOCK THE MOVEMENT SIGNED FOR JOSHUA WILSON, LONDON, CIRCA 1700 AND LATERThe six finned pillar twin fusee bell-striking movement with verge escapement regulated by short bob pendulum incorporating scroll engraved apron to the backcock the herringbone-bordered backplate finely engraved with a central cartouche enclosing signature Joshua Wilson, London within symmetrical foliate strapwork issuing from a grotesque and pair of lions masks just beneath the backcock apron, now with 7 by 8 inch rectangular brass dial plate with winding holes to the matted centre, within original 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 applied cast gilt winged cherub mask spandrels to angles within herringbone engraved outer border incorporating foliate scroll infill to upper and lower margins and bearing engraved text Joshua Wilson, London between the lower spandrels, in a case with Quatre type double-scroll hinged brass carrying handle to the domed caddy superstructure over complex top mouldings and rectangular glazed front door incorporating scroll pierced brass to a lozenge-shaped aperture to the upper rail, the sides with rectangular windows beneath conforming frets and the rear with glazed door set within the frame of the case, on ogee moulded shallow skirt base with brass disc feet, (dial plate replaced, quarter repeat-work removed).39cm (15.5ins) high with handle down, 26cm (10.25ins) wide, 16.5cm (16.25ins) deep. Joshua Wilson is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born circa 1675 and apprenticed to William Fuller in 1688 but not Freed. It would appear that he was a Quaker hence did not sign the Clockmaker's oath of allegiance in 1697. After 1699 he carried on trade with the widow of Francis Stamper, paid quarterage until 1702, and is believed to have died in 1714.The engraved decoration to the backplate of the current lot can be closely compared to that on a clock by Francis Asselin illustrated in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS, Art on a Canvas of Brass 1660-1800 on page 265 (Figure 15.5). From this it would be reasonable to suggest that both the Asselin backplate and that of the current lot were engraved by the same hand; most likely a French Huguenot immigrant craftsman.Condition Report: The movement is in relatively clean working condition however was originally made with quarter-repeat work which has now been removed. The strike train is intact and appears all-original. The going train exhibits no obvious evidence of ever being converted to anchor escapement however the current escapement (including potances and backcock ) appear to have been renewed. As catalogued the dial plate has been replaced, the dial otherwise is in presentable condition with minor discolouration to the silvering of the chapter ring. The hands are probably replacements and the hour hand has a repair to its tip.The case is generally in sound condition with some historic veneer patch repairs most noticeable to the upper corners of the front door. The top surface has four filled holes from where finials were previously fitted, all the hinged have been replaced and the rear dock lock is non-original. The veneer overlap to the mask around the dial has several patch repairs and the base panel of the case has been replaced (well-executed) confirming that the movement and dial are probably not original to the case (hence why it has a replacement dial plate). Faults to the case are otherwise limited to relatively minor age-related bumps, scuffs and shrinkage.Clock has a case key but no winder. Condition Report Disclaimer

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Dreweatts 1759
Lot 251

Y A FINE WILLIAM III EBONY TABLE CLOCK WITH PULL-QUARTER REPEAT ON SIX BELLSDANIEL LECOUNT, LONDON, CIRCA 1700The six finned pillar twin fusee bell-striking movement with verge escapement regulated by short bob pendulum incorporating scroll engraved apron to the backcock and pull-quarter repeat sounding on a graduated nest of six bells, the herringbone-bordered backplate finely engraved with a central oval reserve enclosing bust of a Roman Emporer within winged crested mask and Eagle inhabited symmetrical foliate strapwork, the 7 by 8 inch rectangular brass dial with herringbone-border engraved winding holes, scroll decorated calendar aperture and shaped false bob aperture backed by silvered plaque engraved D. LeCounte, London to the matted centre, within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes beyond the minute track, with scroll-pierced blued steel hands and applied cast gilt winged cherub mask spandrels to angles within herringbone engraved outer border incorporating foliate scroll infill to upper and lower margins, the case with hinged brass carrying handle to the domed caddy superstructure and brass ball-and-spire finials over ogee and cavetto top mouldings and rectangular glazed front door, the sides with rectangular windows and the rear with glazed door set within the frame of the case, on ogee moulded shallow skirt base with brass disc feet.38cm (15ins) high with handle down, 26cm (10.25ins) wide, 17cm (6.75ins) deep. Daniel LeCount is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as most likely a Huguenot refugee from France who became a Freeman of the Haberdashers' Company before being made a Free Brother of the Clockmakers' Company in 1786. He took on many apprentices mostly of fellow Huguenot extraction including Daniel Lefebure in 1686 and George Vievar in 1693. Loomes notes a marriage to Ursula Davies in January 1681/82 and that he was living in the parish of St. Bartholomew by the Exchange along with his wife and daughter, Judith, in 1695. He signed the Clockmakers' Company oath of allegiance in 1697 and attended meetings until at least 1705. Daniel LeCount died in 1738 and was buried at Spitalfields. The engraved decoration to backplate of the current clock can be closely compared to that seen on a table clock housed in an elaborate mirror-panel clad case by fellow Huguenot maker Francois Langisse illustrated in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS, Art on a Canvas of Brass on page 255 (figure 14.11). Although the designs vary a little, details within the execution of the leafy trails and the birds would confirm that both the backplate of the Langisse clock, and that of the current lot were executed by the same hand.Condition Report: Clock generally is in fine condition with no significant faults.Movement is in clean working condition and appears fundamentally all-original with no visible alteration or obvious replacements other a few of the screws, pins etc. The escapement exhibits no evidence of re-conversion with the potances and escape wheel itself appearing original. The backcock also appears original however the decorative engraved apron is probably a replacement. The pendulum holdfast hook also appears to be a replacement. The repeat work appears original and is in working condition; the bells have been deeply cleaned hence are 'fresh' in appearance. The dial is in fine clean condition although the minute hand may be a very well-made replacement. The case is in fine condition with visible faults limited to minor shrinkage, bumps and scuffs most noticeable to the rear left hand corner of the top mouldings. The interior retains the original seatboard and the base of the case appears undisturbed. There is evidence of cosmetic restoration with the left-hand edge of the front door possibly re-veneered and partial replacement of the veneers which overlap the dial to the mask behind the front door. The rails flanking the dial have some wear/chipping from the action of the turn-discs applied to the rear of the dial. All hinges and locks appear original. The brass fittings have been brightly polished and lacquered.Clock is complete with winder and case key. Condition Report Disclaimer

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Dreweatts 1759
Lot 252

A BRASS MOUNTED MAHOGANY TABLE CLOCKTHE DIAL SIGNED FOR ROBERT WOOD, LONDON, LATE 18th AND EARLY 19th CENTURYWith a five pillar twin fusee bell striking movement with anchor escapement regulated by a lenticular bob pendulum, with an 8 inch brass dial applied with slightly convex painted Toman numeral hour disc inscribed Rob't Wood, LONDON to centre and with pierced gilt brass hands within gilt brass surround finely engraved with rosette-centred floral sprays to spandrel areas and with similar infill flanking the subsidiary STRIKE/SILENT selection dial to the arch, in a bell-top case with five gilt bras urn finials to superstructure and cavetto top mouldings, over break-arch glazed door incorporating brass filet mouldings to the dial aperture and scroll cast frets to the upper quadrants flanked by brass stop-fluted canted angles, the sides with hinged gilt bras carrying handles over break-arch frets cast with cherub mask centred sunburst and scroll decoration, the rear with rectangular glazed door, on cavetto moulded skirt base with brass ogee bracket feet.53cm (21ins) high excluding top finial and plinth, 63cm (25ins) high overall, 36cm (14.25ins) wide, 22cm (8.75ins) deep. Provenance: Private collection, East Midlands. Three makers with the name Robert Wood are recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London during the late 18th and early 19th centuries. The first around 1789, the second at Finsbury Square 1808-11 and the third from Kent Road, 1820.Condition Report: The movement is complete and in relatively clean working condition. The dial plate is drilled for three winding holes suggesting that a quarter-chiming movement was originally intended however there is no other visible evidence of another movement being fitted to the dial hence we are of the opinion that the clock was probably built-up using unused 'old stock' dial and case in the early 19th century (hence why movement appears late for the dial and case). The seatboard also appears old/original and undisturbed and there is no evidence in the case (filled or spare holes, or new timber) suggesting different movement fitment although there is an inset piece of timber following the arch of the dial to the back of the mask which would again appear to date form the time the clock was made. In summary the clock exhibits features which would suggest that it has been 'built-up' from parts however we feel that this was done 'in-period' hence the clock essentially started out in its current form. However we also appreciate that opinions may vary.The dial has old wear/rubbing and scratching to the painted surface and a poorly retouched scuff to the left of the signature otherwise is in sound original condition; the engraved gilt brass facing is in good original condition retaining good gilt surface. The case is generally in fine condition with faults limited to light wear, shrinkage and a few age-related bumps and scuffs with the most noticeable being some chipping to the veneer overlap of the rear door. The top final block would have originally been flanked by fretwork panels which are no longer present and the top flat surface onto which the block sits has been re-veneered to cover the slots for the frets.Clock has pendulum and case key but no winder. Condition Report Disclaimer

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Dreweatts 1759
Lot 47

FOUR BLOWN TEMPERED GLASS SIMPLE BAROMETERSPHILLIP COLLINS, LATE 20th CENTURYComprising a tear-drop shaped 'thunder bottle' with slender spout and suspension ring; another with central bulb-capped tube issuing two opposing upcurved tubes at the base; a 'Collins Patent Table Barometer', of cylindrical form surmounted with a bulb issuing a downward helical tube with open end submerged in dyed water at the base; a storm glass of cylindrical footed form inscribed P.R. Collins, Merton - Devon and with vertical spout; and a thermoscope formed as a bulb above long open-ended tube inserted into a cylindrical cistern, (4).The thermoscope 35.5cm (21ins) high, 11.5cm (4.5ins) diameter at the base. Provenance: The exhibition collection and reserve retail stock of Barometer World Museum, Merton, Devon. The instruments in the current lot are designed to visually indicate changes in barometric pressure. The thunder bottle is a traditional Dutch design which when dramatic drop in pressure occurs fluid will be 'sucked' out of the spout. The 'thermoscope' is also an historic design which first appeared in England during the 17th century, whilst the 'Collins Patent Table Barometer' is a model developed to show the change in pressure through movement amplified in a helical tube. 

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Dreweatts 1759
Lot 48

FIVE BLOWN TEMPERED GLASS SIMPLE BAROMETERSPHILLIP COLLINS, LATE 20th CENTURYComprising a tear-drop shaped 'thunder bottle' with slender spout and suspension ring; two 'Collins Patent Table Barometers', of differing size but each of cylindrical form surmounted with a bulb issuing a downward helical tube with open end submerged in dyed water at the base; a storm glass of cylindrical footed form inscribed P.R. Collins, Merton - Devon and with vertical spout; and a Santorio pattern thermoscope formed as a bulb above long open-ended tube inserted into a narrow cylindrical cistern, (5).The thermoscope 35.5cm (21ins) high, 11.5cm (4.5ins) diameter at the base. Provenance: The reserve retail stock of Barometer World Museum, Merton, Devon. The instruments in the current lot are designed to visually indicate changes in barometric pressure. The thunder bottle is a traditional Dutch design which when dramatic drop in pressure occurs fluid will be 'sucked' out of the spout. The design of the 'thermoscope' is taken from illustrations by Santorio Santorio (1561-1636) held by the Welcome Trustees, whilst the 'Collins Patent Table Barometer' is a model developed to show the change in pressure through movement amplified in a helical tube. 

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Dreweatts 1759
Lot 49

FIVE BLOWN TEMPERED GLASS SIMPLE BAROMETERSPHILLIP COLLINS, LATE 20th CENTURYComprising a tear-drop shaped 'thunder bottle' with slender spout and suspension ring; two 'Collins Patent Table Barometers', of differing size but each of cylindrical form surmounted with a bulb issuing a downward helical tube with open end submerged in dyed water at the base; a storm glass of cylindrical footed form inscribed P.R. Collins, Merton - Devon and with vertical spout; and a thermoscope formed as a bulb above long open-ended tube inserted into a cylindrical cistern, (5).The thermoscope 38cm (15ins) high, 9.5cm (3.25ins) diameter at the base. Provenance: The reserve retail stock of Barometer World Museum, Merton, Devon. The instruments in the current lot are designed to visually indicate changes in barometric pressure. The thunder bottle is a traditional Dutch design which when dramatic drop in pressure occurs fluid will be 'sucked' out of the spout. The 'thermoscope' is also an historic design which first appeared in England during the 17th century, whilst the 'Collins Patent Table Barometer' is a model developed to show the change in pressure through movement amplified in a helical tube. 

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Dreweatts 1759
Lot 78

A BRASS TABLE WEATHER FORECASTING CALCULATORNEGRETTI AND ZAMBRA, LONDON, EARLY 20th CENTURYFormed as three discs, the outer calibrated in inches for the barometer reading to the top edge and for wind direction to the lower edge, the middle ring is inscribed STEADY, RISING and FALLING and for summer or winter for lining-up with the wind direction scale, the centre with instructions for use, sector revealing appropriate weather forecast and inscribed NEGRETTI & ZAMBRA, LONDON, PATENT, 6276, 1915, with hinged strut to the black crackle-finish rear.12cm (4.5ins) diameter Provenance: The exhibition collection of Barometer World Museum, Merton, Devon. An identical example to the current lot is illustrated in Banfield, Edwin BAROMETERS Aneroid and Barographs on page 81 and is fully described on page 82.This design of forecaster was patented by Negretti and Zambra in 1915 using actual weather observations over a ten year period and was said to be 80% accurate by the manufacturers. 

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Dreweatts 1759
Lot 89

Ɵ SMITH, JOHNOF THE UNEQUALITY OF NATURAL TIME,With its reasons and causes. Together with a table of the True Equation of Natural Dates, Drawn up Chiefly for the Use of The Gentry, in Order to their more true Adjusting, and right Managing of Pendulum Clocks, and Watches, printed for Joseph Watts..., London 1686, 41 pages facsimile fold-out table at end, later full calf gilt title to spine, 8vo; together Elliott, Henry THE Clock-Maker's ASSISTANT... facsimile reprint of the 1726 edition by Rogers Turner Books, London 2011, gilt titled beige cloth, (2).Condition Report: Title page with repaired margins, and fold-out equation table is a facsimile. Pages generally browned with wear to edges. Later binding in good clean condition with minor fading and a few light scuffs only. Modern companion volume in fine condition. Condition Report Disclaimer

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Dreweatts 1759
Lot 91

Ɵ SULLY, HENRYREGLE ARTIFICIELLE DU TEMS,pour Appendre la Division Naturelle & Artificielle du Tems, & connoitre toutes fortes d'Horloges et de Montres, et la manière de s'en server adroitement first edition Andreas Heyinger, Vienna 1714, engraved frontispiece by Weickhmansuel featuring the author seated before his sea clock conversing with Father Time, 114 pages, equation table after page 50 and fold-out plate at end, full calf, gilt titled Morocco panel to spine, 8vo. According to Baillie this is 'The first and very rare edition of the most famous of horological books'. Much of the work is concerned with the regulating of watches and clocks. The Author, Henry Sully, was a watchmaker who established a watch factory at Versailles after emigrating to Paris in 1714. 

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Dreweatts 1759
Lot 93

Ɵ SULLY, HENRYREGLE ARTIFICIELLE DU TEMS,Traite de la Division naturelle & artificielle du Tems, des Horloges & des Montres de differentes construtions, de la manière de les connoitre & de les regler avec justesse edited by Julien le Roy, Chez Gregoire Dupuis, third edition Paris 1737, 433 pages, 5 fold-out plates and 1 table, full calf gilt titled Morocco panel to spine and marbled end papers, 8vo. Third and possibly most informative edition with additional material by le Roy describing clock and watch-making from 1715-29. 

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Boldon Auction Galleries
Lot 210

A set of scales, side table etc.

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Boldon Auction Galleries
Lot 294

Robert Heritage for Archie Shine 'Hamilton' dressing table, 137cm width x 73cm height

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Boldon Auction Galleries
Lot 299

An elm Ercol table and six chairs

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Boldon Auction Galleries
Lot 300

A walnut Morris of Glasgow 'Cumbrae' dining table, 139cm x 78cm

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Boldon Auction Galleries
Lot 305

Two teak nest of tables and an occasional table

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Boldon Auction Galleries
Lot 306

An oak Old Charm occasional table

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Boldon Auction Galleries
Lot 325

A map topped coffee table

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Boldon Auction Galleries
Lot 337

A modern white dining table and four chairs

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Boldon Auction Galleries
Lot 369

A Youngers 'Toledo' table w and eight (6+2) chairs

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Boldon Auction Galleries
Lot 373

A teak G Plan extending table and nine chairs

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Boldon Auction Galleries
Lot 374

An oak Arts and Crafts extending dining table and six (4+2) chairs, 142cm unextended, with two leaves

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Boldon Auction Galleries
Lot 76

A Regency style gilt circular mirror with bevelled glass, with console table and wall bracket, (3), 79cm height x 52cm diameter

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Ashley Waller Auctioneers
Lot 1219

A DECORATIVE CAST IRON PATIO TABLE WITH STONE TOP

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Ashley Waller Auctioneers
Lot 1279

A VINTAGE CAST ALLOY BISTRO SET TO COMPRISE OF ROUND TABLE, THREE CHAIRS AND A STOOL

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Ashley Waller Auctioneers
Lot 1309

A BAMBOO AND RATTAN CONSERVATORY TABLE

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Ashley Waller Auctioneers
Lot 1367

TWO TABLE LAMPS TO INCLUDE ONE FORMED FROM A COPPER KETTLE

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Ashley Waller Auctioneers
Lot 140

A QUANTITY OF ITEMS TO INCLUDE, A BOXED PAPERMATE FOUNTAIN PEN, TABLE LIGHTERS, WHISTLES, A LARGE GLASS INKWELL, BOXED PENCILS, ETC

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Ashley Waller Auctioneers
Lot 1404

TWO WOODEN TROUGH PLANTERS AND A WOODEN BIRD TABLE TOP

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Ashley Waller Auctioneers
Lot 1483

TWO PUMP ACTION KITCHEN STOOLS AND A GLASS TAPPED GARDEN TABLE

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Ashley Waller Auctioneers
Lot 1541

AN ASSORTMENT OF VARIOUS TABLE LAMPS SOME WITH SHADES

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Ashley Waller Auctioneers
Lot 1649

A WOODEN SLATTED GARDEN LOVE SEAT WITH CENTRE CONSOLE TABLE

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Ashley Waller Auctioneers
Lot 1663

A PAIR OF GILT LAURA ASHLEY TABLE LAMPS WITH SHADES

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Ashley Waller Auctioneers
Lot 1670

A VINTAGE TABLE LAMP ENCORPORATING A STICK PHONE

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Ashley Waller Auctioneers
Lot 1671

A ROUND VINTAGE CAST ALLOY GARDEN TABLE

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Ashley Waller Auctioneers
Lot 1672

A CERAMIC TABLE LAMP ON PEDESTAL BASE WITH SHADE

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Ashley Waller Auctioneers
Lot 71

FIVE SILVER PLATED RONSON TABLE LIGHTERS

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Ashley Waller Auctioneers
Lot 938

A TABLE TOP ARTISTS EASEL

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