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A FRENCH GILT METAL AND PORCELAIN MANTEL CLOCK GARNITUREThe movement by Pinchon Fils, Paris, circa 1875The eight-day countwheel bell striking movement with anchor escapement regulated by pendulum cast with a female mask to bob and incorporating Brocot type regulation to suspension, the backplate stamped PINCHON, FILS AINE, PARIS to centre and numbered 783 to upper left, the dial with landscape painted centre within blue-ground gilt bordered Roman numeral cartouche chapter ring, with gilt spade hands within egg-and-dart cast bezel, the gilt spelter and porcelain case with two-tone blue and gilt gadroon panel capped twin handled urn surmount incorporating polychrome floral panel to waist, over ribbon bow crest to the drum housing the movement flanked by cornucopia and floral finial adorned side projections supported on four columns with leafy caps and bases and gilt-bordered two-tone blue porcelain shafts with pendulum swinging between, the base with shaped panel inset with an arch-shaped blue-bordered landscape painted with a river landscape within leafy scroll borders over conforming feet, on original moulded giltwood plinth, the candelabra side pieces each with central sconce flanked by four scrolling branches over twin handled baluster upright and stepped shaped porcelain panel fronted base with scroll feet over original giltwood plinth, (3).The clock and candelabra 48cm (19ins) high overall, the clock 23.5cm (9.25ins) wide, 14cm (5.5ins) deep. 

A FRENCH PORCELAIN INSET ORMOLU MANTEL CLOCK The movement by Japy Freres, Paris, circa 1870The eight-day two train bell striking movement with anchor escapement regulated by anchor escapement with disc bob pendulum, the backplate stamped with JAPY FRERES ET CIE, G'DE MED. D HONNEUR roundel beneath stamped initials P. L'TRE, the upper margin with serial number 143 and the lower margin further numbered 3 3, the rectangular porcelain dial panel with centre polychrome painted with a putto over trophy emblematic of the arts within Roman numeral cartouche chapter ring incorporating turquoise 'jewels' to the gilt decorated cobalt-blue ground margins within further multi-coloured 'jewel' and gilt scroll decorated infill to the rest of the panel, the rectangular case with ormolu mounted cobalt-blue porcelain urn surmount decorated with polychrome painted figural panels within further gilt decorated borders flanked by handles cast a storks, over fluted frieze and further bird-and-flower decorated side panels flanked by projecting angles incorporating scroll-cast terms with lions paw feet, the rectangular skirt base applied with musical and martial trophies to sides and inset with a frieze painted with putti at play to apron, on fluted squab feet, with a pair of ormolu mounted porcelain urn side pieces, each of ovoid form with gilt scroll decorated domed cover over slender neck and body with female mask handles and polychrome painted with figural panel opposing a landscape to rear within elaborate gilt borders, on conforming foot with gilt metal plinth incorporating concave angles, each with underglaze blue entwined 'L' marks to inside of the lid and signed De Michet to the figural panel, (3).The clock 48cm (19ins) high, 32cm (12.5cm) wide, 20.5cm (8ins) deep; the sidepieces, 35cm (13.75ins) high.Condition Report: Movement is fully wound but is very in very dirty/neglected condition hence is not in working order. Both trains are fully wound and the escapement has motive power. The strike train appears intact but inoperative most likely due to neglect and the bell is also missing. The dial panel is in fine condition with faults limited to a few of the tiny 'jewels' missing and negligible gilt rubbing. Both side panels appear free from damage; the panels in the base have a three of the beads missing from the borders with a couple being re-applied in incorrect places (white at the angles replacing the single ruby-red ones that should be there) otherwise panels are in good condition with minimal rubbing. The lid to the urn surmount has at some-point been broken into two and glued back together; the body of the urn is missing a small handful of beads/jewels from the borders of the painted vignettes otherwise appears to be in fine condition with minimal gilt wear. The case retains original gilding to the applied cast elements with only minor rubbing/wear however the main body of the case (frame) has been cleaned back at some point and lacquered hence does not retain gilding to these srfaces (case must have been dismantled to do this). Because of this a series of small copper plugs used to fill porosity in the casting when it was made is now visible.Except for one lid being broken into three-pieces and re-glued both urn side pieces are in good condition with other faults limited to a few very small edge chips to the other lid and a couple of small chips where the base of each is joined with the underside of the body of the urn these chips are covered by gilt painting. The gilding to the porcelain of each urn has minimal wear however the metal mounts would appear to have been cleaned of most of their original gilding.Clock has a pendulum but no winding key or bell.Please ask the department for additional images Condition Report Disclaimer

AN IMPRESSIVE VICTORIAN MAHOGANY QUARTER-CHIMING LONGCASE REGULATORSmith and Sons, London, mid 19th centuryThe substantial four double-screwed columnar pillar triple train movement with plates measuring 9.75 by 10.25 inches and six-spoke wheel crossings throughout, the going train with Harrison's maintaining power and deadbeat escapement regulated by mercury jar compensated pendulum incorporating fine beat adjustment to crutch, the quarter train chiming on a graduated nest of eight bells and the hour sounding on a large coiled gong, the 12 inch circular single-sheet silvered brass Roman numeral dial with subsidiary seconds and STRIKE/SILENT, FULL CHIME/WESTMINSTER CHIME selection dials to the centre signed SMITH & SONS., ST. JOHN'S SQUARE., CLERKENWELL., with blued steel spade hands set within canted silvered bezel, the substantial case with ogee-capped concave-sided upstand, stylised twist baton carved cavetto cornice and repeating scroll decorated frieze over recessed quadrant panels around the dial aperture to hood door flanked by canted angles and with deep-set foliate scroll pierced arched sound frets to sides, the trunk with urn finials over complex top mouldings and repeating split baton frieze to throat above arch-glazed door enclosing silvered pendulum beat scale flanked by Egyptian style faceted three-quarter columns with stylised leafy caps and flared moulded bases, the plinth of inverted breakfronted form decorated with crisply moulded panels to front over tall skirt with complex upper mouldings.217cm (85.5ins) high, 66cm (26ins) wide, 34cm (13.5ins) deep.  The clockmaking business of John Smith and Sons of Clerkenwell can trace its roots back to 1780 however gained much greater significance when they became established in St. John's Square, at the former manufactory of Colonel Mangier, from 1844. The firm ran extensive workshops which incorporated a dedicated brass foundry, clock case workshop and assembly areas for the various types of clocks produced and was featured in the 20th September 1851 issue of the Illustrated London News in an article entitled Visit to a Clerkenwell Clock Factory. At the Great Exhibition held that year they exhibited a year going calendar clock and another chiming clock, chiming on 8 bells and striking on a gong. Ultimately John Smith and Sons perhaps became best known for their skeleton clocks, many of which illustrated in their 1865 catalogue including models based on Litchfield Cathedral and York Minster, however they also produced many fine chiming bracket clocks, longcase regulators, wall clocks and public clocks. The business continued to produce clocks until 1938 when, due to the decline in demand for mechanical timepieces, they diversified to become specialist material stockholders and still continue in this role today.It has been traditionally thought by vendor's family that the current lot was exhibited at the 1851 Great Exhibition. Although there is no evidence to support this, the movement and case are certainly of very fine quality hence would warrant this belief. Interestingly a quarter chiming longcase clock shown by Smith and Sons at the Paris 1900 Exhibition survives in the collection of The National Trust at Castle Drogo, Devon (object/902584). This clock also has a three train four pillar movement with Harrison's maintaining power, mercury jar pendulum and chimes the quarters on eight bells or four gongs, and is housed in an elaborate Chippendale style gilt brass mounted mahogany case.Condition Report: Lot 135The movement is in fine clean fully working condition having being relatively recently serviced (prior to the former owner's death). The level of mercury in the pendulum needs topping-up (is low) and there is staining to the interior of the glass jar. The dial generally is in fine clean condition but does have a couple of light spots of tarnishing.The case is in fine condition with faults limited to the small section of angled cornice moulding to the front right hand side being detached (just need gluing back on!); one small section (approx 1 inch) of the unusual repeating block decoration to the trunk door missing; a small loss to the front left hand corner top moulding of the base and a small loss to the left hand side fret. Otherwise faults are very much limited to minor bumps, scuffs, slight shrinkage and wear (most notably to the skirt) commensurate with age and use.Clock is complete with pendulum, three weights, case key and winder.Maximum dimensions at base - width 67cm (26.5ins), depth 35cm (13.75ins). Condition Report Disclaimer

A FRENCH PORCELAIN INSET ORMOLU FIGURAL MANTEL CLOCKThe movement by Japy Freres et Cie, Paris, late 19th centuryThe eight-day bell striking movement with anchor escapement regulated by disc-bob pendulum with Brocot type regulation to suspension, the backplate stamped with JAPY FRERES & CIE, G'DE MED D'HONN, 1855 and numbers 603, 8 1 to backplate, the porcelain dial polychrome painted with a romantic landscape to centre within pink ground Roman numeral cartouche chapter ring with gilt scroll painted decoration, with brass spade hands within bead cast bezel, the case with floral garland decorated pink porcelain bodied urn surmount adorned with floral finial and rams head masks issuing rose bloom swags to the break-arch top flanked by male and female putti with ribbon-tied crest over the dial between, the fascia with inset apron panel painted with a courting couple in 18th century dress flanked by conforming curved panels decorated with tied floral sprays and birds, the sides with generous acanthus decorated 'S' scrolls, on shaped gadroon-moulded skier base applied with a further ornithological painted panel to apron flanked by laurel trails over toupe feet; with original moulded giltwood stand,The clock 48cm (19ins) high, 36cm (14ins) wide, 15cm (6ins) deep. Provenance: The Selwyn Demmy Collection.Condition Report: The movement is in working condition and appears free from visible evidence of alteration or significant replacements however as the mechanism is a little dirty/neglected a gentle clean/service is advised before putting into service. The dial is in fine condition with no visible damage/repair or wear. The case is in good original condition with minimal wear/discolouration to the strong original gilding. The giltwood stand has some rubbing to the gilding, the fabric covering is worn/faded, otherwise faults limited to minor bumps, scuffs and other blemishes commensurate with age and use.Clock has pendulum but no winding key. Condition Report Disclaimer

Y A FINE WILLIAM III BRASS MOUNTED EBONY TABLE CLOCKWilliam Jourdain, London, circa 1700The five finned pillar bell striking movement with verge escapement regulated by short bob pendulum and inside rack for the hour striking mechanism, the backplate signed W. Jourdain, London to the symmetrical foliate scroll engraved backplate centred with a leafy basket and with herringbone border, the 7 inch square brass dial with canted border shaped false bob aperture further signed W. Jourdain, London to a recessed silvered plate behind and calendar aperture to the finely matted centre within applied silvered Roman numeral chapter ring with cruciform half hour markers and Arabic five minutes to outer track, with pierced steel hands, winged cherub head cast spandrels to angles and N/S strike/silent selection switch at three o`clock, the case with elaborate repousse double basket top surmount with fine twin cherub cast handle to the profile mask medallion scroll centred pierced upper tier, the lower tier with relief panel of St. George slaying the dragon flanked by figural military trophies within a conforming cherub and scroll decorated field and flanked by unusual gilt urn finials with tall baluster spires, the front applied with scroll pierced gilt repousse mounts to the frame of the door, the sides with glazed lozenge apertures over rectangular windows, the rear with rectangular glazed door set within the frame of the case, on complex moulded shallow skirt base with cast claw feet. 42cm (16.5ins) high with handle down, 27cm (10.5ins) wide, 17cm (6.75ins) deep. Provenance: the property of a private collector, north London; purchased at Woolley and Wallis sale of Clocks, Pocket Watches, Barometers & Scientific Instruments 26th October 2010 (lot 138) for £6,500 hammer. The life and work of William Jordain and his successors is recorded in Ponsford, Clive N.THE JOURDAIN FAMILY OF SPITALFIELDS, LONDON, SPECIALISTS IN CHIME AND MUSICAL WORK published in the September 2007 issue of Antiquarian Horology (Vol. XXX number III, pages 381-99). Ponsford notes that William Jourdain was born in Dieppe in around 1665 to David Jourdain a Huguenot. In 1686 the family fled across the channel to escape persecution following the Revocation of the Edict of Nantes, and by 1688 the family had settled in London with William Jourdain being admitted to the congregation of the French Church of Threadneedle Street. William Jourdain married his cousin, Anne Le Sturgeon (with whom he had ten children) in 1695 and set-up business as a clockmaker in Spitalfields. After the death of Anne William Jourdain married his second wife, Suzanne Savoy in 1712 who again he outlived allowing him to marry his third wife Susanne Savoy in 1741. William Jourdain died in 1747 leaving the business to his son of the same name who continued in his father's footsteps until he was admitted to William Sutton's Hospital, near Smithfield in 1778 where he remained until his death in 1782.William Jourdain, like many highly skilled Huguenot immigrant craftsmen, apparently never gained his freedom of the Clockmaker's Company. However this did not seem to hinder him in his work as surviving examples demonstrate a high quality approach, often incorporating complications such as musical work and highly decorated cases. The highly decorative nature of the case of the current lot reflects Jourdains 'high-style Huguenot' approach and interestingly can be directly compared to an example housing a movement and dial by Langley Bradley which was sold in these rooms on Wednesday 4th December 2013 (lot 173). The engraving to the backplate is well executed and most likely by a fellow Huguenot being perhaps the same individual who executed the backplate for a clock by Simon DeCharmes which is illustrated in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS - Art on a Canvas of Brass 1660-1800 on page 245 (Figure 14.3).Condition Report: The movement is in clean working condition. A series of filled holes to the upper left hand margin of the plates suggests that a pull-quarter repeat mechanism was fitted at some time which is no longer present. The escapement wheelwork has either been re-pinioned or replaced and the lower potance is also a replacement however the top potance, backcock and apron would appear to be original hence the escapement appears not to be a reconversion. Indeed the position of the internal rack for the striking mechanism has most likely deterred conversion to anchor escapement in the past. The upper two wheel of the strike train have been re-pinioned otherwise movement appears to be original and in good condition. The dial is in fine clean condition with strong gilding (although it has possibly been regilded at some point). The chapter ring has some very light concentric rubbing to the silvering; the hour hand may be a well-made replacement.The case is generally in good original condition with no visible damage of losses to the 'double-basket' superstructure; the finials also appear free from damage. The front door has sections missing from the repousse mounts to each end of the upper and lower rails. The right hand mount has a small loss to the lower edge and the left hand has three breaks and a small loss. The front door hinges and lock have been replaced and there is a small veneer loss to the lower right hand corner of the dial mask (where the veneer overlaps the dial plate). The rear door retains its original hinges and lock, the veneers exhibit numerous small historic holes indicating that the repousse mounts were also once fitted to the rear door but are now no longer present. The sides are in good condition although there are two small blemishes to the rear of the left hand side from where the pins securing the rear door hinges have pierced the veneers. Faults to the case are otherwise very much limited to minor shrinkage and a few other very slight age related blemishes.Clock has a case key but no winder. Condition Report Disclaimer

AN AUSTRIAN ORMOLU MOUNTED EBONISED GRANDE-SONNERIE STRIKING MANTEL CLOCK Unsigned, circa 1830The four pillar triple train short duration movement with anchor escapement regulated by rosette-cast bob pendulum with silk suspension, and sounding the quarters on a coiled gong followed by the hours on a second larger gong at every quarter hour or on demand via a pull trip repeat function, the 5.5 inch circular gilt brass dial with small concentric enamel calendar ring to the geometric engine-turned centre within Arabic numeral enamel chapter ring, with steel spade hands set behind hinged engine-turned brass convex glazed bezel, the rectangular case with alabaster and gilt metal urn-shaped finial to the tablet upstand over convex-shaped upper side angles, the fascia applied with rosette and laurel-bow cast mounts around the dial and with oval lenticle surmounted by and eagle with outstretched wings flanked by further leafy sprays beneath, the sides with further lyre cast mounts, on generous skirt bass applied with leaf-moulded gilt gesso upper mouldings and figural cast apron mount to front, on generous gilt paw feet. 46.5cm (14.25ins) high, 28cm (11ins) wide, 15cm (6ins) deep.Condition Report: The movement appears complete and fundamentally original with no obvious visible evidence of alteration or significant replacements. The mechanism is in working condition however the strike work is currently out-of-sync with the hands and as the movement is in somewhat dirty/neglects condition a clean and overhaul is advised. The dial has has some chipping/losses to the inner calendar ring at its two attachment points, the chapter ring has several hairline cracks and the winding holes have adjacent wear to the gilding. The case is in sound condition although the finial may be incomplete and there is evidence (a few vacant 'pinholes') that there was an ormolu mount fitted over the dial at some point. The front left foot has been repaired; the right is missing a toe and the rear left is incomplete. The rear of the skirt has some historic worm damage; this infestation is no longer active and the damage is not structural. Faults to the case are otherwise limited to light to moderate bumps, scuffs, shrinkage and wear commensurate with age and use.Clock has pendulum but no winding key. Condition Report Disclaimer

A FRENCH GILT METAL AND PORCELAIN MANTEL CLOCKUnsigned, Paris, circa 1875The eight-day countwheel bell striking movement with disc bob pendulum incorporating Brocot type regulation to suspension, the backplate stamped with serial number 5219 to upper left, the dial polychrome painted with cherub in flight to centre within blue ground gilt bordered Roman numeral cartouche chapter ring, with gilt spade hands and bead cast surround, the case with twin handled urn surmount painted with scene of a courting couple within gilt borders onto a powder-blue ground, over shallow-break-arch top with grotesque mask centred husk swag draped over the dial and flanked by generous strapwork side scrolls adorned with lovebirds, the front with twin oval panels each decorated with cupid to the out-swept upright over shaped cavetto moulded base incorporating leafy apron flanked by rosette panels and toupe feet, with a pair of twin handled urn side pieces, circa 1875, each with leafy finial and flaming torch side handles to the polychrome floral bad decorated porcelain body above shaped panel fronted plinth base incorporating paw fee to the shaped side scrolls, (3).The clock 43cm (17ins) high, 28cm (11ins) wide, 12.5cm (5ins) deep; the side pieces 33cm (13ins) high. 

A FINE PATINATED AND GILT BRONZE TABLE REGULATOR WITH SIX-LEGGED GRAVITY ESCAPEMENTSinclair Harding, Cheltenham, circa 1985-90The circular gilt four double-screwed columnar pillar single chain fusee movement with Harrison's maintaining power, external six-legged gravity escapement incorporating jewelled pallets pivoted beneath sub frame mounted on the backplate, and regulated by half-seconds pendulum with wire rod and large diameter heavy gilt brass cylindrical bob, the 6 inch circular silvered dial with eccentric Roman numeral chapter ring interrupted by slender subsidiary seconds ring at six o'clock and with separate outer minute track, applied onto the frosted silvered ground over two curved plates signed SINCLAIR, HARDING to lower margin, with blued steel spade hands within canted gilt circular surround, the case with fluted urn finial to the gilt line bordered stepped cavetto moulded panel upstand over keystone latch for the full-height bevelled front glass and rectangular section patinated bronze corner uprights incorporating horizontal gilt line details at the base of the arch, the sides with curved glasses following the profile of the arch over gilt rail and further rectangular windows, the rear matching the front, the interior with gilt floor applied with silvered pendulum beat scale calibrated 5-0-5 and engraved with serial number 869, on stepped black marble plinth base with chamfered edges and canted angles over brass ball feet.56cm (2ins) high, 26cm (10.25ins) wide, 23cm (9ins) deep. The Cheltenham based clockmaking firm Sinclair Harding was established by Bill Sinclair and Mike Harding in 1967. Between 1971 and around 1995 the business evolved from being initially focussed on restoration and repair to designing and building their own clocks including chiming longcase and table clocks, their design of 'sea clock', giant and perpetual calendar carriage clocks. In 1995 Mike Harding retired leaving the firm in the hands of Robert Bray; the following year Sinclair Harding were commissioned to make the clock for the Oval cricket ground and the business was relocated to North Yorkshire. In 1999 their first scale version of John Harrison's sea clock was produced adding to their ever increasing catalogue of complex timepieces, and 2010 saw Robert Bray awarded the Barrett Silver Medal by the British Horological Institute as well as being appointed Vice President. The firm have always been regular attendees at Baselworld and in 2017 exhibited their Harrison H1 timepiece at Salon QP. The Gravity escapement in the current lot has its roots in the exploratory designs of some of the leading late 18th and early 19th century makers such as Berthoud, Mudge, Cumming and Hardy. Bloxam had come close to perfecting the design in 1853 however was still plagued by the fault encountered by earlier attempts in that the pallets tended to bounce off the escapement locking surface; known as 'tripping'. Edward Denison (later Lord Grimthorp) perfected the gravity escapement in 1860 by eliminating the tripping problem. He did this through the connection of a fly (air brake), directly to the escape arbor via a friction clutch. It allows the fan to advance slightly after the escapement engages the pallet. The inertia provided by the weight of the fly keeps the escapement seated against the pallet during locking; in essence acting as an 'energy sink'. This escapement provides a nearly detached pendulum from the rest of the clockwork and, as there is no sliding friction, there is no need to oil the escapement. These features made the escapement perfect for use in turret clocks where a high degree of accuracy can be maintained with minimal maintenance. There are two principal designs of gravity escapement the first is the double three-legged type the second in the four legged design. The former uses two pairs of three legs for the pallets and three impulse pins at the centre whilst the second has four legs and four pins. The disadvantage of the both of these designs is that the escape arbor revolves either 1/6 (double three legged) or 1/4 (four legged) for each beat of the pendulum hence the train of the timepiece needs suitable long gearing to maintain a reasonably long duration. The current movement is unusual in that it utilizes a six legged arrangement which has no doubt been employed to facilitate running with a half-seconds pendulum.Condition Report: Movement is in very fine original condition retaining the original gilding and bluing to the screws etc. blemish free. The mechanism is in working condition however has not been run in a while hence the action of the escapement is prone to slowing-up a little due to the lubrication of the pivots having dried out. With this in mind the mechanism would benefit from a gentle/light service before putting into service. The dial has a very slight scratch to the chapter ring between the VII and VIII numerals otherwise is blemish free.The case is in fine condition with faults limited to slight wear and a small corner chip to the lift-out rear glass panel (which cannot be seen when the panel is in place). Timepiece is complete with a crank winding key. Condition Report Disclaimer

Y A LATE VICTORIAN INLAID ROSEWOOD WATCHSTAND IN THE FORM OF A MINIATURE LONGCASE CLOCKAnonymous, late 19th centuryThe arched pediment with fan inlay to tympanum over parquetry decorated moulded cornice and circular aperture within turned surround and further fan quadrant panels to hood, the trunk with concave throat above raised rectangular urn inlaid panel flanked by slender half columns, the rear with access door for the hood aperture, the plinth base with cavetto top moulding over oval fan cartouche to front and moulded skirt; with two other watch holders, 19th century, the first rosewood, of arched form and with single drawer to base, the second with circular panel over dished base, (3).The miniature clock case 42cm (16.5ins) high, 12.5cm (5ins) wide, 8.5cm (3.5ins) deep. Provenance: The Estate of Lawrance Hurst.Condition Report: The 'miniature longcase clock' is missing its throat moulding across the front as well as well and the left hand trunk pilaster capital. Otherwise is complete however the left hand cornice moulding and the slip above the base top moulding to the right hand side are currently detached. There is no trunk door key present. Faults are otherwise limited to minor bumps, scuffs and other age related wear and blemishes. The drawer-fronted stand has evidence of being decorated with two rosettes at each end of the arch which are no longer present (slight witness marks are visible). The drawer is missing its knob and the veneers to the fascia flanking each side of the drawer and along the lower rail have been repaired/replaced. Faults are otherwise limited to minor age related bumps, scuffs etc. The third stand is in sound original condition exhibiting age related wear only. Condition Report Disclaimer

A FRENCH NAPOLEON III LOUIS XVI STYLE ORMOLU MOUNTED CARRERA MARBLE MANTEL CLOCKIndistinctly signed, Paris, mid 19th centuryThe circular eight-day countwheel bell striking movement with anchor escapement regulated by disc bob pendulum incorporating silk suspension and backplate inscribed 10107, the circular white enamel Roman numeral dial with indistinct signature over A PARIS to centre and with Arabic five minutes to outer track, with fine scroll pierced and engraved gilt brass hands set behind hinged engine-milled convex-glazed ormolu bezel, the case with surmount finely cast was a basket of fruit over gilt drum housing the movement flanked by goats standing to eat fruiting vine issuing from the surmount, raised on rectangular upright inset with crisp torchere and cornucopiae cast mount to front and flanked by winged putti supporting platforms for the goats, on D-ended cavetto moulded plinth base inset with panels of ribbon-tied floral swags over leafy toupe feet, with a pair of ormolu mounted urn side pieces, mid 19th century, each with berry finial to the domed top and spiral flute cast waisted collar over shouldered body raised on three grotesque mask supports with coiled snake between, on concave sided triform base with disk feet.The clock 42cm (16.5ins) high, 32cm (12.5ins) wide, 12.5cm (5ins) deep; the side pieces 30.5cm (12ins) high.Condition Report: Movement is complete and appears all-original with no visible signs of alteration; although it is running and striking a gentle clean/service will be required before putting it into service. The dial has chipping around both winding holes, there is also another small edge chip above the II numeral. The signature is rubbed and there a few spots that might be firing faults to the enamel. The case is generally in sound original condition however the small tablet of marble between the dial and the basket of fruit surmount is cracked. The mounts are generally discoloured/muted/dirty but appear to retain original gilding albeit with moderate wear hence may respond well to cleaning. The marble is otherwise in fine condition with only a few very tiny edge chips.Both of the side pieces are in good original condition but have one or two small but noticeable edge chips to the marble at bases. One also has a series of pin-prick blemishes to the marble body. The mounts are in the same condition as those of the clock itself.Clock has pendulum but no winding key. Condition Report Disclaimer

A QUEEN ANNE POSTED THIRTY-HOUR LONGCASE CLOCK MOVEMENT WITH TEN-INCH DIALUnsigned, probably Lancashire, early 18th centuryThe countwheel bell-striking movement with separately wound trains, anchor escapement for regulation by seconds pendulum and well detailed column-turned corner posts, the 10 inch square brass dial engraved with stylised urn and tulip blooms within applied Roman numeral chapter ring with large sword-hilt half hour markers, with scroll-pierced brass hand and cast figural spandrels emblematic of the four seasons to angles, (no pendulum or weights).33cm (13ins) high, 18cm (7ins) deep overall. The current lot can be directly compared to another unsigned movement and dial housed in an oak case described and illustrated in Darken, Jeff TIME & PLACE, English Country Clocks 1600-1840 pages 72-73. Of particular note is the very similar dial engraving which is almost certainly executed by the same hand as that of the current lot. Details in both the movements, such as separately wound trains, design of the bell-stand and hammer, and identical pattern of corner post casting would appear to confirm that both the example illustrated by Darken and the current lot originated in the same workshop. The slighter later pattern of spandrel casting present on the current dial would suggest that it probably dates to the early 18th century rather than around 1690 suggested for the other example described by Darken.  

A REGENCY MAHOGANY MERCURY WHEEL BAROMETER WITH TWELVE-INCH DIALDominic Bolongero, Manchester, early 19th centuryThe 12 inch circular silvered register centred with engraved urn-surmounted foliate scrollwork and calibrated in barometric inches with the usual observations within cast brass thick bevel glazed bezel, the ebony and box line-edged case with hydrometer to the rounded pediment over arch glazed silvered Fahrenheit scale mercury thermometer to the baluster-outline upright, the rounded base with recording hand setting key over glazed spirit level signed Dominic Bologero, No. 2, old Millgate, Manchester.111cm (43.5ins) high. Provenance: The Selwyn Demmy Collection. Dominic Bolongaro is recorded in Banfield, Edwin BAROMETER MAKERS & RETAILERS 1660-1900 as a 'carver, gilder and print seller' who came to Manchester from Tavernerio, near Lake Como, Italy in around 1787. After initially working for Vincent Zanetti he set up business alone. He worked from 2 Old Millgate, Manchester 1817-30, 14 Market Street 1832-33 then finally 32 Market Street 1834-48. He went into partnership with son Peter in 1848, who subsequently succeeded him and ran the business until 1883.Condition Report: Tube is filled with no obvious airlocks, the float mechanism etc. is intact and operational however will require setting-up/calibration. The dial/register is in good condition with some slight mellowing/tarnishing to the silvering; the setting hand mechanism is operational. The thermometer is in fine condition. The case is in sound original condition with only notable faults limited to some small losses to the ebony edge stringing and some localised cracking lifting to the edge veneered to the rounded section of the base. Faults are otherwise very much limited to minor shrinkage, discolouration and wear commensurate with age and use.  Condition Report Disclaimer

Y A REGENCY MAHOGANY MERCURY WHEEL BAROMETERC. Tagliabue, London, circa 1825The 8 inch circular silvered register engraved with an urn over foliate scrolls and signed signed C. Tagliabue, 28, Cross Str't, Hatton Garden, LONDON to centre with concentric scale calibrated in barometric inches with the usual observations set behind cast brass convex glazed bezel, the kingwood banded and ebony line-edged case with swan neck pediment over bowfronted Centigrade scale mercury tube thermometer to the baluster outline upright and recording hand adjustment square to the rounded base.98cm (38.5ins) high. Caesar Tagliabue is recorded in Banfield, Edwin BAROMETER MAKERS AND RETAILERS 1660-1900 as working from Hatton Garden, London 1822-46 including 28 Cross Street 1822-29.Condition Report: Tube is intact and filled but has a small airlock at the top and is currently plugged. The mechanism is intact but will require setting-up. The register is in fine condition with nice even silvering. The thermometer is in good condition with some minor spotting to the silvering. The case is generally in very good original clean condition with faults very much limited to a few minor bumps, scuffs and age related blemishes. Condition Report Disclaimer

Ceramics - a pair victorian dripware twin handled urn vases, blue, green and brown glaze, unmarked 27cm high; graduated jugs trio etc

A large reconstituted stone urn on stand, 126cm high and a smaller urn on stand 71cm high (2) Condition Report: Available upon request

A vintage cast iron campagna urn, H47, diameter 50cm

Vellucent Binding. The Book of Common Prayer, and Administration of the Sacraments, and other rites and ceremonies of the Church..., together with the Psalter, or Psalms of David, pointed as they are to be sung or said in churches, Oxford: printed by T. Wright and W. Gill, printers to the University, 1774, bound with The Whole Book of Psalmes, collected into English Metre, by Thomas Sternhold, John Hopkins, and others, conferred with the Hebrew, Oxford: printed by T. Wright and W. Gill, printers to the University, 1774, front blank inscribed ' Mary Twining the gift of her brother the Revd. Thos. Twining', marbled endpapers with verso of front free endpaper inscribed 'Frances Mary Twining, the bequest of her dear and lamented Aunt & Godmother Mary Twining, 5 April 1839', all edges gilt, contemporary gilt decorated vellucent binding, finely painted image of an urn to upper board and view of Fountains Abbey, Yorkshire to lower board, small 8vo (13.2 x 7.4 cm), contained in purpose-made textile pouchQty: (1)NOTESThe Rev. Thomas Twining (1735-1804) was a classical scholar and cleric. The son of Daniel Twining, tea merchant of London, and Ann March, he was originally destined to have a career in commerce, but due to his distaste for it and his fondness for study, his father sent him to university. He entered Sidney Sussex College, Cambridge in 1755, and became a fellow in 1760. He took orders and was married in 1764 to Elizabeth Smythies (1739–1796), daughter of Palmer Smythies, rector of St Michael's, Colchester, who had taught him at Colchester Free Grammar School. Twining spent the remainder of his life as incumbent of All Saints Church, Fordham, Essex, and in plurality as vicar of White Notley (from 1772) and rector of St Mary's, Colchester (from 1788), where he lived from 1790 until his death on 6 August 1804. Twining's reputation as a classical scholar was established by his translation, with notes, of Aristotle's Poetics (1789).

A French cream pained commode, surmounted by a marble top, having blind frieze drawer with two drawers below, profuse applied and carved foliate and urn decoration, raised on turned tapering supports, 134cm wide 

A white and red veined marble garniture urn, of baluster form, raised on an integral plinth base, 38.5cm high.

A French late 19thC Louis XVI style gilt metal cased mantel clock, circular enamel dial bearing Roman and Arabic numerals, eight day movement with bell strike, the case with twin handled urn surmount cast with pilasters, masks, vines and floral garlands, raised on two stump and two hoof feet, with pendulum and key, together with a gilt wood stand and glass dome, 50cm high. (3)

A neoclassical late 19thC loaded brass table lamp, of twin handled semi fluted urn form, decorated centrally with a frieze embossed with classical muses and cherubs, 59cm high.

A Victorian stained oak fold over card table, with a vine carved frieze, over an urn and fluted column carved with acanthus leaves, on a quatralobe base carved with leaves, raised on bun feet, 50cm high, 90cm wide, 45cm deep.

The top with broken pediment and urn finial above mullioned glazed doors enclosing adjustable shelves; the base with three graduated long drawers and stop-fluted angles, raised on tapered feet130cm wide, 238cm high, 58cm deep

Of baluster form, later chased decoration with flowers and foliage, S scroll handle, the domed lid with urn finialHeight: 28cm, weight: 26ozFootnote: Note: Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/

The ovoid body raised on three cabriole legs, with a chased border of shells and diaper work around the shoulder and cover, with a vacant cartouche (previously engraved), with later spirit lampHeight: 31cm, weight (all in): 52.9ozFootnote: Note: This newly discovered mid 18th century Edinburgh coffee urn adds to a small but important group of Scottish silver, arguably without compare. Bringing the survival to approximately seventeen (with eleven in institutions), this urn fits perfectly within the Golden Age of Edinburgh silver.With no parallel elsewhere in England or the rest of Europe, where the inspiration for this design emanates from is still the subject of debate, although the basic shape may derive something from the earlier practice of mounting ostrich eggs in silver.During the period of these urns manufacture (circa 1719 - 1767) and particularly within the height of their manufacture (circa 1730 -1750) the number of standard pouring coffee pots is minimal. This and a reference in the John Rollo, Goldsmith Edinburgh, account book 'To one Coffe poot 62 oz 2dr at 7sh 6pe per oz - £23 - 5 - 8' and the survival of this piece adds great weight to the theory of their use being for coffee, rather than as hot water or tea.Their functionality also is worthy of note, when it is considered that within contemporary accounts coffee is considered medicinal and should 'be drunk as hot as one can bear' the shape combined with the use of a burner (now lacking in most of extant examples) would have meant the contents could have been kept hot.The design of these urns seems to vary more by the period than maker, with the flair of the maker coming in the outline shape of the body; they can vary from elongated to more compressed squat forms. All but one of the surviving urns are of Edinburgh manufacture and by a small but highly regarded group of makers. The exception is a Dundee marked example by Alexander Johnston, which while marked by him and the body likely made by him, the cast elements (legs, handles etc.) appear to emanate from one of the Edinburgh makers, likely James Kerr. Research continues but it would appear that all seventeen urns could have these cast elements emanating from as few as three original workshops, although the number of makers marks struck to them is greater. While the marks to this example are now all but obliterated, it does seem possible to suggest a maker, comparing stylistic trends of shape, decoration and cast elements. The most likely candidate appears to be the highly regarded Edinburgh silversmith James Kerr, who would latterly go into partnership with William Dempster becoming Kerr & Dempster. On earlier examples Kerr’s mark is prolific and on later examples the partnerships maker's mark is also seen.Perhaps most telling is the delicately flat chased decoration and diaper work to the neck which is reminiscent of Kerr’s work on bullet teapots of the same period. The cast legs with their acanthus clasped tops, with plain rat tail rib and the raised hoof feet are also a mould recognised as coming from the Kerr workshop. Access to prepared moulds in the workshop must suggest a place of manufacture similar to the other urns featuring these patterns. The crossover of makers using the same moulds and patterns for handles, legs and spigot does add some confusion to these theories, but the majority of urns using these moulds can be tied to the Kerr (and latterly Kerr & Dempster) workshop.It is also worth noting that James Kerr was responsible for the creation of the Hopetoun tea and coffee service (originally commissioned with an ovoid coffee urn, now lost) and similarities can be seen with the light diaper work of the 18th century and hoof feet of the spirit kettle held in the collection of The National Museums of Scotland.This piece certainly pre-dates his partnership with William Dempster in 1751, so it seems safe to ascribe James Kerr’s name alone to this work. This urn is also rare in that it was made with an integral placement for the spirit lamp burner.Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/

A reproduction circular inlaid burr walnut occasional table with central rectangular panel to the top, raised on three turned supports to outswept scrolling feet, 70 x 53cm (af). CONDITION REPORT The central rectangular panel looks to be a later replacement, crazing to the polish, patch repairs visible, central section at top of the foot appears to be missing a small urn, one of the feet has been crudely repaired with visible screws, may previously been a chess table

A large quantity of mixed metalware to include an early/mid-20th century large brass planter with raised floral decoration to outswept paw supports (af), a brass fireside companion set, the Turbine Copper Pump, various copper decorative items and kitchenalia to include measuring jugs, pans, drying pan, a decorative tea urn, various brass candlesticks, serving spoons, etc (2). CONDITION REPORT The brass planter has a hole to the base.

An early 20th century ceramic oil lamp decorated with hunting scenes, white glass opaque shade with etched floral design, to a brass stepped circular base, height 56cm and an Alcobaca urn-shaped twin-handled vase with cover in the Capodimonte style, with raised scroll and figural decoration, height 36cm (2).

A 19th century inlaid mahogany four-tier whatnot, fan and shell carved top with urn finials, to turned supports, each shelf with shell inlay, height 148cm.

ROYAL LANCASTRIAN; a 1920s art pottery vase of urn shape, two scroll handles to flared rim, mottled green glaze, Tudor Rose impressed mark to base, 14 x 15cm. CONDITION REPORT Tiny foot rim chips

A French bronze and marble lamp, decorated with semi-naked boy playing a pipe reclining against a column with urn aloft, 90cm high overall

Two handled plaster Urn on pedestal stand painted with flowers signed Rehle on an ivory ground 111cm high overall

8 Whitefriars style bark effect glass tumblers, collection of 7 assorted beer mugs, Coalport twin handled Urn and cover silver jubilee commemorative, modern Chinese Jardinière and dish, Coalport limited edition bust of Elizabeth, Beswick of Mountain lion and 7 Japanese plates with birds and blossoming trees

A pair of black and gold urn design table lamps, with matching shades, height 88cm overall

2 carved and stained mahogany panels, griffin monopodia and fruit with urn decoration, 49.5cm x 42cm

A small sterling silver urn an stand, a silver money clip, teaspoons etc

Yorkshire inlaid mahogany longcase clock, the case with swan neck pediment and urn finial, turned columns, short door, bracket feet, 13" arched painted dial signed Plowman, Cawood, subsidiary seconds and date dials, eight-day movement striking on a bell, height 232cm, with pendulum, weights and winding key.

A tray containing a pair of Japanese kutani vases, height 33.5 cm, a hand painted lidded urn together with a pottery jug and vase

A near pair of mahogany, satinwood and marquetry half round side cabinets:, in the 18th Century style, with satinwood crossbanded and geometric leaf decorated tops, the tulipwood crossbanded and boxwood and ebony strung fronts with satinwood friezes decorated with husk garlands, each enclosed by a door with an oval satinwood panel and neo-classical urn, on square tapered splayed legs, 84cm (2ft 9in) across, 43.5cm (1ft 6in) depth, 94cm (3ft 1in) and 82cm (3ft) high.

A pair of Edward VII silver candlesticks, maker Goldsmiths & Silversmiths Co Ltd, London, 1901: of neo-classical design, the urn-shaped sconces with acanthus leaf decoration, raised on square tapering columns with ram's head masks, on square weighted bases, 18.5cm high.

A large Victorian bronzed spelter figural ten light candelabrum: the ten foliate branches with urn-shaped sconces issuing from a foliate column, supported by a Roman legionary wearing a lion skin and holding a shield and sword, mounted on an octagonal base, 99cm high.

A pair of silver plated twin branch candelabra, by Barker Ellis: with urn shaped nozzles on reeded scrolling branches, on a knopped and tapering stem, raised on a circular weighted foot with gadrooned border, 33cm high.

A Victorian walnut serpentine fronted six tier graduated whatnot:, with spirally turned uprights and urn finials, 87cm (2ft 10in) wide, 124cm (4ft 0 3/4in) high.

A pair of silver candlesticks, unmarked, possibly Canadian: initialled, with urn shaped sconces on hexagonal tapering stems and domed circular weighted feet, 23cm high.

A set of four late 19th century Sheraton Revival satinwood and marquetry salon chairs:, decorated in the Neo-Classical taste, with drapery and floral swags, pendant husks and urns, having shaped top rails with lunette crestings, urn finials and urn shaped central splats, having bowed upholstered stuff over seats, on square tapered gaitered legs, headed with oval fan medallions.

A Chinese carved hardwood square urn stand:, the top with a band of prunus within a beaded and gadrooned border, having a pierced apron with dragon and cloud band decoration, on shaped legs, headed with flowerheads, terminating in claw and ball feet, the top 42cm (1ft 4 1/2in)diameter, 36cm (1ft 2in) high.

A Victorian rosewood four tier hanging bookcase:, with shaped ledge galleries, urn finials and spiral column uprights, 111cm (3ft 7 1/2in) wide, 87cm (2ft 10 1/4in) high.

William Bickerton, Sleaford, a mahogany longcase clock: the eight-day duration movement striking the hours on a bell and having a thirteen-inch break-arch silvered brass dial engraved with black Roman numerals, outer five-minute Arabic numerals and decorative floral decoration, the centre having a subsidiary seconds dial and date aperture with the arch engraved with the maker's name Willm. Bickerton, Sleaford, with blued-steel decorative hands, the mahogany case with barley twist columns and swan-neck pediment to the hood, the trunk with barley twist columns and decorative inlay to the trunk door depicting Britannia and further inlaid decoration to the base depicting a classical urn, all standing on bracket feet, with weights and pendulum, height 233cm.

A pair of Edward Vii silver candlesticks, maker William Hutton & Sons Ltd, London, 1906: in the early George III style, with urn-shaped sconces, foliate knopped stems on weighted square bases, 23cm high.

A George III silver pepperette, maker Thomas Shepherd, London, 1774: of baluster form, with pierced domed cover and urn finial, raised on a circular foot, 13.5cm high, a similar Elizabeth II example, 12cm high and an unmarked pepperette, 9.5cm high, total weight of silver 251gms, 8.08ozs (2)

A pair of Edward VII silver desk candlesticks, maker Charles Boynton & Son, London, 1905: with urn-shaped sconces on a waisted stem and stepped square weighted base, 11.5cm high.

A reconstituted stone circular garden pedestal urn:, decorated with foliage, the fluted cylindrical column with circular base, 45cm (1ft 5 3/4in) diameter, 70cm (2ft 3 1/2in) high.

A late Victorian silver mustard pot and cover, maker Charles Stuart Harris, London, 1897: of oval outline, the hinged domed lid with urn finial, having pierced and garland decorated sides on an oval foot, with blue glass liner, 10cm wide, together with two similar Edward VII examples, both with blue glass liner, total weight of silver 341gms, 10.96ozs. (3)

A pair of contemporary yew-wood veneered architectural mirrors:, with moulded broken pediments, each centred by an urn and with inset rectangular plates, 91cm (2ft 11 3/4in) x 50cm (1ft 7 3/4in).

A Chinese carved hardwood square urn table:, the top inset with a panel of rouge variegated marble, having a pierced foliate apron, on quadruple legs, headed with flowerheads, united by curved stretchers, terminating in claw and ball feet, the top 37cm (1ft 2 1/2in) diameter, 62cm (2ft 1/2in) high.

A pair of Egyptian silver vases, stamped marks: of urn-shaped outline raised on three slender and tapering legs, 10cm. high, 158gms, 5.08ozs

A pair George III silver wine labels, by Hester Bateman, London circa 1780, crescent and urn form, with pierced garlands and reeded borders, incised 'MADEIRA' and 'MOUNTAIN', crested, length 4.8cm, plus a single George III silver wine label, by Hester Bateman, London circa 1780, banner form, with a pierced ribbon tied oval cartouche, incised 'CLARET', approx. total weight 1.1oz. (3)

A silver two-handled trophy cup and cover, by Lee and Wigfull, Sheffield 1929, vase form, plain scroll handles, the pull-off cover with an urn finial, on a raised circular foot, filled inscription, height 29cm, approx. weight 18oz.

A George III silver mustard pot, by John Emes, London 1799, circular form, scroll handle, domed hinged cover with an urn finial, engraved and pierced decoration, reeded borders, with a blue glass liner, height 8.5cm, plus a George II mustard spoon, by Hester Bateman, London 1788, approx. weight 3.5oz. (2)

A set of four small silver goblets, by C.J. Vander, London 1974, the bowls of urn form, engraved border, on a raised circular foot with beaded borders, height 9.8cm, approx. weight 12oz. (4) Provenance: Purchased from Harrods, Knightsbridge, London, 11 January 1984.