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Mid 18th century eight day longcase clock, unsigned with brass and silvered arched dial with engraved Old Father Time to arch, two subsidiary dials, rococo spandrels in oak case 261cm high, key, pendulum and weights present

A XIX Century Mahogany Eight Day Longcase Clock, The hood with swan neck pediment and arched door to white dial inscribed "Michael Rotherford Hawick" with Roman numerals, minute dial and date aperture, shaped trunk door and inlaid base on bracket feet, 210cm high.Not in working order, no weights

An XVIII Century Mahogany Eight-Day Moonface Longcase Clock, the brass dial inscribed "Blaycock Longtown" with Roman and Arabic numerals, date and minute apertures, the hood with swan neck pediment and arched door, trunk with half round reeded pilasters, reduced base on bracket feet, 200cm high.Dial may not be original to case.

XVIII and Later Carved Oak Eight-Day Longcase Clock, the hood with swan neck pediment, square door with column supports, brass dial inscribed "Thomas Lister", Roman numerals, two apertures and silver chapter ring, with foliate carved trunk door and base, 215cm high.

A Late XVIII Century Mahogany Eight Day Moonface Longcase Clock, with swan neck pediment and arched door to brass moon faced dial with Roman numerals and two apertures, the trunk with shaped door and crossbanded base, 222cm high., 222cm high.Makers name on dial, Lawson Newton.

Mahogany longcase clock with painted face depicting country hunting scenes

An ebonised longcase clock, 18th century, with 28.5cm square brass dial signed 'Will Snow', silvered centre and calendar aperture, Rococo spandrels, 30 hour movement with cut away back plate, on a plinth baseThe case is probably re-ebonised; it looks later than the actual clock.  We have not had this running.

A Regency mahogany and birdseye maple 8 day longcase clock, the swanneck pediment with ball finial above arched painted 12inch (30.5cm) dial with ladies in seasonal dress to the spandrels, signed 'Young Forfar' subsidiary seconds and calendar dials, shaped trunk door flanked by spiral twist pillasters, on a plinth base 201cm highProvenance: Private Collection, Ranelagh Grove, London, SW1width of trunk 36cm, 18.5cm depth (inc. hinges which stand proud).width of hood 50cm (max), depth 23.5cm

John Foster, a late George III oak and inlaid 8 day longcase clock, the swan neck pediment above silvered dial with moonphase disc to the arch, boldy signed below the centre, with concentric calendar ring, the trunk door flanked by quarter pilasters, on a plinth base 242cm highThis has been in storage. The hands are rather loose and need securing to movement properly. Appears willing to tick, but strike needs attention. Has had general restoration to case. Two noted losses to left side (8cm moulding piece missing and knock to left front foot). has 2 weights, pendulum and winder.

An oak, eight-day longcase clock, 19th century, the arched brass dial engraved 'John Taylor, London`, over subsidiary seconds and calendar dials, supporting a two-train striking movement, pendulum, key and two weights,dial 11.5in diameter (29cm)case 203cm highCondition ReportMovement not tested.Ball finial damaged.Case re-polished.Base with splits.Later plinth.Wear and tear.

An oak Edwardian longcase clock, brass time dial with silhouetted chapter ring bearing arabic numerals, housing an 8 day barrel movement striking on gongs, 183cm tall, together with an oak folding games table. (2)

Thos Lister, an 18th century 12" brass dial, eight day longcase clock, in a later carved oak case, moonphase and date apertures, the movement striking on a bell, the case door with Old Father Time and "Times on the Wing" inscription, the hood with sand timer and wings, pendulum, two weights, key, 215cm.Working when catalogued and recently overhauled.Thomas Lister son of Thomas, Halifax, Yorkshire, 1745-1814 was a member of the prolific Lister family of clock makers.

Y&nbspA RARE QUEEN ANNE GILT BRASS MOUNTED TORTOISESHELL QUARTER REPEATING TABLE/BRACKET CLOCK WITH ALARMROBERT HODGKIN, LONDON, EARLY 18th CENTURYThe substantial six finned pillar bell striking movement with plates measuring 7.75 by 5.5 inches and verge escapement regulated by lenticular bob pendulum incorporating pivoted beam rise/fall regulation to suspension, with pull-repeat peeling the quarters on a graduated nest of six bells and sounding the hour on a further larger bell, and with pull-wind alarm mechanism sounding on the hour bell via a vertically pivoted T-shaped hammer, the backplate finely engraved with symmetrical foliate scrollwork issuing from a central leafy cartouche engraved signed Hodgkin, London and with herringbone banded outer border, the 7 inch wide brass break-arch dial with shaped false bob and calendar apertures to the matted centre within applied silvered Roman numeral chapter ring with cruciform half hour markers and Arabic five minutes beyond the outer minute track, with scroll pierced blued steel hands and unusual applied grotesque mask and phoenix cast gilt brass spandrels to lower angles, the upper angles interrupted by twin rosette-centred subsidiary dials each with Roman numeral chapter ring, the left a second hour dial with central silvered alarm setting disk opposing rise/fall regulation top the right, the centre with engraved signature Robert Hodgkin, London and n/s strike/silent selection switch, beneath arch applied with a demi-lune cast gilt brass mount decorated with a sunburst beneath leafy scroll infill flanking a male mask, within herringbone engraved upper border, the case of French Regence design with large gilt brass grotesque mask and acanthus cast flambeau urn finial to the cushion-capped cavetto upstand incorporating gilt draped leaf cast mounts to angles, above egg-and-dart moulded arched cavetto cornice centred with a mask and terminating with opposing acanthus scrolls issuing leafy pendant angle mounts, over hinged glazed gilt brass framed egg-and-dart cast break-arch door incorporating concave lower angles enclosing a repeating leafy spray cast apron mount beneath the dial behind, the sides with egg-and-dart moulding over rectangular glazed panels within ribbon-weave cast gilt brass frames and swollen lower section, the rear with hinged rectangular brass framed glazed aperture, on acanthus cast scroll feet with conforming palmette-centred pendant mount to the shaped front apron between.58.5cm (23ins) high, 31cm (12.25ins) wide, 14cm (5.5ins) deep. Very little of Robert Hodgkin is known; he is noted in Loomes, Brian Clockmakers of Britain 1286-1700 as working circa 1705-20 with reference to a single longcase clock signed by him. From the apparent lack of records, it would be reasonable to suggest that Robert Hodgkin most likely worked within one of the larger workshops. Indeed the style of the present lot would suggest a Huguenot workshop such as that of Claude DuChesne. Provenance:Purchased by the vendor at Bonhams, London sale of FINE CLOCKS, 10th December 2014 (lot 111) for £7,500. Previously exhibited by Algeron Asprey and Meyrick Nielson in An Exhibition of Fine and Decorative Clocks held at Bruton Street, London, 10-20th June 1975 (exhibit No. 6). The engraving to the backplate of the current lot is unusual in that there is noticeable 'space' within the composition - most noticeably towards the herringbone border and to the upper third. This does not conform to the usual practice of entirely filling the plate hence demonstrates an individual approach by Hodgkin's chosen engraver. Stylistically the rendering of the foliate scrollwork can be closely compared to that seen on a backplate of a clock by Daniel Quare illustrated in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS, Art on a Canvas of Brass page 233 (Figure 13.19) which would suggest that both were executed by the same hand. The design and layout of the pull quarter repeat mechanism in the current lot can also be compared to that of a clock by John Wady described and illustrated in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS, Art on a Canvas of Brass pages 440-41. Condition Report: Movement is in fully working condition with no visible evidence of alteration or noticeable replacements however it is likely that a relatively complex clock of this age will have some service replacements within the mechanism. There is no evidence to indicate that the escapement is a re-conversion (ie. no evidence of the clock ever having and anchor escapement. Although in working condition the alarm mechanism is a little feeble. The brass of the movement has a slightly mellow hue. The dial plate also has slightly mellow colouring however is in fine condition with minimal oxidation to the chapter ring; the spandrels are of unusual pattern and are gilded as are the other mounts. The case is generally in very good condition. The mounts are of very even colour suggesting that have been regilded (electro-gilded). The convex section of the superstructure has some cracking to the tortoiseshell veneers towards the left-hand rear corner and the right-hand section following the arch profile has a join within the veneer across the rear upper corner. There is a small chip next to the front door keyhole otherwise veneers appear to be in fine condition with minimal movement or surface blemishes. The rear door upper pin hinge is currently not connected due to the tab drilled with a hole fitted to the door frame now being loose (requires screw drilling-out and re-tapping). Otherwise faults to the case are very much limited to slight age related wear and other very minor surface blemishes. Clock is complete with pendulum, case key and a winder. Condition Report Disclaimer

A FINE GEORGE III BRASS MOUNTED EBONISED FOUR-TUNE MUSICAL TABLE/BRACKET CLOCK WITH AUTOMATONSAMUEL TOULMIN, LONDON, CIRCA 1775The substantial five pillar trip fusee movement now with anchor escapement regulated by lenticular bob pendulum, the music train playing a choice of four tunes via a 3.5 inch transverse cylinder and fifteen hammers on a graduated nest of ten bells on the hour followed by the strike train counting the hours on a further larger bell, the backplate finely engraved with an extensive asymmetric rococo cartouche signed Samuel Toulmin, Strand, London to centre beneath an offset standing Ho-Ho bird, the 8.75 inch brass break arch dial with applied silvered curved signature plate engraved Samuel Toulmin, Strand, London to the matted centre within silvered Roman numeral chapter ring with Arabic five minutes beyond the outer minute track, with scroll pierced steel hands, the spandrel areas decorated with unusual relief polychrome floral spray infill and the lower right-hand margin with tune selection slide labelled 1-4, the arch with recessed polychrome painted scene of a hunt passing before a windmill with vanes turning and figures on horseback parading from left to right across the lower margin whilst the music plays, three of the background figures with unusual speech bubbles exclamating 'Hark forward' and two other indistinct phrases, the ebonised bell-top case applied with generous rococo scroll cast mount to the concave section of the upstand and five gilt brass flambeau urn finials, over double cavetto top mouldings and hinged front incorporating brass fillet-edged glazed dial aperture and rococo scroll cast upper quadrant frets flanked by gilt moulded inserts to angles, the sides with rectangular scroll pierced sound frets interrupted by generous hinged gilt brass carrying handles, the rear with break-arch glazed rectangular door applied with raised mouldings around the aperture and with upper quadrant frets, flanked by conforming inset brass mouldings to the rear angles, on cavetto moulded skirt base with moulded gilt brass squab feet.63cm (24.75ins) high including top finial, 32.5cm (12.75ins) wide, 20cm (8ins) deep. Provenance:From a Private Collection. Samuel Toulmin is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working from Strand, London circa 1757-83. He was a fine maker who seemed to specialise in musical and automaton clocks with several examples known including a clock with scene of couple paying tennis to the arch. A longcase clock with rare Battersea enamel dial signed for him was sold at Christies, London IMPORTANT CLOCKS, MARINE CHRONOMETERS & BAROMETERS 12th December 2001 (lot 167) for £7,990. The raised polychrome floral decoration to the spandrel areas of the dial of the present clock is very unusual, and engraving to the backplate is beautifully executed in a highly individual style. These details, coupled with the very rare (if not unique) inclusion of 'speech bubbles' within the hunting scene to the arch, result in a clock full of character and individuality befitting of the work of a fine and innovative clockmaker. Condition Report: Movement is in clean fully working condition, The escapement has been converted from verge to anchor escapement however the original backcock and apron have been retained (just moved downwards by around 2.5cm). Otherwise movement appears to be in original condition with no other visible evidence of alteration or notable replacements. The music train runs well providing fairly strong even pace to the melodies although some of the hammers may benefit from slight adjustment. The automaton appears original and is operational. One of the figures (probably a pair of hounds) is missing from the procession otherwise figures are intact with minor to moderate wear losses to the original finishes. The sails of the windmill have been repainted otherwise the scene is in very good original condition with only very minor wear/losses. The rest of the dial is in good original condition with overall light oxidation to the brass and silvered surfaces giving resulting in a fairly pleasing mellow patina. The unusual relief decoration to the spandrels appears to be composed from gesso heightened with oil paints - and is in good original unrestored condition but with rubbing to high spots and the only notable loss being a flowerhead within the upper right-hand decoration. The tune selection lever is operational.The case is in generally in very good original condition. The mask bordering the dial (behind the front door) has some patch slip repairs to the veneer overlap and the front door lock is inoperative. Otherwise faults are overall very much limited to minor are related shrinkage, bumps, scuffs and other blemishes commensurate with use. The mounts are somewhat muted/tarnished and the ebonised finish has rubbing to the edges. The frets are generally in very good condition with only one or two very small losses; the silk backing for each is however heavily degraded.Clock is complete with pendulum, winder and two case keys. Condition Report Disclaimer

A FINE CHARLES II BRASS LANTERN CLOCKJOHN LONDON, BRISTOL, CIRCA 1675-80The posted countwheel bell-striking movement with Huygens's endless chain winding and verge escapement regulated by short bob pendulum swinging outside the frame to the rear incorporating knife-edge suspension, the dial with vacant roundel within stylised symmetrical foliate engraved infill issuing from a large leafy tulip bloom to lower margin and interrupted by engraved signature John London, of Bristoll fecit to the upper, within applied 6 inch narrow Roman numeral chapter ring with stylised fleur-de-lys hour markers, with scroll pierced black steel hand incorporating long tail and engraved radial leaf infill to angles, the typical tall Bristol-type frame with one-piece column turned corner posts beneath lion and unicorn armorial engraved and pierced frets, integral multi-knopped tall vase-and-cover turned finials and domed bell bearer cast with pierced leaf decoration between the limbs, with brass side doors and brass backplate to rear, on tall disc-knopped ball feet.42cm (16.5ins) high, 15cm (6ins) wide, 16.5cm (6.5ins) deep. John London in recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as being a gunsmith working in Bristol by 1675 (references Bellchambers), when he took Robert Sainsbury from Market Lavington as an apprentice. Jim Moore recorded him as being married to Mary Baker in 1678 and he is believed to have still be working in Bristol in 1678.  George White in Darken, Jeff (editor) TIME & PLACE, English Country Clocks 1600-1840 illustrates a very closely related clock to the present lot on page 228 (Figure 2.), where it is noted that John London was most likely influenced by leading London-based makers but adopted his own particular style and flair - most noticeable on his surviving longcase clocks. This is most apparent with regards to his engraving which departs from the usual Bristol style, adopting more intense florid designs which are more akin to London work but taken further. White also notes that, as a gunsmith, John London is thought to have engraved his own dials; this was until a lantern clock was discovered with practice engraving beneath the dial together with the name 'Axford'. From this it has been suggested that the engraving may have been executed by someone else, who may have had connections with the brass founder Charles Axford, who is recorded through his marriage in Bristol in 1687. Notwithstanding the above the current lot utilises a variant of the frame castings that were favoured by the Bristol and Chew Valley school of clockmakers, with one of the earliest examples of their use (other than the present clock) being for another example by John London of Bristol illustrated in Loomes, Brian Lantern Clocks & Their Makers on page 179 (Figure 10.41). Loomes dates this clock to the late 1670's whilst another close variant of these castings can be seen on a clock by Edward Webb dated 1676 (private collection), as well as two further examples by the same maker, dated 1682 and 1692 respectively (illustrated in Loomes on page 188, Figures 11.5 - .6). These two variants differ only very slightly in that the feet have 'disc' knops for the John London clock/present lot and 'ball' knops for the Webb clocks. The 'disc feet' castings were also used by other makers such as Edward Bilbie of Chew Stoke (who is believed to have succeeded Edward Webb in around 1695), and both variants were used by Thomas Veale of Chew Magna. Edward Bilbie appears to have persisted with the use of such castings after Bristol makers had mostly moved onto patterns more closely related to London work of the period, suggesting that such frames were continued to be cast locally (possibly through subsequent acquisition of the patterns by the Chew Valley makers). Certainly, from surviving clocks, it would be reasonable to suggest that casting of the frames could have taken place at Edward Webb's foundry in Chew Stoke, then by the Bilbie family after Webb's death in 1694. Condition Report: The wheelwork appears very original with the only noticeable replacements being the pulley centres which have been changed or reworked to facilitate running on chains; this has also required the holes in the baseplate to be elongated slightly (due to the present inner diameter of the pulleys being slightly smaller than the original configuration). The trains appear to run free and have only fairly light wear to the pinions. The escapement appears original, however the pallets have been refaced and the front pivot cock has 'packing' beneath it hence it is probable that some adjustment will be required before the clock can be put into service. The movement has been made to take an alarm mechanism (most likely configured to be 'sunken' into the backplate) which is not present. The dial is in fine condition with good strong engraving, there is no alarm disc present with the clock and the hand is probably a replacement. The frets are original as is the bell bearer; the top finial is a replacement. The right front and rear left feet have been solder repaired at the stems (common with this design of frame casting) and the rear right-hand finial has a historic braze repair to the stem. Both side doors are probably original, the backplate is most likely a replacement and is if noticeable heavy gauge brass with noticeable distortion to the panel.There are no weights with the clock. Condition Report Disclaimer

A FINE AND RARE CHARLES II OLIVEWOOD OYSTER VENEERED SMALL LONGCASE CLOCK OF ONE MONTH DURATION THOMAS TOMPION, LONDON, NO. 136 CIRCA 1688/89The substantial six finned and latched pillar movement with five-wheel trains and plates measuring 8 by 5.5 inches, the going train with bolt-and-shutter maintaining power and anchor escapement regulated by seconds pendulum with long crutch, the strike train with external countwheel set on a pivot-post driven by a pinion-of-report applied to the second wheel arbor and sounding the hours on a bell mounted above the plates, the 'type 1' latched 10.25 inch square gilt brass dial with shuttered winding holes, subsidiary seconds dial and calendar aperture to the finely matted centre within applied silvered Roman numeral chapter ring with cruciform half hour markers and small Arabic five minutes beyond the outer minute track, with sculpted scroll pierced steel hands and applied winged cherub mask spandrels to angles within a 'double herringbone' engraved outer interrupted by the engraved signature Tho: Tompion Londini Fecit to lower margin, in an oyster olive wood veneered case with rising hood incorporating architectural ogee moulded cornice and oyster veneered frieze over glazed dial aperture flanked opposing Solomonic twist columns, the sides with rectangular windows and conforming quarter columns set against bargeboards at the rear, the trunk with convex throat moulding over 40 inch rectangular door veneered with three linked boxwood outlined architectural break-arch panels populated by oyster cut veneers incorporating geometric radial design to the central panel, with half-round cross grain edge mouldings and crossbanded surround, the sides veneered with repeating oysters with a conforming crossbanded border, the base with stepped ogee top moulding over conforming architectural panel veneered crossbanded front and moulded skirt.186.5cm (73.5ins) high, 43cm (17ins) wide, 25cm (9.75ins) deep. Provenance:The Leonard Fuller Collection, purchased from G.H. Bell, Winchester, 6th September 1966 for £6,170. Purchased by G.H. Bell from Sotheby's, London, sale of FINE ENGLISH AND CONTINENTAL FURNITURE, RUGS AND CARPETS, TAPESTRIES AND CLOCKS 21st May 1965 (Lot 55) 'The Property of a Gentleman' for £1,600 hammer. Thomas Tompion has often been referred to as the 'father of English clock and watchmaking'. When considering the legacy of his work and influence on subsequent generations, such a compliment is justly deserved. Born in Ickwell, Suffolk in 1639 Thomas Tompion appears to have developed an affinity for metalworking from his father, also named Thomas, who worked as a blacksmith. By 1670 Tompion had moved to London and was working in the clock and watchmaking trade. Although there is no record of his apprenticeship or whether he received any formal training prior to moving to London, he quickly became established and obtained his freedom of the Clockmaker's Company in late 1671. His early clocks demonstrate a close working relationship with the Fromanteel, East and Knibb workshops. Around this time Tompion became friendly with eminent mathematicians and scientists such as Robert Hooke and Jonas Moore - perhaps the most progressive and inventive minds of the day. Such associations lead to Royal commissions, firstly from Charles II for whom Tompion is known to have made one of the earliest balance-spring watches in 1676 and later William III who ordered numerous clocks to furnish his various palaces throughout his reign. As well as being an extremely talented artisan Tompion was also commercially minded, cleverly introducing serial numbering for his watches and clocks from around 1681/2. This, as well as maintaining a high degree of refinement in both the design and construction of his clocks and watches, ensured the highest level of exclusivity for clients purchasing from him. In around 1701 Thomas Tompion took a former apprentice, Edward Banger, into partnership. Banger was originally apprenticed to Thomas Ashby in 1687 but was transferred over to Tompion and gained his freedom of the Clockmaker's Company in 1695. He was clearly a talented maker (when considering the few examples signed by Banger alone) however a serious problem between him and his former master caused the partnership to come to an abrupt end in 1707-8 for reasons unknown. On Banger's departure Tompion reverted to working alone until he found confidence in George Graham who had been engaged as a journeyman for Tompion since 1696. Graham's character had already been given the seal of approval by Tompion who allowed him to marry his niece, Elizabeth, in 1704; however it still would be a few years before Tompion would take Graham into partnership which he eventually did in 1711.Thomas Tompion died in November 1713 leaving the business to George Graham who maintained the same exacting standards and became famous in his own right with notable achievements including the development of the deadbeat escapement for pendulum clocks and the cylinder escapement for watches. Edward Banger outlived Tompion by six years, his abilities as a highly skilled watchmaker are demonstrated within a fine jewelled movement dating to around 1715 by him illustrated by him in Evans, Jeremy THOMAS TOMPION at the Dial and Three Crowns page 54, Fig. 97. The movement and dial of the present lot conform to the 'type 1' phase of Tompion longcase clock development as set-out in Evans, Jeremy; Carter, Jonathan and Wright, Ben THOMAS TOMPION, 300 YEARS pages 197-217. The dial is indeed a 'textbook' example of its type and can be directly compared to that of another month longcase (number 14) with double wheat-ear border by Tompion, illustrated in Symonds, R.W. THOMAS TOMPION on page 78 (Figure 54). The movement conforms to Tompion's standard layout for a month duration longcase clock with another of near identical design (number 223) illustrated by Evans, Carter and Wright on page 204. Indeed, the only real variances between these movements are that the present lot has taller plates and no pallet-shaped cut-out to the backplate; both of these features are due to current movement being an earlier example. Tompion's work is characterised by an exceptional approach to the finishing of his movements; the present lot does not disappoint with finely cut graded wheelwork and superb shaping to the steelwork most notably to the hammer spring tail, bell stand foot and barrel click springs.Although the case is not original to the movement and dial it is 'of the period' and a comfortable match benefitting from not having a lenticle (Tompion's preference) and pleasing detailing on the panelling of the veneers. Indeed, the case fulfils the list of criteria listed by Evans, Carter and Wright, with regards to features expected in a 'Type 1', case on page 197.  

A VICTORIAN FIGURED MAHOGANY HOUR-STRIKING DOMESTIC LONGCASE REGULATORPARKINSON AND FRODSHAM, LONDON, MID 19th CENTURYThe substantial five knopped pillar eight-day gong striking movement with Harrison's maintaining power and Graham-type deadbeat escapement regulated by wood-rod seconds pendulum with heavy bob adjusted via a calibrated silvered rating screw, and fine beat adjustment to crutch, the 12 inch circular single sheet silvered brass Roman numeral dial with subsidiary seconds dial and signed Parkinson & Frodsham, CHANGE ALLEY, LONDON to centre, with blued steel spade hands and STRIKE/SILENT selection lever above twelve o'clock, the case with cavetto moulded compressed break-arch cornice over square front door fitted with a circular glazed dial aperture with canted silvered fillet insert to interior flanked by canted angles, the trunk with cavetto throat moulding over recessed panel trunk door fronted with fine flame-figured veneer and flanked by conforming canted angles, the plinth base with stepped ogee top moulding over panel outline front also with fine flame figured veneer continuing down to face the skirt base.199cm (78.5ins) high, 46.5cm (18.24ins) wide, 26cm (10.25ins) deep. William Parkinson and William James Frodsham founded the highly regarded firm of Parkinson & Frodsham in 1801 at 4 Change Alley, Cornhill, London. William Parkinson died in 1842 and William Frodsham in 1850. Initially the firm specialised in marine and pocket chronometers and established an extensive export business supplying the Admiralty and numerous shipping companies. After the founders' deaths the business was continued by Frodsham's elder sons and grandson until 1912, when it was sold to the foreman, William Harris. Harris and his son Geoffrey ran the business successfully until 1944 when the firm's premises in Budge Row were bombed. Condition Report: Movement is in relatively clean working condition with no visible evidence or noticeable replacements. Although the clock appears to have been maintained in good working condition a precautionary gentle clean/lubrication is probably advisable if intending to put into long-term service. The dial has some slight rubbing around the winding holes and some overall light patchy oxidation otherwise is in fine original condition. Movement retains its original seatboard secured into the case with no visible evidence of alteration or adjustment hence we are of the opinion that the movement and dial are original to the case. The case is generally in very good original condition with notable faults limited to very slight warping to the centre panel of the trunk door (no splits or evidence of 'coming away' from the frame/surround). The left side skirt has veneer patch repair running along the lower edge; the opposing right-hand side has some slight veneer chipping also along the lower edge. Faults are otherwise limited to minor bumps, scuffs, shrinkage and wear.Clock has pendulum, two brass-cased weights, case key but no winder. Condition Report Disclaimer

Ɵ&nbspGENERAL HOROLOGICAL REFERENCE BOOKSTHIRTY-SEVEN VOLUMES:Bruton, Eric THE HISTORY OF CLOCKS AND WATCHES Orbis Publishing Limited, London 1979, dj and with slipcase; Smith, Alan (editor) The Country Life International Dictionary of CLOCK Country Life Books Limited, London 1979, dj; Cumhail, P.W. INVESTING IN CLOCKS & WATCHES Barrie and Rockcliff , London 1967, dj; Jagger, Cedric CLOCKS Orbis Publishing Limited, London 1973, dj; Jagger, Cedric The World's Great CLOCKS & WATCHES Hamlyn Publishing Group Limited, London 1977, dj; Tyler, E.J. Clocks & Watches Sampson Low, London 1979, dj; Bruton, Eric Antique Clocks and Clock Collecting Hamlyn Publishing Group Limited, London 1974, dj; Bruton, Eric THE HISTORY OF CLOCKS & WATCHES Little, Brown and Company, London 1999, dj; Pearsall, Ronald THE CONNOISSEUR'S GUIDE TO ANTIQUE CLOCKS & WATCHES Tiger Books International, Twickenham 1997, dj; Lloyd, H. Alan THE COLLECTOR'S DICTIONARY OF CLOCKS Country Life Books Limited, London 1964, dj; Robertson, J. Drummond The Evolution of Clockwork S.R. Publishing Limited, Wakefield 1982, dj; Wenham, Edward OLD CLOCKS Spring Books, London 1964, dj; Lloyd, H. Alan OLD CLOCKS, Practical Handbook for Collectors Ernest Benn Limited, London 1964, dj; Smith, Alan THE CONNOISSEUR ILLUSTRATED GUIDES, CLOCKS AND WATCHES The Connoisseur, London 1975, dj; Chamberlain, Paul M. IT'S ABOUT TIME Holland Press Limited, London 1964, dj; Bruton Eric Clocks & Watches 1400-1900 Arthur Barker Limited, London 1967, dj; Wright, Lawrence CLOCKWORK MAN Elek Books Limited, London 1968, dj; Goaman, Muriel English Clocks The Connoisseur, London 1967, dj; Fleet, Simon CLOCKS Octopus Books Limited, London 1972, dj; Robinson, Andrew The Story of MEASUREMENT Thames and Hudson Limited, London 2007, dj; Bruton, Eric CLOCKS & WATCHES Paul Hamlyn, Feltham 1968, dj; Joy, Edward T. The Country Life Book of CLOCKS, Country Life Limited, London 1967, dj; Thompson, David THE BRITISH MUSEUM CLOCKS The British Museum Press, London 2004,dj; Gillgrass, Alfred The BOOK OF BIG BEN Herbert Joseph Limited, London 1946, dj; Burlingame, Roger DICTATOR CLOCK, 5,000 YEARS OF TELLING TIME The Macmillan Company, New York 1966, dj; Edey, Winthrop THE COLLECTORS' BOOK French Clocks Studio Vista Limited, London 1967, dj; Tyler, E.J. EUROPEAN CLOCKS Ward Lock and company Limited, London 1968, dj; Ward, F.A.B. Science Museum, Descriptive Catalogue of the Collection Illustrating Time Measurement Her Majesty's Stationary Office, London 1966, softbound; Carle, Donald de CLOCKS AND THEIR VALUE N.A.G. Press, London 1968, dj, and another copy, London 1975, dj; Shenton, Alan and Rita The PRICE GUIDE to CLOCKS 1840-1940 The Antique Collectors' Club, Woodbridge 1977, dj; Bruton, Eric The Longcase Clock Arco Publications Limited, London 1964, dj; Ullyett, Kenneth In Quest of Clocks Barrie and Rockcliff, London 1962, dj; Welch, Kenneth TIME MEASUREMENT, An Introductory History David and Charles, Newton Abbot 1972, dj; Bruton, Eric The Longcase Clock Hart-Davis MacGibbon Limited, London 1976, dj; Hood, Peter How Time is measured Oxford University Press, London 1955; Bird, Anthony ENGLISH HOUSE CLOCKS 1600-1850, An Historical Survey & Guide for Collectors and Dealers David and Charles, Newton Abbot, 1973, dj; and two other sundry publications, (39). Provenance:The Leonard Fuller Collection.

A FINE AND RARE FRENCH QUARTER STRIKING MUSICAL PICTURE CLOCK WITH ANGELUSMAISON WURTEL, PARIS, CIRCA 1860With oil on canvas after David Teniers the younger (1610-90) 'two men playing cards in the kitchen of an Inn' with the composition adapted to incorporate a longcase clock, hinging upwards along with the floral relief moulded gilt composition frame to reveal the internal mechanism comprising four elements; the first a four pillar two train gong striking clock movement of duration of around two weeks with anchor escapement regulated by lenticular bob pendulum and outside countwheel strike on a gong, the frontplate stamped with oval M'ON WURTEL, HORLOGERIE... trademark beneath numbers 743, 9 2, fitted with 1.625 inch circular white enamel Roman numeral dial signed M'ON WURTEL, A PARIS to centre and with steel hands; the second mechanism comprising a separate conforming hour striking train to repeat the hour shortly after the principal movement released via a pivoted detent from the under dial motionwork; the third mechanism released in a similar manner shortly after six o'clock with single barrel and vertical fly driving a pinned wheel to operate the Angelus sequence on a graduated pair of gongs; the fourth a musical mechanism released on the hour and playing a choice of twelve tunes via a 16.5 inch pinned cylinder on a 74 tooth comb, the cylinder mounted on a steel bed stamped with serial number 43418 with indirect chain winding for the large spring barrel opposing fly and controls for tune change/repeat, start/stop and continuous play/hour activation only connected via steel rods to brass pulls positioned to the underside edge of the case, all mounted on the backboard of a shallow box case alongside tune sheet inscribed No. 43418, 12 AIRES to upper margin over manuscript tune list including La fille de Madame Angot, Souvenie de Cock and Mandolinata, the lower margin inscribed Maison WURTEL, Passage Vivienne, 38 et 40, PARIS, the back panel also applied with two additional labels for MAISON WURTEL, E. PIERFORT Suc'r..., and GATTOLLAIT along with a modern brass plaque explaining the function of the plungers for the music mechanism.The image 63.5cm (25ins) by 79.5cm (31.25ins); the case 83cm (32.75ins) high, 99cm (39ins) wide, 19cm (7.5ins) deep. Provenance:From the private collection of a professional sportsman and commentator. Maison Wurtel was founded by Guillaume-Ferdinand Wurtel in around 1837 when he advertised as working from 38-40 Passage Vivienne, Paris. Three years later he was listed in a trade directory as a horological maker and seller offering picture clocks as well as a supplier of concave glasses. In 1841 a magazine, 'La Presse', recommended 'La Maison Wurtel' to their readers informing them that they can buy watches, table clocks, picture clocks, music boxes, alarm clocks and 'objects of fantasy'. In 1856 they exhibited at the 'Exposition of Delepine of Paris' but unfortunately were positioned within the scientific instrument section to the bafflement of visitors. Maison Wurtel were known to have sourced their clock movements form Japy Freres and the musical mechanism within the present lot can be attributed to Auguste L'Epee of Saint-Suzanne, Doubs, France (who worked from 1839 until the end of the century). The Angelus mechanism is a particularly rare feature which traditionally served to accompany the recital of the Angelus prayer in Roman Catholicism. Condition Report: The clock, striking and angelus mechanisms are all in relatively clean original working condition with the various levers and detents present. The musical mechanism is also in relatively clean working condition with no visible losses to the teeth or noticeable corrosion issues. The clock was in use in the vendor's home when consigned however due to the nature of the item some adjustment may be required to ensure all the features operate as an when they should once the picture is hung securely on the wall. The canvas is in good condition with no visible tears or holes of noticeable repairs. The frame is in fine condition with good gilding throughout. The pine back box has some slight wear/bumps (most noticeable to the back corners) as well as other relatively minor age related faults - otherwise is in very good original condition.Clock is complete with pendulum and two winding keys. Condition Report Disclaimer

A MAHOGANY QUARTER CHIMING LONGCASE CLOCK WITH MOONPHASEBENJAMIN PEERS, CHESTER, CIRCA 1780 AND LATERThe four-pillar rack striking movement with anchor escapement regulated by seconds pendulum and now sounding the hours on a tubular gong suspended within the case, now fitted with a third separate quarter chiming train sounding on a graduated next of eight bells set to the right hand side, the 13 inch brass break-arch dial with subsidiary seconds dial to foliate scroll engraved centre within applied Roman numeral chapter ring with concentric calendar inner track and Arabic five minutes beyond the outer minute track, with scroll pierced steel hands, a third brass hand for the concentric calendar and rococo scroll cast spandrels to angles, beneath arch with rolling moonphase incorporating lunettes engraved with longitude and latitude lines and disc calibrated with the lunar month to the circumference, below engraved silvered signature BENJAMIN PEEERS, CHESTER following the curvature of the arch, the case with swan beck pediment incorporating gilt scroll decorated simulated verre-eglomise frieze over hinged glazed dial flanked by fluted Doric columns, the sides applied with vertical bargeboards at the rear, the trunk with concave throat moulding and plain frieze over shaped-top caddy moulded door faced in book-matched flame-figured veneers flanked by quarter columns, the plinth base with stepped ogee top mouldings over shaped raised panel to front flanked by canted angles, on ogee bracket feet.236cm (93ins) high, 53cm (21ins) wide, 25.5cm (10ins) deep. Provenance:The Leonard Fuller collection, purchased from G. Lord and W. Fisher (antique furniture dealers), Folkstone, 30th May 1965 for £95. Benjamin Peers is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Chester 1773-84. Condition Report: Condition overview:As catalogued the movement has a separate quarter chiming train (set between its own plates) added in the 19th century. The core eight-day movement is in sound original condition but the hour hammer has been converted to sound on a tubular gong. Clock is complete and will most likely run but a gentle clean service is advised. Movement retains original seatboard but with some damage/losses but rests at the correct level in the case with no visible adjustment to the cheek uprights of the trunk hence movement and dial are most likely original to the case. Case is in good condition with damage limited to a few minor historic veneer patch repairs, shrinkage, bumps, scuffs and other age-related blemishes.Clock has pendulum, weights, case key but no winder. Condition Report Disclaimer

A FINE GEORGE III BLACK CHINOISERIE JAPANNED TAVERN WALL TIMEPIECEPHILIP LLOYD, BRISTOL, CIRCA 1775The four pillar weight-driven movement with five-wheel train, anchor escapement regulated by seconds pendulum and tapered plates, the 24 inch wide gilt on black painted shield-shaped Roman numeral dial with Arabic five minutes beyond the outer minute track and brass spade hands, the lower margin with foliate scroll painted spandrel decoration over signature P. Lloyd, BRISTOL, within gilt line and leaf painted break-arch cavetto moulded surround applied with gilt finials to upper corners and secured to the drop-trunk case with four steel pins, the case with lift-out panels to the side apertures over concave throat moulding and break-arch door decorated in polychrome and gilt with oriental figures within a garden trellis landscape, line borders and raised edge mouldings, the surround with diamond trellis infill to upper quadrants over chevron and leafy trail banded borders, the sides with oversize floral sprays and the base of stepped ogee profile decorated with further conforming foliate decorated panels; together with copies of Gatto, Martin THE TAVERN CLOCK Tavernicus Publishing Bath 2010, dj; Gatto, Martin THE TAVERNICUS TAVERN CLOCK ARCHIVE, Together with Random Jottings Bath 2017, softbound; Gatto, Martin THE TAVERNICUS TAVERN CLOCK ARCHIVE, EXTENDED EDITION Bath 2021, and Rose, Ronald E. English DIAL CLOCKS Antique Collectors' Club, Woodbridge 1994, dj, (5).155cm (61ins) high, 75cm (29.5ins) wide, 20cm (8ins) deep. Provenance:From the private collection of a professional sportsman and commentator. The life and work of Philip Lloyd is discussed by Brian Loomes in his article PHILIP LLOYD of Llawhaden and Bristol published in the July 2022 issue of 'CLOCKS' magazine. Loomes notes the Lloyd was a Quaker born in Llawhaden in around 1726 where he set-up business as a clockmaker. He is thought to have married Elizabeth Beverstock at St. Martin's in the Fields, London, 1758, and it is likely that he was already working in Bristol by this time. He was a fine maker producing longcase clocks in the high 'Bristol' style often incorporating lunar and tidal indications and at least one more tavern clock by him is known. He was recorded as a 'Watchmaker of Clifton Parish' on his death in 1783. His widow, Sarah, died at the age of 65 in 1789 and was buried at Love Street, Bristol. The present timepiece is recorded in Gatto, Martin THE TAVERNICUS TAVERN CLOCK ARCHIVE, EXTENDED EDITION page 178. Condition Report: Movement is in clean working condition with no visible evidence of alteration or noticeable replacements. The movement has had some historic re-bushing and the steelwork has slightly aged appearance (evidence of minor historic corrosion) but has been well-conserved. The movement to seatboard securing bolts have been renewed (probably due to wear in the threads) but the original bolts are included. The seatboard is a well-made replacement however we are of the opinion that the movement and dial are original to the case. The hands appear most likely original. The dial panel is in very good original condition with fine surface and colour. There is some slight historic movement along the joints within the panel (to be expected) but all appears stable. There has been some very light restoration to address some corner bumps and scuffs to the outer edges and moulded surround but otherwise panel appears very well conserved with no visible re-touching to the dial and only relatively minor historic wear/rubbing. The trunk carcass has been given a light wash of linseed oil hence carcass elements are dark and have a slight sheen (rather than being dry/dusty). The panels for the side apertures appear to be very well made replacements. The surface to the sides and front of the trunk is in fine original condition with good surface. Noticeable re-touching appears to be essentially limited to the strengthening of the vase of fern foliage to the lower right-hand corner of the door panel and a coach line bordering the scene to the door. The door retains its original lock and hinges. The right-hand side of the ogee-shaped base section has a small historic loss/chip within the panel. The upper part of the trunk has some old flaking/losses to the japanned finish however this cannot really be seen as it is behind the dial. The hanging hole to the backboard has historic wear and there is also a minor split to the panel nearby, both of these are not problematic in any way. Faults to the case are generally otherwise limited to minor bumps, scuffs, shrinkages and wear commensurate with age and use. Generally a fine example in very good original condition.Timepiece is complete with pendulum, oval section weight, case key and a winder.  Condition Report Disclaimer

A GEORGE III MAHOGANY EIGHT-DAY LONGCASE CLOCK WITH ROLLING MOONPHASEJAMES WILLIAMS, BATH, LATE 18th CENTURYThe four pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch single-sheet silvered brass Roman numeral break-arch dial with subsidiary seconds and arched calendar dial to the scroll engraved centre signed James, Williams, BATH, with Arabic five minutes beyond the outer minute track, scroll pierced steel hands and engraved with figural representations of the four seasons to the spandrel areas, beneath arch with rolling moonphase incorporating landscape decorated lunettes and calibrated for the age of the moon together with HIGH WATER AT BRISTOL KEY to outer margin, the break-arch case with ogee and key-cut cornice mouldings and triple oval fan lozenge inlaid frieze over hinged glazed dial aperture with 'wavy edged' border to the glass, flanked by fluted Corinthian columns with brass caps and bases and the sides with bargeboards positioned at the rear edge, the trunk with cavetto throat moulding over shaped-top caddy-moulded door faced with flame-figured veneer flanked by conforming Corinthian quarter columns to the angles, the plinth base applied with serpentine-outline raised caddy moulded panel to fascia over ogee bracket feet.224cm, (88ins) high, 53.5cm (21ins) wide, 28.5cm (11.25ins) deep Provenance:The Leonard Fuller collection. James Williams is recorded in Moore, A.J. The Clockmakers of Bristol 1650-1900 as working in Bath 1799-1805. Condition Report: Movement is complete and is in working condition however as the mechanism is a little dirty/neglected a gentle clean/service is advised. There is no visible evidence of any alteration and the drive mechanisms for the moonphase and calendar are present. The dial is in good original condition with apparently untouched decoration to the lunar disc; the silvering has overall streaky oxidation and there is some slight rubbing to the plate towards the lower edge. The movement retains what appears to be its original seatboard resting directly onto the cheek uprights of the case. Although there is some evidence suggesting levelling/adjustment we are of the opinion that the movement and dial are most likely original to the case. The case is generally in very good original condition. The vertical slips dressing the rear edges of the backboard behind the hood are replacements and the left-hand throat moulding is currently detached (just needs re-gluing back into position). The centre of the trunk door has a localised fault within the veneer (lifting and filing). The feet are replacements. Otherwise case is in very good original condition with other faults very much limited to minor bumps, scuffs, shrinkage, wear and other age related blemishes.Clock is complete with pendulum, weights, case key and a winder. Condition Report Disclaimer

A QUEEN ANNE EIGHT-DAY LONGCASE CLOCK MOVEMENT AND DIALWILLIAM STEPHENS, GODALMING, CIRCA 1705The five finned pillar inside countwheel bell-striking movement with anchor escapement for regulation by seconds pendulum, the 12 inch square brass dial with ringed winding holes, basket-of-flowers inhabited foliate scroll engraved decoration around the calendar aperture and subsidiary seconds to the matted centre, within applied Roman numeral ring with stylised Fleur-de-lys half hour markers, Arabic five minutes beyond the minute track and signed W'm Stephens, Godalming to lower edge, with scroll pierced steel hands and twin cherub and crown cast spandrels to angles within a herringbone engraved outer border, (no pendulum, weights or seatboard)7cm (2.75ins) from bottom of dial to base of the movement, 14cm (5.5cm) deep including crutch. William Stephens of Godalming is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as probably born in 1637 and married to Mary Gad in 1656. The marriage bore six children between 1661 and 1676; William Stevens is thought to have died in 1735. 

Ɵ&nbspHOROLOGICAL REFERENCE BOOKS ON LONGCASE CLOCKSTHREE PUBLICATIONS:Roberts, Derek British Longcase Clocks Schiffer Publishing Limited, West Chester PA 1990, dj; Robey, John THE LONGCASE CLOCK REFERENCE BOOK, VOLUME 1 and VOLUME 2 1st edition signed by the author, Mayfield Books, Ashbourne 2001, both with dj and in titled marbled card slipcase, and Loomes, Brian GRANDFATHER CLOCKS and their cases signed by the author, David and Charles, Newton Abbot 1985, dj, (3). 

A GROUP OF THIRTEEN STEEL CLOCK HANDSANONYMOUS, LATE 17th CENTURY AND LATERIncluding an early double-loop pierced and filed hour hand with hexagonal aperture to centre, 5cm (2ins) centre to tip; Another pierced twin loop lantern/wall clock hand with long tail, also 5cm (2ins) centre to tip; a finely worked early-to-mid 17th century pattern baluster-shaped hand with spade tip, 4.4cm (1.75ins) centre to tip; and a longcase clock subsidiary seconds hand with s-shaped tail, 2.2cm (0.875ins) centre to tip, (13). 

AN INTERESTING WILLIAM III GRANDE-SONNERIE STRIKING AND REPEATING EBONISED 'BASKET TOP' TABLE CLOCK ISAAC GODDARD, LONDON, CIRCA 1695The six finned and latched pillar twin fusee bell striking movement with verge escapement regulated by short bob pendulum with knife-edge suspension, two-in one grande-sonnerie striking peeling the quarters on a graduated nest of three bells and sounding the hour on a further larger bell, and pull-quarter repeat operating on the same mechanism, the backplate engraved with symmetrical scrolling foliage including tulip blooms within a herringbone border around a central leafy cartouche signed Isaac Goddard, Londini, fecit, the upper right hand corner also incorporating steel lever for strike selection with three numbered positions, the 7.5 inch square brass dial with ringed winding holes and 'triple crown' border engraved calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with stylised sword hilt half hour markers and small Arabic five minutes beyond the outer minute ring, with sculpted scroll-pierced steel hands, applied gilt winged cherub mask spandrels to angles and with S/N strike/silent selection switch at twelve o'clock, the case with Quare-type hinged foliate bud tied scroll-shaped carrying handle over pierced brass repousse 'basket' superstructure decorated with scrollwork inhabited by basket of flowers flanked by cornucopiae and cherubs to front and rear and pair of cherubs alone to each side, above rope twist and cast ogee moulded lower border, flanked by brass flambeau finials, with double-ogee top mouldings over hinged glazed front applied with foliate repousse mounts to the frame of the door incorporating a stretched lozenge sound fret to upper rail, the sides with conforming gilt lozenge frets over rectangular glazed apertures each overlaid with a relief foliate scroll decorated repousse panel incorporating laurel-bordered oval aperture to centre, the rear with glazed door set within the frame of the case, on conforming complex ogee moulded skirt base with gilt brass disc feet.38cm (15ins) high with handle down, 27.5cm (10.75ins) wide, 18cm (7ins) deep. Isaac Goddard is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born circa 1661, apprenticed in 1675 to Thomas Grimes (through Samual Davis) and gaining his freedom of the Clockmakers' Company in 1684. He was married at St, Dunstan's in 1691 and is thought to have worked for the Stanton family of Clockmakers. Isaac Goddard signed the clockmakers oath of allegiance in 1697 and is thought to have worked in Holborn; Loomes further notes that he is not heard of after 1699. The engraved 'triple crown' decoration around the calendar aperture of the current lot is a feature sometimes seen on longcase clocks dating from the 1690's and is generally thought to represent the unification of the three Kingdoms of England, Ireland and Scotland, which was first envisaged during the reign of James II in 1688 and was cemented by Act of Parliament in 1707. Indeed, it is possible that this decoration commemorates the signing of the clockmaker's oath of allegiance (to the crown) in 1697. The engraving to the backplate of the present timepiece can be also compared to decoration discussed in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS, Art on a Canvas of Brass within the chapter titled A CLOSER LOOK AT TULIP ENGRAVING pages 143-46. Indeed two backplates of closely related design (for clocks by William Speakman and Thomas Power) to that of the present lot are illustrated on page 145 (Figure 8.16). The grande-sonnerie striking system within the present clock is a very unusual detail which utilises the fact that the pull-repeat system is powered directly by the fusee strike train rather than being driven by a supplementary spring barrel (or blade spring). In order to achieve this, the movement is fitted with a wheel within the motionwork applied with pins corresponding to each quarter, with the one at the half hour being slightly longer (than the first and third quarters), and the hour longer again. This wheel is set on a pump arbor with three positions governed by the lever on the backplate. The first pulls the pins clear of the repeat trip lever except for the hour, the hence clock only sounds the hours on the hour; the second moves the half hour into play, hence the clock sounds the hours along with its quarter at the half hour also; the third position provides full grande-sonnerie striking. The underlying quarter-repeat system which allows this unusual striking system to be incorporated is devised with the quarter peel and hour hammer pins applied applied to the same pin barrel. When activated (tripped) the hammer assembly is first positioned to engage with the pins for the quarters, before the whole hammer block assembly is automatically shunted along in order for the offset hour hammer pin to operate the hour hammer. In addition to this, both the quarter and hour racks are neatly positioned one behind the other in order for the same gathering pallet to be used for both, with the hour rack hook lifted out of the way whilst the quarters are sounding. Two clocks (by Charles Gretton and John Adamson respectively) with closely related repeat systems to the present lot are described and illustrated in Dzik, Sunny BENEATH THE DIAL, English Clock Pull Repeat Striking 1675-1725 pages 486-89.Naturally, as the entire striking system is powered by a single fusee train, the duration for which the 'grande-sonnerie' can be used between windings is limited. Indeed, with the third position set on the backplate (for full grande-sonnerie striking) the strike train will need to be wound approximately every two-and-a-half days. Condition Report: PLEASE CONTACT DEPARTMENT FOR CONDOTION REPORT. Condition Report Disclaimer

A PAIR OF BRASS-CASED EIGHT-DAY LONGCASE CLOCK WEIGHTSANONYMOUS, PROBABLY LONDON, EARLY 18th CENTURYBoth with slightly domed bases and caps fitted with drilled suspension posts.The going 22cm (8.375ins) long, 6.3cm (2.5ins) diameter; the strike 23.5cm (9.25ins) long, 7cm (2.75ins) diameter. 

A FINE WILLIAM AND MARY FIGURED WALNUT LONGCASE CLOCK CASE WITH 10.25 INCH SQUARE DIAL APERTUREANONYMOUS, PROBABLY LONDON, CIRCA 1690-95The formerly rising hood with generous architectural ogee cornice and foliate scroll inlaid frieze to front over fixed glazed dial aperture applied with Solomonic twist three-quarter columns to the leading angles, the sides with rectangular windows and conforming quarter columns set against bargeboards at the rear rising up past the frieze to meet the underside of the cornice above, the trunk with convex throat moulding over 42 inch rectangular door faced with figured quartered veneers and applied with half-round cross-grain mouldings to outer edge, the sides crossbanded, on plinth base with stepped ogee top moulding over book-matched veneers within a crossbanded border to fascia, (the hood formerly rising - now withdrawn forwards).204.5cm (80.5ins) high; 51.5cm (20.25ins) wide, 29cm (11.5ins) deep at the cornice. Features such as the bargeboards applied to the rear edges of the hood continuing up past the frieze to meet the underside of the cornice, and chamfered internal angles to the stiles flanking the trunk door, are features generally only found in cases made for some of the leading London makers such as Tompion, Knibb and Jonathan Puller. 

A PAIR OF BRASS-CASED EIGHT-DAY LONGCASE CLOCK WEIGHTSANONYMOUS, PROBABLY LONDON, 18th CENTURYBoth with flat bases and slightly domed caps fitted with drilled suspension posts.Each 20cm (8ins) long, 6.3cm (2.5ins) diameter. 

A QUEEN ANNE WALNUT EIGHT-DAY LONGCASE CLOCKGEORGE WENTWORTH, OXFORD, CIRCA 1715The four finned pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch square brass dial with calendar dial and subsidiary seconds dial to the matted centre, within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers, Arabic five minutes beyond the outer minute track and signed George Wentworth, Oxon, to lower margin, with scroll-pierced blued steel hands and female mask and scroll cast spandrels within a herringbone engraved outer border, the case with ogee moulded cornice and plain frieze over glazed dial aperture to the hinged front applied with three-quarter columns to the front angles, the sides with rectangular glazed apertures and conforming quarter columns set against bargeboards at the rear continuing up past the frieze to meet the underside of the cornice, the trunk with concave throat moulding over 42 inch rectangular quarter-veneered door with herringbone banded border and caddy edge moulding, the rectangular plinth base with cavetto upper moulding over herringbone bordered book-match veneered panel within crossbanded surround, on cross-grain moulded skirt.223.5cm (88ins) high, 52cm (20.5ins) wide, 28cm (11ins) deep. George Wentworth of Oxford is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as baptised at St. Thomas's in Salisbury in 1690 the youngest son of the well-known Salisbury clockmaker Thomas Wentworth senior. He was apprenticed through the Clockmakers' Company to John Knibb of Oxford in 1706 gaining his freedom the same year he married in Dinah Mose 1713. In addition to being a clockmaker George Wentworth was also a goldsmith who served as constable for a year in 1715, then Councillor in 1719 and Mayor's Chamberlain in 1727. In 1730 he repaired the Christ Church Cathedral clock and purchased a property there in 1738. He was appointed senior Bailiff that year and was the Fairmaster from 1740-43. He died in 1746/7. Condition Report: Movement is in relatively clean working condition with no visible evidence of alteration or noticeable replacements. There is some historic rebushing and light hammering around one of the movement pillar fixing points on the backplate, and a gentle clean/service is advised if intending to put into long term service. The dial is in fine condition with only slight oxidation to the silvering; hands appear original and undamaged. The movement rests on what appears to the original seatboard at the correct level in the case with no visible evidence of adjustments to the cheek uprights of the case. With this in mind we are of the opinion that the movement and dial are original to the case. The case is generally in good original condition. The slips applied to the rear of the quarter columns of the hood are later additions and there is some slight bowing to the sides and movement to the trunk door surround. The left-hand hood glass is broken. Faults to the case are otherwise limited to historic scuffing, shrinkage and a few localised veneer repairs and some variance within the colour (most noticeably towards the lower part of the base).Clock is complete with pendulum, two weights, case key and winder. Condition Report Disclaimer

A GEORGE II THIRTY-HOUR LONGCASE CLOCK MOVEMENT WITH EIGHT-INCH DIALJOHN LAWSON, KEIGHLEY, MID 18th CENTURYThe four pillar (lower two steel) external countwheel striking movement with anchor escapement for regulation by a seconds pendulum, the 8 inch square brass dial with calendar aperture and four concentric ring-turned medallions to the matted centre, within applied Roman numeral chapter ring with leaf-engraved half hour markers and signed John, Lawson to lower edge, with scroll pierced steel hand and mask-centred scroll cast spandrels to angles, (no pendulum, weight or seatboard).3.2cm (1.25ins) from bottom of dial to base of the movement, 14cm (5.5ins) deep including crutch, 17.5cm (10.75ins) high including the bell. John Lawson is recorded in Loomes, Brian Yorkshire Clockmakers as working in Keighley before moving to Bradford in 1760 where he remained until at least 1777. 

A WILLIAM III WALNUT AND FLORAL MARQUETRY LONGCASE CLOCK OF ONE-MONTH DURATIONJOHN BARROW, LONDON, CIRCA 1695The five finned pillar outside countwheel bell striking movement with anchor escapement regulated by seconds pendulum, the 11 inch square brass dial with ringed winding holes, 'triple crown' decorated scroll border engrave calendar aperture and subsidiary seconds dial to the matted centre, within applied silvered Roman numeral chapter ring with stylised sword-hilt half hour markers, Arabic five minutes beyond the outer minute track and signed John Barrow, Londini fecit to lower margin, with fine scroll-pierced sculpted blued steel hands and applied winged cherub mask and scroll cast spandrels to angles and incorporating leafy scroll engraved decoration to the margins of the plate between, the case with ogee moulded cornice and fretwork frieze over floral marquetry trail decorated hinged glazed dial surround applied with ebonised three quarter columns to angles, the sides with rectangular glazed apertures and conforming quarter columns set against bargeboards at the rear, the trunk with floral bloom decorated convex throat moulding over 42 inch rectangular door centred with a circular lenticle and with three shaped marquetry panels decorated with bird inhabited floral sprays and scrolling foliage into an ebonised ground, with half-round edge mouldings and triple-line strung surround, the sides veneered with three line-edged panels within crossbanded borders, the base with stepped ogee top mouldings over conforming rectangular marquetry panel within crossbanded surround, on bun feet.204.5cm (80.5ins) high, 47.5cm (18.75ins) wide, 25,5cm (10ins) deep. John Barrow is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born around 1657 and apprenticed to Frances Ireland 1671-78. He gained his Freedom of the Clockmakers' Company in 1681. He took-on numerous apprentices including several from his own family such as Samuel Barrow 1688-69, William Barrow (his son) 1700/01-10, and George Barrow (probably son of William Barrow of Churton, Cheshire) in 1706. John Barrow signed the oath of allegiance in 1697, he was made Assistant in 1705, Warden from 1710 and served as Master in 1714; he died in 1718 and was buried at St. Paul's Covent Garden. Loomes further notes that he worked from an address at the Hermitage hence may have had some form of relationship with Samuel Barrow who was also based there. The engraved 'triple crown' decoration around the calendar aperture of the current lot is a feature sometimes seen on longcase clocks dating from the 1690's and is generally thought to represent the unification of the three Kingdoms of England, Ireland and Scotland, which was first envisaged during the reign of James II in 1688 and was cemented by Act of Parliament in 1707. Indeed, it is possible that this decoration commemorates the signing of the clockmaker's oath of allegiance (to the crown) in 1697. Condition Report: Movement is in relatively clean working condition with no visible evidence of alteration or noticeable replacements other than the escapewheel and pallets which look to be 19th century service replacements. There is some historic rebushing and a gentle clean/service is advised if intending to put into long term service. The dial is in fine condition with only slight oxidation to the silvering; hands appear original and undamaged. The movement rests on what appears to the original seatboard at the correct level in the case with no visible evidence of adjustments to the cheek uprights of the case. With this in mind we are of the opinion that the movement and dial are original to the case. The case is in sound condition but would benefit from a little attention in places, The hood has replacements columns and bargeboards to the rear. The front fret is also not original and the upper edge of the hood now has slips of timber applied to the top edge (for no apparent purpose). There is no evidence to indicate that the hood was made as a rising and door is veneered on the inside hence hood may have originally been made with a door. The right-hand side has section cut into the lower leading corner to allow the late brass column base clearance when the door is opened. The trunk is in sound condition although the hinges are replacements. The backboard continues down into the base stopping around 3 inches up from the lower level of the box, the sides of the trunk continue further hence it is likely that these elements retain their original length. The carcass has a general wash of black stain (appears 19th century). The trunk door has the usual slight shrinkage cracking/small losses within the marquetry towards the upper and lower margins (where the horizontal clamps are applied to the door board). The base retains its original marquetry but with some repairs and replacements/filling within the decoration; there is also some shrinkage cracking. The side veneers of the trunk are in good condition and nicely figured; the sides of the base have noticeable shrinkage and patching/replacements within the veneers (most noticeably towards the front corners. The underside of the plinth has strip of timber applied to both the front and sides and the bun feet are later. Faults to the case are otherwise limited to bumps, scuffs, a few small veneer patch repairs and other age-related blemishes.Clock is complete with pendulum, two brass-cased weights, winder and case key. Condition Report Disclaimer

A FINE AND RARE JAMES II MARQUETRY QUARTER-CHIMING MONTH-GOING LONGCASE CLOCK WITH TEN-INCH DIALJOHN EBSWORTH, LONDON, CIRCA 1685-90The substantial four finned and latched pillar triple train movement with five-wheel trains and plates measuring 7.25 by 6.25 inches and anchor escapement regulated by second pendulum, the quarter train with external countwheel positioned on the second wheel arbor cut with four hour sequences for sounding peels on a graduated nest of three bells, the hour strike train also with countwheel set on the second wheel arbor and sounding on a larger bell, the 10 inch square brass dial with calendar aperture and subsidiary seconds dial to the finely matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes within the outer minute track, with scroll pierced steel hands, applied cast winged cherub mask spandrels to angles and signed John Ebsworth Londini Fecit to lower margin of the plate, in an olive wood, walnut and floral marquetry veneered case with ogee moulded architectural cornice and foliate scroll pierced fret to frieze, over hinged front with glazed dial aperture within ebonised ground floral trial inlaid surround flanked by opposing Solomonic twist three-quarter columns to front angles, the sides with rectangular windows and conforming quarter columns set against bargeboards continuing up past the frieze to meet the underside of the cornice projection at the rear, the trunk with acanthus scroll and floral spray decorated convex throat moulding over 42 inch rectangular ebonised ground marquetry veneered door centred with an oval lenticle beneath stylised twin handled urn issuing bird inhabited floral sprays over conforming bird-and-flower decoration to lower section beneath, with half-round cross-grain edge mouldings within olive and walnut banded triple-line bordered surround, the sides strung with arch-bordered panels, the base with olivewood stepped ogee top moulding over ebonised ground floral marquetry veneered panel within triple-line border and crossbanded surround, on compressed bun feet, (the hood formerly rising).195.5cm (77ins) high, 46cm (18ins) wide, 25cm (9.75ins) deep. Provenance:The Leonard Fuller Collection, purchased from Garrard and Company Limited, London, 5th April 1967 for £2,350. John Ebsworth is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born in around 1643, apprenticed to Richard Ames in 1657 and gaining his freedom of the Clockmakers' Company in 1665. He is believed to have succeeded Thomas Knifton at 'the crossed keys' in Lothbury but later worked from 'Cheap Side'. John Ebsworth was made an Assistant in 1682, served as Warden 1694-96 and was elected Master in 1697. He was one of the original subscribers for the bank of England lodging £1,000 in 1694. Ebsworth is thought to have been a non-conformist which is probably why he did not sign the oath of allegiance in 1697. At that time he was living in the parish of St. Margaret's Lothbury and died two years later in 1699. John Ebsworth was a prolific maker of lantern clocks with many examples known dating from the 1670' and 80's, incorporating centre-swinging pendulums and variously signed 'at ye (crossed keys) in Lothbury, Londini fecit'. He also made a small series table clocks of a distinctive design with fine foliate engraved backplates incorporating integral 'it will' and 'it will not' strike selection within the design; one such clock was sold in these rooms, 24th November 2004 for £17,500 hammer. In addition to clocks, Ebsworth also made watches and even sundials, although two sundials were confiscated from his shop in 1674 due to being faulty!The present lot is testament to Ebsworth's abilities as a clockmaker and is of particularly rare specification being a quarter-chiming longcase clock of one-month duration. Although the movement has only four pillars they are thickly turned and the plates are of heavy gauge (just over 3mm). The steelwork is finished to a high standard with shaping to elements such as the hammer springs and stops, done in a very similar manner as to often seen on lantern clock steelwork, but executed with more finesse. Although the movement is generally robust and heavy in its construction, where required, components such as the quarter hammers are delicately executed.The case is an early example featuring 'all over' marquetry decoration. The design to the door is quite distinctive with its central twin handled urn motif and features such as the bargeboards applied to the rear edges of the hood continuing up past the frieze to meet the underside of the cornice, and chamfered internal angles to the stiles flanking the trunk door, are details generally only found in cases made for some of the leading London makers such as Tompion and Knibb as well as Jonathan Puller and James Markwick. Condition Report: PLEASE CONTACT DEPARTMENT FOR CONDITION REPORT. Condition Report Disclaimer

A GEORGE III FIGURED MAHOGANY EIGHT-DAY LONGCASE CLOCK WITH MOONPHASEROBERT LAWSON, LEIGH, CIRCA 1785The four pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 13.25 inch brass break-arch dial with subsidiary seconds dial to foliate scroll engraved centre within applied Roman numeral chapter ring with concentric calendar inner track and Arabic five minutes beyond the outer minute track, with scroll pierced steel hands, a third brass hand for the concentric calendar and rococo scroll cast spandrels to angles, beneath arch with rolling moonphase incorporating lunettes applied with scroll-pierced and engraved ornaments engraved TEMPUS, FUGIT and disc calibrated with the lunar month to the circumference, below further applied silvered plate engraved ROBERT LAWSON, LEIGH following the curvature of the arch, the case with swan beck pediment over hinged glazed dial aperture with 'wavy edged' border to the glass flanked by fluted Doric columns, the sides applied with vertical bargeboards at the rear, the trunk with concave throat moulding and plain frieze over shaped-top caddy moulded door faced in book-matched flame-figured veneers flanked by quarter columns, the plinth base with stepped ogee top mouldings over chevron-strung crossbanded fascia flanked by canted angles, on ogee bracket feet.222cm (87.5ins) high, 61cm (24ins) wide, 28cm (11ins) deep. Rabert Lawson is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Leigh, Lancashire, circa 1787. He was a skilled maker who is known to have produced a tidal dial longcase clock incorporating planetary lunar indication (private collection). Condition Report: Movement appears complete and original and is essentially in working condition but is a little dirty/neglected hence a clean/service is advised. The hammer spring has been moved (former location denoted by spare hole towards the centre of the plate) and repaired. The dial is dirty/tarnished but is in sound original condition. The arch has some slight distortion/bending to the plate (but has no visible cracks or problematic creases). The seconds and calendar hands are replacements, the others appear original and in good condition. The movement retains original seatboard, the cheek uprights of the case are incomplete but the original elements that are present have levels commensurate with the movement and dial hence we are of the opinion that the case is original to the movement and dial. The case is generally in good original condition and is structurally sound. The infill between the swan necks of the pediment has a replaced section at the centre and a small veneer patch repair to the glazed dial aperture surround, otherwise hood appears to free from significant faults although the door hinge requires adjustment and there are a few historic bumps, scuffs and localised repairs including a chip to the base of the right-hand column. The trunk door has a join down the centre which is solid and appears to be an original detail, the lock and hinges are replacements. The trunk and base are otherwise in very sound condition but with poor neglected finish and repairs to the feet. Other faults to the case are generally limited to relatively light historic bumps, scuffs, shrinkage and wear.Clock has pendulum, two weights, a case key but no winder. Condition Report Disclaimer

Ɵ&nbspHOROLOGICAL REFERENCE BOOKS MAINLY RELATING TO ENGLISH DOMESTIC CLOCKSNINE VOLUMES:Robey, John The LONGCASE CLOCK Reference Book volumes 1 and 2, second fully revised and enlarged edition, Mayfield Books, Ashbourne 2013, both with dj; Robinson, Tom THE LONGCASE CLOCK The Antique Collectors' Club, Woodbridge 1981, dj; Edwardes, Ernest L. The Grandfather Clock John Sherratt and Son Limited, Altrincham 1970, dj; Loomes, Brian The White Dial Clock David and Charles, Newton Abbot 1974, dj; Loomes, Brian COMPLETE BRITISH CLOCKS David and Charles, Newton Abbot 1978, dj; Barder, Richard C.R. The Georgian Bracket Clock 1714-1830 The Antique Collectors' Club, Woodbridge 2001, dj; Rose, Ronald E. ENGLISH DIAL CLOCKS The Antique Collectors' Club, Woodbridge 1978, dj; Roberts, Deryck THE BRACKET CLOCK David and Charles, Newton Abbot 1982, dj, and Royer-Collard, F.B. SKELETON CLOCKS N.A.G. Press, London 1969, dj, (9). Provenance:The Leonard Fuller Collection.

Y&nbspA FINE CHARLES II OLIVEWOOD AND FLORAL MARQUETRY EIGHT-DAY LONGCASE CLOCK WITH TEN-INCH DIALRICHARD JARRATT, LONDON, CIRCA 1685The five finned and latched pillar outside countwheel bell striking movement with tall plates measuring 7.5 by 5 inches and anchor escapement regulated by seconds pendulum, the backplate with distinctive decorative aperture for the pallet arbor, the 10 inch square brass dial with calendar aperture and subsidiary seconds dial to the finely matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes within the outer minute track, with scroll pierced steel hands, applied cast winged cherub mask spandrels to angles and signed Richard Jarratt, London to lower margin of the plate, in an oyster olivewood and floral marquetry veneered case with part ebonised ogee moulded architectural cornice and foliate scroll pierced fret to frieze over hinged front with glazed dial aperture flanked by ebonised Solomonic twist three-quarter columns to front angles, the sides with rectangular windows and conforming quarter columns set against bargeboards at the rear, the trunk with convex throat moulding over 41 inch rectangular door centred with an oval lenticle between two line-edged shaped marquetry panels decorated with bird inhabited floral sprays and a central stylised urn into an ebony ground within an oyster veneered olivewood field, the upper and lower angles with conforming marquetry spandrel panels within half-round ebonised edge mouldings, the sides with veneered with repeating oysters within banded surround, the base with part-ebonised stepped ogee upper moulding over oval floral marquetry decorated panel and four conforming quadrant panels to fascia, on ebonised bun feet, (the hood formerly rising).191.5cm (75.5ins) high, 45cm (17.75ins) wide, 24cm (9.5ins) deep. Provenance:The Leonard Fuller Collection, purchased from G.H. Bell, Winchester, 26th August 1965 for £850. Richard Jarratt is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as a freeman of the Salters' Company who became free in the Clockmakers' Company in January 1670/1. He was made a Steward in 1672, an Assistant in 1674, served as Warden 1681-83 and was elected Master in 1686. Jarratt was the son-on-law of Jeremy Gregory having married Rebecca Halstead (nee Gregory) widow of clockmaker Richard Halstead in 1678. Richard Jarratt worked in Lothbury and ceased attending Court in 1693 through illness. He received occasional charity from the Clockamakers' Company from 1694 including 18s sent to him at 'Ludgate' prison in 1695. Jarratt continued to pay quaterage up until 1697 but did not sign the oath of allegiance that year. He is believed to have died by 1698. The present lot is a good example of the earliest form of marquetry longcase clock with ebony-ground bird inhabited designs set into shaped panels composed with curved quadrants to the trunk door and shaped spandrels around an on oval to the plinth. Indeed a case housing a movement and dial by Thomas Tompion, exhibiting a related arrangement of marquetry panels to the present clock, is illustrated in Dawson, P.G; Drover, C.B. and Parkes, D.W. Early English Clocks on page 266 (Plate 363). The movement of the present clock is also highly typical of the produced by London makers during the mis 1680's with tall slender latched plates and external countwheel; a nice, individual feature, is the decorative cut-out to the backplate for the pallet arbor. The dial is of an attractive restrained design again typical of the period with the signature executed in the same manner (and probably by the same hand) as an example by Joseph Knibb illustrated in Lee, Ronald A. The Knibb Family * Clockmakers on page 108 (Plate 107). Condition Report: Movement is in working condition with no visible evidence of alteration or noticeable replacements. The mechanism is clean but we would suggest that a precautionary gentle clean/lubrication is advisable if intending to put into long term service. The dial is in good original condition; the plate is not gilded but is of nice even mellow colour being coated in toned lacquer. The chapter ring has overall light oxidation hence is also of fairly mellow colour. The hour hand is an unusual pattern hence may be a replacement; the spandrels are good quality castings. The seatboard is a replacement but rests at the correct level in the case on cheek uprights that appear free from any visible adjustment. The top left corner of the backplate has evidence of movement-to-case securing bracket being fitted at some point (no longer present) there is no corresponding evidence of a being fitted to the case backboard which would suggest that the movement and dial are not original to the case (although movement and case are a very good match).The case is generally in very good condition. The hood was originally rising but has been converted to be drawn forwards and the front now opens. The conversion to opening front was clearly executed a long time ago and very neatly preserving the original veneers to the sides. The top board is a replacement and the rear edges of the extremities of the cornice have been cut at an angle to allow for standing in the corner of a room. The front right hand tip of the cornice has a small loss to the moulding, and there is a very small section out of the chin moulding to the right hand side towards the front edge. The frieze fret and bargeboards are replacements, the rear quarter columns may also be replacements. The top board is a replacement and the rear interior edges also have some wear (near the runners for the former rising action). Faults to the hood are otherwise limited to minor bumps, scuffs, shrinkage, wear and historic repairs commensurate with age and use. The trunk and base are in fine condition with the door retaining its original lock and hinges. Although the backboard and sides panels do not continue all the way down to line up with the lower edge of the base (stop a few inches short) they appear to retain their original lengths with no evidence if being shortened. The box base appears original but with some historic worm damage to the carcass (not active). The veneers have small repairs to the banding at the edges (to address chips); both sides have a full-height sections of veneer let-in towards the rear edge - these appear to be an original feature and both side veneers match. The bin feet are replacements and there is a later applied slip of timber dressing the rear of the box beneath the backboard Faults to the case are otherwise very much limited to small historic bumps, scuffs, a few very minor veneer repairs and other age-related blemishes.Clock is complete with pendulum, two brass-cased weights, case key and a winder. Condition Report Disclaimer

Y&nbspA GEORGE I EBONY TABLE/BRACKET TIMEPIECE WITH 'SILENT' PULL-QUARTER REPEATDANIEL DELANDER, LONDON, CIRCA 1720The five finned pillar single fusee movement with verge escapement regulated by short bob pendulum, and 'silent' pull-quarter repeat ting-tang sounding the quarters on a graduated pair of bells and sounding the hour on a third larger bell on demand only, the backplate engraved with bold asymmetric entwined vine scrollwork within generous laurel banded border, the 6.5 inch brass break arch dial with calendar and shaped false bob apertures 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 fine mask and scroll cast spandrels to angles, the arch with herringbone bordered silvered signature boss engraved Daniel, Delander, London flanked by distinctive 'Delander' type gilt mounts cast as putti holding flaming torches beneath further herringbone engraving bordering the upper edge, in a bell-top case with hinged brass carrying handle over double ogee top mouldings and hinged front applied with complex raised mouldings bordering the dial aperture and upper quadrant frets, the sides with break-arch windows beneath scroll-pierced sound frets incorporating arched lower margins and each bordered with conforming raised mouldings, the rear with door matching the front except for the upper quadrants having larger glazed panels as opposed to frets, on ogee moulded shallow skirt base with moulded squab feet.40cm (15.75ins) high with handle down, 25cm (10ins approx.) wide, 17cm (6.75ins) deep. PLEASE NOTE CATALOGUE AMMENDMENT - CLOCK WAS PURCHASED BY THE VENDOR 3rd APRIL 1974 (NOT 4th MARCH AS INDICATED IN THE PRINTED CATALOGUE). Provenance:Purchased by the vendor from Christie's London sale of FINE WATCHES & CLOCKS 3rd April 1974 (lot 142). Daniel Delander is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born circa 1678 and apprenticed to Charles Halstead before being transferred to Thomas Tompion and gaining his Freedom of the Clockmakers' Company in 1699. He initially worked as 'servant' to Thomas Tompion from Devereux Court and later (after Tompion's death in 1713) from 'within Temple Bar', Fleet Street. He was a fine maker whose work was clearly influenced by his master but is perhaps best known for his series of particularly fine duplex escapement longcase clocks as well as long duration clocks often with refinements such as equation of time. Delander appeared to also share his master's exacting standards with regards to the quality and design of the cases for his clocks, with his table clocks often mirroring those of Tompion and his successor George Graham. He was buried at St. Dunstan's in the West on 14th July 1733. The engraving to the backplate of the present timepiece can be compared to an exceptional backplate on a clock by Jonathan Lowndes discussed in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS, Art on a Canvas of Brass page 334 and illustrated on page 335 (Figure 18.17). Although similar in style and composition the engraving to the current lot is perhaps a little more restrained/simplified compared to Lowndes backplate illustrated by Dzik. The current lot is designed to sound the hours and quarters on two bells only on demand. This form of quarter repeat mechanism is thought to have been devised for timepieces destined for night-time use in the bedroom; whilst striking clocks with quarter repeat facility were generally intended to be utilised downstairs during the day and upstairs at night. As a consequence silent-pull quarter repeating timepieces are rarer as the original owner would have to be very wealthy indeed to afford a timepiece reserved exclusively for use in the bed chamber.The design and layout of the quarter-repeat system employed in the current lot can be closely compared to an example by fellow Tompion workman, William Webster, described and illustrated in Dzik, Sunny BENEATH THE DIAL, English Clock Pull Repeat Striking 1675-1725 pages 109-12. Most notable, with regards to the similarities within the details, is the design of the wedge-shaped pumping piece, and the provision of a separate sleeved fitment incorporating the hour hammer pin and hammer tail applied to the hammer arbor to allow the pin-wheel to rotate uninhibited whilst pulling. The strong similarities between this timepiece and that by William Webster indicates strong links between the two workshops reflective of their shared roots within the workshop of Thomas Tompion. Condition Report: The movement is complete, reasonably clean and in full working condition although a gentle clean service is probably advisable. The escapement appears to be a very well executed re-conversion back to the original verge and short bob arrangement (from a previous conversion to anchor) leaving next to no visible evidence in the plates. The design of the backcock apron is perhaps a little later in style. The dial presents as in good clean condition. The arch has a join (braced by a plate rivetted at the rear) across the centre. This may be an old repair or possibly even from the time of making as the match of the brass used for the upper part is indistinguishable from that used for the rest of the dial. The case is in sound presentable condition but has received some mostly cosmetic restoration in the past. Some of the lengths of moulding applied around the apertures (mostly to the side apertures) are not a swell defined/crisp as the others suggesting some replacement/restoration has taken place. The veneer overlap to the mask around the dial has some patch repairs and the exterior exhibits shrinkage, a few minor historic and some filling to the joints between some of the veneers and mouldings. The rear door has a slip applied across the top to close a gap between door and case that had probably become a little enlarged due to wear and movement. The base board of the case is composed of two sections - it is possible that the rear section has been replaced due to the movement previously having a long pendulum necessitating cutting a slot in the board. The movement is secured by two turn-discs to the rear of the dial as well as two bolts from underneath engaging with angle brackets screwed to the lower edge of the backplate, these brackets and bolts may be a later addition. Otherwise faults to the case are limited to age related bumps, scuffs and other blemishesClock has case keys but no winder. Condition Report Disclaimer

A RARE VICTORIAN MAHOGANY LONGCASE REGULATOR TRAINED FOR ONE-YEAR DURATIONTAFFINDER, ROTHERHAM, CIRCA 1851The substantial five pillar movement with tapered plates measuring 9.625 high by 7 inches wide at the base cut with a shallow arched recess to lower edge, enclosing six wheel train including large diameter barrel and greatwheel measuring 5.25 inches in diameter and deadbeat escapement incorporating steel pallets clamped within triangular pierced frame, regulated by wood rod pendulum with nickel-finish cylindrical bob incorporating fine beat adjustment to crutch and with banking pins to the movement backplate, the 12 inch circular silvered dial with subsidiary seconds over signature Taffinder, Rotherham and Roman numeral hour dial to centre and further engraved EXHIBITION 1851 and CLASS 10 No. 54 above and below the subsidiaries, within outer minute ring incorporating Arabic five minute annotations beyond the track, with blued steel hands, the arched case with full-height glazed cushion-moulded door fitted with silvered brass canted bezel for the dial over foliate scroll carved apron behind the glass and with figured veneer to backboard, the sides with small rectangular glazed movement viewing apertures, on plinth base with stepped fillet bordered cavetto top moulding and bracket feet.196cm (77.25ins) high, 52cm (20.5ins), 28cm (11ins) deep. CATALOGUE AMMENDMENT 09/09/2024 PLEASE NOTE THAT THE MOVEMENT HAS FIVE MOVEMENT PILLARS (NOT SIX AS INDICATED IN THE PRINTED CATALOGUE). Provenance:Formerly the property of the late Tom Gadsby, North Yorkshire. Abraham Taffinder is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working in Rotherham, Yorkshire 1841-71. Taffinder of Rotherham is also recorded by Grace's Guide (referencing the 1851 Great Exhibition Official Catalogue) as a 'Manufacturer and Designer' exhibiting at the Great Exhibition a skeleton clock with lever escapement modelled on Rotherham Cathedral in Class 10 (no. 54).  The present timepiece is traditionally thought to have also been exhibited at the 1851 Great Exhibition by Taffinder (due to the engraved inscription). It is, however, most probable that the timepiece was subsequently employed as the 'shop regulator' with the inscription commemorating Taffinder's entry for the Great Exhibition to be seen whilst on view 'front of house'. The movement is trained to run for a year however the height of the case restricts the drop of the weight to around three months; installation which would facilitate the weight to pass through the case into a 'basement' below, would allow the duration to be fully achieved. 

A QUEEN-ANNE THIRTY-HOUR LONGCASE CLOCK MOVEMENT WITH TEN-INCH DIALLUKE WISE, READING, CIRCA 1710The four finned pillar external countwheel striking movement with anchor escapement for regulation by a seconds pendulum, the 10 inch square brass dial with matted centre within applied Roman numeral chapter ring with stylised sword hilt half hour markers and signed Luke Wise, of Reading to lower edge, with scroll pierced steel hand and rococo scroll cast spandrels to angles, (no pendulum, weight or seatboard; spandrels later); with a twelve inch eight-day longcase clock dial, signed for Richard Schofield, circa 1725, and three turned wood clock finials, (5).3.5cm (1.375ins) from bottom of dial to base of the movement, 13cm (5ins) deep including crutch, 35.5cm (14ins) high including the vertical bell. Luke Wise is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as son of the important early London clockmaker John Wise I who gained his freedom of the Clockmakers' Company by Patrimony after his father's death in 1694. He did not sign the oath of allegiance in 1697 and by 1720 he was recorded as being at Minster Street, Reading. Loomes notes that Luke Wise's will was proved on 4th November 1735. 

A Georgian style mahogany longcase clock with moonphase and steel and brass engraved face. H.212 W.53 D.30cm.

A late 18th century mahogany eight day longcase clock, with Sheraton style urn and fan inlay, the enamelled dial painted with a classical seated woman in the manner of Flaxman. H.114 W.47 D.24cm.

A 19th century mahogany longcase clock with a broken swan neck pediment and rope twist columns above a short trunk door and rope twist columns and a box base, the 33cm dial painted to the arch with sailing ships and cottage spandrels with Roman numerals, a seconds subsidiary dial with a calendar aperture inscribed A Martin, Swansea, the eight day movement striking on a bell, 216cm high

An Enfield style Art Deco walnut longcase clock, circular silvered dial, with Arabic numerals, Westminster chiming movement, domed glass to hood, and glazed trunk, stepped plinth base, 189cm high x 54cm wide at base, 30cm deep, c.1935.

A late 28thC carved mahogany longcase clock with flame mahogany decoration to door, overall H. 234cm W. 46cm D. 24cm. A/F to collumn.

An early 20thC mahogany cased longcase clock, H. 210cm.

Thomas Scott, Gainsborough oak cased 8 day longcase clock with arch top painted dial, striking on a bell, height 212cm, width of dial 30cm

19th century mahogany cased longcase clock, the swan neck pediment hood flanked with two half columns mirrored below in the case, pointed broken arch dial deocrated with man o'war in seascape and castles, 220cm high 

James Gray of Edinburgh - A Scottish George III 18th century mahogany cased Westminster chime grandfather longcase clock. The clock having a brass eagle finial atop flanked by scrolled pediment. The hood with glazed front and columns details to sides. The clock having a brass face with circular embossed detail atop over Roman & Arabic numerals to chapter ring with secondary dial. Westminster chime. Measures approx. 220cm x 48cm x 24cm.

Large Victorian 'Yorkshire' longcase clock, not currently running Ht 223cm W 60cm

Taylor of Framlingham Suffolk Georgian 30-hour longcase clock

An oak cased thirty hour longcase clock, height 194cm. Condition - fair

LONGCASE CLOCK, Regency mahogany 'Thos Saunders, 258 Whitechapel Road, London, silvered dial, hours and seconds, 205cm H x 50cm W x 26cm D.

LONGCASE CLOCK, Scottish Regency mahogany, 'Millar, Leith', enamelled dial and eight day movement, 119cm H x 444cm W x 22cm D.

A George III mahogany 8-day longcase clock, Moses Abraham, Frome,the twin train movement with anchor escapement striking on a bell, the brass 12" dial with moon phase to the arch inscribed ''High water at Bristol Key'', Roman chapters and subsidiary seconds dial and date aperture, the case with boxwood stringing, the square hood with faux stop fluted pilasters flanking arched door and swan neck pediment, the crossbanded arched trunk door flanked by corresponding canted pilasters, on similarly inlaid base and bracket feet. 47 by 26 by 242cm high.

A circa 1800 oak and mahogany crossbanded longcase clock, having a square painted dial with subsidiary seconds dial, indistinctly signed, having 30-hour movement, with pendulum and single weight, h.196cm

A relief carved oak longcase clock, having an arched brass and silvered dial with Westminster chime, subsidiary seconds dial, the case profusely relief carved and panelled, with two weight and pendulum, h.235cm

A 19th Century mahogany and oak 30-hour longcase clock, the painted dial signed Taylor, Manchester

A 19th Century oak 30- hour longcase clock

A substantial triple fusee musical clock movement, previously an Arts & Crafts oak longcase clock, the circular engraved silvered dial with gilt Arabic numerals and subsidiary seconds and chime selector, chiming on eight tubular bells and striking on an individual bell, mounted in the original clock hood and to/with six relief carved panels being the remains of the original case

20th-century month going mahogany longcase clock - with a double arched pediment and full length glazed door with visible dummy weights and pendulum, brass dial with etched spandrels and dial centre, silvered chapter ring and steel hands, twin train going barrel movement striking the hours and half hours.Dimensions: Height: 188cm  Length/Width: 52cm  Depth/Diameter: 23cm