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A REGENCY MAHOGANY KNEEHOLE DRESSING TABLE BY GILLOWS, CIRCA 1807 The panelled doors enclosing shelves, the underside of the kneehole with a bone label 'MONTGOMERIE' 81cm high, 137cm wide, 54.5cm deepProvenance: Christie's London, 500 Years: Decorative Arts (7881), 18th November 2010, Lot 174, (£28,750 incl. BP) Supplied by Gillows in 1807 to Hugh Montgomerie, 12th Earl of Eglinton (1739-1819) or to his son Lord Archibald Montgomerie (1773-1814) for Coilsfield House ('The Castle of Montgomerie'), Ayrshire. Property of a Gentleman, London Hugh Montgomerie and his son Archibald were significant Gillows' clients, supplying both Eglinton Castle, Ayrshire and in 1807 the newly built Coilsfield House, much displaying the firm's characteristic reeded decoration and geometric mouldings seen on the present lot. A pair of dressing tables bearing the same 'MONTGOMERIE' label are probably part of the same commission, see Christie's, London, 19th November 2009, lot 110. Furthermore, for a Regency ebonised and parcel gilt armchair that is nearly identical to a set also commissioned for Lord Montgomerie at Coilsfield House, see lot 279 in this sale.For a comparable hollow fronted Gillows dressing table see Susan Stuart, Gillows of Lancaster and London 1730-1840, Antique Collectors' Club, 2008, pl 382. Other related dressing tables include those supplied by Gillows in 1813 to Hackwood Park, Hampshire, see Christie's, Hackwood Park, 20th/22nd April 1998, lot 364 (£47,700). Other similar dressing tables were commissioned from Gillows for Tatton Park, Cheshire (see N.Goodison and J.Hardy, 'Gillows at Tatton Park', Furniture History Society, 1970, pl18a and 20a. Condition Report: Some marks, knocks, scratches and abrasions commensurate with age and use. Some old repairs to the corners of drawer fronts, careful polishing could improve the appearance of these considerably. Some small losses. A ring mark and additional dark marks and scratches to the top. Noticeable sun fading overall. Careful attention by a restorer will bring this back to its full potential. Door locks appear original; two keys present which operate both cabinets. Keys likely made later to fit locks. Handles appear original Drawer linings are all solid mahogany, the largest drawer with a split through the floor of it, as expected for age. Some staining to drawer and cupboard interior as expected for age and use. Two one door lock the projecting element has created a hole through the adjacent timber. Overall, this is a fine piece of furniture, the attention from a good restorer could considerably improve the appearance of this lot, without significant cost. One side of the gallery split and with a shallow recess worn or cut into it due to a previous glass top. Please see all additional images as visual reference to condition. Condition Report Disclaimer

A LARGE VENETIAN CARVED GILTWOOD MIRROR ITALIAN, LATE 18TH CENTURY With an etched plate above marginal mirror plates 183cm high, 129cm wide Provenance: Property of a Lady of Title Purchased from Robert Kime Ltd., 2017. A copy of the original invoice is available with this lot Condition Report: Overall there are some scratches, marks, chips, cracks and abrasions consistent with age and use.With losses and restorations; a crack to the engraved cartouche shaped mirror crest; some sections of old glass possibly re-cut to size, other sections and the main plate later 'antiqued' mirror glass; the brass pierced rosettes possilby later; the ebonised back of the frame and carved sections with later wood sections and braces to support the delicate frame and carved sections; there is evidence of worm.Though there are losses and restorations overall this is a greatly appealing design with exceptional depth and lightness of carving and an overall impression of understated grandeur.Please see all the additional condition report photographs through the link on the condition report email as a visual reference of condition - they are a vital part of this report. Condition Report Disclaimer

A pair of Victorian telescopic candlesticks, two chamber sticks, oval entree dish, cut glass claret jug, three wick trimmers, etc

Silver plate and glass - a silver plate mounted horse hoof inkwell, cut glass decanters; etc

A set of nine Waterford Colleen pattern cut glass tumblers, 9cm high; Caithness Fireball paperweight, (10).

Royal Brierley Stratford pattern cut glass - Whiskey decanter, wine decanter, sets of six wine glasses, champagne flutes, port glasses, brandy bowls, sherry glasses; and four large and small whisky tumblers.

A good pair of silver and cut-glass scent bottles. Est. £30 - £50.

GWR Station Architectural Features. GWR Station architectural features GWR Station architectural features comprising 3 9-pane arched windows with flowerhead decoration to each glazing bar intersection. Each has GWR etched into the top pane, HxW 78x78cm. Ticket collectors booth with carved wooden half glazed panel with 2 bevelled & cut glass windows at the top and a replacement perspex pane below, HxW 218x60cm, other window at back & wooden plank seat. Ticket office with perspex window & frame, wooden shelves, panelled door & frame & cast iron fireplace. 6 sections of pine panelling, all are 109cm tall x 135, 308, 110, 71, 95 & 98cm long. Wooden railing, HxW 93x223cm. Pair of hardwood entrance doors & frame, each HxW 202x86. Approx. 980cm of 41cm high wooden plank GWR Station style picketing along the lower edge of the roof & a cast iron fireplace with wooden surround which has "GWR" carved into the top.Buyer to dismantle (please see "Buyers Notes").

A pair of large cut glass double magnum decanters, 19th century, decorated with laurel leaves and stars 45cm high Provenance: 8 Stanley Crescent, London, W11 Production dimples to the glass and one has a small surface abrasion/chip. Usual light scratching and the interior of the necks have been ground to hold the stopper.

A set of six 19th century fruiting vine engraved and cut glass port glasses.

A Royal Doulton figure of Falstaff HN2054, together with a cranberry overlaid cut glass wine glass. Height 23 cm, diameter 7.5 cm.

A pair of silver and cut glass scent bottles, Birmingham 1902. Height 6 cm, together with two other silver topped scent bottles, EPNS Capstan inkwell and an Indian silver coloured bowl.

A pair of silver salad servers, with cut glass handles, London hallmark 1906.

A pair of Edwardian ruby flash cut glass decanters.  Height 41 cm.

A pair of Bohemian cut glass candlesticks, H. 29cm.

A Dutch silver-handled glass hors d'oeuvres dish. Amsterdam, 1922. The cut glass dish to a beaded silver handle, maker's mark possibly H&B, 833 standard, complete with six small cut glass inserts, 21.2 x 32.8cm 

A group of silver including a silver mounted vinegar bottle. Deakin & Francis, Birmingham, 1929. The pear-shaped, cut glass body to a removable stopper with pouring spout, 15cm high, together with an assortment of small silver oddments including a pair of Victorian salt cellars with blue glass liners, London, 1891, Edward Hutton; a silver strainer and stand; a pair of bright-cut engraved Georgian silver sugar tongs, various cruets and condiment spoons, and three ashtrays, total weighable silver approx. 18.9ozt (a lot)  

A pair of silver plated circular butter dishes, with hinged lids, standing on three legs, clear cut glass liners, 12.7cm. diameter, each accompanied by a miniature silver butter knife with scallop shell finials , Birmingham, maker's mark "JBC & S".

Pair of Victorian silver gilt and cut glass trumpet form vases, by Robert Hennell III

A Victorian silver gilt etched & cut glass table jar, L A Leins & Sons, London, 1875, 8cm. diameter, together with another with silver lid. (2)

A good Victorian silver gilt inkstand, Edward, Edward Junior, John & William Barnard, London, 1840, of shaped rectangular form with fitted removable twin cut glass inkwells and central pot, the pull-off cover doubling as a chamberstick, either side with wells for pens, the rims and supports with scrolling foliate decoration, central inscribed cartouche to either side, 29cm. long, weight 35.0 tr.oz. * Rubbing to gilt throughout.

A good cut glass and silver plate mounted claret jug, the rim with Putti dancing and playing instruments, face mask below spout, the hinged cover with shield & lion thumbpiece, 29cm. high.

A mid-18th century pan topped airtwist wine glass, c.1750, the rim engraved and slice cut with a fruiting vine, on a multi-spiral airtwist stem and slightly domed foot with ground pontil, 15.6cm. high.

A late Georgian strawberry-cut glass rouge pot with gold mounts, 2.2 cms. diameter.

A 9ct yellow gold and fancy cut blue glass ring, the pale blue stone fancy star cut, ring size J.

A Channel Islands silver mounted ships decanter and coaster by Bruce Russell, 2000, the cut glass decanter with silver collar, the large coaster of typical form with turned wooden base, central silver roundel, green baize beneath, 21cm. diameter. * Decanter neck with chip/crack under mount.

A large group of costume jewellery, including cut glass spectacle necklace with spring clip fastenings, a faux seed pearl bracelet, an enamelled butterfly brooch, a number of faux pearl necklaces, a large number of coloured, a number of fashion watches, beaded necklaces a belt buckle bracelet, a matching set of cubic zirconia set earrings, necklace and bar brooch and other items. Condition Report: All watches will need a service and batteryPlease note that the movement has not been tested for the accuracy of time and may need a service at the buyer's expense.Ewbanks does not guarantee the future working of the movement, and we do not guarantee the authenticity of any individual component parts since subsequent repairs and restoration work may have resulted in the replacement of original parts.

Antique jewellery, including a rose cut diamond set heart pendant, hallmarked 15 ct 1901, on a curb link chain 9 ct 45cm long with spring clip fastening, a Victorian crescent seed pearl brooch with C clasp 25x15mm tested as 18 ct, carnelian necklace clasp tested as 9 ct, one peridot screw back earring stamped 18 ct, one carved Jet earring with hook fastening in base metal and a pair of hoop earrings for pierced ears stamped 9 ct and a purple glass stamp engraved 'May agree tho differ'Condition Report: 18 ct gross weight 3 grams 15 ct gross weight 2 grams 9 ct gross weight 5 grams

A collection of small silver, to include two cut glass salts with silver collars, pepper pot, and a George V coronation spoon with enamel handle, weighable items 1.21oz gross.

A late Victorian cut glass silver mounted dressing table jar, London 1895.

A cut glass ship's decanter and stopper, with silver collar, 27cm high.

An Elizabeth II cut glass dressing table jar, with engine turned silver lid, London 1970, the lid 2.29oz, 19cm diameter.

An Edwardian cut glass globular scent bottle, with silver mount, Birmingham 1902, and another similar, London 1920. (2)

A George IV cut glass and silver mounted toilet box, the pierced rectangular lid with a beaded border, London 1826, by Archibald Douglas, 2oz.

A silver cut glass scent bottle, with glass stopper and silver collar, Birmingham 1899, a small jar with silver mount, Birmingham 1916, and a further dressing table jar, with silver mount, and a hair tidy, Birmingham 1920. (4)

A silver mounted cut glass dressing table jar, with inner stopper, and a part tinted cut glass scent bottle, with silver mount.

Three cut glass silver mounted items, a tapering dressing table jar, silver mount for Birmingham 1938 by JS Greenburg & Co, a squat shaped jar with silver mount, Birmingham 1901, and a hair tidy, Birmingham 1910.

A George V cut glass scent bottle, with silver mount, London 1912.

A pair of Edwardian cut glass and silver mounted vases, engraved with berries, leaves, etc., and a similar smaller example.

A George V cut glass square section scent bottle, with inner stopper, and hinged glass mount, Birmingham 1914, 19cm high.

A selection of cut glass decanters etc.

5 slice cut champagne/cocktail bowls, similar smaller glass, 2 cut decanters etc.

Y A WILLIAM IV BOULLE MANTEL TIMEPIECE IN THE LOUIS XV TASTEPAYNE, LONDON, CIRCA 1830The circular four columnar pillar single chain fusee movement with anchor escapement regulated by lenticular bob pendulum, the twenty-five piece white enamel cartouche dial with convex centre inscribed Payne, 163 NEW BOND STREET, LONDON within chapter ring with enamel Roman hour numerals within rococo borders and conforming Arabic five minutes to the repeating rosette decorated outer track, with blued steel moon hands set behind hinged convex glazed cast brass bezel, the engraved foliate scroll cut glass and red stained shell veneered case with generous acanthus scroll surmount to the ogee-shaped upstand applied with conforming scroll mounts to angles, over generous shaped crest and panel decorated with delicate symmetrical scrollwork beneath the dial flanked by leafy shouldered mounts to front angles, the scroll-outline sides further inlaid with scrolling foliage and the rear veneered in kingwood incorporating a shaped door, on generous rococo scroll cast feet with leafy apron to front between.47.5cm (18.75ins) high, 26cm (10.25ins) wide, 16.5cm (6.5ins) deep. William Payne first worked from 62 South Moulton Street, London from 1816. By 1825 he had moved to 163 New Bond Street with the firm becoming William Payne & Company at that address in 1852. Condition Report: Movement is in relatively clean working condition although a precautionary gentle clean/service is advised. The mechanism appears free form visible alteration or noticeable replacements between the plates. The pendulum is not original and the evidence in the backplate (spare threaded hole to eh lower margin) suggests that a holdfast clamp was fitted at some point. The movement securing brackets are each lacking one (out of two) screws, and the fusee pivot has noticeable bush inserted within the backplate. The dial centre has some slight chipping around the winding hole as well as some slight scratching to the central ena,el roundel. The 'X' hour cartouche has an enamel chip to lower right hand margin and the '60' minute panel has a very small chip to the left hand edge otherwise enamel appears free form visible damage. The bezel glass is presently loose hence requires fitting (snapping into place?), the bezel itself is rubbed and generally discoloured/tarnished in appearance compared to the case mounts. The case is generally in fine condition with no noticeable losses to the brass marquetry and only slight localised fill repairs to the shell veneers to the right- hand side otherwise faults to the veneers are very much limited to minor movement and age-related blemishes. The mounts are nicely finished and retain their gilding with only very light wear/discolouration. The rear is in good condition with only a very small bruise to the edge of the door evident.Timepiece has a pendulum but no winding key. Condition Report Disclaimer

A WILLIAM III WALNUT AND FLORAL MARQUETRY EIGHT-DAY LONGCASE CLOCK RICHARD FENNELL, KENSINGTON, CIRCA 1695The four finned and latched pillar inside countwheel bell striking movement with plates measuring 6.75 by 5 inches and anchor escapement regulated by seconds pendulum, the 11 inch square brass dial with subsidiary seconds dial, ringed winding holes and calendar aperture to the concentric 'button' decorated 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 Rich. Fennell, Kensington to lower margin, with fine scroll-pierced sculpted blued steel hands and applied winged cherub mask and scroll cast spandrels to angles, in a case with ogee moulded cornice and plain frieze over floral marquetry trail decorated hinged glazed dial surround applied with 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, the sides veneered with twin panels within crossbanded borders, the base with stepped ogee top mouldings over conforming rectangular marquetry panel within crossbanded surround, on a moulded skirt base.210cm (82.5ins) high, 47.cm (18.5ins) wide, 25.5cm (10ins) deep. Provenance: Private collection. Inherited by Mr. & Mrs. Curling Hunter, 9, Westbourne Terrace, London, and thence by descent to the vendor. Richard Fennell is recorded in Loomes, Brian The Early Clockmakers of Britain 1286-1700 as born in about 1656 and began his apprenticeship with Matthew Crockford in 1669. He then transferred to Thomas Bagley and finally gained his freedom of the Clockmakers' Company after ten years, in 1679. He is believed to have married Ann Hedderil at St. Duke's Place in 1693 but did not sign the Clockmakers 'oath of allegiance' in 1697. He worked in the outskirts of the city in Kensington and is known for longcase, lantern and table clocks including a small series of miniature brass table timepieces - an example of which was exhibited in the 'Horological Masterworks' Exhibition held at The Museum of the History of Science, Oxford, 29 March - 22 June 2003 (item number 48). Clockmakers Company records suggest that he was in arrears for his quarterage in 1705 and is believed to have worked in Kensington until at least 1715. Condition Report: Movement is in clean working condition having the appearance of being recently cleaned/serviced. There is no visible evidence of alteration or obvious replacements with the exception of the escapement pallets which are probably 'service' replacements. The backplate has some punch marks around the pivot holes to tighten them as well as at the location of one of the movement pillars where it is interference fitted to the backplate. The dial is in good condition with some mellowing to the silvering evident. The minute hand is a replacement and the hour has been repaired. The movement is fitted with a replacement seatboard however it rests directly onto the cheek uprights of the case with no visible evidence of adjustment to the latter hence we are inclined to believe that the movement and dial are most likely original to the case. The case is generally in relatively untouched original condition and of good colour. The hood has a replacement top board (but no evidence of ever being fitted with a caddy superstructure) and the front frieze would have almost certainly been faced with fretwork (is veneered in walnut). The hood columns are also replacements. The rear top cornice mouldings have been cut at an angle to rear (to allow the case to stand in the corner of a room) otherwise faults are limited to minor bumps, scuffs, shrinkage and couple of small veneer repairs commensurate with age and use. The front glass has a crack to the lower right-hand corner and the left hand glass is also cracked. The trunk and base are generally in sound original condition. The throat moulding has bumps/chips to the rear left-hand corner and a corresponding small veneer patch to the left. The clamp to the top of the trunk door is dislodged but still just attached and leaning forward due to movement of the crossgrain edge mouldings. There are some localised losses to the marquetry along the join of the crack. The lower clamp has a crack along the join and the joint is loose (but no significant losses to the marquetry) and there is general lifting/curling to the edge mouldings. The plinth appears to retain its original structure and veneers but with additional blocks etc glued to the inside to brace the structure; the skirt is a later addition. The front has a horizontal crack albeit with minimal losses. Otherwise faults to the case are limited to relatively minor historic bumps, scuffs, bruises, shrinkage, wear and a couple of minor localised veneer repairs.Clock has pendulum, two weights and a crank winder, but no case key. Condition Report Disclaimer

A FINE VICTORIAN EIGHT-DAY LONGCASE REGULATOR WITH UNUSUAL PULL-CHAIN WINDINGE. FISHER, BATH, MID 19th CENTURYThe substantial four double-screwed pillar movement with thick ogee-topped tapered plates measuring 9.75 inches high and 6.5 inches wide at the base, enclosing four-wheel train with Harrison's maintaining power, high pinion counts, six-spoke wheel crossings and deadbeat escapement with jewelled pallets regulated by faceted glass jar mercury compensated pendulum suspended from the case backboard and incorporating fine beat adjustment to crutch, the frontplate fitted with pull-chain sprung ratchet mechanism to facilitate keyless winding of the movement, the 14 inch circular silvered brass dial with recessed subsidiary seconds over engraved signature E. Fisher, Bath and conforming Roman numeral hour dial to centre, within outer minute ring incorporating Arabic five minute annotations, with blued steel hands, the arched case with full-height glazed door enclosing finely carved foliate scroll apron incorporating floral trail pendants beneath the dial over conforming relief-carved apron panel to lower margin, the 'plum-pudding' figured backboard applied with pendulum beat scale, the sides with hinged movement access flaps, the base with frieze flanked by leaf-carved scrolls fronting swollen ogee-outline waist moulding, over recessed oval panel fronted plinth and ogee moulded skirt with squab feet.218.5cm (86ins) high, 68cm (26.75ins) wide, 32cm (12.5ins) deep. Edwin Fisher first worked as a watchmaker and a jeweller from 13 Somerset buildings, Bath, from circa 1819 before moving to 14 New Bond Street by 1833. On a trade card, he is styled as a watchmaker, specialising in French watches, chronometers, and repeaters, as well as carrying out repairs to musical works and offering a supply of keys and precious metal chains. In 1842 Edwin Fisher was working from 13 Abbey Churchyard, and then moved again, to 9 Old Bond Street, in 1846; he is believed to have retired in 1866. The movement of the present lot is particularly robustly built and finely finished with plates approximately 5mm thick, large blued-steel pillar securing screws and collets, separate pivot plate for the escape wheel positioned on the backplate, and a heavy-gauge dial plate. The quality of the movement is mirrored in the case with fine carved decoration beneath the dial and well-chosen 'plum-pudding' figured mahogany veneers. The glass mercury jar pendulum is also very well made with finely finished steel frame cut faceted jar. 

Y A WILLIAM III SILVER MOUNTED EBONY TABLE CLOCKTHOMAS HERBERT, LONDON, CIRCA 1695The six finned and latched twin chain fusee movement now with anchor escapement and later system of 'three-in-two' quarter striking on two bells, sounding ting-tang for the quarters and single blow on the larger bell at the hour, the backplate finely executed and attributed Tompion's engraver 'Graver -155' with symmetrical foliate scrollwork incorporating festooned bell-flower swags over a shaped cartouche signed Thomas Herbert, LONDINI within a broad engraved laurel band outer border, the 6.25 inch square brass dial with finely matted centre within applied silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers and Arabic five minutes within the outer minute track, with scroll pierced sculpted steel hands, applied cast silver winged cherub mask spandrels to angles and N/S strike/silent selection switch at twelve o'clock, the ebony veneered case with foliate-bud tied hinged silver carrying handle to the domed caddy surmount applied with silver repousse foliate scroll pierced mounts to front and sides, over double ogee top mouldings and silver foliate scroll pierced repousse lozenge sound fret to the upper rail of the front door, the uprights with unusual twin mask and winged scroll decorated silver escutcheon mounts, the sides with conforming lozenge repousse sound frets over rectangular windows, the rear with rectangular glazed door set within the frame of the case applied with further matching escutcheon mounts, on ogee moulded shallow skirt base with moulded squab feet, (formerly with verge escapement and hour striking with pull-quarter repeat work).33cm (13ins) high with handle down, 24cm (9.5ins) wide, 15cm (6ins) deep. Thomas Herbert is recorded in Loomes, Brian Clockmakers of Britain 1286-1900 as born around 1651 and becoming a Free Brother of the Clockmakers' Company in 1676, having possibly previously gaining his freedom of the Needle Makers' Company. In 1676 Thomas Herbert was appointed 'Watchmaker and Clockmaker in Extraordinary' to the King (Charles II), and Married Sarah East (daughter of the clockmaker Edward East) at Knightsbridge Chapel in December of that year. He is subsequently noted as the 'King's Clockmaker' when he took as an apprentice Evan Herbert in 1680; and then as the 'Queen's Clockmaker' when accepting John Okey as an apprentice in 1693. In 1699 Thomas Herbert petitioned to the Crown for payment of his account for watches 'furnished for the Pages of the Bedchamber' and was paid £9 15s 6d for work undertaken at Hampton Court in 1702. Three years later Thomas Herbert was awarded £100 per annum 'in lieu of such bills as he did annually make for mending, cleaning and taking care of her Majesty's clocks and watches...'. Further requests 'in regard of his great poverty' were made on 1708, and in 1713 a telling record notes 'to be paid to Thomas Herbert for half a year's salary due Midsummer 1701, as clockmakers to King William III, by general letters of privy seal'. Loomes does not record his date of death, but it is likely that it was fairly soon after this date due to his advancing years. The engraved decoration to the backplate of the present lot can be closely compared to the backplates of 'The Selby Lowndes Tompion' (no. 217) and 'The Medici Tompion' (no. 278) illustrated in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS, Art on a Canvas of Brass 1660-1800 pages 239-40 (Figures 13.24 and 13.25). Most notable is the strong similarities within the rendering of the foliate scrollwork with 'larger more luxuriant leaves' than often seen, as well as the delicate bell-flower festoon swags. The Signature script also has strong similarities especially within the calligraphy for 'LONDINI'.Although the movement of the present clock has had historic alteration to the mechanism it does present as a very attractive scarce silver mounted example by a fine and rare maker, which could be brought back to working condition in its present form without a great deal of expense. Or, conversely, presents as a tantalising project for restoration back to its original specification. Condition Report: As catalogued the movement has been altered in the 19th century from hour-striking with pull-quarter repeat to 'three-in-two' ting-tang quarter striking; the strike train has also been converted form verge escapement regulated by short bob to anchor regulated by lenticular bob. Hence, due to these alterations, all wheelwork above the fusee for both trains has been changed/renewed. In addition to this there are a series of filled holes to both plates as well as additional filled slots to the frontplate. The going train is currently not running as the fusee chain is detached at the fusee end; the chain however appears not to be broken and the train itself free form visible damage. The spring will 'tighten' when the barrel is rotated however we cannot vouch for the overall integrity of the mainspring. The strike train is in working condition but is a little lazy and will probably require some adjustment. Two of the movement pillars have lost their latches (one is pinned and the other has been filed flush with the frontplate) and the strike-side lower pillar has some slight marking from the chain becoming detached from the fusee. The dial is in good original condition with no visible evidence of notable alteration except for al, the feet now being pinned rather than latched and the hour hand being repaired at its tip. The chapter ring has overall oxidation/mellowing. The case is generally in sound original condition. The caddy superstructure has some noticeable cracking within the veneers visible within the front and rear surfaces. The interior of the caddy also has brass reinforcements to the handle fixings, hence it is possible that the caddy has become detached at some point. The corners have neatly filled holes to the top edges suggesting that finials were fitted at some point. The mask around the dial (behind the front door hence only visible when door is open) has some shrinkage cracking and veneer patch repairs to the overlap. The lower right-hand joint of the front door is also a little loose. The right-hand side has some veneer cracking and wear around the upper fret aperture and the left hand has similar cracking and a small veneer patch repair. The rear door has a veneer patch repair adjacent the key escutcheon mount and the lower rail has been scooped-out (along with a small amount to the surrounding frame beneath) to allow clearance for the swing of the larger later lenticular pendulum bob. The rear edge of the seatboard is also cut with a slot for the same purpose. The front right hand corner of the seatbaord and the base of the case is cut with a slot aperture most likely to allow for a pull-quarter repeat lever which is no longer present. The silver mounts are all in good condition. The locks and hinges appear original however the feet are replacements. Faults to the case are otherwise very much limited to crack in the left-hand side glass, minor bumps, scuffs and shrinkages.Clock has a case key but no winder. Condition Report Disclaimer

A FINE FRENCH ENGRAVED GILT BRASS GORGE CASED GRANDE-SONNERIE STRIKING ALARM CARRIAGE CLOCK DROCOURT, PARIS, FOR GROHE, LONDON, CIRCA 1880The eight-day two train movement ting-tang striking the quarters on a graduated pair of gongs and sounding the hour every quarter hour on the larger of the two, with silvered platform lever escapement regulated by sprung split bimetallic balance and alarm mechanism positioned to the top left sounding on the smaller gong, the inside of the front plate stamped 9824 and the backplate with stamped oval D C trademark for Drocourt to centre left over repeat serial number 9824 to the lower left corner, the dial with circular white enamel Roman numeral disc inscribed GROHE, WIGMORE STREET, LONDON to centre, incorporating Arabic five minutes beyond the minute track and with blued steel moon hands, set within a fine foliate trail border engraved mask incorporating rectangular-outline panel interrupted by the subsidiary alarm setting dial flanked by leafy sprays to lower margin, the satin gilt bevel-glazed gorge case with leafy trail decorated hinged lobed carrying handle over oval top glass within floral spandrel engraved recessed panel and with repeat button to front rail, with repeating oval motif engraved complex upper mouldings over bright-cut decorated channelled corner uprights, the rear with pin-hinged glazed door, on generous ogee-shaped base further engraved with a stylised husk band of over leafy floral trails onto a matted ground, the underside with STRIKING/SILENT/FULL STRIKING selection lever.14cm (5.5ins) high with handle down, 9.5cm (3.75ins) wide, 8cm (3.125ins) deep. Provenance:The property of a deceased gentleman. James Grohe is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working in London 1832-81. Leigh Extence notes his address being 7 Wigmore Street and that he retailed clocks supplied by both Holingue and Drocourt. Pierre Drocourt is recorded in Allix, Charles and Bonnert, Peter CARRIAGE CLOCKS, Their history and development with further additions and corrections from research undertaken by Leigh Extence (available online) as born in 1819 and setting up in business as a clockmaker in Paris in 1853. He initially worked from Rue Limoges (later called 28 Rue Debelleyme after the rationalisation and merger of Streets in 1865), Paris and was succeeded by his son, Alfred (born 1847), in 1872. The blancs roulants, rough movements, were made in Saint-Nicolas-d'Aliermont, a town outside Dieppe, where Drocourt had workshops until their sale in 1904, being premises purchased from Holingue frères in 1875 who had previously supplied Drocourt. The firm was awarded numerous international exhibition medals and mentions including Silver in Paris 1878 and Gold in 1889. Condition Report: Movement is complete, clean and appears all-original with no visible evidence of alteration or with noticeable replacements. The going train is running however the grande-sonnerie striking train is not currently operational as there appears to be a power issue. The mainspring will not currently wind on its ratchet but the train will run and strike when torque is applied to the train via the winding key (as though it is being wound). The alarm is in working condition. The dial appears free from visible damage or other faults although the retailers signature is a little rubbed. The case is in fine condition with minimal discernible wear to the gilding and only slight mellowing. The glasses appear free from visible damage/chips.Clock has a winding/setting key. Condition Report Disclaimer

Three near-matching glass rummers in the Georgian style, each with a large dimple-cut bowl, knopped stem and on circular foot, 13.5cm high.  (3)

A Pair of Late Victorian/Edwardian Glass Decanters with Knopped Necks, Facet Cut Body and Star Cut Bases, 25cm high

An Edwardian Silver Dressing Table Mirror by Henry Matthew, Birmingham Hallmark Together with a Sterling Silver and Cut Glass Perfume Atomiser

Eight cut glass tall wine flutes with knop stems; & nine cut wine glasses with hollow stems. 

A pair of 19th century Bohemian ruby & clear cut-glass decanters with etched hunting scene decoration, 34cm high (each stopper chipped, small chips to rims/extremities).

A pair of 19th century Bohemian blue opaline glass candle lusters with shaped gilt rims, painted floral decoration & hung with clear cut-glass prism drops, 31cm high; & a ditto white opaline candle lustre, 33.5cm high (one blue lustre with restoration to foot; not all drops present).

A 19th century Bohemian opaline glass candle lustre with shaped gilt rim, painted floral decoration & female portrait to the bowl, hung with clear cut-glass prism drops, 35cm high; together with a ditto ruby glass candle lustre, 37cm high (not all drops present).

Seven various 19th century & later glass rummers & goblets; a set of six 19th century cut jelly glasses; & two sets of four glass custard cups. 

A Regency black and gilt-japanned oval mirror, c.1810, the frame with pierced fretwork scrolls and all-over chinoiserie decoration, enclosing a mercury glass plate, adapted,45cm wide57cm highProvenance: The collection of Charles Edwards and Julia Boston, Tile Barn, Northamptonshire.Condition ReportAppears cut down from a larger piece, possibly a dressing table or toilet mirror. Some knocks, chips, old breaks and repairs, with rubbing, scuffs and wear to the frame. The plate heavily mottled with general surface wear.

A cut-glass decanter, late 18th century, of slender mallet shape, engraved 'Sheriff of London 1793' with initials within foliate swags, below a ring-turned neck and bullseye stopper,10cm diameter 30cm highProvenance: From the Collection of Nigell and Heather D’Oyly.Condition ReportThe stopper appears original. Wear to the underside. The stopper with some hairline cracks. Some very slight cracking to the decanter's neck. Surface scratches and general wear, otherwise good.

A Gothic Revival pine floor lamp, second half of the 19th century, with a domed glass shade and cut-glass reservoir, raised on a moulded column with tripod supports, converted from an oil lamp,75cm diameter192cm highProvenance: The collection of Charles Edwards and Julia Boston, Tile Barn, Northamptonshire.Condition ReportSome light wear and scratches to the glass elements. Dirt, tarnish, and discolouration to gilded brass. Lacking a metal collar to the column. Some fading, chips, scratches, and small paint splatters to the pine frame. Overall, joints are sound. Passed PAT test

A pair of Louis XV-style six-branch candelabra, early 20th century, French, each with a hexagonal finial, over five gilt-brass tiers of shaped cut-glass drops and rosettes, on a shaped circular foot, 36cm wide32cm deep76.5cm high (2)

A quantity of silver to include a silver card waiter, marks rubbed, 15.5cm diameter, an ashtray, an oval cut glass silver lidded box, a cut glass and silver lidded caster etc., together with a silver plated toast rack, approximately 245g weighable