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A Pembroke table, a stool, a trunk, a TV stand, a corner cabinet, a magazine rack, a cake stand, a school desk, a clock bracket, and a wine table (qty)

MAHOGANY PIE EDGE CRUST STYLE TABLE, SMALL OCCASIONAL BARLEY TWIST TABLE, OAK WINDOW TABLE, STAINED WALL CLOCK, SMALL ELEPHANT DISPLAY OCCASIONAL TABLE

TRAY CONTAINING VARIOUS VINTAGE AND VINTAGE STYLE TIN & CAST IRON TOYS INCLUDING OLD CLOCK WORK DUNLOP FORT MADE IN ENGLAND RACING CAR NUMBER 7, TRICK DOG, TABLE TENNIS ETC

Pair of Tiffany-style lamp shades, carved alabaster table lamp, pierced painted tin table lamp, another shade and a Cornish slate wall clock

Occasional furniture including a clock, drop leaf table and two chairs

A pair of late 19th/early 20thC clock garniture urns, each with gilt metal handles, converted to table lamps, 44cm high.

Y A FRENCH LOUIS XV ORMOLU MOUNTED BOULLE BRACKET CLOCK WITH WALL BRACKET EN SUITEBACQUET, PARIS, CIRC 1750The twin going barrel outside countwheel bell striking movement with five tapered baluster pillars pinned through the backplate signed Bacquet AParis to lower margin, with later anchor escapement regulated by lenticular bob pendulum, the 10 inch circular twelve-piece cartouche numeral dial with concentric trellis bordered rococo cartouche cast centre within chapter ring with blue-on-white Roman hour numerals within rococo borders and every minute numbered to the outer track, with blued steel hand over small enamel pendant panel inscribed BACQUET, the cut brass and brown shell marquetry decorated case with surmount cast as a robed putto releasing a bird seated over a gadroon panel-cast caddy to the concave-sided superstructure veneered with leafy scroll decoration and applied with foliate mounts to angles, over rococo scroll decorated leaf cast arched cornice centred with a palmette, the front with brass-framed arched glazed door enclosing marquetry decorated floor and back panel to interior and incorporating cast panel featuring a Classical muse with attendants to apron, the surround decorated with leafy scrolls within line border, the sides with recessed arched windows within leaf cast surrounds over hipped swollen base sections, on leafy scroll cast feet with foliate apron between; set on original ogee-shaped wall bracket with concave upstand set back on the table over repeating arch motif and floral trail decorated marquetry to fascia flanked by female masks to angles, terminating with a rococo scroll cast pendant mount to base.The clock 84cm (33ins) high; the clock on wall bracket 114cm (44.5ins) high, 43cm (17ins) wide, 21.5cm (8.5ins) deep. Provenance: The Estate of a deceased Gentleman; purchased from Pelham Galleries, London, July 1966. Although he doesn't appear to be recorded in the usual sources, from extant examples, a clockmaker with the name Jean Bacquet is known to have been working in Paris during the middle years of the 18th century. Condition Report: As catalogued the movement has been converted from verge pendulum escapement to anchor hence all wheelwork above the centre wheel of the going train has been replaced. The backcock may be original but modified to accept and spring suspension. The strike train appears al original. The mechanism has been maintained in working hence is in relatively clean condition and will tick and strike. The backplate some historic punch marks around the pivot holes to close wear; the pivots themselves seem reasonably tight and there is only slight pinion wear evident. The dial has visible hairline cracks to the I and XI numerals, the II numeral has a touched-in edge chip issuing a few hairlines and the IX cartouche has been restored (in a creamy colour compared to the others); the remaining numerals appear free from visible damage. The minute hand is missing and the pendant enamel signature panel is damaged (and has crudely applied filling). The dial casting itself is in good condition with relatively strong gilding. The case is generally presentable but has received cosmetic restoration including some pinning/re-securing of the brass and localised filling to tortoiseshell/other. The sides of the superstructure may well have been applied with mounts to the rear edge (no longer present) and a scallop-shell motif within the marquetry to both sides are now filler. The sides and front are generally very good with only a few small localised repairs/pinning; the rear door has some shrinkage but the marquetry is in sound condition. The bracket has had some work to reset brass marquetry towards the upper margin causing some noticeable rippling to the brass, there is loss to the marquetry to the cavetto moulding upstand (applied to the table), otherwise faults are limited to smaller localised repairs. The mounts are generally good and clean retaining much of their gilding and appear to have also received a coat of yellow lacquer.Clock has pendulum (bob currently detached) but no case key or winder. Condition Report Disclaimer

AN IMPRESSIVE GEORGE III GILT METAL MOUNTED MUSICAL AUTOMATON CENTRE SECONDS CALENDAR TABLE CLOCK UNSIGNED, LONDON, CIRCA 1790The substantial six pillar triple fusee bell-striking movement with plates measuring 8.75 by 7.25 inches and verge escapement regulated by lenticular bob pendulum incorporating unusual vertical rack slide regulation to suspension, the musical train playing a choice of six tunes on eleven bells with eleven hammers, via a 3.5 inch long 2.5 inch diameter pinned cylinder transversely positioned to the upper left of the backplate, every three hours after the sounding of the hour bell, the backplate engraved with a delicate arrangement of symmetrical rococo scrollwork around a central small basket of flowers within a scribed-line outer border, the 8 inch arched dial with circular fired white enamel Roman numeral chapter disc with Arabic five minutes beyond the outer minute track, with pierced brass hands and blued steel arrow sweep centre-seconds hand set within a moulded bezel surround, the spandrel areas with four fired enamel subsidiary dials, FASTER/SLOWER opposing selection for six tunes HORNPIPE/SANDY OF THE LEE/HELEN MACHREE/ROBIN GRAY/MINUET/HORNPIPE to the upper quadrants, over date-of-the-month opposing STRIKE/SILENT to the lower, within polychrome floral spray decorated verdigris painted infill, beneath arch composed with a realistically painted pair of red-brick townhouses flanking an aperture revealing ten parading figures modelled as actors, musicians and acrobats passing back and forth in front of three panels of glass spinning rod 'waterfall' automata, incorporating curved niche profile to the central bay of the backdrop and set within naturalistic leafy surrounds, the apex of the arch also bordered with painted representation of gathered drapery, the gilt brass mounted ebonised case with large fire-gilt figural surmount cast and chased as Mars wearing a feather-plumed helmet, armour and a cape, stood with the three-headed Cerberus on an oval plinth flanked by two further smaller figures of Classical maidens, over repeating leaf draped capping to the bell-top superstructure applied with rams-head adorned martial trophy decorated festoon mounts and lions masks at the angles to the concave sections, raised over a repeating rosette decorated gilt brass diamond lattice sound fret frieze flanked by further figural finials cast as Mars opposing a king applied to the corners above the ogee over concave top mouldings, the opening front with leaf cast fillet moulding bordering the glazed dial aperture surmounted by mask-centred husk swag decoration and applied with a generous martial trophy mount to lower rail, flanked by lions masks issuing further pendant husks and martial trophy motifs over stags head mounts to the canted angles, the sides with generous hinged carrying handles over rosette decorated gilt diamond lattice pierced arched sound frets and martial trophy mounts to lower margins, the rear matching the front, on cavetto moulded skirt base with generous acanthus scroll cast and chased supports.88cm (34.5ins) high, 35.5cm (14ins) wide, 28cm (11ins) deep. Although unsigned, the present lot does exhibit strong similarities with examples from the workshop of Francis Perigal who is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as gaining his freedom of the Clockmakers' Company on 1781, serving as Master in 1806 and dying 1824. Most notable amongst these features are the layout of the music work (transverse barrel set to the upper left of the backplate), use of fired enamel (both for the chapter disc and the subsidiaries), provision of sweep centre seconds set between the hour and minutes hands, and extensive use of glass-rod 'waterfall' automaton. Indeed, all of these elements can be seen in an example by Perigal sold at Christies, King Street, London sale of Magnificent Clocks 15th September 2004 (lot 16). The 'vine engraving' on the backplate can be also be closely compared to that on a table clock by George Margetts illustrated in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS, Art on a Canvas of Brass 1660-1800 on page 371 (Figure 20.4). Amongst the tunes is 'Auld Robin Gray' which is a Scottish ballad written by Lady Anne Lindsay in 1772; 'Sandy o'er the Lee' is also noted as 'Mr Baird's Favourite Reel' in Niel Gow's A Second Collection of Strathspey Reels of 1788. The extensive use of Martial motifs within the mounts of the present clock would suggest that it was originally supplied to a client with strong military connections; possibly for a regimental institutional or perhaps a wealthy member of the military class. Condition Report: CONDITION REPORT AVAILABLE ON REQUEST FROM THE DEPARTMENTCondition Report Disclaimer

A FRENCH LOUIS XV ORMOLU SMALL CARTEL TIMEPIECE WITH PULL-QUARTER REPEATLE LIEVRE, PARIS, MID 18th CENTURYThe circular four pillar eight-day single going barrel movement now with platform lever escapement regulated by sprung bimetallic balance, and pull quarter repeat operating two hammers for the hours and quarters, the backplate with visible repeat work and signed Le Lievre AParis to right hand margin, the 4,75 inch circular convex blue-on-white enamel Roman numeral dial signed LELIEVRE, A PARIS to centre and with Arabic five minutes to outer track, with fine scroll pierced and engraved gilt brass hands set behind hinged convex glazed cavetto moulded cast gilt bezel, the case cast and chased with a generous asymmetric openwork rococo scroll crest issuing a pendant foliate floral trial to the right-hand side continuing down over the rocaille bordered dial aperture, the left-hand side with leafy foliage issuing from an asymmetric arrangement of layered generous foliate scrolls set beneath the dial incorporating a fish scale fretwork panel to front and terminated with floral blooms, the rear with brass plate incorporating a shaped hinged door.44.5cm (17.5ins) high, 25.5cm (10ins) wide, 10cm (4ins) deep. The layout of the repeat work used in the present timepiece is derived from one of the earliest forms first utilised by English makers for 'silent pull-repeating' table clocks from the mid 1670's onwards, but with further refinements to negate the need for a pumping arbor for the quarters (see Dzik, Sunny BENEATH THE DIAL, English Clock Pull Repeat Striking 1675-1725 page 125). Condition Report: Movement is in dusty neglected condition however the going train will run and the pull-repeat work is operational. As catalogued the platform lever escapement is a later modification replacing the earlier pendulum escapement however all wheels from the third wheel inclusive below appear original. We do not have a winding key of the correct size so are unable to test the mainspring wind fully; the size of the barrel suggests that the duration may be longer than eight-days. The repeat work is operational but currently out of sync with the hands hence requires adjustment; the mechanism is now only fitted with one later bell hence for the repeat work to sound correctly at least one bell and its mount will be required. The movement will need a clean/service before putting to use. The dial has some enamel chipping around the winding hole otherwise appears free from noticeable damage; the minute hand has been repaired. The case is generally in very good original condition with old gilding showing relatively minor edge wear. Two of the four movement securing screws are replacements and the fish scale fret is also probably a replacement. There is a small hole beneath the fretwork panel probably to allow insertion of a pin to start the pendulum (when one was fitted). The rear has some distortion to the brass panel otherwise is in good condition. Timepiece does not have a 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

Y A REGENCY SMALL BRASS INLAID ROSEWOOD MANTEL/BRACKET CLOCK WITH TRIP-HOUR REPEATDWERRIHOUSE AND CARTER, LONDON, CIRCA 1820The five tapered pillar twin chain fusee bell striking movement with anchor escapement regulated by disc bob pendulum, the backplate with pendulum holdfast over engraved signature Dwerrihouse & Carter, LONDON to lower margin, the 3 inch arched silvered brass Roman numeral dial signed DWERRIHOUSE & CARTER, London to centre and with lozenge aperture blued steel moon hands beneath subsidiary STRIKE/SILENT dial to arch, the case with shallow hipped stepped 'chamfer' superstructure over cavetto cornice and fluted frieze incorporating a brass band to lower edge, the hinged front with canted silvered brass fillet insert to the glazed dial aperture flanked by brass canted angles, the sides with brass fillet edged arched windows and the rear with conforming arch glazed rectangular glazed door with brass canted angles, on moulded skirt base with adjustable brass compressed bun feet; with a later purpose made wall bracket incorporating a caddy-moulded detail to the lower edge of the table over a single downcurved tapered support.The clock 21cm (8.25ins) high, 13cm (5ins) wide, 11.5cm (4.5ins) deep; the clock on wall bracket 35.5cm (14ins) high overall. John Dwerrihouse was a noted maker who is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as gaining his Freedom of the Clockmakers' Company in 1781 and working from Charles Street, London until 1805. The business was continued by his successors forming the partnerships 'Dwerrihouse and Carter' (1802-23); 'Dwerrihouse, Carter and Son' (1805-15); 'Dwerrihouse, Carter and Company' (1825); 'Dwerrihouse and Ogston' (1836) and 'Dwerrihouse Ogston and Bell' (circa 1840).  Condition Report: Movement is in reasonably clean working order, and appears complete and original with no visible evidence of alteration or noticeable replacements. A precautionary gentle clean/service is advised. The dial has some very light scratching around the winding holes and a couple of light spots to the silvering otherwise is in fine condition. Case is generally in very good condition with the only real notable faults being a chip/loss near the left corner of the cornice at the rear. The front and rear doors have slight veneer shrinkcage cracking and wear to the key escutcheon aperture for the front door (to the left and side) has been repaired by letting-in a small patch cut with a keyhole. Faults to the case are otherwise very much limited to minor bumps, scuffs, scratches, minimal shrinkage and other age-related blemishes. The bracket is in good condition commensurate to the case.Clock is complete with a case key and winder. Condition Report Disclaimer

AN AUSTRIAN EBONISED AND PARCEL GILT QUARTER-STRIKING TABLE/BRACKET CLOCK WITH CONCENTRIC CALENDARUNSIGNED, PROBABLY VIENNA, LATE 18th CENTURYThe four pillar triple train thirty hour movement incorporating single chain fusee for the going train with verge escapement regulated by short pendulum, the quarter and hour striking trains each with standing barrel with the first counting the quarters on the smaller of two bells and the latter sounding the hours after the last quarter on the larger bell, the 6.5 inch brass break-arch dial applied with circular convex fired white enamel Ronan numeral hour disc incorporating concentric date-of-the-month to inner track and Arabic five minutes to the outer, with scroll-pierced and engraved brass hour and minute hands, steel arrow calendar hand and applied rosette-centred cast brass spandrels to angles, beneath arch with central enamel boss painted with a Lakeland scene over arched false-bob aperture and flanked by subsidiary Repetirt/Nicht and Nicht/Schlagt selection dials within leafy scroll engraved infill, the case with decorative hinged rosette cast brass handle to the gilt ripple moulded superstructure flanked by brass flambeau urn finials, over conforming gilt cornice moulding and hinged break-arch glazed door bordered with further sculpted gilt mouldings to both the glazed aperture and to the mask behind, with scroll-pierced brass upper quadrant frets and flanked by full-height gilt strip pilasters, the sides with rectangular engraved brass sound frets over glazed panels, the rear with rectangular glazed door set within the frame of the case, on gilt ripple-moulded skirt base with decorative cast brass bracket feet.49cm (9.25ins) high with handle down, 30.5cm (12ins) wide, 16cm 96.25ins) deep. 

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

AN ARCHITECTURAL LACQUERED BRASS CONGREVE-TYPE ROLLING BALL TIMEPIECETHWAITES AND REED, LONDON, No. 38 CIRCA 1972The four columnar-pillar single fusee movement with pediment-shaped plates incorporating sub-plate for the under-dial motionwork, and bevel-gear arrangement applied to the backplate to facilitate transverse winding via a square positioned to the rear left of the movement, the dial panel applied with central silvered minutes ring annotated with Arabic ten minutes, flanked by conforming Arabic numeral hour ring to the left and seconds to the right, set within an elevated tympanum enclosing the movement, adorned with fluted corner panels and capped with anthemion cast acroteria finials over ogee top mouldings, the entablature with projecting cornice and architrave forming the rectangular frame top panel, raised on four cast brass Corinthian inspired columns enclosing a table balance set via pivots on a central post and with zig-zag track for the rolling ball, with trip-release levers to enable the table to be tipped via motive power applied by crank drive from the movement at the end of each run of the ball down the track, on substantial stepped cast brass skirt base applied with silvered maker's plate inscribed Thwaites. & Reed to front, set on original ogee edge moulded wooden plinth with brass screw feet for level adjustment, and with rectangular Perspex cover; with folder containing instructions and correspondence with the original owner.48cm (19ins) high, 48cm (19ins) wide, 32cm (12.5ins) deep overall. Provenance:Ordered direct from Thwaites and Reed Limited of 15 Bowling Green Lane, London, by a Mr. T.B. Whiting of Newark, Nottinghamshire, in May 1971.  The clockmaking firm Thwaites and Reed can be traced back to Ainsworth Thwaites who was apprenticed in 1735 and worked from Rosoman Row, Clerkenwell, London 1751-80. He was an accomplished maker who supplied the clock for the tower at the Horse Guards Parade. His son, John, was born in 1757 and took over the business presumably on the death of Ainsworth in 1780 before moving to Bowling Green Lane. He entered into partnership with Jeremiah Reed in 1808 and the firm subsequently became well known for supplying all forms of clocks and movements either wholesale for others to retail or signed by themselves. The partnership continued under John Thwaite's leadership from several addresses in London until his death in 1842. The business has subsequently passed through a series of successors and is still trading today from Rottingdean near Brighton.  The present timepiece is from a limited run of 100 examples and is based on the design patented by William Congreve in 1808. Condition Report: Timepiece is complete and in clean condition with no visible evidence of alteration or notable replacements. The movement is currently wound and the table will tip/oscillate but will require some fettling/adjustment to the trip and crank mechanism before it will run reliably. The dials retain original silvering in good condition with the centre exhibiting some slight oxidation/mellowing only. The frame retains original finishes in very good condition having only a few light spots of discolouration. The Perspex cover has a slight scratch to the inside near the lower edge to the rear which could no doubt be polished-out otherwise is in fine condition. The wooden plinth/stand is in fine original condition with only minor wear and slight mellowing to the brass fittings.Timepiece is complete with winding key, ball bearing and paperwork. Condition Report Disclaimer

A WALNUT CASED COMMEMORATIVE 'DANIEL QUARE' MODEL MONTH GOING QUARTER-CHIMING TABLE/BRACKET CLOCK F.W. ELLIOTT FOR GARRARD, LONDON, CIRCA 1970The nine pillar triple fusee movement with graduated split frontplate and chiming a choice of three tunes on a graduated nest of eight bells for the quarters before sounding the hour on a further larger bell, the going train with platform lever escapement regulated by sprung monometallic balance set within an aperture to the backplate inscribed Elliott, London to centre, with scroll inscribed decoration to three corners and numbered 17/250 to lower margin, the 7 inch wide rectangular gilt brass dial with oval plate engraved Garrard to the matted centre within applied silvered Roman numeral chapter ring with cruciform half hour markers, Arabic five minutes to outer track and inscribed MADE IN, ENGLAND to lower margin, with scroll pierced steel hands and winged cherub mask and scroll cast gilt spandrels to angles with the upper two interrupted by subsidiary FAST/SLOW regulation and CHIME/SILENT selection dials, beneath arch centred with WESTMINSTER/WHITTINGTON/WINCHESTER chime selection dial flanked by conforming mounts, the case with hinged gilt brass carrying handled pierced with DQ monogram to the uprights applied to cavetto over convex caddy superstructure and with double cavetto top mouldings, the hinged front with 6.5 inch break-arch glazed dial aperture with cockbeaded surround and with conforming bordered fretwork panels to upper quadrants, the sides with further shaped sound frets over break-arch windows, the rear flush with rectangular glazed door set within the frame of the case, on moulded skirt base with full depth moulded pad feet.40cm (15.75ins) high with handle down, 25.5cm (10ins) wide, 16cm (6.25ins) deep. The present lot was made in a limited edition of 250 examples by F.W. Elliott for Garrard, the Crown Jewellers, to commemorate the anniversary of Daniel Quare who was gained his Freedom of the Clockmakers' Company in 1671. Condition Report: Movement is complete, appears free from alteration or noticeable replacements but is in fairly neglected condition hence a clean/service is required. The timepiece is running and the quarter and strike trains are operational albeit a little lazily and prone to sometimes not tripping. The minute hand around 1 minute out of sync (ie. sounds around 1 minute after the hour/quarter). There also appears to be an automatic silencing function that prevents the clocks striking between 11pm and around 9am. The dial appears to be in very good original condition with minimal oxidation to the silvering only. The case is also in very good original condition with faults very much limited to a few very slight bumps, scuffs and scratches only.Clock does not have a winder present; no case key or pendulum are required. Condition Report Disclaimer

A GEORGE II/III POSTED THIRTY-HOUR WEIGHT-DRIVEN WALL ALARM TIMEPIECEUNSIGNED, SOUTHERN ENGLAND, MID 18th CENTURYThe posted frame with rectangular section corner uprights rivetted to both the top and bottom plates enclosing three-wheel going train incorporating anchor escapement for regulation by long pendulum swinging behind the frame to the rear, with crown-wheel weight-driven alarm mechanism applied to the inside of brass backplate sounding on bell mounted above the top-plate via a t-shaped vertically pivoted hammer, the rectangular dial with silvered Arabic alarm setting disc to the rococo foliate scroll engraved centre within 5.75 inch applied silvered Roman numeral chapter ring with diamond lozenge half hour markers, with steel fleur-de-lys hand beneath applied pierced and engraved dolphin fret and a bell surmounted by a brass ball-and-spire finial, mounted on a later mahogany wall bracket with break-arch back panel applied with shaped side brackets supporting a rectangular table over double-scroll outline base.The clock 24.5cm (9.75ins) high, 14.5cm (5.75ins) wide, 13.5cm (5.25ins) deep including pendulum crutch, the clock on bracket 41cm (16.25ins) high, 18cm (7ins) wide, 14cm (5.5ins) deep. Although unsigned the style engraving to the centre of the dial would suggest that the present timepiece was made in Southern England during the middle of the 18th century. Indeed, related engraving seen on table clock backplates is described in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS, Art on a Canvas of Brass 1660-1800 within the chapter titled Vine Engraving, 1740-1770 (pages 337-357). Condition Report: The trains both appear all-original with the only exception being the escape wheel collet suggesting that the wheel has been off its arbor at some time (possibly to make an adjustment for wear?) The pinions show noticeable wear however timepiece is in working order although a precautionary gentle clean/service is advised; the pendulum crutch is probably a replacement. The hand, fret, bell and finial are later replacements; each side of the top plate has two spare threaded holes suggesting that side frets were also fitted. Single pin holes to the centre of both sides of the top and bottom plates also indicate that side panels were also fitted (pinned into place) at some point. The wall bracket has residue form parcel tape (used by a previous removal company) which should be fairly straightforward to remove. Timepiece has weights for both the strike and alarm trains but no pendulum. Condition Report Disclaimer

A FINE AND RARE GEORGE III SMALL SATINWOOD BANDED MAHOGANY LONGCASE REGULATOR OF ONE-MONTH DURATIONTHOMAS WRIGHT, LONDON, CIRCA 1785-90The substantial six knopped pillar movement with thick plates incorporating rounded upper angles measuring 7.75 by 5.5 inches, enclosing a five-wheel train with Harrison's maintaining power, five-spoke wheel crossings and terminating with a Graham-type deadbeat escapement, regulated by large lenticular bob seconds pendulum with T-bar suspension, Hindley-type cranked crutch arrangement and Wright's patent stirrup-frame type compensation to the bob, incorporating a pair of horizontal bimetallic bars, calibrated rating nut and a secondary small spherical fine-adjustment bob beneath, the 10 inch heavy-gauge silvered brass break-arch dial with subsidiary seconds and signature over conforming Roman numeral hour dial to centre, within outer minute ring incorporating Arabic five minute annotations, with blued steel hands beneath a shallow semi-elliptical arch signed WRIGHT, the heavy satinwood crossbanded case constructed in the manner of Gillows with shaped panel upstand to the moulded swan-neck pediment, over break-arch architrave and glazed hinged dial aperture with crossbanded border to the frame and flanked by crisply executed free-standing fluted Roman Doric columns, the sides with rectangular glazed apertures and half columns applied adjacent to the rear edge, the trunk with concave throat moulding and plain frieze over ogee-break-arch door fronted with flame-figured veneer within a satinwood border and astragal edge moulding, flanked by tall fluted full Roman Doric columns set on banded plinths, the plinth base with stepped ogee top moulding over conforming shaped crossbanded astragal-bordered panel to fascia and ogee bracket feet. 216cm (85ins) high, 46cm (18ins) wide, 26cm (10.25ins) deep. Literature:Illustrated in Symonds, R.W. A Book of English Clocks page 79 (Plates 68B and 70). The inside of the door applied with a manuscript table (to assist with the regulation the timepiece from astronomical observations) further inscribed in ink;The stars make 36 revolutions from any point in the universe to the same point again in 365 days & one minute and therefore they gain a 365th of a revolution in every 24 hours of mean solar time, near enough for regulating any clock or watch. This acceleration is at the rate of three minute and fifty-five seconds, fifty three thirds, fifty nine fourths, in twenty four hours or in the nearest round number three minutes fifty six seconds, by which quantity of time every star comes round sooner than it did on the day before.With further note beneath:This timepiece was purchased from Miss Wright, daughter of the maker Mr. Wright Watchmaker to the King George the third. G. Hurt bought this clock in September 1795 for twenty guineas. Thomas Wright was born in London in 1736 and gained his Freedom of the Clockmakers' Company in 1770. He was a gifted watch and clockmaker who was appointed 'watchmaker to the King'; with a fine Matthew Boulton blue john and ormolu-cased quarter chiming table clock being one of his Royal Commissions - which resides at Buckingham Palace (see Jagger, Cedric ROYAL CLOCKS page 98, Plate 134). In 1781 Thomas Earnshaw sought Wright's opinion with regards to his design of detached watch escapement. Wright subsequently commissioned a watch incorporating the design from Earnshaw, which he then put on test for a year. The results were clearly impressive as Wright then assisted Earnshaw by overseeing the patenting of the design with his payment agreed in the form a royalty of one guinea per watch made with the escapement. The Patent (No. 1354) was granted on 1st February 1783 and interestingly also included the ingenious design of compensated pendulum bob employed in the present timepiece. Thomas Wright died in 1792 it is highly likely that the present regulator was in his possession at that time and was passed down to his daughter. In addition to the quality of the movement, dial and the innovative pendulum, the case is also notable in its quality - particularly in the crispness of the carving to the columns and mouldings. Indeed, the general design would appear to have more in common with the northern school of case makers (certainly with regards to the treatment of the pediment) hence it there is a possibility be that Wright may have ordered it from one of the leading north country case makers. The obvious candidate that springs to mind would be Gillows of Lancaster, and indeed the quality of the cabinet work would certainly add weight to this thought. One interesting feature the case has which further points towards an attribution to Gillows is the planting of half columns towards the rear edges of the hood, as it is known that Gillows preferred to use half columns rather than quarters to dress the rear edge.

A FINE GEORGE III GILT BRASS MOUNTED JAPANNED MUSICAL TABLE CLOCK MADE FOR THE 'OTTOMAN' MARKETJ. AND M. BROCKBANK, LONDON, CIRCA 1780The six pillar triple chain fusee bell-striking movement with plates measuring 7.5 by 5.25 inches and verge escapement regulated by short bob pendulum, the musical train playing a choice of six tunes on eight bells with twelve hammers, via a 3 inch long 1.75 inch diameter pinned cylinder transversely positioned to the upper left of the backplate, every three hours after the sounding of the hour bell, the backplate engraved with an arrangement of symmetrical rococo scrollwork around a central signature Brockbank, London beneath a small basket of flowers within a scribed-line outer border, the 6 inch arched dial with circular fired white enamel 'Turkish' numeral chapter disc signed J. & M., BROCKBANK, LONDON to centre and with conforming five minutes beyond the outer minute track, with fine scroll pierced and engraved gilt brass hands, set beneath twin fired enamel subsidiary dials for CHIME/NOT CHIME selection and BENI SAIKIT/USCHAE DEUR/SABAC HAFIF/SAMAHE tune selection dials with fine engraved brass arrow-shaped pointers, set into a mid-blue painted background polychrome decorated with musical trophy and floral spray infill to spandrel areas and between the subsidiaries, the arched case brown japanned to resemble tortoiseshell and extensively applied with fine chased gilt brass mounts, with flambeau-urn finial to the domed superstructure applied with rosette decorated diamond lattice segment frets between floral scrolls over brass a fillet edged shaped skirt, set on a platform with gilt cavetto moulding and scroll-cast fret infill flanked by further flambeau urn finials set on projecting acanthus cast scrolls, the front with scallop shell-centred scroll crest and conforming shoulder mounts over hinged repeating lappet leaf cast gilt brass glazed door flanked by husk edged front angles, the sides applied with ribbon-tied swags to shoulders over fine scroll-cast break-arch sound frets set within half-round moulded frames and projecting outwards at the base to follow the profile of the swollen lower margins fronted by foliate cast mounts, the rear matching to the front except for having an arched wooded door inset with brass fillet moulding to the glazed aperture, on generous scroll cast bracket feet with leaf cast apron mount between.52cm (20.5ins) high, 29cm (11.5ins) wide, 18cm (7ins) deep. John Brockbank gained his freedom of the Clockmakers' Company in 1769 and immediately took his brother, Myles, in as an apprentice who subsequently gained his freedom in 1776. The brothers entered into partnership in around 1780, working from an address at Cowper's Court, London, which continued until the death of John Brockbank in 1806. The Brockbank brothers employed Thomas Earnshaw who, by 1780, had produced two watches with 'detached escapements...' as well as developing his famous bimetallic compensation balance. Indeed, through the employment of the likes of Thomas Earnshaw, Robert Best and James Petto, the firm of Brockbanks became one of the most important makers of marine chronometers during the early post-Harrison era. In addition to marine chronometers Brockbanks also specialised in the making of clocks and watches for the Chinese and other export markets with several noted in Pagani, Catherine Eastern Magnificence and European Ingenuity: Clocks of the Late Imperial China. Amongst these was a 'magnificent Imperial gilt-bronze musical clock, signed by John Brockbanks and numbered No. 19 which formed part of a group ordered by a Guangdong official as a tribute to Emperor Qianlong; and a 'large gilt bronze vase of jewelled flowers set atop large rectangular base containing the clockface and having painted moving scenes, ca. 1770' by Brockbanks which is noted as being listed in Lu Zanzhen's Qinggong zhongbiao zhencang or Precious Collection of Qing Dynasty Palace Clocks on page 121.After the death of John, Myles Brockbank took brothers Samuel and Elliott Atkins into partnership consequently the firm became known as Brockbanks and Atkins from circa 1815. The present clock is unusual in that it plays tunes of Ottoman/Turkish origins rather than British compositions; and that the case has a japanned finish coloured to resemble red/brown tortoiseshell. The 'vine engraved' decoration to the backplate can be closely compared (except for the lack of a signature) to that of a clock by John Scott, London illustrated in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS, Art on a Canvas of Brass 1660-1800 on page 361 (Figure 20.5). Condition Report: CONDITION REPORT AVAILABLE FROM THE DEPARTMENT ON REQUEST.Condition Report Disclaimer

A GEORGE II SMALL BRASS MOUNTED EBONISED BRACKET/TABLE CLOCK WITH PULL-QUARTER REPEAT ON TWO BELLSJOHN PYKE, LONDON, CIRCA 1750The six pillar twin fusee bell striking movement with pull-quarter repeat on a graduated pair of bells before sounding the hour on the larger hour bell, and now with anchor escapement regulated by lenticular bob pendulum, the 5 inch gilt brass break-arch dial with shaped false bob aperture and applied signature plate engraved Jn'o Pyke, LONDON to the finely matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes beyond the outer minute track, with scroll pierced steel hands and the angles applied with unusual leafy scroll cast spandrels, beneath arch centred with a subsidiary calendar dial flanked by conforming leafy mounts, the break-arch case with hinged brass carrying handle to a single wide brass-fillet moulded pad to top over generous ogee and cavetto top mouldings, the opening front with brass fillet-edged glazed dial aperture, the sides with break-arch windows bordered with conforming brass fillet mouldings and the rear matching the front, on brass bound ogee moulded skirt base with brass block feet.30cm (11.75ins) high with handle down, 20cm (8ins) wide, 14cm (5.5ins) deep.  John Pyke is recorded in Dzik, Sunny BENEATH THE DIAL, English Clock Pull Repeat Striking 1672-1725 (page 453) as apprenticed to Richard Westwood in 1710 and gaining his freedom of the Clockmakers' Company in 1720. He worked in Holborn and later 'the corner of Bedford Row'. He is thought to have specialised in musical clocks and likely finished Charles Clay's masterpiece musical clock titled 'The Temple of the Four Great Monarchies of the World' at Kensington Palace after Clays death. John Pyke's only son, George, followed in his footsteps to became a clockmaker and organ builder. John Pyke enjoyed a relatively long career and died in 1762.  It would appear that John Pyke produced a small series of clocks to this design with an essentially identical clocks selling at Christies, King Street sale of Important Clocks, Watches and Marine Chronometers 25th November 1998 (lot 304) for £5,750. Another example was also sold at Tennants, Leyburn The Three Day Spring Catalogue Sale 2nd April 2009 (lot 1353) for £3,400 hammer. The 'dual' rack system of quarter-repeat mechanism utilised for the current lot can be broadly compared to that of another clock by John Pyke described and illustrated by Dzik on pages 453-54. This other example sounds on a nest of six bells and differs mostly in the flirt-arm and quarter rack hook arrangements, otherwise the fundamental layout is the same as that for the present clock. Condition Report: Clock is in full working condition however the calendar advances at around 8 o'clock (hence requires adjustment) and the strike train is prone to mis-counting (losing one hammer blow) during one operation. This again is probably due to adjustment and the strike mainspring being particularly strong. The going train has been converted from verge regulated by short bob pendulum to anchor escapement hence all wheel above the centre wheel are replacements, the strike train appears all-original except for the wheel driving the fly. The repeat work has seen some restoration with at least one wheel replaced (adjacent to the fly) but is largely original and in working condition. Although the mechanism is working it is somewhat dirty/discoloured hence a clean and overhaul is advised. The dial is in good clean condition with only light wear/rubbing to the plate evident and slight oxidation only. The minute hand has been repaired. The case is generally eminently presentable. The top has some front-to back shrinkage cracking to the pad as well some very slight movement to the surrounding structure (none of which is deemed problematic). The front door and dial mask are in fine condition; the left hand side has some slight veneer cracking and a small amount of wear (including one small chip) to the veneer bordering the aperture. The right-hand side has lesser cracking and only one small chip. The rear has one very small chip to the upper moulding at the knee of the break-arch (just above the right-hand corner of the rear door) otherwise is in fine condition including the door. Internally the base board has been cut with a slot to allow for the larger lenticular bob pendulum. The lower rail of the rear of the case as well as that of the back door has been thinned to provide extra clearance for the bob. Otherwise faults to the case are very much limited to minor bumps, scuffs. Shrinkage and other age-related wear/blemishes.Clock has a pendulum but no case key or winder. Condition Report Disclaimer

A QUEEN ANNE SILVER PAIR-CASED VERGE POCKET WATCH WITH CHAMPLEVE DIALTHOMAS WINDMILLS, LONDON, CIRCA 1705-10The gilt full plate fusee movement with four Egyptian baluster pillars pinned through the backplate, scroll-pierced stop-iron block and verge escapement regulated by sprung three-arm steel balance with Tompion type regulation, the backplate with fine symmetrical foliate scroll pierced and engraved balance cock with female mask at the apex opposing grotesque mask at the junction with the conforming pierced and engraved foot, flanked by silvered regulation disc set within adjacent applied scroll engraved panel infill opposing signature Tho: Windmills, London, the silver champleve dial with pair of relief chased curved panels engraved WINDMILLS, LONDON to the finely matted centre, within Roman numeral chapter ring incorporating relief-chased fleur-de-lys half hour markers and cartouche Arabic five minute numerals to outer track, with fine blued steel beetle and poker hands, the inner case applied with suspension post and bow at twelve o'clock and the outer case with moulded rim to circumference, both cases with makers initials W.I over stamped number 3028.The pillar plate 4.1cm (1.625ins) diameter, the inner case 5cm (2ins) diameter; the outer case 5.8cm (2.25ins) diameter.  The life and work of Joseph Windmills and his successors is comprehensively documented in Neale, J.A. Joseph and Thomas Windmills Clock and Watch Makers 1671-1737. Joseph joined the Clockmakers' Company as a free Brother on 29th September 1671 - the same year that Joseph Knibb, Daniel Quare and Thomas Tompion also gained their freedom of the Company. He initially worked from Blow Bladder Street in St. Martins le Grand, London before moving to premises at 'Swan Court, Mark Lane End, next Tower Street' by April 1674 where the business remained. Joseph took his son, Thomas, as an apprentice who, after gaining his freedom in 1696, is thought to have immediately gone into business with his father; shortly after 1700 the firm became a partnership which lasted until Joseph's death in 1724. Thomas continued the business at Tower Street but his attendance at Court was sporadic due to 'being out of town'. During the latter years of his career Thomas Windmills entered into loose partnerships with makers Bennett, Elkins and finally William Wightman who continued the business after the death if Windmills in 1736. Neale lists (in Table B pages 290-306) all the Windmills watches known to him at the time of writing (1999). The present lot is not included on the list with nearest timepiece being number 3135 (retained in the collection of The Museum of London). Of interest is the fact that very few dates (from Hallmarks) are noted by Neale with the nearest being 3743 which is dated 1709. Another observation is that from around number 2500 Windmills watches are generally signed by Thomas alone, continuing up until around watch number 9000 (dating to around 1730). Of all the watches listed around 60 are signed for Thomas Windmills alone, which would seem to equate to around 40% of all the known watches originating from the Windmills workshop. Although Joseph Windmills lived until 1724 it would seem that Thomas essentially took-on the watchmaking side of the business prior to 1710; this observation is noted by Neale on page 169. Condition Report: Movement is in original condition and is working order, there is no visible evidence of alteration or noticeable replacements except for the possibly the escape wheel. The mainspring barrel has slight some solder deposits visible within the wall of the mainspring barrel suggesting that the barrel cap has required re-fixing at some point. Movement is generally a little dirty with very minor rubbing/scratching to the gilding in places hence would probably benefit from a gentle clean/service. Dila is in fine condition although one of the loops of the minute hand is bent/compressed. Inner case has overall moderate denting and wear; there are also two small holes drilled to the outer edge (at six and eight o'clock) otherwise is in sound original condition. The outer case is lacking its clasp hook and has overall moderate denting and light wear, otherwise is in sound original condition.There is no key with the watch. Condition Report Disclaimer

A GEORGE II BRASS MOUNTED EBONISED QUARTER-CHIMING TABLE/BRACKET CLOCK WITH TRIP REPEATJOHN ELLIOTT, EXETER, MID 18th CENTURYThe substantial five (formerly six) pillar movement with plates measuring 8.25 by 7 inches, sounding the quarters on a graduated nest of eight bells and striking the hour on a further larger bell, now with anchor escapement regulated by lenticular bob pendulum incorporating pivoted rise/fall regulation arm to suspension, the backplate engraved with a basket of fruit within symmetrical foliate vine scrollwork centred by a large gadroon-bordered shaped cartouche signed John Elliott, Plymouth, the 8 inch brass break-arch dial with shaped false bob aperture 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 ring, with scroll-pierced steel hands and applied female mask and scroll cast spandrels to angles with the upper interrupted by subsidiary Strike/Silent selection and regulation adjustment dials, the arch further date of the month dial flanked by strapwork scroll cast mounts, the ebonised case with five brass disc-and-spire finials to the inverted bell-top superstructure incorporating brass mouldings at the junction between each section, over brass-edged double cavetto top mouldings and opening front inset with brass fillet mouldings to the glazed dial aperture and scroll pierced and engraved upper quadrant frets flanked by brass bound rounded angles, the sides with hinged cast brass handles over concave-topped rectangular scroll pierced and engraved sound frets centred with a basket of flowers over a stylised lions mask within brass fillet surround, the rear with conforming rectangular break-arch glazed door set within the frame of the case, on two-tier cavetto moulded skirt base edged in brass over generous cast ogee bracket feet.57.5cm (22.75ins) high, 35cm (13.75ins) wide, 23cm (9ins) deep. Very little of John Elliott of Plymouth is known with only his marriage, in November 1732, being recorded. As was the tradition for clockmakers to marry after completing their apprenticeship this would suggest that he was born in around 1710.  The engraving to the backplate of the present clock broadly conforms to designs illustrated in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS - Art on a Canvas of Brass 1660-1800 pages 301-03 (Figures 17.8-17.10) which would date the present lot to around 1740-50. Condition Report: Movement is complete and in good original condition with the only noticeable replacements being the escapement and the going train third wheel. The going train will run however both the strike and quarter trains are presently not functioning. Both of these trains appear intact, unaltered and will wind; they will just about operate with manual assistance but will not trip/run when hands are advanced. As the movement is somewhat dry/dusty a gentle clean/service and some adjustment will be required before it can be put to use. The movement is generally well made/finished and generally exhibits minimal wear or rebushing etc.; there is no trip-repeat line fitted at present. The dial is generally dull/discoloured with mellowing to the castings and patchy oxidation to the silvering. The centre has two smallish plugged holes within the matting (near the IIII and VIII numerals) almost certainly left over from fixing an arched silvered signature plate which is no longer present. As with the movement the dial is of good quality and well finished. The case is generally in good original condition. The caddy superstructure has some slight veneer shrinkage only, as does the front door which opens to reveal only a couple of small losses/repairs and cracking to the veneer overlap of the mask bordering the dial. Both sides have some shrinkage cracking with the most notable being to the rail beneath the fret aperture to the left-hand side; otherwise are in good original condition although the frets are somewhat tarnished/discoloured. The rear door, surround and skirt base are all in good original condition with only slight wear and other age-related blemishes evident.Generally a well made clock in very sound original condition (except for the escapement) which has a pendulum, case key and a winder. Condition Report Disclaimer

A FINE AND RARE CHARLES II EBONISED TABLE CLOCK OF THE 'EDWARD EAST' SCHOOLWILLIAM CRAYLE, LONDON, CIRCA 1665-1700The substantial twin fusee movement with plates measuring 8.25 by 7 inches united by six heavy double-knopped pillars pinned through the frontplate and secured with large cross-headed steel screws to the rear, and an additional seventh square-section pillar secured in a similar manner to the centre at the base, the trains with large diameter barrels incorporating pinned flanged caps and fat fusees, the going with reinstated verge escapement regulated by short bob pendulum incorporating knife-edge suspension to the single-footed backcock, the strike train with external rosette-centred numbered countwheel set on the fusee arbor, distinct cocked external locking detent and sounding the hours on a vertically orientated bell supported above the plates via an unusual serpentine-shaped stand screwed to the frontplate, the 8 inch square fire-gilt brass dial engraved with a central nine-petal rose bloom within a concentric band of intense tulip and other flowering foliage alternating with matted infill and incorporating a burnished pendant panel signed William Crayle, Londini at six o'clock, within applied narrow silvered Roman numeral chapter ring with very small stylised wheatear half hour markers and Arabic five minutes within the outer minute track, with scroll-pierced sculpted blued steel hands and the spandrel areas finely engraved with a symmetrical arrangement of radial leafy tulip blooms flanked by foliate floral sprays filling the quadrants continuing to meet and provide infill to the margins around the chapter ring between, the rectangular case finished with thick hand-cut ebonised veneers with substantial tied foliate bud cast hinged carrying handle to the flat top, within projecting cushion edge mouldings painted in various shades of brown to simulate repeating acanthus marquetry over complex moulded cornice moulding, plain frieze and conforming tightly cut architrave painted with a band of laurel leaves, the hinged front panel with glazed dial aperture opening to reveal veneered mask bordering the dial, the sides with tall rectangular windows and the rear with rectangular glazed door set within the frame of the unveneered flush fascia, on quarter-round and fillet moulded skirt base further painted with a larger band of laurel leaves to front and sides over bun feet.41cm (16.25ins) high with handle down, 28cm (11ins) wide, 16cm (6.25ins) deep.Provenance:The property of a private collector. Previously Sold at Christie's New York sale of THE CONNOISSEUR'S EYE - PROPERTY FROM THE ABBOTT-GUGGENHEIM COLLECTION 2nd June 2015, Lot 254, for $22,500.William Crayle is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as probably the son of Richard Crayle. He was a watchmaker and a member of the Blacksmiths' Company in 1651, who took an apprentice, John Chatfield, in 1659; and another, Thomas Penn, in 1661. Loomes records his marriage to Elizabeth Alkin at St. Peter Paul's Wharf in 1658 and note that he was working in Fleet Street in 1662. The London Gazette posted in their 13th July 1676 issue a reward notice for a lost watch referencing 'Mr. William Crayle a Watchmaker at the Black Boy in the Strand, near the Savoy', and in 1683, his daughter, Francis, was married to William Rymer at St. Mary Savoy. He did not sign the oath of allegiance in 1697 so is thought to have died by then; although a watch signed 'William Crayle in Fleete Street, London' was raffled by Andrew Brown in Edinburgh the following year. Loomes notes that only one or two watches by him survive, hence it is most likely that the present clock is the only example by him known.The dial engraving of the current clock is amongst the finest that is likely to be seen on a clock of this date and can be closely compared to that seen on an important early architectural longcase clock (in an oyster laburnum case) by Edward East which was sold at Christie's, London sale of PROPERTY FROM THE COLLECTION OF A NOBLEMAN 23rd May 2012 (lot 350) for £313,250. The intense but symmetrically laid-out tulip engraving to the spandrel areas are very close in their composition and are clearly executed by the same hand. The engraved signatures also match stylistically (most evident in the script for 'Londini'). Two others dials for clocks by Edward East, also exhibiting closely related engraving, are illustrated by Richard Newton in his article Dismantling the 'East School' - Edward East and the clock trade in seventeenth-century London printed in the June2024 issue of ANTIQUARIAN HOROLOGY (pages 176-196) on pages 181 (Figure 7) and 182 (Figure 8). In the footnotes for the text (14) Richard Newton indicates that, with the exception of one anonymous example, this type of engraved spandrel pattern appears unique to Edward East. The engraved central rose and foliate ring decoration to the matted centre also appear in dials by makers of the 'East School', most notably for a clock by Samuel Haley illustrated by Newton on page 177 (Figure 1.).The layout of the movement with symmetrical arrangement of seven pillars, large flanged spring barrels and fat fusees can be compared to a grouping of three clocks (two by John Hilderson and the example by Samuel Haley) illustrated by Newton on pages 177-78 (figures 2 and 4). The principal differences between this group and the present lot are the design of pillars used in the movement, and the positioning of the countwheel on the end of the strike fusee arbor (rather than towards the top right-hand corner of the backplate). Richard Newton surmises (for reasons outlined on page 179) that movements of this type are most likely to have been made in the Hilderson workshop, with some supplied to Edward East and other makers for finishing and retail. John Hilderson died of the plague in 1665, hence it is thought that some of his unfinished movements may have formed the basis of a few 'hybrid' clocks completed by East shortly thereafter (see Newton page 181 and Figure 7). The presence of a centrewheel (rather than remote 'floating' motionwork for the hands) would suggest that the present lot is more akin to this category of 'hybrid' clock, but completed by William Crayle rather than Edward East.The unusual design of the movement pillars of the present movement, coupled with the method of fixing via pins at the front and large steel screws at the rear, is unusual but not unique. Indeed a table clock engraved with signatures for Edward East (in a later case) incorporating square-section double-baluster pillars affixed in this manner, was sold at Hutchinson Scott The New Year Fine Interiors Auction 24th January 2025 (lot 1119). From this it may be appropriate to suggest that for some ex-Hilderson workshop clocks, the movement pillars were substituted prior to completion, perhaps in order for the maker to add some of their own individuality to the movement.The case of the present clock is interesting in that it has a flush back and has no veneers applied. The flush rear is a feature seen on the earliest architectural table clocks by Edward East and others (see Dawson, P.G., Drover, C.B. and Parkes, D.W. Early English Clocks pages 154, Plate 201; 158 Plate, Plate 206, and 160 Plates 207 and 209). Continue reading ...

An Art Deco silver and enamel table clock, A L Davenport Ltd., Birmingham 1929, the circular dial with Arabic numerals in a blue guilloche enamel frame to a conforming stand, 10cm highThe condition of enamel is good. Not working, it has been over-wound. One support arm is bent so clock does not hang straight.

An oak hall clock, 162.5cm high; an oak gateleg table; a Jacobean Revival oak side chair (3)

Royal Doulton table clock, Harry Potter Reaches for the Golden Snitch, from the Harry Potter collection, HPG-W9, boxed, no cracks or chips (requires a battery), and a Hufflepuff covered box. UK P&P Group 2 (£20+VAT for the first lot and £4+VAT for subsequent lots)

A dressing table mirror, Middle Eastern box, together with a Portico clock

Art Deco Table ClockDial with rich enamel work depicting landscape with figuresGilt metal caseMarked E. Gubelin SwitzerlandOriginal suede exterior case with beige silk interior(defects, loose hands)24×17×6 cm (clock)26×21×10 cm (case)

Table clock, reproduction of the Jeremias Metzger modelIn gilt and silvered metal, with chiseled, pierced and molded decorationThe dome-shaped top with edges conceals the bell and features rich pierced decoration with vegetal scrolls and hunting scenes inspired by Virgil Solis's engravings (Nuremberg, 1514-1562). The edges are decorated with winged horses and, crowning the dome, a full-round representation of the goddess Fortuna on a classically-inspired pedestalOn the sides, arranged between the various dials and on a background engraved with arabesque patterns and vegetal scrolls, there are five female figures in relief, each with an animal, possibly with allegorical significance alluding to the five sensesThe base is decorated in low relief with a military procession, depicting armed figures marchingThe main dial, flanked by astronomical and calendar subsidiary dials, includes a celestial astrolabe dial, a perpetual calendar indicating Saints' days, a Golden Number dial, and various scales associated with time measurement and astronomical cycles. These dials replicate the complexity of Renaissance examples but, like other 19th-century reproductions, are merely decorativeStructure flanked by Corinthian columns and ornamented with engraved inscriptionsMechanism present, of simple construction, characteristic of 19th-century reproductions of this modelEurope, 19th century(minor losses and wear; mechanism untested; key missing)29×19×12 cmThis model reproduces the famous astronomical clocks created by Jeremias Metzger (active c. 1563-1564), goldsmith and clockmaker from Augsburg. During the Renaissance, these complex mechanisms were valued for their technical sophistication and their scientific and astrological symbolism.The first reproductions of this model appeared between 1864 and 1865, during a period of great interest in Renaissance heritage and ancient scientific instruments. The process was driven by the development of electroplating, allowing the production of meticulous replicas of historical objects. The Viennese firm C. Haas & Co. was one of the pioneers in this process, creating copies for museums and collectors.These nineteenth-century replicas are distinguished by their high aesthetic fidelity, accurately replicating the intricate decoration of astronomical dials, inscriptions, and figurative elements. Although the astronomical and calendar dials are decorative, maintaining only an ornamental function, the mechanism preserves the time-keeping functionality.Today, these nineteenth-century examples are appreciated not only for their historical value but also for their quality of execution and collectible interest, representing a fusion between Renaissance mastery and nineteenth-century scientific and artistic revivalism.

Vintage toys - A mixed lot to include; 2 x boxed Sailor Buoy table top yacht toys. One yacht looks in excellent, condition, and is mostly held firmly in place in the box (except for the fore sail), the other has some signs of use and is in very good condition for age. Also included in the lot is a boxed StMichael (M&S) diecast 'Wings Flying Team' with Lotus Elite, Nipper and trailer # 2096/8001. 2 x metal gyroscopes and a classic car miniature clock. Items unchecked for completeness. (This does not constitute a guarantee) [L]

A quantity of collectables, to include a collection of brassware, paperweights, Glenfiddich gift set, Royal Worcester and Minton boxed trinket dishes, vanity set, travel clock and vintage autograph book containing signatures including David Mossman and Nigel Worthington. Dressing table mirror cracked.

Three vintage clocks, including Smith Enfield mantel clock, Slate quartz table clock and a Mauthe Westminster mantel clock. Smith Enfield mantel clock (no key, running); Slate quartz table clock (running); Mauthe Westminster mantel clock (no key, missing minute hand).

Good quantity of Masons Mandalay pattern table wares to include plates, tea wares, tea cannister, ginger jar, small mantel clock and other items

An elegant Matson ormolu gilt metal table clock featuring an ornate floral and foliate motif. The clock is adorned with finely cast leaves, flowers, and berries, with a charming bird perched at the top. The case is intricately decorated with embossed floral patterns, highlighting Matson's signature craftsmanship. The dial bears the Matson name, and the back features a quartz movement. A beautiful example of 20th Century decorative timepieces, this piece showcases the luxurious ormolu finish that Matson is known for.Issued: Mid 20th centuryDimensions: 8.25"HCountry of Origin: USACondition: Age related wear. Functionality not guaranteed.

An Aldis projector, table linens, clock, T Square, (A Lot).

A collection of dolls house miniatures to include table ware, long case clock, and a lantern

A reproduction mahogany cased table clock, having a sarcophagus top, surmounted by brass loop handle, the brass dial signed Elliott, having a silvered chapter ring showing Roman numerals and twin winding holes for an eight day movement, striking on a bell, height 28cm

Pottery Table Lamp, Ergostyle mantle clock, blow lamp, ceramics, glassware, etc:- Two Boxes.

A Chinese Porcelain Basin, mid 19th century, painted in famille rose enamels with two maidens at a table in a garden, the everted rim with foliage and precious objects 37cm diameterProvenance: The Selected Contents of Eden Lacy, Lazonby, from the Estate of Victor Gubbins No chips or restoration. Crack to the rim (10 o clock, see image).  Some glaze pitting and enamel wear.

A REGENCY MAHOGANY INLAID TABLE CLOCK BY J.W. BENSON OF LONDON, the case having brass inlaid scrolling detail, the five pillar movement striking on a bell, H 46 cm

A decorative 1930s wooden model sailing boat, now converted to a table lamp (untested); an Art Nouveau brass swing arm wall light of writhing foliate design mounted on an oval repousse plate, and fitted with flared opaline glass shade; together with a fixed brass wall light on faceted back plate and fitted with flared undulating opaline glass shade; Smiths cream bakelite clock; and two further table lamps (all untested) (6)please see additional images

A 20th century wooden cased mantle clock (untested), along with a 20th century oak small stool or occasional table with inlaid top, (some loss and wear, scratching). (2)

The Swarovski Solaris Crystal Table Clock designed by Adi Stocker is a stunning timepiece that combines functionality with exquisite design. Crafted from high-quality clear crystal, the clock features a faceted, sunburst pattern that captures and reflects light beautifully, creating a dazzling display. The central clock face is adorned with sleek, minimalist markers and hands, ensuring easy readability while maintaining an elegant aesthetic. This piece exemplifies Swarovski's renowned craftsmanship and adds a touch of sophistication to any room. Artist: Adi StockerIssued: 1998 - 2004Dimensions: 5" dia. Country of Origin: AustriaCondition: Age related wear.

Table top longcase clock (H 48cm) with platform escapement movement; and a Short & Mason 'Stormoguide' barometer in mahogany and brass case (diameter 24.5cm). (2)

Rossel Rouen French Empire style gilt metal mantel clock, the two train movement striking on a bell, surmounted by a seated lady and cherub, flanked by a cross framed stool and table with lamp casket and vase to top, height 43cm

Elegant Swarovski Solaris Table Clock, model number 211626, designed by Adi Stocker. Introduced in 1998 and retired in 2004, this exquisite timepiece features a striking sunburst design with faceted crystal rays emanating from a central silver-tone clock face. The Solaris clock is accented with multicolored triangular crystals, adding a vibrant touch to its radiant aesthetic. A perfect blend of function and artistry, this piece is a highly sought-after collectible. Comes with its original Swarovski packaging. Artist: Adi StockerDimensions: 5" dia. Country of Origin: AustriaCondition: Age related wear.

‘As an authority on gun matters, he is unrivalled – the greatest authority on Fire Control questions in the British Navy.’ So concluded Admiral Sir John Jellicoe, in assessing the capabilities of Frederic Dreyer, his Flag Captain at Jutland, in a report dated 4 October 1916. The important G.B.E., K.C.B. group of fourteen awarded to Admiral Sir Frederic Dreyer, Royal Navy, Flag Captain to Admiral Sir John Jellicoe in the Iron Duke at Jutland; a noted expert in naval gunnery, Dreyer’s fire-control system was adopted by the Admiralty in the lead up to the Great War, a timely development that undoubtedly contributed to the award of the C.B. (Military) for the battle of Jutland and to Iron Duke’s unrivalled reputation for speed and accuracy The Most Excellent Order of the British Empire, G.B.E. (Military) Knight Grand Cross, 2nd type, set of insignia, comprising sash badge, silver-gilt, and enamels, and breast star, silver and enamels, with full dress sash, in Garrard, London case of issue; The Most Honourable Order of the Bath, K.C.B. (Military) Knight Commander’s, set of insignia by Garrard, London, comprising neck badge, silver-gilt, gold and enamels, minor damage to blue enamel on reverse, and breast star, silver, gold and enamels, in Garrard, London case of issue; The Most Honourable Order of the Bath, C.B. (Civil) Companion’s, breast badge, converted for neck wear; 1914-15 Star (Capt. F. C. Dreyer, R.N.); British War and Victory Medals, with M.I.D. oak leaves (Capt. F. C. Dreyer. R.N.); 1939-45 Star; Africa Star; War Medal 1939-45; Coronation 1911; Jubilee 1935; Coronation 1937; France, 3rd Republic, Legion of Honour, Officer's breast badge, gold and enamels, hairline cracks to white enamel; United States of America, Distinguished Service Medal (Navy), the medals and foreign awards mounted court-style as worn, unless otherwise described, nearly extremely fine (16) £5,000-£7,000 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- Provenance: Spink, April 2004 G.B.E. London Gazette Coronation Honours List May 1937. K.C.B. London Gazette 3 June 1932. C.B. (Civil) London Gazette 22 June 1914. C.B. (Military) London Gazette 15 September 1916: ‘Commanded and handled the Fleet Flagship most ably during the action. The rapidity with which hitting was established on ships of the enemy’s fleet was the result of long and careful organisation and training of personnel.’ French Legion of Honour, Officer London Gazette 12 December 1918. [Japanese Order of the Rising Sun, 3rd Class London Gazette 8 March 1920] [Russian Order of St. Anne, 2nd Class London Gazette 1 October 1917] U.S.A. Distinguished Service Medal (Navy) London Gazette 16 September 1919. Frederic Charles Dreyer was born on 8 January 1878, the son of a Danish astrologer who was granted British citizenship in March 1885. He entered the Royal Navy as a Cadet in Britannia in July 1891 and was appointed a Midshipman in July 1893. Having then gained advancement to Lieutenant in July 1898, he took a First with Honours in an advanced course for Gunnery and Torpedo Lieutenants and served in that capacity in battleship H.M.S. Exmouth in 1904-07. It was in this period that he commenced his pioneering research into fire control, work which resulted in him joining the revolutionary Dreadnought for an ‘experimental cruise’ in 1907. Of special interest to Dreyer was the fact that she was the first battleship to have a uniform main battery, rather than a few large guns complemented by a secondary armament of smaller guns. The result of his work - Dreyer’s Fire Control Table - was indicative of his approach to gunnery, namely plotting ranges and bearings versus time, using a range clock and other accessories to help relay data, and to develop a continuous hypothesis of range and deflection to send to guns’ crews. Their Lordships of the Admiralty were duly impressed, and he was advanced to Commander and appointed Assistant to the Director of Naval Ordnance. Dreyer’s talents also caught the eye of another noted gunnery expert, Vice-Admiral Sir John Jellicoe, under whom he served as Flag Commander in the Prince of Wales in 1910-12. A spell on the War Staff having then ensued, he was advanced to Captain in June 1913 and awarded the C.B. (Civil) in June 1914. By the outbreak of hostilities, Dreyer was serving as Flag Captain to Jellicoe in the Orion, following which he accompanied the Admiral to his new command, the Iron Duke. Given his senior role in the battle, Dreyer’s name looms large in numerous histories. Few of them fail to pay tribute to his skilful command and the fact that Iron Duke’s gunnery record for speed and accuracy was unrivalled, a record assisted by executing the classic ‘crossing the T’ manoeuvre. It was indeed to Dreyer that Jellicoe turned as the opposing sides closed each other in the early evening of 31 May 1916, requesting his Flag Captain’s opinion as to the most favourable direction in which to engage the enemy fleet, then heading north in pursuit of Admiral Beatty’s squadron. In Dreyer’s own words, ‘I reported to him that the most favourable direction was to the southward, and would [then] draw westwards as the sun sank.’ As evidenced by Iron Duke’s subsequent actions, he was bang on the mark, for at 1830 hours she had a clear view of the Koenig lit up against the sinking sun: in less than five minutes, Iron Duke fired nine salvoes, hitting the Koenig seven times. She also took out the German destroyer S-35. Arguably the most momentous moment aboard Iron Duke was awaiting news of the enemy’s precise position, a period of deep concern for Jellicoe and Dreyer. When Beatty finally imparted that information, Jellicoe reacted swiftly, a moment captured by Dreyer, who was standing by the compasses on the manoeuvring platform: ‘I then heard at one the sharp, distinctive step of the Commander-in-Chief approaching - he had steel strips on his heels. He stepped quickly onto the platform round the compasses and looked in silence at the magnetic compass card for 20 seconds. I watched his keen, brown, weather-beaten face with tremendous interest, wondering what he would do. With iron nerve he had pressed on through the mist with his 24 huge ships, each weighing 25,000 tons or more, until the last possible moment, so as to get into effective range and make the best tactical manoeuvre after obtaining the news of the position of the enemy Battle Fleet, which was his objective. I realised as I watched him that he was as cool and unmoved as ever. Then he looked up and broke the silence with the order in his clear, crisp-cut voice to Commander A. R. W. Woods, the Fleet Signal Officer, who was standing a little abaft me, “Hoist equal-speed pendant, south-east.” Woods said, “Would you make it a point to port, Sir, so that they know it is on the port-wing column?” This was a small matter and not actually necessary in view of Jellicoe’s habit of commencing the deployment in the Iron Duke while the signal was being answered. Jellicoe replied at once, “Very well. Hoist equal-speed pendant south-east by east.” ’ Of such moments, history is made. Jellicoe would later pay tribute to Dreyer in The Grand Fleet 1914-1916: ‘The mist rendered range taking a difficult matter, but the fire of the Squadron was effective. Iron Duke, having previously fired at a light cruiser between the lines, opened fire at 6.30 p.m. on a battleship of the Konig class at a range of 12,000 yards...

HENRY CLIFFORD DAVIS; a George V Art Deco hallmarked silver table clock, with central circular dial set with Arabic numerals and outer minute track, key wind eight day movement, in a swivel mount decorated with black enamel fan design on pink guilloché enamel ground, with two supporting pillars with flame finials, on a similar decorated silver base, height 13cm, length of base 14.5cm.Condition Report: Has been wound and appears to be in working order, has been extremely well looked after and cherished and there are minimal, if any, faults with the enamel that can be seen, in very good condition for its age.

A group of mixed collectables including an Ansonia wall clock (af), a cased Pathescope cine camera, a brass shell case, a modern brass table lamp, a secret silver box in the form of a group of rupee coins, brass Greyfriars Bobby caddy spoon and a horse strap with five brasses attached (7).

A George III ebonised table clock, by Matthew & Thomas Dutton, London, late 18th century, the break arch case surmounted with brass carrying handle on three moulded rectangular pads, above arched brass fish scale panels to sides, on moulded base and cast brass squab feet, the break arch silvered dial with Roman and Arabic numerals, signed Mattw & Thos Dutton London to centre above date aperture, the arch with N/S strike selection switch and subsidiary rise/fall regulation adjustment dial, the four pillar twin fusee movement striking a bell on the hour, the backplate with corresponding signature, with pendulum, 38cm high (excluding handle)Note: Matthew and Thomas Dutton are recorded as working in London 1799-1804, Loomes, Brian, Watchmakers and Clockmakers of the World, Complete 21st Century Edition, N.A.G. Press, 2022, p.234. Matthew Dutton's father, William (working 1746-94), was apprenticed to George Graham in 1738, and was an important maker who in went into partnership with Thomas Mudge at Fleet Street in 1755, later succeeding him in 1771 after Mudge departed London for Plymouth to concentrate on his work on marine chronometers. Matthew worked with his father until 1794 then went into partnership with his brother, Thomas until 1802, and with his son Matthew from at least 1815 until his death in 1825.   Please note that Roseberys do not guarantee the working order or time keeping of any timepiece.    

A group of games including Binatone TV game, miniature pool table, archer intercom system, etc, together with vintage cameras, a quartz wall clock, etc. (2 boxes)

Swarovski Crystal Solaris Table clock 13cm dia. in original box.

Lilliput Lane: A collection of approximately over fifty models including, "Fountains Abbey 2009 Christmas Special", "Dale Farm", Double Cottage", "Old Mother Hubbards", "Craigiebar Castle", "Saffron House", "The Hollywood Tower Hotel", marked to base "Sample 2-4-02" signed Ray Day, "Where Peaceful Waters Flow" model No. L2614, signed and others (one table top) Models to include Old Shop at Bignor, Kel'Auberge D'Armorique, La Bergerie De Porigord, Where Peaceful Water Flows, Woodman's Retreat, Coco- Cola Country - Dixie Bottling Company, The Priest's House, Dale Farm, Penrith Town Clock in Winter, Summer Sunday, Tabitha Twitchit's Shop, Kenmore Cottage, Winter at Christchurch Priory, The Houses of Parliment, Fountains Abbey, The Hollywood Tower Hotel, Watermeadows, Schwarzwaldhaus, Candy Twist, Tea Caddy Cottage, Sign of the Times, Aberford Gate etc.Box 75 Canterbury Bells L2101 Little Red Riding Hood L2283 Frosty Mornings L2128 Old Mother Hubbard 660 (Box Damaged) Safron House 666 Circular Cottage (in wrong Box) Double Cottage Thatchers Rest from Gail Tuck (Box Damaged) Convent in the Wood 418 Box of Display Trees (5) Craidievar Castle 482 - Scottish Collection Paradise Lodge - Plate X 4 Mosel House - TG-015, Special Edition Nederlandse De Pepermolen Das Gebirgskirchlein Old Mother Hubbard 660 (for Repair, wrong box) The Chocolate Factory Collectors Club L2586, The Grand Bridge in Winter L3361 No 012 (Box Damaged), Stockwell Tenement - Scottish Collection, Butterwick, Cotman Cottage PlatePlease note condition reports are not available for this lot. Viewing advised. Sold as seen.

THE CRICKET CLUB HOUSE: ASSORTED NOVELTY ORNAMENTS, comprising letter rack formed by stumps and bats, table clock, and two car radiator cap mascots (4)Provenance: private collection BridgendComments; all plating rubbed es on clock and toast rack.

An early 20th century oak wall clock, the silvered dial with Arabic numerals, with Junghans movement, length 80cm, a sewing table and a warming pan (3).

An ebony dressing table set with elephant and clock.

A VINTAGE BAYARD BRASS MIGNONETTE 8 DAY CLOCK WITH MANUAL KEY WIND 9 JEWELS DUVERDREY BLOQUEL FRANCE TOGETHER WITH A QUARTZ TABLE CLOCK AND OTHER

Thomas Kinkade limited edition table clock, Lamplight Lane, A5804, H: 23 cm, requires battery. Not available for in-house P&P

JEREMIAS PFAFF, AUGSBURG: A 17th Century rosewood and tortoiseshell striking table clock, the bird finial upon a silver mounted scrolled cornice over an architectural form case, central silvered Roman numerated circular dial with pierced and engraved flowers, single pierced brass hand and front verge pendulum, upon a gilt metal mask, single front drawer, raised upon feet (one detached). Back of case with brass hinged door accommodating the bell opening to reveal the backplate with signature, highly decorative pierced brass hammer, numbered countwheel and ratchet works, label verso, ivory inlay to chequered sections, standing 44cm high x 26cm wide x 11.5cm deep. IVORY REFERENCE CODE 7AN8SK9J. Jeremias Pfaff was a notable clockmaker from Augsburg, Germany, active during the late 17th century. His work is recognised for its craftsmanship and complexity. A notable creation of his is an automaton table clock featuring a lion, highlighting the intricate design and mechanical sophistication characteristic of that era.CONDITION REPORT: Many brass features on case are corroding and dirty. Case pillar to left is loose and needs a lot of work. Three ivory chequered sections missing by left window. Left window glass cracked. Front left foot is loose. Tortoiseshell front pieces have splits.

A mid-17th Century Tabernacle form gilt brass striking and alarm table clock, case possibly German, the architectural tabernacle form case with top white metal fretwork gallery supported on four stepped columns, on stepped plinth base, raised upon lion paw feet, silvered Roman numerated dial with an inner alarm dial and a foliate engraved centre, single steel hand, the rear silvered Arabic dial is for the strike, with a chain fusee movement and verge escapement (chain detached), square section brass pillars, striking on a top mounted bell. Removable side panels with 'Memento Mori' (“Remember you must die” - serving as a reminder of mortality and the ephemeral nature of life) script and skull, coat of arms with latin mottos and scripture including MDCXLVI (1641) date. 28cm high. Tabernacle clocks by clockmakers in Augsburg, Nuremberg, and Paris were particularly known for incorporating memento mori elements. CONDITION REPORT:  Gear trains consists of a great wheel. centre wheel, third wheel and contrate wheel along with ten grooves for fusee chain.  Because chain is detached on time fusee we don't know whether it runs.  However it appears to be complete otherwise.  Possibly runs for less than 8 days.

A 17th Century German table clock of small proportions, silvered chapter ring with Roman numerals, brass face with four seasons, central Bavarian town scene, verge movement with countwheel strike train stamped GCL, a spring barrel driving each gear train. The case with gilt brass cockerel finial, carved bell top, turned finals, stepped plinth base, 19cm high, 11cm wide, 8.5cm deep. CONDITION REPORT:  Strike train is functioning.  After a few turns on the mainspring, power is getting through the gear train to the escapement with rotation on the balance.  Case appears to be in good condition overall but some cracks to the sides.