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Clocks in the British Museum, Hugh Tait, 1968History of the hour, Gerhard Dohrn-van Rossum, 1996British skeleton clocks, Derek Roberts, 1987Weight-driven Chamber Clocks, Ernest L. Edwardes, 1965The Almanus manuscript, J.H. Leopold, 1971Lotto non suscettibile di restituzione. This lot cannot be returned. LOT OF FIVE WATCH-CLOCK BOOKS IN ENGLISH

Eight-day silver cased travel clock, white circular dial with Arabic numerals, W&D, Chester 1911, case 9cm; a silver chamber stick, and two silver card cases, one in the form of an envelope, Birmingham 1997, weighable 4t.oz.

A pair of candlesticks, 11cm, chamber stick, Smiths clock, and empty boxes

A FINE AND RARE CHARLES I BRASS 'FIRST PERIOD' LANTERN CLOCK OF LARGER PROPORTIONS ATTRIBUTED TO THE WORKSHOP OF WILLIAM BOWYER, THE DIAL SIGNED FOR CLAUDIUS MALBRANCK, LONDON, CIRCA 1630The trains now with endless-rope winding on chains and anchor escapement regulated by seconds pendulum, the strike train sounding the hours on a bell mounted above the frame via an iron countwheel with overlift provided by a hoop wheel cut with a single slot, the dial finely engraved with stylised hatched foliate scrollwork laid out in a quartered design to centre, within applied 6.375 inch narrow silvered Roman numeral chapter ring incorporating slender cruciform half hour markers, with fine substantial sculpted steel hand and foliate engraved infill matching that of the centre occupying the quadrants with the lower flanking signature Claudius Malbranck engraved to the bottom margin, the frame with finely turned generous Doric column corner posts beneath distinctive shouldered vase 'cup and cover' finials with cavetto waists, the front and sides applied with symmetrical scroll pierced cast brass armorial frets with the front incorporating foliate engraved detail including grotesque dolphin masks, beneath domed bell bearer capped with a conforming slightly larger vase finial, with brass side doors and the rear with iron backplate, on turned tapered 'acorn' feet.40cm (15.75ins) high, 15cm (6ins) wide, 18.5cm (7.25ins) deep. Literature:Illustrated and described in Bruce, W.F. EARLY ENGLISH LANTERN CLOCKS 1600-1700, Lewes 2013, pages 16-17 with a detail of the dial on page 6. Claudius Malbranck is noted in Loomes, Brian Loomes, Brian Clockmakers of Britain 1286-1700 as most probably the original owner of the present clock with the surname Malbranck (sometimes Malbranq) being that of French Huguenot (Walloon) family who lived in London at least 1628-35. Bill Bruce and John Hooper in EARLY ENGLISH LANTERN CLOCKS 1600-1700 also note that Malbranck was most likely the original owner and, suggest that the current clock was almost certainly made by William Bowyer. Perhaps the most obvious single piece of evidence to support attribution to Bowyer is the design of the frets used. Although they appear to be outwardly similar to those used on other, smaller, clocks they are almost unique with the only other known example to have matching castings being a clock made by Bowyer for the Brewers' Company clock of 1632 which was sold at Bonhams, London, sale of FINE CLOCKS 16th December 2020 (lot 77) for £56,500. In addition to the frets used, the dial engraving of the Brewers' clock also exhibits notable similarities with that of the current lot with foliate designs executed in quartered segments. Another clock by Bowyer, this time made for the Earl of Rothes, (see White, George English Lantern Clocks page 44, Figure II/5) also has very closely related engraving by the same hand. George White likens this rare style of engraving to that seen on contemporary silverwork and provides an image of a lid of a silver casket attributed to Jan Gerritsz in support of this observation (page 68, Figure II/58). Incidentally the Earl of Rothes clock was also sold by Bonhams, London, in their sale of FINE CLOCKS 11th December 2019 (lot 68) for £43,812.50.In addition to the frets and dial engraving the movement has many features typical of Bowyer's work, most notably the 'hump' cast into the rear movement bar left hand arm to allow for the locking detent arbor pivots, finely executed wheelwork with tapered arbors, decorative blade hammer spring opposing a very substantial stop and iron countwheel. The frame utilises the same casting as the Earl of Rothes clock and is very finely finished with precise turnings and canted filed edges to the bell support straps. William Bowyer is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as the son of Ralph Bowyer (yeoman of Warfield Berkshire) who is believed to have been married to Alice Mansworth in 1590. William was probably born around this time and by 1616 was a member of the Pewterers' Company when he took-in Thomas Taylor (son of Ralph Taylor, a milliner from Halesowen, Shropshire) as an apprentice. Bowyer took-in no less than five further apprentices prior to the formation of the Clockmakers' Company in 1631, including John Pennock (son of William Pennock of Guisborough, Yorkshire) in 1620. Although he subscribed £5 towards its charter and was made free of the City in 1630, William Bowyer did not apparently join the Worshipful Company on its establishment the following year.Bowyer is thought to have been first married to Margery Barlow of Litchfield, Staffordshire, however, by 1631 he was married to Prudence with whom he had five children (three of which sadly died in infancy). By 1638 Bowyer was living in the parish of St. Andrew Undershaft, he took-in Joseph Jackson (through Thomas Dawson) as apprentice that year and during the following decade took-on at least four more, this time through the Clockmakers' Company. One of these apprentices was Nathanial Allen (probably around 1641/2); Allen subsequently married a Phillipa Bowyer in 1646 hence became related to William through marriage.In 1640 William Bowyer was invited to become an Assistant of the Clockmakers' Company, however it appears that he was reluctant to serve the Company as in July 1642 he gave 'a great chamber clock' in return for excusal from any further duties. Nevertheless he became an Assistant in 1651 and a Warden in 1653 the year of his death. The present clock is particularly notable in that it has survived in fine, original untouched condition. At some point the original verge escapement and balance has been substituted for anchor escapement regulated by seconds pendulum and the winding converted to Huygens's design with an endless chain. Most importantly the latter has not resulted in the strike train being reversed, this has been achieved by adding a very discreet small intermediate wheel to the going train front movement bar, between the pinion of report and the hour wheel. Otherwise the clock is very much the same as when it would have left the Leadenhall Street workshop of William Bowyer but with light wear and the build-up of patination resulting in very pleasing mellow colouring that can only come with age. Condition Report: Please contact Dreweatts clock department direct for condition report. Condition Report Disclaimer

Y&nbspA FINE WILLIAM AND MARY EBONY TABLE CLOCK WITH SILENT PULL-QUARTER REPEAT ON TWO BELLSSAMUEL WATSON, COVENTRY OR LONDON, CIRCA 1690The seven finned pillar single fusee movement with verge escapement regulated by short bob pendulum and 'silent' pull-quarter repeat on a graduated pair of bells, the backplate with external horizontal hour hammer spring towards the upper margin and engraved with symmetrical scrolling foliage incorporating tulip blooms around a central reserve signed Samuel Watson, the 6.125 inch square brass dial with vacant calendar aperture to the matted centre within applied Roman numeral chapter ring with squat fleur-de-lys half hour markers and Arabic five minutes within the outer minute track, with scroll pierced steel hands and winged cherub cast spandrel mounts to angles, the ebony veneered case with eagle head and dolphin cast hinged brass carrying handle to the domed caddy superstructure over Knibb-style ogee cornice mouldings and rectangular glazed front door, the sides with brass repousse scroll decorated lozenge sound frets over rectangular windows and the rear with glazed door set within the frame of the case, on conforming ogee moulded shallow skirt base with brass disc feet.29cm (11.5ins) high with handle down, 22cm (8.75ins) wide, 15cm (6ins) deep. Samuel Watson was an important clockmaker and mathematician who is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as initially working in Coventry from around 1680 where he was Sheriff in 1686 before moving to Long Acre ('next door to the Bagnio in the Parish'), London, in around 1691; he was admitted to the Clockmakers' Company as a free Brother in 1692. He was supposedly 'Mathematician ordinary' to Charles II for whom he made an astronomical clock in 1682 followed by another clock which he did not finish until after the King's death. This clock was eventually sold to Queen Mary on its completion in 1690 and is preserved at Windsor Castle albeit in a later case. He also made two further complex astronomical clocks for Isaac Newton and invented five minute repeating for watches. He worked with the Lichfield based physician, John Floyer, in developing a medical 'pulse watch' which was subsequently advertised in 1707. Latterly, in November 1712, Watson approached the Clockmaker's Company with an instrument to 'discover the houre of the day at sea and several other useful mathematical matters' but to no avail.  The current lot is designed to sound the hours and quarters on two bells only on demand. This form of quarter repeat mechanism is thought to have been devised for timepieces destined for night-time use in the bedroom; whilst striking clocks with quarter repeat facility were generally intended to be utilised downstairs during the day and upstairs at night. As a consequence silent-pull quarter repeating timepieces are rarer as the original owner would have to be very wealthy indeed to afford a timepiece reserved exclusively for use in the bed chamber. The design of the repeat mechanism used in the current lot is based to the system devised by Joseph Knibb (as described and illustrated in Allix, Charles and Harvey, Laurence HOBSON'S CHOICE pages 36-7) with the principal differences being the shape and positioning of the pivoted gear-toothed sector, and the use of cocked pivots and distinctive external horizontal springs for each of the bell hammers. These details, however, are almost identical to those on a clock by Henry Jones (ex, Vehmeyer Collection) illustrated in Dzik, Sunny BENEATH THE DIAL, English Clock Pull Repeat Striking 1675-1725 page 71. Indeed the only discernible difference between the Henry Jones timepiece and the current lot is a the provision of a second brass lever acting as a spacer between the gear toothed sector and the hour snail. In addition to the near-identical repeat system the present clock also shares other strong similarities with the movement Vehmeyer Henry Jones such as the chapter ring (in particular the squat fleur-de-lys half-hour markers) and the design of the backplate engraving - which can also be very closely compared to two backplates for clocks by Joseph Knibb illustrated in Dzik, Sunny ENGRAVING ON ENLISH TABLE CLOCKS, Art on a Canvas of Brass 1660-1800 page 134, Figure 8.8. The case also shares the same mouldings, design/format of the side apertures, and overall proportions of the Vehmeyer Jones although the present lot does not have a repousse caddy. Another very similar silent-pull repeating timepiece by Henry Jones, sharing almost all of the above details, was sold in these rooms on 17th May 2015; this further example is notable in that it also had the very generous allocation of seven movement pillars as per the present clock.When all of the above observations are considered, it would be reasonable to suggest that the present timepiece could well have been made in the workshop of Henry Jones for retail by Samuel Watson. This possibility is perhaps further reinforced by the lack of place name within the signature which may suggest that the clock was supplied to Watson whilst he was still working in Coventry. If this was the case then the present lot would pre-date 1691, which is when Watson is believed to have moved to London. As a final note it is interesting to compare the present timepiece with Samuel Watson's slightly later clocks of the same specification. One such example is illustrated and described by Sunny Dzik in BENEATH THE DIAL... pages 99-102. This timepiece incorporates repeat work of near identical design as that used on the present clock but with the exception of the external horizontal hammer springs being dispensed in favour of the more standard arrangement comprising springs attached to the insides of the plates. As noted by Sunny Dzik this slightly later clock also belongs to a small series of timepieces that originally had sweep seconds hand revolving once every two minutes. The production of these centre-seconds timepieces may have been connected to Watson's work with the physician John Floyer, who was the first to apply timing of the heart rate as an important diagnostic indicator. The strong similarities between these later timepieces and the current lot would suggest that Samuel Watson was heavily influenced by the Henry Jones at the height of his career. Condition Report: For detailed condition report please contact the Dreweatts Clock department.Condition Report Disclaimer

A GILT BRASS 'ATMOS' TIMEPIECEJAEGER-LE-COULTRE, MODEL 540, LATE 20th CENTURYThe single train movement wound via the expansion and contraction of an aneroid chamber mounted to the rear of the mechanism and regulated by torsion escapement with rotating balance suspended at the base of the movement and numbered 619448 to the suspension platform, the teardrop shaped plates inscribed ATMOS, JAEGER LECOUTRE, THIRTEEN JEWELS, SWISS, 540 to centre within circular Roman numeral chapter ring, with blued steel moon hands, the rectangular five-glass case with rounded angles and lift-out front glass incorporating repeat signature to lower right corner, over plinth base also with rounded angles incorporating bubble level to interior and three screw adjusting feet to underside.22.5cm (9ins) high, 20cm (8ins) wide, 15cm (6ins) deep.Please note that the condition report for this lot was amended on 21/02/2024. Bidders may need to make themselves aware of these updates. Condition Report: Please note that the report below was updated 21/02/2024; the additional comments are in block capitals.Movement is running and appears to be keeping reasonable time however we have not had it running for long enough to verify the overall accuracy of the timepiece. WE HAVE NOW HAD THE CLOCK RUNNING OVER SEVERAL DAYS AND HAVE ESTABLISHED THAT THE TRAIN APPEARS TO BE 'STICKING; CAUSING IT TO STOP. ONCE THE HANDS ARE ADVANCE IT WILL CONTINUE RUNNING SUGGESTING THAT THERE IS AN ISSUE WITH REGARDS TO MOTIVE POWER. The mechanism appears complete and all original; there is some dust ingress to the interior of the case but nothing problematic. The lift-out glass front panel thumb-piece (to the upper centre of the panel) is loose hence will become detached when the glass is lifted out. No damage is evident hence probably just needs re-attaching. The glass panel has some miniscule wear to the lower corners no doubt from repeated removal and refitting, this is only visible on very close examination when the panel is out. The case is in good original condition with defects limited to slight crazing and spotting to the protective lacquer-coat to the gilt finish and a few areas of very slight oxidation.Timepiece does not have box/packing; the serial number would suggest a date of manufacture of circa 1990.Condition Report Disclaimer

A GERMANIC RENAISSANCE FORGED IRON WEIGHT-DRIVEN CHAMBER CLOCKPROBABLY SOUTH GERMANY OR SWITZERLAND, CIRCA 1600The frame with substantial square section corner posts riveted to the square top and bottom plates enclosing separately-would three-wheel trains with two-pieced forged wheels with rims jointed to the crossings, the going train with verge escapement regulated by tall-rim balance wheel oscillating above the top plate beneath the bell, and the strike train with twin-arbor warned lifting, locking enabled via a slotted cam applied to the second wheel arbor, and countwheel driven by pinion of report to the greatwheel arbor engaging with teeth cut to the inside wheel rim, sounding the hours via a vertically pivoted hammer on a bell mounted above the top plate, the ogee-arched rectangular painted iron dial secured to the frame via hooks, painted with star-centred Roman numeral chapter ring over subsidiary minute dial annotated with Roman numeral quarters, with iron hands and decorated with rose blooms over scroll borders onto a deep maroon/brown ground, the frame surmounted with bell supported within four-legged bearer applied with flowerehead motifs; with a later oak wall bracket incorporating a platform on slender bracket supports applied to an ogee-top back panel, (alarm mechanism no longer present).The clock 28cm (11ins) high, 11cm (3.375ins) wide, 14cm (5,5cm) deep; the clock on bracket 33cm (13ins) high overall. A clock of related design is described and illustrated in Robey, John Gothic Clocks to Lantern Clocks, Short-Duration Clocks & Rural Clocks 1480-1800 pages 69-72. The provision of warning to the strike train was slowly adopted during the closing years of the 16th century hence the present lot probably most likely dates to the early years of the 17th century (although it is possible that the second warning detent assembly was added early in the clocks life). The fact that the frame posts are rivetted to the top and bottom plates has necessitated the strike detent front pivots to incorporate removable dovetail inserts to allow full disassembly of the movement without breaking the frame apart. 

(Prize Bindings, Donald Banks 1891-1975.) Thirty seven early 20th Century prize leather bindings, all Elizabeth College Guernsey, 31 of which awarded to Major-General Sir Thomas MacDonald "Donald" Banks KCB DSO MC TD (31 March 1891 – 11 July 1975), British Army officer, senior civil servant and a founder member and first Chairman of the Guernsey Society, variously dated 1905-1909, 4 of which awarded to his brother Maurice Rowley Banks (b.1898), and dated 1913-1914, plus 2 others with no name of recipient to printed prize label on front pastedowns, all contemporary full leather gilt, mixed condition, spijes decorated in gilt, many with Elizabeth College school crests in gilt to front covers. Donald Banks (1891-1975) attended Elizabeth College, Guernsey between 1899 and 1909, where he was in the Shooting VIII 1908–9. He entered the Civil Service in 1909 in the Exchequer and Audit Department. In 1914, he passed the Civil Service Examination, and was appointed to the Secretary's Office of the General Post Office (GPO).He saw service in the First World War as commanding officer of the 10th (Service) Battalion Essex Regiment and the 8th Battalion Royal Berkshire Regiment. As a result of his actions, he was awarded the Distinguished Service Order (DSO), Military Cross (MC), the Croix de Guerre, and was mentioned in despatches twice. He was Private Secretary to the Secretary of the GPO, and between 1920 and 1923 was Private Secretary to four Postmasters-General in succession. In 1924, he was appointed Deputy Controller of the Post Office Savings Bank, and became Controller in 1931. He became first Director-General of the Post Office in 1934, where he was responsible for the introduction of the emergency service '999', as well as the speaking clock ('TIM'). He was knighted in the New Years' Honours List of 1935. In 1936, he transferred to the Air Ministry, where he was appointed Permanent Secretary, in 1938 becoming first Permanent Under Secretary of State for Air. The Second World War he returned to military service, and was adjutant and Quartermaster General of the 50th (Northumbrian) Division. He served in the British Expenditionary Force (BEF) in 1940, and was mentioned in despatches. He became a major-general in 1943. From 1940 to 1945 he was Director-General of the Petroleum Warfare Department, which developed innovative applications for petrol during the conflict, include Fog Investigation and Dispersal Operation FIDO, (fog dispersal at airports), and PLUTO (pipeline under the ocean taking fuels from England to Europe during and after the invasion build-up). After World War II, he resumed his civil service career in the Air Ministry. Sir Donald was Head of the United Kingdom delegation to the International Civil Aviation Organization at Montreal in 1946, and Deputy Chairman of the Air Transport Advisory Council 1947–51. He was also a Director of De La Rue and Standard Telephones and Cables, and Chairman of the Anglo-Chinese Chamber of Commerce 1946–54. In his obituary, The Daily Telegraph described him as "a man of ideas whose versatility contributed much to the national well-being in war and peace". Maurice Rowley Banks (b.1898) saw active service in the Royal Flying Corps during WW1, destroying enemy shipping off the coast of the Netherlands, and also worked for the Air Ministry during WWII. Their father, Thomas Brownsort Banks (b.1860), was a stationer, being the owner of T.B. Banks & Co, the printer stated on the prize labels to front pastedowns of the books (37)

TWENTY THREE PIECES OF MASONS MANDALAY, MANDARIN AND CHINESE PEONY DINNER AND GIFT WARE, comprising in Mandalay pattern: a table lamp, a set of three graduated jugs, a set of two graduated jugs, a covered soup tureen with saucer and ladle (tureen has two large chips to rim and hairlines, one handle has been broken and reglued, the other is cracked), a covered twin handled tureen, a hors d'oeuvres dish with handle (has an extensive repair), a pepper pot, a chamber stick (small chip to foot rim), a vase height 16cm, a ginger jar (missing cover), a quartz clock, in Mandarin pattern: a cheese dish with cover (cover has hairlines), a dinner plate, a hexagonal covered pot, a match holder (rim chipped) and two ashtrays, together a jug in Chinese Peony pattern (tiny nibble to foot rim) (23) (Condition Report: obvious specific damage as stated in the description, some light crazing, some pieces are marked as seconds, otherwise appear ok, lamp untested)

A French Art Deco cream and brown veined marble four glass mantel clock, the octagonal dial with silvered arabic numerals, two train French movement with outside countwheel, within a four glass chrome banded chamber and two pillared case surmounted by shaped frieze, 39cms high.

COLLECTION OF CANDLESTICKS AND PHOTOGRAPH FRAMES, LATE 20TH CENTURY including a tall pair of stainless steel sticks, brass spiral twist sticks and chamber sticks, along with photograph frames, some in the style of Charles Rennie Mackintosh and a quartz clockthe stainless steel pair 36cm high

A heavy polished grey and black limestone Mantle Clock, France c. 1900, the movement by J. Marti #22479.2 with outside count wheel and striking on a steel bell, the circular enamel two stage white dial with visible escapement and Roman numerals above a glazed panel, showing a mercury type double chamber pendulum on a moulded black plinth with two grey marble bows, 36cms h x 38cms w (18'' x 15''). (1)

Two brass table candelabrum, chamber stick, pricket candlestick, oil can, barometer and clock

Various mixed collectibles to include a mahogany cased wall clock, a pewter twin-handled wine cooler, length 35cm, a copper Middle Eastern style jug, a Delftware-style flower posy holder, a collectors' ashtray, a pewter chamber stick, a coloured glass bowl, a studio pottery flask, etc.

A good 18ct gold half hunter pocket watch, lever movement signed Rotherham, London and numbered 375091, inner cover with presentation inscription, case 48mm. CONDITION REPORT: 99g. Winds and runs. Inner and outer covers are 18ct gold. Dial with hairline crack running from 8 o' clock to the subsidiary seconds dial. Otherwise the dial and hands are in good condition. The case has a shallow dent on its outer edge at 12 o' clock. The crown and hoop are gold. The pin time adjustment is working. Typical shallow scratches near the case opening. Inner inscription reads 'Presented to W. Johnson Esq. by the Wolverhampton Chamber of Commerce in appreciation of his services as Hon. Treasurer, 1906-1919'. Movement appears relatively clean.

Mason's 'Chartreuse' Mantle Clock, photograph frames, octagonal jug, two chamber candlesticks, ginger jar, shell dish, snuffer.

A FINE GEORGE III BRASS MOUNTED EBONISED TRIPLE-PAD TOP TABLE CLOCK WITH SILENT VERGE ESCAPEMENT JOHN FLADGATE, LONDON, CIRCA 1775The six pillar twin fusee bell striking movement with verge escapement incorporating stretched gut lines for the pallets and regulated by lenticular bob pendulum with pivoted rise-fall regulation to suspension, the backplate engraved with symmetrical foliate strapwork scrolls around a central signature John Fladgate, London and pendulum holdfast, the 6 inch brass break-arch dial with shaped false bob aperture to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes beyond the minute track, with delicate pierced steel hands and rococo cast spandrels to angles beneath arch with twin subsidiary regulation and Strike/Silent selection dials within foliate scroll engraved infill and with recessed shaped silvered plate signed John Fladgate, London to upper margin between, the triple-pad top break-arch case with hinged brass carrying handle to the brass fillet-bordered central top panel over generous ogee and cavetto arch mouldings and hinged front door inset with conforming brass fillet surround to the glazed aperture and with brass mouldings to front angles, the sides with arched brass-bordered windows and the rear matching the front, on brass bound cavetto moulded skirt base fitted with generous ogee-shaped cast bracket feet.37cm (14.5ins) high with handle down, 25.5cm (10ins) wide, 19cm (7.5ins) deep. Provenance:Purchased at Nigel Ward and Company, Pontrilas, Hereford sale entitled Special September Auction of Miscellaneous Objet d'Art, Collectables, Porcelain, Glass, Antique & Country Furniture 10th September 2016 (lot 1303) for £7,200 hammer. John Fladgate is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as admitted to the Clockmakers` Company in 1743 and first working in partnership with Richard Wilder until the firm was dissolved in 1775. Fladgate subsequently worked alone until his death in 1781 with the business continued by his widow until 1793. The engraving on the backplate of the present clock conforms to 'Style E' design of 'Fruit and Flower Baskets' as categorised by Sunny Dzik in ENGRAVING ON ENGLISH TABLE CLOCKS, Art on a Canvas of Brass; Dzik illustrates a related backplate executed for another clock by Fladgate on page 306 (Figure 17.13). The silent escapement is a relatively rare feature and is achieved by stretching gut lines between steel tines to form the pallets. This removes any sound that would normally be generated by 'metal-to-metal' contact whilst the escapement is beating. The provision of this refinement suggests that the original owner may well have intended the clock to be used in a bed chamber. Condition Report: Movement appears complete and all-original (including the escapement) with no visible evidence of alteration or noticeable replacements. The movement is in full working order however it is somewhat dirty/dusty hence a gentle clean/service will be required. The dial is in fine original condition albeit with some patchy oxidation to the silvered finishes. The case is in very good original condition retaining its original locks and hinges with faults very much limited to slight historic shrinkage/movement and a few light bumps and scuffs. The ebonised finish has overall slight edge rubbing and some unevenness in places; the brass mounts have commensurate discolouration/light patination.Generally a fine original clock in very good overall condition. Clock has winder and a case key. Condition Report Disclaimer

A GEORGE III MAHOGANY SMALL TABLE/BRACKET CLOCK WITH SILENT VERGE ESCAPEMENT AND ALARMJOHN TAYLOR, LONDON, CIRCA 1800The five pillar twin fusee bell striking movement with verge escapement incorporating sprung pallets regulated by lenticular bob pendulum with holdfast to the backplate, the alarm powered via a line-wound external standing barrel applied to the upper left hand corner of the movement and sounding via a vertically pivoted hammer on the hour bell, the geometric border engraved backplate signed John Taylor, London to an oval cartouche to centre, the 6 inch single-sheet silvered brass arched Roman numeral dial with alarm setting disc and signed John Taylor, LONDON to centre within Roman numeral chapter ring with Arabic five minutes to outer track, with scroll-pierced steel hands beneath subsidiary foliate trail decorated STRIKE/SILENT selection dial to arch, the break-arch case with hinged brass carrying handle over dupont and cavetto top mouldings and arch-glazed front door incorporating brass fillet mouldings to the aperture and rounded brass stringing to leading edges, the sides with arched brass fish scale sound frets and the rear with arch glazed door set within the frame of the case, on cavetto moulded skirt base with brass ogee bracket feet.33cm (13ins) high with handle down, 24.5cm (9.75ins) wide, 18cm (7ins) deep. Several makers with the name John Taylor are recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working around 1800 including one apprenticed in 1796 and another working in Clerkenwell 1805-24. The provision of an alarm together with a 'silent' escapement indicates that the present clock was most likely made principally for use in a bed chamber. Traditionally table or bracket clocks were made the intention to be used upstairs at night and then taken downstairs during the day. This is the reason why carrying handles are normally fitted and repeat-work often incorporated (to allow the time to be ascertained during hours of darkness).   Condition Report: Movement is in fine clean fully working condition with no visible evidence of alteration or noticeable replacements, The dial is in fine condition; the hands are possibly well-made replacements. The case is in very good condition with noticeable faults limited to some minor front-to-back shrinkage cracking to the curved top, and some historic small patch repairs to the veneer overlap of the rear door as well as to the lower edge of the left hand side fret aperture. Faults otherwise appear to be very much limited to minor shrinkage and a few historic bumps and scuffs etc.Clock is complete with pendulum, winder and a case key. Condition Report Disclaimer

A JAPANESE IRON AND BRASS DAI DOKEI LANTERN CLOCK ON PEDESTALUNSIGNED, 19th CENTURY The posted two-train weight-driven iron movement with separately wound trains, the going train with verge escapement regulated by foliat balance suspended via a cotton line above the top plate and incorporating movable cursor weights, the countwheel strike train of single-arbor warnless type with nag's head lifting, overlift provided by hoop wheel and sounding via a vertical-arbor hammer on the bell mounted above the frame, the dial with single petal-motif pierced brass hand set on a revolving red lacquer disc within fixed gilt on black lacquer chapter ring annotated for the Japanese hours or toki along with their respective zodiacal symbols, the case with bell secured via a decorative wrought-iron wingnut onto a post incorporating suspension for the foliat, over brass front panel, latched side doors and backplate etched with delicate stylised foliate designs, on four faceted feet; raised on an ebonised and stained pine pedestal with stepped moulded superstructure over box base with lift-out panel to front, (pedestal adapted, lacking one weight).The clock 28.5cm (11.25ins) high, 12.5cm (5ins) wide, 12cm (4.75ins) deep; the clock on pedestal 112 (44ins) high overall. The Japanese method of dividing the day had its origins in Chinese practice with, until 1868, the daytime and night-time periods split into six 'hours' each. Each division or 'toki' on the dial is represented by a Chinese zodiacal sign (annotated to the outer track) with midday at the top represented by the Horse, and midnight at the bottom represented by the Rat. Each 'Toki' is divided into tenths with the mid-point or 'Shokuru' marked with an extended division line. Naturally the varying lengths of light and darkness through the seasons meant that the length of the daytime versus the night-time hours also changed throughout the year. This required constant adjustments to the clock's rate to ensure that the time given on the dial was correct, hence the provision of movable cursor weights to the balance foliate. Latterly Japanese clockmakers produced clocks incorporating two foliats with switching between the two allowing different rates for either the day or night depending on the time of year. Technologically the present clock conforms with European chamber clocks made prior to the general adoption of warning to the strike train during the last quarter of the 16th century. 

Y&nbspA GEORGE I EBONY TABLE TIMEPIECE WITH SILENT PULL-QUARTER REPEATUNSIGNED, LONDON, CIRCA 1720The five finned pillar single fusee movement with verge escapement regulated by lenticular bob pendulum and silent pull quarter repeat on two bells, the fine symmetrical Ho-Ho bird and honey bee inhabited foliate strapwork scroll engraved backplate incorporating eagle head masks over central winged figure of a heroic angel sounding a trumpet whilst holding a sword, the 6 inch brass break-arch dial with calendar and shaped bob apertures to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes beyond the minute track, with pierced blued steel hands and Indian mask and scroll cast spandrels to angles beneath arch centred with a vestigial subsidiary regulation dial flanked by grotesque mask cast mounts, the inverted bell top case with generous hinged brass carrying handle over double cavetto top mouldings and opening front with fine complex raised mouldings to the break-arch glazed dial aperture and the scroll pierced upper quadrant frets, the sides with scroll-pierced break-arch sound frets bordered by conforming raised mouldings and the rear with rectangular door incorporating break-arch glazed aperture and upper quadrant frets set within the frame of the case, on cavetto moulded skirt base with block feet.41cm (16ins) high with handle down, 24.5cm (9.75ins) wide, 17.5cm (6.75ins) deep. The current lot is designed to sound the hours and quarters on two bells only on demand. This form of quarter repeat mechanism is thought to have been devised for timepieces destined for night-time use in the bedroom; whilst striking clocks with quarter repeat facility were generally intended to be utilised downstairs during the day and upstairs at night. As a consequence silent-pull quarter repeating timepieces are rarer as the original owner would have to be very wealthy indeed to afford a timepiece reserved exclusively for use in the bed chamber. The design of the repeat mechanism itself can be compared to that on a timepiece by William Webster described in Dzik, Sunny and Still, Roger BENEATH THE DIAL, English Clock Pull Repeat Striking 1675-25 pages 109-112; and again on an example by Francis Gregg illustrated in Allix, Charles and Harvey, Laurence HOBSON'S CHOICE pages 78-9. This system is notable in that it features a relatively simple 'all-or-nothing' device, and an unusual wedge-shaped quarter-strike controller to both provide pump count control to the quarter hammer, and to act on a sleeve fitted to the hour hammer arbor to control disengagement of the hammer tail. The engraving to the backplate of the present timepiece can be compared to decoration discussed in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS, Art on a Canvas of Brass pages 265-71. Of particular note is the inclusion of honeybees, scrolls terminating with eagle heads and a Classically rendered figure to the centre. This style of engraving has roots in French Huguenot immigrant work and Dzik illustrates a walnut clock by Simon DeCharmes (page 267, Figure 15.6) exhibiting many similar features in both the design and execution of the backplate and detailing within the dial and case of the present clock. The dial of the current lot has evidence (filled hole) indicating that a signature plate was fitted at some point; with the above in mind, it would be highly likely the name that would have been on this plate would have has strong connections with the Huguenot community of London clockmakers who were a very important contributors to the clockmaking trade from during the latter years of the 17th century. Condition Report: The movement is in fine original working condition with no visible evidence of alteration or noticeable replacements. The escapement appears original however the pivoted 'rise/fall' regulation beam is missing (the adjustment cam applied to the rear of the dial is present). The repeat work appears entirely original and is operational however is currently out of sync with the hands and prone to slight errors with its 'counting' hence adjustment/fine tuning is required. The dial is in sound original condition however the plate has a wash of gilt paint applied o the matting and beneath the spandrels in an attempt to mask a filled hole just above the winding square to take a signature plate which is no longer present with the clock. The silvering to the chapter ring and subsidiary regulation ring is heavily worn/discoloured. The spandrels retain old gilt finish albeit with noticeable wear to high spots. As catalogued the case is veneered in ebony with ebony mouldings and is original to the movement and dial. The seatboard is original although there is an additional slot cut through the centre securing hole and an another hole drilled for no apparent purpose. The baseboard of the case has four additional holes with evidence of wood-screw threading indicating that the case was once screwed to a wall bracket. The case has been cosmetically restored hence the frets are almost certainly relatively recent replacements and the finish is very good. The mouldings are particularly fine and the front and rear doors retain their original locks and hinges.Clock has a case key but no winder. Condition Report Disclaimer

A silver plated tankard, a pair of fish servers, a leather bound manicure set (one odd instrument) a small brass carriage clock, chamber candlesticks, blue and white fruit bowl, a pair of vintage leather driving gloves

A BOX OF ASSORTED WHITE METAL WARE, to include a canteen of EPNS cutlery, EPNS trays, a three piece white metal tea set, a bed chamber candle holder, coffee pot, eggs cups, assorted loose cutlery, butter dish and a small key wound carriage clock etc

A collection of various items,, including a travelling clock, chamber stick, corkscrew, spectacles etc

Box of metalware to include: brass weights, stainless steel flasks on keyrings, plated serving dishes, brass chamber stick, plated coffee pot, kettle, salt cellars, blue glass lined bowl, two handled sugar bowl, napkin rings, pepper shaker, decorative engraved shoe, small clock, vintage slide rule in case etc. (B.P. 21% + VAT)

A good bow fronted brass and champlevé enamel four glass Mantle Clock, the movement by R. & Co., Paris, striking on a steel gong, a double chamber mercury pendulum, the ornate dial with Arabic numerals. (1)

A heavy polished grey and black limestone Mantle Clock, France c. 1900, the movement by J. Marti #22479.2 with outside count wheel and striking on a steel bell, the circular enamel two stage white dial with visible escapement and Roman numerals above a glazed panel, showing a mercury type double chamber pendulum on a moulded black plinth with two grey marble bows, 36cms h x 38cms w (18" x 15"). (1)

An impressive 18th century brass-bound ebony quarter-repeating table clock with moonphaseClaude Duchesne, LondonThe case surmounted by an inverted caddy top with central finial over a silk-backed pierced soundfret framed by four further finials over an elaborately moulded cornice raised on brass-mounted Tuscan three-quarter columns to each corner framing the long shaped pierced brass-framed sound frets backed in silk to each side, the front and rear doors with similar brass frames, all on a multi-layered moulded base bound in brass to the top and bottom, on substantial brass bun feet. The 8-inch arched brass dial with rare 'Chronos' spandrels depicting a bearded Father Time below a sandglass and pair of wings, framing the silvered Roman and Arabic chapter ring with lozenge half-quarter marks and fleur des lys half-hour markers signed Claudius DuChesne Londini between V and VII, the finely matted centre with ringed winding holes, chamfered and engraved calendar and mock pendulum apertures under intricately pierced blued steel hands, the arch decorated with foliate scrolls and a pair of birds within strapwork enclosing a strike/not strike lever, moonphase (the outer scale marked 1-59) and aperture for setting the phase of the moon. The twin gut fusee movement with five knopped pillars and knife-edge verge escapement, the backplate with extensive floral and strapwork engraving, a partridge in the centre and a beast mask below, framed by a stylised wheatear border. Ticking, striking and repeating with a door key and a winding key. 73cms (28.5ins) highFootnotes:Claude Duchesne was seemingly born around 1670. It is commonly accepted that he lived in Paris, until just after the Revocation of the Edict of Nantes in 1685, at which point he joined many other Huguenot refugees and fled to the U.K. It is uncertain exactly when he arrived, with some putting it as early as 1689. The first concrete evidence of his life in the U.K. is from 1693; not only was he made free of the Clockmaker's Company in this year, he also married Elizabeth Bossu in Stepney. The couple would have at least three children; Claudius, born in 1699, Elizabeth born in 1706, and Anthony, born in 1708, though there are some contemporary reports of the couple having five children at one point. Claudius would eventually become a weaver, and Anthony would become a goldsmith. It is not known what became of Elizabeth. Duchesne became a British citizen in 1711. Duchesne was known to sign his clocks as either 'Claude' or 'Claudius' and 'Duchesne' or 'Du Chesne'. The exact location of his shop is questionable; most clocks give a location of either 'Dean Street, Soho' or 'Long Acre', so it seems likely that he was working in Soho. Wherever he worked, Duchesne appears to have been a highly regarded maker, especially in the construction of musical clocks. An account given by Jane Squire in 1731, notes that she 'understood he had made the musical Part of most of the musical Clocks of Note in Town'. Duchesne set himself apart from other makers of the time by featuring interchangeable music barrels, a style that had last been extensively practiced by William Jourdain in the later 17th century. Both makers also featured twelve bells with multiple, variable hammers and parallel motion music work. This suggests a detailed knowledge of music theory, in addition to the horological skill required to make such clocks. It seems that Duchesne may also have had some acquaintance with George Graham and John Harrison, the latter being introduced to Duchesne by the former. It is thought that Harrison contacted Duchesne in order to obtain the large quantities of brass he, Harrison, needed for his horological experimentations. Claude Duchesne is believed to have died in April 1733, and been buried in St. James, Paddington. His son, Anthony, married Anne Gagnon, and the couple had six children, one of whom, Claude (born in 1735) would go on to be a clockmaker. Duchesne's other known son, Claudius, married Anne, and the couple had four children. One of their children, Elizabeth 'Betty' Duchesne was born in 1724 and was known to be close friends with John, Charles and Sarah Wesley, with John Wesley conducting her funeral in 1776. It is thought that Elizabeth was responsible for gifting a walnut, moon phase eight-day longcase clock, made by her grandfather, to the Wesley's. The clock is reported to have never left Wesley's house, where it remains to this day. A late 19th century account suggests that the clock is the very timepiece that inspired Henry Wadsworth Longfellow to write The Old Clock on the Stairs, though this is not definitive: 'Half-way up the stairs it stands/And points and beckons with its hands.By day its voice is low and light/But in the silent dead of night,Distinct as a passing footstep's fall/It echoes along the vacant hall,Along the ceiling, along the floor/And seems to say, at each chamber-door, --'Forever -- never!/Never -- forever!''Blake, G. (2011) 'A Record of the Death of Claude Duchesne', Antiquarian Horology, Vol. 32 (5), pgs. 730-731.Turner, A. (2014) 'Charles Clay: fashioning timely music', Antiquarian Horology, Vol. 35 (3), pg.933.Betts, J. (2017) Marine Chronometers at Greenwich. Oxford: Oxford University Press. Pg. 143.Blake, G., Wintle, C., Gill, J. (2010) 'Claude Duchesne- Huguenot Clockmaker', Antiquarian Horology, Vol. 32 (1), pgs. 43-51.British Horological Institute (1891) 'Correspondence', The Horological Journal, Vol. 34 (1), pg. 16.Wesley's Chapel & Leysian Mission (2023) Virtual Tour: Wesley's House, Study. Available at: https://www.wesleyschapel.org.uk/your-visit/virtual-tour/ Dawber, E. G. (1898-1899) 'Some Thoughts on Clocks and Their Decoration: Part Two', The Architectural Review Vol. 5, pg. 261.Longfellow, H. (1890) The Poetical Works of Henry Wadsworth Longfellow, with Bibliographical and Critical Notes, Riverside Edition, Boston and New York: Houghton, Mifflin.Ord-Hume, A. W. J. G. (1995) The Musical Clock, Ashbourne: Mayfield Books.For further information on this lot please visit Bonhams.com

Silver plated and glass butter dish, claret jug, pair of chamber sticks and a faux tortoiseshell bedside clock

A dome top mantle clock, brass kettle and chamber stick Condition Report:No condition report available.

Pye FM/MW digital clock radio, boxed together with other clocks, chamber stick, model boat etc

TWO BOXES OF CERAMICS, SUNDRIES AND BRASSWARE, to include a Tunbridge Ware box, a bur walnut music box (mechanism not working), an Italian shoe horn with a faux ivory stretching cat, a hand painted box decorated with a continental lake scene, a vintage Cadbury, Bournville cocoa tin in the form of a wooden chest, a similar tin, brass horse ornaments, a silverplate chamber stick, brass candlesticks, green glass solitaire pieces, two large vases and two large jugs, two late 19th century porcelain plates decorated with blue floral swags on a white ground marked B.L on the back (chips and marks) a Royal Doulton Coaching Days Blue Sky variation Pekoe covered sugar bowl (small crack and chip near the rim), a Smiths wooden cased mantel clock, a boxed set of vintage Merit 'Solitaire', Collins linen Standard map of London, together with a linen map of Gloucester & the Cotswolds, embroidered table linen, etc. (s.d) (2 boxes + loose)

An earthenware clock garniture and an Empire ware chamber jug and bowl

A SWISS RENAISSANCE IRON CHAMBER CLOCKUNSIGNED, CIRCA 1600The two train weight-driven countwheel bell movement with verge escapement regulated by horizontal balance contained between angled extensions of the front and rear pivot bars, the strike train with single arbor warnless locking released via nag's head engaging with a pin fitted to the rim of the going train greatwheel and overlift provided by a shaped cam cut with a slot for locking, both trains pivoted between iron vertical bars which locate via tenons into slots cut into a horizontal strip at the base, the top secured with another strip terminating with angled ends forged with pierced tenons passing through slots in the uprights and secured by wedges, the iron box-form case with a single lugged bell supported within domed bearer decorated with forged iron flower buds, the front with visible hour wheel and gilt painted arrow-shaped hand reading against a cream painted chapter ring with Gothic Roman numerals within upper and lower borders polychrome painted with symmetrical bird inhabited foliate scrolls on a chocolate brown ground beneath moulded gilt band and panel painted with an owl within conforming field, the sides with hinged doors secured by sprung clasps and painted with conforming large floral sprays, the rear with forged hanging hoop and spurs, (escapement restored, case decoration refreshed, left side door probably replaced, lacking weights and lines).26.5cm (10.5ins) high, 12cm (4.75ins) wide, 13,5cm (5.25ins) deep. The general construction and layout of the current lot can be directly compared to a spring-driven example illustrated in Bassermann-Jordan, Ernst von THE BOOK OF OLD CLOCKS AND WATCHES (English version translated by H. Alan Lloyd) on page 203 which is described as probably made in Zurich about 1630-40. The basic construction of the movement frame (formed essentially as a vertical rectangular loop around the movement) has its roots in the earliest form of domestic striking clock and can be directly compared with a clock dating to around 1500 illustrated in Muhle, Richard and Vogel, Horand M. Alte Uhren (Verlag Georg D.W. Callway, Munchen 1976) on page 152 (figure 256).Condition Report: Movement - All wheelwork with the exception of the escapewheel and balance appear original, the greatwheels have four crossings, all other wheels have three, all arbors except the escapewheel arbor are faceted. Both pulleys appear to be replacements mounted onto the original greatwheel arbors. As catalogued the current escapement is a restoration. Evidence in the movement bars and backplate indicate that the clock was once fitted with an anchor escapement with pendlum swinging to the rear. In order to allow clearance for the anchor pallet arbor the fly was moved to one side and pivoted between extension plates riveted to the centre and rear movement bars, the fly has now been returned to its original position and the later plate extension pieces removed (leaving stopped rivet holes and other witness marks). There is a mall keyhole shaped hole and two small rectangular slots (one in the front movement bar, the other to the top bar just in front of the balance arbor), the purpose of these is unknown but unlikely to be from an alarm mechanism due to lack of space for lines to pass beneath hence most likely to be from another escapement configuration fitted to the clock at some time (possibly French vertical verge and pendulum arrangement as often seen on Comtoise region clocks?). The nag's head lifting piece, locking detent and arbor are replacements however the curved pivot carriers fitted to the from and rear movement bars appear original. The hour wheel appears original but is now on a replacement arbor/pivot and is driven by a replacement four-prong pinion of report fitted to the original greatwheel arbor. Case - Dial plate appears original and is forged in two sections joined behind the moulding above the chapter ring and is in turn rivetted to two forged uprights each with angled brackets applied with threaded stub at each end (for fitting to the case top and bottom plates). The dial has been repainted and the rear of the plate has also been cleaned and painted. The rear of the case also appears original and is made from two relatively thin guage metal vertical panels which overlap and are rivetted together. This is then fitted onto two metal bars as pof the dial. The rear of the backplate has two horizontal strips rivetted which carry the hanging hoop and spurs and are formed into hinge knuckles for the side doors ar each end.  The backplate appears to retain old surface and has two filled (with lead solder) holes left over from the earlier conversion to anchor escapement (from pallet arbor and pendulum backcock). The left hand door is a replacement made from poorly matched iron plate with curious texture (left over from the panels earlier use) and does not fit well. The right hand door appears original and retains its clasp. the baseplate also appears to be original and is fitted with replaced pivot arm (to transfer motion from the strike hammer pins to the vertical hammer pivot) to original pivot forged to the underside of the plate. Their are a few small redundant holes to the baseplate suggesting that the clock may have been located onto a wall bracket at sometime.  The top plate is almost certainly a replacement made from salvaged iron plate as it is thicker gauge than the rest of the case and three of the four surfaces (and the various holes in the plate) appear relatively fresh. The bell support appears to have age and seems to be made from forged rather than sheet metal however it is difficult to be entirely sure whether it is original or not. The bell is a replacement with the lugged fitting being applied (via a screw from beneath) to a bell of standard construction. The clock is missing two of the eight case screws (which hold top and bottom plates to frame uprights). Clock is currently not in working order due to slightly loose balance top pivot and dislocated pawl spring to the winding pulley click. No doubt other minor fettling will also be required to bring it back to working condition.  There are weights or line present with the clock. Condition Report Disclaimer

A FINE AND HOROLOGICALLY SIGNIFICANT JAMES I 'FIRST PERIOD' LANTERN CLOCKWILLIAM BOWYER, LONDON, CIRCA 1620The separately wound trains with iron-cheeked pulleys to the great wheels, the going train with reinstated verge escapement regulated by horizontal balance oscillating above the frame top plate, the strike train sounding the hours on a lugged bell mounted above the frame via an iron countwheel with overlift provided by an iron-walled hoop wheel cut with a single slot, the dial finely engraved with a large chrysanthemum bloom over twin entwined stalks set within a field of scrolling flowering foliage to centre, within applied narrow silvered Roman numeral chapter ring incorporating floating asterisk half hour markers and concealing fine signature William Bowyer of Lon Fecit engraved in a downward curve to the plate behind the lower part, with fine sculpted steel hand and foliate engraved infill matching that of the centre occupying the upper quadrants and the lower margin, the frame with finely turned generous Doric column corner posts beneath distinctive ovoid vase finials with banded waists, the front and sides applied with symmetrical scroll pierced cast brass frets with the front incorporating foliate engraved detail, beneath domed iron bell bearer capped with a conforming vase finial incorporating pinned plinth upstand for securing the lugged bell, with brass side doors and the rear with iron hanging hoop over spurs applied to the brass backplate, on collar-turned ball feet.40cm (15.75ins) high, 15cm (6ins) wide, 18.5cm (7.25ins) deep.William Bowyer is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as the son of Ralph Bowyer (yeoman of Warfield Berkshire) who is believed to have been married to Alice Mansworth in 1590. William was probably born around this time and by 1616 was a member of the Pewterers' Company when he took-in Thomas Taylor (son of Ralph Taylor, a milliner from Halesowen, Shropshire) as an apprentice. Bowyer took-in no less than five further apprentices prior to the formation of the Clockmakers' Company in 1631, including John Pennock (son of William Pennock of Guisborough, Yorkshire) in 1620. Although he subscribed £5 towards its charter and was made free of the City in 1630, William Bowyer did not apparently join the Worshipful Company on its establishment the following year.Bowyer is thought to have been first married to Margery Barlow of Litchfield, Staffordshire, however, by 1631 he was married to Prudence with whom he had five children (three of which sadly died in infancy). By 1638 Bowyer was living in the parish of St. Andrew Undershaft, he took-in Joseph Jackson (through Thomas Dawson) as apprentice that year and during the following decade took-on at least four more, this time through the Clockmakers' Company. One of these apprentices was Nathanial Allen (probably around 1641/2); Allen subsequently married a Phillipa Bowyer in 1646 hence became related to William through marriage.In 1640 William Bowyer was invited to become an Assistant of the Clockmakers' Company, however it appears that he was reluctant to serve the Company as in July 1642 he gave 'a great chamber clock' in return for excusal from any further duties. Nevertheless he became an Assistant in 1651 and a Warden in 1653 the year of his death.The present clock belongs to a group of less than half-a-dozen surviving particularly early examples made by Bowyer either just before or around 1620. Of the others the first (dated 1617) was sold at Bonhams, London sale of Fine Clocks 11th July 2018 (lot 60 for £43,750) and the second is illustrated in Loomes, Brian LANTERN CLOCKS & Their Makers on page 79 (Figures 7.1-4). Another is illustrated in White, George English Lantern Clocks onpage 101 (Figure II/125 showing movement only), and possibly a fourth on page 113 (Figure II/145).All of the above examples share the same frame castings which are very closely related to those used by the earliest of English Lantern clock makers, brothers Robert and Thomas Harvey. These frames are characterised by having well-proportioned Doric column corner posts surmounted by slightly shouldered ovoid vase finials each decorated with a ring around the waist beneath a disc knop. The ball feet are also cast with a collar matching that of the finials. Indeed when the frame of the present clock is compared with that of an example by Thomas Harvey illustrated in Loomes, Brian LANTERN CLOCKS & Their Makers it can be seen that the castings differ only in very slight detail.In addition to sharing the same design of frame castings it has been noted by Brian Loomes in his article William Bowyer, an exciting and important discovery published in 'Clocks' magazine, June 2018 (pages 9-12) that the movement pivot bar castings follow the same form as those used by Robert and Thomas Harvey. This suggests that these castings may have a common source, most likely the Harvey workshop. It is therefore likely that, during his formative years, William Bowyer had some form of connection with this very important workshop. From the images available it can be seen (with the possible exception of the last clock illustrated by White on page 113) that this group of clocks are all essentially identical with regards to the layout and detailing of the movements. All have iron countwheels, iron-walled hoopwheels, straight hammer checks and iron cheeks to the pulleys (where the originals survive). They also share the same frets hence only essentially differ in the treatment of the dials, and whether an alarm was originally fitted. These inherent similarities suggest, that even at this very early date, a degree of standardisation was being adopted mostly through the use of common castings.The present clock is noticeably well finished with each of the cruciform movement pivot bars having decorative scroll-shaped detailing just above the hammer arbor pivots. This attention to detail is carried forward to the dial which exhibits fine albeit unusual foliate decoration to the entirety of the dial centre. It is perhaps interesting to compare this decoration with that of Bowyers celebrated 'Memento Mori' great chamber clock of 1623 illustrated in Bruce, W.F. EARLY ENGLISH LANTERN CLOCKS 1600-1700 (2013) on page 17. Although the decoration of this larger clock lacks a large flowerhead (or any other large single element) the foliate infill has a similar feel to that of the present clock, albeit in a perhaps slightly more developed form incorporating scrolls and loops to the design.Please see the page-turning catalogue to continue reading the final part of this footnote. 

A RARE WOODEN SPIT JACK MECHANISMPROBABLY SWISS, SECOND HALF OF THE 18th CENTURYThe weight-driven three-wheel train with lantern pinions formed as part of the elaborate baluster-turned arbors, the greatwheel with drum for the driving weight set on an arbor with winding square opposing take-off for a pulley, the third wheel cut as a contrate for driving a fly pivoted within the top bar, the 'door' type frame with extensions to the uprights passing through slots in the top bar for securing by pegs, the bottom bar with pinned mortice-and-tenon joints and threaded holes for securing into position with large wooded screws, (fly, pulley and winding crank lacking, winding clicks incomplete/inoperative).54cm (21.25ins) high, 38cm (15ins) wide, 24cm (9.5ins) wide. The wheelwork of the current lot, most notably the incorporation of lantern pinions within the decorative arbor turnings, can be compared with that of a Swiss wooden-wheeled clock illustrated in Tardy LA PENDULE FRANCAISE, 3,me Partie: Provinces et Etranger on page 456 (upper right). The traditional centre for Swiss wooden-wheeled clock manufacture was Toddenburg; indeed a weight-driven wooden chamber clock of the Toddenburg-type was sold in these room on 2nd October 2019 (lot 104) for £2,800 hammer. 

Two boxes containing various sundry items to include carriage clock; chamber pot; reading light and various wooden items

The Mansion House Clock: a fine and historically interesting early 18th Century faux tortoiseshell year-going and striking longcase clock, the brass dial with silvered roman chapter ring, matted centre with subsidiary seconds dial, the arch with silvered disc bearing the coat of arms of Newcastle upon Tyne, and two nameplates engraved 'Math. Featherstonhaugh, Esqre. Mayor' and 'Francis Rudston, Esqre. Sheriff', with six wheel train and anchor escapement, striking on a bell, complete with a pendulum and two large weights, the circular tapered weight weighing approx 26 kilogrammes, the rectangular weight weighing approx 31 kilogrammes, with swept caddy-style hood with brass finials, ogee frieze below and arched waist door flanked by columns, the waist with rectangular door, decorated overall with chinoiserie scenes of mounted figures in landscapes, pagoda and exotic birds, on plinth base, 274cms high.Footnote: This clock was purchased during the Mayoral year of Matthew Featherstonhaugh, who was Mayor in 1711, and was a Freeman of the Merchants Company of Newcastle. He, together with Francis Rudston, Sheriff in the same year, grew wealthy from the vast amount of trade between Newcastle and London at the end of the 17th Century and the beginning of the 18th Century. From its arrival, the clock, which stood in the Mayor's chamber, was wound each year on New Year's night with great ceremony.After a Council Committee meeting late in 1834 to discuss the building's heavy expenses, the Mansion House was abandoned in 1835. The clock, together with numerous other items from its collection, was sold at auction in 1837. The purchaser was Sir Alderman Dunn of Newcastle, and it remained in his family for almost 150 years, in various parts of the country, until 1980, when it was sold at Anderson & Garland by his last surviving relative Miss A.M. Dunn. It was purchased at the auction by well known local publisher Frank Graham. Frank, lived in Jesmond but sadly passed away some years ago and his family have decided to offer the clock for auction again.The vacated Mansion House was later used for warehousing and sadly burnt down in 1895.Literature:North Country Clockmakers by C.L. Reid.Eneas Mackenzie: A historical account of Newcastle upon Tyne, including the Borough of Gateshead, pages 232-234.Pendulum Publications - Was Fromanteel the Mystery Maker? The Mansion House Clock - Keith Bates, January 1982.

A LATE 17TH CENTURY ITALIAN CHAMBER CLOCK the rectangular brass leaf engraved dial with Roman numerals and pierced engraved crest fronting a weight driven posted frame movement with verge escapement striking on a bell; on later wood bracket29cm high not including bracket The clock is complete. the pendulum has been replaced but has the original verge escapement. The dial is original to the movement but the hands are later additions.

Misc. items to include battery operated clock, china, Dagging shears by Burgon and Ball, chamber pot, blood pressure monitor, church candles etc.

Various items of metalware to include a silver plated serving tray, length approx 55cm, a part canteen of cutlery, a cased set of dessert knives, a good quantity of loose cutlery, including nutcrackers, tongs, cake slice, etc, various brassware to include candlesticks, baskets, vases, chamber stick, jug and a small oak bodied mantel clock.

A collection of Harry Potter merchandise and books including box set 'It's Magic', alarm clock bookends, Harry Potter 'Slime Chamber' (sealed box), Sticker Album, craft kits, various figurines, novelty soap and tooth brushes, keyrings, snitch necklace etc, some in sealed boxes

An Arts & Crafts drum clock in a copper case, fitted an eight-day movement and an embossed copper chamber stick CONDITION REPORT: Case a bit tired. Don't guarantee working condition.

Collection of metal work, to comprise three Middle Eastern style ewers and coffee pots, set of four brass deer, two brass chamber sticks, one brass rest, a copper hunting horn, brass car horn, lacking bulb, together with two Tibetan style bells with two Vajra and a pair of brass ringing bowls, with two glass items, to comprise a vase and a lamp with glass shade, and a German clock(Qty)

A FRENCH ORMOLU MANTEL CLOCK IN LOUIS XV STYLE, 19TH CENTURY the brass drum movement with an outside countwheel and anchor escapement, the backplate stamped 'S Marti at Ci / Medaille de Bronze', striking the half hours on a bell, on a five and three quarter inch enamelled dial inscribed 'Gudin Paris', with Roman hour and Arabic minute numerals, the Rococo case surmounted by a cherub and peacock amongst clouds above flowering foliage, reticulated panels with blue silk backing, bagpipes and a scrolling base, with keys and pendulum 51cm high, 31cm wide, 21cm deep Provenance Alfred de Rothschild (1842-1918) the Ante-Chamber to the Central Hall / Salon, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House

Three trays of miscellaneous items; quartz travel clocks, Sestrel porthole style alarm clock, small wall barometer with wooden frame etc, art pottery jugs and goblets, hardstone cylindrical vase and small jar with lid, stoneware vase by Newport pottery, duck design egg crock, chamber stick, glass animal figures; avondale coloured glass whale, Wedgwood clear glass whale, duck, elephant, bear and a similar squirrel, a Mdina seahorse with coloured base etc. (3)(B.P. 21% + VAT)

A good bow fronted brass and champlevé enamel four glass Mantle Clock, the movement by R. & Co., Paris, striking on a steel gong, a double chamber mercury pendulum, the ornate dial with Arabic numerals. (1)

Chinese blue and white chamber pot together with masons brown velvet twin handled bowl and Galway Irish crystal clock in original box

AN EBONISED TABLE TIMEPIECE WITH SILENT PULL-QUARTER REPEAT AND MOONPHASEUNSIGNED, PROBABLY DUTCH, THIRD QUARTER OF THE 18th CENTURYThe four pillar single fusee movement with verge escapement regulated by bob pendulum and pull-quarter repeat sounding the hours and quarters on a graduated pair of bells positioned vertically above the plates, the 6.5 inch brass break-arch dial with calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with Arabic five minutes beyond the minute track, with pierced steel hands and cast mask and scroll spandrels to angles beneath arch centred with a 'penny moon' providing a visual indication for the age of the moon within outer silvered ring calibrated for the lunar month flanked by conforming grotesque mask and scroll cast spandrels, the ebonised inverted bell-top case with generous hinged cast brass carrying handle over double cavetto top mouldings and brass fillet inset glazed dial aperture and upper quadrant panels to the front door, the sides with circular over concave-topped glazed apertures, the rear with brass fillet inset break-arch glazed rectangular door, on cavetto moulded skirt with squab feet.43cm (17ins) high with handle down 26cm (10.25ins) wide, 17cm (6.75ins) deep. The current lot will sound the hours and quarters on demand only hence is of a type traditionally described as a 'silent' pull quarter repeating clock. It is thought that such clocks were made for use exclusively in the bed chamber to allow the owner to establish the time during hours of darkness (by pulling the repeat cord) without having to go to the trouble of striking a light. Due to clocks and timepieces being very expensive at that time the original owner would have been a particularly wealthy individual to be able to afford a clock for use just in the bed chamber. Indeed many full hour-striking bracket/table clocks fitted with repeat-work have a facility to silence the strike train so that they can be 'taken upstairs' at night (thus negating the need to own more than one spring clock) this is why such clocks were traditionally made with a carrying handle.The design/layout of the repeat mechanism in the current lot is based upon the system first devised by Edward Barlow and/or Daniel Quare in around 1676 which, in practice, seems to have been first put to use by Joseph Knibb (see Dawson, Percy G., Drover, C.B., and Parkes D.W. Early English Clocks pages 343-4).Condition Report: The movement is fundamentally in working condition however it is a little dirty/neglected hence a clean and overhaul is advised. The repeat work is a little lazy and presently out-of-sync with the hands. The going train is operational however the pendulum requires a silk line for suspension. The plates have a couple of filled holes which are most probably form 'rethinking' by the maker at the time the clock was made rather than being evidence of subsequent alteration. The calendar and moon phase linkages are present although the latter requires adjustment. The dial is in good original condition with pleasing overall slightly mellowed appearance. The hour hand is a replacement and the left-hand winding square is a dummy. The movement rests on what appears to be its original seatboard however one of the securing bolts (threaded into the lower pillars is missing)The case is generally in sound condition retaining old surface and mellow colour to the brass elements. At some point the superstructure has come apart on lifting the case; this is evidenced by some cracking to the veneers, visible re-setting of the angles and later metal strap bracing to the inside. The appearance of the veneer cracks (although they are by no means disfiguring) can probably be improved by a good finisher. Both the front and rear doors retain their original locks and hinges and are in good condition with faults limited to a small veneer loss the rear door (at the base of the arch) The sides are also in good condition with one small veneer chip only to the right-hand side (bordering the circular aperture). The rear has some historic worm damage to the frame just below the left-hand corner of the door (historic and non-structural). The base of the case has a blanked slot indicating that a pendulum with a larger bob was once fitted requiring a slot to be cut into the case (the present pendulum has a very small bob); we do not consider this evidence of the movement and dial being 'married' to the case. The rear edge has had a slight chafer cut between the two later block feet (the front feet appear original). Otherwise faults to the case are limited to minor age-related bumps, scuffs, shrinkage and wear.Clock has a pendulum but no case key or winder. Condition Report Disclaimer

FOUR BOXES, ONE BAG OF SOFT TOYS AND ASSORTED SUNDRIES, to include an oak cased novelty clock in the shape of a radiogram, a 1940s 'Cidu' sewing and stitching appliance for leather and carpets, a Bradford Exchange Wings of Victory series collector's plate 'The Mosquito', Wedgwood The Dawn of the Jet Age series plate 'Wings of the Valley', Royal Doulton Heroes of the Sky series plate 'Hurricane Victory Pass', a Royal Adderley china wheelbarrow of flowers, a small footstool, a lidded stein, four floral chamber pots, a worn leather holdall, a 'Scholer' German Democratic Republic concertina (leather straps broken), a 1956-1961 Jaguar MKS I and II workshop manual, 1950's scout cap, a Fez, soft toys, etc (s.d) (4 boxes + loose)

A MAHOGANY CASED MANTLE CLOCK, A PLANTER ON STAND, AND A DECORATIVE ANTIQUE CHAMBER POT.

Various Masons Ironstone Mandalay pattern china wall clock, 24cm diameter, chamber stick, jug, etc., printed marks beneath. (a quantity)

A walnut cased mantle clock, together with a Gainsborough part tea service, Weatherby salad bowl set, Alfred Meakin bowl and two plates, two stoneware foot warmers, dressing table set, lamp base, chamber pot, gas mask etc

A Pair of Walker & Hall Plated Chamber Candlesticks, continental musical casket, coinage, clock.

The fine mid-19th century childhood Dolls' House of Katherine Jeffray (1841-1929), an important English simulated stone painted wooden dolls' house, on detachable wooden stand with four turned legs terminating in lacquered brass castors, the breakfront three-bay façade with two storeys, the central key-lockable wood-grained four-panelled front door with brass knob, opening, with concealed hook releasing to open the whole front of the house, the door framed by pilastered Tuscan portico and painted glass Adam-style semi-circular fanlight above, roof pediment, five large twelve-light windows to the front and two to each end, grey-painted tiled pitched roof, trough gutter, stone painted chimney at each end with two angled upper sections, two flues to each chimney, the front opening to the left of the front door in two parts to reveal four large rooms with original decoration and furnishings, the ground floor on the left, kitchen with wooden fitted blackened range, burgundy, black and cream plaid wallpaper, painted paper marblised ceiling paper, blue and brown patterned glazed cotton chintz curtains, rush-effect embossed oil-cloth floor, a tin spit with 'clockwork' bottle jack on stand with drip tray, basting spoon and skimming spoon, Evans & Cartwright painted tinplate - yellow rush seat chair, yellow log basket and green kettle, six tin graduated meat covers, two copper kettles, six pewter platters with embossed food and a similar basket, a wooden birdcage with yellow feather canary and two Grödnerthal female servants (one missing legs); to the right on the ground floor, dining room with grey marblised wood fireplace with black Evans & Cartwright tinplate embossed surround with gilt-painted grate and fender, green and red wavy water simulated silk wallpaper, a pair of blue and white printed cotton patterned curtains with pelmet, silk blue rosette and white fringing, marblised painted paper ceiling, painted grey floor with teal silk velvet fitted carpet printed with pink roses, a pair of Evans & Cartwright painted wood-grained tinplate console tables in manner of William Kent, a simulated 'tortoiseshell' covered card gilt paper trimmed bookcase bon-bon or sewing box in the form of a glazed bookcase, a working pewter urn of spherical form with brown spirit-wash, a mahogany tilt-top circular table, a gentleman Grödnerthal doll in white jacket with a blue zig-zag line decoration, red waistcoat, cotton shirt and black britches, a lady Grödnerthal doll, a china shoulder-head doll, skirt made into a pin-cushion, in cream evening dress with train, five blown stemmed wine glasses, a gilt painted wooden clock in dome, a Waltershausen work-table and green paper covered circular box with various card discs with applied printed images, probably a game; the first floor left, sitting room with Siena marblised painted wood fireplace with black painted tinplate Evans & Cartwright embossed surround and gilt-painted grate and fender, red, black and cream plaid wallpaper, burgundy, pink and cream printed pattern curtains with pelmet and white fringing, painted marblised paper ceiling, blue and brown cotton chintz fitted carpet, a large Waltershausen Biedermeier style bureau with mirrored niche, a German eleven piece chromolithographed wood grain and inlay paper covered suite of furniture with purple velvet upholstery including sofa, unusual elaborate floor standing clock, square piano and six chairs, four currently in the dining room (one chair missing two legs), a china shoulder head doll with jointed wooden body, china limbs and green dress with lace trim, five Grödnerthal children (various limbs missing), Murano glass vases under glass domes, one with original glass roses (some damage), a turned painted wooden tea set on tray and a stack of handwritten calling cards for 'Miss Jeffray'; and the top floor right, bedroom with deep and light pink wavy stripe simulated water silk wallpaper, grey painted marblised fireplace with black painted tinplate Evans & Cartwright embossed surround with gilt painted grate and fender, painted marblised paper ceiling, grey, burgundy, pink and cream printed cotton curtains with pelmet and white fringing, a teal silk velvet fitted carpet printed with pink roses, grey and white printed cotton bed curtains with white fringing hung on left wall, an Evans & Cartwright painted tinplate washstand with green tinplate jug and basin and a toilet mirror, an interesting set of nine Biedermeier style blonde wood furniture with black ink decoration comprising sleigh bed, day bed, two tables, chest of drawers and four chairs, a china shoulder head doll with jointed wooden body, china limbs and green dress (missing one china leg) a washstand with bone shaving brush, cut throat razor, two nit combs and strap, a home-made card and pink silk half-tester bed, a German pink painted tinplate three piece bath set, two gilt metal leaf shaped chamber sticks, two bottles of Patchouly oil (for clear skin) and a bottle of Ambroisie; two small beds with tiny Grödnerthal babies and seven calling cards, two printed for Gnr Tom Thumb and five handwritten for Aunt Henrietta, Aunt Mary, Aunt Elisa and Aunt Caroline (who were Katherine's aunts on her mother's side) and a Miss Whitehead --57½in. (146cm.) high x 39½in. (100.5cm.) wide x 19in. (48.5cm.) deep (slight damage to house, crack down right hand side and top front left window broken, some slight damage to contents); and sold with an original painted portrait of Katherine Jeffray circa 1864 (aged 23) in gilt frame in leather carrying case --8¾in. (22cm.) height of image --16¾in. (42.5cm.) x 14¾in. (37.5cm.) size of case (case worn) Provenance - this house and contents have come directly down a female line of the family from Katherine; the house appeared on the BBC Antiques Roadshow in Dorking in 1998 and Homes & Antiques magazine in December 1998. Family tree - Grandparents Paternal - James Jeffray 1759-1848 was a Professor and born in Aberdeen, his wife was Margaret Lockhart 1775-1864 born in Stirling, Grandparents Maternal - Thomas Millar (Preston), 1767-1840 and his wife Catherine May, 1775-1844, Parents - Rev Lockhart William Jeffray, rector at Aldford, Cheshire (1815-1862) and Catherine Millar (1809-1900) born in Preston, Catherine Millar’s siblings - Anne Marshall (1800), Elisa Horrocks (1804), Thomas (1811-1865) married Henrietta Pitt (Winckley Preston), Mary Cairns (1812) and Henry (1813) married Caroline Robbins (Thistleton), Katherine Jeffray who owned the dolls' house was born in 1841 and died in 1927.Married Archibald Hamilton, 29th May 1867 at St Mary’s, Windermere.Children - Alexander Cairns Hamilton (1878-1928), Lilihs, Elsie (1869-1960) and Stella (1872-1955)

Clocks and horology. Edwardes (Ernest L) - Weight-Driven Chamber Clocks of the Middle Ages and Renaissance, illustrated, cloth dust jacket torn, Altrincham 1965 and various others, including Thorpe - The French Marble Clock, The Clockmakers' Library Catalogue, Allix - Carriage Clocks, Mckay - Big Ben and Craven and Hughes - Clockmakers & Watchmakers of Derbyshire and several exhibition catalogues, etc (approximately 22)

Edwardes (Ernest L.) WEIGHT-DRIVEN CHAMBER CLOCKS 1965 § Loomes (Brian) YORKSHIRE CLOCKMAKERS 1985 § Roberts (Deryck) THE BRACKET CLOCK 1982 § Loomes (Brian) THE WHITE DIAL CLOCK 1974, publisher's cloth, dust-jackets; and another trade catalogue, 4to (5)

A GEORGE IV MAHOGANY SIDE OR CHAMBER TABLEIN THE MANNER OF GILLOWS, CIRCA 1825The frieze drawer cedar lined, with flame veneers in beaded panels to the sides and the back77cm high, 61cm wide, 45.5cm deepSee Christopher Gilbert, Furniture at Temple Newsam and Lotherton Hall, p 382, for a related 'chamber' writing table. Gillows supplied four such tables with lidded wells to the top to Richard Gascoigne in 1810, for the bedrooms at Parlington Hall, Aberford, three of which are now at Lotherton Hall, Leeds.Condition Report: Marks, knocks, scratches, abrasions consistent with age and useOld splits and cracks, some chips and losses,The handles are replacements throughout, there are old filled holes where the previous handles have been visible to the interior of the drawer frontOverall with a polished appearance, the rear corner has some scratches and indentation, this would appear to have had a clock or ornament on top previously and the feet have scratched and impacted. Some later blocks to the interior and underside of the topPlease refer to additional images for visual reference to condition Condition Report Disclaimer

MIXED LOT VARIOUS MINIATURE TEA WARES, STAFFORDSHIRE CLOCK FIGURE GROUP, MINIATURE CHARACTER JUGS, CHAMBER STICKS ETC

MIXED LOT: BRASS COUNTER BELL, CHAMBER STICK, SMALL MANTEL CLOCK ETC

A FINE AND VERY RARE CHROME PLATED BRASS PO1 ATMOS TIMEPIECE JEAN-LEON REUTTER, FRANCE, CIRCA 1932-35The calibre 30A movement driven by sealed ammonia gas and mercury-filled U-tube 'bellows' contained within the cylindrical chamber at the rear which rock back and forth with variation in temperature to wind the mainspring set behind the movement backplate, the fine wheel-train pivoted between cote-de Geneve engine-turned frontplate engraved 5208 to lower left and spotted backplate inscribed ATMOS, FRANCE, UNADJUSTED FOURTEEN JEWELS to the mounting plate, with lever escapement regulated by large oscillating balance suspended from a torsion wire beneath the dial incorporating locking lever to underside, the inside face of the bellows chamber applied with disc printed ATMOS and notes not to open the chamber in English, French and German, the rear of the chamber support frame with applied plate inscribed BREVETS J.L. REUTTER, S.G.D.G. and stamped with serial number 6382, the open-centred dial with 5.25 inch circular frosted silver finished chapter ring painted with vertically aligned Arabic hour numerals and stamped MADE IN FRANCE to lower edge, the whole raised on simple chrome plated side supports with angled feet secured by screws to a Belge noir marble rectangular platform with rounded angles applied to a slightly larger chromed plate incorporating down-curved feet to each side, with balance locking lever beneath the front left edge and with glass dome cover.27.5cm (11.75ins) high, 34cm (13.5ins) wide, 16cm (6.25ins) deep. Provenance: Private collection, East Midlands. The original Atmos clock was designed by Jean-Léon Reutter, a Neuchatel engineer engaged as a radiological engineer by the Company Generale de Radiologie (C.G.R.), in 1928. Reutter's intention was to create a 'perpetual' timepiece that would not require regular winding. In that year he produced a prototype (now named unofficially as Atmos 0) which was driven by a mercury-in-glass expansion device operating on temperature changes alone. In 1929 his employers, who were very impressed with his invention, began manufacturing his first commercial model, now named Atmos 1, which used a mercury and ammonia filled U tube and the movement now known as the Cluses movement. In 1935, Jaeger-LeCoultre took over production of Atmos and worked with J.L. Reutter to evolve the winding mechanism which eventually led to the present ethyl chloride filled bellows arrangement used in current models. The current lot is a very rare example from the early years of Reutter Atmos clock production made prior to Jeager-LeCoultre taking-on manufacture in 1935. In September 1932 LeCoultre entered an agreement to develop movements for Company Generale de Radiologie with first deliveries arriving in mid-1933. These movements were called the 30A calibre and annual production was between one and two thousand for years 1933 and 1934, with many being retrofitted by the factory to earlier clocks (to replace the 'inferior' movements made in Cluses). This current model with the glass dome is known by collectors as the PO1 model and due to its desirability was subject to a limited edition re-issue of 300 examples produced by Jeager-LeCoultre as part of their Millennium commemorations.