It twas “Dull Day at Mill”, as we affectionately call the Auction Rooms, when our Secretary informed me, “There’s an Insurance Valuation in Mr. B. ... if you want something interesting to do ...!

Oh no, not another cracked egg cup from Granny’s larder, thought I... “It must be old because Granny had it when she was a girl, you know!

Anyway, off I go to Mr McGinty’s house in rural Hertfordshire and was greeted by the most lovely couple, who explain that they are moving house and an item that had been given to them by Mr. McGinty’s father, had never been Insured. They now wished to have it evaluated so they could have Insurance in force when the carriers assisted the removal of the contents of their home to their new abode.

Off went the van with my old man innit,” .... I pondered, could it be the “Linnet?” or could it be the famous “Goat?” ... probably worth a few bob anyway, I thought! I was courteously taken into the parlour and from the door I saw a magnificent example of a South West Lancashire Longcase Clock. I recognised the style immediately, having recently attended one of Dr. “Bill” Cotton’s excellent seminars on Identification of Regional Furniture.

I believe it might be worth a couple of hundred pounds, as the jeweller in the High Street has seen a photo and told me so, says Mr. M.

I proceed to proclaim the virtues of the clock, admiring the cut of the timers and the use of “Flame” mahogany grain for the door carried through to the base. I marvelled at the liberal stylistic use of designs straight out of Thomas Chippendale's The Gentleman and Cabinet Makers Directory” of 1754-62 and the Clockmakers Art in creating a very marketable timepiece. It exuded all the classic detail, painted “Roll-over” Sun/Moon phases, painted Day/Night Estuary scenes, chased scroll and pheasants to the dial, Ormulu “S” Scroll and Ribbon Spandrels.

I am helped in my initial enthusiastic verbal description to the client because, cleverly, I spy the Clockmaker’s name emblazoned in rather large capitals on the “Break-Arch” Dial and recall him mentioned in Brian LOOMES Book of Lancashire Clocks and Clockmakers - “Richard BURNS - MANCHESTER.” I confidently date the Clock as circa 1770.

I am now in my element, a slow day rejuvenated by a simple visit for an Insurance Valuation, ... but the best is yet to come. I open the Gothic Arched door and notice the shape is reflected by an inner frieze which is fretted into three more Gothic Arches and there behind the central arch on the back inside cabinet is an oval Cabinet Makers Label and in its original pristine glory.

It is the first one I have every seen completely intact on a clock of this age. They normally suffer the rigours of time and certainly inside the case are always damaged by the swing of the pendulum over the years. It proudly reads - “Pictures framed - Chas. MOSLEY, No.18 Church Street, Manchester. Sells all sorts of Mahogany Bureaus, Chests of Drawers, Clock Cases, Card and other Tables, Wardrobes, Bedsteads and other Cabinet Goods.

The Clock mechanism itself represents all that was desired by the buyer in this period. The Silvered Dial, quadrant semi circular Calendar Date Plate, Bell Striker, Eight Day movement etc., but the Cabinet in my opinion is the “creme de la creme.

The top case is Break Arch with Double Swan Neck Cornice, surmounted by ormulu rose and scrolls, decorated with three blind fretwork panels, below further is a Chippendale blind fretwork frieze of scrolls, hearts and feathers, with dentil design above. The glazed clock face door is decorated each side with fluted flat pillar columns. The outer hood is decorated with supporting fluted and ormulu mounted Corinthian Columns to the front and smooth ones to the rear. The whole, finally surmounted by three Orb and Thistle Brass Finials. Even the front case is decorated with double parallel Corinthian column mouldings, full length on each side of the door opening.

With the client's consent, I record the clock in detail for posterity and undertake the long road of research to establish the origins of the Clock for academic interest. The link between Clock and Cabinet Maker, their biography and the Clock in relation to others from the same region is particularly important and in the context of this particular clock has never been recorded before.

The Clock itself is an extremely fine example of its type. It is a Provincial late 18th Century Mahogany Longcase clock from S.W. Lancashire and almost certainly, in my opinion was made in 1778. The Cabinet made by Charles MOSELY of Church Street, Manchester and the clock marketed by Richard BURNS of Manchester.

It is important to note that Burns is recorded in both “Brittens” and the Manchester Journal of 1778 as “Watchmaker”. The fact that Burns is referred to as watchmaker really means that he ran a business, but the recording of his name on the Clock does not necessarily mean that he personally made the clock with his own hands! Clocks and watches are always the products of many separate skills and S.W. Lancashire was the source of many specialised parts.

However, what is particularly important and significant about this clock is the Cabinet Maker’s Label, which is just about unique for Manchester and therefore an extremely rare example.

The quest continues, but with thanks thus far for their help from Dr. Bill Cotton, President of Regional Furniture Society, Dr. Susan STUART, Lancaster University, who has researched Lancaster Clocks and Furniture, particularly GILLOWS, Dr. Alan SMITH, Ex. President of Horological Society - Manchester and Melanie COHEN, Researchers Assistant from Edgware!

Oh,.... and the value?.... not Paddy McGinty’s Goat - the Clock!. I’m afraid that information is strictly confidential to respect the owner’s wishes, but the true value in my view is in the Clock’s originality and its important Label, linking the Clock retailer to the Cabinet Maker.