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Y&nbspA FINE WILLIAM AND MARY EBONY 'BASKET TOP' TABLE TIMEPIECE WITH 'SILENT' PULL-QUARTER REPEAT NATHANIEL HODGES, LONDON, CIRCA 1690The six 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 engraved with symmetrical scrolling foliage incorporating tulip blooms around a central shaped reserve signed Nathanael Hodges, Londini Fecit, the 6 inch square brass dial with calendar aperture to the matted centre within applied Roman numeral chapter ring with eared cruciform 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 pierced gilt brass domed 'basket' caddy superstructure pierced and relief decorated with Ho-Ho birds over generous tied fruit festoon swags flanked by floral pendants and with acanthus scrolls to the angles, flanked by flambeau finials to the corners, over ogee edged projecting cushion top mouldings and rectangular glazed front door applied with fine mouldings around the glazed aperture and applied with scroll-pierced gilt escutcheon mounts to uprights, the sides with conforming rectangular windows and the rear with glazed door applied with matching mouldings to the aperture set within the frame of the case, on ogee moulded shallow skirt base with gilt brass disc feet; with a later ebonised wall bracket of inverted ogee form, (quarter repeat work restored).The timepiece 30cm (11.75ins) high with handle down, 21.5cm (8.5ins) wide, 14cm (5.5cm) deep; the timepiece on bracket 46.5cm (18.25ins) high with handle down.Nathaniel Hodges is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as becoming a Free Brother of the Clockmakers' Company in 1681. He was noted as a 'great clockmaker' (i.e. maker of turret clocks) and was last mentioned in the Company Records as being in arrears in 1687. Loomes cites the burial records of two individuals of the same name in 1688 but neither appear to have been clockmakers. He also notes that Hodges was living in the Parish of Blackfriars with his wife, Joan, when their daughter was baptised in 1673. By 1679 he had moved to Parish of St. Brides, Fleet Street (possibly to his premises on Wine Office Court) where three further children were baptised, the last being Mary in January 1687. Despite being noted as a 'great clockmaker' and generally very little else known of Nathaniel Hodges he was clearly a fine maker with many fine table clocks surviving including a rare marquetry-cased example and another extensively decorated with repousse mounts and with rare original glazed-front carrying case illustrated in Dawson, Percy G.; Drover, C.B. and Parkes, D.W. Early English Clocks on page 460 (Plates 677-78).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 an unusual slide arrangement to engage with the hour-snail. Another noteworthy feature is the split hammer arbor enabling both the hour and quarter hammers to be set side-by-side by providing pivots for each within a bat positioned between them. This detail appears to have been favoured by Henry Jones and can been seen on a timepiece (dating to the mid-1670's) illustrated and described in Dzik, Sunny BENEATH THE DIAL, English Clock Pull Repeat Striking 1675-1725 pages 67-68.The engraving to the backplate of the present timepiece is a very good example of the of tulip engraving and can be closely compared to that on a table timepiece by Charles Gretton illustrated and described in Dzik, Sunny ENGRAVING ON ENLISH TABLE CLOCKS, Art on a Canvas of Brass 1660-1800 pages132-106 (Figure 7.7). Condition Report: The movement is complete and fully operational although a gentle clean/service is advised. The movement is in its original form with no visible evidence of any alteration however it is most probably that the repeat mechanism has seen significant well-executed restoration or has possibly been faithfully reinstated. There is no visible evidence (filled holes or alteration to pallet arbor slot cut to the top of the backplate) to indicate that the movement was ever converted to anchor escapement although the present escape wheel would appear to be a service replacement. The dial has been electro-gilded (including the rear of the plate) and two of the spandrel securing screws have been replaced. Both hands appear original and are nicely made/sculpted; the hour has had repairs to the scrolls forming the tip and is a little distorted. Dial otherwise is in good clean condition with fine matting showing some slight overall wear. The case is in sound original condition. All the brass mounts have been electro-gilded. The basket top has historic wear through the hight spots most notably to the swags otherwise appears undamaged and with vey little distortion. The finials are probably later additions; the moulding forming the lower edge of the basket has had the corners filed to allow room for the finials. The front door repousse right hand repousse mount is missing a small section from the lower edge and the left hand one is a cast replica which also replicates the same small loss to the lower edge. The leading edge of the top front right-hand corner of the top (adjacent to the finial) has a small veneer chip. The mask around the dial (behind the front door hence only visible when door is open) has overall chipping/wear and losses to the veneer overlap bordering the dial. The right-hand side above the aperture has a crack and slight movement in the carcass and veneer and the lower edge of the moulding bordering the upper edge of the panel has wear/loss. The rear upper moulding has some cracking towards the right-hand ed and the lower rear right-hand corner has a small scarf-type repair to the moulding. The interior of the case has some scooping-out to the carcass to allow room for bells, backcock etc which is to be expected in a clock where the movement is a snug fit in the case (ie. is not indicative of alteration or the clock being a marriage. The base of the case has two additional small holes drilled for a pair of later hooks to further secure the movement (by hooking over the two bottom pillars) in the case. This is in addition to the original system of two latches fitted to the rear of the dial plate engaging with slots cut in the uprights of the dial surround. Front and rear doors appear to retain original locks and hinges albeit with some later securing screws added. Faults to the case are otherwise limited to minor shrinkage and a few are-related bumps, scuffs etc. Condition Report Disclaimer

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

A WILLIAM III EBONISED 'BASKET TOP' QUARTER-REPEATING TABLE CLOCK HENRY ELLIOTT, LONDON, CIRCA 1695The six finned and latched pillar twin fusee bell striking movement with verge escapement regulated by short bob pendulum, with pull-repeat peeling the quarters on a graduated nest of three bells and sounding the hour on a further larger bell, the backplate engraved with symmetrical scrolling foliage including tulip blooms around a central scroll cartouche signed Henry Elliott, LONDINI, Fecit, the 7 inch square brass dial with ringed winding holes and scroll border engraved calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with stylised sword hilt half hour markers and small Arabic five minutes within the outer minute ring, with fine sculpted scroll-pierced steel hands, applied gilt winged cherub mask spandrels to angles and vestigial S/N strike/silent selection switch at twelve o'clock, the case with Quare-type hinged foliate bud tied scroll-shaped carrying handle over pierced brass repousse 'basket' superstructure decorated with scrollwork inhabited by basket of flowers flanked by cornucopiae and cherubs to front and rear and pair of cherubs alone to each side, above rope twist and cast ogee moulded lower border, flanked by brass ball finials, with complex top mouldings over hinged glazed front applied with foliate repousse mounts to the frame of the door, rectangular side windows and further glazed door set within the frame of the case to the rear decorated with matching mounts, on conforming complex moulded skirt base with gilt brass disc feet.37cm (14.5ins) high with handle down, 26cm (10.25ins) wide, 16.5cm (16.5ins) deep. Henry Elliott is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as probably working in London from around 1676, and becoming a 'Free Brother' of the Clockmakers' Company in 1688. In 1694 he was in St. Giles Parish and he signed the oath of allegiance in 1697. Henry Elliott was still alive in 1704/5 when his son of the same (baptised in 1689) started his apprenticeship under George Tyler. Loomes notes only a watch and one bracket clock known to him at the time of writing, with the latter signed 'LONDINI Fecit'. This record could relate to the present clock due to the relatively rare inclusion of 'Fecit' within the signature. 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 within the chapter titled A CLOSER LOOK AT TULIP ENGRAVING pages 143-46. Indeed two backplates of near identical design (for clocks by Thomas Cattell and Thomas Tyler) to that of the present lot are illustrated on page 144 (Figure 8.15). The pull-repeat system on the present lot is somewhat unusual in that both the hour and quarters are powered directly by the fusee strike train rather than having a supplementary spring barrel (or blade spring) to drive the repeat system (either entirely, or for the quarters alone). In order to achieve this the quarter peel and hour hammer pins are applied to the same pin barrel with the hammers first positioned to engage the quarter hammers, before the whole hammer block assembly is automatically shunted along in order for the offset hour hammer pin to operate the hour hammer. In addition to this both the quarter and hour racks are neatly positioned one behind the other in order for the same gathering pallet to be used for both, with the hour rack hook lifted out of the way whilst the quarters are sounding. Two clocks (by Charles Gretton and John Adamson respectively) with closely related repeat systems to the present lot are described and illustrated in Dzik, Sunny BENEATH THE DIAL, English Clock Pull Repeat Striking 1675-1725 pages 486-89. Condition Report: Movement is in very original condition is essentially in working order. There are variances in the shape of the collets within the wheelwork suggesting service work has been undertaken in the past however wheelwork appears to be all-original. The escape wheel has a replaced tooth, the pallets may be replacements and are now fitted with a crutch for the pendulum to operate with silk suspension (attached to a later projection fitted to the original backcock). The repeat work will function but is prone to sticking hence needs adjustment/service. The strike silent switch is lacking and two of the movement pillars are pinned rather than latched. The backplate retains its original backcock apron but exhibits some noticeable brass pin-filling around the fusee holes (to tighten the pivots). The mechanism is generally a little dirty/discoloured hence a general gentle clean/service is advised. The dial is generally a little dirty/oxidised but otherwise is in good original condition. The hands are nicely made, the minute has been repaired. The movement rests on a replacement seatboard however we are of the opinion that the movement and dial are original to the case. The movement is retained by two bolts passing through the base and threading into the bottom movement pillars; the thread on one of these screws is stripped. The case has two additional holes outboard of the movement - these indicate that the case was once bolted to a wall bracket. The case generally is in very good unrestored condition. The repousse caddy is very good with no significant denting or problematic wear; the finish is dull/oxidised and residue in the crevices indicates that it has been cleaned with metal polish at some point in the past. The mask around the dial has losses to the veneer overlap and the front door lock appears not to work. The finish to the case shows historic rubbing/wear revealing much of the fruitwood to beneath however the surface is old and rather pleasing in its patination. The mounts are discoloured but free from notable damage. Faults to the case are otherwise limited to minor age related bumps, scuffs, and other blemishes.Clock has a case key but no winder. Condition Report Disclaimer

A GEORGE III MAHOGANY FUSEE DIAL TIMEPIECE WITH SIXTEEN-INCH WOODEN DIALTHE DIAL INSCRIBED FOR J. AND T. FARR, BRISTOL, LATE 18th CENTURYThe four knopped pillar single fusee movement with tapered cavetto-shouldered bottle-shaped plates and anchor escapement regulated by lenticular bob pendulum, the backplate engraved with a letter B, the 16 inch slightly convex circular wooden cream painted Roman numeral dial inscribed J & T FARR, BRISTOL to centre, with generous brass spade hands set behind heavy hinged convex-glazed cavetto moulded bezel, with narrow caddy moulded dial surround secured via pegs to the rear box case incorporating door to right hand side and pendulum access flap over decorative shaped pendant back panel to base, (dial finish retouched).53.5cm (21ins) high, 46cm (18ins) wide, 20cm (8ins) deep. Provenance:The inside of the backboard has an indistinct ink stamp for STRIKE ONE, ...Camden Walk London N1. J. and T. Farr are recorded in Moore, A.J. THE CLOCKMAKERS OF BRISTOL 1650-1900 as working in Bristol in 1822. It is most likely that this records a working arrangement between John Farr, who worked as a goldsmith and watchmaker from Claire Street, Bristol, 1771 until at least 1801; and Thomas Farr who was apprenticed to John in 1784. Condition Report: Movement is fine clean working condition with no evidence of alteration or noticeable replacements. The dial has been refinished to a high standard most probably replicating the original text. There is a slight shrinkage crack towards the upper margin, the hands appear original. The bezel lock is either a replacement or has been of and re-attached. The glass has been relatively recently re-set in fresh plaster. The rear of the dial panel has had a slip of additional timber applied to the rear to facilitate stronger anchoring of the bezel hinge screws. The box case is in sound original condition although the side flap is a replacement. The interior has had quarter-round mouldings applied to the rear edges to brace the joint between the backboard and the sides. The drop apron has a filled hole (from where a nail was driven through in the past), and a small well executed veneer path repair to the lower edge. The lower flap has replacements to the applied edging slips. Faults are otherwise limited to moderate age-related bumps, scuffs and shrinkage. Overall timepiece is essentially a good original example in ready to use condition and has a pendulum key and winder.  Condition Report Disclaimer

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

A GEORGE III OAK EIGHT-DAY LONGCASE CLOCKGEORGE MAYNARD, MELFORD, CIRCA 1775The five pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch square brass dial with calendar aperture, engraved subsidiary seconds dial and signed George Maynard, MELFORD to centre, within applied Roman numeral chapter ring with Arabic five minutes beyond the outer minute track, with scroll pierced steel hands and applied with rococo scroll cast spandrels to angles, the case with domed caddy superstructure, architectural cornice and blind frieze over hinged glazed dial aperture applied with Corinthian three-quarter columns with brass caps and bases to the front angles, the sides with rectangular windows and conforming quarter columns set against bargeboards at the rear, the trunk with concave throat moulding over rectangular door with applied ogee edge mouldings, on plinth base with conforming top moulding over a cavetto-topped skirt.219cm (86ins) high, 49.5cm (19.5ins) wide, 24.5cm (9.75ins) deep. Provenance:The Leonard Fuller Collection, purchased from John Wells Antiques and Victoriana, Woodstock, 22nd June 1966 for £47-10-0. George Maynard is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Melford, Suffolk, during the second half of the 18th century. 

A GEORGE III BLACK CHINOISERIE JAPANNED TAVERN WALL TIMEPIECEBURT WADE, LONDON, LATE 18th CENTURYThe four pillar weight-driven movement with five-wheel train, anchor escapement regulated by seconds pendulum and tapered plates, with a 19 inch circular gilt on black painted Roman numeral dial with pierced brass hands, within integral gilt-line painted ogee moulded surround and secured to the teardrop-shaped drop-trunk case by four pins, the case with twin side apertures set behind the dial, over throat signed in gilt Burt Wade, LONDON flanked by leaf-painted shaped ears and concave-topped caddy moulded trunk door polychrome and gilt decorated with game birds before a willow tree within gilt line borders, the baluster profile side sections gilt painted with further foliate panels and the sides with oversize floral sprays, the concave moulded base decorated with a further conforming foliate panel within gilt line borders, (the case except for the signature redecorated).114cm (45ins) high, 57cm (22.5ins) wide, 20cm (8ins) deep. Provenance:The beneficiary of a deceased estate. Purchased in these rooms The Collection of the late John Fane 26th November 2009 (lot 41) for £4,500 hammer. Burt Wade is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London1764-c.1800. The present timepiece is recorded in Gatto, Martin THE TAVERNICUS TAVERN CLOCK ARCHIVE, EXTENDED EDITION page 300. 

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

A FINE REGENCY MINIATURE BRASS MOUNTED EBONISED TABLE/BRACKET CLOCK WITH TRIP-HOUR REPEATBARWISE, LONDON, CIRCA 1820The five columnar pillar twin chain fusee bell striking movement with anchor escapement regulated by disc-bob pendulum incorporating transverse pivoted beam rise/fall regulation to suspension and holdfast to the shouldered backplate, engraved Barwise, LONDON to centre, the 4 inch single sheet silvered brass Roman numeral break-arch dial also signed Barwise, LONDON to the centre, with blued steel spade hands beneath arch incorporating twin subsidiary STRIKE/SILENT and regulation dials, the case with hinged sculpted brass handle and rectangular plate capping the ogee shaped caddy superstructure over moulded brass collar and further outswept concave section merging with the break-arch profile top applied with the complex cornice mouldings, the opening front with brass fillet mouldings bordering the glazed dial aperture, the sides with conforming brass-edged arched windows and the rear matching the front, on cushion moulded skirt base and turned brass acorn-shaped feet.27.5cm (10.75ins) high with handle down, 15cm (6ins) wide, 11cm (4.25ins) deep. The life of John Barwise and his family are outlined by A.D. Stewart in his article Barwise & Sons: Watchmakers to the King, A brief history of family and firm published in the March 2014 issue of 'ANTIQUARIAN HOROLOGY' (Vol IIIV No. 1 pages 621-34). Stewart notes that John Barwise was born into a clockmaking family in Cockermouth, Cumberland in around 1756. By 1780 he had moved to London where he opened a watch retailing business. Ten years later he married Elizabeth Weston with his address being recorded as 29 St. Martin's Lane where he remained until his death in 1820. Of their eleven children two (possibly three) died in infancy and two, John II (born 1795) and Weston (born 1793), subsequently joined their father in the family business. In 1800, such was his success, John Barwise I purchased a second house in Dulwich.In 1805 John Barwise I was one of the fifteen watchmakers appointed by The Board of Longitude to adjudicate in the dispute between John Arnold and Thomas Earnshaw regarding 'the respective merits of their chronometers'. On the 14th February 1811 Barwise was the victim of five highwayman who relieved him of a 'gold watch, greatcoat, and a guinea-and-a-half in cash' whilst en-route from Camberwell to Dulwich. This unfortunate occurrence may well have tempered Barwise's enthusiasm for his house in Dulwich as records indicate it was rented out to tenants by 1813. In around 1816 his sons, John II (who had just turned 21) and Weston, joined him in partnership with the business then becoming 'Barwise & Sons'. Shortly afterwards (probably in 1820) the firm obtained the Royal Warrant as watchmakers to King George IV.John Barwise senior died in 1820; by this time he was a wealthy man leaving two properties and substantial investments to his widow and children. The business was continued by Weston and John II in partnership, however this only lasted six years as Weston died in 1826 leaving the business in the hands of John II alone. It was at this time that John II married and moved from the family home at St. Martin's Lane to nearby 42 Craven Street; and then in 1840 to a spacious residence called East Lodge, near Acton which at that time was in open countryside. At around the same time John Barwise II entered into an alliance with the highly inventive Scottish Clockmaker Alexander Bain who was in the process of developing the first electric timepiece. Barwise and Bain subsequently filed a patent (No. 8743) for an 'Electro-Magnetic Clock' which was granted in January 1841; an example of which was then subsequently exhibited at the Royal Polytechnic Institution shortly afterwards.In 1842 John Barwise II was approached by Pierre Frederic Ingold (1787-1878) to assist in the creation of a watch factory which, by employing newly invented machinery, would be able to mass produce high quality watches at a much smaller cost than the prevalent hand-built movements available at the time. Barwise, along with Thomas Earnshaw junior, subsequently became managing directors of the newly established 'British Watch and Clockmaking Company'. Unfortunately the venture failed, and Barwise was declared bankrupt in 1846. With this he lost his house, East Lodge near Acton, but still managed to keep the business afloat. After a few more years of struggling in the business John Barwise II retired leaving it in the hands of the Swiss watchmaker, Jules Rochat, who joined the firm in 1847. John Barwise II was recorded in the 1861 census as being a 'chronometer maker out of business' and presumably still resided at 7 Queen's Row, Camberwell until his death in 1869. The present timepiece is finely made and finished and of very pleasing small proportions with the design of the case following that of a series of miniature timepieces produced by Grimalde and Johnson, London. The movement of the current clock, however, is of much higher specification than those mostly seen by Grimalde and Johnson, which are generally only single fusee timepieces. Condition Report: Movement is in fine relatively clean working condition and appears very original with no visible evidence of alteration or notable replacements. If intending to put into long-term service however a precautionary gentle clean/lubrication is advised. The dial is in sound original condition, it is presentable with nice overall slightly mellow colouring but has some spots of oxidation and slight rubbing around the winding holes so may benefit from being re-silvered (depending on personal preference). The case is also in fine original condition with the only notable faults being that the putty holding in the front door glass is starting to come loose and drop out. The baseboard of the case is cut with a slot to allow for the pendulum swing - this is an original feature. Faults to the case are otherwise very much limited to very minor bumps, scuffs, shrinkage and edge wear commensurate with age and use.Clock is complete with pendulum, winder and a case key. Condition Report Disclaimer

A REGENCY MAHOGANY FUSEE DROP-DIAL WALL TIMEPIECETHE DIAL SIGNED FOR THOMAS PACE, LONDON, CIRCA 1820The four pillar single fusee movement with tapered plates and anchor escapement regulated by lenticular bob pendulum, the 12 inch circular convex white painted Roman numeral dial signed THO'S PACE, LONDON to centre and with steel spade hands set within a hinged convex glazed cast brass caddy moulded bezel applied to a conforming caddy moulded wooden surround, secured via pegs to a rectangular rear case with door to right hand side over figured mahogany veneered drop-trunk with rectangular pendulum access flap to the curved underside (glass lacking). 36cm (14.25ins) wide, 44cm (17.25ins) high, 16.5cm (6.5ins) deep. Thomas Pace is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Whitechapel, London 1784-1825. Condition Report: Movement is complete with no visible evidence of alteration however is a little dirty/neglected. The mainspring barrel cap has popped-off the barrel but is present - this should be straightforward to re-attach, movement otherwise is essentially in working condition. The movement is fitted to the back of the dial via a falseplate, the holes for pinning the feet applied to the rear of the dial to the falseplate appear a little large which may cause some to believe that the movement may not be original to the dial; however, as both fit perfectly well together, we are inclined to give it the benefit of the doubt (ie. are of the belief that the movement is most likely original to the dial but probably not the case). The dial retains nice old surface with overall light crazing. The bezel is lacking its glass and has been re-attached with visible solder at the junction with the hinge. The wooden surround has a shrinkage crack at three o'clock otherwise is in fine condition. The rear has a veneer patch repair to the curved underside between the front edge and the door. The top has a sound fret fitted and the inside of the trunk has a small notch cut to the upper left hand side - these details would suggest that the case was originally intended to be fitted with a striking (two train) movement. Case is otherwise in good original condition with only minor age-related shrinkage and blemishes.Timepiece has a pendulum and case key but no winder. Condition Report Disclaimer

Y&nbspA REGENCY MAHOGANY MERCURY STICK BAROMETERTHOMAS BLUNT, LONDON, EARLY 19th CENTURYThe caddy moulded case with swan neck pediment over rectangular glazed silvered Vernier scale calibrated in barometric inches and signed T. Blunt, 22 Cornhill, LON, DON to upper margin, the ebony-edged trunk with Vernier adjustment square to throat and flame-figured veneers, over ogee-moulded domed cistern cover to the rounded base incorporating level adjustment square to underside.98.5cm (38.75ins) high, 12.5cm (5ins) wide. Provenance:The Leonard Fuller Collection. Thomas Blunt is recorded in Goodison, Nicholas ENGLISH BAROMETERS 1680-1860 as apprenticed to the celebrated scientific Instrument maker Edward Nairne in 1760, with whom he subsequently formed a partnership after gaining his freedom of the Spectaclemakers' Company in 1771. Edward Nairne died in 1806 although some instruments signed for 'Nairne and Blunt' are believed to have been made after that time. Thomas Blunt was a distinguished instrument maker who was credited with assisting J.H. Magellan with some of the features of his 'New Barometer' devised in 1779. Blunt is believed to have continued alone from his Cornhill address until his death in 1822; he was succeeded by T. Harris. 

A WILLIAM AND MARY STYLE BURR AMBOYNA MINIATURE TABLE/BRACKET CLOCKTHE DIAL SIGNED FOR DAVID R. SOLOMONS, LONDON, LATE 20th CENTURYThe German factory-made four pillar twin going barrel movement with lever escapement regulated by spring monometallic balance and ting-tang sounding each hour and the half-hour on a pair of bells mounted above the skeletonised plates, the rear applied with a further brass false backplate engraved in the 17th century style with asymmetric tulips blooms within a herringbone border, the 4.5 inch square brass dial with matted centre within applied silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers, Arabic five minutes within the outer minute track and engraved David R., Solomons, LON,DON to lower margin, with scroll pierced blued steel hands and winged cherub mask cast spandrels to angles, the case with hinged tied foliate bud cast brass carrying handle to the caddy surmount over crossgrain cushion top mouldings, the hinged front with foliate scroll pierced lozenge sound fret to upper rail and fillet mouldings to the glazed dial aperture, the sides with rectangular windows and the rear with square glazed door set within the frame of the case, on conforming cushion moulded skirt base with bun feet.26.5cm (10.5ins) high with handle down, 19cm (7.5ins) wide, 5.5ins (14cm) deep.   Condition Report: Movement is in clean working condition with no visible evidence of alteration or notable replacements. The dial has slight patchy tarnishing to the silvered finish otherwise is in fine original condition. Case has lose right-hand side glass otherwise is in fine original condition. Clock is complete with case key and a winder. Condition Report Disclaimer

A WILLIAM IV FUSEE DROP-DIAL WALL TIMEPIECE WITH EIGHT-INCH DIALM. J. BORRELL, LONDON, CIRCA 1830The four columnar pillar single fusee movement with shouldered tapered plates incorporating offset spring barrel and anchor escapement regulated by lenticular bob pendulum with holdfast clip to the backplate beneath an applied rectangular signature plate engraved M. J. Borrell, LONDON, the 8 inch circular convex cream painted Roman numeral dial signed BORRELL, Whiskin Street, LONDON to centre, with Arabic five minutes beyond the minute track and blued steel baluster moon hands, set behind hinged convex-glazed cast brass caddy moulded bezel applied to a moulded wooden surround, fitted via pegs onto rear box case with door to the right hand side and drop trunk beneath the dial incorporating pendulum access flap to the curved base.30cm (11.75ins) high, 25.5cm (10ins) wide, 14.5cm (65.75ins) deep. Maximillian John Borrell is recorded on the British Museum website as working from 19 Wilderness Row, London, 1830-62. He was the son of the celebrated musical clock maker, Henry Borrell, who specialised in making and supplying clocks to the Middle and Far Eastern markets. Condition Report: Movement is in clean working condition (although a precautionary gentle clean/service is advised) with no visible evidence of alteration or noticeable replacements. Generally the movement is in very fine condition except for some slight scuffing/bruising to the lower right hand corner of the backplate. The dial appears to retain old/original surface with some crazing evident; the black numerals and the signature have been carefully 'strengthened'. The bezel is in good condition retaining its original clasp. The wooden surround has some slight marking at 9 o'clock (most likely from attempts to lever the bezel open at some point) otherwise is in fine condition. The rear box case is in fine original condition but has a small veneer patch repair to the bottom front edge of the drop-trunk and a small chip to the rear left-hand corner. The right-hand side flap has also possibly been reset using a baton applied to the rear edge for the hinges. Faults are otherwise limited to minor shrinkage and other age-related blemishes; the colour is particularly fine.Timepiece is complete with pendulum, winder and two case keys. Condition Report Disclaimer

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

A LATE VICTORIAN GILT BRASS MINIATURE MANTEL/BRACKET TIMEPIECE WITH FIRED-ENAMEL DIALJUMP, LONDON, CIRCA 1900The four pillar single chain fusee movement with arched plates and anchor escapement regulated by heavy disc bob pendulum with pendulum holdfast to the backplate, the 3.5 inch circular convex white fired enamel Roman numeral dial signed JUMP, 93 MOUNT ST., LONDON to centre and with Arabic fifteen minutes beyond the outer dot minute track, with gilt Breguet moon hands, the heavy cast gilt brass case with hinged carrying handle to the stepped ogee-shaped caddy superstructure and moulded break-arch cornice over full-height front door fitted with a convex glass for the dial and an inset silvered apron panel engraved with an oval cartouche within husk border, the sides with rectangular glazed apertures set within channelled surrounds and the rear with break-arch glazed door, on stepped ogee moulded skirt base with block feet.21.5cm (8.5ins) high with handle down, 13.5cm (5.25ins) wide, 10cm (4ins) deep. Richard Huyton Jump (born 1785) joined the workshop of Benjamin Louis Vulliamy in 1812. Two of his sons, Richard and Joseph, also worked for Vulliamy from 1835 and 1827 respectively. The brothers would have no doubt worked alongside the French master clockmaker Sylvian Mairet who trained under Breguet and also probably got to know James Ferguson Cole who produced a series of 'hump-back' carriage clocks in the Breguet tradition (a form which was later revived by Jump later in the century). Benjamin Louis Vulliamy died in 1854, the following year Joseph Jump, together with a third younger brother Alfred, set-up in business at 1A Bond Street, London as successors to Vulliamy. They were joined by Joseph's son, Henry, who continued working with his father after his uncle Alfred died in 1872; and then by Henry's first son, Henry Percival in 1875. In 1890 the business moved to 55 Pall Mall, In 1897 Henry Jump's second son, Arthur Huyton, joined the firm and they moved to 93 Mount Street, London the following year where they remained until the cessation of the business in 1934. Condition Report: Movement is in relatively clean working condition with no visible evidence of alteration or notable replacements (the pendulum holdfast knob appears to be the only obvious replacement). A precautionary clean/service is advised. The enamel dial has some slight chipping to the winding hole and a small crescent-shaped edge crack at four o'clock otherwise faults appear to be limited to a couple of small patches of dirt/grime. The case is particularly heavy and is in very good original condition retaining old thick hand-burnished fire gilding but with some light rubbing/wear throughout. The panel beneath the dial has overall mellowing and a couple of slight blemishes to the silvering and the rear door glass is broken and incomplete.Timepiece has original pendulum and a winder. Condition Report Disclaimer

* LADY LUCINDA MACKAY (SCOTTISH b. 1941), MADRID CITY CENTRE oil on canvas, signed, titled and dated '17 versoframedimage size 41cm x 51cm, overall size 49cm x 59cm Exhibition label verso: 1 - 15 September 2018, The Torrance Gallery, EdinburghNote: Artist and teacher, notably a draughtsman and painter of portraits, born in Sunninghill, Berkshire, brought up in the family home, Glenapp Castle, Ayrshire. Lady Mackay was the daughter of the 3rd Earl of Inchcape, chairman of the shipping line P&O who also ran Inchape PLC and was director of many other companies. Lucy Mackay was educated in Switzerland, Cambridge and at Edinburgh University and Edinburgh College of Art, 1960–5, under David Talbot Rice and William Gillies, graduating with a master’s honours degree in fine art. In 1973–4 she completed a postgraduate illustration studies year at the Central School of Art and Design. She settled in Edinburgh where she studied advanced botanic illustration at the Royal Botanic Garden, and where as a member of the Scottish Arts Club from 1983 she regularly attended life studies. Mackay began her extensive teaching career in 1966 as art assistant at Edinburgh Academy for Boys; from 1968–76 taught art, design and pottery at schools in the London area; then again in Edinburgh at the Salisbury Centre, 1981–2. In 1999 she joined the register of Angus County’s artists-in-residence for primary schools, serving at several schools. After winning first prize in a portrait painting competition run by the magazine Nursery World, 1953, and exhibiting a prize painting in the Daily Mail competition to celebrate the opening of the Forth Road Bridge, 1964, Mackay took part in many group shows, including the RSA. Among later solo exhibitions were The Italian Institute, Edinburgh, 1991; Torrance Gallery, Edinburgh, 1995, 1998 and 2005; and The Forum, Ocean Terminal, Leith, in aid of the Bethany Trust, 2004. She travelled extensively in several continents with paints and sketch-book. As well as a series of self-portraits Mackay completed many portraits, including Ronald Fletcher, broadcaster, 1968; the Queen’s Counsel Lionel Daiches, 1979–80; singer Ian Caddy, 1980–1; Professor David Daiches with his brother Lionel, 1988–9; the composer and conductor Emre Araci, 1997; and cellist Harriet Johnson, 2000. Her work was held by collections including the Scottish National Portrait Gallery; London College of Music; Royal Over-Seas League; Scottish Arts Club; Barlinnie Prison; and Geffrye Museum.

* LADY LUCINDA MACKAY (SCOTTISH b. 1941), BATMAN IN DIRLETON ink on paper, monogrammed, titled label versomounted, framed and under glassimage size 20cm x 27cm, overall size 36cm x 44cm Exhibition label verso: 1 - 15 September (2018), The Torrance Gallery, EdinburghNote: Artist and teacher, notably a draughtsman and painter of portraits, born in Sunninghill, Berkshire, brought up in the family home, Glenapp Castle, Ayrshire. Lady Mackay was the daughter of the 3rd Earl of Inchcape, chairman of the shipping line P&O who also ran Inchape PLC and was director of many other companies. Lucy Mackay was educated in Switzerland, Cambridge and at Edinburgh University and Edinburgh College of Art, 1960–5, under David Talbot Rice and William Gillies, graduating with a master’s honours degree in fine art. In 1973–4 she completed a postgraduate illustration studies year at the Central School of Art and Design. She settled in Edinburgh where she studied advanced botanic illustration at the Royal Botanic Garden, and where as a member of the Scottish Arts Club from 1983 she regularly attended life studies. Mackay began her extensive teaching career in 1966 as art assistant at Edinburgh Academy for Boys; from 1968–76 taught art, design and pottery at schools in the London area; then again in Edinburgh at the Salisbury Centre, 1981–2. In 1999 she joined the register of Angus County’s artists-in-residence for primary schools, serving at several schools. After winning first prize in a portrait painting competition run by the magazine Nursery World, 1953, and exhibiting a prize painting in the Daily Mail competition to celebrate the opening of the Forth Road Bridge, 1964, Mackay took part in many group shows, including the RSA. Among later solo exhibitions were The Italian Institute, Edinburgh, 1991; Torrance Gallery, Edinburgh, 1995, 1998 and 2005; and The Forum, Ocean Terminal, Leith, in aid of the Bethany Trust, 2004. She travelled extensively in several continents with paints and sketch-book. As well as a series of self-portraits Mackay completed many portraits, including Ronald Fletcher, broadcaster, 1968; the Queen’s Counsel Lionel Daiches, 1979–80; singer Ian Caddy, 1980–1; Professor David Daiches with his brother Lionel, 1988–9; the composer and conductor Emre Araci, 1997; and cellist Harriet Johnson, 2000. Her work was held by collections including the Scottish National Portrait Gallery; London College of Music; Royal Over-Seas League; Scottish Arts Club; Barlinnie Prison; and Geffrye Museum.

A 19th Century coromandle tea caddy fitted with a pair of satinwood domed top compartments, width 25cm, and a similar burr rectangular walnut tea caddy, width 22cm. (2)

An early 19th Century bracket clock by Art Dobson London, single fusee movement with bob pendulum, arch brass dial with silvered chapter ring, in caddy top oak case with glass panel sides, plinth base, height 40cm.

A late 19th century Howell & James ebonised and gilt metal bracket clock, eight day movement, caddy top mounted with pineapple finial, four further pineapple finials to the four corners (front right is loose and needs reattaching), silvered chapter ring with Roman and Arabic numerals, three subsidiary dials with Chime / Silent, Slow / Fast and Chime on Eight Bells / Westminster, name plaque engraved 'Howell & James To The Queen 7 & 9 Regent St. London, eight bells and gong strike, gilt metal sound grilles and rear door, carrying handles to sides, on cast lion paw feet, height 71cm x maximum width 41.5cm x maximum depth 29.5cm, movement over wound, comes with pendulum and key, split to case on both left and right hand sides below silk lined sound frets, damage to rear door with split to lock edge

A box of assorted 19th and 20th century metalware, including an oval copper tea caddy by J.S. & S, six pewter tankards, a pewter water jug with horn handle, assorted cutlery including fish servers with silver bands, cased EPNS tea knives and a silver plated tray (1 box)

A large copper twin handled urn together with a rosewood tea caddy and a pottery jug

A shop display cabinet with a caddy top above a glass back, sides and door with a parquet floor on square legs, 180cm high x 63cm wide x 48cm deep

A mixed lot to include a Boots Hanover Green dinner service, Novelty teapots, a Regency style tea caddy, a tea strainer and other itemsLocation:If there is no condition report shown, please request

A light oak art nouveau rectangular box together with a Georgian mahogany tea caddy with a mother of pearl lock surround, a fitted compartment and a domed lidLocation:If there is no condition report shown, please request

THREE GEORGE III SILVER CADDY SPOONScomprising one example by William Bateman, London 1804, with beaded bowl, bright cut and trifurcated terminal, 9cm long, one probably by John Thropp, Birmingham 1818, of shovel type with bright cut floral and shell decoration, 8.5cm, and one by P.A.W. Bateman, London 1800, the plain bowl with double thread decoration to handle, 1.1 tr.ozs combined weight

A MIDDLE EASTERN WHITE METAL TEA SETwith leaf embossed and engraved bodies, comprising spherical teapot with chained lid, spherical lidded sugar bowl, cream jug and square tea caddy; together with an Edward VII silver egg cup, Sheffield 1909; and a George V silver napkin ring, Sheffield 1910, 7.7 tr.ozs total combined gross weight (6)

A GEORGE III SILVER CADDY SPOON London 1811, attributed to William Eaton (over stamped), of plain form with oval bowl; together with a quantity of mixed silver condiment spoons, 3.5 tr.ozs

AN EDWARD VII SILVER THREE PIECE HARLEQUIN 'TEA SERVICE'with oval part gadrooned bodies, comprising tea kettle, cream jug and sugar basin, the tea kettle by RW, Birmingham, 1905, with shaped ebonised handle, 22cm high, 24 tr.ozs combined gross; together with a similar plated tea caddy; and a plated caddy spoon (5)

A GEORGE III SILVER CADDY SPOONby IT, possibly John Thornton, Birmingham 1802, with circular bowl; together with eight various silver condiment spoons; two silver butter knives, 2.9 tr. ozs combined; and six silver plated Kings pattern teaspoons (17)

A Georgian silver caddy spoon, a pair of silver tongs, a silver cased pocket watch and a set of mother-of-pearl handled tea knives with silver ferrules, in case

A Bridgwater Jersey cream jug, a Royal Crown Devon Pegasus tea caddy and cover, a floral tea service, two stoneware tureens and other decorative table china

An assortment of ceramics, including a Poole pottery shallow dish, a Poole pottery three-division hors d'oeurves dish, a Corona ware tea caddy, etc

A Georgian bright cut silver fluted oval teapot with green stained ivory finial and mahogany handle, 16oz troy gross, the stand 3.5oz troy approx, and a matching oval two-division tea caddy with hinged lid, 15oz troy gross (Ivory Exemption Submission Reference: TS9TTHBP)

A Georgian silver caddy spoon with shell-shaped bowl and monogram

19th Century French brass and shell mechanical perfume or scent caddy, one side with a mother of pearl shell, the other a brass panel embossed with a figure at a window ledge, the inside fitted with a glass and gilt metal lidded small scent bottle, 10cm tall

Mixed Lot: Pair of hallmarked silver trumpet vases, hallmarked Sheffield 1919 makers marks rubbed, 18cm tall (loaded) (a/f), a George V silver photograph frame of rectangular form hallmarked Birmingham 1913 with an ebonised easel back, 18 x 13cm, an Elkington & Co shell bowl caddy spoon, Birmingham 1913, a silver condiment makers marks rubbed (a/f), a small drum mustard and liner, Birmingham 1919 together with a silver backed clothes brush

A Regency mahogany tea caddy, of canted rectangular form, the hinged cover painted with a bridge in a river landscape, with inlaid boxwood trailing foliate detail to the edge, opening to a silvered paper lined interior, upon bun feet, 11cm H x 20cm W x 11cm D

Hallmarked silver cutlery including Arts and Crafts style caddy spoon, London 1988, maker's mark PR, 1897 Victoria Jubilee commemorative example, golf spoons, butter knives, a pair of fiddle pattern sugar tongs and a Dutch silver fork, weight of all items 243g

Aberfeldy and Loch Eck mauchlineware boxes, Stirling Castle ring box, rosewood tea caddy and an inlaid box, width of largest 24.5cm

A pair of Chinese vases 19thC famille rose dish, caddy etc, tallest 35cm

A collection of silver flatware, comprising; three provincial dessert spoons, stamped 'JM' 'JM', a George III sauce ladle, a caddy spoon, two salt spoons, two butter knives, two teaspoons, a further dessert spoon, a preserve spoon, two cased sets of six teaspoons, a cased set of six cocktail sticks (one lacking bead finial), two pairs of silver sugar tongs, an engine turned ash tray and a silver circular liner, total weight approx 21.4oz, together with a plated butter knife (a lot)

A Hanau silver tea caddy, import marks for Samuel Boyce Landeck, Sheffield, of bombe form with figural decoration of courting couples and cast lion finial to the cover, 14.5cm high, weight approx 7.1oz

An Edwardian silver tea caddy, William Adams Ltd, Birmingham 1903, of quatrefoil form with two lion mask loop handles, raised on three feet, 12.5cm high, weight approx 7.2oz

An Edwardian silver tea caddy, Williams Ltd, Birmingham 1902, of cylindrical form with embossed decoration, 10.5cm high, weight approx 5oz

A 18thC walnut veneered tea caddy, 23 X 14 X 15cm.

A Regency mahogany tea caddy, of sarcophagus form with brass handles and raised on turned wooden feet, opening to a fitted interior with one bone handle. Height 19 cm, width 29 cm, depth 15 cm.

A Georgian silver caddy spoon, with shell shaped bowl, marked to rear with date letter H a lion and the initials IL. Weight 10 grams.

A George III horseshoe shaped caddy spoon, Birmingham 1806 makers mark partially rubbed, together with a collection of miscellaneous silver flatware and four serviette rings.

A Chelsea Series tin "Students Colour Box", together with a mahogany writing slope containing a quantity of oil paints and a rosewood tea caddy.

A mixed lot comprising warming pan, copper curtain rails, two violin bow, tea caddy, Chinese carved wood stand and a bugle with wicker case.

A REGENCY ROSEWOOD SARCOPHAGUS SHAPED TEA CADDY WITH HINGED LID ON BUN FEET

A QUANTITY OF SILVERPLATE TO INCLUDE A WINE EWER, A JAMES DIXON & SON HINGED BISCUIT JAR/TEA CADDY, SAUCE BOAT, ETC.,

A COLLECTION OF DECIMAL AND PRE-DECIMAL COINS FOR BRITAIN AND OVERSEAS, IN A VINTAGE TEA CADDY

Silver plated sugar caddy and rose bud vase, tallest 18cm (h) / All lots are located at Gower Reclamation, Unit 17b, Crofty Industrial Estate, Gower, Swansea, SA4 3RS. Regretfully Wellers are unable to offer any type of shipping, please see our important information for collections information.

A mid-century oak two-leaf folding tea caddy with platform underneath, on original casters, 70cm (h) x 87cm (w) x 62cm (d) / All lots are located at Gower Reclamation, Unit 17b, Crofty Industrial Estate, Gower, Swansea, SA4 3RS. Regretfully Wellers are unable to offer any type of shipping, please see our important information for collections information.

A Collection of Silver Spoons and a Sauce Ladle , comprising : serving spoon marked London 1800, another serving spoon marked London 1819, a caddy spoon marked London 1837, another spoon marked Dublin 1835?, another spoon marked Edinburgh 1843 and a sauce ladle marked 1852. (6) 

Miscellaneous blue and white transfer printed tea and dinner ware, c.1790-1820, to include a stoneware urnular sauce tureen and cover and stand and a tea canister and cover, various sizes and marks (10) Sauce tureen with two minor chips and cover with surface chip to underside of rim, stand with surface chip to underside of rim, tea caddy cover with chip to interior rim, milk jug with wear to glaze around rim and spout

A silver caddy spoon with wirework handle, 90mm l, unmarked, a silver tea strainer, wood handle, Birmingham 1961, and a Victorian glass intaglio, probably the head of William Pitt the Younger, in maroon morocco case (3)

A Worcester fluted ovoid tea caddy and cover, c.1780, painted with sparse flowers, 15cm h Chip to flower knob, hairline crack to interior rim of cover