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A GEORGE III OAK THIRTY-HOUR LONGCASE CLOCKPhilip Avenell, Farnham, circa 1770The four pillar countwheel bell striking movement with anchor escapement regulated by seconds pendulum, the 10 inch square brass dial signed in fine copperplate script Phil'p Avenell, Farnham to the foliate scroll engraved centre within Roman applied Roman numeral chapter ring with fleur-de-lys half hour markers, with scroll pierced iron hand and rococo scroll cast spandrels to angles, the case with cavetto conduce over three-quarter columns applied to the hinged glazed dial aperture to hood over trunk with concave throat moulding and rectangular caddy-moulded door over plain plinth base with moulded skirt.198cm (78ins) high, 47cm (18.5ins) wide, 25.5cm (10ins) deep. Philip Avenell is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Farnham in 1765 then London 1775.  

A FINE GEORGE III MAHOGANY BAYONET-TUBE MERCURY STICK BAROMETER WITH LARGE SCALE THERMOMETERNairne and Blunt, London, circa 1780 The arched-top caddy moulded case inset with glazed hygrometer inscribed DAMP DRY and with beard setting square beneath over concave-topped silvered Vernier scale calibrated in barometric inches to the right hand margin opposing weather observations to the left, the upper margin signed Nairne and, Blunt, London and the lower edge decorated with an engraved leafy scroll flanked cavetto-shaped angles, the trunk applied with full-height silvered-scale mercury thermometer calibrated in Fahrenheit with scale divided in degrees annotated 0-120 opposing markers inscribed Freezing, Temperate, Sum'r Heat, Blood Heat and Fever Heat over spiral pierced brass bulb shield and circular base applied with half sphere cistern cover incorporating sleeved level adjustment screw to underside. 108cm (42.5ins) high. The collaboration between Edward Nairne and his former apprentice Thomas Blunt is recorded in Banfield, Edwin BAROMETER MAKERS AND RETAILERS 1660-1900 as established in 1774 and lasting until 1793. Edward Nairne was born in 1726 and apprenticed to the celebrated instrument maker, Matthew Loft, in 1741. Latterly he worked from 20 Cornhill and published numerous booklets on navigational, pneumatic and astronomical instruments. In 1776 Nairne devised a marine barometer with a restriction to the bore of the mercury tube which served to dampen the oscillation of the mercury, he was elected Fellow of the Royal Society in 1776 and died 1806. Thomas Blunt was apprenticed to Edward Nairne in 1760 with whom he formed a loose partnership in 1774, perhaps for mutual convenience as his premises were next door to Nairne's at 22 Cornhill. Blunt designed some of the components for the 'New Barometer' devised by the Portuguese Scientist J.H. Magellan for measuring altitude, and latterly became instrument maker to George III. In 1793 he took his son, also named Thomas, into partnership and subsequently relocated to 136 Minories in 1814, he died in 1822. A small group of bayonet-tube stick barometers incorporating a large scale thermometer by Nairne and Blunt are known. These include an example in The Whipple Museum, Cambridge (illustrated in Goodison, Nicholas English Barometers 1680-1860 on page 186, Plate 124); another previously in the collection of Edwin Banfield is illustrated in his publication BAROMETERS, Stick or Cistern tube on page 75 and a third was also sold in these rooms on 15th March 2018 (lot 38) for £3,200 hammer. These three differ from the current lot in that they do not have a hygrometer fitted however an example which also includes a hygrometer, hence is very closely comparable with the current lot, was sold at Lyon and Turnbull, Edinburgh, 19th May 2021 in their sale titled Five Centuries: Furniture, Paintings & Works of Art (lot 123) for £4,000.Condition Report: The tube is filled with mercury with no apparent airlocks. The register plates/scales have overall patchy discolouration and tarnishing to the silvering otherwise are in fine original condition with the delicate engraving showing very little wear suggesting that the plates have not been re-silvered many times in the past. The wheat beard to the hygrometer is currently detached otherwise is in good condition with the adjustment mechanism intact and working. The thermometer is in good condition; the brass fittings are however somewhat discoloured/tarnished. The case is in good original condition showing old but relatively flat surface with some wear mainly to the dome of the cistern cover. There is no key present to the hygrometer or level adjustment squares. Condition Report Disclaimer

AN EDWARDIAN BRASS INLAID MAHOGANY QUARTER-CHIMING BRACKET CLOCKWebster, London, circa 1910The four pillar triple chain fusee movement with anchor escapement regulated by lenticular bob pendulum chiming the quarters on a graduated nest of eight bells and sounding the hour on a further larger bell, the 7.5 inch circular silvered brass Roman numeral dial engraved Webster, EST'D 1711 to centre and with pierced steel trefoil hour hand set behind hinged cast brass bevel-glazed bezel, the case with hinged brass carrying handle to the domed caddy superstructure over cavetto and cushion moulded top mouldings and front inlaid with shaped brass-line panel infill around the dial, the sides with foliate strapwork cast rectangular frets incorporating male terms to centre and the rear with rectangular brass grille inset door, on cavetto and ogee moulded skirt base with gilt brass disc feet.51cm (20ins) high excluding handle, 35cm (13.75ins) wide, 21cm (8.25ins) deep. The current lot would have been made by Richard Webster Limited which was the final incarnation of the famous Webster family of London Clockmakers established by William Webster in 1710. William Webster is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as apprenticed to Thomas Tompion and gaining his Freedom from The Clockmakers' Company in 1710, he initially worked as journeyman to Tompion later setting up business in Exchange Alley; he died in 1734. The firm passed through three successive generations, all of which were accomplished horologists before passing to Richard Gofrey Webster in1882. In 1904 the business became a limited company and ceased trading shortly after the outbreak of WWI in 1914.Please note: clock strikes the hour on a gong rather than a bell as indicated in the catalogueCondition Report: Movement is complete and appears free from visible alteration or noticeable replacements. Although the mechanism is running/striking/chiming it is generally a little dirty/neglected hence a gentle clean/service is required. The dial has overall mellowing/tarnishing to the silvering. All three winding squares as well as the centre arbor are slightly off-centre within their respective holes/apertures (down lower right a fraction) which suggests that the dial feet are very slightly misalined/bent. Case is in good original condition with faults limited to minor bumps, scuffs, shrinkage and wear commensurate with age; the surface is somewhat dull/neglected hence would benefit from a polish/refinishing.Clock has pendulum and case key but no winder. Condition Report Disclaimer

A FINE QUEEN-ANNE BURR WALNUT EIGHT-DAY LONGCASE CLOCKJohn Clark, London, circa 1710The five finned pillar inside countwheel bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch square brass dial with subsidiary seconds dial, foliate border engraved calendar aperture and ringed winding holes to the finely matted centre within applied silvered Roman numeral chapter ring with stylised sword hilt half hour markers, Arabic five minutes to outer track and signed John Clark, London to lower edge, with scroll pierced steel hands and unusual spandrels each cast as a pair of cherubs holding aloft a mask, in a walnut case with gilt ball-and-spire finials to the domed caddy surmount above moulded cornice and foliate pierced fret to frieze, three-quarter columns with giltwood caps and bases to the glazed hood door, the sides with rectangular windows and rear quarter columns each set against bargeboard rising up to the underside of the cornice projection, the trunk with convex throat above 42 inch rectangular door with finely figured book-matched veneers within herringbone and crossbanded borders, the sides with single panels within crossbanded surrounds, the plinth base with ogee top moulding and conforming herringbone-bordered crossbanded veneered panel to front over later moulded skirt.239cm (94ins) high excluding finials, 51cm (20ins) wide, 26cm (10.25ins) deep. Provenance: The Selwyn Demmy Collection. Four makers named John Clarke are recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as working in London during the latter decade of the 17th century, however there is only one who would have appeared to have remained in business until around/after 1710. It is therefore most likely that the current lot was made by John Stanford Clark(e) who is recorded by Loomes as born in 1672 and apprenticed to Thomas Jones in 1683 gaining his freedom of the Clockmaker's Company in 1693. In 1697 John Stanford Clark(e) signed the Clockmakers' Company oath of allegiance in 1697 and took several apprentices between 1696 and 1718 hence was working at least until around 1720.Condition Report: Movement is in relatively clean working condition although a precautionary clean and overhaul is advised if intending to put the clock into long term service. There is no visible evidence or alteration or significant replacements although the escapement pallets are most likely service replacements (due to wear) and the pendulum crutch has been repaired. The dial is in good condition with noticeable faults limited to patchy discolouration/tarnishing to the silvered finishes of the chapter and seconds ring. The movement retains what appears to be its original seatboard which rests on blocks approx. ¾ inch thick applied to the top of each cheek. Although the presence of such blocks would normally suggest that the movement and dial are most likely not original to the case those present on the current case appear to have always been there and have witness marks from nails/screws which correspond to the seatboard hence on balance we are of the opinion that they are most likely 'an original feature' hence the movement and dial are probably original to the case.The case is generally in fine condition having most likely been cosmetically restored within the last thirty years or so. The caddy superstructure to the hood is joined to the rest of the structure along the top edge of the cornice however does appear to be of the same age and of commensurate construction as the rest of the case hence is possibly original. The finials and blocks are replacements and the centre one is currently detached. The cornice ogee upper edge mouldings have been replaced to both sides, the front fret has been repaired and the left fret has a thumb-sized hole. There is a small less to the lip moulding beneath the left hand hood pilaster otherwise the hood is in fine condition with only a few minor age related blemishes.The trunk and base are in fine condition. The trunk door retains its original lock and hinges and has the usual slight shrinkage cracking to the veneers toward the upper and lower margins (due to slight shrinkage of the panel against the horizontal 'clamps' applied to the top and bottom). The veneers to the base appear original as does the structure with the backboard continuing almost to the floor; there is evidence of old damp damage to the lower part of the board and the bottom four inches of each side of the box of the base would appear have had veneers renewed probably due to becoming damp at some point. The skirt is most likely a 19th century replacement. Case is generally a fine survivor and of good colour with other faults mainly limited to minor bumps, scuffs and other age related blemishes. Overall the clock is in fine 'take home' condition and would appears to be a particularly original example complete with pendulum, two brass-cased weights, two case keys and a winder. Condition Report Disclaimer

A FRENCH GILT BRASS REPEATING CARRIAGE CLOCK Achille Brocot, Paris, late 19th centuryThe two train eight-day bell striking movement with silvered platform lever escapement and stamped with A B oval star trademark over serial number 100 to backplate, the rectangular white enamel dial with Arabic five minutes to outer track and gilt moon hands, the frosted gilt bevel-glazed corniche case with hinged carrying handle over cavetto top mouldings, caddy moulded angles and skirt base.13cm (5ins) high excluding handle, 8.5cm (3.375ins) wide, 7.5cm (3ins) deep. Provenance : The estate of Lawrance Hurst. Achille Brocot is recorded in Allix, Charles and Bonnert, Peter CARRIAGE CLOCKS, Their history and development as born in 1817 and died in 1878.The Museums Victoria (Australia) website notes that Achille patented several improvements in clock mechanism escapements, and invented the 'Brocot Suspension', an adjustable pendulum spring which enabled time keeping to be regulated by altering the length of the pendulum suspension spring by a key turned in the dial. He also introduced a jewelled deadbeat escapement, sometimes called a visible escapement as it was often mounted in the middle of the dial. Achille was awarded a first class medal at the Paris Exhibition in 1855, and in 1856 was appointed Treasurer to La Société des Horlogers in Paris. He published a 'Calculation of the Wheels by Approximation' in 1862. His sons Achille and Paul continued the business following Achille senior's death 1878. The firm was taken over by rival clock maker Gustave Gibaudet in 1889. 

A GEORGE III MAHOGANY LONGCASE CLOCK WITH MOONPHASE, CONCENTRIC CALENDAR AND CENTRE SECONDSJohn Wyke, Liverpool, circa 1770The four pillar rack and bell striking movement with centre-planted Graham-type deadbeat escapement regulated by seconds pendulum, the 13.25 inch brass break-arch dial incorporating additional brass sweep centre seconds and pierced concentric calendar hands to the foliate scroll engraved matted centre within applied silvered Roman numeral chapter ring engraved with days-of-the-month to inner track and with Arabic five minutes to outer, with scroll-pierced steel hour and minute hands and female mask and scroll cast spandrels to angles, beneath arch with rolling moonphase calibrated with age of the moon to the circumference and with silvered star overlays to the delineated sphere engraved lunettes beneath arched silvered nameplate engraved JOHN WYKE LIVERPOOL to upper margin, the case in the manner of Gillows with cavetto moulded swan neck pediment, gilt scroll decorated blue glass panel inserts and break-arch frieze over the hinged glazed dial aperture flanked by square-section reeded Corinthian columns, the sides with conforming pilasters planted towards the rear, the trunk with dentil-edged concave throat and blind fretwork frieze over shaped-top caddy-moulded door flanked by fluted quarter-columns, the plinth base with stepped ogee top mouldings over shaped panel to front flanked by canted angles decorated with simulated quoins, on ogee bracket feet.246cm (97ins) high, 61cm (24ins) wide, 30.5cm (12ins) deep. Provenance: The Selwyn Demmy Collection. John Wyke of Prescott and Liverpool is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as born in Prescott in 1720 and working up until 1787. His life and work is much more comprehensively described by Alan Smith in the preface of Wyke, John A CATALOGUE OF TOOLS FOR WATCH AND CLOCK MAKERS facsimile reprint of the late 18th century catalogue published for The Henry Francis du Pont Winterthur Museum by the University Press of Virginia, Charlottesville in 1978. Smith notes that Wyke was established in Prescott by 1753 and by 1759 was preparing to move to Liverpool where he was sworn in as a burgess in 1761. Shortly after moving to Liverpool Wyke became associated with other enlightened individuals such as fellow clockmaker and polymath Joseph Finney and the Liverpool merchant, Thomas Bentley of 'Wedgwood and Bentley' fame. Bentley in-turn introduced Wyke to Josiah Wedgewood who was looking for a suitably skilled toolmaker to supply punches and other tools for the potting trade. During this period Wyke's workshop established itself as a leading supplier of tools to the horological and other trades, indeed Smith notes that he supplied tools to the eminent engineer James Watt in 1767.In around 1770 John Wyke took in fellow clock and watchmaker Thomas Green into partnership; Green had been working for Wyke as foreman up to this point hence was seen as a natural successor. Wyke's health went into decline from around 1783 and he died at home in Liverpool in 1787 leaving Thomas Green to continue the business which he did until after 1800. The current lot is very much a typical example of Wyke's work (albeit with additional refinements of centre seconds and concentric calendar) and can be compared to two examples illustrated by Smith in the aforementioned publication on pages 8 and 9 (Figures 8-11).Condition Report: The movement is in relatively clean working condition with no evidence of alteration or significant replacements. The dial is in good clean condition with only very slight tarnishing/discolouration to the silvered finishes in places; the lunar disc retains original painted finish with slight wear/rubbing only. The movement and dial sit on what appears to be the original seatboard onto uprights (cheeks) within the case which are free from visible alteration/adjustment hence in our opinion the movement and dial are most likely original to the case. The case is generally in good original condition. The superstructure of the hood appears to survive in its original form (there is no evidence of a box or any other type of structure being previously fitted) and looks undisturbed. The infill to the front of the pediment is blue glass painted with gilt scrollwork - this is most likely a replacement as the original was most likely verre-eglomise. The inside of the hood has had some strengthening/re-gluing around the dial mask - this is most likely die to the mask becoming a little loose hence not indicative that the movement and dial have been married to the case.The trunk and base are in good original condition, the trunk door lock and hinges have been replaced otherwise faults are very muck limited to minor bumps, scuffs, shrinkage (most noticeably within the figuring of the trunk door veneers) and other slight age related blemishes commensurate with age and use.Clock has pendulum, two weights, pendulum, case key and winder. Condition Report Disclaimer

A MAHOGANY MINIATURE LONGCASE TIMEPIECE WITH PASSING STRIKE AND MOONPHASEThe dial signed for Thomas Far, Southampton, early 19th century and laterThe early 19th century movement with four-wheel train, shouldered plates, anchor escapement regulated by 21 inch pendulum and sounding each hour with a single blow on bell mounted above the plates, the 6 inch brass break-arch dial inscribed Tho's Far, Southampton to the silvered centre within applied silvered Roman numeral chapter ring with cruciform half hour markers and Arabic five minutes to outer track, with scroll-pierced blued steel hands and Indian mask and scroll cast spandrels to angles beneath arch with rolling moonphase incorporating terrestrial sphere engraved lunettes and curved silvered scale annotated for age of the moon to the upper margin, now in a later case with swan neck pediment over hinged glazed dial aperture flanked by Corinthian columns with brass caps and bases to hood, the trunk with stepped ogee throat moulding over shaped-top caddy moulded door flanked by quarter columns to trunk, on plinth base with conforming top mouldings and canted angles over bracket feet, together with a further stained oak separate box-shaped plinth.149cm (58.75ins) high excluding additional plinth, 32cm (12.5ins) wide, 20cm (8ins) deep. Provenance: The Selwyn Demmy Collection. Thomas Far of Southampton does not appear to be recorded in the usual sources however the movement and possibly the dial of the current lot would appear to date from the early 19th century. 

A DECORATIVE MAHOGANY AND FLORAL MARQUETRY QUARTER-CHIMING EIGHT-DAY LONGCASE CLOCKThe dial signed for Henry Lane, Bristol, late 19th century incorporating earlier elementsThe four pillar triple-train movement chiming the quarters on a graduated nest of eight bells and rack striking the hour on a further larger bell, the going train with anchor escapement regulated by seconds pendulum, the 12 inch brass break-arch dial with subsidiary seconds dial and calendar aperture to the foliate trail engraved matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers, Arabic five minutes to outer track and inscribed Henry Lane to lower margin, with scroll-pierced steel hands and female mask and scroll cast spandrels to angles beneath rolling moonphase to arch with scroll engraved lunettes beneath silvered outer border calibrated with the age of the moon beneath inscription HIGH WATER AT BRISTOL KEY in a case with fretwork swan neck pediment over geometric carved cornice and floral marquetry infill to the quadrants above the hinged glazed dial aperture with integral three-quarter columns to front angles, the sides with rectangular brass grille frets and quarter columns set against bargeboards at the rear, the trunk with shaped-top caddy moulded door inlaid with shaped panels of 17th century style bird inhabited flowering foliage into a rosewood ground, the surround with conforming decoration to upper quadrants, the plinth base fronted with a conforming marquetry panel over ogee bracket feet.242cm (95.25ins) high, 51cm (20ins) wide, 28cm (11ins) deep. Provenance: The Selwyn Demmy Collection. The current lot appears to be a late 19th century rebuild (with augmentations to the movement and case) of a clock originally by Henry Lane of Bristol who is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London then Bristol 1775-97.

A FINE FRENCH GRANDE-SONNERIE STRIKING AND REPEATING CARRIAGE CLOCK WITH ALARML. Leroy et Cie, Paris, circa 1900The eight-day two train movement ting-tang striking the quarters on a graduated pair of gongs and sounding the hour every quarter hour on the larger of the two, with silvered platform lever escapement regulated by spring split bimetallic balance, the left hand end of the backplate engraved L. LEROY 7 Cie, 7 B'd DE LA MADELEINE. PARIS and the centre numbered 16630 over further stamped number 34494 to lower left hand corner, the circular cream enamel Arabic numeral dial indistinctly inscribed L. LEROY & Cie, Horlogers de la..., Paris to centre and with blued steel spade hands set within a frosted rectangular gilt mask incorporating conforming alarm setting dial to lower margin and with canted surround, the case with hinged reeded carrying handle to the generous caddy-moulded top incorporating projections at the angles for the reeded three-quarter column corner uprights, on stepped cavetto moulded skirt base with concave feet, the underside with three-position strike selection switch labelled SONNERIE/SILENCE/G'DE SONNERIE, with original red velvet lined tooled morocco leather covered outer carrying case applied with pierced silver monogram F. M. V. to lid.16.5cm (6.5ins) high excluding handle, 11.5cm (4.5ins) wide, 10cm (4ins) deep; the leather case 18cm (7ins) high. Provenance: Purchased new by Florence Mary Venables in London around 1900 thence by family descent to the present owner. The firm of 'Leroy et Cie' can be traced back to 1785 when the business was founded by Basille Charles Le Roy at 60 Galerie de Pierre, Palais Royal, Paris. During the Revolutionary years the firm relocated to 88 Rue de L'Egalite before finally settling at Galerie Montpensier, 13 and 15 Palais Royal. In 1828 Basille Charles died leaving the business to his son, Charles-Louis, who continued producing clocks signed 'Le Roy & Fils' until 1845 when the firm was sold to his former employee Casimir Halley Desfontaines; who in turn was succeeded by his son M. George Halley Desfontaines in 1883. In 1888 M. George Halley died leaving the business to his brother Jules Halley who then took-in as a partner Louis Leroy (apparently no relation to the founders of the firm). In 1899 the firm left Palais Royal and moved to Boulevard de La Madeleine where it continued trading in the hands of various successors until well into the 20th century. The current lot would have been made very shortly after L. Leroy et Cie's relocation to 7 Boulevard de La Madeleine in 1899. The robust but restrained architectural style of the case is very much in the 'English' fashion hence it is likely that the clock was made for retail in London; where it was indeed purchased new by the great grandmother of the present owner. Another clock by Leroy et Cie (number 19484) in a closely related case is illustrated in Roberts, Derek CARRIAGE and Other Travelling CLOCKS on page 218 (Figure 13-19).  

A DUTCH WALNUT AND MARQUETRY EIGHT-DAY QUARTER-CHIMING LONGCASE CLOCK WITH MOONPHASEThe dial signed for Jan Bernink, Amsterdam, mid 18th century and laterThe four columnar pillar triple-train movement chiming the quarters on a graduated nest of eight bells and rack striking the hour on a further larger bell, the going train with anchor escapement regulated by seconds pendulum, the 10.5 inch brass break-arch dial with foliate scroll engraved panels to the matted centre within applied silvered Roman numeral chapter ring with elaborate scroll half hour markers, arcaded minute ring and signed JAN, BERNINK, AMSTER, DAM to lower margin, with scroll pierced blued steel hands and spandrels cast as figures emblematic of the four seasons to angles within a gadroon-engraved border, the arch with rolling moonphase with figural decorated lunettes and calibrated for the age of the moon to the circumference of the disc within fine sailing ship and figure engraved silvered arched border, in a case with carved giltwood Atlas and Angel figural finials to the break-arch cornice centred with a foliate carved crest and with blind fret frieze over integral three-quarter columns applied to the foliate trail inlaid hinged glazed dial aperture, the sides with break-arch windows within conforming borders and bargeboards at the rear, the trunk with leaf decorated concave throat moulding over break-arch caddy moulded door inlaid with musical trophy over bird inhabited vase of flowers with scroll cast lenticle aperture between, the surround with foliate upper quadrant infill and line border and the sides further decorated with foliage, the plinth base with repeating lozenge inlaid concave top moulding and decorated with further musical trophy to front, on conforming decorated concave skirt with bun feet, (movement largely reconstructed during the 19th century). 229cm (90ins) high excluding figures, 43cm (17ins) wide, 25cm (9.75is) deep. Provenance: The Selwyn Demmy Collection. Jan Bernink is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Amsterdam circa 1720-50.Condition Report: As catalogued the movement has been extensively reconstructed/rebuilt most likely during the second half of the 19th century hence trains would appear to be a mixture of 18th century and 19th century work; the movement pillars are 19th century are is the back and fly cocks. The movement is essentioally in relatively clean working condition however a precautionary gentle clean/service is advisable if intending to put into service. The dial is in good original condition; there is a historic and very well executed repair to the lower margin of the lower winding hole which may be indicative of there once being a calendar aperture beneath the third hole. The silvering to the arch is worn particularly to the lower edge and the chapter ring has a general patchy discolouration and wear. The lunar disc has some wear to the painted finish otherwise is in good condition. The movement rests on an old seatboard at the correct level within the case which when coupled with the unusual dial size would suggest that the movement and dial (when first built!) were original to the case.The case is generally in good original condition with no apparent significant issues but does exhibit historic bumps, scuffs, shrinkage and other age related blemishes. The figural finials and blocks are relatively recent replacements; the dowel for supporting Atlas is currently snapped. The concave skirting around the base has some wear to the leading edge veneers.Clock has pendulum, weights, case key and winder. Condition Report Disclaimer

A WALNUT AND FLORAL MARQUETRY EIGHT DAY LONGCASE CLOCKThe movement and dial by Mark Hawkins, Bury St. Edmonds, mid 18th century; the case Dutch mid-to late 18th centuryThe five pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch gilt brass dial with star-decorated subsidiary seconds dial, foliate border engraved calendar aperture, ringed winding holes and applied silvered nameplate signed Mark Hawkins, St. Edmonds Bury to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to outer track, with scroll-pierced blued steel hands and gilt female mask and scroll cast spandrels to angles, now in a case with carved giltwood Atlas and Angel figural finials to the bird and floral trail inlaid concave-sided 'pagoda' pediment over parquetry banded break-arch cavetto cornice and integral leafy trail inlaid three-quarter columns applied to the chevron-strung hinged glazed dial aperture, the sides with rectangular windows within conforming borders and bargeboards at the rear, the trunk with leaf decorated concave throat moulding over rectangular caddy moulded door inlaid with tied ribbon over bird inhabited floral infill enveloping circular lenticle aperture to centre within chevron-strung border, with conforming decoration to the slender canted front angles and the sides further decorated with foliage, the plinth base with stepped-ogee top moulding and further marquetry panel to fascia flanked by scroll outline canted projections decorated with putti, scrolls and floral trails to angles, on lions paw feet.247cm (97ins) high, 67.5cm (27.5ins) wide, 33cm (13ins) deep. Provenance: The Selwyn Demmy Collection. Mark Hawkins senior is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working from circa 1701-50; his son of the same name was born in 1706 and followed his father into the clockmaking trade working until his death in 1767. Please note: Although the structure of the case of the current lot has age, hence probably dates to the 18th century, the veneer/marquetry are possibly 20th century. Hence the case is describes as 18th century and later.Condition Report: Movement is in reasonably clean working condition and appears free from alteration or significant replacements although the escapement pallets are probably 19th century 'service' replacements. The dial is in good original condition with overall tarnishing mellowing to the silvering and brass finishes. The movement rests on an old seatboard directly onto the side uprights of the trunk (cheeks).The case appears to have age hence would seem to be essentially 18th century however the veneers could well be 20th century as they are a little thin and exhibit next to no shrinkage or lifting. The case is generally in good overall condition but with some bumps, scuffs and bruises. The trunk door lock is a little loose and the surface finish is generally flat/weak hence would benefit from the attention of a good furniture finisher. The figural finials are most likely 20th century and are in good condition but with fairly dull/flat gilt painted finish.Clock is complete with pendulum, two weights, case key and winder. Condition Report Disclaimer

Y A FINE LOUIS XV BOULLE BRACKET CLOCKJulien Le Roy, Paris, mid 18th centuryThe two train going barrel movement with four knopped pillars pinned through the backplate enclosing large diameter spring barrels and five wheel trains, the going train now with anchor escapement regulated by lenticular bob pendulum, the strike train with vertical hammer arbor sounding on a bell mounted within the superstructure of the case and numbered countwheel mounted to the right of the backplate over signature Julien LeRoy, AParis to lower margin, the 9.5. inch circular thirteen piece cartouche numeral dial with convex white enamel centre inscribed JULIEN LE ROY DE LA, SOCIETE DES ARTS within chapter ring with shaped blue-on-white enamel Roman hour numerals within rococo borders and every minute numbered to outer track, with trip-hour lever at nine o'clock and sculpted blued steel hands, the engraved cut brass and brown shell marquetry decorated waisted case with substantial surmount cast as Juno and the eagle set on a gadroon-cast caddy to the concave-sided superstructure veneered with leafy scroll decoration and applied with foliate mounts to angles, over generous rocaille scroll cast arched cornice to front with brass-framed arched glazed door enclosing marquetry decorated floor and back panel to interior and incorporating cast panel with further eagle and foliate strapwork to apron, the surround decorated with leafy scrolls within line border, the sides with recessed arched windows within repeating leaf cast brass surrounds over hipped swollen base sections further decorated with marquetry panels, on generous scroll cast feet with foliate apron between; with a wall bracket of ogee-outline veneered in contra-parti with scrolling foliage over gadrooned panels with pendant infill flanked by female mask and acanthus cast front angle mounts, the base with ogee shaped acanthus cast band over leafy bud pendant finial.The clock 86cm (34ins) high, 39.5cm (15.5ins) wide, 16cm (6.25ins) deep; the clock and wall bracket 109cm (47ins) high overall. Provenance: The property of a private collector, north London. Purchased at Bonhams, London sale of Fine Clocks 8th July 2015 (lot 94) for £4,000. Julien LeRoy was born in Tours and was trained as a clockmaker by his father before moving to Paris in 1699 where he was apprenticed under Le Bon. During his apprenticeship it is said that LeRoy completed a watch in eight-days; he became a Master in 1713 and set up a workshop in the rue de Harlay, off la place Dauphine, where the most eminent 18th century Parisian clockmakers also worked. LeRoy was also a co-founder of the Société des Arts set-up to promote horological knowledge and served as juré 1735 to 1737. In 1739 he was appointed 'Valet de Chambre, Horologer du Roi', and granted premises in the Louvre. LeRoy however chose not to relocate there and remained at rue de Harlay sending his son, Pierre to work there instead. Julien Le Roy's contribution to horology was substantial and included regulators that showed mean and true time, an exemplary example of which is at the Hôtel des Missions Etrangères. Le Roy also resolved many problems to do with watchmaking to ensure they were easier to construct and simpler to maintain. One aspect was his adoption of George Graham's cylinder, which eventually resulted in reducing the watch's thickness. He also worked alongside Henry Sully to develop longitude timepieces and, unlike many, freely shared his ideas with his contemporaries. Julien LeRoy continued at rue de Harlay until his death in 1759 and can be credited as being pivotal in reversing the decline of French watch and clock making which had taken place at the start of the 18th century. The presence of the text 'SOCIETE DES ARTS' alongside Julien LeRoy's signature to the centre of the dial of the current lot would suggest that it was most likely made during the time he served as juré (1735-39) for the organisation.Condition Report: As catalogued the movement has been converted from verge escapement to anchor escapement hence the escape wheel and pallets are not original otherwise the mechanism appears to have survived in fine original condition with no other visible alterations or significant replacements. The movement is in working condition however as it is a little dirty/dusty and clean and overhaul is advised; the head for the hour-bell hammer is missing. The dial is in fine original condition with the only noticeable faults being some slight enamel chipping . The case is in good original condition with no significant losses to the brass marquetry and only a small section of tortoiseshell veneer missing from the upper edge of the right hand side of the superstructure. Although there are no significant losses the brass marquetry is noticeably lifting to the both the curved sections to the sides beneath the windows and to a lesser extent above the windows and to the sides of the superstructure; the rear door also has some slight lifting to the inside surface. The tortoiseshell veneers generally has some light 'blooming' to the surface, the mounts generally retain much of their gilding but with wear to t high spots; the figural surmount has more noticeable tarnishing, wear and discolouration. Faults to the case are otherwise limited to age related bumps, scuffs and shrinkage.The bracket has some noticeable lifting to the front veneers with additional noticeable localised losses to the left hand side. The upper moulding to the left hand side is currently detached. Although well-matched the bracket is probably not original to the clock.Clock has pendulum, case key but no winder. Condition Report Disclaimer

A GEORGE III FIGURED MAHOGANY TRIPLE PAD-TOP TABLE CLOCKAlexander Wilson, London, circa 1775The five pillar twin fusee bell striking movement with anchor escapement regulated by lenticular bob pendulum incorporating rise/fall regulation to suspension, the backplate engraved with symmetrical foliate strapwork around a central basket motif, the 7 inch brass break-arch dial with curved false bob and calendar apertures to the finely matted centre within applied silvered Roman numeral chapter ring incorporating Arabic five minutes to outer track, with scroll-pierced steel hands and rococo scroll cast spandrels to angles, arch with twin subsidiary regulation and Strike/Silent dials beneath applied silvered signature plate engraved Alex.r Wilson, London and with foliate engraved infill to lower margins, the break-arch case with hinged brass carrying handle and three raised caddy moulded panels to the top surface over double cavetto top mouldings and break-arch glazed front door applied with raised mouldings around the dial aperture and with caddy moulded front angles, the sides with arched brass fish scale sound frets and the rear matching the front, on cavetto moulded skirt base with brass bracket feet.40cm (15.75ins) high excluding handle, 29cm (11.5ins) wide, 19.5cm (7.75ins) deep. Provenance: Purchased from Dando Brothers, Bath in 1944 for £48. Alexander Wilson is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working from Drury Lane, London before 1772 and was a freeman of the Clockmakers Company 1781-94.Condition Report: Movement is in clean working condition; the escapement has been converted from verge to anchor albeit with minimal intervention to the plates (ie. has only a very small slot cut to the centre of the top plate to allow for the pallet arbor). The rise/fall regulation beam has been retained the backcock however appears to be a replacement. The base of the case has been cut with a slot to allow for the current longer pendulum and a thin panel applied to the underside to close the hole. The backplate has an unused treaded hole and adjacent steady-pin hole for a pendulum hold fast which is no longer present. Movement otherwise is in good original condition with no other obvious alterations or significant replacements.The dial is in sound original condition with nice detailing such as the engraved infill around the subsidiaries in the arch. The hands appear original, the matted surfaces appear a little dull on colour compared with the rest of the plate and the silvering has some patchy tarnishing to the finish, the false bob pendulum has been retained despite the conversion of the escapement from verge to anchor.The case is in generally good original condition. The top exhibits some very slight shrinkage cracking and movement but this is minimal; the left hand pad has small but noticeable scuff/bruise to the centre of the panel. The mask around the dial (behind the front door) has had a small section of veneer re-attached at the base of the arch to the left otherwise is in fine condition. The door retains its lock and hinges and the raised mouldings around the glazed aperture appear complete with no obvious replacements although some shrinkage cracking is evident; the key hole has a small adjacent veneer chip to a historic veneer patch repair evident due to an area of darker colouring. Both sides have very slight chips to the veneer ovelaps bordering the brass sound frets otherwise are in good condition. The rear door has a 2 inch section of moulding to the arch replaced (not the best quality repair) otherwise is in good original condition retaining lock and hinges. The case has old French polish and wax finish which has mellowed and there are minor historic bumps, scuffs and other minor blemishes commensurate with age.Clock has a pendulum and winder but no case key. Condition Report Disclaimer

A FINE QUEEN ANNE/GEORGE I 'TORTOISESHELL' JAPANNED EIGHT-DAY QUARTER CHIMING LONGCASE CLOCKJohn Faver, London, circa 1715The substantial six pillar triple train bell striking movement with plates measuring 8.75 by 7.25 inches, anchor escapement regulated by seconds pendulum and chiming the quarters on a nest of six graduated bells, the 12 inch brass break-arch dial with subsidiary seconds dial and calendar aperture to the finely matted centre within applied Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to outer track, with scroll-pierced steel hands and fine mask and scroll cast spandrels to angles beneath arch centred with a convex boss signed John Faver, Gerrat Street, London within herringbone border over Strike/Silent selection switch flanked by conforming cornucopia and scroll cast mounts, the simulated tortoiseshell japanned case with gilt landscape painted domed caddy surmounted box upstand, architectural cornice and floral spray decorated upper quadrants above the glazed hood door with alternating gilt floral and trellis band decoration and applied with three-quarter columns to front angles, the sides with rectangular windows and conforming quarter columns set against bargeboards at the rear, the trunk with floral trail painted throat over rectangular door decorated in raised silver highlighted gilt with a stylised oriental garden trellis landscape populated by an equestrian hunting party under a solar disc, the surround with trellis banded panels alternating with foliate trails and landscape infill, the sides with birds in flight over large leafy sprays, the plinth base decorated with floral still life within conforming trellis panel border over double skirt.257cm (101ins) high, 51cm (20ins) wide, 25.5cm (10ins) deep.  A John Faver is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London before 1759. Baillie suggests that 'Faver' maybe an anglicisation of the French name 'Fauvre' and that John Faver may well be connected to Henry Fauvre. Loomes in Volume 2 further notes a date of 1741; it is likely that John Faver had Huguenot roots and was a fine maker with two watches in the collection of the Fitzwilliam museum.  The combination of quarter chiming movement and highly decorative, finely proportioned tortoiseshell japanned case results in the present clock being a particularly impressive example which would have been the height of fashion during the second decade of the 18th century.Condition Report: Movement is complete and appears all original with no visible evidence of alteration or significant replacements. Although the going and strike trains are operational the quarter train requires adjustment and the movement is generally in slightly dirty neglected condition hence requires a gentle clean/service before putting into service. The silvering to the chapter ring, seconds ring, calendar ring and signature boss has been cleaned-off at some point otherwise dial is in good original albeit discoloured/dirty condition and retains its original hands. The movement retains its original seatboard which rests directly onto the side uprights of the trunk (cheeks) with no evidence of alteration hence we are of the opinion that the movement and dial are original to the case. The dial however does sit a little low in the dial aperture - this is due to the seatboard sagging due to the substantial weight of the three weights.The case is generally in very good condition with no structural issues or evidence of alteration/significant replacements and would in essence appear to be very well preserved. The decoration is correctly executed using appropriate pigments and gilding and has genuine age hence may well be original; however the lack of overall fading, rubbing, wear and build up of grime on the surface gives a fairly 'fresh' appearance which would lead some to suggest that the case may well have been faithfully redecorated perhaps in the early 20th century. There is/are general losses, cracking and flaking to the finish which on the whole is fairly minor however the trunk door has some localised retouching mainly to the raised areas of gilt just above and to the right of the lenticle and also to the figures beneath. This small amount of touching in appears to have been done a while ago which would support the view that the rest of the decoration has significant age. The panel that forms the vertical face of the box upstand of the hood superstructure appears to be a replacement (the original may well have been fretwork); the quadrants flanking the arch also appear to be replacements most likely also replacing fretwork. These two areas have been decorated to match the rest of the case however on close examination the decoration differs a little in the pigments and gilding. The capitals to the rear quarter columns of the hood appear to be replacements and are not of the quality of those of the front three-quarter columns.The clock has pendulum, three brass cased weights but not case key or winder. The trunk door is currently locked.Condition Report Disclaimer

A FIGURED MAHOGANY MINIATURE LONGCASE TIMEPIECEThe dial bearing signature for A. Page, Bedale, early 19th century and laterThe early 19th century movement with four-wheel train, shouldered plates and anchor escapement regulated by 14 inch pendulum, with a 7 inch square brass dial engraved with radial tulip blooms and inscribed A. Page, Bedale to lower margin within applied silvered Roman numeral chapter ring with stylised trident half hour markers, with pierced steel hands and rococo scroll cast spandrels to angles, in a flame figured mahogany veneered case with generous cavetto cornice and swollen frieze over hinged glazed dial aperture flanked by free-standing Roman Doric columns to hood, the trunk with concave throat moulding over ogee gothic-arch top caddy moulded door, on plinth base with concave top moulding and bracket feet.145cm (57ins) high, 35.5cm (14ins) wide, 23.5cm (9.25ins) deep. 

A GEORGE II GREEN JAPANNED EIGHT-DAY LONGCASE CLOCK WITH MOONPHASEUnsigned, probably London, circa 1735The five finned pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch brass break-arch dial with subsidiary seconds dial and cross-hatch border engraved calendar aperture to the matted centre within applied Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to outer track, with scroll pierced steel hands and mask centred scroll cast spandrels to angles within herringbone engraved border continuing up over the arch incorporating rolling moonphase calibrated with the age of the moon to the circumference of the disc and with fine foliate scroll infill, the green japanned case with domed caddy upstand, complex moulded cornice and gilt leaf decorated over trellis panel bordered glazed hood door applied with fluted three-quarter columns to front angles, the sides with rectangular windows and conforming quarter columns set against bargeboards at the rear, the trunk with leaf painted throat over break-arch door decorated in raised polychrome and gilt with oriental figures within a stylised garden trellis landscape, the surround with gilt floral painted upper quadrants and panelled borders, the sides with large leafy sprays, the plinth base with further naturalistic landscape within conforming surround over moulded double skirt, (in neglected unrestored condition).230cm (90.5ins) high, 53.5cm (21ins) wide, 25.5cm (10ins) deep.Condition Report: Movement has survived in original condition with the only noticeable replacements being the escapewheel and pallets which are 19th century 'service' replacements. Although the movement is essentially in working condition it is somewhat dirty/neglected hence will require a gentle clean/service before putting to use. The dial is missing its shunt lever for the moon-disc hence moonphase is currently not operational. The disc itself is in sound condition but has noticeable wear to painted elements. The dial has been cleaned back hence no longer has silvering or lacquered finishes however all engraving, matting and other details are in good condition. The hands are relatively modern replacements. The movement rests on a replacement mahogany seatboard but at the correct level in the case (no visible evidence of alteration to the case trunk side uprights/cheeks) hence movement and dial may well be original to the case but due to the seatboard being a replacement no categorical assurances can be made. The case is generally complete and in original unrestored condition but is the base is loose with breaks to the plinth top mouldings and the case is generally in tired condition hence will require attention. The hood originally had fretwork panel infill to either side of the arch above the dial, these have been replaced with painted panels. The arch itself has a small section of moulding missing from the curve and the mask around the dial is lacking most of its slender quarter-round moulding which would have originally bordered the dial plate. The surface finish is original but is dirty/worn and there are bumps, scuffs, shrinkage cracking and wear throughout.Clock has a pendulum, two lead weights, a case key but no winder. Condition Report Disclaimer

Georgian Tortoiseshell Sarcophagus Tea Caddy

20th century Design - a Sylvac Elephant handled tea caddy, No 3372; other jugs, Mailing vase; Wedgwood & Co Art Deco style jug; Art Nouveau style candlesticks etc

A silver Vesta case; a Victorian silver caddy spoon; two silver mounted small circular photograph frames; and a pair of silver foliate embossed spill vases (6)

A silver caddy spoon modelled as a jockey's cap, London 1976, 0.5oz.

A Regency rosewood tea caddy, of sarcophagus form, the hinged lid opening to reveal a central recess flanked by two canisters, raised on bun feet, 19cm high, 34cm wide, 18cm deep.

Together with a small presentation trowel; two silver patch boxes with regimental button onlay; three vesta cases; a capstan inkwell; a cigar case; two salts; small tot cup; two matchbox frames; a Georgian caddy spoon; a small silver-mounted aide memoir; stamp and a pin cushion/ jewellery box (quantity)Lengths: 30cm and 31cm

Of oval form, with bright cut decoration in the late 18th-century style; together with a caddy spoon, TL Sheffield 1810, the bowl, with foliate detailHeight: 10cm, weight (all in): 4.8oz

The hinged top enclosing three painted porcelain caddies; together with a George III mahogany tea caddyeach 23cm wideFootnote: Note: Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/

A George V hallmarked silver six-section toast rack, W Hutton & Sons Ltd, Sheffield 1919 (af), also a hallmarked silver caddy spoon, a hallmarked silver handled cheese knife, Harrison Brothers, Sheffield 1975 and a white metal single candle holder with indistinct marks to the base, combined weighable approx 7.5ozt (4). CONDITION REPORT The carry loop to the top of the toast rack is present but has a deep split to one side.

A 19th century rosewood two-section tea caddy, missing interior tea bowls and most of the lead lining, a mahogany lidded box containing a quantity of vintage tools to include screwdrivers, pliers, etc and an Olympus carry case containing a pair of Helios 8 x 21 field glasses, a cased pair of Oigee German binoculars and a cased pair of Negretti & Zambra of London binoculars (5).

A small mixed lot of collectors' items to include a rosewood two-division tea caddy, an inlaid example, an oak musical cigarette box, and a small quantity of children's wooden building blocks (4).

Two early 19th century caddy spoons, George Wintle, London 1825 and Jonathan Hayne, London 1828, combined approx 0.8ozt (2).

A 19th century sarcophagus tea caddy, lacking interior sections and containers, height 14cm and a collection of eight 19th century snuff boxes to include wooden examples, black and gilded papier-mâché, a horn example with tortoiseshell top with niello decoration, an oval tin example, a rectangular black papier-mâché example with faux tortoiseshell top, etc (9). CONDITION REPORT Repaired, damage to lid and back , Split to repaired wood on back, replaced feet and base of top section, the whole caddy is sun bleachedReplacement to lock now being an inlaid hardstone, all snuff and pill boxes with some signs of wear, one wooden example with split

A cased set of six hallmarked silver coffee spoons with monogrammed finials, John Yeomans Cowlishaw, Sheffield 1917, (approx 2.7ozt), a silver mounted glass match striker, London 1906, a boxed Danish white metal caddy spoon and a cased set of silver plated flatware comprising six forks, six soup spoons and a large serving spoon (4).

Various items of costume jewellery to include fashion rings, necklaces, brooches, earrings, silver bangle, cufflinks, earrings, pendants, etc, also a mahogany tea caddy (af), a tin plate moneybox in the form of a casket and a metal biscuit tin in the form of a wicker hamper, etc.

A quantity of brass and copper ware to include a copper coal scuttle, brass jam pan, trays, pair of candlesticks, chamber stick, chestnut roaster, ladle and tea caddy.

A 19th century rosewood sarcophagus twin-section tea caddy, with mother of pearl inlay, to bun feet. CONDITION REPORT various age related wear to the body, feet intact, no splits, lead lining missing, no tea jars, one of the lids to interior has a split to he top, mother of pear knobs are present, no key

Collection of miscellaneous items, to include 19th century mahogany tea caddy, h15cm w24.5cm d14cm, Japanese imari lamp, two Continental porcelain figures, Royal Copenhagen bowl, Royal Worcester bowl, Copeland Spode bowl (broken), porcelain bowl and dish, together with glassware, to include eight blue glass cups, jug, glass and candle holders, blue glass decanter, red glass decanter, and others (qty)

Lion finial silver caddy spoon import, London 1891

Various Oriental collectables, including chinoiserie papier mache box, lacquer tea caddy, ceramic figures etc

An unusual Victorian mahogany double-compartment sarcophagus tea caddy, top layer concealing velvet interior, lower lid concealing tea caddy, W34cm, H21cm, D18cm

A group of silver plated items, to include silver plate on copper tea caddy, wine coasters etc

A 19th century Chinese chinoiserie gilded black lacquer tea caddy, with pewter liner and lids, W22cm, H10cm, D15cmGilding very worn all over and some lacquer is missing split and lifting, with a few edge and corner chips, hinged lid working

2 pine boxes, a mahogany box, and a tea caddy, length 23cm

C19th cross banded mahogany fitted sarcophagus tea caddy

A tray containing cast iron pipe stand, a Bakelite tea caddy, assorted plates wares, hip flasks, teaspoons etc

A George III silver caddy spoon, maker Edward Mayfield, London, 1797: with shell-shaped bowl, 6.5cm long, together with four other caddy spoons with shell-shaped bowls various maker and dates, one being initialled, 55gms, 1.76ozs

A collection of eight silver caddy spoons, various makers and dates: total weight of silver 74gms, 2.38ozs

A Victorian papier-mache and mother-of-pearl inlaid tea caddy: of sarcophagus outline, the shallow domed hinged lid enclosing two lidded compartments, with floral decoration to the top and side heightened with gilt, 23cm wide.

A George III silver caddy spoon, maker Alice & George Burrow II, London, 1801: initialled, with bright cut decoration, together with three other silver shovel-shaped caddy spoons, various makers and dates, total weight of silver 31gms, 1.00ozs

A Victorian silver fiddle pattern caddy spoon, maker Thomas Streetin, London, 1830: of plain form with oval bowl, together with four other silver caddy spoons, various makers and dates, total weight of silver 94gms, 3.03ozsozs

A Victorian rosewood secretaire chest of small size:, with a moulded caddy top, the hinged fall with tooled leather inset writing panel, enclosing a fitted interior with pigeon holes and two maple veneered small drawers, containing four long drawers below, flanked by flame stiles, headed with floral rosettes, on a plinth base, 75cm (2ft 5 1/2in) wide, 113cm (3ft 8 1/2in) high.

A George V silver caddy spoon, maker George Unite, Birmingham, 1910: with shell-shaped bowl embossed with flowers, having a loop handle 6.5cm long, together with four other assorted caddy spoons, various makers and dates, two initialled, 67gms, 2.15ozs

A Regency rosewood and brass inlaid tea caddy: of sarcophagus outline, the hinged lid enclosing two lidded compartments enclosing an associated glass blender, with recessed brass handles to the sides, raised on squat bun feet, 33.5cm wide.

A pair of Russian silver-gilt and enamel caddy/sugar spoons, marked 84, the shovel-shaped bowls with foliate plique-a-jour enamel decoration, with an outer border of champleve enamel decoration, the handles with twisted fluted stems, and with enamel finials, rope-work borders, length 13.5cm, approx. weight 2.4oz. (2)

A small collection of four silver caddy spoons, comprising: a plain one by Joseph Willmore, Birmingham 1825, a Victorian one with engraved decoration, Sheffield 1882, a modern one with a tavern scene, London 1972, and one with Celtic decoration, Sheffield 1970, approx. weight 2oz. (4)

λA mixed lot of silver flatware, various dates and makers, comprising: a caddy spoon of shovel form, turned baluster ivory handle, a fork with a nephrite handle, a Scottish horn spoon, and four American drinking straw spoons, approx. weighable 3oz. (7)

A mixed lot of silver flatware, various dates and makers, comprising: a William IV Scottish silver Fiddle pattern soup ladle, by Robert Gray, Glasgow 1834, the terminal initialled, plus a pair of George III Old English pattern sauce ladles, by Peter and Ann Bateman, London 1792, plus a Feather-edge sauce ladle, London 1802, a sifting spoon, a pair of 18th century sugar nips, three pairs of sugar tongs, a set of six Fiddle pattern teaspoons, by G. Turner, Exeter 1826, a ladle, a tablespoon, a caddy spoon, and four butter knives, approx. weight 30oz. (qty)

A mixed lot of silver flatware, various dates and makers, comprising: a set of six George III old English teaspoons, by Peter and William Bateman, London 1812, a picture-back teaspoon, the reverse of the bowl with a basket of flowers, a set of six shell-back teaspoons, three caddy spoons, a berry spoon, a jam spoon, a sifting spoon, six other teaspoons and a salt spoon, approx. weight 11.4oz. (qty)

A mixed lot, comprising silver items: a cased set of six Old English pattern dessert spoons, Sheffield 1941, a cased four-piece dressing table set, a set of twelve coffee spoons, retailed by Harrods, a set of six teaspoons, a pair of toast racks, two pairs of sugar tongs, a small waiter, plus electroplated items: a gallery tray, a caddy, a cased set of four berry spoons, a trophy cup, an entree dish and cover, a pair of toast racks, a single toast rack, a sauce boat, plus a set of twelve mother-of-pearl handled fruit knives and forks, various cased sets of flatware, and a set of six bone-handled steel knives and forks, approx. weighable 25oz. (qty)

Designed by Oliver baker for Liberty and Co., an Art Nouveau silver caddy spoon, Birmingham 1911, heart-shaped bowl, pierced handle, spot-hammered decoration, length 9cm, approx. weight 1.5oz.

By Omar Ramsden, an Arts and Crafts silver caddy spoon, London 1935, spot-hammered fig-shaped bowl, the terminal with intertwined wire-work decoration and set with three chrysoprase cabochons, length 9.7cm, approx. weight 1.5oz.

By Rachel Llewellyn, a modern silver 'spilt-milk' caddy spoon, London 2010, spot-hammered shaped circular bowl, the handle formed as a mug with spilt milk, length 8cm, approx. weight 0.8oz.

By H. G. Murphy, an Arts and Crafts silver Tree of Life caddy spoon, London 1930, also with the Falcon mark, spot-hammered fig-shaped bowl, pierced handle, length 10.2cm, approx. weight 0.9oz.