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19th century mahogany and inlaid tea caddy of sarcophagus form, the interior with glass mixing bowl flanked by my two tea wells, 28cm wide

19th century mahogany and rosewood crossbanded tea caddy of rectangular form with kite shaped bone escutcheon, the interior compartmentalised with three wells having covers raised on metal bracket feet, 28cm wide

Antique pine marquetry tea caddy of sarcophagus form inlaid with thatched cottage, castle ruins, oak and acorns bands and other designs, 23cm wide

A SILVER TEA CADDY, A SILVER-BACKED HAND MIRROR AND A SILVER MOUNTED GLASS DRESSING TABLE JAR comprising; the cylindrical tea caddy with a pull-off cover, crimped rims and part spiral fluted, mark of Haseler Brothers, Chester 1903, 9.5cm high (3 ¾ in), 73g (a little over 2 ¼ oz); the cylindrical cut clear-glass dressing table jar with a cover embossed with alternate panels of flowers and scrolls and spiral flutes, mark of Henry Mathews, Birmingham 1893, 7.5cm diameter (3 in), 42g (1 1/3 oz); the silver engine-turned rectangular hand mirror with the mark of Walker & Hall, Chester 1939, 27cm long (10 ¼ in)

A PLATED RECTANGULAR TEA CADDYwith a crested hinged cover, gadrooned borders and lion mask and ring handles, the inside of the cover engraved ‘Reproduction Old Sheffield Plated Tea Caddy Period – George III 1738-1820 (sic)’, 8.5cm high, 12cm wide, 9cm deep (3 ¼ in, 4 ¾ in, 3 ½ in)

A COLLECTION OF SILVER SMALL FLATWARE, INCLUDING A SET OF SIX FLORAL HANDLES COFFEE SPOONS AND A TONGS, in a fitted red-silk line case; a set of six fancy handles coffee spoons, in a case; together with a old English pattern caddy spoon with a fig shaped bowl, mark of George Maudsley Jackson, London 1892; a caddy spoon with a shell bowl and old English shell handle, mark of Turner Bradbury, London 1900; an old English pattern dessert spoon; five fiddle pattern coffee spoons with monograms; an Arts and Crafts coffee spoon. Mark of Roberts and Belk, Sheffield 1904; two George III engraved salt spoons, a later Albany patter salt spoon; a jam spoon with a shield-shaped bowl; two old English tea spoons and a Continental tea spoon, various dates, assay offices and makers; 411g gross (almost 13 ¼ oz)

A George III silver caddy spoon and another, Thomas Wilkes Barker, London 1814, bright cut and scallop edged bowl, the other Da-mar, London 1977, in the form of a hand, 9.5cm long, 0.96ozt (2)

A Japanese Satsuma tea caddy, together with a miniature bowl, the caddy of cuboid form, enamelled with flowering plants and bird, signed, with inner cover and lid, 10.5cm high (2)

An 18th Century Georgian style fruitwood tea caddy in the form of a melon with lock and key to front. Measures 15cm tall by 12cm diameter. 

A 19th Century Indian beaten metal Paan Daan Betel / spice nut caddy box of round form having a domed lid embossed with florals with a swing handle to top, opening to reveal lidded pots to the inside. Measures 17cm tall and 19cm diameter.

A 20th Century carved wood tea caddy in the form of an apple together with an olive wood dressing table pot ob bulbous form having a screw lid. Tallest measures 12.5cm tall. 

Two early 20th Century wooden desk top tidies / pen holders to include an oak tidy having two pen and inkwell recesses with a handle to the centre along with another similar having ebonised accents and drawer below together with a wooden tapering tea caddy and white metal and glass inkwell. 

A selection of English hallmarked silver spoons to include a gadrooned caddy spoon (hallmarked Birmingham 1892), an invalid spoons with a curved handle (hallmarked Birmingham 1927), and a condiment spoon marked Josiah Williams & Co (hallmarked exeter 1873). Total weight 44.2g. 

A 19th Century Georgian mahogany tea caddy of sarcophagus form having a mother of pearl escutcheon to the front together with two early 20th Century book troughs.  Measures 18 cm high x 30 cm wide x 16 cm deep.

A VICTORIAN SILVER TEA CADDY, 11.5 CM H, LONDON 1899, 6OZS 8DWTS++TARNISHED

A GEORGE III MAHOGANY TEA CADDY WITH BRASS HANDLE, 24CM L

A VICTORIAN SILVER CREAM LADLE WITH FLEUR-DE-LIS TERMINAL, 15 CM L, SHEFFIELD 1876 AND A VICTORIAN SILVER CADDY SPOON WITH HEAD OF A PHAROAH TERMINAL, 12 CM L, BIRMINGHAM 1879, 1OZ 15DWTS (2)++GOOD CONDITION

AN INLAID MAHOGANY TEA CADDY, MINIATURE CHEST OF DRAWERS, CRIBBAGE BOARD, ETC

A 19th century parquetry, mixed veneered tea caddy of sarcophagus design, with a hinged lid enclosing twin lidded compartments, on turned feet, 5 3/4" h x 7 3/4" w x 4 3/4"d

A Victorian mahogany weight-driven ‘Norwich’ type drop dial wall clock Howlett, Cheltenham, circa 1860 The four pillar eight-day rack and bell striking movement with anchor escapement regulated by seconds pendulum, the 11 inch circular cream painted Roman numeral dial signed Howlett, Cheltenham to centre and with steel spade hands, the case with brass bordered circular glazed hinged bezel within turned surround over scroll carved infill to lower angles of the hood, the trunk with canted throat over crossbanded caddy moulded rectangular door flanked by canted angles and with quarter-round foot to base, 121cm (47.5ins) high. John Howlett is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working in Cheltenham circa 1830-79.

A rare George III mahogany angle barometer, unsigned, late 18th century With a particularly long angled silvered scale calibrated from 27.5 to 31 inches divided into fortieths and annotated with STORMY, MUCH RAIN, RAIN, CHANGE, FAIR, SET FAIR and VERY DRY predictions beneath sliding brass recording pointer to upper margin within caddy moulded surround, the conforming trunk with figured mahogany front panel concealing the tube over rounded base applied with hemispherical cistern cover and with level adjustment screw to underside, the trunk 84cm (33ins) high.

A Victorian mahogany longcase regulator timepiece Bracher, Reading, mid 19th century The substantial seven knopped pillar movement with shallow arch plates measuring 9.75 by 7.5 inches enclosing going train with Harrison’s maintaining power, high pinion count and Graham type deadbeat escapement regulated by seconds pendulum suspended from a substantial beam fitted to the apex of the movement plates and incorporating wood rod, heavy eight-inch circular brass-faced bob and subsidiary spherical timing weight with engraved Roman numeral scale to waist, the 13 inch circular silvered brass dial with Arabic subsidiary seconds over Roman numeral hour dials and signed BRACHER, READING to centre within outer minute track with Arabic five minutes, with blued steel hands, the mahogany break-arch case with cavetto cornice over circular glazed brass bezel inset hood door incorporating line-inlaid panels to lower quadrants flanked by canted angles and with applied moulded rings to sides, the trunk with concave throat moulding over lancet-shaped caddy-moulded door now with conforming glazed insert and flanked by further canted angles, on shaped panel decorated plinth base with canted skirt, 201cm (79.25ins) high. An R. Bracher is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working in Reading in 1864. Reuben Bracher trained as a watchmaker under his father in Salisbury before moving to Reading in around 1850 and entering into partnership with James Trendell in 1852. Trendell died in 1866 and Bracher subsequently went into partnership with his nephew, Joseph Sydenham and expanded to occupy numbers 55, 56 and 58 Castle Street. The business continued in Reading in the hands of various successors until around 1974 when it became part of Goldsmiths group. The current lot could well have been made by Bracher soon after his arrival in Reading for use as the ‘shop regulator’ in his business.FOOTNOTE UPDATED 04/09/2019 The firm of Bracher and Sydenham held the title of 'Jewellers to the Court at Windsor' and according to the vendor the current lot was actually commissioned for and stood in the boardroom of the world famous biscuit manufacturers Huntley & Palmer of Reading, for 100 years(from circa 1850-1950) the largest biscuit maker on earth.

A figured mahogany small eight-day longcase clock Geoffrey Bell, Arlesford, dated 1974 The four knopped pillar rack and bell striking movement with anchor escapement regulated by cylindrical bob seconds pendulum, the 9 inch brass break-arch dial with subsidiary seconds dial to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes to the narrow outer track, with pierced steel hands and festoon cast foliate spandrels to angles, beneath arch with silvered Signature boss Geoffrey Bell, Arlesford Fecit, 1974 flanked by conforming mounts, the break-arch case with small concave sided upstand over generous cavetto cornice and hinged caddy-moulded glazed dial aperture flanked by canted angles to hood, the sides with rectangular windows, over concave throat mouldings and slender break-arch line edged caddy-moulded flame figured trunk door on conforming raised panel fronted plinth base with double skirt, 196cm (6ft 5ins) high. Provenance: The family of Alf Godsell, former Managing Director of Geoffrey Bell Ltd. An identical clock to the current lot was sold in these rooms on 17th February 2010 (lot 49) for £1,500 hammer.

A William III walnut and floral marquetry eight-day longcase clock of one month duration Paul Dupen, London, circa 1700 The six finned pillar rack striking movement with anchor escapement regulated by seconds pendulum, the 10.75 inch square brass dial with subsidiary seconds ring, scroll border engraved calendar aperture and ringed winding holes to the matted centre within applied silvered Roman numeral chapter ring with stylised sword hilt half hour markers, Arabic five minutes to outer track and signed Paul Dupen, London to lower margin, with scroll pierced blued steel hands and winged cherub head and scroll cast spandrels to angles with foliate scroll engraved decoration between, in a case with raised platform surmounted floral marquetry decorated dome superstructure above crossgrain ogee moulded repeating motif inlaid cornice and scroll pierced frieze to lintel, over leafy trail inlaid glazed hood door applied with walnut three-quarter columns with fine cast gilt caps and bases to front angles, the sides with rectangular windows and quarter columns set against bargeboards rising up to the underside of the cornice projection at the rear, the trunk with concave floral marquetry veneered throat moulding over 42 inch rectangular door centred with a circular brass lenticle and with three shaped marquetry panels decorated with bird inhabited floral sprays on an ebonised ground within a figured walnut field and Arabesque scroll surround, the sides veneered with twin slender panels within triple-line strung crossbanded borders, the base with stepped ogee top moulding and conforming rectangular marquetry panel within Arabesque border, 228cm (89.75ins) high to top edge of domed caddy. Provenance : Queens Berry, Anna House, Kintmount, near Dumfries. A Paul Dupin is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in London and Geneva circa 1710-67. The current lot may be by this maker or by a relation (perhaps father) of the same name who may not be recorded. Indeed many French speaking immigrant makers tended to work directly for the larger Huguenot workshops, such as that of Claude DuChesne, at this time hence often did not gain the freedom of the Clockmaker’s Company.

A table timepiece with silent-pull quarter repeat on two bells The movement signed for John Taylor, probably Dutch early 18th century, the case later The six finned pillar single fusee movement with verge escapement regulated by short bob pendulum and sounding the hours and quarters on demand only on a pair of graduated bells positioned above the plates, the backplate finely engraved with tulip bloom inhabited scrolling foliage incorporating inscription John Taylor Fecit, the 7 inch square brass dial with shaped false bob aperture and ringed winding hole to the mask and scroll decorated matted centre within applied silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers and Arabic five minutes to outer track, with pierced steel hands and applied winged cherub mask spandrels to angles incorporating scroll engraved infill top margins between, now in a mahogany case with hinged brass handle to the domed caddy superstructure over moulded cornice and glazed front door, the sides with slender rectangular windows and the rear with glazed door set within the frame of the case, on shallow skirt base with brass claw and ball feet, 39.5cm (15.5ins) high excluding handle.

A George III mahogany mercury cistern tube stick barometer Thomas Ribright, London, late 18th century With open triangular pediment over inset silvered scale with recording slider and calibrations in barometric inches beneath engraved signature T. Ribright, London to the right hand side, opposing mercury Fahrenheit scale thermometer within arched herringbone engraved panel to the left, the caddy moulded trunk with applied shaper apron panel to throat and exposed tube flanked by veneers arranged cross-grain angled forty-five degrees upwards above ovoid base applied with inverted half acorn shaped cistern cover, 96cm (37.75ins) high. Thomas Ribright (II) is recorded in Clifton, Gloria Directory of British Scientific Instrument Makers1550-1851 as working 1783-1806.

ϒA fine William III walnut and Arabesque panel marquetry eight-day longcase clock Langley Bradley, London, circa 1700 The five finned pillar outside countwheel bell-striking movement with anchor escapement for regulation by a seconds pendulum, the 11 inch square brass dial with ringed winding holes, elaborate scroll-border decorated calendar aperture and subsidiary seconds dial to the matted centre within applied silvered Roman numeral chapter ring with stylised sword hilt half hour markers, Arabic five minutes to outer track and signed L. Bradley, London to lower margin, with sculpted steel hands and winged cherub head and scroll cast spandrels to angles, the case with stepped domed caddy fronted with symmetrical Arabesque marquetry over fretwork fronted upstand, moulded cornice and conforming frieze, the foliate strapwork scroll inlaid glazed hinged dial surround applied with turned three-quarter marquetry veneered columns to front angles, the sides with rectangular windows and quarter columns set against bargeboards at the rear, the trunk with concave marquetry veneered throat moulding over 41.5 inch rectangular door centred with a circular lenticle and with three shaped marquetry panels decorated with bird inhabited strapwork scrolling foliage on a light ground within a walnut field, the surround with ebony and box triple-line border and the sides veneered with twin line-strung crossbanded panels, the base with stepped ogee top moulding and conforming rectangular marquetry panel within further crossbanded surround over moulded double skirt, 239cm (94ins) high. Langley Bradley is recorded in Loomes, Brian The Early CLOCKMAKERS of Great Britain as born circa 1663, apprenticed in February 1687/88 to Joseph Wise and freed 1694. He worked at the Minute Dial in Fenchurch Street and was appointed Assistant of the Clockmakers' Company in 1720 and served as Master in 1726. By 1748 he had moved to Mile End. Langley Bradley is perhaps best known as a turret clock maker who was commissioned by Sir Christopher Wren to supply the clock for St. Paul's Cathedral in 1707. The clock he supplied, complete with quarter jacks, was openly criticised for being costly and unreliable, although there was probably some truth behind these comments it seems that the resultant dispute may have been politically motivated. Indeed a Government commission was set up under the Chairmanship of Sir Isaac Newton which eventually resulted in the clock being replaced by one made by William Wright and Richard Street; the latter being a fine maker with connections to Tompion who was known to have supplied clocks for Sir Isaac Newton.Despite this embarrassment Sir Christopher Wren attempted to influence the Crown's potential appointment of Langley Bradley as official clockmaker to Queen Anne, describing him as 'a very able artist, very reasonable in his prices' in his correspondence to the Lord High Chamberlain in 1711. Unfortunately for Bradley the Lord Chamberlain's response indicated that under such circumstances a Royal Warrant could not be granted via the Office of Works. Wren clearly thought well of Langley Bradley as he persevered to facilitate the commission for a new clock at Hampton Court to be undertaken by Bradley. ϒ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information. 

A George III scumbled pine hooded wall timepiece with alarm John Wynn, Frimley, circa 1760 The posted movement with anchor escapement for regulation by long pendulum set in front of the alarm mechanism within the frame incorporating rectangular section iron uprights, the 4.75 inch brass break-arch dial with alarm setting disc to the leafy trail engraved centre within applied Roman numeral chapter ring with diamond lozenge half hour markers, with pierced iron hand and palmette centred scroll cast spandrels to angles beneath arch with central boss signed J’no Wynn, Frimley flanked by conforming mounts, the case with scumbled finish to resemble mahogany with cavetto moulded cornice above door with caddy moulded glazed aperture flanked by turned Roman Doric three-quarter columns with conforming quarter columns applied to the sides at the rear over stepped ogee lower lip mouldings, the bracket with backboard pierced for hanging above lower section with concave throat moulding and scroll outline side supports united by bowed apron to front over conforming shaped lower edge to backboard, (lacking pendulum, weights, bell and alarm hammer), 69cm (27.25ins) high. A John Wynne of Frimley, Essex does not appear to be recorded in the usual sources however stylistic features such as the use of diamond lozenge half hour markers and pattern of spandrel casting would suggest that the current lot was made during the middle years of the 18th century.

A Victorian mahogany cased set of portable diamond scales De Grave, Short and Company, mid 19th century With sculpted metal pivoted beam incorporating pointer within the suspension armature over hemispherical brass pans contained within a fitted box incorporating lidded compartment enclosing weights calibrated in carats, the lid applied with a paper label entitled A table by which may be Calculated the Value of any Weight of Diamonds incorporating BY DE GRAVE, SHORT & COMPY., (Late M. De Grave & Sons), continuing with 59. ST. MARTIN LE GRAND, LONDON, the exterior with brass tweezers contained within a slot to the lower rear right hand corner, with caddy-moulded lid and canted angles flanking brass plate push button clasp to front 17.5cm (6.75ins) wide; with another Victorian cased set of portable diamond scales, De Grave, Short & Fanner, London, mid 19th century, the form the same as the larger of the first two but incorporating BY DE GRAVE, SHORT & FANNER within the paper label applied to the inside of the lid, 12.5cm (5ins approx.) wide, (2). The De Grave family were well known as scientific instrument makers specialising in weights and measures throughout the 19th century. The first member to set up business was Charles De Grave who is recorded in Clifton, Gloria Directory of British Scientific Instrument Makers 1550-1851 as working in St. Martins le Grand, London from 1780. The business traded as De Grave, Short and Fanner from 59 St. Martins Le Grand 1845-71 and was eventually absorbed by W. and T. Avery and Co. Ltd in the early 20th century.

A Regency mahogany tavern timepiece A. Hall, Hatfield, circa 1810 The four pillar single weight driven movement with tapered plates enclosing five-wheel train and anchor escapement for regulation by a seconds pendulum, the frontplate stamped with crowned HANDLEY & MOORE trademark over serial number 2017, the 19.5 inch circular slightly convex cream painted Roman Numeral dial indistinctly signed A. HALL, HATFIELD to centre and with steel spade hands within delicate stepped ogee turned mahogany surround, the rectangular drop-trunk case with side doors behind dial over and shaped ears to throat over caddy moulded concave-topped door to trunk and chisel-shaped foot, (lacking pendulum and weight, damage and losses to case), 115.5cm (45.5ins) high. Provenance: Brocket Hall, Hertfordshire. Andrew Hall is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working first in London (circa 1802-04) then in Hatfield, Middlesex by 1828 where he worked until 1839. The partnership partnership of Handley and Moore was established in 1798 when two former apprentices of John Thwaites, George Handley and John Moore, went into business together. Working in Clerkenwell Close, London they mainly supplied other makers with finely made movements. The partnership continued until 1824 when Handley died, after which Moore continued alone.

A walnut and floral marquetry eight-day longcase clock The movement and dial by Edward Speakman, circa 1695-1700, the case later The five finned pillar internal countwheel bell striking movement with anchor escapement regulated by seconds pendulum, the 12 inch square brass dial with subsidiary seconds ring, scroll border engraved calendar aperture and ringed winding holes to the matted centre within applied silvered Roman numeral chapter ring with stylised sword hilt half hour markers, Arabic five minutes to outer track and signed E. Speakman, London to lower margin, with scroll pierced blued steel hands and twin cherub and crown cast spandrels to angles within herringbone engraved border, now in a case with floral marquetry decorated shallow dome superstructure over crossgrain ogee moulded cornice and scroll pierced frieze to lintel, over leafy trail inlaid glazed hood door applied with solomonic three-quarter columns to front angles, the sides with rectangular windows and conforming quarter columns set against bargeboards at the rear, the trunk with convex floral marquetry veneered throat moulding over 42 inch rectangular door centred with an oval lenticle and with three shaped marquetry panels decorated with bird inhabited floral sprays and scrolling foliage on an ebonised ground within a figured walnut field, the sides veneered with twin slender oyster-cut panels within crossbanded borders, the base with stepped ogee top moulding and conforming rectangular marquetry panel over bun feet, 213cm (84ins) high to top edge of domed caddy. Edward Speakman is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born in 1668 and apprenticed to his father, William, from 1682/3 to 1689. He gained his freedom of the Clockmaker’s Company in 1691 and worked from Newgate Street. Edward Speakman was married to Sarah Brown in 1695 however it would seem that she had died within a year of the marriage. He signed the Oath of Allegiance in 1697 and worked until his death in Christ Church Parish 1713.

A fine French engraved gilt brass and porcelain panel inset carriage clock with push-button repeat and alarm Unsigned but possibly Jules Brunelot, Paris, circa 1880 The eight-day two-train gong striking movement with silvered platform lever escapement, alarm sounding on the same gong and stamped with trademark formed as the letter B within a circle to the lower left hand corner of the backplate, the rectangular porcelain panel dial with fine polychrome floral painted centre within pink and gilt bordered Roman numeral cartouche chapter ring, with gilt spade hands, the lower margin incorporating subsidiary alarm setting dial flanked by painted figures of a peasant girl and cupid, the upper decorated with fine bunched floral sprays, the finely engraved gilt brass corniche case with hinged carrying handle to the oval glazed panel centred rococo scroll decorated top over porcelain side panels each centred with a finely painted cartouche of a courting couple in traditional dress within an applied turquoise bead and gilt painted pink ground border, the caddy moulded corner uprights with spiral ribbon engraved decoration and the rear with hinged glazed door incorporating a scroll engraved frame, the base decorated with further rococo scrollwork on a matted ground, 13.5cm (5.25ins) high excluding handle. The trademark stamped to the lower left hand corner of the backplate of the current lot (letter B within a circle) is noted in Allix, Charles and Bonnert, Peter CARRIAGE CLOCKS, Their history and development as possibly being for Jules Brunelot although no evidence has been found to confirm this.

An important Queen Anne ebonised eight-day longcase clock Michael Knight, London, circa 1705 The substantial five fully latched and crisply turned finned pillar rack and bell striking movement with anchor escapement regulated by seconds pendulum with long crutch, the backplate with apertures cut for the pallets and for viewing the countwheel locking detent, with finely detailed steelwork incorporating Tompionesque scroll terminals to bell stand and hammer spring feet, the 12 inch square brass dial with subsidiary seconds dial, ringed calendar aperture and winding holes to the matted centre within applied silvered Roman numeral chapter ring with cruciform half hour markers, Arabic five minutes to outer track and signed MICH KNIGHT, LONDINI FECIT to lower edge, with pierced steel hands and double-screwed gilt twin cherub and crown cast spandrels to angles with foliate scroll engraved infill to margins between, the ebonised case with gilt brass ball finials to the ogee shaped caddy surmounted fine foliate fretwork fronted box upstand above moulded cornice and further conforming foliate pierced fret to frieze, generous three-quarter columns with gilt caps and bases to glazed hood door, the sides with rectangular sound frets and rear quarter columns each set against bargeboard rising up to the underside of the cornice projection, the trunk with convex throat above 41.5 inch rectangular door, on ogee moulded plinth base applied with two-tier moulded skirt, 245cm (96.5ins) high excluding finials, 252cm (99.25ins) high overall. Michael Knight is recorded in Loomes, Brian Clockmakers of Britain 1286-1700 as born circa 1659; he was apprenticed to Thomas Tompion (bound 1673/4 through Lionel Wythe) and took up his freedom of the Clockmaker’s Company after a warning to do so in 1681. Michael Knight took apprentices Thomas Day in 1682 (Freed 1691), Robert Youell (through Tompion - Freed 1697) and John Barnardiston in 1697 (Freed 1714). In 1697 Knight signed the Oath of Allegiance but little is known of him after 1699 when he stopped paying quarterage to the Clockmaker’s Company. The location of Michael Knight's workshop is indicated in an article by Evans, Jeremy MAINSPRING MAKERS OF LONDON AND LIVERPOOL - SOME OBSERVATIONS AND LISTS published in ANTIQUARIAN HOROLOGY Vol. XXVII, No. 1, Page 81 where reference under the entry for Micklewright indicates that the latter was believed to have been working in St. Sepulchres - 'in Red Cross Court next-door but one to Tompion's ex-apprentice Michael Knight'. Of Michael Knight only around ten surviving clocks are known listed in Evans, Jeremy; Carter, Jonathan and Wright, Ben THOMAS TOMPION, 300 YEARS. Most of these examples demonstrate a very close working relationship with Tompion with at least two reflecting an aptitude for producing work equal to Tompion's finest products. The first of these is a fine half quarter-repeating ebony table clock of typical 'Tompion phase II' design illustrated in ANTIQUARIAN HOROLOGY Vol X, No. 7, on Pages 782-83. The second is an important eight-day longcase clock (in a private collection) complete with Tompion pull-quarter repeat mechanism and housed in a fine walnut case closely resembling that of the 'Drayton Tompion' (which now resides at the Fitzwilliam Museum, Cambridge and is illustrated by Evans, Carter and Wright on page 510). When considering the strong similarity of Knight's work alongside that of his former Master coupled with the fact that there are very few clocks signed by him (despite his long career) it most likely that he was primarily employed by Tompion. Indeed the complexity and accomplished nature of the two examples noted above would suggest that he assisted Tompion with his more complex commissions. The movement of the current lot is almost indistinguishable from Tompion's work exhibiting an abundance of features diagnostic of his workshop. These include the back cock casting (with distinctive chamfered feet), pallet and countwheel locking detent viewing apertures to backplate and distinctive scroll-shaped tails to the hammer spring and bell stand. As with Tompion's work the movement is fully latched with fine knopped and finned pillars and the wheelwork precisely executed with shallow domed collets. The escapement of the present clock is also particularly noteworthy as it appears to be a rare original survivor. The dial departs a little from 'standard' Tompion design having ringed winding holes and calendar aperture to the matted centre. The bold signature engraved in block capitals appears to be typical of Knight and can be compared to that of the ebony 'phase II' type table clock described above. The case again is essentially indistinguishable of those housing movements and dials by Tompion made at this time exhibiting the fine proportions and detailing for which his workshop was known. The current lot affords the prospective purchaser the opportunity to essentially acquire a clock that is essentially a 'Tompion' in all but name. Indeed from a documentary point of view it would be reasonable to suggest that this clock perhaps has more to offer than a comparable signed by Tompion.

A fine French painted porcelain panel inset engraved gilt brass carriage clock with push-button repeat Drocourt, Paris, circa 1870 The eight-day two train gong striking movement with silvered platform lever escapement and backplate stamped with oval D.C. trademark over serial number 8526 to the lower left hand corner, the rectangular porcelain dial polychrome painted with an 18th century interior featuring a young girl playing with a puppy to centre within Roman numeral chapter ring with elaborate gilt half hour markers and blued steel spade hands, over conforming scene of a man conversing with his wife whilst she operates a wool spinner within gilt scroll and blue ground borders, the upper margin with continuation scene, the frosted gilt cannelee case with hinged carrying handle over painted oval porcelain panel decorated with a female working a spinning wheel inset into the fine floral scroll engraved top, the sides with panels similarly decorated with 18th century style French genre scenes within gilt and blue ground borders, with bevel-glazed rear door and entwined leaf engraved caddy moulded corner uprights over conforming rococo scroll engraved skirt base, 14.5cm (5.75ins) high; with a tooled leather covered travelling case. Pierre Drocourt is recorded in Allix, Charles and Bonnert, Peter CARRIAGE CLOCKS, Their history and development as born in 1819 and setting up in business as a clockmaker in Paris in 1853. He initially worked from Rue Limoges later moving to 28 Rue Debelleyme, Paris and was succeeded by his son, Alfred (born 1847), in 1872. The blancs roulants, rough movements, were made in Saint-Nicolas-d'Aliermont, a town outside Dieppe, where Drocourt had workshops until their sale in 1904, being premises purchased from Holingue frères in 1875 who had previously supplied Drocourt. The firm was awarded numerous international exhibition medals and mentions including Silver in Paris 1878 and Gold in 1889. Please note: As an addendum to the above footnote the dates relating to Pierre and Alfred Drocourt together with the information relating to their operations in Saint-Nicolas-d’Aliermont and their relationship with Hollingue Frères is additional to the information provided by Allix and Bonnert. Full acknowledgement for the research leading to the provision of this valuable information needs to be given to Leigh Extence whose work can be found online at www.extence.co.uk. In addition to this Leigh Extence has confirmed that the Rue Limoges and Rue Debelleyme addresses were actually the same premises renamed during the process of rationalisation and merger of Parisian streets in 1865.

A fine and rare French engraved gilt brass carriage clock with two-plane 'chaffcutter' escapement Attributed to Paul Garnier, Paris, retailed by A. Demeur, Brussels, circa 1845 The eight-day two train movement with two-plane 'chaffcutter' escapement regulated by three-arm monometallic balance set between the plates and countwheel striking the hours on a bell mounted on the backplate concealing stamped number 1719 to centre, the fine rococo scroll engraved rectangular gilt brass dial flush fitted with a Roman numeral blue-on-white enamel hour disc inscribed A. DEMEUR. H’er de laCour, BRUXELLES to centre and with blued steel trefoil hands, the gilt brass one-piece caddy moulded bevel-glazed case with hinged slender baton handle above fine foliate scroll and herringbone band engraved frame incorporating upward sliding rear panel decorated with rococo motifs and with shuttered winding holes, on cavetto moulded panel-engraved skirt base with inset rounded angles, 12.5cm (5ins) high excluding handle. Paul Garnier is recorded in Allix, Charles and Bonnert, Peter CARRIAGE CLOCKS Their history and development as born 1801 and studying under Antide Janvier before setting up his own workshops in 1825. Garnier was awarded Silver Medals in the Paris Exhibitions of 1827, 34, and 39; and gold medals in 1844 and 49. He worked from various addresses at Rue Taitbout, Paris and died in 1869 leaving the business to his son of the same name who was still exhibiting carriage clocks in the Paris Exhibition of 1889. In 1916 Paul Garnier’s watch and clock collection was bequeathed to the Louvre. Garnier is generally credited for being the first maker to essentially standardise the 'petit pendule portative' which was in effect to become the prototype for the archetypal French carriage clock. The current lot utilises Garniers 'chaffcutter' escapement -the design of which is based on Sully and Debaufre’s frictional rest watch/chronometer escapements. The engraved one-piece caddy moulded case is typical of Garnier’s second series and can be closely compared with an example illustrated in Allix, Charles and Bonnert, Peter CARRIAGE CLOCKS, Their history and development on pages 62 and 63 (Plates II/30 and 31); both clocks also share the same blued steel trefoil hands.

Two Royal Doulton flambe wove dishes; Royal Doulton stoneware vase; Poole cheese dish and cover; Poole Dolphin and Royal Worcester miniature tea caddy and cover

Thomas Hughes London (active 1742-1785). An 18thC bracket clock, in ebonised caddy case with swing handle, with four part glass sections, on bracket feet, the arched dial with raised spandrels and 16cm Dia. silvered chapter ring, with Roman numeric and Arabic numerals, signed Thos Hughes, London, with date aperture, strike silent feature subsidiary second dial, and repeat feature with pull cord, double fusee movement, striking on main gong and six small bells, with an etched back plate, 45cm H.

A Liberty & Co Arts and Crafts pewter tea caddy, of oval form with circular lid, no. 0614, impressed marks beneath, 9.5cm H, and a KL pewter bowl, partially hammered. (2)

An RNLI Royal National Lifeboat Institution collection money box, 37cm W, a commemorative tankard, a 19thC sarcophagus shaped tea caddy, two pairs of child's shoes, a Sieman's Klepresse (boxed) a cased oak brush set with articulated front, various cameras, binoculars with case marked T French & Son Ltd, etc. (a quantity)

A Regency tea caddy, of rectangular form, with diamond ivory escutcheon, 12cm H, 11cm W, 9cm D.

A George II mahogany chamber table, the rectangular top with a full caddy moulded edge, above a divided frieze drawer with a pen tray, on lappet carved club legs and pad feet, 73.7cm high, 91.5cm wide, 58.8cm deep.

A Regency partridgewood tea caddy, of sarcophagus shape, with a twin lidded interior with bone handles, with brass ring handles, together with two other mahogany sarcophagus shape caddies, 20.2cm wide (max). (3) Provenance: 'A Lifetime of Collecting'-The property of a gentleman.

A George II walnut lowboy, cross and feather banded, the quarter veneered top with a caddy moulded edge, above three drawers, on cabriole legs and pad feet, 72cm high, 73cm wide, 45.3cm deep.

A George II red walnut lowboy, the rectangular top with a full caddy moulded edge, above a frieze drawer, on square section cabriole legs and pad feet, 70cm high, 75.5cm wide, 49.2cm deep.

A George II walnut lowboy, cross and feather banded, the quarter veneered top with a full caddy moulded edge and with re-entrant front corners, above three frieze drawers, on cabriole legs and pointed pad feet, 70.8cm high, 76cm wide, 44.8cm deep.

Two George III burr yew rectangular tea caddies, the interiors both with twin divisions, one with lids, together with a mahogany tea caddy of canted form, with a navette shape handle, the interior with a lid, 19cm (max). (3) Provenance: 'A Lifetime of Collecting'-The property of a gentleman.

λ An early Victorian tortoiseshell tea caddy, inlaid with pewter stringing, the hinged lid with a vacant plaque, the interior with ivory edging and with a twin lidded interior, on ball feet, 13.2cm high, 18.8cm wide, 12.3cm deep.

λ A 19th century ivory oval tea caddy / canister, with engraved brass mounts and a brass lined interior, with a rosewood lid, 12.8cm high.

λ An early 19th century Anglo-Indian ivory and tortoiseshell tea caddy, lac decorated with guilloche bands, the hinged lid revealing a sandalwood lined interior with twin divisions, Vizagapatam, 10.8cm high, 17.4cm wide, 12.6cm deep.

λ An Anglo-Indian hardwood tea caddy, inlaid with bone and ivory with urns of flowers and leaves, with brass mounts, the sloping lid revealing a single lidded interior, Hoshiarpur, late 19th / early 20th century, 15.7cm high, 15cm wide, 12.4cm deep.

λ A George III rolled paper tea caddy, of navette shape, inlaid with barber's pole stringing and decorated with scrolling leaves and flowers on a green foil ground, the hinged lid with a green stained ivory finial in the form of a pineapple, revealing a lidded compartment inlaid with a burr panel, 19.4cm wide.

λ A Victorian silver plated and ivory tea caddy, with egg and dart mounts, the hinged lid above a lattice carved body, with a shield engraved with a crest, a monogram and 'EMILY', the base with faux hallmarks and stamped 'HW&Co', 12.3cm high.

A HALLMARKED SILVER CADDY SPOON BY G UNITE

Three hallmarked silver tea caddy spoons, a Celtic design with figural handle of Madonna, John the Baptist and Jesus above a bowl with Celtic design of cross and deer, Singleton Brendan & Co, London 1902, one with oval bowl with windmill scene and windmill finial, marked 925,and a larger example with a pressed talla coin of the Saxony elector John George I, with large sailing ship finial, various hallmarks and import mark, length 13cm, approx combined 3.1ozt (3).

Natsume lacquer tea caddy with feather motif signed Japan c1930 - 1950 and an Oriental pot

Large silver plated two compartment tea caddy with embossed horse and rider design L : 20 cm

Large white metal lead soldered tea caddy with rubbed floral and figural design seal mark impressed to base H: 30 cm

A Victorian rosewood veneered travelling writing box, inlaid with cut mother-of-pearl motifs, with a hinged panelled cover above a turned handle, opening to reveal a compartmental interior, fitted with a pair of clear cut glass inkwells,13 cm high, 15 x 23 cm, together with a rosewood veneered sarcophagus shaped tea caddy, inlaid with mother-of-pearl with a compartmental interior, 17 cm high, 30 cm wide.

A George III mahogany cellarette, the hinged caddy top enclosing a fitted interior with six bottle divisions, flanked with loop handles, raised upon chamfered legs, 51 cm high, 44 x 30 cm.

Collection of treen including tea caddy & mahogany bowl