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A George III lozenge-shaped satinwood and sycamore marquetry tea caddy, hinged cover inlaid with Prince of Wales feathers and coronet, within an oval reserve, enclosing an interior with traces of lead, the front with two oval shell paterae, outlined throughout with boxwood stringing, elongated ivory kite escutcheon, 12cm high, 14.5cm wide, c.1800
A large post-Regency Tunbridge ware concave rectangular tea caddy, hinged cover inlaid with a view of a ruined abbey, flanked by navette shaped reserves, enclosing a bowl and a pair of rectangular canisters, inlaid throughout with bands and sprays of flowers and outlined with chequered stringing, bun feet, 38cm wide, c.1830
A Victorian rosewood and Tunbridge Ware sarcophagus tea caddy, the hinged cover and frieze veneered with tumbling blocks, the interior enclosing two divisions, dog-tooth border, outlined throughout with boxwood stringing, kite-shaped escutcheon, outswept brass bracket feet cast with foliage, 15cm high, 21cm wide, c.1860
An unusual George III Chinoiserie penwork canted cube tea caddy, decorated throughout with figures in traditional dress, precious objects, ho-ho birds and foliage, the front bearing a coat of arms and surmounted overall with a kite-shaped escutcheon, the whole intersected with trellis reserves, hinged cover enclosing a covered lead-lined division, 12cm high, 12cm wide, c.1790, early 20th century inscribed dealer's label to base
An English Regency flame mahogany and ebony strung stick barometer, silvered 16.8cm scale, signed Dollond/London, bowed glass, turned lignum vitae adjuster, silvered mercury thermometer, Fahrenheit scale, brass adjuster, the case with depressed caddy top, ebonised urn reservoir cover, canted angles inlaid with ebonised inlaid lozenges, 99cm highThe maker here indicated (the signature is common to most Dollond products over a long period) was almost certainly George Dollond (1774-1856) born Huggins, nephew, former apprentice and successor to Peter Dollond (1730-1820) son of a Huguenot weaver, an optical and mathematical instrument maker who strove to achieve the very highest standards..From 1804 (when Peter's brother John died) George took over and the firm moved to St. Paul's Churchyard in London,.George became instrument maker to William IV and Queen Victoria and exhibited sat the Great Exhibition of 1851. Condition Report: Good condition.
A George I oak longcase clock, 27cm square brass dial inscribed Jos. Thompson, Cirencester, Roman numerals, leafy cast spandrels, 30-hour movement striking on a bell, the caddy top case blind-carved with friezes of scrolling foliage, parcel gilt Doric columns, mahogany crossbanded rectangular door to waist, skirted base, bun feet, 205cm high, c.1725Joseph Thompson was working in Cirencester from 1719 to 1742.
A Black Forest walnut and oak bracket clock, 14.5cm square brass dial bevelled glass, with silvered Roman chapter ring subsidiary Arabic minutes, cast and applied mask and leafy scroll spandrels, matted centre, 8-day movement striking on two gongs, signed Lenskirch/million/118872, the caddy top with bookmatched veneers, acanthus carved borders, flowerhead bosses to angles, fretted rear access opening, shaped bracket feet, 32cm high, c. 1868The well-known German firm of Lenskirch was set up in the town of that name in 1851 by Eduard Hauser, a former pupil of Johan Georg Schopperle, with five colleagues and continued until c. 2001, the best quality mechanical clocks being made up until c. 1930. The date is fixed fairly accurately by the serial number on the backplate. This example has a passing half hour strike on a second gong.
A set of six Edwardian Art Nouveau silver coffee spoons by A. J. Bailey, Birmingham, 1904; three silver coffee spoons and sugar tongs en suite with Albany pattern terminals and spiral twist stems, Birmingham, 1903; an empty case to hold a set of 6 coffee spoons with tongs and caddy spoon; three silver-mounted cut-glass scent bottles all complete with stoppers, late Victorian and later; and a pair of silver plated fish servers.Chips to bases of 2 glass stoppers, one bottle with loose silver collar that needs re-gluing; some wear to ends of bowls on set of 6 coffee spoons.
Two tea caddies, A rosewood veneered Tunbridge ware decorated caddy, the lid with parquetry three dimensional cube effect panel in contrasting woods and Tunbridge ware border, a wide similar band around the body and a similar internal lid. 13.5x11x11cm., together with an oak two compartment caddy, the lid with rosewood veneered chamfered border and inset “TEA”, the interior foil lined.6.5x9x8.5cm. CR. Tunbridge ware caddy finish dirty and chipped, but box itself little damaged with Tunbridge work having only small losses. Mahogany strip veneer on base partly missing. Oak box generally good condition, interior fittings probably not original.
Edmund Appley at Charing Cross, a late 17th century ebonised basket-top bracket clock: the eight-day duration, double-fusee, five-pillar movement having a verge escapement, striking the hours on a bell and repeating the quarters at will on a nest of three bells, the backplate engraved with floral decoration and signed Edmund Appley at Charing Cross, the six and a half inch square brass dial having a raised silvered chapter ring engraved with black Roman numerals, outer Arabic five-minute numerals and meeting-arrow-head half-hour markings, the matted dial centre having a date aperture below XII o'clock, with cast-brass cherub-head spandrels to the four corners and decorative blued steel hands, with a strike/silent lever to the edge, the ebonised case with brass filigree basket work to the caddy-top, brass filigree mounts to the case front and surmounted by a brass carrying handle, height 37 cms (handle up), 33 cms (handle down).* Biography Edmund Appley was a fine maker who was born in Westmoreland and moved to London where he was apprenticed in 1670 to Jeffrey Bayley. He was free of the Clockmakers Company in 1678 where he worked in Charing Cross and died in 1688 on a visit to Edinburgh.

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81455 item(s)/page