RG Autumn 13 A5

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Welcome to our last brochure for 2013 which is in the new format that we trialled in the summer, and which without exception everyone who made a comment, said that they preferred this new size.

Eight weeks ago I was thinking that I didn’t have enough items to put a good brochure together, but as is the way in antiques, several phone calls to me later, I have been able to put together this fantastic 260 page brochure full of wonderful things to tempt you.

We have over 30 pictures, including those by John Atkinson Grimshaw, James Hardy Jnr, Thomas Luny, Fortunino Matania, a good selection of furniture, some fantastic bronzes, amazing silver, including a pair of silver lobsters by Buccellati, amazing books, with a complete collection of Honzo Zufu, a Herman Moll atlas and a set of Nonesuch Dickens, plus to many items to list here.

With Christmas not too far away, now is the time to mark a few pages as a gentle reminder to loved ones or as a treat to yourselves.

Please enjoy reading this brochure and we look forward to seeing or speaking too many of you over the coming months.

Richard & Janice Gardner

JAPANESE SILVERED BRONZE FALCON Meiji period Height: 20 inches / 50.75 cm Width: 10 inches / 25.5 cm Depth: 12 inches / 30.5 cm A superb Japanese silvered-bronze falcon perched on a gnarled rootwood stand, with gilt and shakudo eyes and talons. Signed Gyokko.

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GEORGE I WALNUT KNEEHOLE DESK Circa 1720 Height: 30½ inches / 77.5 cm Width: 30 inches / 76 cm Depth: 19 inches / 48.25 cm A George I walnut kneehole desk of very fine colour the quartered top with re-entrant corners, cross banded and with a narrow herring bone inlay, the sides halved and crossbanded, the front with a slide above one long drawer, a lap drawer, kneehole cupboard and six short drawers, old but not original handles.

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CHARLES BURLEIGH 1869 – 1956 English The Garden Pond Oil on relined canvas Signed Circa 1930 Frame size: 22½ x 26¼ inches / 57.25 x 66.75 cm Charles Burleigh studied at Brighton School of Art and also in Paris, where he studied under Jacques-Emile Blanche.

He was a painter of landscapes, townscapes, still life and interiors. His paintings sometimes featured his family, including his wife, the artist Averil Burleigh and his daughter, Veronica who was also an artist.

He exhibited at the Royal Academy; Fine Art Society and the Royal Institute of painters of which he was a member.

Charles Burleigh lived in Hove, Sussex.

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IVORY OKIMONO

BOW

Meiji Period

Circa 1756

Height: 3½ inches / 9 cm Width: 4 inches / 10.25 cm Depth: 3½ inches / 9 cm

Height: 6¾ inches / 17.25 cm Width: 2½ inches / 6.25 cm Depth: 3 inches / 7.75 cm

An unusual Japanese ivory okimono of a surprised woodcutter kneeling on the floor next to a basket from which a snake is emerging.

Signed

A good pair of Bow ‘New Dancers’ modelled as a boy and girl dancing with feathers in their hats.

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PIERRE JULES MÊNE 1810 – 1879 Renarde et ses Petits Signed Dated 1847 Height: 6¼ inches / 16 cm Width: 12¾ inches / 32.5 cm Depth: 7½ inches / 18.9 cm A superb and very rare mid 19th century French bronze study of a family of foxes at play, their caring father ever watchful and vigilant.

This bronze captures a playfulness that warms the heart, with fabulous hand chased surface detail and rich brown patina. A large and rare bronze that is signed P.J.Mene and Dated 1847.

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BRASS MOUNTED THREE LIGHT CHANDELIER English Circa 1900 Height: 36 inches / 91.4 cm Width: 20 inches / 50.7cm A fine quality cut glass and lacquered brass mounted three light chandelier, the pillared column surmounted by a swirl cut glass corona, the lower bowl richly cut with whiskey bottle cutting, this bowl surmounted within a finely cast scroll decorated band, this supporting three leaf decorated branches holding finely cut glass shades.

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REGENCY ROSEWOOD CENTRE TABLE WITH SPECIMEN MARBLE INSET TOP Circa 1820 Height: 28 inches / 71 cm Diameter: 25 inches / 63 cm A fine Regency rosewood centre table with specimen marble inset top, raised on a lyre support onto a platform base with concave sides and quadrant beaded moulding on carved lion’s paw feet, in the style of William Trotter.

The marble top with an amazing selection of marbles, including Sienna, Blue Tarquin, Norwegian Pink, Sienna Brocatelle, Sanguinne Brecia, and many more.

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LUCIEN HENRI GRANDGERARD 1880 – 1970 Nude Study Signed Oil on board Frame size: 23½ x 20¼ inches / 59.75 x 51.5 cm Lucien Henri Grandgerard was a French born artist, working predominately in oil of landscapes and figural subjects. He is especially known for his oil paintings of boudoir art subjects; scantily dressed or more often undressed young ladies in bedroom and dressing room setting.

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STOURBRIDGE ROCK CRYSTAL PRESENTATION FRUIT BOWL

BY STEVENS AND WILLIAM Circa 1904 Diameter: 9 inches / 22.75 cm A Stourbridge Rock Crystal presentation fruit bowl by Stevens and William, the cut body in the Art Nouveau style with water lilies all below the silver hallmarked rim.

Presented to ‘Hersilia R.Y.S.’ June 1904, it bears the retailers stamp W.Thornhill & Co Bond Street London and hallmarked London 1903.

Hersilia was a steam yacht of 454 tons Thames Measurement, built in 1895. She entered the Royal Yacht Squadron List in 1902 when Sir Walpole Greenwell, 1st Bt. was elected to the RYS. He may very well have owned her before that date. He kept her until she was lost in 1916, but he remained a member until 1919 when he died.

Like so many other large yachts of the time, Hersilia was requisitioned by the Admiralty during WWI and was assigned to the Auxiliary Patrol in the Stornoway area. She was wrecked on Eilean Chuai, Hebrides on 6 Jan 16.

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MAGNIFICENT AND EXCEPTIONALLY RARE PAIR OF SILVER BUCCELLATI LOBSTERS Circa 1960’s Height to top of lobster: 12 inches / 30.5 cm Height to top of antenna: 29½ inches / 74.75 cm Width: 15 inches / 38 cm Depth: 8 inches / 20.25 cm A superb and massive pair of silver models of Buccellati Lobsters made in Italy in the 1960’s, the spiny lobster is made in magnificent detail with its many feet with claws, scaly and spiny back and textured tail shell, with wonderfully long antennas.

These are stamped 925 Italy and signed Gianmaria Buccellati.

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PAIR OF JAPANESE BRONZE DUCKS

SPODE

Meiji Period

Circa 1825

Height: 6 inches / 15.25 cm Width: 14 inches / 35.5 cm Depth: 6¼ inches / 16 cm

Height: 8½ inches / 21.5 cm Diameter: 5¼ inches / 13.25 cm

A pair of superbly cast Japanese bronze and ormolu ducks swimming amongst swirling water on top of a mirror base sitting inside a simulated marble base.

A Spode two handled vase painted with Imari pattern 967.

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WILLIAM ANSLOW THORNLEY Exhibited 1858 – 1898 Shipping off Tilbury and Gravesend Signed Oil Frame size: 40 x 25¼ inches x 101.5 x 64.25 cm This stunning painting is unusual for its size and attention to accurate details, with many Tilbury and Gravesend landmarks. The double funnel paddle tug (shown centre) is either the RENOWN or the ROBERT BRUCE, both owned at the time by William Watkins Ltd, one of the first tug boat companies.

Thornley was a painter of coastal and marine shipping scenes. He produced many small paintings which remain extremely popular today. Much confusion is raised by Thornley’s many different signatures, which include Charles Thornley, Hubert Thornley and William Anslow Thornley (or Thornbery). His actual family name was Thornbery.

Thornley exhibited at all major London venues including 53 works at the Royal Academy and 54 at the Royal Society of British Artists. His paintings are represented at the Plymouth City Art Gallery, The Southampton City Art Gallery and the Southend on Sea Beecroft Art Gallery.

Historical information and landmarks are provided with this painting.

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GILT BRONZE BIRD LETTER HOLDER

GOOD PAIR OF GEORGE III MAHOGANY CHAIRS

19th Century

Circa 1765

Height: 4¾ inches / 12 cm Width: 8 inches / 20.25 cm Depth: 5 inches / 12.75 cm

Height: 38 inches / 96.5 cm Width: 21 inches / 53.25 cm Depth: 17 inches / 43.25 cm

A well cast gilt bronze figure of a pair of snipes, being the mother and chick, on a naturalistic base, the figure is hinged allowing it to hold letters.

A good pair of George III mahogany chairs, the backs carved and pierced with interlaced gothic tracery, c-scrolls and leaf clasped toprails.

These chairs derive in form from designs in Chippendales Director of 1762, but more closely relate to provenance chairs supplied

by Gillows of Lancaster to Charles Strickland of Sizergh Castle, Kendal, Cumbria, in 1765 described as ‘new pattern’ by Richard Gillow.

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TORTOISESHELL AND SILVER BLOTTER

LARGE DOUBLE SINGING BIRDS IN CAGE BY BONTEMS

Birmingham 1927

Circa 1900

Height: 2½ inches / 6.25 cm Width: 4½ inches / 11.5 cm Depth: 3 inches / 7.75 cm

Height: 20½ inches / 52 cm Diameter: 11 inches / 28 cm

An early 20th century Art Deco period silver and tortoiseshell desk blotter.

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A large circular domed brass cage with hoop and boss top, pressed metal base with leaf scrolls and oval chainlink unions, containing two singing birds, one sitting on a brass T perch and the other perched on the ground, with winding handle to the side together with the start/ stop slide which when released allows the birds to move and sing their glorious birdsong.

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CLICHY PAPERWEIGHT Circa 1900 Diameter: 2Âź inches / 5.75 cm A fine Clichy scramble millefiori paperweight with large colourful canes.

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CECIL ALDIN 1870 – 1935 A Well Earned Rest Etching Frame size: 17¼ x 19½ inches / 43.75 x 44.5 cm

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WEDGWOOD FAIRYLAND LUSTRE ANTIQUE CENTRE BOWL Circa 1920 Diameter: 8他 inches / 22.25 cm Height: 5他 inches / 14.5 cm Pattern No: Z4968 Interior: Woodland Elves II- Spiderland web Exterior: Woodland Bridge The interior with brown tree-trunks against a mother of pearl sky and green leafage appearing among the deciduous tree and a large spider hangs on a gossamer thread from his web spun between the trees.

The exterior with a steeply arched bridge, bordered by distant woods, delicate and lacy, spans a stream which flows between banks of massive tree clumps, in the foreground a single tree with exceptionally slender stems supports a large birds-nest, while the flower studded river bank on which it grows shows a line of seated ladybirds and energetic elves silhouetted against the water.

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SILVER SINGING BIRD BOX Circa 1920 Height: 1½ inches / 4.2 cm Width: 3¾ inches / 9.5 cm Depth: 2¼ inches / 5.8 cm A fine narrow proportioned silver singing bird box, the case decorated to all sides with children, putti and cherubs, leaf scrolls and flowerheads and peacocks, on moving the stop/ start button, the lid opens and the bird pops up through the grill and begins to sing, whilst moving from side to side and flapping his wings.

German.

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Richard Gardner Antiques exceptional antiques for exceptional people

CHELSEA DERBY Circa 1775 Height: 9Ÿ inches / 23.5 cm Width: 7½ inches / 19 cm A Chelsea Derby fine coffee pot and cover painted with Edward Withers styles roses and other flowers.

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JOHN ATKINSON GRIMSHAW 1836 - 1893 Ariadne at Naxos Signed & dated 1877 Oil on relined canvas Frame size: 38 x 53½ inches / 96.5 x 135.75cm Label verso: Leeds City Art Gallery, Alex Jackson- Yorkshire Collection, Atkinson Grimshaw Exhibition and Tour, 13 October – 10 November 1979, (66) Ariadne at Naxos A catalogue of the Touring Exhibition is also available with the painting.

Ariadne, daughter of King Minos of Crete, fell in love with Theseus, son of the King of Athens, who was sent to Crete to kill the legendary minotaur, to whom Athenian youths were regularly sacrificed.

She effected his escape from the Labyrinth by passing him a ball of string so that he could retrace his steps. They sailed away together to Naxos, but Theseus soon tired of Ariadne, and abandoned her.

The gods punished Theseus by causing him to forget to change the black sails of his ship to white.

On seeing the black ship return his father flung himself from the cliffs fearing his son dead. Ariadne remained on the island, mourning the loss of her lover until consoled by Bacchus, who flung her crown into the heavens to form a constellation of stars, and married her.

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REGENCY MAHOAGNY SERPENTINE CHEST OF DRAWERS Circa 1810 Height: 33 inches / 84 cm Width: Depth: A good Regency mahogany serpentine chest of small size and fine detail, the swept cornered top crossbanded in goncalo alves with a cable stringing, edged in satinwood the frieze and drawer divisions also in satinwood, the canted corners of purpleheart panelled with chevron inlay, all raised on a shaped bracket base. Original brassware.

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VICTORIAN HORSERACING DESK SET

ASPREY BOUDOIR CLOCK

Circa 1880

Circa 1920

Height: 4½ inches / 11.25 cm Width: 7 inches / 17.5 cm Depth: 5¼ inches / 13 cm

Height: 2½ inches / 6.25 cm Width: 1½ inches / 3.75 cm Depth: 1¼ inches / 3 cm

A Victorian horseracing desk set, on stamped leather covered base with horse bridle decoration and jockeys cap inkwell in cut glass and ormolu, a lovely quality piece in perfect condition.

A very attractive silver and guilloche enamel boudoir clock, the case decorated on three sides and the top in purple coloured enamel with a sunburst design, the white enamel dial signed Asprey, the clock stands upon bracket feet, the movement signed JTC and numbered 58303, it also has silver marks, and retains its original leather case.

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JULES MOIGNIEZ French 1835 – 1894 Coupe Aux Cigognes Signed Circa 1880 Height: 13½ inches / 34.25 cm Width: 6½ inches / 16.5 cm Pair of bronze covered urns, ovoid, the bodies cast with scenes of pheasants and young to one side and rabbits and young on the other, the lids with a hunting scene of dogs chasing a fox, the lid finial formed as a perched bird of prey and the handles with storks perched on top of them, on stylized three form trumpet foot onto bronze and slate base, green and black patination. Signed J. Moigniez to the lids and handles.

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G. TREVOR Fl 1920s – 1930s Fowey & Looe, Cornwall Signed Pair of watercolours Frame size: 17 x 20½ inches / 43.25 x 52 cm G. Trevor was a watercolour landscape painter who was probably working in the 1920 – 1930’s. The pictures were well painted and often heightened with bodycolour which gave them an attractive and colourful appearance.

The subjects included views of the Lake District, Wales and Scotland. The artist signed G Trevor in an indistinct script and as a result are frequently miscatalogued.

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JADE BUDDHIST LION

IVORY OKIMONO

Early 20th Century

Meiji Period

Height: 4½ inches / 11.5 cm Width: 6 inches / 15.25 cm Depth: 3¾ inches / 9.5 cm

Height: 10½ inches / 26.75 cm Width: 4½ inches / 11.5 cm Depth: 3½ inches / 9 cm

A very nicely carved Jade figure of a standing Buddhist lion supported on a wooden base.

A fine Japanese ivory okimono of a fisherman sitting on the floor holding a fish, above him suspended from a tree is his drying net, on a wooden stand.

Signed.

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SILVER GILT ETUI 19th Century Height: 35/8 inches / 9.4 cm A lovely 19th century silver gilt etui decorated throughout with trailing flowers, the lid opens to reveal a selection of tools, including scissors, spoon, pencil etc.

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GEORGE III SERPENTINE MAHOGANY SIDE TABLE Circa 1790 Height: 28 inches / 71 cm Width: 48¼ inches / 122.5 cm Depth: 20½ inches / 52 cm A George III serpentine mahogany side table of slender form with boxwood line inlays, single long drawer, the frieze with a purple heart band.

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GEORGE TOWLEY STUBBS (After George Stubbs) 1756 – 1815 Stipple Engraving Frame size: 24¼ x 27¾ inches / 61.5 x 70.75 cm This engraving is from a painting by George Stubbs of ‘Sweetbrier’ Published by Edward Orme in 1817 New Bond Street, London George Townley Stubbs, son of George Stubbs was a sculptor and engraver to His Royal Highness the Prince of Wales.

Sweetbrier raced for Lord Grosvenor in 1773 – 1775, retiring to stud unbeaten. In the background is Grosvenor’s stud farm at Oxcroft, Cambridgeshire.

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BACCARAT PAPERWEIGHT Circa 1848 Diameter: 2½ inches / 6.5 cm A Baccarat millefiori paperweight with large colourful canes, many containing gridel animal silhouettes on a ground of white upset muslin.

Signed and dated 1848.

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ROYAL WORCESTER Dated 1926 Diameter: 19¾ inches / 29.25 cm

WOOD IVORY & SHIBAYAMA FIGURE OF A SAMURAI Meiji Period Height: 6 inches / 15.25 cm Width: 3½ inches / 9 cm Depth: 2½ inches / 6.5 cm

A Royal Worcester very fine plate painted with the River Dart, England, titled to reverse and signed Harry Davis date code for 1926.

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A lovely Japanese carved wood, ivory and shibayama decorated figure of a Samurai standing on a wooden base, holding a mother of pearl sword in his left hand and possibly a tanto in his right. Signed.

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ISIDORE BONHEUR French 1827 – 1901 Taureau Chargeant Signed I Bonheur Stamped Peyrol Height: 13½ inches / 34 cm Width: 22¾ inches / 58 cm A large and impressive mid 19th century bronze study of a charging bull with excellent hand chased surface detail and rich brown patina. Raised on an integral naturalistic bronze base, signed I Bonheur and stamped Peyrol.

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CHARLES TAYLOR JR. Fl.1841 - 1883 English Shipping off Portsmouth Harbour Watercolour Circa 1880 Frame size: 25½ x 41½ inches / 64.75 x 105.25 cm Charles Taylor Jr. held a total of 75 London exhibitions, four of which were with the Royal Academy and eight others with the British Institution. He enjoyed commercial association with the Suffolk Street Galleries. Of his known works, they are almost universally marines and mostly of the tidal Thames and Estuary ports, especially of the Yarmouth and Portsmouth areas.

Works by the father and son are often attributed to either, as both men signed ‘Charles Taylor’ with no additional initial or designation. What becomes most apparent is that junior’s work holds a better technical sense, especially with his use of watercolors. Perhaps this is because of his collaborations with British artist/lithographer T.G. Dutton, and the necessity for tight accuracy when creating a work on stone for the demanding lithographic print process.

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BRASS BOUND BUCKET

OAK REVOLVING DESK CHAIR

Circa 1800

Circa 1725

Height: 13½ inches / 34.25 cm Width: 11 inches / 28 cm Depth: 13¾ inches / 35 cm

Height: 34 inches / 86.25 cm Width: 26 inches / 66 cm Depth: 27 inches / 68.5 cm

A late Georgian mahogany and brass bound boat shape bucket with swing handle and original brass liner.

A good 19th Century oak revolving desk chair on scrolling moulded legs with shell carved knee, upholstered in antique hide.

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STERLING SILVER GILT, ENAMEL AND PICTORIAL ENAMEL SINGING BIRD BOX, BY KARL GRIESBAUM Circa 1925 Height: 1¾ inches / 4.5 cm Width: 3¾ inches / 9.5 cm Depth: 2¼ inches / 5.75 cm A very fine sterling silver gilt, enamel and pictorial enamel singing bird box which when wound, the bird suddenly appears through pierced and chased soft gilt grille, moving metal beak, wings and body from sideto-side to continuous synchronised birdsong.

The bird with prominent dark blue and black feathered plumage, subtle iridescent highlights in green and orange, matt finished lid interior and zig-zag petit-point tooled border, the lid including bird lid with superb full frame painted enamel study of exceptional detail with central slight-domed bird lid showing clap-net set to bankside path between oak trees, stone dwellings to both sides of the mature green meadow banks and a town in the distance before twin mountain peaks, the migratory birds seen in the sky above seated clap-net line operator with his lady in 18th century country dress beneath tree and hedgerow to right, two ladies admiring tree to left in flowing red dresses, single white enamel frame between tooled frieze border, the front with oval painted enamel study of an island chateau with further bankside manor surrounded by trees and mountains, matching rear panel with a study of the same location from the other side of the river, left and right sides with deep cobolt blue enamel roundels with sexpupletfoil centres flanked by same tone shaped arches with quatrefoil spandrels, repeated as compliments to front and rear panels and the triple fluted enamel infilled corners in white, black and turquoise, finished by very rare and most probable bee-in-flight friezes to all sides, tooled frame underside, hidden key compartment to rear.

Point of interest Not one model 7 we have ever handled has been the same. The model 7 case never really differs, but the tooling and all enamel work is unique on each specimen seen. Have a good look at the stunning detail of the flying bees, seen repeated across full frieze to all sides - a commission idea no doubt.

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CHAMBERLAINS WORCESTER

SILVER SKATER

Circa 1820

London 1904

Height: 3¼ inches / 8.25 cm Width: 7¼ inches / 18.5 cm Depth: 8 inches / 20.25 cm

Height: 5¾ inches / 14.5 cm Width: 4 inches / 10.25 cm Depth: 2¾ inches / 7 cm

A rare complete miniature tea service; teapot and cover, sucrier and cover, slops bowl, cream jug and two teacups and saucers. Chamberlain Worcester in red script inside covers.

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A lovely silver figure of a gentleman ice skater in period dress mounted onto a wooden base.

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FORTUNINO MATANIA RI 1881 - 1963 Richard II and His Child Bride Isabella Signed Oil on canvas Frame size: 30 x 22 inches / 61 x 38 cm Fortunino Matania was born in Naples. The son of Eduardo Matania a leading light of the Neapolitan Posilipa School. He started his professional career at the age of 14, as an illustrator for L’Illustrazione in Milan.

Commissioned by The Graphic he came to London in 1902 to cover the coronation of Edward VII. He continued to live and work in England where he became very well known indeed, particularly for his superb illustrations at the front as an official war artist in the Great War. He was a most gifted illustrator, able to work at quite amazing speed. His paintings are compelling because of his extraordinary skill at capturing the essence of his subject. He was greatly influenced by classical art, probably nurtured by spending his early years near the excavations at Pompeii. He had the ability to look at a scene as through the cameras eye, capturing the people as in an instant in time. He usually started his work in one corner and completed each detail as he put it in. From Cecil B de Mille in Hollywood to Fortuniono in London came a cable “Would Mr Matania please paint a suitable orgy”. The artist had gained an international reputation for his minutely accurate reconstructions of historical scenes. Many exhibitions in London and elsewhere.

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In 1963, the 82 year old illustrator Fortunino Matania was struggling to meet a deadline. Despite his advanced age, he was still busy working on commissions and, although his client list had contracted, the expectations placed upon him were as great as ever. His primary client was the visionary editor Leonard Matthews, who had long been a passionate champion of Mantania’s work, and had ensured that Matania would have as much work from him as he could accommodate. When Matthew’s had launched his ground breaking children’s weekly Look and Learn a year earlier, Mantania had been one of the first illustrators he had secured for the project. Look and Learn was the ideal vehicle for Matania’s talents, as its primary focus was to inform and entertain children, and historical subject matter was where Look and Learn really shone.

As a consequence, Matania’s work was being seen on a weekly basis by a new generation of children. As he provided illustrations which transported his young audience back into the world of classical antiquity, his artwork was as assured as ever, providing readers with the closest thing to a photographer’s eye on events which would otherwise has been consigned to the pages of the dry and dusty textbooks, through which many of them were required to assimilate their history.

When Matthews mooted the idea of a new and epic series depicting the history of Britain, as seen through its succession of monarchs, Matania was his logical first choice to bring Alfred Duggan’s stirring text to vivid life. The series entitled ‘A Pageant of Kings’ was a tour de force for Matania. Starting with William the Conqueror and the Battle of Hastings, he set about producing a series of full-colour, full page illustrations in oils, rather than the pencil and gouache that he normally employed. Week after week the paintings arrived on Matthew’s desk, and week after week the editor, whose pursuit of excellence in all things he turned his hand to was legendary, stared in amazement at the artwork he was receiving, calling in all members of staff to share the moment with him. A cavalcade of seminal moments from British history were played out in Mantania’s oils, from the depiction of Richard I leading his men against the armies of Saladin, through the civil wars of King Stephen, to the signing of the Magna Carta. Here was the story of the Island Race as delineated by a masters hand.

The series was a triumph. That was until his painting of Richard II with his child bride Isabella, when the infirmities of age finally seemed to latch themselves onto Matania’s brush. The work when it was eventually delivered to Matthews, closer to the deadline than either artist or editor would have preferred, was unfinished, Mantania having evidently struggled with the rendition of an eight year old girl as well as having failed to complete several other elements of the painting. Matthews was disappointed, the painting was still sufficiently good to go to press with, but it was nowhere near as good as its predecessors.

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Matania evidently felt equally discomforted and offered to rework the painting, as not only was it to appear in Look and Learn, but Matthews, ever the patron of the arts, wanted it to take its place alongside the other paintings in the series for his own collection. So the painting was returned to Mantania and, ever the perfectionist, the artist set about resolving all the problems that had so beset the painting prior to its delivery to Matthews. The painting was duly completed, but before it could be returned to Matthews, Matania died. There were to be no more Matania paintings for ‘A Pageant of Kings,’ and the painting of Richard II and his little princess remained amongst the great man’s efforts while arrangements for his funeral were made.

This text is an extract from a major article in illustrators issue 3 www.illustratorsquarterely.com used by kind permission of the editor and publishers bookplace.com.

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18TH CENTURY NEEDLEWORK CUSHION Early 18th Century Height: 2¼ inches / 6.5 cm Width: 7¼ inches / 18 cm Depth: 5 inches / 12.5 cm

An unusual 18th century needlework cushion which would of originally have been fitted into a low walnut footstool.

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A CARRIER BELLEUSE 1824 -1887 The Spinner Circa 1880 Height: 14 inches / 35 cm Width: 5 inches / 12.75 cm Depth: 4 inches / 10.25 cm A fabulous gilt bronze and ivory sculpture of a woman spinning, holding a distaff in her left hand and the spun yarn through her right hand with a drop spindle at the end, mounted on a circular marble base.

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A FINE PAIR OF REGENCY PERIOD CANDELABRA English Circa 1825 Height: 11¾ inches / 30cm Width: 11¼ inches / 28.6 cm The circular radial cut bases supporting a glass step cut column this surmounted by an ormolu twin branch centered by a diamond cut pine-cone shaped finial, the candle nozzle of an unusual feather cut type, these above radial cut drip pans hung with round icicles and double point spangles.

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GEORGE III URN STAND Circa 1795 Height: 26¼ inches / 66.75 cm Width: 11½ inches / 29.25 cm Depth: 11½ inches / 29.25 cm A George III goncalo alves urn stand with shaped gallery and frieze incorporating a cup slide, raised on slender taper legs to castors.

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WILLIAM LIONEL WYLLIE R.A. 1851 – 1931 Dutch Eel Boats in the Pool of London Drypoint etching Signed Circa 1920 Frame size: 15¼ x 19 inches / 38.75 x 48.25 cm

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WILLIAM LIONEL WYLLIE R.A. 1851 – 1931 La Lieutenance, Honfleur, France Etching Frame size: 17¼ x 21¼ inches / 43.75 x 54 cm

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PAIR OF GUARDIAN LIONS

ROYAL WORCESTER

Early 20th Century

Dated 1883

Height: 4½ inches / 11.5 cm Width: 3¼ inches / 8.25 cm Depth: 2¼ inches / 5.75 cm

Height: 8½ inches / 21.5 cm Width: 9½ inches / 24.25 cm Depth: 6 inches / 15.25 cm

A lovely small pair of carved wooden Chinese guardian lions, often referred to in the west as ‘Dogs of Fo’, each with a paw resting on a ball and both on wooden plinths.

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A Royal Worcester sweetmeat dish modelled as a lady and gentleman both holding baskets seated on shells.

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THE NONESUCH DICKENS Circa 1937 – 1938 HEIGHT A collection of 24 volumes (23 text volumes, and a volume containing an original steel plate).

One of only 877 sets.

The Nonesuch Dickens, designed by Francis Meynell, limited to 877 sets. Each set is accompanied by one of the original steel plates or wood blocks made for Chapman & Hall’s editions of Dickens, ‘Published under the editorial direction of Arthur Waugh, Hugh Walpole, Walter Dexter and Thomas Hatton.’ The steel plate entitled ‘Frontispiece’ from David Copperfield, engraved by H.K. Browne (‘Phiz’) for Messer’s. Chapman & Hall Ltd, together with an extra printing from the plate, which is housed in its original custom made clamshell box with the binding uniform to the set, along with a letter of authenticity, signed by Arthur Waugh on Chapman and Hall letterhead. Volumes are printed on handmade rag paper specially made for this edition. It is bound in full linen, various coloured buckram, with gilt stamped, black morocco-leather labels on spines, top edges gilt.

The print run of 877 sets was linked to the number of plates engraved for the original illustrations, as each subscriber was allocated one of these plates and a print from it, in a separate volume.

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Opposite: Frontispiece for David Copperfield

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THOMAS TAYLER IRELAND Fl. 1880 – 1927 Summer Signed Oil on canvas Frame size: 25¾ x 32½ inches / 65.25 x 82.5 cm Thomas Tayler Ireland was the son of painter Thomas Ireland. He lived in London and painted in both oils and watercolours. He was a landscape painter and exhibited at the Royal Academy (7 works), the Royal Institute of Painters in watercolour and Suffolk Street. Also at Birmingham, Manchester, The RBA and others.

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MINTON Date 1874 Diameter: 9½ inches / 24.25 cm A fine pair of turquoise ground plates painted in the style of Boucher after Sevres designs.

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EXCEPTIONAL QUALITY FOUR FOLD SCREEN Circa 1895 Height: 66 inches / 167.75 cm Width: 76 inches / 193 cm An exceptional late 19th century four fold mahogany and satinwood screen, with mahogany inlay and pen and ink decoration, each section is divided into four panels all of which have rosewood banding, the top panel decorated with floral paterae and geometric designs, the next with a large stylised flower head and the main panel with well executed female figures all musically related with one singing, one playing a horn, one an organ and the last a lyre, the bottom panels left plain.

Attributed to James Hicks, Dublin.

The work of Dublin furniture-maker James Hicks was the antithesis of modernism due to his admiration of the Chippendale, Adams and Sheraton styles. After a brief spell in London he opened his business in 1894 with a workshop of 24 craftsmen, many of whom became famous in their own right.

Royal patronage came from King Edward VII and the Crown Princess of Sweden and the firm won many famous commissions. He is admired for his use of exotic woods, exceptional marquetry and veneering. Early work reflects 18th century Palladianism, featuring decorative shells, laurel swags, acanthus leaves, heavyset cabriole legs, and dominant paw feet. Hicks won many medals notably the Aonach Taitleann gold medal of 1928. Entering a satinwood display cabinet into the RDS Spring show, he won silver and discretely adhered the medal to the inner drawer. The firm represented Ireland’s craftsmanship at the New York World Trade Fair in 1939. One of the pieces exhibited was a satinwood table which Hicks originally made and signed in 1929. The President and Chairman of the fair sent a certificate to the Hicks’s firm conveying their appreciation of the substantial contribution that Hicks’s exhibit had made towards the success of the fair. Hicks sadly had died in 1936 and never received this accolade in person. Indubitably his style looks to past masters, yet “he never used a copy or a catalogue. Often, indeed, he rejected a lucrative commission rather than work from a design supplied to him.”

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FINE EARLY 19TH CENTURY PAPERWEIGHT

JAPANESE BRONZE ONI GROUP

Circa 1830

Meiji Period

Height: 3¼ inches / 8.25 cm Width: 7½ inches / 19 cm Depth: 5¼ inches / 13.25 cm

Height: 14 inches / 35.5 cm Width: 9 inches / 22.75 cm Depth: 7 inches / 17.75 cm

A fine early 19th century paperweight with highly polished green wooden base giving the impression of marble, fine interior decoration under glass with cut steel bezel and a fine twisted cut steel handle (probably Russian Tula cut steel work from the Imperial Armory factory at Tula), the wooden base is shaped and backed with yellow paper.

Possibly Russian.

A lovely Japanese bronze figure group of a mendicant oni with a tattered umberella and wearing a voluminous cloak over tiger mask greaves, a smaller oni wears similar greaves and a loin cloth, set on a decorated wooden stand.

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THOMAS CRESWICK 1811 - 1869 Grand Canal, Venice Oil on board Old label verso- dated 1867 Frame size: 13 x 11Âź inches / 33 x 28.5 cm Thomas Creswick was born on 5th February 1811 an died on 28 December 1869 he was an English landscape painter and illustrator, born in Sheffield, son of Thomas Creswick and Mary Epworth and educated near Birmingham.

At Birmingham he first began to paint. His earliest appearance as an exhibitor was in 1827, at the Society of British Artists in London; in the ensuing year he sent to the Royal Academy two pictures named Llyn Gwynant, Morning, and Carnarvon Castle. About the same time he settled in London; and in 1836 he took a house in Bayswater. He soon attracted some attention as a landscape painter. In 1842 he was elected an associate, and in 1850 a full member of the Royal Academy, which, for several years before his death, numbered hardly any other full members representing this branch of art. In his early practice he set an example, then much needed, of diligent study of nature out of doors, painting on the spot all the substantial part of several of his pictures. English and Welsh streams may be said to have formed his favourite subjects, and generally British rural scenery, mostly under its cheerful, calm and pleasurable aspects, in open daylight. This he rendered with elegant and equable skill, colour rather grey in tint, especially in his later years, and more than average technical accomplishment; his works have little to excite, but would, in most conditions of public taste, retain their power to attract.

Creswick was industrious and extremely prolific; he produced, besides a steady outpouring of paintings, numerous illustrations for books. He was personally genial, a dark, bulky man, somewhat heavy and graceless in aspect in his later years. He died at his house in Bayswater, Linden Grove, after a few years of declining health.

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DIEPPE IVORY GROTESQUE IN A FINE ORMOLU FRAME Circa 1850

BRASS CLOTHES STAND Mid 20th Century

Diameter: 5 inches / 12.5 cm

Height: 42 inches / 106.5 cm Width: 17½ inches / 145 cm Depth: 15 inches / 38.25 cm

A Dieppe ivory grotesque mask attached to an ivory plate in a fine ormolu frame, the mercury gilt and highly decorative bezel has a loop at the top for hanging.

A mid 20th century French brass and mahogany clothes stand on a tripod base to three wheels.

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HORN SNUFF MULL

PAIR OF REGENCY ANIMALIER CANDLESTICKS

Circa 1880

Circa 1820

Height: 5½ inches / 14 cm Width: 7 inches / 17.75 cm

Height: 7¼ inches / 18 cm Width: 5¼ inches / 13.25 cm Depth: 2¼ inches / 5.625 cm

A 19th century rams horn table snuff mull mounted with silver plated fitting, the lid of the snuff compartment is engraved with a bull’s head, initials and foliage.

A late English Regency naïve true pair of animalier candlesticks of greyhounds and squirrels, in patinated bronze and on rectangular bases, these are a true pair rather than two identical candlesticks, as you can see the dogs face each other rather than both facing the same way if they were just copies of a single model, lovely simple naturalistic scene of dogs lying below trees with squirrels sitting on branches, the candleholders set on the top of the trees are very attractive and typical of the late Regency with knirling patterns around the centre and concentric circles making up the candle holders.

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STICK BAROMETER Circa 1850 Height: 38 inches / 96 cm A good mahogany stick barometer signed F & C Lake, Taunton, with ogee pediment over glazed, finely engraved silvered brass register plates, signed by the makers, and with rack and pinion operated venier, the slender trunk bearing inset Fahrenheit and Reaumur mercury thermometer, the original concealed barometer cistern tube terminating within turned cistern cover.

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FREDERICK CALVERT fl. 1827 - 1844 Fishing boats in a calm estuary & fishermen & other shipping crossing a barr, harbour entrance beyond Signed A pair of oil paintings on relined canvas Frame size: 15 x 19 inches / 38 x 48.25 cm Frederick Calvert was a London painter of shipping and coastal scenes. He exhibited at BI and SS. Also a topographical watercolourist and engraver. Works by him are in the National Maritime Museum, VAM, and the Walker AG, Liverpool.

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SILVER GAMES BOX

GEORGE III MAHOGANY SOFA TABLE

London 1903

Circa 1795

Height: 1½ inches / 3.5 cm Width: 3½ inches / 9 cm Depth: 2½ inches / 6.4 cm

Height: 28¼ inches / 71.75 cm Width unopened: 35¼ inches / 89.25 cm Width opened: 59 inches / 14.75 cm Depth: 27 inches / 68.5 cm

A charming travelling silver games box, the lid decorated with trailing flowers which opens to reveal two packs of playing cards, dice and pencils, makers mark JP over BP.

A George III mahogany sofa table of fine colour, the sabre end supports with ebonised inlays and boxwood stringing, the frieze with satinwood panels and string inlaid drawers, the top with a triple banding of rosewood, satinwood and tulipwood divided by black and white stringing.

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PAIR OF DUTCH JARDINERES

IVORY OKIMONO

Circa 1820

Meiji Period

Height: 10 inches / 25 cm Diameter: 10¼ / inches / 26 cm

Height: 7½ inches / 19 cm Width: 4 inches / 10 cm Depth: 3¼ inches / 8.25 cm

A fine and rare pair of early 19th century Dutch mahogany and brass bound jardinières, with turned decoration and shaped castellated rims, with brass buttons, all on brass lions paw feet.

A beautiful Japanese ivory okimono of a lady standing in a kimono, holding a scroll in her hands and having a group of writing boxes and tools at her feet. Signed

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SILVER PLATED & GLASS HONEY POT

GEORGE III CUTLERY / KNIFE BOX

Circa 1930

Circa 1790

Height: 4Âź inches / 10.75 cm Width: 6 inches / 5.25 cm Depth: 4 inches / 10.25 cm

Height: 16Âź inches / 39 cm Width: 10 inches / 25.5 cm Depth: 13 inches / 33 cm

An early 20th century silver plated and clear glass honey pot in the form of a bee, complete with spoon.

A large George III mahogany cutlery / knife box with ebony edging, with silver escutcheon and silver shield engraved with the family crest, lifting the lid reveals an interior with spaces for 71 pieces and still retaining 45 original ivory and silver handled cutlery items all also marked with the family crest, all supported on bun feet.

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103

GEORGIAN SILVER WINE LABEL London 1826 Length: 2Âź inches / 6 cm A Georgian silver wine label for sherry with cut out lettering which has gone through the hallmark, makers mark either CB or CP.

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FOUR SILVER BOTTLE TICKETS Circa 1849 – 1872 Height: 1½ inches / 3.75 cm Four Victorian silver bottle tickets in letter form with P, B, S and W, hallmarked 1849 – 1872 makers of three Rawlings & Summers, the fourth by CR & WR.

THREE 19TH CENTURY WINE LABELS 19th Century Length: 4¾ inches / 12 cm A group of three 19th century wine labels of boars teeth with engraved white metal mounts, named port, claret and sherry, possibly Indian.

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GIULIO PASTINE 1870 – Young beauty Watercolour Original frame Signed & dated 1913 Frame size: 51½ x 33 inches / 129.5 x 84 cm A lovely Pre-Raphaelite style painting of a young beautiful lady with long hair sitting in a garden with a statue behind and a rose bush in the foreground. The painting still retains its original embroidered frame which is in a distressed state, but which we feel adds a certain charm to the painting.

On the reverse of the painting is a note from the artist to a Mr & Mrs Siegman saying in recognition of the great honour and good that they have given me and dated 5th September 1914.

Guilio Pastine Despite our best efforts we have been unable to find much information for this artist beyond that he was born in 1870, possibly in Genoa, and he was described as an Italian portraitist, although the only other portrait that we can trace by him, was a self portrait, dated 1907. There may be other portraits in existence but not attributed to him, as his signature is very hard to read.

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107

IVORY SILVER & SHIBAYAMA VASE Meiji Period Height: 5½ inches / 14 cm Width: 3Ÿ inches / 8.25 cm A good Japanese ivory, silver and shibayama vase with dragon handles, the silver with details in coloured enamel, whilst the ivory body is inlaid with semi-precious stones, mother of pearl and tortoiseshell with a bird in a tree, the reverse with flowers and a butterfly. Signed.

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REGENCY GROCERS STEEL SUGAR CUTTERS

LATE GEORGE II MAHOGANY TEA TABLE

Circa 1810

Circa 1760

Height: 5½ inches / 14 cm Width: 11½ inches / 29.25 cm Depth: 4 inches / 10 cm

Height: 27 inches / 68.5 cm Diameter: 30 inches / 76.25 cm

A Regency grocer’s steel sugar cutter with a finely turned ivory handle, raised on a string inlaid mahogany base.

A late George II mahogany supper / tea table, the revolving top supported on a birdcage action above a turned column support with shallow cabriole legs terminating in bold egg and claw feet.

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TORTOISESHELL AND SILVER SNUFF BOX London 1914 Height: 1Âź inches / 3 cm Diameter: 3 inches / 7.75 cm

An Edwardian tortoiseshell and silver snuff box, in excellent condition with no damage to the tortoiseshell, silver base and bezel with integral hinge and with a small inlaid silver concentric circle to the lid, by William Comyns.

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HENRY WEEKES 1807 – 1877 The Young Naturalist Circa 1870 Height: 20 inches / 50.75 cm Width: 6 inches / 15.25 cm Depth: 8 inches / 20.25 cm A lovely bronze figure of a girl standing and wearing a light shift, leaning forward over her extended left foot, a starfish held in the fingers of her right hand, the naturalistically cast base with seaweed, on a rectangular base inscribed H.Weekes A.R.A. London and Elkington & Co. Founders.

For a full biography, please visit our web site.

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JENNENS & BETTRIDGE TEA CADDY Circa 1850

Circa 1900

Height: 6 inches / 15.25 cm Width: 9¼ inches / 23.5 cm Depth: 6 inches / 15.25 cm

Height: 11½ inches / 29.25 cm Diameter: 4¼ inches / 10.75 cm

A good Jennens & Bettridge sarcophagus shaped papier mache two compartment tea caddy with gilt decoration and mother-of-pearl inlay to the top and sides, the top opening to reveal two motherof- pearl handled lids and original lining, stamped to base Jennens & Bettridge.

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RARE SILVER PLATED CHAMPAGNE BOTTLE HOLDER

An early 20th century silver plated bottle holder

by Mappin & Webb, the holder hinges open to reveal a leather lined interior which allows a single bottle of champagne to be held, the holder is then closed and it not only keeps the bottle cool, but also the handle makes for easy pouring, the bottle is completely enclosed except for the top of the neck which means the label cannot be seen.

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BERNADO HAY 1864 – 1934 The Isle of Capri Signed Oil on canvas Frame size: 28 x 19 inches / 71 x 48.25 cm Bernado Hay was born in Florence the son of the Pre-Raphaelite painter Jane Benham Hay (1829 – 1904) and the Macchiaioli* artist Francesco Altamura (1822 - 1897). Bernado was a successful painter of landscapes and marine views, being active in Naples, Capri and Venice.

Macchiaioli were a group of Italian artists in Tuscany who broke away from conventional art towards impressionism a few years before the French.

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BRONZE LURCHER CARD HOLDER Circa 1880 Height: 4 inches / 10.25 cm Width: 8 inches / 20.25 cm Depth: 5 inches / 12.5 cm A 19th century bronze lurcher with spring release bottom jaw enabling you to place your visiting card in its mouth, on black slate base.

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PAIR OF MALLET SHAPED BRISTOL GREEN DECANTERS Circa 1795 - 1808 Height: 10¼ inches / 26 cm Diameter: 3¼ inches / 8.25 cm A pair of late 18th or early 19th century mallet shaped Bristol green decanters inscribed ‘Rum’ and ‘Holland’ in a brass and papier-mache stand. Replacement stoppers.

From Wing Commander Ron Thomas Collection.

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PAIR OF MEISSEN PARROTS 20th Century Height: 5他 inches / 14.75 cm Width: 4 inches / 10 cm Depth: 3他 inches / 9.5 cm A lovely pair of small Meissen models of parrots, one with a blue crown, the other a red crown, perched between two leafy branches on low tree stumps.

Blue crossed swords marks, incised marks HZ9, modelled by Johann Joachim Kaendler.

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GEORGE III SATINWOOD PIER TABLE Circa 1790 Height: 29¾ inches / 75.5 cm Width: 39 inches / 99 cm Depth unopened: 19½ inches / 49.5 cm Depth opened: 38½ inches / 97.5 cm A fine George III satinwood pier table with foldover top, cross banded in tulipwood the top and frieze with marquetry conch shells, the legs with ‘lily of the valley’ inlaid ovals.

This form of table can perhaps be ascribed to a Dublin maker in the circle of William Moore who in 1782 advertised ‘… card tables of a new construction which appear like small pier tables.’ with every article in the inlaid way (Dublin Evening Post.)

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SET OF SIX CHAMPAGNE FLUTES

FINE PAIR OF GILT AND SILVERED GOTHIC CANDLESTICKS

French

Circa 1828 – 1930 Height: 12ž inches / 31.75 cm Width: 4 inches / 10 cm Depth: 4 inches / 10 cm

A set of six champagne flutes with conical flute cut bowls and bladed knop stems.

Design originating in 1830 but these glasses date between 1830 and 1880.

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A fine pair of original mercury gilt and silvered bronze French Gothic style figural candlesticks from the Charles X period, on square silvered bronze bases rising on ormolu stands decorated with acanthus leaf are the figures of a young man and young woman in late Medieval dress, he with feathered cap, holding a sword in one hand and the candle holder in the other, the young woman with long flowing dress with head dress and roses in one hand and the candleholder, again with acanthus decoration in the other, beautiful original condition and very well modelled, cast and finished figures.

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CANE WITH IVORY HANDLE Birmingham 1910 Length: 36 inches / 91 cm A George V ebony shaft cane with a large carved ivory handle, with a silver collar inscribed Bunting Northfield and hallmarked Birmingham 1910.

GOLD TOPPED CANE Circa 1911 Length: 36 inches / 91 cm A George V Malacca shaft cane with gold top inscribed W.F.A. 1915 and hallmarked for Sheffield 1911, with 18ct mark, also with retailers mark- Clark, 33, New Bond Street. W, with horn ferrule.

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PAINTING ON GLASS

Still Life of Flowers Oil painting on white glass Signed with monogram AR Dated 1896 Frame size: 21他 x 37他 inches / 55.25 x 95.75 cm A very fine still life painting by this unrecorded artist.

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CHINESE ARTICULATED SILVER FISH

GEORGE III SATINWOOD SERPENTINE TOILET MIRROR

19th Century

Circa 1810

Length: 10¼ inches / 26 cm

Height: 24½ inches / 62.25 cm Width: 17¾ inches / 45 cm Depth: 9 inches / 22.75 cm

A fine quality Chinese silver articulated fish, modelled as either a Koi carp or a cat fish with whiskers on the face, the head, with jewelled eyes, opens to reveal a compartment, the body realistically modelled with a total of 24 articulated sections allowing the body to move from side to side and the tail up and down, silver tested at 800.

George III satinwood serpentine boxbase mirror, crossbanded in tulipwood with cable stringing, raised on ogee feet, unusually the ends also are crossbanded in tulipwood.

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BRONZE EGYPTIAN SPHINX Circa 1880 Height: 5 inches / 13 cm Width: 9 inches / 23 cm Depth: 4¼ inches / 10.75 cm

A Grand Tour bronze figure of an Egyptian sphinx with crisp detail.

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EDWARDIAN SILVER AND SILVER GILT CARRIAGE CLOCK Birmingham 1903 Height: 5 inches / 12.5 cm Width: 2½ inches / 6.25 cm Depth: 2 inches / 5 cm An Edwardian hammered silver and silver gilt carriage clock in its original silk lined velvet carrying case, of good size and excellent proportions, the timepiece movement in excellent condition and having its original horizontal lever escapement, white enamel dial with black Roman numerals, blued steel spade hands, the makers’ mark HM and numbered 55.

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EXTREMELY RARE COMPLETE SET OF HONZO ZUFU BY IWASAKI TSUNEMASA Circa 1920-22

An extremely rare complete set of 93 volumes (plus a 2 volume index) of Honzo Zufu by Iwasaki Tsunemasa, string-bound Japanese style fukuro toji, the classic work of botanical classification, which was begun in woodcut, then continued in manuscript form during the mid 19th century, and finally edited by Shirai and published in final form, printed by colour woodblock with descriptions of species in Japanese, and a Japanese-Latin index, in 1920-22.

Iwasaki Tsunemasa, also Kan-en (1786-1842) was a Japanese botanist, zoologist and entomologist.

He was also a samurai in the service of the Tokugawa shogunate.

This is an extremely rare set of these books and is the only complete set we have found to have come onto to market in recent times.

Usually you see a single volume or sometimes a small number of volumes.

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HONZO ZUFU The best example of an important botanical work published in manuscript was the great collection of illustrations and descriptions of Japanese plants by Iwasaki Tsunemasa which was begun as a printed work in 1828 and later continued by the distrIbution of a few hand-coloured manuscript copies at the rate of three or four volumes a year during a quarter of a century. It was first printed as a whole in 1920, when it appeared in 93 volumes, with 2 volumes of index, edited by Shirai.

The Yamato Honzo of Kaibara Ekken was the first work that could be looked upon as a flora of Japan but it was more inclusive than a flora, since it also dealt with animals and inorganic things. The Ka-i or “selection” of plants that was issued with illustrations by Shimada Terufusa and Ono Ranzan was likewise a start toward a flora, and the latter was one of the three works that Savatier was able to find in Japan (about 1872) that he considered to contain records of plants so definitely identified as Japanese that they were cited all the way through Franchet and Savatier’ s Enumeratio.

The two works, Honzo Zufu by Iwasaki Tsunemasa and Somoku Zusetsu by linuma Yokusai were very much more inclusive ones. Savatier was the field worker in Japan who collected the botanical specimens and biblio-graphic materials upon which he and his co-author Franchet based their enumeration. They tell us that they had access to about 150 illustrated volumes of Japanese botanical books, of which 116 belonged to the three works that they considered important, and they do not even tell us what the others were. The Ka-i was in 8 volumes. They had a large part, 84 volumes out of the total of 93 (they and also Savatier say 96), of Iwasaki Tsunemasa’s Honzo Zufu , and a complete set of the 1856 edition of linuma Yokusai’ s Somoku Zusetsu in 20 volumes. This leaves only about 38 volumes which they had but did not consider important enough to mention by title or author.

The two more extensive works, according to Shirai, were the great pioneer floristic efforts of the late natural history period. They show European influence. Iwasaki had become acquainted with Von Siebold in 1826 at Edo. Iwasaki’s work (partly in print and partly in manuscript) appeared earlier but had singularly ineffective distribution in comparison with linuma’ s.

Before embarking on his flora, Iwasaki had written an 8 volume commentary on the Kyuko Honzo which was finished in 1817, but was never published. Next came his excellent work on plant propagation which alone would place him among the leaders in the horticultural history of Japan. Then in 1828 certain volumes entitled Honzo Zufu were printed, with uncolored woodcuts. Beginning in 1829 manuscript copies of a vastly expanded work under the same title and illustrated by water-colour paintings, said to have been in 96 volumes, were distributed at the rate of about four volumes a year until the work was finished at some time between 1844 and 1854. A set is said to have been presented to the Shogun in the latter year, but is also said to have been dedicated to the Shogun in 1844. There were very few copies of this elaborate work, which appeared in a modern printed edition of 93 volumes in 1920, each volume of which had supplementary pages by Shirai and Onuma Kohei, giving the Latin names. It was followed in 1922 by an index in two volumes annotated by Shirai. Of the original printed work of 1828 (1830?) six volumes (perhaps all, but there may have been eight) are to be found in the Library of Congress, Shirai had said that the Honzo Zufu illustrated more than two thousand species of plants, chiefly of Japanese origin.

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MAHOGANY BOTTLE CRADLE / SLOPE

SILVER PLATED BISCUIT BOX

Circa 1810

Circa 1880

Height: 4¼ inches / 10.5 cm Width: 4½ inches / 11.25 cm Depth: 12¼ inches / 31.25 cm

Height: 10¼ inches / 26 cm Width: 8¼ inches / 21 cm Depth: 5¾ inches / 14.75 cm

An early 19th century mahogany bottle cradle/ slope designed to hold the bottle at an angle, which allowed the sediment to settle, the semi-circular ‘apron’ at the front end of the cradle is to catch drips or is large enough to stand a bottle of wine in.

A fine Victorian silver plated folding biscuit box, having a plain shell-style body sitting in a frame, with the original interior hand pierced dividers. Makers mark M&H.

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SILVER PAPER KNIFE Birmingham 1865 Length: 9 inches / 23 cm Width: 1 inch / 2.5 cm An extremely fine Victorian ‘Queens Head’ silver paper knife in superb condition in its original case, the blade and handle beautifully engraved, the blade with geometric pattern, by Henry Aston.

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PAIR OF BRONZE LIDDED URNS 19th Century Height: 9½ inches / 24.25 cm Width: 5 inches / 12.75 cm Depth: 4 inches / 10.25 cm A good pair of bronze lidded vases on square stepped bases, the lids with a bud finial over a floral cap.

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DUTCH 19TH CENTURY MARINE SCHOOL

Calm Estuary Scene Oil on relined canvas Circa 1870 Frame size: 24¼ x 30½ inches / 60.5 x 77.5 cm Mid 19th century Dutch school painting with a calm estuary scene with a trading ship flying the Dutch flag with a variety of other shipping beyond.

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LONGTON HALL PORCELAIN

GEORGE III MAHOGANY CHEST OF DRAWERS

Circa 1755

Circa 1775

Diameter: 8½ inches / 21.5 cm

Height: 32½ inches / 82.5 cm Width: 34¾ inches / 88 cm Depth: 18 inches / 45.75 cm

A Longton Hall strawberry leaf plate painted with roses and other flowers by the Trembly Rose painter.

A George III mahogany four drawer graduated chest of fine colour with original cast brass handles and good proportion.

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EBONY & BRASS SEXTANT

19TH CENTURY MODEL CART

Late 19th Century

Circa 1850

Height: 4 inches / 10 cm Width: 11 inches / 28 cm Depth: 12½ inches / 31.75 cm

Height: 14 ½ inches / 37 cm Width: 28 ½ inches / 72 cm Depth: 15 inches / 38 cm

A ebony and brass sextant in a fitted mahogany case, signed on the makers ivory plaque J.Somalvico & Co, London.

A rare mid 19th Century ‘wagon makers’ model of a two wheeled cart, with leaf springs, detachable tail and gravel boards and with a tilt action, of fine original condition. There is an inscription to the front of the cart, Dick Wilcox Contractor No 1.

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ITALIAN SILVER AND SILVER GILT CHESS SET Circa 1970 Height of King: 3½ inches / 7.5 cm

An Italian silver and silver gilt figural chess set in medieval theme, the undersides marked Sterling, 925, Italy.

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BRONZE BUST OF A LADY Circa 1880 Height: 11 inches / 28 cm Width: 5 inches / 12.75 cm Depth: 3½ inches / 8.75 cm A bronze bust of a lady in patinated bronze, her hair is high and the quality is exceptionally good with every detail fine and clear, all on a socle base.

Whilst this bronze is not stamped, it is a smaller reduction of the larger version of this bronze currently in stock which is stamped by the Barbedienne foundry.

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J. MICHAEL BROWN 1854 - 1957 The Sailing Boat Signed Oil on canvas Frame size: 17½ x 21½ inches / 44.5 x 54.25 cm There are two labels verso, the first an exhibition label from ‘The Stirling Fine Art Association’, Smith Institute Stirling, Michael Brown 51 Kile Grove, Edinburgh, this painting was exhibited in 1900 when it was priced at £8.8/The second a trade label for Robert Stewart Fine Art Dealer, 39, St John Stewart, Perth.

Similar beach scene to a painting by this artist is in our Spring 2012 brochure.

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CAST IRON HORSE SCULPTURE OF AFTER MENE Circa 1900 Height: 10 inches / 25.5 cm Width: 12 inches / 30.5 cm Depth: 4 inches / 10.25 cm A cast iron sculpture of a saddled racehorse after P.J. Mene, standing on a naturalistic base, with dark patination.

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IVORY OKIMONO Meiji Period Height: 5½ inches / 14 cm Width: 2½ inches / 6.25 cm Depth: 1¼ inches / 3.25 cm

An interesting Japanese ivory okimono of three seated monkeys with their trainer showing them a scroll, signed and with paper label to the base.

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ST LOUIS PAPERWEIGHT Circa 1848 Diameter: 2Âź inches / 7.75 cm A fine St Louis scramble millefiori paperweight with large colourful canes.

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GEORGE III WELSH OAK POTBOARD DRESSER Circa 1780 Height: 32¼ inches / 82 cm Width: 57½ inches / 146 cm Depth: 17½ inches / 44.5 cm A George III Welsh oak potboard dresser of small size and rare design, with three drawers over a pierced frieze and finely turned legs, the top with a plate rack. Superb colour and patina, this design of wave fretwork apron is attributed to Carmarthenshire and the Vale of Meath in West Wales.

The absence of the original rack is quite usual as they are not always relevant to modern usage.

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LARGE BRASS GRAIN SCOOP

PAIR OF BRONZE PUTTI

19th Century

Circa 1850

Length: 16¼ inches / 41 cm Depth: 4¼ inches / 10.75 cm

Height: 21 inches / 53.5 cm Width: 3½ inches / 9 cm Depth: 3 inches / 7.75cm

A large 19th century turned wooden handled brass scoop which could have been used for grain or flour.

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A good pair of 19th century bronze putti modelled as harvester, the boy looking to his right, a cloth draped to his waist and one shoulder, holding a wheatsheaf on his right shoulder and with a garland in his hair, the girl looking to her left with draped dress a sickle in her extended right arm and a harvest of grapes over her left shoulder, and a grape vine in her hair with a serpent taking a bite from the fruit, both on square marble bases.

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FORTUNINO MATANIA RI Bathing Beauty Watercolour Frame size: 40Ÿ x 24ž inches x 102.25 x 63 cm A lovely painting by this talented artist.

For another painting by Matania and a full biography please see page 62

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FOLDING BRASS TRIVET 19th Century Height: 12 inches / 30.25 cm Diameter: 8 inches / 20 cm A lovely late 19th century folding brass trivet two legs are joined together by a ring and the third leg sits within the ring, with all three hinged to the top to allow the whole to fold flat, the pierced circular top with a handle.

CHINESE BRONZE VASE LAMP Early 20th Century Height: 27 inches / 69 cm An early 20th century Chinese patinated bronze vase, now converted to a lamp.

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BRASS SHAVING MIRROR 19th Century Height: 16 inches / 40.75 cm Diameter: 6¼ inches / 16 cm A 19th century brass toilette or shaving mirror, height adjustable and with original beveled mirror plate to one side and magnifying plate to the other.

BRASS SHAVING MIRROR 20th Century Height: 15 inches / 38 cm Diameter: 9 inches / 22.75 cm A 20th Century brass circular adjustable shaving mirror on stand, stamped Albany mirror, British made, patent app for R° N° 693936.

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WEDGWOOD FAIRLAND LUSTRE LILY TRAY Circa 1920 Diameter: 11 inches / 28 cm Pattern No: 25360 Interior: Garden of Paradise Exterior: Flying Humming Birds This is a highly decorated scene which is difficult to relate to the printed story.

The central tree is presumably the tree of knowledge bearing green ‘cakes’ with a familiar view of minarets and towered buildings in yellow lustre.

The design includes a black pillar, a strange black idol-figure with walrus whiskas and daises curling upwards from its head, foliage hanging down like green stalactites against a violet sky, or billowing out from the pillar in red covered with white blossoms. Several fairy flowers including a dancing beetle survey the scene. In the lily tray design the green ‘cake’ tree has acquired a companion tree with a curvaceous black trunk and copper brown foliage.

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JARDINIERE FROM THE R.M.S. MAURETANIA Circa 1910 Height: 12 inches / 30.25 cm Diameter: 12 inches / 30.25 cm A large ash and ebonized wood jardiniere with lions mask handles and retaining its original liner, a label to the base confirms this is from the Mauretania and is one of 6 ash containers for cabin sun desk ent forward.

RMS Mauretania was an ocean liner designed by Leonard Peskett and built by Swan, Hunter & Wigham Richardson at Wallsend, Tyne and Wear for the British Cunard Line, and launched on 20 September 1907. At the time, she was the largest and fastest ship in the world until the launch of the RMS Olympic. Mauretania became a favourite among her passengers. After capturing the Blue Riband for the fastest transatlantic crossing during her 1909 inaugural season, Mauretania held the speed record for twenty-two years.

Mauretania was designed to suit Edwardian tastes. Its interior was designed by Harold Peto, architect, and was fitted out by several London companies, with twenty eight different types of wood used in her public rooms, along with marble, tapestries, and other furnishings.

Cunard withdrew Mauretania from service following a final eastward crossing from New York to Southampton in September 1934, the voyage was made at an average speed of 24 knots.

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ROWLAND LANGMAID 1897 – 1956 Yachting in the Solent Etching Signed Circa 1930 Frame size: 20½ x 15½ inches / 52 x 39.5 cm Rowland Langmaid was born on the 1st December 1897 and died in Calle de la Bolsa, Malaga, Spain 11th February 1956.

Lieutenant Commander Rowland John Robb Langmaid studied under W.L. Wyllie. He served in the Royal Navy in both wars and for most of World War Two was stationed at the shorebased HMS Nile in Alexandria where he was appointed artist to the Mediterranean Fleet by Admiral Cunningham.

For a full biography, please visit our web site.

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CIRCULAR DEVONSHIRE SPECIMEN MARBLE TABLE Circa 1880 Height: 29 inches / 73.5 cm Diameter: 25½ inches / 65 cm Circular Devonshire specimen marble table with inset chessboard from the Torquay area, Devon, dating to the latter part of the 19th century.

The table features typical local Devon marble fossils, or “madrepores”, including corals, stony sponges, shells and specimens of ancient reef rock. The chessboard, with its white and dark grey polished fossil specimens is surrounded by a scrapwork tier including typical red, pink and yellow fossiliferous stones from the beaches and cliffs of south east Devon. The outer tier is in “egg and dart” style, all set in a black marble, probably from Ashford, Derbyshire, supported on an ebonised circular table, the frieze with two drawers for the storage of chess pieces, on four turned and reeded legs joined by a x-stretcher.

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WORCESTER

FOUR SILVER AND ENAMEL MENU HOLDERS

DATE

Birmingham 1911

Diameter: 7他 inches / 19.5 cm

Height: Width: Depth:

Worcester scalloped plate painted with the Rubber Tree pattern.

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A lovely cased set of four silver and enamel menu holders in the shape of butterflies, makers mark for Levi & Salaman.

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WILLIAM LUND IVORY CHESS SET Circa 1835 Height king: 4 inches / 10 cm Height pawn: 1ž inches / 4.5 cm A superb English ivory chess set by William Lund, one side stained red, the opposing side natural, the white king signed Will M Lund Maker 24 Fleet Street.

The Kings reeded and carved tops surmounted by Maltese crosses, the Queens with reeded spherical tops with spear head finials,, bishops with separated open split mitres, the knights with well carved horse’s heads, the pawns with reeded ball finials, all with multiple disc-turned stems and stepped domed bases, the rooks as castellated turrets on spreading ring turned bases with unusual extra turrets fitted to the tops.

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SIR ERNEST ALBERT WATERLOW RA PRWS 1850 - 1919 Study of Paris from Montmartre Signed Oil on Canvas Original frame, inscribed on gold slip Original label on reverse with title and signature Frame size: 16 x 20 inches / 40.75 x 50.75 cm Born in London on 21st May. He studied in Heidelberg, Lausanne and at The Royal Academy in London, where he won the Turner Gold Medal in 1873. Painted in oil and watercolours, Exhibited at The Royal Academy, Suffolk Street, The Grosvenor Gallery, The Old Water Colour Gallery and elsewhere. His somewhat idyllic paintings are marked by harmony of colour and quiet refinement. Elected president of the Royal Watercolour Society in 1897. Became an RA in 1903. Knighted in 1902. His studio sale was held at Christies in 1920. Works by the artist hang in The Tate Gallery in London, Birmingham, Cape Town, Liverpool, Melbourne and Sydney.

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NAPOLEONIC PRISONER OF WAR BONE CARD BOX Circa 1800 Height: 2 inches / 5 cm Width: 8 inches / 20.25 cm Depth: 3½ inches / 9 cm A Napoleonic prisoner of war bone playing card box with a sliding lid carved with heart shaped motifs and cribbage board, the side panels with swags, the pine interior with a rare complete set of 52 Napoleonic prisoner of war polychrome decorated bone playing cards, together with a turned bone penknife.

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GEORGE I WALNUT TALLBOY Circa 1725 Height: 68½ inches / 173.99 cm Width: 41 inches / 104.14 cm Depth: 20ž inches / 52.71 cm A George I walnut veneered tallboy/ chest-on-chest with finely figured drawer fronts, feather and crossbanded, with reeded canted corners, the base with a brushing slide and the bottom drawer with a concave sunburst inlay. Oak drawer linings, steel locks, later brasses but in the correct style.

A most interesting feature of this piece is the contemporary pencil inscription to the top boards of the base, indicating the original delivery instructions within London. This might have been to the customers home address, or just possibly to retail premises from a workshop. Like all such inscriptions, it is tantalisingly difficult to decipher, and apparently reads thus: To Mr Jackson Cheggetts Court, near Broadstreet new buildings Morefields, London Carr paid No 1 to go directly.

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WORCESTER Circa 1775 Largest diameter: 5 inches / 12.75 cm A rare Worcester trio painted with ‘fabulous birds’ on a blue and gilt ground. This pattern appears to have been a one off service, provenance a Yorkshire country manor house.

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REGENCY PIER GLASS Circa 1820 Height: 19 inches / 48 cm Width: 17 inches / 43 cm A small Regency gilt framed pier glass, the reeded columns topped with carved capitals, with later plate.

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JAMES HARDY JR 1832 - 1889 A Good Days Sport Oil on canvas Signed & dated 1876 Frame size: 26他 x 35 inches / 68 x 88.75 cm James Hardy junior came from an artistic family. His father was the landscape painter James Hardy senior and his brother was Heywood Hardy. His cousin, Daniel Frederick Hardy, was a leading member of the Cranbrook colony of artists.

A painter of rustic landscapes and hunting scenes, Hardy specialised in sporting scenes depicting dogs and game, usually set in highland scenery. He painted both in oil and watercolour and exhibited regularly, at the Royal Academy between 1862 and 1886, the British Institution, the Suffolk Street Gallery and the New Watercolour Society of which he became a member in 1877.

The artist lived all his life in Bristol and died there on 4th April, 1889.

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CELERY VASE Circa 1800 Height: 6¼ inches / 5.75 cm Diameter: 5¼ inches / 13.25 cm A 18th century slice and mitre cut celery vase with Van Dyke edge.

GLASS DECANTERS Late19th Century Height: 9 inches / 22.75 cm (Largest) A set of three Victorian cut glass decanters.

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FERDINAND PREISS 1882 – 1843 Lieselotte Circa 1900 Height: 7½ inches / 19 cm Width: 4 inches / 10 cm Depth: 2¼ inches / 5.75 cm A gilt bronze and ivory figure of a little girl raising her dress, on a marble plinth.

Foundry mark for Reiss & Kassler, Berlin.

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SUPERB MODEL CART BY HAROLD WAITING Circa 1935 Height: 8 inches / 20 cm Width: 31 inches / 79 cm Depth: 11 inches / 28 cm A superb scratch built model of a farm cart by Harold Robert Waiting, with similarities to a Shropshire wagon. The model shows an amazing attention to detail with each piece beautifully constructed, with fold down tailgate, a chain linked metal wheel chock and inside are a selection of farm tools with two hay rakes and a pitchfork.

This is one of the best examples of a model farm cart that I have seen outside a museum and would grace any collection.

Harold Robert Waiting was born in 1892 and was first contacted by Charles Wade in November 1932. Waiting had already made 3 models (Berkshire , Sussex and a South Country cart) which were on show at the Artist Craftsman’s exhibition at Central Hall Westminster (they were later sold at Sotheby’s). At the time Waiting was living in Carshalton after leaving Kingston. Wade initially wanted Waiting to produce sets of plans of models but Waiting said he would prefer to make and sell the models. Waiting eventually left his sister’s house at Carshalton and moved to Richmond in Surrey. In 1934 he made a model of an 18th century Cotswold wagon which was bought by Cheltenham museum in 1935. For the next few years until 1937 Waiting produced several wagons for Wade, in addition to other models of a gig, a coach, a knife grinder’s cart and several other small models. There is a gap in correspondence between the 2 men between 1937 and 1945 when Waiting wrote from Slough and renewed his acquaintance from Wade. He died in 1949 in Slough at the age of 57.

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PAIR OF WILLIAM IV CARVED OAK HALL CHAIRS Circa 1835 Height: 34½ inches / 87.5 cm Width: 15 inches / 38.25 cm Depth: 14½ inches / 37 cm A pair of William IV carved oak hall chairs in the manner of Thomas King, the escutcheon backs with vacant painted cartouches the legs and front rail with painted detail.

Thomas King of Lincolns Inn Fields, produced furniture pattern books between 1829–1839.

N.B. Minor structural differences vindicate that these chairs were made at slightly different dates, one perhaps to augment an existing set.

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BOXED GAMING COUNTERS Circa 1950 Height: 5¾ inches / 14.5 cm Width: 15 inches / 38 cm Depth: 10½ inches / 26.75 cm Diameter of counter: 1½ inches / 3.81 cm A mahogany box opening to reveal six lift out containers all with four stacks of clay poker chips with the star & wreath design, together with spaces for four packs of playing cards.

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HENRY GEORGE HINE R.I. 1811 – 1895 Brighton (fish market) 1823 Signed and dated 1883 Watercolour Frame size: 39¾ x 24¼ inches / 99.75 cm x 61.5 cm This stunning watercolour, unusual of subject and detail, could be described as the best work ever produced by this artist, painted in 1883 in memory of his childhood in Brighton, aged 12 at the time. His usual work portrays the beautiful Sussex countryside in fine atmospheric detail.

He was the son of a coachman. He was self-taught, and began by copying his vicar’s Copley Fielding watercolours. After some years painting Sussex scenes he was apprenticed to the engraver Henry Meyer in London. Thereafter he spent two years in Rouen, and in 1841 became a wood engraver for Landells. At this time he also drew for Punch and later for rival publications. He began to exhibit in 1830, and was elected a member of the Royal Institute in 1894. Vice President from 1888 to 1895.

He exhibited 92 watercolours at the Royal Institute and others elsewhere including the Fine Art Society.

Agnews and Son and in Manchester and Liverpool Galleries. He is represented at the British Museum, the Victoria and Albert Museum, Fitzwilliam (Cambridge), Leeds City Art Gallery, Williamson Art Gallery, Towner Gallery and elsewhere at Hitchen, Hove, Eastbourne, Southend, Maidstone, Manchester, Beecroft.

Leicestershire and Sydney (Australia) art galleries/ museums.

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FANTASTIC VINTAGE SPORTS CAR THERMOMETER Circa 1960 Height: 2½ inches / 5.75 cm Width: 8½ inches / 21.25 cm Depth: ¼ inch / .75 cm Very well finished model of a classic sports car with a thermometer in the rear wheel.

EMMANUEL VILLANIS French 1858 – 1914 Tanagra Signed Foundry stamp to rear Titled to front Height: 24 inches / 61 cm Width: 12¾ inches / 32½ inches Depth: 9 inches / 22.75 cm Tanagra is a delightful late 19th century French bronze bust of a pretty Art Nouveau maiden with rich brown patinated colour and good detail. Signed, with foundry stamp to rear and titled to fore.

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STAFFORDSHIRE FIGURE Circa 1866 Height: 12ž inches / 32.25 cm A well coloured Staffordshire figure of Smith and Collier standing under an arbour, the man on the left (Smith) is dressed in a round hat, holding a revolver in his right hand, grasping the shoulder of the man on his right (Collier) who has a game bag over his shoulder. He holds the barrel of a fowling piece in his left hand and clutches Smiths lapel with his right hand, there are two dead pheasants on the ground and a dog is attacking Collier’s right arm. Pugh G54 COULD YOU BE HUNG TWICE? Collier, having been found guilty of the murder of Smith, was sentenced to hang, but when the execution was carried out there was an accident as the rope was not secured correctly and Collier dropped through the hatch to the floor below. He was then taken back up the scaffold and hung for the second time. A full account of this can be found on our website with details of the figure.

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UNUSUAL CARVED WOODEN DOLL Height: 7 inches / 18 cm An unusual carved wooden dual sex doll with articulated arms and legs, with the female on one side and the male on the other. Possibly Burmese / Indonesian.

DUPONT MINIATURE PAPERWEIGHT Circa 1850 Diameter: 2 inches / 5 cm A Dupont concentric millefiori miniature paperweight with rings of canes in typical colours.

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195

WILLIAM LIONEL WYLLIE R.A. 1851 – 1931 Shot Towers, Waterloo Bridge Drypoint etching Signed Limited edition 150 prints See label verso Circa 1920 Frame size: 12 x 20 inches / 30.5 x 50.75 cm

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WILLIAM LIONEL WYLLIE R.A. 1851 – 1931 Long Shoremen working in the pool of London Dry point etching Signed Circa 1920 Frame size: 13¼ x 20¼ inches / 33.5 x 51.25 cm

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PAIR BRASS CANDLESTICKS

CHINESE ELM ALTAR TABLE

Circa 1880

Circa 1850

Height: 15¾ inches / 40 cm Diameter: 8 inches / 20 cm

Height: 31¼ inches / 79.5 cm Width: 62½ inches / 157.5 cm Depth: 21 inches / 53.5 cm

A large pair of Arts & Crafts brass candlesticks from the late 19th century decorated with trailing grapes, possibly French.

A good sized mid 19th century Chinese elm altar table with a framed centre panel, moulded edge, onto scratch moulded frieze and legs ending on hoof feet.

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PAIR OF PORTRAIT MINIATURES 19th Century Height: 3½ inches / 9 cm Width: 2½ inches / 9.5 cm

A pair of 19th century portrait miniatures on ivory, these are decorative copies of earlier portraits, but are of good quality.

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ASPREY SILVER AND TORTOISESHELL MANTEL CLOCK Hallmarked 1912 Height: 8½ inches / 21.25 cm Width: 5 inches / 12.5 cm Depth: 4 inches / 10 cm A silver and tortoiseshell pique large striking mantel clock, with tortoiseshell dome to the top, floral silver pique inlay and handle, front and sides also in tortoiseshell, on four silver bun feet. Signed Asprey to the dial and the silver hallmarked for the fine London maker William Comyns for 1912. 8 day carriage clock movement with lever escapement striking the hours and halves on a gong.

Engraved to back “1902 - from HMP to GSC in remembrance of a trust well kept -1917”.

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201

SUPERB COROMANDEL GAMES COMPENDIUM BY BETJEMANN’S Circa 1860 Height: 13 inches / 33.02 cm Width: 18½ inches / 46.99 cm Depth: 13 inches / 33.02 cm A superb 19th century coromandel, brass and onyx bead mounted games compendium

by Betjemanns. The hinged cover centred with an applied Talbot crest, opening the cover reveals a fitted satinwood interior with folding wooden chess/ backgammon board, a natural and stained red ivory chess set, similar games counters, ivory and engraved brass cribbage and bezique boards and two ivory hand scorers, the bottom drawer, opening with a button release, contains two ivory dice shakers, a double six set of dominoes, red and natural bone counters, four packs of Victorian playing cards covered with bezique markers, the front of the drawer with a brass plaque for H. Rodrigues, 42, Piccadilly, W.

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203

IVORY OKIMONO Meiji Period Height: 6 inches / 15.25 cm Width: 2½ inches / 6.25 cm Depth: 2Ÿ inches / 5.75 cm A Japanese ivory okimono of a father holding a basket with his son sitting inside who has a stick in his right hand and appears to be feeding the two baby chicks at the fathers feet. Signed

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HON. STEPHEN WILLIAM BUCHANAN COLERIDGE 1854 – 1936 Bosham, West Sussex Oil Frame size: 22¾ x 12 inches / 57.75 x 30.5 cm Stephen was the second son of John Duke Coleridge, Lord Chief Justice of England, and Jane Fortescue Seymour, an accomplished artist. He was educated at Trinity College, Cambridge, and travelled in South America and east 1879 – 80. He was the co-founder of the National Society for Prevention of Cruelty to Children, and was concerned for the welfare of animals.

Apart from his fame as a leading barrister, he was an accomplished author and landscape artist. He exhibited most frequently at the Alpine Club Gallery (51), the Suffolk Street Galleries (13), the Royal Academy (1), and is in the collection of the National Galleries of Wales, Cardiff. His paintings are rare.

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205

WRITING SLOPE 19th Century Height: 6 inches / 15.25 cm Width: 15½ inches / 40 cm Depth: 9¼ inches / 23.5 cm 19th century walnut writing slope with brass mounts, two ink bottles and a secret drawer.

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A VERY FINE SINGLE SINGING BIRD IN CAGE

BY KARL GRIESBAUM German, Second half of 20th Century Height: 11½ inches / 29.25 cm Width: 6 inches / 15.2 cm The small singing bird sits inside a brass circular domed cage with hoop and boss top, with pressed metal base, decorated with a wide frieze of roses, daises and leaves, the key wind is underneath with the side lever operating the stop/ start mechanism, which allows the bird to move and sing, retaining the very rare paper makers ticket label on string cord still tied to the bars, and in the original maker’s box with white cloth interior, textured gold and red finished interior.

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207

A RARE & IMPORTANT AMERICAN SLANT FRONT DESK Circa 1730 Height: 39¼ inches / 99.5 cm Width: 33¼ inches / 93 cm Depth: 19½ inches / 49.25 cm A rare and important early 18th century American slant front desk or bureau, attributed to Boston, Massachusetts. The top, fall and drawer fronts are veneered in figured walnut panels and outlined with feather bandings, the sides, mouldings and interior being of solid walnut, with pine as the secondary wood. The general form relates closely to Sack ‘Fine Points of Furniture’ page 139, though this interior is more finely ‘blocked’ and shaped. Later bun feet and brasses, the well cover probably of 19th Century date, being veneered oak.

Provenance: The late Miss Margaret C. Lidstone by descent from W.G. Randall Lidstone.

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209

UNUSUAL ENGLISH OR IRISH REGENCY GOTHIC HOLDER AND CUT GLASS BOTTLE Circa 1820 Height 11¼ inches / 28.25 cm Diameter: 3½ inches / 8.75 cm An unusual English or Irish Regency Gothic holder and cut glass bottle, the patinated bronze gothic holder is beautifully made with its Gothic tracery sides, it’s base is stepped and the top of each step is decorated with hatching, the bottle which has to have been made specifically for this stand is beautifully made and in perfect condition, the lower part is angular and shaped to fit the holder while the upper part is extremely flamboyant.

CARLO MAROCHETTI 1805 – 1867 A Portrait Bust of a Lady Height: 8 inches / 20.25 cm Width: 6 inches / 15.5 cm Depth: 3½ inches / 9 cm A dark brown patinated bronze portrait of a lady with plaited hair on a socle base signed C.Marochetti.

For a full biography, please visit our web site.

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THOMAS LUNY 1759 – 1837 Shipping off a Harbour Entrance Oil on relined canvas Indistinctly signed Circa 1825 Frame size: 24¾ x 31¼ inches / 63 x 79.25 cm Thomas Luny was one of the most prolific and best known British Marine artists whose working life spanned nearly sixty years. Born in London in 1759, he served in the Navy, reputedly as a purser. During part of his naval career he served under Captain Tobin, who was later to become one of his companions when he went to live at Teignmouth. It is believed that he was a pupil and subsequently a close friend of Francis Holman.

He painted several large naval battle scenes, probably commissioned by the Admiralty, which accurately recorded these actions. Many of his marine paintings were scenes around the Devonshire coast. Luny’s works are outstanding in clarity of colour and smooth brushwork. Luny retired from the Navy in about 1805 due to rheumatoid arthritis and settled in Teignmouth where he continued to work until the end of his life in 1837.

He first exhibited at the Royal Academy in 1780 and continued to show his works regularly until 1802.

Examples of his work can be found in the National Maritime Museum at Greenwich and other public collections.

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213

HERMAN MOLL fl 1688 – 1732 Molls England & Wales A new description of England and Wales with the adjacent islands wherein are contained, diverse useful observations and discoveries in respect to natural history, antiquities, customs, honours, privileges, &c….To which is added, a new and correct set of maps of each country, their roads and distances: and to render ‘em the more acceptable to the curious, their margins are adorn’d with great variety of very remarkable antiquities, &c…by Herman Moll, Geographer. London 1724. Folio (356 x 233 mm.) First edition. First issue. Title printed in red and black, with 50 engraved maps in their first state, 4 folded, the remainder single sheets, interleaved with many pages of text. Small stain to the map of the West Riding of Yorkshire, otherwise maps and text in fine condition. Contemporary panelled calf gilt decoration to the spine. Title in gilt on maroon label, date in gilt direct. A fine copy of the first edition, without plate numbers.

Only half a dozen examples of this rare edition are known to exist; this one in a fine contemporary binding is outstanding. It is disappointing to record that what appeared as an excellent project had little commercial success, to which the lack of advertising may have contributed. Within weeks of publication a second issue appeared, with numbers added to the plates, probably to facilitate its marketing as a simple atlas without text, and surprisingly it was this format that proved the most successful. A further edition of The Description was conceived early in 1732 and advertised to be published in 19 weekly parts. An advertisement on 31st August 1733 confirmed the completion of the project, but the absence of any known surviving copies implies that is was a failure and that the proposed publication was withdrawn, maybe influenced by Moll’s death the same year.

When Moll published his New Description he must have considered it a possible competitor to the 1722 edition of Camden’s Britannia with its new reset text and fine large folio maps by Robert Morden. Whatever Moll’s criticism of the 1695 edition of Britannia it must be noted that the latter was published for nearly eighty years, far in excess of the lifetime of the Description. It also went into five editions, with updated text each time, and was the pre-eminent work in its field until the publications of John Cary nearly a century later.

Paradoxically though, much of Moll’s atlas was based on Morden, a fact he acknowledged in his Preface, Moll was not slow to claim responsibility for correcting, with some justification, many of the errors that allegedly abound in the Camden text. Moll was also keen to express much personal satisfaction with his display of coins and local antiquities that border his maps and make them both attractive and informative, indeed his preface enthuses not only on these factors but also on the standard of his map making where he felt that his accurate depiction of county boundaries on contiguous maps was better than anything previously published.

A full biography of Herman Moll can be found on the web site.

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SMALL IVORY OKIMONO

GILLOWS LAMP TABLE OR FLOWER STAND

Late 19th / early 20th Century

Circa 1830

Height: 2 inches / 5 cm Width: ¾ inches / 2 cm Depth: ½ inch / 1.25cm

Height: 29¼ inches / 73.5 cm Width: 15¾ inches / 40 cm Depth: 11½ inches / 29.25 cm

A very small ivory okimono of a bare breasted oriental lady in traditional dress.

A Gillows lamp table or flower stand in goncalo alves wood, the top with re-entrant corners, the column deeply reeded and the feet crisply carved with acanthus.

This design of foot is first noted in a drawing of August 1822 in Gillows estimate sketch book.

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SILVER & AMBER GLASS DECANTER Birmingham 1897 Height: 6½ inches / 16.5 cm Diameter: 3½ inches / 9 cm A small late 19th century silver and amber glass decanter with three handles, silver collar and silver covered stopped, by John Grinsell & Sons, its small size would suggest it is for spirits or liqueurs and the Birmingham mark would indicate the glass was made in Stourbridge.

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WILLIAM LIONEL WYLLIE R.A. 1851 – 1931 A Stiff Breeze Signed Circa 1900 Etching Frame size: 28 x 23½ inches / 71 x 59.5 cm

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To his Majesty The King of Portugal

ROYAL WARRANT BY APPOINTMENT GLASS SHIELDS Circa 1850 Height: 8Âź inches / 21 cm Width: 8 inches / 20.25 cm A very unique collection, as there have been no Kings in these countries for many years, of Royal warrant by appointment glass shields possibly from Apsley Pellatt, London, the reverse of each one is painted, on felt.

To be sold separately.

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To His Majesty King of Italy

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223 To His I. & R. Majesty The Emperor of Austria

ROYAL WORCESTER Dated 1919 Diameter: 9½ inches / 24.25 cm A Royal Worcester fine pair of dishes painted with fruit by Richard Sebright signed and date code for 1919.

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ARTHUR WARDLE RI RBC 1864 – 1949 Cheetah’s Drinking Pastel Signed Label verso- Three pastel drawings by Arthur Wardle given to J.I. Grover by the artist Frame size: 15¼ x 19¾ inches / 38.5 x 50.25 cm Arthur Wardle was best known for his paintings of domestic and wild animals, as well as sporting scenes. He worked mostly in oils, but also used watercolours and pastels, a medium in which he made many wonderful studies of animals. A self-taught artist, Arthur Wardle’s first work was accepted for exhibition at the Royal Academy in 1880 when he was just sixteen years old, and he continued to exhibit his work until 1935 including at Suffolk Street and the New Watercolour Society.

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225

STEEL CLEAVER / ICE AXE 19th Century Length: 19¼ inches / 49 cm Depth: 4¾ inches / 12 cm A very heavy 19th century cleaver / ice axe, it has a turned wooden handle with a brass finial and is attached to the shaped blade with a brass fitting.

FRUITWOOD BIRD SCARER 19th Century Height: 9½ inches / 24 cm Width: 8 inches / 20.25 cm Depth: 1½ inches / 3.75 cm A good quality 19th century fruitwood bird scarer of good colour and large turned handle.

They also had many other uses, in the early 19th century it became a police rattle and a householders anti-burglar alarm.

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WOODEN TRUNCHEONS DATE Length: 18 inches / 45.75 cm Width: 2 inches / 5 cm Two 19th century turned wooden truncheons.

WOODEN LIFE PRESERVER Late 18th/ Early 19th Century Length: 16 inches / 40.75 cm Width: 2Âź inches / 5.75 cm A late 18th/ early 19th century turned wooden life preserver with a leather cord connection between handle and striker.

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227

FINE WILLIAM & MARY OYSTER CHEST OF DRAWERS Circa 1695 Height: 34¾ inches / 88.25 cm Width: 35¾ inches / 90.75 cm Depth: 22½ inches / 57.25 cm A fine William & Mary olivewood oyster chest of two short and three long graduated and crossbanded drawers with later brasses, the top and sides with delightful geometrical designs delineated by boxwood stringing, on four later bun feet.

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HALF HULL SHIP MODEL 19th Century Height: 11½ inches / 29.25 cm Width: 30½ inches / 77.5 cm A larger half hull ship model of a design yacht similar to a slod but with very shallow kneel which would indicate a Dutch vessel due to their shallow waters.

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HALF HULL SHIP MODEL 19th Century Height: 5½ inches / 14 cm Width: 24 inches / 61 cm A half hull ship model in boxwood and mahogany of a gig or launch, with inscription on back board.

HALF HULL SHIP MODEL Circa 1880 Height: 8½ inches /21.5 cm Width: 23 inches /58.5 cm A 19th Century half hull ships model of a three masted merchant ship, probably continental.

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231

ADRIAN RYAN 1920 – 1998 Road to Montauroux, Provence Circa 1980 Oil on canvas Frame size: 18½ x 14¾ inches / 47 x 37.5 cm Label on verso Adrian Ryan was born in London in 1920, and brought up at Hintlesham Hall, Suffolk. He was educated at Eton, and the Architectural Association and Slade School of Art. Ryan was associated with the St. Ives School. He first visited Cornwall in 1943. He lived in Mousehole for twenty years from 1945, though he always retained a London studio.

He was one time President of the Newlyn Painters’ Association and exhibited with the influental Crypt Group.

Practising the supreme art of omission, his roving eye focuses on a limited number of well loved scenes, but with myriad variations. He is best known for his very popular paintings of Cornish scenes and still-lifes. He never involved himself with the abstract school. He was a lecturer at Goldsmiths College of Art, 1948-83, and at Cambridge College of Art, 1967-85, and he had his first solo exhibition at the Redfern Gallery, London, in 1943. His work is to be seen in many public collections, including the Tate Gallery, the Victoria & Albert Museum, The Arts Council, Contemporary Art Society, Manchester City Art Galleries, the Nuffield Foundation, the Sainsbury Trust, National Gallery of New Zealand, the National Gallery of Northern Ireland and the Beverly Hills Hotel.

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233

RUM BARREL Circa 1850 Height: 24½ inches / 62 cm Width: 12 inches / 30 cm Depth: 9½ inches / 24 cm A fine example of a mid 19th century naval rum barrel in dark oak with six brass bands, the top with a large wooden bung covered with a brass strap, securely kept in place with a large padlock (locked and with key missing), the ends with two brass handles, one with War Department marks and stores number.

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BRONZE MODEL OF ‘COLONNE DE LA GRANDE ARMÉE’ Circa 1820 Height: 11¾ inches / 29.38 cm Width: 4¼ inches / 10.63 cm Depth: 4¼ inches / 10.63 cm A French bronze model of the ‘Colonne de la Grande Armée’ in Place Vendôme with the original statue, that of Napoleon, the front with a fitted thermometer.

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SHIPS WHEEL

PAIR OF CHINESE IVORY CHESS PIECES

DATE

Circa 1860

Diameter: 11½ inches / 29.25 cm

Height: 10½ inches / 26.5 cm Width: 2½ inches / 6.25 cm Depth: 2¼ inches / 5.5 cm

A vintage wooden and brass six spoke ships wheel with polished brass hub.

A pair of large 19th century exceptionally well carved Cantonese ivory chess pieces, the king and queen as the emperor and consort, standing on top of puzzle ball bases with six balls.

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237

ROSEWOOD GAMES TABLE WITH SPECIMEN MARBLE INSET TOP Circa 1840 Height: 29 inches / 74 cm Diameter: 19 inches / 48 cm A rosewood games table with specimen marble inset top supported on turned column to tripod base with crisply carved legs, the marble top with an interesting selection of marbles, including Antique Vert, Red Briotte, Red Campan Griotte, and many more.

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WILLIAM LIONEL WYLLIE R.A. 1851 – 1931 Thames Scene / Billingsgate Signed Circa 1920 Frame size: 15½ x 22½ inches / 39 x 57 cm

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WILLIAM LIONEL WYLLIE R.A. 1851 – 1931 Airship and Fast Naval Craft Signed Circa 1915 Etching Frame size: 16¼ x 17¼ inches / 41.5 x 44 cm

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241

MODEL OF HALL’S PATENT ANCHOR

CHELSEA

Circa 1910

Circa 1765

Height: 7½ inches / 19 cm Width: 4¼ inches / 10.75 cm Depth: 2 inches / 5 cm

Height: 8 inches / 20.25 cm Width: 5 inches / 12.75 cm Depth: 4 inches / 10 cm

A cast brass manufacturer’s presentation model for an 8-ton side anchor inscribed on one side of the shank is Halls latest improved pattern and on the other N. Hingley & Sons, sole makers.

N.Hingley & Sons Ltd famously supplied the anchors used aboard R.M.S. Titanic one of which (an 8-ton side anchor) was photographed aboard a horse drawn dray used for publicity purposes, the main centre anchor weighed an impressive 50 tons.

A Chelsea gold anchor sweetmeat figure well modeled with a dog beside him.

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PERSONAL INSTRUMENT AND LEATHER BOUND BOOK OF WILLIAM OLIVER EVELYN MEADE-KING Circa 1898 Height: 4 inches / 10 cm Width: 14 inches / 36 cm Depth: 4¾ inches / 12 cm A fine personal cased instrument set owned by William Oliver Evelyn Meade-King, the lid opening to reveal a removable tray of draughtsman’s instruments, the ivory handled pieces stamped Army & Navy C.S.L, the next removable tray has compartments for paints and contains a draughtsman’s set of cardboard scales, the next level with a selection of wooden and ivory rulers, an ebony and ivory rolling ruler which sits over another compartment of rulers and instruments.

The lid of the box is inscribed Telford Premium awarded to William Oliver Evelyn Meade-King M.inst.C.E. By the Institution of Civil Engineers, session 1897 – 1898.

This comes together with a leather bound notebook also inscribed with his name, but unfortunately this has not been written in.

William Oliver Evelyn Meade King W.O.E. Meade King was involved with the construction of the Manchester ship canalIRLAM division and wrote a paper on this which was presented to the Institute of Civil Engineers who awarded him both the George Stephenson medal and the Telford premium in the 1897 – 1898 session (a copy of this paper is in the showroom).

His other works include Local Government and its relation to parish water supply and sewerage, presented in 1900.

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245

JAPANESE SILVER BOWL

ATTRIBUTED TO CHARLES ARTHUR MULLER

Meiji Period

Born 1868

Height: 3 inches / 7.75 cm Diameter: 5 inches / 12.75 cm

Semi nude Woman Circa 1900 Height: 10½ inches / 26.75 cm Width: 4½ inches / 11.5 cm Depth: 3½ inches / 9 cm

A lovely Japanese silver and silver gilt bowl decorated to the outside with numerous carp swimming amongst waves, with English import marks.

A carved ivory and alabaster figure of a semi nude woman modeled leaning forward, mounted on a circular onyx base.

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247

WILLIAM ETTY R.A. 1787 - 1849 ‘Leonora’ Nude Bathing Oil on board Frame size: 19¼ x 18 inches / 48.75 x 45.75 cm Signed & inscribed with title verso Famous Victorian painter of nudes, historical and classical subjects. He was born in 1787, the son of a baker and mill owner. Etty was apprenticed to a printer in Hull before moving to London circa 1805. He entered The Royal Academy Schools and studied under Sir Thomas Lawrence. Etty exhibited 138 works at the R.A., 77 at The British Institute and 17 works at the Royal Society of British Artists. He was much admired in his lifetime for his large mythological subjects but much of his artistic career was devoted to painting the female nude. His luscious, sensual sketches frequently scandalised the Victorian public.

Works in many British public collections, including: York City Art Gallery; British Museum; Victoria & Albert Museum; Tate; National Gallery of Ireland; Birmingham; Leeds & Manchester City Art Galleries.

NB. The frame is a tondo frame inscribed with the name A W Bacon, a well known collector of Etty’s works.

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249

STAFFORDSHIRE FIGURE

REVOLVING BILLIARD CUE CAROUSEL

Circa 1845

Circa 1890

Height: 11½ inches / 29 cm

Height: 46 inches / 117 cm Diameter: 20 inches / 50.75 cm

A well coloured Staffordshire figure of Prince Albert wearing a cloak and uniform holding a sword in his left hand. Pugh A7.

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A mahogany revolving billiard cue carousel by Burroughes & Watts “The Gresham”, a central turned column, flanked by three smaller uprights all mounted on a revolving base, a tri-form top fitted with bone brass sprung cue clips, topped with a turned ball, to hold 21 cues.

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STICK BAROMETER Circa 1811 Height: 38 inches / 96 cm Width: 6 inches / 15 cm Depth: 1½ inches / 4 cm A fine mahogany stick barometer signed Pastorelli (Anthony) 156 High Holborn, London.

The mahogany case with an architectural top, split by a turned brass finial, having an exposed mercury tube retained by brass clips, turned mahogany cistern cover and an engraved silvered brass scale behind a glazed hinged door with alcohol thermometer and vernier scale flanking the barometer tube.

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FINE PAIR OF CARY GLOBES Circa 1825 Height: 35 inches / 89 cm Diameter: 12 inches / 30.5 cm A fine pair of 12 inch floor standing globes by Cary of London, the celestial with finely detailed illustrations of the constellations and calculated for the year 1800, the terrestrial showing the latest discoveries towards the north pole and every improvement in geography to the present time of 1821, both raised on mahogany stands with a turned knop and downswept legs, united by stretchers and a compass.

The Cary family of globe makers was founded in the late 18th century by John Cary (1755-1835). The son of a Wiltshire maltster, Cary was in the engraving and map-selling business from about 1782 at Johnson’s Court, Fleet St, london and then at The Corner of Arundel St, Strand. He had previously been apprenticed to William Palmer and became freeman in 1778. The first globes by Cary were advertised in the ‘Traveller’s Companion’ in January 1791.

The advertisment mentions that 3 1/2”, 9”, 12” and 21” diameter terrestrial and celestial globes were made from ‘entire new plates’, presumably a proud boast for a maker launching his globes on the market for the first time, in a climate where copper plates for gores were commonly bought or inherited and altered or otherwise amended. The address of the company at this time was 181 the Strand, and the company was commonly known as J & W Cary, to recognise the contribution of John’s brother William (1759-1825). Both brothers produced a number of instruments and maps aside from their globes and in all projects other than their globes, the brothers operated as separate business entities. William himself was primarily an optician and nautical instrument maker, having been apprenticed to Jesse Ramsden and had his own premises further down the Strand at Nos. 272 and 182.

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DERYCK FOSTER B 1924 The Royal Dragon, Bluebottle- The Dragon Clays Racing Yacht with Prince Philip at the Helm Signed Circa 1960 Frame size: 23 x 27ž inches / 58.5 x 70.5 cm Deryck Foster was born on 1st March 1924, in Bournemouth, Hampshire. He painted in oils and painted marine subjects, especially historical sailing vessels of all kinds. Studied: Southern School of Art, Bournemouth, and central School of Art London. Seafaring experience includes off-shore racing, cruising, dinghy sailing and sail training ships; also crew member for 4 years Yarmouth, I of W., lifeboat. Exhib RSMA since 1957. Several one man- exhibs, in Bermuda since 1971. Work in permanent collections Russell Cotes Museum, Bournemouth, Nat. Maritime Museum, and Nat. Trust, Bermuda. Lived in Bermuda for most of the year. But also had a studio in Yarmouth, Isle of Wight.

Bluebottle; Prince Philip’s well known Royal Yacht, the international Dragon class yacht Bluebottle is now on the pontoon at the National Maritime Museum Cornwall in Falmouth. It is regularly sailed around Falmouth Bay. Built in 1948, Bluebottle was presented to HM the Queen and Prince Philip as a wedding gift by the Island Sailing Club of Cowes, Isle of Wight.

The international Dragon is a one-design three-man keelboat designed for cruising or racing. Over the years Bluebottle has had a varied and successful racing career, the highest point was in 1956 at the Melbourne Olympics when her crew returned with a bronze medal.

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WORCESTER

REGENCY LIBRARY STEPS

Circa 1775

Circa 1820

Diameter: 6½ inches / 16.5 cm

Height to top of steps 36¼ inches / 91 cm Height to top of pole: 73¼ inches / 186 cm Width: 27 inches / 69 cm Depth: 29 inches / 73.5 cm

A rare Worcester bowl painted with “fabulous birds” on a blue and gilt ground. This pattern appears to have been a one off service, provenance a Yorkshire country manor house.

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A Regency set of simulated rosewood library steps, with five treads supported on iron bars and with a fixed hand pole.

Richard Gardner Antiques exceptional antiques for exceptional people

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BRONZE FIGURE OF COLLEONI

BY ANDREA DEL VERROCCHO Circa 1850 Height: 15¼ inches / 38.75 cm: Width: 14 inches / 35.5 cm Depth: 7½ inches / 19 cm A fine 19th century bronze figure of the Verroccho monument in Venice of Bartolomeo Colleoni of Bergamo who had died in 1475, rubbed black patination.

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Pair oF edwardian shiPs decanters

cowrie shell & silver snuFF box

Circa 1910: £550

Circa 1972: £595

A259 brass bell shaPed door stoP

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meissen Figure oF a jay

Circa 1870: £495

Circa 1925: £2100

In addition to these items we also have another 14 paintings, including Eugene Galien-Laloue, John Atkinson Grimshaw and a marvellous lithograph by John Piper, a fantastic desk set, four new tea caddies, a marvellous collection of glass including decanters, 18th century wine glasses including a blue & white twist glass and a red & white twist glass, both very rare! Also, a Wedgwood fairyland lustre vase, Staffordshire, set of library steps and much, much more!

Frederick calvert Shipping in the Solent: £3950

we hoPe you have enjoyed this newsletter, Please let us know. looking Forward to hearing From you.

Richard Gardner Antiques | Eastrop House | 3 East pallant | Chichester | West Sussex | pO19 1tR

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Richard Gardner Antiques | Eastrop House | 3 East Pallant | Chichester | West Sussex | PO19 1TR 01243 533772

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