The English Country House |

Works of Art

175 items
A late 18th century German fruitwood tea caddy in the form of an urn, with faint traces of the original porphery decoration and retaining remains of the original lead foil lining. This rare caddy is from the same origins as the more familiar fruit shaped examples, i.e. melons, pears or apples.

Urn Tea Caddy

show details 		Three William de Morgan tiles decorated in manganese and green with trailing flowers. Merton Abbey period, prior to 1888. All with some restoration.

De Morgan Meandering Flower

show details 		A 17th century Rhenish stoneware jar inscribed to the neck with numerals 4 over a 4.

Rhenish Stoneware Jar No.2

show details 		A 17th century Rhenish Stoneware Jar inscribed to the neck with a numeral 2.

Rhenish Stoneware Jar 2

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Late 18th century cut glass and silver metal mounted tea-caddy with an integral lock with key. Dutch circa 1800.

Dutch Glass Tea Caddy

show details 		A 'Cloisonne' tea caddy the design attributed to Christopher Dresser, manufactured by Minton & Co. circa 1870 and in exceptional condition.

Dresser Tea Caddy

show details 		A brass candlestick with knopped stem and square base with raised circular drip tray and integral bracket feet, 17th century Spanish. This candlestick was produced using an iron rod to suspend the core material during casting and this rod remains to be seen in the knop of the socket. For details of this process refer to Ronald F Michaelis, Old Domestic Base Metal Candlesticks, Antique Collectors' Club, 1978.

Spanish Candlestick No.2

show details 		A brass candlestick with knopped stem and square base with raised circular drip tray and integral bracket feet, 17th century Spanish. This candlestick was produced using an iron rod to suspend the core material during casting and this rod remains to be seen in the knop of the socket. For details of this process refer to Ronald F Michaelis, Old Domestic Base Metal Candlesticks, Antique Collectors' Club, 1978.

Spanish Candlestick No.1

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Three old gardening tools, forged steel with nicely worn ash handles. English, mid 20th century.

Garden Tools

show details 		A pair of petal based candlesticks with a seamed stem that twists to eject a candle stub, (jammed). The base of ten equal lobes, the capital of the stem a more complex six sided design, the socket finished with a sconce to reflect the base. A good crisp example of this type of candlestick. English circa 1750.

Petal-Based Candlesticks (No.2)

show details 		A pair of re-patinated bronze and parcel-gilt candlesticks. French circa 1870.

Bronze & Ormolu Candlesticks

show details 		Austrian Bronze model of a kingfisher by Franz Bergman, finely cast and painted and stamped with his mark, a 'B' in a vase. Vienna circa 1900.

Kingfisher

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Austrian Bronze model of Budgerigars on a branch, finely cast and painted at the Bergman workshop. Stamped with the Bergman 'B' in a vase and marked GESCHUTZT together with the model number.

Budgerigars 

show details 		A fine and large Vienna Bronze group of lovebirds on the leaf of a castor oil plant. Produced at the Bergman workshops and marked GESCHUTZT with the model number. Vienna circa 1890.

Lovebirds

show details 		A late Victorian pull-a-long wooden horse, set on rockers and fixed to a wheeled platform.

Pull-a-long Toy Horse

show details 		A Victorian biscuit box made of turned pink granite with silver plated mounts. English circa 1890.

Granite Biscuit Box

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A finely cut and engraved glass biscuit box with silver plated and hand engraved lid, set within a silver plated 'rustic' frame, a registered design 'kite' mark stamped to the underside of the frame.

Rustic Biscuit Box

show details 		Cut steel sugar loaf cutters with a turned bone grip to the handle. English circa 1790. A sugarloaf was the traditional form in which refined sugar was produced and sold until the late 19th century when granulated and cube sugars were introduced. A tall cone with a rounded top, it was the end product of a process that saw the dark molasses-rich raw sugar, which had been imported from sugar cane growing regions such as the Caribbean and Brazil, refined into white sugar.

Sugar Loaf Cutters

show details 		A 19th Century oxidised and lacquered brass Theodolite by W. & L. Gurley Troy, New York. In original and untouched condition this theodoilte comes in it's box and with the remains of the protective leather outer case.

Theodolite

show details 		A briar walking stick scratched engraved with numerous motifs; a soldier and his sweetheart, their home, a working carpenter and some of his tools, a swan, fish, stag and hunting dog, sun and crescent moon etc. etc. English and dated 1861.

Scratch Engraved Walking Stick

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Late 18th century stoneware tankard with a Sheffield Plate rim and lid. Perhaps London, circa 1800.

Stoneware Tankard

show details 		A pair of cut glass plates, reverse painted with scenes of dead hare. Probably English circa 1840.

Reverse Painted Plates

show details 		An 18th century malacca cane with a gilded repousse silver coloured metal top. French circa 1780.

French Cane

show details 		A pair of pin pricked and watercolour pictures of stage performers, one a minstrel the other in exotic Turkish costume, within period gold lacquered silver leafed ripple molded frames. Continental circa 1800.

Pin Pricked Performers

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A pair of pin pricked and watercolour pictures of stage performers, continental circa 1800, within period gold lacquered silver leafed ripple molded frames.

Pin Pricked Actors

show details 		A pair of pin pricked and watercolour pictures of beggars with children. Continental circa 1800 and within period silver leafed frames.

Pin Pricked Beggars

show details 		A single pin pricked and watercolour picture of a beggar within a period silver leafed frame. Continental circa 1800.

Pin Pricked Beggars

show details 		A fine silkwork picture of a cornucopia of flowers worked on a black support by Mary Crowther and dated 1787. Within a fine gilt frame with a vere iglomise mount. English late 18th century.

Cornucopia

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A pair of Adams style Paktong candlesticks, English circa 1780. Paktong is a rare Chinese alloy imported in small quantities during the eighteenth century and used by European craftsmen to make domestic objects, sometimes in imitation of silverware. It is a very hard metal, slow to tarnish, and could therefore be used to make articles that looked as if they were made from silver but were in fact as hard as iron. The Adams brothers are known to have employed this metal in the making of fire tools, fenders and the more decorative elements of a fire grate. This metal has been shrouded in mystery since it was first recorded by Western travellers in the seventeenth century. The vital silver-coloured ingredient, nickel, was not identified in the West until the second half of the eighteenth century, and it was to be a further fifty years before scientists were able to perfect a viable imitation of paktong.

Adams Paktong Candlesticks

show details 		A pair of Paktong candlesticks with stop-fluted columns and gadrooning to the base and seperate lift-out drip pan. There is considerable, although not deep, porosity evident to the base of the left hand candlestick, perhaps suggesting an English workshop; this can be a difficult metal to work and 18th century products often show signs of post casting plugs to faults. Probably English circa 1780. Paktong is a rare Chinese alloy imported in small quantities during the eighteenth century and used by European craftsmen to make domestic objects, sometimes in imitation of silverware. It is a very hard metal, slow to tarnish, and could therefore be used to make articles that looked as if they were made from silver but were in fact as hard as iron. The Adams brothers are known to have employed this metal in the making of fire tools, fenders and the more decorative elements of a fire grate. This metal has been shrouded in mystery since it was first recorded by Western travellers in the seventeenth century. The vital silver-coloured ingredient, nickel, was not identified in the West until the second half of the eighteenth century, and it was to be a further fifty years before scientists were able to perfect a viable imitation of paktong.

Columnar Paktong Candlesticks

show details 		A well cast and painted Vienna bronze model of a greyhound, 'geschtutz' impressed to the chest. Austrian circa 1900.

Black & White Greyhound

show details 		A well cast and painted Vienna bronze model of a brindle coated greyhound, Austrian circa 1900.

Brindle Greyhound

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A finely cast and painted Vienna bronze model of a white pig, marked to the chest 'geschtutz'. Austrian circa 1900.

White PIg

show details 		A pair of bronze and ormolu caryatid candlesticks, French circa 1830.

Caryatid Candlesticks

show details 		A Restauration period bronze portrait bust of Voltaire, after the work by Jean Antoine Houdon, on a turned white statuary marble base with an ormolu mount and feet and gilded and engraved nameplate. French circa 1825. Jean Antoine Houdon. Born Verailles 1741. Died Paris 1828, was received as a full member of the Académie Royale in 1777. His great series of portrait busts began in earnest with his exhibits at the Salons of 1775 and 1777 after which Houdon was established as a portrait sculptor without rival. At the Salon of 1779 Houdon inaugurated his impressive gallery of portraits of famous men, modelled both from life and posthumously. This was a theme that he continued up to his last Salon in 1814, and places him firmly within the historicist current of the age of Louis XVI. Houdon's originality lay in creating different bust types of his illustrious subjects. Thus Voltaire, Rousseau, D'Alembert, Franklin, Washington and others were depicted in contemporary costume and hairstyles, but also with their hair dressed in the Roman manner and their shoulders naked or covered with antique drapery. Houdon had won the Académie's third prize for sculpture in 1756 and the Grand Prix (Prix de Rome) in 1761. He subsequently spent three years at the Ecole des Elèves Protégés before leaving for Rome back in 1764. In a memoir, written in 1794, Houdon summed up his career thus: 'I have given myself over to only two studies, which have filled my whole life … anatomy and the casting of statues'.

Bust of Voltaire

show details 		A fine cold painted bronze model of a French bulldog with a tan leather collar. Austria circa 1910.

French Bulldog

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A miniature dairy display milk pail, copper with a brass handle and brackets, engraved with the dairy's name 'Sam Smith, Moseley, Birmingham'. English circa 1870.

Dairy Pail

show details 		A faince pounce pot with polychrome decoration, French circa 1860. w.3.75 in x h.2.5 in

Pounce Pot

show details 		An early 19th century English steel tinder box, the lid engraved with the owner's name and occupation, 'Charles Burnett Corn Miller' and dated 1826.

A Miller's Tinder Box

show details 		An early 19th century silver coloured metal snuuf box set in a section of stag antler, probably Scottish.

Antler Snuff Box

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A fine papier-mâché tray by Jennens & Bettridge decorated in the chinoiserie style with honeysuckle and bird's of paradise. Impressed Jennens & Bettridge London and with a crown above. English circa 1830. Henry Clay patented his invention for papier-mâché panels in 1772, and by the time the patents expired in 1802, he was very wealthy. His Birmingham factory was taken over in 1816 by what was to become the most famous partnership in the papier mache industry, Jennens and Bettridge who focused initially on papier-mache trays. Joseph Booth, who was employed as a decorator and who was also celebrated for his imitations of Chinese and Japanese ornament, decorated a tray in the chinoiserie style for the Prince Regent. From this point on, the firm advertised their Royal patronage, as 'Japanners in ordinary to His Majesty'. They made many advances in the decoration and style of japanned goods, and in 1844, they were described as one of the 'finest and most interesting factories in Birmingham, where japanned papier-mache is brought to a high degree of beauty' (The Penny Magazine, Dec 1844). They were one of the largest and most progressive factories with widespread influence. (Much of this information with thanks to japanware.org)

Bird's of Paradise

show details 		A japanned tin tray painted olive green and with a polychrome decorated scene of harvesting within a fine gilt border. English/ Welsh circa 1790. The Allgood family of Pontypool, Wales were the foremost exponents of Japanned tinware throughout the 18th century. Before Edward Allgood died in 1763, the Pontypool Japanning business had passed to his sons and nephew, Thomas, Edward, John and Thomas. Almost immediately a feud developed between them, and Thomas and Edward left the Pontypool works to set up their own factory in Usk, six miles away. John and his cousin Thomas remained at Pontypool and for the 20 years following the split, the Pontypool works prospered and their products were sold through merchants in the larger towns in England. In 1779, Thomas died and there followed yet another dispute between his two sons Henry and William who were due to inherit the works. Henry moved to Birmingham where he worked with a long established japanning firm, John Taylor & Co. which had been in business since 1740. William continued to run the business alone and because of his natural ability as a salesman, he was nicknamed 'Billy the Bagman'. The midland manufactories had now come into their own, producing excellent quality Japanware in direct competition to the Pontypool factories. The rival factory at Usk was also still in production. The durable nature of the products meant that carrying it over long distances was not a problem. Examples of Pontypool ware of this period can therefore be found in the large houses of the eastern seaboard. Paul Revere, a silver smith in peaceful times, but noted for his role in the American war for independence, sold japanned wares from his Boston shop.Sadly, due to family disputes, the Pontypool factory declined, and by 1817 it had closed. w.26.5 in x h.21 in

An Elegant Harvest

show details 		A rare set of three graduated travelling inkwells, gilt bronze engraved with the 'weight' to the front of each. Victorian circa 1870. Base diameters: 2 7/8 inch, 2 1/2 inch and 2 inch. The height of the largest, to the top of the ring when lifted, is 5 inches.

Three Weights Inkwells

show details 		A fine travelling inkwell, engraved and gilded bronze with turquoise enamelling for the 'weight', a lift-out ceramic reservoir with gilt bronze flange within. English circa 1870.

7lb Travelling Inkwell

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A fine travelling inkwell, engraved and gilded bronze with turquoise enamelling for the 'weight', a lift-out ceramic reservoir with gilt bronze flange within. English circa 1870.

4lb Travelling Inkwell

show details 		A small 'weight' travelling inkwell, engraved and gilded bronze, English circa 1870.

1lb Weight Inkwell

show details 		A very rare gilt bronze travelling inkwell in the form of a 5lb weight.

5lb Inkwell

show details 		A fine quality set of letter scales, satin and bright burnished gilt brass with the two pans set with panels Ashford Black Marble. Engraved to the balance arms are the retailer's details 'W. & J. Milne 126 Princes Street Edinburgh.' English circa 1860. Henry Watson established the Ashford Marble Mill on the River Wye in 1748, and for one hundred and fifty years until it’s final closure in 1905, the water-powered mill manufactured some of the finest and most sought after marble ornaments and artefacts ever produced. In 1832 a Mr. Oldfield opened a further quarry at the Rookery Plantation. For almost a century all the decorative work had been done by etching and engraving onto the polished surface, but in 1835 the industry was transformed when William Adam of Matlock, at the suggestion of the Duke of Devonshire who had seen Florentine mosaics while on a visit to Italy, introduced the art of inlaying. The beautiful floral and geometric inlaid designs proved an immediate success. Inlay material came from many sources, but most popular was Rosewood and Bird’s Eye marble from Sheldon, Corraline and Duke’s Red from Alport, Entrochal and Encrinital from Monyash, blue fluorspar from Castleton, and yellow fluorspar from Crich. These were later supplemented by imported green Russian malachite, white Carrara, green Florentine and yellow Sienna marbles from Italy, lapis lazuli and conch shells. This resulted in a wider range of designs and local artists produced sprays of roses, pansies, harebells, forget-me-nots, lilies-of-the-valley, fuchsias, birds and butterflies to enhance and heighten the black beauty of the Ashford Marble. The delicate, intricately skilled inlay work was done by homeworkers called `baublers’, who used metal templates to mark out the chiselled sockets to receive the inlays, which had their edges tapered on grinding wheels. The inlays were then cemented into the sockets by means of a glue made from tallow, resin and plaster of Paris, applied as a powder, and activated by the process of ironing the inlays into position. The products were then returned to the marble mill where the surface was ground level and highly polished to a perfect finish. Patronised by royalty, the Marble Works at Ashford became a tourist attraction and demand soared following the outstanding success of Ashford marble at the Great Exhibition of 1851, when Prince Albert himself exhibited three beautifully inlaid black marble tables made at the workshops of T. Woodruff of Bakewell which reportedly put even the Italian Master’s in the shade. It quickly became known that both he and Queen Victoria were patrons and collectors of Ashford black marble.

Ashford Marble Letter Scales

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A Victorian royal household cheese press carved intaglio with Queen Victoria's coat-of-arms. English circa 1850.

Royal Cheese Press

show details 		A pair of brass fireside tool rests made by a marked for Benham and Froud, probably to a design by Dr. Christopher Dresser. English circa 1870.

Fire Tool Rests

show details 		A Victorian journeyman joiner's sample door showing two varients to the moulding and panel detailing. impressed to the top edge 'SAMPLE 1 A & J & CO 1868' Mahogany with red and blue coloured glass.

Sample Door

show details 		A set of six photographic tiles made by J. H. Barratt & Co Ltd, Stoke on Trent, England. The Right Honourable H. H. Asquith after the photograph by Reginald Haines, Admiral Sir John Jellicoe after Russell & Sons, The Right Honourable David Lloyd George after Ernest H. Mills, General Foch, President Woodrow Wilson and Field Marshall Sir Douglas Haig after the photograph by Elliot & Fry Ltd. All are modelled by George Cartlidge, one dated 1916. (Two tiles are a little smaller @ 5 7/8 in x 8 7/8 in)

Six Leaders

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An exceptional Regency period paper sculpture, a boquet of flowers formed entirely from paper, painted, cut and curled to form the flowers and foliage and then arranged into a boquet. All pinned to a satin support and contained within an oval gilt gesso framed box. English circa 1780.

A Bouquet of Paper Flowers

show details 		A pair of heavily cast bronze pricket candlesticks, the larger central knop stamped in capital letters GIO.(vanni) FRA(n)CO. CARRESI. Probably Italian circa 1790.

Italian Bronze Candlesticks

show details 		A William de Morgan tile decorated in blue and green with a galleon in full sail. Sands End mark 1888 - 1897.

William de Morgan Ship Tile No.2

show details 		A Fantastical Bird tile by William de Morgan decorated in green and produced at Merton Abbey prior to the move to Fulham in 1888.

Fantastical Bird Tile

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A Regency Tunbridge 'whitewood ware' watchstand modelled as a castleated gatehouse. Unique to the Tunbridge Wells area of Southern England is the manufacture of painted sycamore and birch architectural models that conceal various functions, usually for the ladies of Regency England. This is a particularly rare form and appears as the watchtower when a pocket-watch is placed in the holder overnight. English circa 1820.

Tunbridge 'Whitewood' Watchstand

show details 		A pair of parcel gilt bronze Empire period candlesticks, French circa 1810.

Empire Candlesticks

show details 		A rare Regency bronze novelty night light modelled as a street lamp. English circa 1820.

Street Lamp Night Light

show details 		A fine pair of telescopic brass candlesticks with an oak inset to the bases and push rod ejectors. Scottish circa 1830.

Scottish Candlesticks

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A novelty equestrian theme combination desk piece. French, the silvered bronze horseshoe finished with gilded nails.

Horseshoe Barometer

show details 		A small 19th-Century glazed earthenware phrenology head inkwell of rare form, the head divided and labelled in black for different emotions and characteristics, the base decorated in gilt. By F. Bridges. This is a rare example of a Bridges inkwell being without the usual rectangular plinth into which is usually stamped 'F. Bridges Phrenologist.'

Phrenology Head Inkwell

show details 		An early 19th century single compartment teacaddy in ebony and scarlet tortoiseshell with finely inlaid ivory detail. Original interior lid with further finely detailed ivory inlay to match that on the outside. A silver metal label inlaid to the top engraved

Dutch Teacaddy

show details 		A fine fat pear shaped pearwood teacaddy. Steel fittings. Excellent and original condition throughout. German circa 1790.

Georgian Fruitwood Teacaddy

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An early 18th century brass and iron foot-warmer, pierced with tulip designs to the sides. Dutch circa 1720.

Carriage Foot-Warmer

show details 		A pair of gilded and painted spelter candlesticks. French circa 1870.

Figural Candlesticks

show details 		A Victorian inkwell humorously modelled after a stoneware example. Silver around a heavy cut glass reservoire for the ink. Hallmarked for London 1899; WC for Walter Clark.

Silver "Stoneware" Inkwell

show details 		An English ormolu inkstand with three red flash glass wells. At each corner is a figure emblematic of one of the four continents.

English Ormolu Inkstand

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17th century repoussé wine vessel. French, worked from sheet copper in the Itialian style.

French Wine Vessel

show details 		A Georgian dog collar, brass, engraved 'Ja(me)s Shell Kingsdown' within two bands of husks, and with a steel hasp. English circa 1820.

A Dog's Collar

show details 		A fine pair of cast and turned brass candlesticks engraved with an armorial device to the top surface of the base and with initials cut into the underside. Seamed through the stem and socket. English circa 1710.

Armorial Candlesticks

show details 		A fine game of table croquet or Croc-I-Dor. In the box; a turned mahogany stand on which are suspended the lead and brass hoops with many of the numbers, the colour banded boxwood balls and matching mallets, start and finish marks, the sawdust filled baize cushions and the rules. English, late Victorian, circa 1890.

Table Croquet

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A Vienna Bronze model chicken, cold painted in correct colours and with the impressed marks for Franz Bergman. Austrian circa 1900.

Vienna Bronze Chicken

show details 		A fine pair of Charles X ormolu candlesticks, the base of the fluted column with vases and lyres beneath acanthus leaves, the capital embossed with flowers and surmounted by emblems of a plentiful harvest. French circa 1825. 13.5 inches high.

Charles X Ormolu Candlesticks

show details 		A coaching theme timepiece, the English case made from brass, silver plated with parcel oxidation and gilding. The movement

A Coaching Timepiece

show details 		Brass cased French movement timepiece. Silver plated and part oxidized with gilt nails on a red leather covered support. English circa 1870.

Equetrian Theme Timepiece

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A late 19th century smokers compendium in the form of a London to Brighton mail coach. Cast in bronze and finely painted showing destinations and adverts for

London to Brighton Coach

show details 		A pair of substantial gilt bronze candlesticks, now drilled for electricity. Original gilding. English circa 1835.

William IV Candlesticks

show details 		A 19th century Grand Tour bronze libarary bust of Hippocrates of Kos, the ancient Greek Physician. He was considered one of the most outstanding figures in the history of medicine. and is considered the

Hippocrates of Kos (460 BC-370 BC)

show details 		Early 20th century bronze copy of the Narcissus found at Pompeii in 1862. This example has a replica

Narcissus

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Late 18th century satin-birch teacaddy with an unusual marquetry cartouche of a running dog to the lid, a more typical but well defined shell motif inlaid to the front. English circa 1790.

Running Dog Teacaddy

show details 		Sheffield Plate bread basket with wire work frame supported on an base plate engraved with an amorial device. English circa 1790.

"Che Sara Sara"

show details 		A fine quality gilt bronze box in the form of a horse's hoof with an oxidized silver plated horseshoe to the lid. English circa 1870.

Horseshoe Box

show details 		A Victorian brass adjustable dog's collar, engraved

Dog Collar

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Two Regency period cast plaster library busts of ancient Greek philosophers on parcel gilt socles. English circa 1800.

Philosophers

show details 		A fine pair of bronze lamps, perhaps modelled on ancient Roman originals. Made in Italy during the 19th century and sold as souveniers of the Grand Tour. Stamped with the maker's name, L. CHIALI.

Roman Lamps

show details 		A fine pair of bronze candlesticks, inspired by the artifacts of the ancient Romans. Made in Italy during the 19th century and sold as souvenirs of the Grand Tour.

Grand Tour Candlesticks

show details 		A gilt brass mantle clock set with coloured glass and a Blue John finial. English circa 1870. Designed by Bruce Talbot.

Art Movement Mantle Clock

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A model fireplace inset, polished steel with finely cast and finished brass embellishments. English circa 1840.

Manufacturer's Sample

show details 		A particularly tall pair of open twist brass candlesticks. English circa 1890.

Tall Twisted Candlesticks

show details 		A pair of finely turned hardwood candlesticks with cast brass insets to the nozzles. English circa 1870.

Open Twist Candlesticks

show details 		A finely detailed pair of ormolu candlesticks, the base pan with a champleve design of a trailing white rose. English circa 1870.

Champleve Candlesticks

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A cast bronze table lamp, the column a writhing grapevine clad with leaves, the base quadralobed and derived from a gothic counterpart. English circa 1840. Originally supporting a glass font for oil, now converted to electricity. The pair priced at £4950.00. The single at 1950.00

Grapevine Lamp

show details 		A large Scandinavian bent birchwood lidded box with typical pokerwork decoration, circa mid 19th century.

Bentwood Pokerwork Box.

show details 		An ormolu desk top inkstand modelled as a basket of flowers surmounted by a lid of two doves beneath which is a sifter for fine sand and a well for the ink. Mounted on a malachite veneered base. Russian mid 19th century.

Two Doves Inkwell

show details 		A pierced brass sponge box with extensive traces of the original silvering. French 18th century.

Sponge Box

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A fine, brass bound and lined mahogany kettle bucket. Dutch circa 1800.

Kettle Bucket

show details 		Pair of cast and polished iron tool rests modelled as mythical birds centred with a polished bronze stylized flower head. Cast with an impressed design registration kite mark for April 1862.

Twin Bird Tool Rests

show details 		A Regency period lapdesk the exterior covered in metal with a rare lacquer finish and edged with stamped and gold lacquered brass strips. The interior is veneered in kingwood with the originhal plush velvet writing surface. Excellent and original condition throughout.

Regency Lap-Desk

show details 		A cast plaster model of the Sphinx, published during the Regency period and finished to simulate patinated bronze. English circa 1820.

Regency Sphinx

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A leather bound oak lined stationery box from Brede Place, East Sussex. The 19th-century owner of Brede Place was Moretown Frewin who married one of the daughters of Mr Leonard Jerome of New York. Mrs Frewin's sister, Jenny, became Lady Randolph Churchill, mother of Sir Winston. In 1899, the Frewins let the house to the American writer Stephen Crane and his wife Cora. An invitation to Brede Place became a must in the literary world and the Cranes entertained the greatest writers of the day. Henry James, Joseph Conrad, H.G.Wells, A.E.W.Mason, Rudyard Kipling and J.M.Barrie all stayed at Brede Place at one time or another. It was during one of these visits that J.M.Barrie first heard the story which, years later, he was to use to help him to create one of the greatest characters of Children's Literature - Captain Hook........

Brede Place

show details 		A finely cast and painted Austrian or Vienna Bronze model of an Oriental Pheasant on a naturalistic and spun base. Circa 1900. Fully marked 'geschtutz' and with the registaration number. Attributed to Franz Bergman (1861-1936)

Oriental Pheasant

show details 		A desk inkwell on a horse racing theme, the cut and frosted glass inkwell with a lid in the form of a jockey's hat and with a three tone plated finish to represent the owner's silks. The dished base modelled as a saddle and coloured in imitation of leather surrounded by a gilt brass edge and support for a pen, set across with a crop. Austrian circa 1870.

Horse Racing Inkwell

show details 		Pair of American brass and iron andirons, the feet and legs of one casting, the stem seamed and made up off two castings. All assembled on a wrought iron frame. American, early 19th century. For a near identical pair stamped R. Wittingham N. York see Roderick Butler's selling exhibition,

American Andirons

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A substantial pair of heavily cast brass candlesticks, the stems cast in two halves with push-up rod ejectors. Engraved around the hexagonal bases 'Total Abstinence Friendly Benefit Society. Revd. J. J. F. Murphy. Priest. Founded A.D. 1840. Probably Irish.

"Total Abstinence"

show details 		A Restauration bronze figure of Voltaire after the work by Jean Antoine Houdon, on a rouge griotte, sienna and black marble base. Jean Antoine Houdon. Born Verailles 1741. Died Paris 1828, was received as a full member of the Académie Royale in 1777. His great series of portrait busts began in earnest with his exhibits at the Salons of 1775 and 1777 after which Houdon was established as a portrait sculptor without rival. At the Salon of 1779 Houdon inaugurated his impressive gallery of portraits of famous men, modelled both from life and posthumously. This was a theme that he continued up to his last Salon in 1814, and places him firmly within the historicist current of the age of Louis XVI. Houdon's originality lay in creating different bust types of his illustrious subjects. Thus Voltaire, Rousseau, D'Alembert, Franklin, Washington and others were depicted in contemporary costume and hairstyles, but also with their hair dressed in the Roman manner and their shoulders naked or covered with antique drapery. Houdon had won the Académie's third prize for sculpture in 1756 and the Grand Prix (Prix de Rome) in 1761. He subsequently spent three years at the Ecole des Elèves Protégés before leaving for Rome back in 1764. In a memoir, written in 1794, Houdon summed up his career thus: 'I have given myself over to only two studies, which have filled my whole life … anatomy and the casting of statues'.

Restauration Bronze of Voltaire.

show details 		A late 19th century cold painted Vienna Bronze model of a St. Bernard dog. Austrian circa 1900.

St Bernard

show details 		A fine 18th century chicken skin fan leaf painted with a scene from Perseus and Andromeda, presented in a finley carved gilt-wood spandrel within a finely moulded walnut frame. French circa 1760.

Perseus and Andromeda

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A Victorian

Brass Pinned Snuff-Shoe

show details 		A fine and extensive early Victorian teaching aid, the bone tablets engraved with the letters upper case to one side, lower case to the other, and within a finely constructed mahogany box, the sliding lid with an inlaid and engraved plate, 'SPELLING Alphabet'. English circa 1840.

Alphabet

show details 		A vintage Kendo men, the wire grill surrounded by thick leather. English, early/mid 20th century.

Kendo Men

show details 		A life sized Vienna Bronze model of a toad by Franz Bergman and with his mark impressed beneath. Austrian circa 1890.

Toad

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An early 19th century brass snuff box well constructed from a heavy gage of brass and finely engraved with a charming scene of a hunter and his dog, a banner with the warning

"Take Heed Die"

show details 		A fine gilt brass and engine turned ivory monocular by Philip Carpenter. English circa 1830. Philip Carpenter was born in Kidderminster, Worcestershire on 18th November 1776 and had a brilliant optical understanding. In just 25 years he led the world in both magic lantern projection and microscopical magnification. Much evidence of this survives in examples of his work and in records of his public ‘Microcosm’ exhibition which achieved great celebrity during the reign of King George the Fourth. Having begun his career in the Birmingham optical trade in Inge Street in 1808, Carpenter made a sudden and expensive re-location to the heart of London in July 1826. He died at Regent Street on 30th April 1833 and the business was continued by his sister Mary in partnership with William Westley. This monocular is engraved to the sliding tube

Engine turned monocular

show details 		Early 19th century grocer's display tea-tin, gilt and black on a green ground. English circa 1810. Previously made into a lamp and with a hole in the lid for the bulb holder and a hole at the reverse side near to the base.

Chinoisserie Decorated Tea-Tin

show details 		A large and fine blonde tortoiseshell tea caddy with ivory stringing, the two interior compartments with matching tortoiseshell covers. The initialled silver coloured metal tablet to the lid engraved with initials and the date 1813.

Blonde Tea Caddy

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A Georgian period samova shaped to celebrate the hot air balloon created by the French Montgolfier brothers. It was In this balloon thast the the first manned flight was made by Jean-François Pilâtre de Rozier and François Laurent d'Arlandes from Paris on the 21st Novenmber 1783. Red lacquered brass in a polished brass frame, and with a green stained ivory terminal to the tap. English circa 1790.

Balloon Samova

show details 		A silver cigar case with applied initials to the outside and with a frosted and gilt interior. Late 19th century, the marks, 800 and a star, probably for Spain.

Cigar Case

show details 		A pair of hinged and brass mounted beechwood lasts made by Seadon of St. James's for a Miss Davison. English circa 1840.

The Lasts of Miss Davison

show details 		A victorian honesty or honour tobacco box operated by a penny-in-the slot. The 'honour' required in order that you fill only a pipe bowl and not your pockets! Heavy sheet brass construction of the box and with well cast and finished fittings. For a similar good example see Sale 5369 Christie's Interiors - Oak Edition 4 November 2008 London, South Kensington Lot no.31

Honour Box

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A late nineteenth century seasoning box stamped by the supplier 'Jones Bros Down Street, Picaddilly, London'. Used for containing all kinds of herbs, peppers etc. A number of them were positioned on the cook's work station so he could easily get a pinch of whatever flavouring he needed. There is a very similar one in the kitchen of Harewood House near Leeds that has two cartouche brass labels on each of the lids -one says coarse salt, the other fine salt. This kind was also used for another culinary purpose. There was room under the liner for some crushed ice mixed with a little salt. This was used to keep thin strips of bacon fat called lardoons from getting too soft to use. They were threaded through lean meat with a tool called a larding pin and had to be firm. By semi-freezing them in this way they could be kept firm. They are impossible to use once they start to go soft and this is why there is a drainage grill in the seasoning box - it allowed the free flow of the refrigerant brine to pass from one compartment to the other. Our thanks to Ivan Day of Historic Food .com for his help in describing this article.

Jones Brothers Seasoning Box

show details 		A mahogany and brass snuffbox, the top engraved '1852 W. THOMPSON LIVERPOOL', and the swivelling lid with a huntsman's dog and a pheasant in a tree. To the reverse is engrave a stem of roses.

A Hunter's Snuffbox

show details 		A pretty marquetry and parquetry tobacco box with striped sides and a fine marquetry shell inlaid into a green stained background, the base inlaid with a two-toned six point star, the interior with the remains of a metal foil lining. English, Georgian period, circa 1780. (Re-polished).

Sea Shell Tobacco Box

show details 		An eighteenth century mezzotint portrait of His Royal Highness Edward Duke of York, set within a fine cut paper mount on a royal blue background. English circa 1760, in a copy 18th century frame. On April 1st 1760, Edward Augustus, the younger brother of George II, was created Duke of York and Albany. In the late summer of 1767, on his way to Genoa, Edward fell ill. He was taken to the Palace of Honore III , Prince of Monaco and, despite the care and attention given to him, he died there on the 17th September.

Edward Duke of York

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A set of three fine and substantial gunmetal candlesticks, stop fluted columns raised on a square beaded base and with a loose beaded nozzle. The bases are beautifully engraved in script

Candlesticks from the Order of St. Patrick.

show details 		A pair patinated bronze and ormolu candelabra after the work by Clodion (Claude Michele) 1738 – 1814. A fine quality pair of Louis XVI two branch candelabra taking the form of striding putti bearing in each hand a gilt bronze flaming torch. Each putto is draped with a gilt bronze cloth. They stand supported on a white statuary cylindrical plinth mounted at the top with a string of gilt bronze beads and supported on a square block plinth.

Putti Candelabra

show details 		A Corinthian column table lamp, original bronze and parcel gilt lacquer finish. Formerly an oil lamp base, now adapted for electricity. English circa 1870.

Corinthian Table Lamp

show details 		A green painted columnar table lamp with gold lacquered brass base and mounts, with a stamped brass label for Palmer & Co Patent. Now converted to electricity.

Palmer's Patent Table Lamp

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A pair of mid Victorian candlesticks, after a design by William Bateman II for Rundell, Bridge and Rundell. Ormolu and patinated bronze. These candlesticks are based on a pair of silver candlesticks made by William Bateman II in 1834 for Rundell, Bridge and Rundell. Principal differences are to be seen in the bases, which on the Bateman model are of more elaborately rococo form with shell feet. Illustrated in the catalogue for The Great Exhibition of 1851, (vol. II, pl.34, p.745,) is a centre table with a base of three swans similar to these candlesticks. The table was made by George J. Morant, whilst the design is attributed to the Duchess of Sutherland.

William IV Candlesticks

show details 		Bronze portrait bust of Sir Walter Scott published by S. Parker after the work by Samuel Joseph. Marked to the base

Sir Walter Scott

show details 		A good English bronze portrait bust of the Duke of York, engraved to the reverse

Duke of York

show details 		A pair of gilt brass table lamps, originally supporting reservoirs for oil, recently converted to electricity. English circa 1850.

Table Lamps

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A late Regency bronze table lamp in the style of William Bullock. Originally supporting a reservoir for oil, recently converted to electricity. William Bullock began his career in Liverpool, opening a public museum or 'Cabinet of Curiosities' in 1800 and dealing in bronzes and other ornamental wares. By 1805, he had moved to larger premises in Church Street, advertising his 'Museum and Bronze Manufactory' and his 'New Egyptian Hall'. Brother to George, the celebrated cabinet-maker, William was the first to transfer his business to London, building a new 'Egyptian Hall' on Piccadilly designed for the 'reception, exhibition and sale, by commission, of every article connected with the Fine Arts, Antiquity and Natural History.

Bronze Table Lamp

show details 		Rosewood veneered tea caddy with nickel mounts all in the form of a travelling trunk. Original silvering and polished wood cover within. French circa 1870.

Tea Trunk

show details 		A fine penwork teacaddy with two separate lift out containers for the different tea-leaves. Excellent decoration throughout. English, Regency period, c.1800

Penwork Teacaddy

show details 		A novelty foxhunt combination timepiece, polychrome patinated the gilt trophy fox mask and tails motif surmounted with crossed riding crops, the aneroid barometer and timepiece with a face of Roman numerals set within gilt nailed horseshoes. English/French circa 1880.

Fox Hunt Clock and Barometer

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A rare and beautiful Georgian 'harlequin' tea caddy, tortoiseshell and mother-o-pearl diamond panels edged with ivory and set between tortoiseshell canted corners, the metal fittings of silver. English circa 1790.

Harlequin Tea Caddy

show details 		An early 19th century brass snuffbox, shaped for comfort in a waistcoat pocket, the lid set with another smaller snuffbox and its lid also set with a snuffbox! The smallest lid decorated with bands of wrigglework engraving. English circa 1820.

Multiple Snuffbox

show details 		A pair of Regency period ormolu curtain ties. Impressed mark to the reverse: 6108 S & P.

Regency Curtain Ties

show details 		A pair of Regency period ormolu curtain ties in the form of the Prince of Wales' feathers. English circa 1830.

Prince of Wales Curtain Ties

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An elegant carved mahogany snuff shoe the lid dated 1868 and to the left of the shoe the pins read G.F. Roser beneath a crown. More interestingly, the right hand side of the shoe is inlaid with a design of a billhook and a folding knife, and the toe has branches of leaves. Were the Rosers woodmen or gardeners?

G. F. Roser Snuff Shoe

show details 		A fine and large cold painted bronze model of a pheasant, marked for and by Franz Bergman. Austria circa 1890.

Pheasant

show details 		A steel bladed bread knife set with an ivory handle, partly turned, partly in the natural state, and with an engraved and hallmarked silver end piece, the blade stamped with the makers name, Farmer of Colchester. English, mid 19th century.

Ivory Handled Bread Knife

show details 		A steel serving spoon with an elaborately fretted stem. A metalworker's response to the more familiar treen spoons of the 19th century. English/French circa 1840.

Spoon

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A finely cast bronze hand holding a stylus, an adder bangle around the wrist, by Soyer & C, for use as a presse papier. French, mid 19th century.

Presse Papier

show details 		An early bronze pipe tamper with engraved seal end, probably 17th century. English.

Cruxiform Pipe Tamper

show details 		A George III black painted plaster bust of a classical lady, the underside inscribed

Classical Bust

show details 		A mid Victorian grained pine picnic tantalus containing four blown glass spirit bottles. English circa 1870.

Picnic Tantalus

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A mid 19th century needlepiont picture of a lion, both the technique and the subject redolent of a Roman mosaic. Within a period Italian carved and gilded frame and with a vere iglomise mount.

Needlepoint Lion

show details 		A silkwork picture of a parrot in a carved fruitwood frame. English Circa 1790.

Parrot

show details 		A Victorian Fernware box, lined with a yellow studded and quilted green satin. English circa 1880.

Fernware Box

show details 		An 18th. century transfer printed enamel patch box with the motto

Patch Box

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A bronze desk inkstand, two cut glass inkwells with cast bronze covers and a lidded wafer box between. English circa 1835.

William IV Inkstand

show details 		A Georgian silkwork picture of a basketful of flowers, mostly roses. Georgian, circa 1790. Original giltwood frame.

A Silkwork Picture of Flowers

show details 		19th century French boudoir ball clock with a white enamel dial, seconds dial at 6 o'clock and the besel set with alternating clear and green coloured paste 'gems.'

302

show details 		A French timepiece mounted in an English bronze case modelled as carriage horse tackle, finished in gilt, oxidised and bright silver plate, with tuquoise enamelled

Carriage Horse Clock

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An ivory horseshoe framed mirror with an ivory and hallmarked silver crop, set with silver hooks.

Hunt Theme Hall Mirror

show details 		A Victorian combination clock and barometer desk piece. French works mounted in an English case designed around coaching harness.

Coaching Clock and Barometer

show details 		19th century French boudoir ball clock with silver and gold on white enamel dial, seconds dial at 6 o'clock and the besel set with clear paste 'gems.'

White Paste Boudoir Clock

show details 		A mid 19th century horn drinking cup engraved with a scene of the Thames Tunnel Wapping Entrance, the reverse engraved with a scene of a fine house with the family before. The Thames Tunnel was the world's first underwater tunnel, built beneath the River Thames. 35 feet wide (11 m), 20 feet (6 m) high and 1,300 feet (396 m) long, it runs between Rotherhithe and Wapping at a depth of 75 feet (23 m) below the river's surface at high tide. In January of 1818, Marc Brunel and Thomas Cochrane patented the tunnelling shield, a revolutionary advance in tunnelling technology. In 1823 Brunel produced a plan for a tunnel between Rotherhithe and Wapping, which would be dug using his new shield. (Built at Henry Maudsley's Lambeth works). The excavation was extremely difficult for a number of reasons including illness caused from the sewage in the Thames, the explosive methane from the same and the nature of the ground, namely clay and quicksand. There were several floods of the tunnel, that of 1828 killing 6 men and very nearly drowning Marc Brunnel's own son, Isimbard Kingdom. In August of this same year financial problems lead to the walling up of the tunnel. It was 1836 before sufficient funds were raised to recommence the project and a new tunnelling shield was installed. It was another 5 years before the tunnel was finally completed and it was opened to the public in 1843.

Thames Tunnel

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A polychrome patinated novelty timepiece celebrating the game of cricket, the movement set between two cricket bats with a ball before each and surmounted by stumps, bails and a gilded hat, and all set upon an oak base with a gilt twisted wire edge. English with a French movement, circa 1890.

Cricket Clock

show details 		A Sheffield Plate, oval salver, with an elephant head armorial device engraved to the centre. English circa 1790.

Sheffield Plate Salver

show details 		A well carved wooden Victorian breadboard. English circa 1890.

Bread Board

show details 		A fine tortoiseshell teacaddy by Lund of Fleet Street, edged with ivory and with bun feet in the same, a pair of lids of matching tortoiseshell cover the two compartments within. William Lund moved to premises in Fleet Street in 1840, and changed his label in 1876 when he was joined by his son.

Loaf of Bread Teacaddy

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A pair of Regency period bronze candlesticks modelled as heraldic cranes with crowns around their necks and standing on naturalistic bases.

Heraldic Cranes

show details 		An unusual English

John Roser's Snuff Shoe

show details 		A substantial and beautiful early Victorian dark tortoiseshell teacaddy, the lid lifting to reveal two lidded compartments veneered in tortoiseshell that matches the outside. All edges are veneered in ivory and the bun feet are made of the same. The interior lock plate is engraved

Tortoiseshell Teacaddy

show details 		An early 19th century resting stand for a hot iron, interestingly worked up from cast sheets. The base plate is held in place by adapting a mortice and tennon type fixing.

Flat Iron Stand

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A large pair of Cornish serpentine candlesticks banded in grey and red with green bases. English circa 1880.

Serpentine Candlesticks

show details 		A rare spice tower, white wood grain painted to simulate rosewood nad further sign written with the name of the spice. English, early 19th century.

Spice Tower

show details 		A fine, early 20th century cast and cold painted Vienna Bronze model of a Kangaroo. Austrian circa 1910.

Vienna Bronze Kangaroo

show details 		Is this a 19th century carved wood corn stook or is it an inverted African mortar? Carved from one piece of wood and now sculpturally weathered.

Corn Stook

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An early 19th century woolwork picture of a tabby cat's face. Within a period gilt gesso frame and a vere iglomise mount.

Tabby Tom

show details 		An excellent example of a fruitwood teacaddy of the late 18th century. Turned fruitwood, presumably applewood, with the original steel hinge, escutcheon and key, retaining traces of the red stain 'flush' to imitate the colouring on an apple, and with the original turned wooden stork to the lid. German circa 1790.

Apple Teacaddy

show details 		Silver mounted horn beaker presented to the winners of the Challenge Fours in 1887 and with a device for Winchester College Boat Club.

Winchester College Horn Beaker

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