Objects and Curios

92 items
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

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

Garden Tools

show details 		An Indo-Persian shield (dhal) of shallow convex form the outer face worked in repoussed brass with cartouches containing scenes of a tiger attacking a warthog and a stag, in turn two scenes showing the tiger being killed at the hand of a warrior, the inner face with four rings for the attachment of enarmes.

Indo-Persian Shield

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

Bronze & Ormolu Candlesticks

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

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

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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

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

French Cane

show details 		A Malacca walking cane with a silver coloured metal repousse knop. Indian circa 1880.

Indian Walking Cane

show details 		A substantial walking cane, the shaft of whalebone, the knop formed from a whale's tooth, the two seperated with a band of baleen. English/American circa 1850.

Whalebone Walking Cane

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A bird cage of split bamboo cane and fretted softwood. Chinese circa 1880.

Bird Cage

show details 		Carrington Syke's exercise book from when he was an army cadet, probably the second quarter of the 19th century. The book contains 15 plans for fortifications, each followed on a separate page with a charming watercolour demonstrating the employment of that fort.

Fortifications

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

Caryatid Candlesticks

show details 		A fine and well balanced Coco de Mer, possibly 18th century. The Coco de Mer (Lodoicea maldivica) is a palm endemic to the islands of Praslin and Curieuse in the Seychelles. Until the true source of the nut was discovered in 1768, it was believed by many to grow on a mythical tree at the bottom of the sea. European collectors in the sixteenth century would often have the shells of the nut cleaned and decorated with valuable jewels.

Coco de Mer

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A fine old whale's tooth in a natural unpolished state, circa mid 19th century.

Whale's Tooth

show details 		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

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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.

7lb Travelling Inkwell

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.

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

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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

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

Royal Cheese Press

show details 		A fine Regency period writing box, rosewood veneered onto mahogany, inlaid and edged with brass, the newly leathered writing slope lifts to access three small hidded drawers and there is a shallow drawer to the side that runs the full width of the box. English circa 1820.

Rosewood Writing Box

show details 		A beautifully made and very original Georgian period lapdesk, brass bound solid mahogany with a full width drawer to the base. English circa 1800.

Brass Bound Writing Box

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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 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

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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

show details 		Napoleonic period, possibly prisoner of war, carved and painted wooden nutcracker in the form of a mariner, the cutlass and pipe absent.

Captain Nutcracker

show details 		Victorian gilt brass inkwell with a blue enamelled hat ribbon reading

Warrior Inkwell

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A pair of engraved cow horn powder horns of a type known to be Australian. 1st half of the nineteenth century.

Powder Horns

show details 		An early nineteenth century scrimshawed and pewter mounted coconut

Scrimshawed Bug Bear

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 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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A set of thirteen aquatints, published by Edward Orme in 1815, recording the events of key battles of the Penninsular War under the command of Arthur Duke of Wellington, to each side of each disk is an aquatint and to the reverse is a narrative of events. All contained within a stamped bronze

Record of British Valour

show details 		Writing slope made from sandalwood with engraved ivory edging, the interior with original purple velvet lining. Made in India, Vizagapatam, circa 1840.

Sandalwood Writing Box

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

show details 		The terminal from a tiller arm, carved from mahogany in the form of a greyhound's head in full pursuit of it's quarry; representative of speed. These tiller arms are thought to come from the Dutch/Belgium coast and this example dates from the first half of the 19th century.

Tiller Arm

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

William IV Candlesticks

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

Open Twist Candlesticks

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

Champleve Candlesticks

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 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

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A collection of carved ebony elephants from Ceylon (Sri Lanka) with ivory tusks and inset eyes. Circa 1920. Largest w.12 in x d.6 in x h.7.25 in. Smallest w.5 in x d.2.75 in x h.2.5 in.

A Troupe of Elephants

show details 		A turned wooden model or pattern for a cannon. English, early to mid 19th century. Walnut with a boxwood firing pan.

Cannon Pattern

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 		A Barbadian shellwork 'Sailor's Valentine' the back inscribed 'May 25th 1889 from Frank Lock to Miss Miles.' Sold subject to VAT at the standard rate.

Home Again

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A Barbadian shellwork 'Sailor's Valentine' with the design of a rose set within a mariner's compass and the facing side with a heart set similarly. Sold subject to VAT at the standard rate.

Rose and Compass

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

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

Kendo Men

show details 		A Barbadian shellwork 'Sailor's Valentine' the left hand section with a love heart and roses, the right hand with the title, all within a cedarwood case. West Indies circa 1870.

A Present From Barbados

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A pair of model stupas made from four pieces of turned elephant teeth and representing the mounds of mud or clay said originally to have covered the remains of Buddha. Indonesian or south-east Asian. Mid 19th century.

A Pair of Stupas

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 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

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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 		Engraved pewter tureen in the form of a duck with brass feet, bill and handle, an engraved seal mark beneath both the tureen base and the inner dish. The design for this tureen is derived from Chien Lung porcelain dinner services, most usually made for the European market. See image of late 18th/early 19th century Chinese porcelain example. Chinese circa 1860.

Duck Tureen

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

Table Lamps

show details 		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

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A 19th century Fijian Tabua made from a sperm whale's tooth. The two ends are pierced for a braided coir cord. (The hole at the tip is a replacement for the original hole which has worn itself open through years of wear). 'Tabua' would often be presented to an official or dignitary on their departure from a particular area and it was by this means that many old 'tabua' found their way to Europe.

Small Tabua

show details 		A large white tabua with the remains of a penned drawing depicting two ships at sea. The two ends are pierced for a braided coir cord. Tabua' would often be presented to an official or dignitary on their departure from a particular area and it was by this means that many old 'tabua' found their way to Europe. Fijian, 19th century.

Large White Tabua

show details 		A 'Tabua’ or breast ornament made from the tooth of a sperm whale and with lines cut into the surface perhaps preliminary work for a scrimshaw. The two ends are pierced for a braided coir cord although the base end hole is now opened through chipping. Tabua' would often be presented to an official or dignitary on their departure from a particular area and it was by this means that many old 'tabua' found their way to Europe. Fijian, 19th century.

Scrimmed Tabua

show details 		A 'Tabua’ or breast ornament of good even and well formed shape; made from the tooth of a sperm whale. The two ends are pierced for a braided coir cord. 'Tabua' would often be presented to an official or dignitary on their departure from a particular area and it was by this means that many old 'tabua' found their way to Europe. Fijian, 19th century.

Fijian Tabua

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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

show details 		A rare and fine scrimshaw dating from the middle of the 19th century, the whale's tooth being carved in releif with a boquet of flowers. Inscribed with the name M(rs) A Dixon. Other examples of this work, probably by the same hand, have been considered to be Scottish.

Scrimshaw: Dixon

show details 		A 19th century, nievely srimshawed whale's tooth depicting a Victorian lady. English circa 1850.

Lady in a Bonnet

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A scrimshawed whale's tooth depicting a Victorian sailor of the Royal Navy and a young (Maltese) lady playing a guitar. English circa 1860.

Double sided Scrimshaw

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 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 		A mid Victorian leather cased shaving mirror, the fine concave mirrored plate within a hardwood frame and retained by an ebonized and blonde wood stringing. The case impressed with the makers details,

Shaving Mirror

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19th century African ivory bangle with superb colour and patination.

Bangle

show details 		A single sailor's shellwork valentine, designed with typical patterns of shells centered with a loveheart and roses and in a cedarwood case. Barbados circa 1850. Sold subject to VAT at the standard rate.

Single Valentine

show details 		A fine and early sailor's valentine, the case veneered in flame mahogany. The left half design is centered with an anchor fashioned from tiny coloured shells whilst the right hand design is based on the mariner's compass. Barbados circa 1830. Sailor's Valentines were made on the Islands of the West Indies, principally Barbados, throughout the 19th century. These islands were often a ships last port of call before returning to home, particularly for vessels of the United States Navy.

A Large Sailor's Valentine.

show details 		A sailor's valentine, the left hand design with the sentiment

A Sailor's Valentine

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An oil cloth roll to hold the signal flags for the yacht

"Dormouse" RHYC

show details 		A silver coloured metal fob in the form of a Richard Syke's anchor, in it's original case. English circa 1900.

Anchor Fob

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

Hunt Theme Hall Mirror

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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

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

Bread Board

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

Serpentine Candlesticks

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