A fine Arabian horse bronze statue on a rectangular bronze base, signed PJB.&nbsp;

ARABIAN HORSE BRONZE STATUE

A fine antique Senneh rug, hand-woven with three medallion design on a black ground.

ORIENTAL PERSIAN SENNEH RUG

A fine pictorial Kashan rug depicts a wildlife scene.&nbsp;

PICTORIAL KASHAN RUG, CENTRAL PERSIA

Exquisite Isfahan carpet central Persia, circa 1900.&nbsp;

A FINE ISFAHAN CARPET CENTRAL PERSIA, CIRCA 1900 

Impressive 19th century French Sevres style porcelain vase no lid, raised on a square ormolu base, The front panel is hand painted to represent a mythological scene, Gilt bronze handles are attached to the vase, Signed by the artist Collot.&nbsp;

FRENCH ORMOLU MOUNTED SEVRES STYLE PORCELAIN VASE 

George V mahogany waterfall bookcaseThis George V mahogany waterfall open bookcase was made circa 1930.Having the tiered waterfall shape in the Georgian manner.Having 4 surfaces to give you plenty of capacity.It has reed sides and stands splay feet.Imagine what good service this bookcase will give you as well as how attractive it is.Measurements94cms widest at feet 37ins32cms deep at feet 12 .5ins110cms high 43 1/2ins29.5cms bottom shelf depth 12insOur measurements are approximate, whilst we take care in measuring there may at times be a very slight difference.Delivery&pound;75+ vat UK mainland; We also have a reliable and good delivery service for single or multiple items to Ireland.&nbsp;This George V mahogany waterfall open bookcase is a very green product and has not damaged our environment.If you require a shipping quote anywhere in the world, we can arrange that as well.GuaranteeThis George V mahogany waterfall open bookcase carries the Hingstons Antiques product guarantee plate. This gives you the peace of mind that any item with this plate, is of the quality and condition expected when purchasing from Hingstons Antiques. All our goods are individually selected by Nick Hingston who uses his experience of over 40 years of trading to select the best design and condition suitable to be placed in our quality stock.PRICE MATCHING Antiques are unique, it is impossible to price match in the normal way. Please consider the quality of product, and the care taken in our restoration, before deciding if you are looking at price comparison. When you choose to purchase an item from Hingstons, you will be purchasing a piece that will enhance your home.Hingstons Distance selling policyPurchases from Hingstons Antiques Ltd give all buyers the right to cancel the purchase within 14 working days after receipt of the item, for a full refund less transport costs, on condition it is returned in the condition it was sent.Payment- We can accept payment by bank transfer, card transaction by phone, or cheque in store for UK customers only, please contact us if you are a customer from overseas&nbsp;

George V mahogany waterfall open bookcase

Georgian oak rustic dresser base&nbsp;This Georgian oak rustic dresser base was made circa 1800.Having a pot-board on the base with chamfered square supports joined by shaped aprons that run under the 3 drawers.The planked top that has ancient damage to one edge, apparently the oak had been salvaged from the ruins of another property on the estate.It is a perfect cottage piece; imagine the many stories it could tell.If you want a dresser that is full of character this is the perfect one for you.Measurements143cms wide 56 1/2ins39cms deep 15 1/2ins71cms high 28insOur measurements are approximate, whilst we take care in measuring there may at times be a very slight difference.Delivery&pound;75+ vat UK mainland; We also have a reliable and good delivery service for single or multiple items to Ireland.&nbsp;This Georgian oak rustic dresser base is a very green product and has not damaged our environment.If you require a shipping quote anywhere in the world, we can arrange that as well.GuaranteeThis Georgian oak rustic dresser base carries the Hingstons Antiques product guarantee plate. This gives you the peace of mind that any item with this plate, is of the quality and condition expected when purchasing from Hingstons Antiques. All our goods are individually selected by Nick Hingston who uses his experience of over 40 years of trading to select the best design and condition suitable to be placed in our quality stock.PRICE MATCHING Antiques are unique, it is impossible to price match in the normal way. Please consider the quality of product, and the care taken in our restoration, before deciding if you are looking at price comparison. When you choose to purchase an item from Hingstons, you will be purchasing a piece that will enhance your home.Hingstons Distance selling policyPurchases from Hingstons Antiques Ltd give all buyers the right to cancel the purchase within 14 working days after receipt of the item, for a full refund less transport costs, on condition it is returned in the condition it was sent.Payment- We can accept payment by bank transfer, card transaction by phone, or cheque in store for UK customers only, please contact us if you are a customer from overseas&nbsp;&nbsp;

Georgian oak dresser base

A large set of 18 knives and 18 forks with elegant plain styled silver blades. Dessert cutlery. The real mother of pearl handles have ornate silver ferules with cross hatch decoration. Engraved to each handle is a boars head crest. Original solid wood box with blue velvet interior and a pull out tray.Knife 20.8cm. Fork 17cm.Sheffield 1850.Maker Aaron Hadfield.Sterling silver. AARON HADFIELD Aaron Hadfield, silver maker of Pepper Alley, Far Gate, Sheffield. Working in the first half of 19th century circa 1819-1850. Specialised in flatware, fruit knives and knives.

Antique Silver And Mother Of Pearl Cutlery

George I double dome walnut bureau bookcaseThis George I walnut bureau bookcase was made circa 1720 in a London workshop and is of a good small size.In my 46 years of trading, I have only owned 2 18thc walnut bureau bookcases with the double domed tops. This is a most desirable feature and always set them apart from the usual straight cornice design. The cabinetmaker would have to take so much more time with its construction, he would also need to have the specialist skills to be able complete the complicated task.The double dome top with matching returns on the cornice is set above the pair of original hand bevelled plate 2-part mirror. The double doors opening to reveal a fitted interior.The bureau that is below the top section is fitted a well drawer and then a pair of half width drawers with another 2 graduated full width drawers under before it stands on shaped bracket feet.The sloping fall front that is supported by sliding lopers open to reveal a superb interior that is fitted a stepped interior. The interior drawers hiding 2 secret guinea drawers and the 4 pillars that also open.The sliding well opens to also gain access to the well drawer and has a secret slide under.Imagine how wonderful and pleasure ownership of this George I walnut bureau bookcase will give you. Your family and friends will be enthralled as you show them the secret compartments and show this off. Not only is it beautiful you have a desk as well as bookcase and storage above.Measurements91cms wide 36ins50cms deep 19 1/2ins198cms high 78insOur measurements are approximate, whilst we take care in measuring there may at times be a very slight difference.Delivery&pound;75+ vat UK mainland; We also have a reliable and good delivery service for single or multiple items to Ireland.&nbsp;This George I walnut bureau bookcase is a very green product and has not damaged our environment.If you require a shipping quote anywhere in the world, we can arrange that as well.GuaranteeThis George I walnut bureau bookcase carries the Hingstons Antiques product guarantee plate. This gives you the peace of mind that any item with this plate, is of the quality and condition expected when purchasing from Hingstons Antiques. All our goods are individually selected by Nick Hingston who uses his experience of over 40 years of trading to select the best design and condition suitable to be placed in our quality stock.PRICE MATCHING Antiques are unique, it is impossible to price match in the normal way. Please consider the quality of product, and the care taken in our restoration, before deciding if you are looking at price comparison. When you choose to purchase an item from Hingstons, you will be purchasing a piece that will enhance your home.Hingstons Distance selling policyPurchases from Hingstons Antiques Ltd give all buyers the right to cancel the purchase within 14 working days after receipt of the item, for a full refund less transport costs, on condition it is returned in the condition it was sent.Payment- We can accept payment by bank transfer, card transaction by phone, or cheque in store for UK customers only, please contact us if you are a customer from overseas

George I walnut bureau bookcase

A large harlequin pair of antique silver vases, or ale glasses, with gilded bands to the top and base rims, and fully gilded interior. Each has an expansive band of engraved decoration to the body, one vase with initials &ldquo;C.O.D&rdquo; prick engraved to the front. Very similar in weight and size, the vases have differing decorations.Total weight 771 grams (381/390), 24.7 troy ounces.&nbsp; Height 20.7/20.4cm. Diameter 14.5/14.3cm.&nbsp; Swedish silver stamps.&nbsp; Maker E. Ernander.&nbsp; Date mark O2 for1796&nbsp;Perfect to decorate the table or sideboard with flowers. Can also be used as a beaker or ale glass. ERIK ERNANDER Erik Ernander (Worked ca. 1755-1790) in Uppsala, Sweden.

Antique Silver Swedish Vases

An elegant antique silver basket of oval form with a swing handle and rope borders. The simple basket weave decoration creates a clean classical style. Hand engraved to the centre is a large armorial within a decorative cartouche, the motto below reads &ldquo;In Cruce Salus&rdquo;. These handy multi-purpose serving baskets were originally used for bread and fruit but now are equally perfect for cakes or flowers.Weight 773 grams, 24.8 troy ounces.Height 7.7cm (26 cms to top of handle). Top measures 33 x 24.5cm.London 1753.Maker Samuel Herbert &amp; Co. SAMUEL HERBERT AND COMPANY Samuel Herbert, London silversmith, apprenticed 1736 to Edward Aldridge I, of the Clothworkers Company, and goldsmith of Gutter Lane. Free 1744. 1st mark as largeworker entered 1747. 2nd mark as Samuel Herbert &amp; Co 1750 (initials SH.HB), in parnership with Henry Bailey who was apprenticed to and then journeyman to Edward Aldridge (the Constable&rsquo;s Book for the precinct of St Leonard&rsquo;s, which included the southern part of Foster Lane, includes Bayley and Herbert in the list of New Comers in 1750. In 1763 Herbert took Burrage Davenport as apprentice. Herbert&rsquo;s workshop specialised in pierced platework particularly baskets and some epergnes.

George II Silver Basket

As part of our Japanese works of art collection we are delighted to offer this magical pair of Meiji Period 1868-1912 cast silver Carp upon an oval black lacquered base, the carp finely rendered from pure 950 grade silver with mixed metal eyes picked out in shakud0, shibuichi and gold, the fish have been cast and carved in fine and realistic detail, in particular the scales and fins, and the overall balance of the fish are a perfect rendition, they are positioned upon an oval black lacquer base where they can be shown to the best effect, each carp signed to the underside Tansho, and bearing the jungin pure silver mark , come complete with signed Tomobako, a fine quality and very tranquil okimono to enhance your Japanese themed space, or to add to your Japanese works of art collection.Provenance :Private UK collection and subsequently purchased from the executors to that estate .2020 Vision of an enlightened ruler Vol II - Plate 7Condition report :Gorgeous condition throughout.Approximate sizes :Length of Fish: &nbsp;11 1/4" &amp; 8 3/4" &nbsp;28 1/2 cm x 22cmBase : 17 1/2" x 12 1/2" 44.5 cm x 32 cmFree worldwide delivery and a certificate of authenticity are included within the price of this item.

Japanese Pure Silver Carp Okimono - Signed Tansho

A good quality late Victorian small 9 carat gold and enamel telescopic propelling pencil with attached suspension ring, a deep blue coloured guilloche enamel sleeve, and bullet shaped telescopic pencil with reeded barrel.Length 3cm (closed), 6.1cm (open).Maker &ldquo;E.B&rdquo;.England.Circa 1890.Marks. Stamped on the centre section with &ldquo;E.B 9CT&rdquo;.

Antique Gold And Enamel Pencil

An early English silver side handled porringer (or bleeding bowl) of plain circular form and shallow bellied shape. Small proportions and very charming with the original hand beaten finish. A useful serving bowl, handy for nuts and sweets.The handle is prick marked &ldquo;I*C 1681 M&rdquo;.Weight 104 grams, 3.3 troy ounces.Diameter 10.4cm. Height 3.6 cm. Spread 15.4cm.London 1680.Maker Thomas Cory.Sterling silver.A similar example by the same maker and dated 1685 is on display in the Metropolitan Museum of Art, New York, USA - a donation from the Irwin Untermyer collectionMarks. Stamped in the centre of the bowl with a full set of English silver hallmarks, lion mark to the underside of the handle. THOMAS CORY Thomas Cory, London and Warminster silversmith, apprenticed to Edward Wade for 9 years in 1646. The binding did not proceed and Thomas was apprenticed to Thomas Herbert for 8 years in 1648, free 1655. Cory had "migrated" to Warminster by 1663 and in 1675-76 was a Churchwarden at Warminster, however it seems that he maintained business premises in London, at least during the later part of his career. Cory bound 10 apprentices between 1656 and 1684, one of whom was John Elderton and it seems that Elderton ran the business in Warminster when Thomas Cory returned to London about 1670. When Cory died in 1689 his son John, free by patrimony in 1687, Livery 1690, continued to run the family business successfully.

Charles II Silver Bowl

A very interesting antique silver cup of tapering form and plain style. Simple shape with bright gilt bands to the rim and base, and gilded interior. Good gauge silver and weight. The base is beautifully engraved with an armorial dated 1701, possibly a town arms. Engraved initials to the front.Contains 350 ml.Weight 136 grams, 4.3 troy ounces.Height 9.2cm. Diameter 8cm (top), 6.3cm (base).Unmarked silver.Continental.Circa 1701.Marks. Despite the lack of silver stamps, the armorial base might point towards a country of origin. For example, a left facing eagle is incorporated in the town coat of arms for both Olmutz, Moravia and Nurnberg, Bavaria.

Antique Silver Armorial Beaker

A pair of Chinese Vases and Covers, each of baluster form with a domed cover and a stylized gilt Fo-dog finial and handles, decorated in coloured enamels and gilt with numerous panels showing courtly scenes, birds and butterflies amongst flowering plants, all on a scrolling green ground scattered with pink flower heads, the base turned and reeded, now fitted for electricity (not drilled).&nbsp; Chinese, c1880.

A pair of Chinese Cantonese Rose Medallion Vases & Covers

A fabulous mid 19th century silver Cellini patterned wine jug beautifully decorated with exquisite chased foliate decoration, accented scrolling strap-work and incorporating a stylish figural mask to the underside of the spout which is then all set on a matt background for visual decorative contrast. Weight: 27 troy ounces/845 grams Height: 11 inches/27.5 Width: 7.6 inches/19cm (front of spout to back of handle) Diameter: 4.72 inches/12cm (body widest) Condition: Excellent throughout

Antique Victorian Sterling Silver Cellini Jug London 1869 Stephen Smith

A fabulous set of six cased plain formed sterling silver liquor cups designed with elegant raised pedestal feet and central focal point hallmarking for visual decorative importance.&nbsp;Weight: &nbsp;6.75 troy ounces/210 grams (total)Height: &nbsp;2.5 inches/6.3cmDiameter: &nbsp;1.5 inches/4cm (bowl)

20th Century Antique George V Sterling Silver Set Six Liquor Cups London 1914 Goldsmiths & Silversmiths & Co Ltd

&lsquo;The crucifixion of Jesus Christ&rsquo;, a 19th century Dutch School study drawing.Study drawing, preliminary study drawing and the old master drawing. A study drawing or a preliminary sketch or drawing is a frequently used medium by artists before starting the actual work of art. Sometimes a study drawing or preliminary study is more important than the finished work of art. Such details from a study drawing or preliminary study help to reveal an artist&rsquo;s thought processes and techniques.First, let&rsquo;s start by discovering the difference between sketching and drawing and between preliminary study and study drawing. To make things a little easier: sketching first and drawing later leads to a finished work of art. The preliminary study which is necessary to complete the work as best as possible often starts with a loose sketch, followed by the preliminary drawing, after which the actual work of art can be finished with paint or another medium.Drawing a study means that the bigger picture is divided into small segments. Here the artist practices with what he can already do, such as loose hands, loose feet or other loose body parts. The artist can also choose to practice figures or objects in a study drawing. These separate study drawings can sometimes have more impact than a preliminary sketch or drawing. By practicing individual elements, the artist can discover new insights that may have a positive influence on his or her preliminary study.Recognizing the difference between a sketch and a drawing is often easy. A sketch is drawn loosely and lacks a lot of detail. Coarse, tangled lines are visible, and sometimes the artist starts over and over again on the same sheet of paper. With a drawing, the artist is already at an advanced stage of his preliminary study, here the story is often already recognizable and objects and people are depicted in detail. The preliminary sketches and drawings can then be used as a visual note for the actual work of art.A common and recognizable detail in old sketches and drawings is the artist&rsquo;s handwritten note. The artist describes the light, color, shape, perspective or composition needed for the finished work for certain objects or people. Written notes alongside visual images aid in understanding the finished artwork as they allow the viewer to share the artist&rsquo;s process of getting to know the subject.The term &lsquo;old master drawing&rsquo; or &lsquo;old master&rsquo; is often used in auctions, but when is a drawing an &lsquo;old master drawing&rsquo;?Skilled art and antique dealers usually use the term &ldquo;old master&rdquo; for highly skilled painters who were active in Europe before the 1800s. The term &lsquo;old master&rsquo; can also be used to indicate a painting, print or drawing from the same period. A well-known artist often had apprentices who also produced paintings, drawings or etchings. These could be of such a high standard that they are also referred to as &lsquo;Old master&rsquo;, an example of this: works by the School of Rembrandt van Rijn.The Oxford English Dictionary defines the term &ldquo;old master&rdquo; as &ldquo;A distinguished artist of the pre-modern period; especially a prominent Western European painter of the 13th to 18th centuries.&rdquo; From this definition it can be concluded that the term &lsquo;old master&rsquo; only applies from the 13th century, paintings from the period before that are considered primitive.&lsquo;School&rsquo; French school, Dutch school, Italian school and so much more. The word &lsquo;school&rsquo; is used with various meanings and often to describe a certain type of painting style.In its narrowest sense, the word &lsquo;school&rsquo; can denote a group of painters who worked under de influence of another artist. A great example is the &lsquo;school of Leonardo da Vinci&rsquo; were a large group of artists worked in the studio of, or under the influence of, Leonardo da Vinci. They are also known as &lsquo;The Leonardeschi&rsquo;.In its widest sense, the word &lsquo;school&rsquo; can denote a whole country of painters and describe a typical style which reflects the painters of that country. An example is &lsquo;Italian school&rsquo; or &lsquo;French school&rsquo;. In another sense, the word &lsquo;school&rsquo; can also denote a certain region of a country. The &lsquo;Venetian school&rsquo; applies to painters who worked under local influence or with general similarities in color or technique. Famous examples of &lsquo;Venetian school&rsquo; artists are Lazzaro Bastiani (1430-1512), Giovanni Bellini (1430 &ndash; 1516) and Giulio Campi (1500-1572).

‘The crucifixion of Jesus Christ’, pencil on paper

&lsquo;The sacred heart of Jesus Christ&rsquo;, a 19th century Dutch School preliminary study drawing.Study drawing, preliminary study drawing and the old master drawing. A study drawing or a preliminary sketch or drawing is a frequently used medium by artists before starting the actual work of art. Sometimes a study drawing or preliminary study is more important than the finished work of art. Such details from a study drawing or preliminary study help to reveal an artist&rsquo;s thought processes and techniques.First, let&rsquo;s start by discovering the difference between sketching and drawing and between preliminary study and study drawing. To make things a little easier: sketching first and drawing later leads to a finished work of art. The preliminary study which is necessary to complete the work as best as possible often starts with a loose sketch, followed by the preliminary drawing, after which the actual work of art can be finished with paint or another medium.Drawing a study means that the bigger picture is divided into small segments. Here the artist practices with what he can already do, such as loose hands, loose feet or other loose body parts. The artist can also choose to practice figures or objects in a study drawing. These separate study drawings can sometimes have more impact than a preliminary sketch or drawing. By practicing individual elements, the artist can discover new insights that may have a positive influence on his or her preliminary study.Recognizing the difference between a sketch and a drawing is often easy. A sketch is drawn loosely and lacks a lot of detail. Coarse, tangled lines are visible, and sometimes the artist starts over and over again on the same sheet of paper. With a drawing, the artist is already at an advanced stage of his preliminary study, here the story is often already recognizable and objects and people are depicted in detail. The preliminary sketches and drawings can then be used as a visual note for the actual work of art.A common and recognizable detail in old sketches and drawings is the artist&rsquo;s handwritten note. The artist describes the light, color, shape, perspective or composition needed for the finished work for certain objects or people. Written notes alongside visual images aid in understanding the finished artwork as they allow the viewer to share the artist&rsquo;s process of getting to know the subject.The term &lsquo;old master drawing&rsquo; or &lsquo;old master&rsquo; is often used in auctions, but when is a drawing an &lsquo;old master drawing&rsquo;?Skilled art and antique dealers usually use the term &ldquo;old master&rdquo; for highly skilled painters who were active in Europe before the 1800s. The term &lsquo;old master&rsquo; can also be used to indicate a painting, print or drawing from the same period. A well-known artist often had apprentices who also produced paintings, drawings or etchings. These could be of such a high standard that they are also referred to as &lsquo;Old master&rsquo;, an example of this: works by the School of Rembrandt van Rijn.The Oxford English Dictionary defines the term &ldquo;old master&rdquo; as &ldquo;A distinguished artist of the pre-modern period; especially a prominent Western European painter of the 13th to 18th centuries.&rdquo; From this definition it can be concluded that the term &lsquo;old master&rsquo; only applies from the 13th century, paintings from the period before that are considered primitive.&lsquo;School&rsquo; French school, Dutch school, Italian school and so much more. The word &lsquo;school&rsquo; is used with various meanings and often to describe a certain type of painting style.In its narrowest sense, the word &lsquo;school&rsquo; can denote a group of painters who worked under de influence of another artist. A great example is the &lsquo;school of Leonardo da Vinci&rsquo; were a large group of artists worked in the studio of, or under the influence of, Leonardo da Vinci. They are also known as &lsquo;The Leonardeschi&rsquo;.In its widest sense, the word &lsquo;school&rsquo; can denote a whole country of painters and describe a typical style which reflects the painters of that country. An example is &lsquo;Italian school&rsquo; or &lsquo;French school&rsquo;. In another sense, the word &lsquo;school&rsquo; can also denote a certain region of a country. The &lsquo;Venetian school&rsquo; applies to painters who worked under local influence or with general similarities in color or technique. Famous examples of &lsquo;Venetian school&rsquo; artists are Lazzaro Bastiani (1430-1512), Giovanni Bellini (1430 &ndash; 1516) and Giulio Campi (1500-1572).

‘The sacred heart of Jesus Christ’, pencil on paper

&lsquo;The blessing&rsquo; A 19th century Dutch School preliminary study drawing.Study drawing, preliminary study drawing and the old master drawing. A study drawing or a preliminary sketch or drawing is a frequently used medium by artists before starting the actual work of art. Sometimes a study drawing or preliminary study is more important than the finished work of art. Such details from a study drawing or preliminary study help to reveal an artist&rsquo;s thought processes and techniques.First, let&rsquo;s start by discovering the difference between sketching and drawing and between preliminary study and study drawing. To make things a little easier: sketching first and drawing later leads to a finished work of art. The preliminary study which is necessary to complete the work as best as possible often starts with a loose sketch, followed by the preliminary drawing, after which the actual work of art can be finished with paint or another medium.Drawing a study means that the bigger picture is divided into small segments. Here the artist practices with what he can already do, such as loose hands, loose feet or other loose body parts. The artist can also choose to practice figures or objects in a study drawing. These separate study drawings can sometimes have more impact than a preliminary sketch or drawing. By practicing individual elements, the artist can discover new insights that may have a positive influence on his or her preliminary study.Recognizing the difference between a sketch and a drawing is often easy. A sketch is drawn loosely and lacks a lot of detail. Coarse, tangled lines are visible, and sometimes the artist starts over and over again on the same sheet of paper. With a drawing, the artist is already at an advanced stage of his preliminary study, here the story is often already recognizable and objects and people are depicted in detail. The preliminary sketches and drawings can then be used as a visual note for the actual work of art.A common and recognizable detail in old sketches and drawings is the artist&rsquo;s handwritten note. The artist describes the light, color, shape, perspective or composition needed for the finished work for certain objects or people. Written notes alongside visual images aid in understanding the finished artwork as they allow the viewer to share the artist&rsquo;s process of getting to know the subject.The term &lsquo;old master drawing&rsquo; or &lsquo;old master&rsquo; is often used in auctions, but when is a drawing an &lsquo;old master drawing&rsquo;?Skilled art and antique dealers usually use the term &ldquo;old master&rdquo; for highly skilled painters who were active in Europe before the 1800s. The term &lsquo;old master&rsquo; can also be used to indicate a painting, print or drawing from the same period. A well-known artist often had apprentices who also produced paintings, drawings or etchings. These could be of such a high standard that they are also referred to as &lsquo;Old master&rsquo;, an example of this: works by the School of Rembrandt van Rijn.The Oxford English Dictionary defines the term &ldquo;old master&rdquo; as &ldquo;A distinguished artist of the pre-modern period; especially a prominent Western European painter of the 13th to 18th centuries.&rdquo; From this definition it can be concluded that the term &lsquo;old master&rsquo; only applies from the 13th century, paintings from the period before that are considered primitive.&lsquo;School&rsquo; French school, Dutch school, Italian school and so much more. The word &lsquo;school&rsquo; is used with various meanings and often to describe a certain type of painting style.In its narrowest sense, the word &lsquo;school&rsquo; can denote a group of painters who worked under de influence of another artist. A great example is the &lsquo;school of Leonardo da Vinci&rsquo; were a large group of artists worked in the studio of, or under the influence of, Leonardo da Vinci. They are also known as &lsquo;The Leonardeschi&rsquo;.In its widest sense, the word &lsquo;school&rsquo; can denote a whole country of painters and describe a typical style which reflects the painters of that country. An example is &lsquo;Italian school&rsquo; or &lsquo;French school&rsquo;. In another sense, the word &lsquo;school&rsquo; can also denote a certain region of a country. The &lsquo;Venetian school&rsquo; applies to painters who worked under local influence or with general similarities in color or technique. Famous examples of &lsquo;Venetian school&rsquo; artists are Lazzaro Bastiani (1430-1512), Giovanni Bellini (1430 &ndash; 1516) and Giulio Campi (1500-1572).

‘The blessing’, pencil on paper

&lsquo;Feet study&rsquo; A 19th century Dutch School study drawing.Study drawing, preliminary study drawing and the old master drawing. A study drawing or a preliminary sketch or drawing is a frequently used medium by artists before starting the actual work of art. Sometimes a study drawing or preliminary study is more important than the finished work of art. Such details from a study drawing or preliminary study help to reveal an artist&rsquo;s thought processes and techniques.First, let&rsquo;s start by discovering the difference between sketching and drawing and between preliminary study and study drawing. To make things a little easier: sketching first and drawing later leads to a finished work of art. The preliminary study which is necessary to complete the work as best as possible often starts with a loose sketch, followed by the preliminary drawing, after which the actual work of art can be finished with paint or another medium.Drawing a study means that the bigger picture is divided into small segments. Here the artist practices with what he can already do, such as loose hands, loose feet or other loose body parts. The artist can also choose to practice figures or objects in a study drawing. These separate study drawings can sometimes have more impact than a preliminary sketch or drawing. By practicing individual elements, the artist can discover new insights that may have a positive influence on his or her preliminary study.Recognizing the difference between a sketch and a drawing is often easy. A sketch is drawn loosely and lacks a lot of detail. Coarse, tangled lines are visible, and sometimes the artist starts over and over again on the same sheet of paper. With a drawing, the artist is already at an advanced stage of his preliminary study, here the story is often already recognizable and objects and people are depicted in detail. The preliminary sketches and drawings can then be used as a visual note for the actual work of art.A common and recognizable detail in old sketches and drawings is the artist&rsquo;s handwritten note. The artist describes the light, color, shape, perspective or composition needed for the finished work for certain objects or people. Written notes alongside visual images aid in understanding the finished artwork as they allow the viewer to share the artist&rsquo;s process of getting to know the subject.The term &lsquo;old master drawing&rsquo; or &lsquo;old master&rsquo; is often used in auctions, but when is a drawing an &lsquo;old master drawing&rsquo;?Skilled art and antique dealers usually use the term &ldquo;old master&rdquo; for highly skilled painters who were active in Europe before the 1800s. The term &lsquo;old master&rsquo; can also be used to indicate a painting, print or drawing from the same period. A well-known artist often had apprentices who also produced paintings, drawings or etchings. These could be of such a high standard that they are also referred to as &lsquo;Old master&rsquo;, an example of this: works by the School of Rembrandt van Rijn.The Oxford English Dictionary defines the term &ldquo;old master&rdquo; as &ldquo;A distinguished artist of the pre-modern period; especially a prominent Western European painter of the 13th to 18th centuries.&rdquo; From this definition it can be concluded that the term &lsquo;old master&rsquo; only applies from the 13th century, paintings from the period before that are considered primitive.&lsquo;School&rsquo; French school, Dutch school, Italian school and so much more. The word &lsquo;school&rsquo; is used with various meanings and often to describe a certain type of painting style.In its narrowest sense, the word &lsquo;school&rsquo; can denote a group of painters who worked under de influence of another artist. A great example is the &lsquo;school of Leonardo da Vinci&rsquo; were a large group of artists worked in the studio of, or under the influence of, Leonardo da Vinci. They are also known as &lsquo;The Leonardeschi&rsquo;.In its widest sense, the word &lsquo;school&rsquo; can denote a whole country of painters and describe a typical style which reflects the painters of that country. An example is &lsquo;Italian school&rsquo; or &lsquo;French school&rsquo;. In another sense, the word &lsquo;school&rsquo; can also denote a certain region of a country. The &lsquo;Venetian school&rsquo; applies to painters who worked under local influence or with general similarities in color or technique. Famous examples of &lsquo;Venetian school&rsquo; artists are Lazzaro Bastiani (1430-1512), Giovanni Bellini (1430 &ndash; 1516) and Giulio Campi (1500-1572).

‘Feet study’, pencil on paper

&lsquo;A woman praying beside Jesus Christ&rsquo;, a 19th century Dutch School study drawing.Study drawing, preliminary study drawing and the old master drawing. A study drawing or a preliminary sketch or drawing is a frequently used medium by artists before starting the actual work of art. Sometimes a study drawing or preliminary study is more important than the finished work of art. Such details from a study drawing or preliminary study help to reveal an artist&rsquo;s thought processes and techniques.First, let&rsquo;s start by discovering the difference between sketching and drawing and between preliminary study and study drawing. To make things a little easier: sketching first and drawing later leads to a finished work of art. The preliminary study which is necessary to complete the work as best as possible often starts with a loose sketch, followed by the preliminary drawing, after which the actual work of art can be finished with paint or another medium.Drawing a study means that the bigger picture is divided into small segments. Here the artist practices with what he can already do, such as loose hands, loose feet or other loose body parts. The artist can also choose to practice figures or objects in a study drawing. These separate study drawings can sometimes have more impact than a preliminary sketch or drawing. By practicing individual elements, the artist can discover new insights that may have a positive influence on his or her preliminary study.Recognizing the difference between a sketch and a drawing is often easy. A sketch is drawn loosely and lacks a lot of detail. Coarse, tangled lines are visible, and sometimes the artist starts over and over again on the same sheet of paper. With a drawing, the artist is already at an advanced stage of his preliminary study, here the story is often already recognizable and objects and people are depicted in detail. The preliminary sketches and drawings can then be used as a visual note for the actual work of art.A common and recognizable detail in old sketches and drawings is the artist&rsquo;s handwritten note. The artist describes the light, color, shape, perspective or composition needed for the finished work for certain objects or people. Written notes alongside visual images aid in understanding the finished artwork as they allow the viewer to share the artist&rsquo;s process of getting to know the subject.The term &lsquo;old master drawing&rsquo; or &lsquo;old master&rsquo; is often used in auctions, but when is a drawing an &lsquo;old master drawing&rsquo;?Skilled art and antique dealers usually use the term &ldquo;old master&rdquo; for highly skilled painters who were active in Europe before the 1800s. The term &lsquo;old master&rsquo; can also be used to indicate a painting, print or drawing from the same period. A well-known artist often had apprentices who also produced paintings, drawings or etchings. These could be of such a high standard that they are also referred to as &lsquo;Old master&rsquo;, an example of this: works by the School of Rembrandt van Rijn.The Oxford English Dictionary defines the term &ldquo;old master&rdquo; as &ldquo;A distinguished artist of the pre-modern period; especially a prominent Western European painter of the 13th to 18th centuries.&rdquo; From this definition it can be concluded that the term &lsquo;old master&rsquo; only applies from the 13th century, paintings from the period before that are considered primitive.&lsquo;School&rsquo; French school, Dutch school, Italian school and so much more. The word &lsquo;school&rsquo; is used with various meanings and often to describe a certain type of painting style.In its narrowest sense, the word &lsquo;school&rsquo; can denote a group of painters who worked under de influence of another artist. A great example is the &lsquo;school of Leonardo da Vinci&rsquo; were a large group of artists worked in the studio of, or under the influence of, Leonardo da Vinci. They are also known as &lsquo;The Leonardeschi&rsquo;.In its widest sense, the word &lsquo;school&rsquo; can denote a whole country of painters and describe a typical style which reflects the painters of that country. An example is &lsquo;Italian school&rsquo; or &lsquo;French school&rsquo;. In another sense, the word &lsquo;school&rsquo; can also denote a certain region of a country. The &lsquo;Venetian school&rsquo; applies to painters who worked under local influence or with general similarities in color or technique. Famous examples of &lsquo;Venetian school&rsquo; artists are Lazzaro Bastiani (1430-1512), Giovanni Bellini (1430 &ndash; 1516) and Giulio Campi (1500-1572).

‘A woman praying beside Jesus Christ’, pencil on paper

&lsquo;Female nude praying&rsquo; A 19th century Dutch School study drawing.Study drawing, preliminary study drawing and the old master drawing. A study drawing or a preliminary sketch or drawing is a frequently used medium by artists before starting the actual work of art. Sometimes a study drawing or preliminary study is more important than the finished work of art. Such details from a study drawing or preliminary study help to reveal an artist&rsquo;s thought processes and techniques.First, let&rsquo;s start by discovering the difference between sketching and drawing and between preliminary study and study drawing. To make things a little easier: sketching first and drawing later leads to a finished work of art. The preliminary study which is necessary to complete the work as best as possible often starts with a loose sketch, followed by the preliminary drawing, after which the actual work of art can be finished with paint or another medium.Drawing a study means that the bigger picture is divided into small segments. Here the artist practices with what he can already do, such as loose hands, loose feet or other loose body parts. The artist can also choose to practice figures or objects in a study drawing. These separate study drawings can sometimes have more impact than a preliminary sketch or drawing. By practicing individual elements, the artist can discover new insights that may have a positive influence on his or her preliminary study.Recognizing the difference between a sketch and a drawing is often easy. A sketch is drawn loosely and lacks a lot of detail. Coarse, tangled lines are visible, and sometimes the artist starts over and over again on the same sheet of paper. With a drawing, the artist is already at an advanced stage of his preliminary study, here the story is often already recognizable and objects and people are depicted in detail. The preliminary sketches and drawings can then be used as a visual note for the actual work of art.A common and recognizable detail in old sketches and drawings is the artist&rsquo;s handwritten note. The artist describes the light, color, shape, perspective or composition needed for the finished work for certain objects or people. Written notes alongside visual images aid in understanding the finished artwork as they allow the viewer to share the artist&rsquo;s process of getting to know the subject.The term &lsquo;old master drawing&rsquo; or &lsquo;old master&rsquo; is often used in auctions, but when is a drawing an &lsquo;old master drawing&rsquo;?Skilled art and antique dealers usually use the term &ldquo;old master&rdquo; for highly skilled painters who were active in Europe before the 1800s. The term &lsquo;old master&rsquo; can also be used to indicate a painting, print or drawing from the same period. A well-known artist often had apprentices who also produced paintings, drawings or etchings. These could be of such a high standard that they are also referred to as &lsquo;Old master&rsquo;, an example of this: works by the School of Rembrandt van Rijn.The Oxford English Dictionary defines the term &ldquo;old master&rdquo; as &ldquo;A distinguished artist of the pre-modern period; especially a prominent Western European painter of the 13th to 18th centuries.&rdquo; From this definition it can be concluded that the term &lsquo;old master&rsquo; only applies from the 13th century, paintings from the period before that are considered primitive.&lsquo;School&rsquo; French school, Dutch school, Italian school and so much more. The word &lsquo;school&rsquo; is used with various meanings and often to describe a certain type of painting style.In its narrowest sense, the word &lsquo;school&rsquo; can denote a group of painters who worked under de influence of another artist. A great example is the &lsquo;school of Leonardo da Vinci&rsquo; were a large group of artists worked in the studio of, or under the influence of, Leonardo da Vinci. They are also known as &lsquo;The Leonardeschi&rsquo;.In its widest sense, the word &lsquo;school&rsquo; can denote a whole country of painters and describe a typical style which reflects the painters of that country. An example is &lsquo;Italian school&rsquo; or &lsquo;French school&rsquo;. In another sense, the word &lsquo;school&rsquo; can also denote a certain region of a country. The &lsquo;Venetian school&rsquo; applies to painters who worked under local influence or with general similarities in color or technique. Famous examples of &lsquo;Venetian school&rsquo; artists are Lazzaro Bastiani (1430-1512), Giovanni Bellini (1430 &ndash; 1516) and Giulio Campi (1500-1572).

‘Female nude praying’, pencil on paper

&lsquo;Figures by the fireplace&rsquo; A 19th century Dutch School Preliminary study drawing.Study drawing, preliminary study drawing and the old master drawing. A study drawing or a preliminary sketch or drawing is a frequently used medium by artists before starting the actual work of art. Sometimes a study drawing or preliminary study is more important than the finished work of art. Such details from a study drawing or preliminary study help to reveal an artist&rsquo;s thought processes and techniques.First, let&rsquo;s start by discovering the difference between sketching and drawing and between preliminary study and study drawing. To make things a little easier: sketching first and drawing later leads to a finished work of art. The preliminary study which is necessary to complete the work as best as possible often starts with a loose sketch, followed by the preliminary drawing, after which the actual work of art can be finished with paint or another medium.Drawing a study means that the bigger picture is divided into small segments. Here the artist practices with what he can already do, such as loose hands, loose feet or other loose body parts. The artist can also choose to practice figures or objects in a study drawing. These separate study drawings can sometimes have more impact than a preliminary sketch or drawing. By practicing individual elements, the artist can discover new insights that may have a positive influence on his or her preliminary study.Recognizing the difference between a sketch and a drawing is often easy. A sketch is drawn loosely and lacks a lot of detail. Coarse, tangled lines are visible, and sometimes the artist starts over and over again on the same sheet of paper. With a drawing, the artist is already at an advanced stage of his preliminary study, here the story is often already recognizable and objects and people are depicted in detail. The preliminary sketches and drawings can then be used as a visual note for the actual work of art.A common and recognizable detail in old sketches and drawings is the artist&rsquo;s handwritten note. The artist describes the light, color, shape, perspective or composition needed for the finished work for certain objects or people. Written notes alongside visual images aid in understanding the finished artwork as they allow the viewer to share the artist&rsquo;s process of getting to know the subject.The term &lsquo;old master drawing&rsquo; or &lsquo;old master&rsquo; is often used in auctions, but when is a drawing an &lsquo;old master drawing&rsquo;?Skilled art and antique dealers usually use the term &ldquo;old master&rdquo; for highly skilled painters who were active in Europe before the 1800s. The term &lsquo;old master&rsquo; can also be used to indicate a painting, print or drawing from the same period. A well-known artist often had apprentices who also produced paintings, drawings or etchings. These could be of such a high standard that they are also referred to as &lsquo;Old master&rsquo;, an example of this: works by the School of Rembrandt van Rijn.The Oxford English Dictionary defines the term &ldquo;old master&rdquo; as &ldquo;A distinguished artist of the pre-modern period; especially a prominent Western European painter of the 13th to 18th centuries.&rdquo; From this definition it can be concluded that the term &lsquo;old master&rsquo; only applies from the 13th century, paintings from the period before that are considered primitive.&lsquo;School&rsquo; French school, Dutch school, Italian school and so much more. The word &lsquo;school&rsquo; is used with various meanings and often to describe a certain type of painting style.In its narrowest sense, the word &lsquo;school&rsquo; can denote a group of painters who worked under de influence of another artist. A great example is the &lsquo;school of Leonardo da Vinci&rsquo; were a large group of artists worked in the studio of, or under the influence of, Leonardo da Vinci. They are also known as &lsquo;The Leonardeschi&rsquo;.In its widest sense, the word &lsquo;school&rsquo; can denote a whole country of painters and describe a typical style which reflects the painters of that country. An example is &lsquo;Italian school&rsquo; or &lsquo;French school&rsquo;. In another sense, the word &lsquo;school&rsquo; can also denote a certain region of a country. The &lsquo;Venetian school&rsquo; applies to painters who worked under local influence or with general similarities in color or technique. Famous examples of &lsquo;Venetian school&rsquo; artists are Lazzaro Bastiani (1430-1512), Giovanni Bellini (1430 &ndash; 1516) and Giulio Campi (1500-1572).

‘Figures by the fireplace’, pencil on paper

&lsquo;Jezus Christ during the trail against him&rsquo; A 19th century Dutch School study drawing.Study drawing, preliminary study drawing and the old master drawing. A study drawing or a preliminary sketch or drawing is a frequently used medium by artists before starting the actual work of art. Sometimes a study drawing or preliminary study is more important than the finished work of art. Such details from a study drawing or preliminary study help to reveal an artist&rsquo;s thought processes and techniques.First, let&rsquo;s start by discovering the difference between sketching and drawing and between preliminary study and study drawing. To make things a little easier: sketching first and drawing later leads to a finished work of art. The preliminary study which is necessary to complete the work as best as possible often starts with a loose sketch, followed by the preliminary drawing, after which the actual work of art can be finished with paint or another medium.Drawing a study means that the bigger picture is divided into small segments. Here the artist practices with what he can already do, such as loose hands, loose feet or other loose body parts. The artist can also choose to practice figures or objects in a study drawing. These separate study drawings can sometimes have more impact than a preliminary sketch or drawing. By practicing individual elements, the artist can discover new insights that may have a positive influence on his or her preliminary study.Recognizing the difference between a sketch and a drawing is often easy. A sketch is drawn loosely and lacks a lot of detail. Coarse, tangled lines are visible, and sometimes the artist starts over and over again on the same sheet of paper. With a drawing, the artist is already at an advanced stage of his preliminary study, here the story is often already recognizable and objects and people are depicted in detail. The preliminary sketches and drawings can then be used as a visual note for the actual work of art.A common and recognizable detail in old sketches and drawings is the artist&rsquo;s handwritten note. The artist describes the light, color, shape, perspective or composition needed for the finished work for certain objects or people. Written notes alongside visual images aid in understanding the finished artwork as they allow the viewer to share the artist&rsquo;s process of getting to know the subject.The term &lsquo;old master drawing&rsquo; or &lsquo;old master&rsquo; is often used in auctions, but when is a drawing an &lsquo;old master drawing&rsquo;?Skilled art and antique dealers usually use the term &ldquo;old master&rdquo; for highly skilled painters who were active in Europe before the 1800s. The term &lsquo;old master&rsquo; can also be used to indicate a painting, print or drawing from the same period. A well-known artist often had apprentices who also produced paintings, drawings or etchings. These could be of such a high standard that they are also referred to as &lsquo;Old master&rsquo;, an example of this: works by the School of Rembrandt van Rijn.The Oxford English Dictionary defines the term &ldquo;old master&rdquo; as &ldquo;A distinguished artist of the pre-modern period; especially a prominent Western European painter of the 13th to 18th centuries.&rdquo; From this definition it can be concluded that the term &lsquo;old master&rsquo; only applies from the 13th century, paintings from the period before that are considered primitive.&lsquo;School&rsquo; French school, Dutch school, Italian school and so much more. The word &lsquo;school&rsquo; is used with various meanings and often to describe a certain type of painting style.In its narrowest sense, the word &lsquo;school&rsquo; can denote a group of painters who worked under de influence of another artist. A great example is the &lsquo;school of Leonardo da Vinci&rsquo; were a large group of artists worked in the studio of, or under the influence of, Leonardo da Vinci. They are also known as &lsquo;The Leonardeschi&rsquo;.In its widest sense, the word &lsquo;school&rsquo; can denote a whole country of painters and describe a typical style which reflects the painters of that country. An example is &lsquo;Italian school&rsquo; or &lsquo;French school&rsquo;. In another sense, the word &lsquo;school&rsquo; can also denote a certain region of a country. The &lsquo;Venetian school&rsquo; applies to painters who worked under local influence or with general similarities in color or technique. Famous examples of &lsquo;Venetian school&rsquo; artists are Lazzaro Bastiani (1430-1512), Giovanni Bellini (1430 &ndash; 1516) and Giulio Campi (1500-1572).

‘Jezus Christ during the trail against him’, pencil on paper

&lsquo;A kneeling priest&rsquo; A 19th century Dutch School study drawing.Study drawing, preliminary study drawing and the old master drawing. A study drawing or a preliminary sketch or drawing is a frequently used medium by artists before starting the actual work of art. Sometimes a study drawing or preliminary study is more important than the finished work of art. Such details from a study drawing or preliminary study help to reveal an artist&rsquo;s thought processes and techniques.First, let&rsquo;s start by discovering the difference between sketching and drawing and between preliminary study and study drawing. To make things a little easier: sketching first and drawing later leads to a finished work of art. The preliminary study which is necessary to complete the work as best as possible often starts with a loose sketch, followed by the preliminary drawing, after which the actual work of art can be finished with paint or another medium.Drawing a study means that the bigger picture is divided into small segments. Here the artist practices with what he can already do, such as loose hands, loose feet or other loose body parts. The artist can also choose to practice figures or objects in a study drawing. These separate study drawings can sometimes have more impact than a preliminary sketch or drawing. By practicing individual elements, the artist can discover new insights that may have a positive influence on his or her preliminary study.Recognizing the difference between a sketch and a drawing is often easy. A sketch is drawn loosely and lacks a lot of detail. Coarse, tangled lines are visible, and sometimes the artist starts over and over again on the same sheet of paper. With a drawing, the artist is already at an advanced stage of his preliminary study, here the story is often already recognizable and objects and people are depicted in detail. The preliminary sketches and drawings can then be used as a visual note for the actual work of art.A common and recognizable detail in old sketches and drawings is the artist&rsquo;s handwritten note. The artist describes the light, color, shape, perspective or composition needed for the finished work for certain objects or people. Written notes alongside visual images aid in understanding the finished artwork as they allow the viewer to share the artist&rsquo;s process of getting to know the subject.The term &lsquo;old master drawing&rsquo; or &lsquo;old master&rsquo; is often used in auctions, but when is a drawing an &lsquo;old master drawing&rsquo;?Skilled art and antique dealers usually use the term &ldquo;old master&rdquo; for highly skilled painters who were active in Europe before the 1800s. The term &lsquo;old master&rsquo; can also be used to indicate a painting, print or drawing from the same period. A well-known artist often had apprentices who also produced paintings, drawings or etchings. These could be of such a high standard that they are also referred to as &lsquo;Old master&rsquo;, an example of this: works by the School of Rembrandt van Rijn.The Oxford English Dictionary defines the term &ldquo;old master&rdquo; as &ldquo;A distinguished artist of the pre-modern period; especially a prominent Western European painter of the 13th to 18th centuries.&rdquo; From this definition it can be concluded that the term &lsquo;old master&rsquo; only applies from the 13th century, paintings from the period before that are considered primitive.&lsquo;School&rsquo; French school, Dutch school, Italian school and so much more. The word &lsquo;school&rsquo; is used with various meanings and often to describe a certain type of painting style.In its narrowest sense, the word &lsquo;school&rsquo; can denote a group of painters who worked under de influence of another artist. A great example is the &lsquo;school of Leonardo da Vinci&rsquo; were a large group of artists worked in the studio of, or under the influence of, Leonardo da Vinci. They are also known as &lsquo;The Leonardeschi&rsquo;.In its widest sense, the word &lsquo;school&rsquo; can denote a whole country of painters and describe a typical style which reflects the painters of that country. An example is &lsquo;Italian school&rsquo; or &lsquo;French school&rsquo;. In another sense, the word &lsquo;school&rsquo; can also denote a certain region of a country. The &lsquo;Venetian school&rsquo; applies to painters who worked under local influence or with general similarities in color or technique. Famous examples of &lsquo;Venetian school&rsquo; artists are Lazzaro Bastiani (1430-1512), Giovanni Bellini (1430 &ndash; 1516) and Giulio Campi (1500-1572).

‘A kneeling priest’, pencil on paper

&lsquo;The trail against Jezus Christ&rsquo; A 19th century Dutch School preliminary study drawing.Study drawing, preliminary study drawing and the old master drawing. A study drawing or a preliminary sketch or drawing is a frequently used medium by artists before starting the actual work of art. Sometimes a study drawing or preliminary study is more important than the finished work of art. Such details from a study drawing or preliminary study help to reveal an artist&rsquo;s thought processes and techniques.First, let&rsquo;s start by discovering the difference between sketching and drawing and between preliminary study and study drawing. To make things a little easier: sketching first and drawing later leads to a finished work of art. The preliminary study which is necessary to complete the work as best as possible often starts with a loose sketch, followed by the preliminary drawing, after which the actual work of art can be finished with paint or another medium.Drawing a study means that the bigger picture is divided into small segments. Here the artist practices with what he can already do, such as loose hands, loose feet or other loose body parts. The artist can also choose to practice figures or objects in a study drawing. These separate study drawings can sometimes have more impact than a preliminary sketch or drawing. By practicing individual elements, the artist can discover new insights that may have a positive influence on his or her preliminary study.Recognizing the difference between a sketch and a drawing is often easy. A sketch is drawn loosely and lacks a lot of detail. Coarse, tangled lines are visible, and sometimes the artist starts over and over again on the same sheet of paper. With a drawing, the artist is already at an advanced stage of his preliminary study, here the story is often already recognizable and objects and people are depicted in detail. The preliminary sketches and drawings can then be used as a visual note for the actual work of art.A common and recognizable detail in old sketches and drawings is the artist&rsquo;s handwritten note. The artist describes the light, color, shape, perspective or composition needed for the finished work for certain objects or people. Written notes alongside visual images aid in understanding the finished artwork as they allow the viewer to share the artist&rsquo;s process of getting to know the subject.The term &lsquo;old master drawing&rsquo; or &lsquo;old master&rsquo; is often used in auctions, but when is a drawing an &lsquo;old master drawing&rsquo;?Skilled art and antique dealers usually use the term &ldquo;old master&rdquo; for highly skilled painters who were active in Europe before the 1800s. The term &lsquo;old master&rsquo; can also be used to indicate a painting, print or drawing from the same period. A well-known artist often had apprentices who also produced paintings, drawings or etchings. These could be of such a high standard that they are also referred to as &lsquo;Old master&rsquo;, an example of this: works by the School of Rembrandt van Rijn.The Oxford English Dictionary defines the term &ldquo;old master&rdquo; as &ldquo;A distinguished artist of the pre-modern period; especially a prominent Western European painter of the 13th to 18th centuries.&rdquo; From this definition it can be concluded that the term &lsquo;old master&rsquo; only applies from the 13th century, paintings from the period before that are considered primitive.&lsquo;School&rsquo; French school, Dutch school, Italian school and so much more. The word &lsquo;school&rsquo; is used with various meanings and often to describe a certain type of painting style.In its narrowest sense, the word &lsquo;school&rsquo; can denote a group of painters who worked under de influence of another artist. A great example is the &lsquo;school of Leonardo da Vinci&rsquo; were a large group of artists worked in the studio of, or under the influence of, Leonardo da Vinci. They are also known as &lsquo;The Leonardeschi&rsquo;.In its widest sense, the word &lsquo;school&rsquo; can denote a whole country of painters and describe a typical style which reflects the painters of that country. An example is &lsquo;Italian school&rsquo; or &lsquo;French school&rsquo;. In another sense, the word &lsquo;school&rsquo; can also denote a certain region of a country. The &lsquo;Venetian school&rsquo; applies to painters who worked under local influence or with general similarities in color or technique. Famous examples of &lsquo;Venetian school&rsquo; artists are Lazzaro Bastiani (1430-1512), Giovanni Bellini (1430 &ndash; 1516) and Giulio Campi (1500-1572).

‘The trail against Jezus Christ’, pencil on paper

An early 20th century Dutch School study drawing depicting a male ballet dancer.Study drawing, preliminary study drawing and the old master drawing. A study drawing or a preliminary sketch or drawing is a frequently used medium by artists before starting the actual work of art. Sometimes a study drawing or preliminary study is more important than the finished work of art. Such details from a study drawing or preliminary study help to reveal an artist&rsquo;s thought processes and techniques.First, let&rsquo;s start by discovering the difference between sketching and drawing and between preliminary study and study drawing. To make things a little easier: sketching first and drawing later leads to a finished work of art. The preliminary study which is necessary to complete the work as best as possible often starts with a loose sketch, followed by the preliminary drawing, after which the actual work of art can be finished with paint or another medium.Drawing a study means that the bigger picture is divided into small segments. Here the artist practices with what he can already do, such as loose hands, loose feet or other loose body parts. The artist can also choose to practice figures or objects in a study drawing. These separate study drawings can sometimes have more impact than a preliminary sketch or drawing. By practicing individual elements, the artist can discover new insights that may have a positive influence on his or her preliminary study.Recognizing the difference between a sketch and a drawing is often easy. A sketch is drawn loosely and lacks a lot of detail. Coarse, tangled lines are visible, and sometimes the artist starts over and over again on the same sheet of paper. With a drawing, the artist is already at an advanced stage of his preliminary study, here the story is often already recognizable and objects and people are depicted in detail. The preliminary sketches and drawings can then be used as a visual note for the actual work of art.A common and recognizable detail in old sketches and drawings is the artist&rsquo;s handwritten note. The artist describes the light, color, shape, perspective or composition needed for the finished work for certain objects or people. Written notes alongside visual images aid in understanding the finished artwork as they allow the viewer to share the artist&rsquo;s process of getting to know the subject.The term &lsquo;old master drawing&rsquo; or &lsquo;old master&rsquo; is often used in auctions, but when is a drawing an &lsquo;old master drawing&rsquo;?Skilled art and antique dealers usually use the term &ldquo;old master&rdquo; for highly skilled painters who were active in Europe before the 1800s. The term &lsquo;old master&rsquo; can also be used to indicate a painting, print or drawing from the same period. A well-known artist often had apprentices who also produced paintings, drawings or etchings. These could be of such a high standard that they are also referred to as &lsquo;Old master&rsquo;, an example of this: works by the School of Rembrandt van Rijn.The Oxford English Dictionary defines the term &ldquo;old master&rdquo; as &ldquo;A distinguished artist of the pre-modern period; especially a prominent Western European painter of the 13th to 18th centuries.&rdquo; From this definition it can be concluded that the term &lsquo;old master&rsquo; only applies from the 13th century, paintings from the period before that are considered primitive.&lsquo;School&rsquo; French school, Dutch school, Italian school and so much more. The word &lsquo;school&rsquo; is used with various meanings and often to describe a certain type of painting style.In its narrowest sense, the word &lsquo;school&rsquo; can denote a group of painters who worked under de influence of another artist. A great example is the &lsquo;school of Leonardo da Vinci&rsquo; were a large group of artists worked in the studio of, or under the influence of, Leonardo da Vinci. They are also known as &lsquo;The Leonardeschi&rsquo;.In its widest sense, the word &lsquo;school&rsquo; can denote a whole country of painters and describe a typical style which reflects the painters of that country. An example is &lsquo;Italian school&rsquo; or &lsquo;French school&rsquo;. In another sense, the word &lsquo;school&rsquo; can also denote a certain region of a country. The &lsquo;Venetian school&rsquo; applies to painters who worked under local influence or with general similarities in color or technique. Famous examples of &lsquo;Venetian school&rsquo; artists are Lazzaro Bastiani (1430-1512), Giovanni Bellini (1430 &ndash; 1516) and Giulio Campi (1500-1572).

‘The male ballet dancer’, pencil on paper

A 19th century Dutch School preliminary study drawing.Study drawing, preliminary study drawing and the old master drawing. A study drawing or a preliminary sketch or drawing is a frequently used medium by artists before starting the actual work of art. Sometimes a study drawing or preliminary study is more important than the finished work of art. Such details from a study drawing or preliminary study help to reveal an artist&rsquo;s thought processes and techniques.First, let&rsquo;s start by discovering the difference between sketching and drawing and between preliminary study and study drawing. To make things a little easier: sketching first and drawing later leads to a finished work of art. The preliminary study which is necessary to complete the work as best as possible often starts with a loose sketch, followed by the preliminary drawing, after which the actual work of art can be finished with paint or another medium.Drawing a study means that the bigger picture is divided into small segments. Here the artist practices with what he can already do, such as loose hands, loose feet or other loose body parts. The artist can also choose to practice figures or objects in a study drawing. These separate study drawings can sometimes have more impact than a preliminary sketch or drawing. By practicing individual elements, the artist can discover new insights that may have a positive influence on his or her preliminary study.Recognizing the difference between a sketch and a drawing is often easy. A sketch is drawn loosely and lacks a lot of detail. Coarse, tangled lines are visible, and sometimes the artist starts over and over again on the same sheet of paper. With a drawing, the artist is already at an advanced stage of his preliminary study, here the story is often already recognizable and objects and people are depicted in detail. The preliminary sketches and drawings can then be used as a visual note for the actual work of art.A common and recognizable detail in old sketches and drawings is the artist&rsquo;s handwritten note. The artist describes the light, color, shape, perspective or composition needed for the finished work for certain objects or people. Written notes alongside visual images aid in understanding the finished artwork as they allow the viewer to share the artist&rsquo;s process of getting to know the subject.The term &lsquo;old master drawing&rsquo; or &lsquo;old master&rsquo; is often used in auctions, but when is a drawing an &lsquo;old master drawing&rsquo;?Skilled art and antique dealers usually use the term &ldquo;old master&rdquo; for highly skilled painters who were active in Europe before the 1800s. The term &lsquo;old master&rsquo; can also be used to indicate a painting, print or drawing from the same period. A well-known artist often had apprentices who also produced paintings, drawings or etchings. These could be of such a high standard that they are also referred to as &lsquo;Old master&rsquo;, an example of this: works by the School of Rembrandt van Rijn.The Oxford English Dictionary defines the term &ldquo;old master&rdquo; as &ldquo;A distinguished artist of the pre-modern period; especially a prominent Western European painter of the 13th to 18th centuries.&rdquo; From this definition it can be concluded that the term &lsquo;old master&rsquo; only applies from the 13th century, paintings from the period before that are considered primitive.&lsquo;School&rsquo; French school, Dutch school, Italian school and so much more. The word &lsquo;school&rsquo; is used with various meanings and often to describe a certain type of painting style.In its narrowest sense, the word &lsquo;school&rsquo; can denote a group of painters who worked under de influence of another artist. A great example is the &lsquo;school of Leonardo da Vinci&rsquo; were a large group of artists worked in the studio of, or under the influence of, Leonardo da Vinci. They are also known as &lsquo;The Leonardeschi&rsquo;.In its widest sense, the word &lsquo;school&rsquo; can denote a whole country of painters and describe a typical style which reflects the painters of that country. An example is &lsquo;Italian school&rsquo; or &lsquo;French school&rsquo;. In another sense, the word &lsquo;school&rsquo; can also denote a certain region of a country. The &lsquo;Venetian school&rsquo; applies to painters who worked under local influence or with general similarities in color or technique. Famous examples of &lsquo;Venetian school&rsquo; artists are Lazzaro Bastiani (1430-1512), Giovanni Bellini (1430 &ndash; 1516) and Giulio Campi (1500-1572).

‘The ascension of Christ’, pencil on paper (preliminary)

The saturated reds and varying pale blues on this large scale antique Ziegler carpet are simply breathtaking! Oversize floral motifs are graceful and engaging, woven with the best dyes from the late 19th century and the most coveted workshop of Ziegler &amp; Co. &nbsp;A most handsome and rich palette on this carpet, the dye change in the border a particular highlight. &nbsp;We love this classical colour combination, crisply drawn design, and in very good condition.Some minor low pile in places which can be seen on the high resolution image, this could be improved if requested. Supplied with our underlay this enchanting antique carpet is ideal for use in a large drawing room, dining room, bedroom or entrance hall for another 100 years.Available to be privately viewed at home, by requesting a home visit, you can choose a convenient day and time for us to bring this carpet to you. &nbsp;We travel nationwide showing our carpets to private customers and interior designers, it would be a pleasure to help you.Alternatively arrange a visit to our barn showroom, we are open Monday to Saturday by appointment.The history of Ziegler carpets: In 1883, Ziegler and Co, of Manchester, England established a Persian carpet manufacture in Sultanabad Persia, which employed designers from major western department stores such as B. Altman &amp; Co of New York and Liberty, to modify 16th- and 17th-century Eastern designs for the more restrained western taste. Using highly developed dying techniques, and the best artisans from the region, the Ziegler Co created rugs with beautiful, all-over patterns and with softer palettes than their vibrant Persian counterparts.

Rare Antique Ziegler carpet

The rarest type of antique Ziegler carpet from the coveted and world renowned Ziegler &amp; Co workshop. &nbsp;Being the most desirable type with an ivory wool background and ivory border, in this huge oversize. &nbsp; Preservation and restoration has taken place on this superlative oversize carpet. &nbsp;With repairs undertaken to the highest order where required, but sympathetically done to convserve the beauty, value and rarity of this carpet. &nbsp;The gentlest of faded palettes with delicate muted pinks, faded reds, olive greens, on an ivory to grey toned background.Undoubtedly one of the best pale Ziegler examples we have seen in over 30 years, this carpet epitomises the grace and elegance of the Ziegler &amp; Co workshop and what they achieved in creating over 130 years ago.Available to be privately viewed at home, by requesting a home visit, you can choose a convenient day and time for us to bring this carpet to you. &nbsp;We travel nationwide showing our carpets to private customers and interior designers, it would be a pleasure to help you.Alternatively arrange a visit to our barn showroom, we are open Monday to Saturday by appointment.The history of Ziegler carpets: In 1883, Ziegler and Co, of Manchester, England established a Persian carpet manufacture in Sultanabad Persia, which employed designers from major western department stores such as B. Altman &amp; Co of New York and Liberty, to modify 16th- and 17th-century Eastern designs for the more restrained western taste. Using highly developed dying techniques, and the best artisans from the region, the Ziegler Co created rugs with beautiful, all-over patterns and with softer palettes than their vibrant Persian counterparts.

Rarest Antique Ziegler carpet

A handsome antique sterling silver serving platter of oval form with a shaped gadroon border. Excellent quality and good gauge silver as you'd expect from this world famous English silversmith. Large size. On the top edge,&nbsp;to both sides, there is a hand engraved armorial* with motto&nbsp; for the Earl of Stamford.Weight 3591 grams, 115.4 troy ounces.Top measures 61 x 45 cm.London 1819.Maker Paul Storr.Sterling silver.<div>Signed/Inscribed*. The motto "A Ma Puissance" meaning "according to my power" is the motto of the Grey family who were the Earls of Stamford and prominent landowners in the town.</div><div>&nbsp;</div><div><h3>PAUL STORR</h3>Paul Storr (28 October 1770 &ndash; 18 March 1844 ), was one of the most talented silversmiths of the late Georgian period. Today his legacy of exceptionally well crafted silver can be found worldwide in museums and private collections. Son of Thomas Storr, a silver chaser, apprenticed 1785 to Andrew Fogelberg. First mark, as plateworker, in partnership with William Frisbee 1792. Second mark alone 1793. 3rd mark 1793. 4th mark 1794. 5th mark 1799. Subsequent 6th - 12th marks entered 1807-1834. By the beginning of the nineteenth century, established as one of London&rsquo;s top silversmiths, he was producing commissions for Royalty. In 1801 he married Elizabeth Susanna Beyer with whom he was to have ten children. In 1807 Paul Storr entered into a working relationship with Philip Rundell and by 1811 was a partner, and managing the workshops for Rundell, Bridge &amp; Rundell. During this period he kept his own marks and separate workshop, however Rundell, Bridge &amp; Rundell were appointed Goldsmith in Ordinary to George III in 1804, and through them his reputation as a master silversmith grew. His talents lay in being able to transform ideas and designs from Rundell, Bridge &amp; Rundell&rsquo;s designers, William Theed II and later John Flaxman II. Rundell, Bridge &amp; Rundell&rsquo;s reputation grew due to the subsequent patronage of the Prince Regent (later George IV). Storr left RUNDELL, BRIDGE &amp; RUNDELL in 1819 and went into partnership with John Mortimer, the assistant of a retiring retail goldsmith and jeweller, WILLIAM GRAY, of 13 New Bond Street. The firm was renamed STORR &amp; MORTIMER and Storr concentrated on the manufacture of goods for Mortimer to sell in the shop at 13 New Bond Street. Storr and Mortimer, now manufacturing and retail goldsmiths, jewellers and silversmiths with an influential clientele, moved to 156, New Bond Street, in 1838. Storr retired to Tooting in 1839 and died in 1844.</div>

George III Silver Meat Dish by Paul Storr. London, 1819.

A good early English silver flat top lidded tankard having a scroll handle with decorative thumb piece. Good patina. Lovely plain design and hand beaten silver. To the front there is a hand engraved armorial within a simple decorative cartouche.
Contains 1300 ml.
Weight 862 grams, 27.6 troy ounces.
Height 19cm (to top of thumb piece).
Diameter 10.6cm (top). Spread 21cm.
Fully marked on lid and base, makers mark on the handle. London 1684.
Maker John Spackman*.
Sterling silver,
Signed/Inscribed: *It is unusual to have a makers name for a piece of silver of this early date as there are no precise records of silver makers' marks prior to 1697. All records were destroyed in the fire at Goldsmiths Hall in 1681 when the Assay Office and apartments of the Assayer and Clerk in the south west wing of the building were burned down. From 1697 onwards Goldsmiths Hall has preserved a complete record of workmen&rsquo;s marks, addresses, together with their names and the dates. Sometimes the details of makers can be discovered from old records such as the inventories of noble houses and other institutions.
The first surviving record at Goldsmiths Hall is the 1682 copper plate made to start the recording process again. This has recently prompted a study by Dr David Mitchell, supported by Goldsmiths Hall, resulting in the publication of his 2017 &ldquo;Silversmiths in Elizabethan and Stuart London&rdquo;. This reference work identifies previously unknown makers marks and assigns marks struck on existing plate to individuals (attributions for 540 separate marks).
&nbsp;
<h3>JOHN SPACKMAN I</h3>
John Spackman I, London silversmith, apprenticed to Roger Stephens 1668, free 1676, Livery 1687.

Charles II Silver Tankard by John Spackman. London, 1684.

An early English sterling silver salver of shaped square form raised on flared feet. To the centre is a hand engraved crest encircled by a decorative cartouche. Good colour.Weight 405 grams, 13 troy ounces.Width 21.5cm. Height 2.2cm.London 1731.Maker Sarah Par.Sterling silver.<h3>SARAH PAR</h3>Sarah Par, London silversmith. Details unknown regarding apprenticeship and freedom.

George II Silver Salver by Sarah Par. London, 1731.

A stylish Sterling Silver Salver of circular form with a Chippendale style border. The Salver stands on three hoof feet. Maker: HAWKSWORTH & EYRE Origin: Sheffield Year: 1931Dimensions:&nbsp;Diameter 10 inches, 25.40 cm , Height 1.50 inches , 3.81 cmStock numberW78x17

Sterling Silver Salver

A George III Antique Silver swing handled oval Basket with slat-pierced border interrupted by four flower inserts. The base of the foot has a reeded border which is repeated on the basket rim and swing handle.The well of the basket has the original owners initials engraved on it below a beautiful family crest.Maker: CHARLES ALDRIDGE Origin: London Year: 1789Dimension: 12.75 x 9.25 inches, 32.5 x 23.5 cm, Height: 9 inches, 22.8 cmStock numberW139x34

A George III Antique Silver Cake Basket 1789 London

A towering statuesque, pair of Antique Silver George III three light candelabra.; the candlesticks sconces are embossed with staggered shell scroll corners, the waisted fluted columns are embossed with leaf scroll corners on shaped circular bases highly embossed with ornate leafy scrolls. The branches are embellished with fruiting vines and are leaf capped. The sconces are waisted and have shell adornments and debatable drip pans with leaf and shell corners. The bases are crested and this repeated on the centre scone of each branch. These magnificent candelabra would grace any home or occasion. Maker: KIRKBY, WATERHOUSE & CO Origin: Sheffield Year: 1819DimensionsHeight at side 23.5 inches 59.69 cm , Height at centre 20 inches 50.80 cm, full span 20.5 inches 50.07 cm width of base 7 inches 17.78 cm

A Pair of Antique Silver George III Three-Light Candelabra made in 1819 of imposing stature.

An American reverse-glass painting of the ship &lsquo;Hurricane&rsquo; of Boston, of rectangular form showing a three masted sailing ship flying the Stars and Stripes and signalling flags from her top mast, the distant shore painted with mountains and pagodas, inscribed in gilt &lsquo;Ship Hurricane of Boston&rsquo;, in a painted faux lacquer frame with a gilt slip.&nbsp; American, circa 1880. &nbsp;

American reverse-glass painting of the ship ‘Hurricane’ of Boston

A marble and ormolu bust by Marionnet, showing the white marble head and shoulders of a girl with her hair in a bun and ringlets framing her face, with a ruffled bodice with short sleeves and ribbons rendered in ormolu, all on a spinach marble socle, incised &lsquo;Marionnet&rsquo;.&nbsp; French, circa 1890.

A marble and ormolu bust by Marionnet

A large stunning antique Ziegler carpet, beautifully drawn with a large scale floral design and connecting vines and leaves, in an elegant richly coloured palette, which of course has faded over the last 130 years. &nbsp;With deep blues, that change to darker blues in the main background, using subtle soft reds for the border. &nbsp;Combined with olives greens, pale blues, and natural off white tones. &nbsp;The whole composition works remarkably, as we would expect coming from the coveted Ziegler &amp; Co workshop. &nbsp;A huge scale late 19th century example in very good order. &nbsp;Ideal for a large drawing room, dining room or magnificent entrance hall. &nbsp;This would add immense character and beauty.Available to be privately viewed at home, by requesting a home visit from us, you can choose a convenient day and time for us to visit. &nbsp;We travel nationwide showing our carpets to private customers and interior designers, it would be a pleasure to help you.In very good order this enormous scale antique Ziegler. Some preservation, restoration has taken place in the border, with some areas having a lower pile height than others too. Generally excellent order for a carpet of this size and age.The history of Ziegler carpets: In 1883, Ziegler and Co, of Manchester, England established a Persian carpet manufacture in Sultanabad Persia, which employed designers from major western department stores such as B. Altman &amp; Co of New York and Liberty, to modify 16th- and 17th-century Eastern designs for the more restrained western taste. Using highly developed dying techniques, and the best artisans from the region, the Ziegler Co created rugs with beautiful, all-over patterns and with softer palettes than their vibrant Persian counterparts.

Polychrome dish decorated with free painting and stencil decoration, central architectural feature in woodland. Portugal. C.1830

19th Century Antique Portugese Majolica Dish 

Polychrome dish decorated with swagged border and central motif of foliage and flowers. Portugal. C.1840

19th Century Portugese Polychrome Majolica Dish

18th century Lambeth delft chinoiserie decorated polychrome plate.&nbsp;

19th Century Lambeth Plate 

Circa 1840 - An exquisite and extraordinarily fine early 19th century mother-of-pearl Necessaire; the rectangular box lid with a central silver plaque engraved with the initials &ldquo;AMW&rdquo; within a border and radiating lines of shell inlay, opening with a spring clasp at the front and retaining all the original gold fittings and linings and in perfect condition.
&nbsp;
Circa 1840 &ndash; All the original gold fittings and linings and in perfect condition, comprising:
&nbsp;
A pagoda shaped chased and embossed gold tape measure holder A mother-of-pearl handled penknife with steel blade and a gold mount A thimble with a gold inner sleeve and band and steel outer sleeve A pair of steel bladed scissors with highly chased and engraved gold handles and gold blade sheath A gold bodkin A chased and engraved gold needle/bodkin case retaining an original steel needle A chased and engraved gold retracting pencil mounted with a&nbsp;triple faced swivel fob set with an amethyst, a citrine and a beryl

Early 19th Century Mother of Pearl Necessaire

Circa 1850 - A mid 19th. Century Italian carved Giltwood oil lamp stand now converted to electricity and with a tasselled silk shade. The measurements include the existing shade. This is currently fitted for 240 volt supply with a UK standard plug and bayonet light fitting. H: 49&rdquo; 124.5 cms W: 22&rdquo; 56 cms D: 22&rdquo; 56 cms.

Mid 19th Century Carved Giltwood Table Lamp

Regency Burr Yew and Rosewood Sofa Table, the rectangular Rosewood Crossbanded top with rounded corners, the yew wood frieze with two drawers and two false drawers to the reverse, raised on yew wood inlaid end pillar supports to yew wood inlaid sabred legs with brass lions paw caps and castors united by a turned stretcher.
 The panels of Yew wood are all edged in the finest Ebony and Boxwood stringing and the top is edged with Boxwood stringing outside of the Rosewood crossbanding. This is a table of remarkable colour, grain and vibrancy.
 Circa 1810.&nbsp;

Regency Burr Yew and Rosewood Sofa Table

A beautiful Patek Philippe from 1947. Manual wind movement in 18k gold case with unusual hooded lugs. The dial with raised gold indexes and enamel numerals. Patek Philippe alligator strap and 18k Patek Philippe buckle.&nbsp; 22 x 32 mm Dimensions 2,2 x 3,2 cm

Patek Philippe dress watch

Rolex Oyster Precision in steel with manual wind movement. Dated 1959. The watch has been completely restored by a Rolex trained watchmaker and comes with a one-year warranty.&nbsp; 34 mm Dimensions Diameter 3,4 cm

Rolex Precision Watch

Pilot's watch issued in 1967 to the Royal Air Force. This series 3 model has a manual wind allowing for seconds and minute recording. The black dial is in mint condition, with the King's Arrow showing prominently above 6 o'clock. The back is inscribed with the relevant MOD issue numbers. A piece of military history.&nbsp; Diameter: 40 mm

Lemania Pilot's watch

Please note, Framed prints are only available for collection from the gallery. Framed 27"x21" &pound;325.00 Unframed 19"x14" &pound;225.00Printed on Hahnemuhle Photorag paper. Available in two sizes and, either as an unframed print (dispatched wrapped in cellophane and rolled in a tube) or framed in a deep box frame of grey veneered wood. The standard glazing is acrylic (UV protective, anti reflection glass is available as a special order - the shipping is much more tricky!). &nbsp; &nbsp; &nbsp; &nbsp;

Tribune Towers a Print by Michael John Hunt

Please note, Framed prints are only available for collection from the gallery. Framed Canvas 26"x50" &pound;565.00 Unframed Canvas 26"x50" &pound;495.00 Framed Paper 17"x29" &pound;295.00 Unframed Paper 9""x21"" &pound;225.00 &nbsp; &nbsp; &nbsp; &nbsp;&nbsp;This image is available either as a 17&rdquo; x 29&rdquo; (Framed size) print on Hahnemuhle paper which is then varnished with a UV protective varnish or as larger a print on canvas. Again, this is varnished and gives it the appearance of an original painting. A traditional frame has been chosen which complements the image perfectly.

Venetian Panorama a print by Michael John Hunt

Please note, Framed prints are only available for &nbsp;Unframed 22"x22" &pound;200.00 Framed 24"x24" &pound;300.00 &nbsp; &nbsp; &nbsp; &nbsp;

 Oil Study 1 a Print by Michael John Hunt

A detailed oil on canvas depicting &lsquo;the way of the cross&rsquo;. Italian school, made in the second half of the 18th century.History The Way of the Cross or the Stations of the Cross, also known as the Via Crucis, refers to a series of images of Jesus Christ on the day of his crucifixion. The possible path that Jesus walked to Mount Calvary in Jerusalem (the Via Dolorosa) has been the inspiration for the various stations. The stations help the Christian faithful to make a spiritual pilgrimage through the Passion of Christ. It has become one of the most popular devotions and its stations can be found in many Western Christian churches.There are about fourteen images, each of which varies greatly in style, shape and placement of the stations. The classic depictions of the stations are small plaques with reliefs or paintings placed in or around the church. The fourteen stations are arranged in numbered order with almost every station being found in the bible. Stations three, seven and nine are not exactly described in any particular verse of the bible.All the stations of the cross:The first station: Jesus is condemned to death The second station: He is made to bear his cross The third station: He falls the first time The fourth station: He meets his mother The fifth station: Simon of Cyrene is made to bear the cross The sixth station: Veronica wipes Jesus&rsquo; face The seventh station: He falls the second time The eighth station: The women of Jerusalem weep over Jesus The nineth station: He falls the third time The tenth station: He is stripped of his garments The eleventh station: He is nailed to the cross The twelfth station: He dies on the cross The thirteenth station: He is taken down from the cross The fourteenth station: He is placed in the sepulcher &lsquo;School&rsquo; French school, Dutch school, Italian school and so much more. The word &lsquo;school&rsquo; is used with various meanings and often to describe a certain type of painting style.In its narrowest sense, the word &lsquo;school&rsquo; can denote a group of painters who worked under de influence of another artist. A great example is the &lsquo;school of Leonardo da Vinci&rsquo; were a large group of artists worked in the studio of, or under the influence of, Leonardo da Vinci. They are also known as &lsquo;The Leonardeschi&rsquo;.In its widest sense, the word &lsquo;school&rsquo; can denote a whole country of painters and describe a typical style which reflects the painters of that country. An example is &lsquo;Italian school&rsquo; or &lsquo;French school&rsquo;. In another sense, the word &lsquo;school&rsquo; can also denote a certain region of a country. The &lsquo;Venetian school&rsquo; applies to painters who worked under local influence or with general similarities in color or technique. Famous examples of &lsquo;Venetian school&rsquo; artists are Lazzaro Bastiani (1430-1512), Giovanni Bellini (1430 &ndash; 1516) and Giulio Campi (1500-1572).Technique - Oil on canvasCountry of origin - ItalyPeriod - Second half of the 18th century(1750-1780)Sizes with frame - 45 x 56,5 centimeters

‘The way of the cross, the ninth station’, oil on canvas Italian school, second half 18th century

&lsquo;The vision of Saint Francis&lsquo; after Pietro da Cortona (1596-1669), an early 18th century Italian oil on canvas.The Vision of Saint Francis is an altarpiece painted by Pietro da Cortona in 1640-1641 for the Montauto Chapel in the Church of the Annunziata in Arezzo. The appearance of the Virgin in the offering of the Infant Jesus to Saint Francis is a common topic in the 17th and 18th centuries. This religious event is painted here with smooth lines, strong light from above and a wealth of colors.&lsquo;After&rsquo; The word after is often used in museums, art galleries and antique stores. The meaning is very simple, it is a copy of that specific artist&rsquo;s work where the word &lsquo;after&rsquo; is placed before or after the artist&rsquo;s name. It is very important not to forget that the word &lsquo;after&rsquo; has nothing to do with &lsquo;faking&rsquo; the artist&rsquo;s work.An (unknown) artist can paint a copy of a famous work which is exhibited in a museum. This copy if not a fake, because the (unknown) artist is not claiming to be the original artist of the work. When the (unknown) artist wants to sell his own copy, the word &lsquo;after&rsquo; is placed before or after the original artist&rsquo;s work. Now, the work is not a fake, but a nicely made copy.Using the word &lsquo;after&rsquo; for copies has already been done for centuries. But there are different levels of &lsquo;afters&rsquo;. An &lsquo;after&rsquo; can already be an &lsquo;after&rsquo; when an (unknown) artist is copying in 2020 the work &lsquo;The starry night&rsquo; by Van Gogh. The (unknown) artist is far removed from the original artist by time and association. A very high level of an &lsquo;after&rsquo; is when the original artist is involved or approves the &lsquo;after&rsquo;. Even an original signature by the original artist can be placed on the &lsquo;after&rsquo;.Even tough an &lsquo;after&rsquo; is a copy, the value and quality can still be very high and &lsquo;afters&rsquo; will stay highly collectible.Dimensions - 49.7 &times; 2.5 &times; 62.7 cmPeriod - Early 18th centuryTechnique - Oil on canvasCountry of origin - Italy

‘The vision of Saint Francis‘, oil on canvas After Pietro da Cortona (1596-1669)

A white alabaster bust, Italian school signed with I. Jackson, Roma, Italy in 1857.Albast Alabaster is a type of rock or mineral and often used for carving. The word Alabaster is differently used by archeologists and geologists. The word Alabaster includes varieties of two different minerals: a fine-grained massive type of gypsum and a fine-grained banded type of calcite. Geologists define alabaster only as the gypsum type.Both types of alabaster have been used throughout history primarily for carving decorative art and have similar properties. Both are lightly colored, translucent, and are relatively soft. The two kinds of minerals can be distinguished by their different hardness. The gypsum type of alabaster is so soft that a fingernail can scratch it, while calcite cannot be scratched with a fingernail.Weight - 10.400 kgDimensions - 15 &times; 25 &times; 40.5 cmMaterial - White alabasterCountry of origin - ItalyYear - 1857

‘The professor’, a white alabaster bust 19th century Italian school.

A scarce and fine condition 15ct gold cabochon garnet double sided bracelet.

A scarce and fine condition 15ct gold cabochon garnet double sided bracelet C1845

A scarce natural pearl, diamond and black enamel bracelet of fabulous quality and design.

A scarce platinum natural pearl diamond and black enamel bracelet of fabulous quality and design c1925

A fine pair of carved jade, pearl and diamond drop earrings mounted in 18ct gold and platinum.

A fine pair of carved jade, pearl and diamond drop earrings mounted in 18ct gold and platinum c1915

As part of our Japanese works of art collection we are delighted to offer this&nbsp;highly decorative early 20thc Taisho period&nbsp;1912-1926,&nbsp;Cloisonn&eacute; enamel vase by&nbsp;Ando company,&nbsp;the main body of this&nbsp;vase is predominantly decorated with&nbsp;traditionally wired native Flowers, the artist has captured a bright &nbsp;Red and White Floral spray contrasting upon a Musen enamel (wireless)&nbsp;bright yellow backdrop , the vase highlighted with bright Chrome rims&nbsp;and is signed&nbsp;with the Ando&nbsp;company seal to the underside&nbsp;a&nbsp;highly decorative vase to brighten any room setting .
 Free worldwide delivery and a certificate of authenticity

Japanese Cloisonne enamel floral vase by Ando

Emile Galle &ndash; a beautiful Art Nouveau cameo glass vase decorated with leaves and seeds. Subtle shades of white, peach and 2 colours of green decorate this unusual shaped vase. The design has been acid very skilfully acid etched into the vase. &nbsp;Signed in cameo Galle. A charming example of this master craftsman&rsquo;s work that would make a delightful addition to any home.HistoryEmile GALLE &nbsp;Nancy 1846 &ndash; Nancy 1904 &nbsp;Industrialist, master glassblower, cabinet-maker, ceramist &nbsp;After several apprenticeships in various European cities, Weimar and Meisenthal amongst others, Emile Gall&eacute; became a partner at his father&rsquo;s glass and faience decoration business in 1867. Ten years later, he took over the family business and extended its activities to cabinet making in 1885. Previously acknowledged at the Clay and Glass Exposition in 1884, Emile Gall&eacute; was honored at the 1889 Paris World Fair with three rewards for his ceramics, glasswork, and furniture. Unfortunately, and to the great regret of Emile Gall&eacute;, ceramic work was no longer popular amongst the public, thus he oriented his focus to glasswork, a domain in which he developed and created new fabrication procedures. His research lead to the registration of two patents in 1898, one of which concerned the glass marquetry and the other on glass finish.His work expresses throughout multiple references his diverse interests, in which nature plays a dominant, but not exlusive, role. His patriotic and political commitments were best expressed at the Paris World Fairs of 1889 and 1900 in such pieces as The Rhine Table (which calls for the return of Alsace-Lorraine to France) and the spectacular installation of The seven pitchers Marjolaine (for the rehabilitation of Dreyfus). Involved early on in the renewal of decorative arts, Emile Gall&eacute; distributed in his French, German and English warehouses quality work throughout Europe.In 1901, he was the founder and the first president of the Ecole de Nancy, the Alliance Provinciale des Industries d&rsquo;Art.Date c 1900Condition Excellent original condition. No nicks chips or polishing. Light wear to the undersideDimensions Approx height 19.5 cm width at the base 8cm

Galle Art Nouveau cameo glass vase decorated with leaves and seeds

Arts and Crafts hammered silver dish by A.E.Jones. The two handled dish stands on four shaped feet and is numbered 834 to the underside. Hallmarked Birmingham 1933 A E Jones. Clear Hallmarks. An attractive, well designed piece of Arts and Crafts silverHistoryA.E. Jones born Albert Edward Jones in 1878 was one of the most notable silversmiths of the 19th century, with his work being synonymous with the Arts and Crafts movement. He was born into a family of craftsmen and studied at the Birmingham wing of the Central School of Arts and Crafts.He was also a member of the Birmingham Guild of Handicraft. It was in this era that he would study and work alongside a number of key figures such as Arthur Dixon and Edward Taylor. Consequently &nbsp;building &nbsp;up a stellar reputation as one of the most promising craftsmen around. He set up his own premises at Holloway Head in Birmingham in 1902, when he also acquired the Jesson and Birkett firm. &nbsp;His firm, A.E. Jones Limited continued operating until long after his death in 1954. It was finally being bought up by C J Vander. The company had been taken over by his son, Kenneth Crisp Jones in 1958.The Arts and Crafts movement was an international movement in the decorative and fine arts that began in Britain and flourished in Europe and North America between about 1880 and 1920. It stood for traditional craftsmanship using simple forms, and often used medieval, romantic, or folk styles of decoration. The movement had an &ldquo;extraordinary flowering&rdquo; in Scotland where it was represented by the development of the &lsquo;Glasgow Style&rsquo; which was based on the talent of the Glasgow School of Art. Structured more by a set of ideals than a prescriptive style, the Movement took its name from the Arts and Crafts Exhibition Society, a group founded in London in 1887 that had as its first president the artist and book illustrator Walter Crane. The Society&rsquo;s chief aim was to assert a new public relevance for the work of decorative artists (historically they had been given far less exposure than the work of painters and sculptors)Date Hallmarked A E Jones Birmingham 1933Condition Excellent original condition .Dimensions Approximate width 16.3 cm and height 4 cm

Arts and Crafts hammered silver dish by A.E.Jones

A rare Arts and Crafts silver tea strainer by Liberty &amp; Co in the Celtic Revival style. A very deep, shaped bowl with a flared handle and two flared tabs which are designed to sit on the cup. Concentric engraved rings run inside the bowl framing a Celtic style knot. An engraved zigzag band runs around the outside. The handle and tabs are decorated with bands of cross-hatched patterns. Hallmarked for Liberty &amp; Co. Birmingham 1913 and also marked with model number 3187.. HistoryThe Arts and Crafts movement was an international movement in the decorative and fine arts that began in Britain and flourished in Europe and North America between about 1880 and 1920. It stood for traditional craftsmanship using simple forms, and often used medieval, romantic, or folk styles of decoration. The movement had an &ldquo;extraordinary flowering&rdquo; in Scotland where it was represented by the development of the &lsquo;Glasgow Style&rsquo; which was based on the talent of the Glasgow School of Art. Structured more by a set of ideals than a prescriptive style, the Movement took its name from the Arts and Crafts Exhibition Society, a group founded in London in 1887 that had as its first president the artist and book illustrator Walter Crane. The Society&rsquo;s chief aim was to assert a new public relevance for the work of decorative artists (historically they had been given far less exposure than the work of painters and sculptors)Few people can claim to have been quite so influential in the history of modern design as Arthur Lasenby Liberty. From a small shop, opened in 1875 on the corner of Regent Street, Liberty was to popularise an idiom now known simply as "Liberty style". Originally importing exotic household goods from the east, within 25 years Liberty was commissioning work from some of the finest British Avant-garde designers and retailing in a way that made it accessible to a much larger public.&nbsp;Date Hallmarked Liberty and Co Birmingham 1913Condition Excellent original condition with a little light wear commensurate with age.Dimensions Approximate length 11 cm overall width 9 cm depth 3cm

Arts and Crafts silver tea strainer by Liberty & Co in the Celtic Revival style

HENRY HOLIDAY (1839-1927)A Rocky ShoreSigned with initials Pencil and watercolour on blue/grey paper22 by 16.5 cm.; 8 &frac34; by 6 &frac12; in. (frame size 41 by 35 cm., 16 by 13 &frac34; in.)Provenance: With Abbott &amp; Holder, 1972; From whom purchased by D F N Hickman of Handsworth, Birmingham.Holiday was born in London and initially took lessons with William Cave Thomas. He then studied at Leigh&rsquo;s Academy and the Royal Academy Schools. Through his friendship with Albert Moore and Simeon Solomon he was introduced to Rossetti, Morris and Burn-Jones and thereafter became associated with the Pre-Raphaelite school. As a painter is possibly best known for his Dante and Beatrice exhibited at the Grosvenor Gallery in 1883 and now in the Walker Art Gallery but he was also a talented stained glass designer, illustrator, sculptor and enamellist. In 1890 he founded in Hampstead his own glassworks, which produced stained glass, mosaics, enamels and ecclesiastical objects.

A Rocky Shore

EDWARD ARTHUR WALTON, RSA, PRSW (1860-1922)Sketch for Portrait of Miss Jane AitkenOil and watercolour on linen laid on board80 by 57 cm., 31 &frac12; by 22 &frac12; in. (frame size cm., in.)Provenance: The Artist&rsquo;s son, Professor John Walton; Alberto Morrocco; His studio sale, Christie&rsquo;s, London, 11 July 2012, lot 124; Neil Wilson.Exhibited: Edinburgh, Bourne Fine Art, The Painted Lady, 1850-1930, July 1982, no.6.Literature: F MacSporran, Edward Arthur Walton, Glasgow, 1987, illus. pl.37, p.50.Edward Arthur Walton was born in Barrhead, Renfrewshire into an artistic family, his father being a competent amateur painter and photographer and three of his siblings taking up artistic pursuits. He studied at the Kunstakademie in Dusseldorf and the Glasgow School of Art. Living in Glasgow he became a close friend of Joseph Crawhall, whose sister had married Walton&rsquo;s brother. Crawhall introduced him to George Henry and James Guthrie. Together, they and a group of other like-minded artists in that region, became known as the Glasgow Boys. Most had a Continental training and were developing Impressionist and Post-Impressionist painting into their own distinctive style. They were united in their passion for realism and naturalism and were influenced by the works of Jules Bastien-Lepage and James Abbott McNeill Whistler. Walton in particular was a huge admirer of Whistler and in 1884 he was a leading member of a group who petitioned Glasgow Corporation to buy Whistler&rsquo;s Portrait of Thomas Carlyle. It was the first work by the master to be acquired by any public body worldwide.Walton lived in London between 1894 and 1904, living in Cheyne Walk in Chelsea, and was a neighbour of Whistler and John Lavery. Painted during his time in London, the present work is a study for Portrait of Miss Jane Aitken (private collection). In its posed long and strong profile with limited background and tones it clearly shows the influence of Whistler. The final portrait was highly regarded and was exhibited at the Glasgow Institute of Fine Arts in February 1894, no.279; Paris, Exposition Nationale des Beaux Arts, 1896, no.1235; Philadelphia, Pennsylvania Academy of Fine Arts, 1896-1897; Berlin, Eduard Schulte Gallery, 1900; Liverpool, Autumn Exhibition, 1901, no.387. The convex mirror in this study was left out of the finished portrait and the decorative motifs on the backdrop were also omitted.

Portrait Of Miss Jane Aitken

JOHN MacWHIRTER, RA, HRSA (1839-1911)Lake NemiSigned with initials; signed and variously inscribed on labels on the backboard Watercolour and bodycolour17.5 by 25 cm.; 7 by 9 &frac34; in. (frame size 38 by 45.5 cm., 15 by 18 in.)Provenance: Charles Waley-Cohen, 1911.Exhibited: London, Leicester Galleries, Exhibition of Works by John MacWhirter.MacWhirter was born in Edinburgh where he studied at the Trustees Academy under Robert Scott Lauder and John Ballantyne. He spent long periods sketching and studying outdoors and exhibited his first picture at the Royal Scottish Academy when aged only 14. He was elected an associate member of the Royal Scottish Academy in 1867 and shortly after moved to London where he established a reputation as a fine landscape artist. He travelled widely in Europe and America, the Alps being a great inspiration. He exhibited at the Royal Academy, Grosvenor Gallery and elsewhere. Works by MacWhirter are in many public collections.Lake Nemi is a small circular volcanic lake in the Lazio region of Italy, about 20 miles south of Rome. The small town of Nemi is shown set on the hills on the opposite bank. Turner&rsquo;s 1840 watercolour of Lake Nemi is in the collection of the British Museum.

Lake Nemi, Near Rome

Chinese export porcelain group of a standing immortal with an attendant decorated in under-glaze cobalt blue (qinghua), c. 1740, Qianlong reign, Qing dynasty, h. 17 cm, 6&frac34; in. &nbsp;7-20369 Literature: &bull; The Nanking Cargo, sold at Christie&rsquo;s Amsterdam in 1986, lots 5743 to 5746, for similar figures; &bull; The Geldermalsen [sunk in 1752], History and Porcelain, by C. J&ouml;rg, Groningen 1986, pp. 100/101 for similar figures; &bull; Oriental Ceramics at the Cape of Good Hope, 1652-1795, by C.S. Woodward, Cape Town 1974, p. 47, cat. 71 for a figure of this type recovered from the wreck of Middelburg sunk in 1780; &bull; The Hatcher Porcelain Cargoes, The Complete Record (1643/46-1752), by C. Sheaf and R. Kilburn, Oxford 1988, p. 157, fig. 206 for a a group of similar figures from the 1752 wreck; &bull; Chinese and Japanese Works of Art in the Collection of Her Majesty the Queen, by J. Ayers, 2016 London, vol. 1, pp. 90/91 for a standing lady 17,9 cm high, two standing women with infants 15,3 cm high, and two seated women holding infants 14 cm high dated first half of the 18th century; &bull; The C&agrave; Mao Shipwreck [c. 1725] Porcelain from the Collection of Dr Zelnik, cover with a pair of standing figures: she holding a fan and is decorated in under-glaze cobalt blue and he decorated in under-glaze pale green.&nbsp; 中國外銷瓷青花神仙像，像中神仙站立攜隨從，約1740年，清乾隆，高17釐米，6&frac34;英吋。 參考文獻： &bull; 南京號瓷器，1986年佳士得阿姆斯特丹，參見拍品號5743至5746近器； &bull;《海爾德馬爾森號（1752年沉沒），歷史及瓷器》，作者C. J&ouml;rg，1986年格羅寧根出版，參見100/101頁近器； &bull;《1652-1795，好望角的東方陶瓷》，作者C.S. Woodward，1974年開普敦出版，參見第47頁編號71 1780年米德爾堡市打撈的相似塑像一件； &bull;《Hatcher號瓷器全錄（1643/46-1752年）》，作者C. Sheaf及R. Kilburn，1988年牛津出版，參見第157頁圖206一組與1752年打撈的相似塑像。 &bull;《英女王藏中日藝術品》，作者J. Ayers，2016年倫敦出版，見卷一，90-91頁一件高17.9釐米 的仕女立像，兩件高15.3釐米的抱孩婦女立像，和兩件高14釐米的抱孩婦女坐像，以上塑像皆作於十八世紀上半葉。 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; &bull;

Chinese export porcelain group of a standing immortal with an attendant, Qianlong.

Rare Chinese export porcelain group of a lady with a mask holding a naked child decorated in under-glaze cobalt blue (qinghua), c. 1740, Qianlong reign, Qing dynasty, h. 17,5 cm, 7 in. 7-20368 (boy hair, lady&rsquo;s hands repaired) (3883) &pound;2,200. SLW4/21-BADAW4/21-2COVW4/21- Literature: &bull; The Nanking Cargo, sold at Christie&rsquo;s Amsterdam in 1986, lots 5743 to 5746, for similar figures; &bull; The Geldermalsen [sunk in 1752], History and Porcelain, by C. J&ouml;rg, Groningen 1986, pp. 100/101 for similar figures; &bull; Oriental Ceramics at the Cape of Good Hope, 1652-1795, by C.S. Woodward, Cape Town 1974, p. 47, cat. 71 for a figure of this type recovered from the wreck of Middelburg sunk in 1780; &bull; The Hatcher Porcelain Cargoes, The Complete Record (1643/46-1752), by C. Sheaf and R. Kilburn, Oxford 1988, p. 157, fig. 206 for a a group of similar figures from the 1752 wreck; &bull; Chinese and Japanese Works of Art in the Collection of Her Majesty the Queen, by J. Ayers, 2016 London, vol. 1, pp. 90/91 for a standing lady 17,9 cm high, two standing women with infants 15,3 cm high, and two seated women holding infants 14 cm high dated first half of the 18th century; &bull; The C&agrave; Mao Shipwreck [c. 1725] Porcelain from the Collection of Dr Zelnik, cover with a pair of standing figures: she holding a fan and decorated in under-glaze cobalt blue and he decorated in under-glaze pale green.&nbsp; 罕見的中國外銷瓷青花人物塑像，像中一位戴著面具的仕女抱著一個裸露的嬰孩，約1740年，清乾隆，高17.5釐米，7英吋。 參考文獻： &bull; 南京號瓷器，1986年佳士得阿姆斯特丹，參見拍品號5743至5746近器； &bull;《海爾德馬爾森號（1752年沉沒），歷史及瓷器》，作者C. J&ouml;rg，1986年格羅寧根出版，參見100/101頁近器； &bull;《1652-1795，好望角的東方陶瓷》，作者C.S. Woodward，1974年開普敦出版，參見第47頁編號711780年米德爾堡市打撈的相似塑像一件； &bull;《Hatcher號瓷器全錄（1643/46-1752年）》，作者C. Sheaf及R. Kilburn，1988年牛津出版，參見第157頁圖206一組與1752年打撈的相似塑像。 &bull;《英女王藏中日藝術品》，作者J. Ayers，2016年倫敦出版，見卷一，90-91頁一件高17.9釐米 的仕女立像，兩件高15.3釐米的抱孩婦女立像，和兩件高14釐米的抱孩婦女坐像，以上塑像皆作於十八世紀上半葉。 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; &bull;

Rare Chinese export porcelain group of a lady with a mask holding a child, Qianlong.

Very rare Chinese porcelain model of a Bactrian camel (now critically endangered) water dropper for the scholars&rsquo; desk decorated in underglaze cobalt blue (qinghua) and carving to enhance the tail, Tianqi reign (1620-1627), Ming dynasty, w. 9 cm, 3&frac12; in; h. 5,5 cm, 2&frac14; in. 7-19365&nbsp; ◆ The Bactrian camel (Camelus bactrianus) is a large, even-toed ungulate native to the steppes of Central Asia. The Bactrian camel has two humps on its back, in contrast to the single-humped dromedary camel. 非常罕見的中國青花陶瓷雙峰駱駝形水盂，供學士在書桌上擺設，飾以雕刻以強調尾巴，明天啟（1620-1627年），9厘米，3&frac12;吋；高5.5厘米，2&frac14;吋。 ◆ 雙峰駱駝（Camelus bactrianus）是一種偶蹄目大型動物，最早出現於中亞大草原，現已極度瀕危。雙峰駱駝背上有兩個駝峰，與單峰駱駝不同。

Very rare Chinese porcelain model of a Bactrian camel water dropper, Tianqi reign, Ming dynasty.

A truly stunning antique Art Deco burr walnut dining suite attributed to the world renowned cabinet makers, Harry &amp; Lou Epstein, comprising a dining table and the original matching set of eight cloud back dining chairs, circa 1920 in date. &nbsp;The rectangular shaped table has a stunning burr walnut figured top with rounded corners and stands on a decorative U-shaped base. The set of eight chairs are the highly desirable cloud back model and comprises two armchairs and six side chairs, all with curved backs that show the figured grain of the burr walnut beautifully and they are all upholstered in the original blue faux leather.&nbsp;This set is a fabulous example of the Art Deco period and will enhance any room in which it is placed.Dimensions in cm: Height 77 x Width 185 x Depth 85 - TableHeight 85 x Width 60 x Depth 55 - ArmchairHeight 84 x Width 52 x Depth 55 - Side ChairDimensions in inches: Height 2 foot, 6 inches x Width 6 feet, 1 inch x Depth 2 foot, 9 inches - TableHeight 2 foot, 9 inches x Width 2 feet x Depth 1 foot, 10 inches - ArmchairHeight 2 foot, 9 inches x Width 1 foot, 8 inches x Depth 1 foot, 10 inches - Side ChairOur reference: A1918Please feel free to email or call us (+44 20 8809 9605) to arrange a viewing in our North London warehouse.

Antique Art Deco Burr Walnut Dining Table & 8 Cloud Back Chairs C1930

This is a rare large antique Victorian metamorphic flame mahogany circular extending dining table with two sets of leaves in the manner of Johnstone, Jupe and Jeanes, and dating from Circa 1870.The circular top is quartered and extends by a windout mechanism to accommodate four large rectangular leaves or four segmented leaves.This means that the table can either be extended to form a circular dining table, approx 6ft in diameter, or amazingly it can also extend to become a rectangular dining table approx 12 ft in length.The table is raised on five square tapering legs terminating in spade feet with the original recessed castors.The table can seat four when the table is circular without leaves, &nbsp;six to eight when extended in circular form and twelve comfortably when extended in rectangular form.&nbsp; &nbsp; This fascinating table illustrates all the very best elements of English cabinet-making combined with the remarkable burst of inventiveness of the Industrial Revolution. It was not until John Johnstone and Robert Jupe patented their ingenious design in March 1835 for an expanding round table,that round dining tables, which had suffered from the problem of not offering flexibility of seating, could compete with the established rectangular extending dining tables. &nbsp; There is no mistaking the fine craftsmanship of this handsome table, which is certain to become a treasured addition to your furniture collection, and a talking point with guests at meal times. &nbsp; &nbsp;Dimensions in cm: Height 77 x Width 138 x Depth 138 - When CircularHeight 77 x Width 187 x Depth 187 - When Circular with leavesHeight 77 x Width 368 x Depth 138 - Rectangular with all leavesDimensions in inches: Height 2 foot, 6 inches x Width 4 foot, 6 inches x Depth 4 foot, 6 inches - When CircularHeight 2 foot, 6 inches x Width 6 foot, 2 inches x Depth 6 foot, 2 inches - When Circular with leavesHeight 2 foot, 6 inches x Width 12 feet, 1 inch x Depth 4 foot, 6 inches - Rectangular with all leavesOur reference: A1714Please feel free to email or call us (+44 20 8809 9605) to arrange a viewing in our North London warehouse.

Antique Victorian Metamorphic Extending Jupe Dining Table 19th Century

This is a beautiful dining set comprising a flame mahogany expanding dining table in the manner of Johnson, Jupe &amp; Co, dating from the 19th century, and a matching set of twelve swag back &nbsp;dining chairs, dating from the 20th C.The rare large antique Victorian metamorphic flame mahogany circular extending dining table comes with two sets of leaves and is &nbsp;in the manner of Johnstone, Jupe and Jeanes, &nbsp;dating from Circa 1870.The circular top is quartered and extends by a windout mechanism to accommodate four large rectangular leaves or four segmented leaves.This means that the table can either be extended to form a circular dining table, approx 6ft in diameter, or amazingly it can also extend to become a rectangular dining table approx 12 ft in length.The table is raised on five square tapering legs terminating in spade feet with the original recessed castors.The table can seat four when the table is circular without leaves, &nbsp;six to eight when extended in circular form and twelve comfortably when extended in rectangular form.&nbsp; This fascinating table illustrates all the very best elements of English cabinet-making combined with the remarkable burst of inventiveness of the Industrial Revolution. It was not until John Johnstone and Robert Jupe patented their ingenious design in March 1835 for an expanding round table,that round dining tables, which had suffered from the problem of not offering flexibility of seating, could compete with the established rectangular extending dining tables. &nbsp; There is no mistaking the fine craftsmanship of this handsome table, which is certain to become a treasured addition to your furniture collection, and a talking point with guests at meal times. The delightful Vintage set of twelve swag back dining chairs date from the second half &nbsp;of the 20th Century and compliment the table beautifully..Masterfully crafted in beautiful solid mahogany throughout, the finish and attention to detail on display are truly breathtaking.Comprising ten chairs and two armchairs, all featurimg an attractive swag back design with 'drop in' seats that have been &nbsp;reupholstered in the finest claret damask.This dining set will astound your guests and become an integral part of your furniture. &nbsp;Dimensions in cm: Height 77 x Width 138 x Depth 138 - When circularHeight 77 x Width 187 x Depth 187 - Circular with leavesHeight 77 x Width 368 x Depth 138 - Rectangular With All LeavesDimensions in inches: Height 2 foot, 6 inches x Width 4 foot, 6 inches x Depth 4 foot, 6 inches - When circularHeight 2 foot, 6 inches x Width 6 foot, 2 inches x Depth 6 foot, 2 inches - Circular with leavesHeight 2 foot, 6 inches x Width 12 feet, 1 inch x Depth 4 foot, 6 inches - Rectangular With All LeavesOur reference: A1714aPlease feel free to email or call us (+44 20 8809 9605) to arrange a viewing in our North London warehouse.

Antique Metamorphic Mahogany Jupe Dining Table & 12 Chairs 19th C

A masterpiece of weaving from the famous and world renowned Ziegler &amp; Co workshop. &nbsp;The rarest and most desirable type of Ziegler with an ivory wool background and ivory border. &nbsp;In amazing order, with a luxurious soft wool pile throughout. &nbsp;Minimal preservation/restoration on this exceptional and rare carpet. &nbsp;With exquisite olive greens, muted reds, pale blue abrash (dye change) in the border, this piece has everything you would look for in a decorative Ziegler. &nbsp;A beautifully spaced open drawing of floral palmettes and subtle leaves. &nbsp;A truly breathtaking example.The history of Ziegler carpets: In 1883, Ziegler and Co, of Manchester, England established a Persian carpet manufacture in Sultanabad Persia, which employed designers from major western department stores such as B. Altman &amp; Co of New York and Liberty, to modify 16th- and 17th-century Eastern designs for the more restrained western taste. Using highly developed dying techniques, and the best artisans from the region, the Ziegler Co created rugs with beautiful, all-over patterns and with softer palettes than their vibrant Persian counterparts.Request a home visit to view this antique Ziegler carpet in situ. &nbsp;We travel nationwide, helping private clients and interior designers as far as Scotland, Ireland and in Europe over the last 30 years.

A fine pair of Doulton Lambeth faience vases, painted by John P. Hewitt, c. 1885. Both vases, beautifully hand painted with semi naked girls, posing in diaphanous drapes, whilst standing, bare foot on grass. The rims, with continuous bands of floral scroll, on gilt grounds, the bases, with a continuous lappet motif. One vase signed J.P.Hewitt. Printed factory marks, painted pattern numbers, and impressed marks to the bases.Medium: EarthenwareHeight: 30.4 cm, 12&rdquo;.Width: 16cm, 6 1/4&rdquo;Condition: Minute repair to chip to one gilt rim. In excellent condition.

Pair Doulton Lambeth faience vases. J.P. Hewitt, c. 1885.

&pound;980.00Chinese &lsquo;Canton&rsquo; enamel zhadou or Leys jar, late 18th Century, Qianlong / Jiaqing Period. The body of the jar painted with flowering prunus, and bamboo, on a gilt &lsquo;cracked ice&rsquo; and cobalt blue ground, beneath a continuous yellow Ruyi head motif. Similar decoration to the neck, between stiff leaves. The interior turquoise.Medium: EnamelHeight: 9.8 cm, 3 7/8&rdquo;.Width: 8.8 cm, 3 3/8&rdquo;.Depth: 8.8 cm, 3 3/8&rdquo;.

Chinese ‘Canton’ enamel zhadou, c. 1795.

&pound;2,450.00
Pair of Sevres style &lsquo;Jewelled&rsquo; perfume bottles, c. 1880. The square form bottles, &lsquo;jewelled&rsquo; with the monogrammed of Louis XVI, and Marie Antoinette, beneath gilt crowns. The other sides, decorated with elaborate gilt scroll motifs, embellished with further &lsquo;jewelling&rsquo;. Similar decoration to the shoulders, and to the squared covers. One bottle with a clear, gilt Sevres mark, the other with a worn mark.
Medium: Porcelain
Height: 17 cm, 6 5/8&rdquo;.
Width: 7.5 cm, 3&rdquo;.
Depth: 7.5 cm, 3&rdquo;.

Pair ‘Sevres’ porcelain scent bottles, c. 1880.

Very good and colourful oriental rug c1930

Very good and colourful oriental rug c1930 Oriental Rug circa 1930

Very Early Icon. UK c.1740
 Dealer Reference: 1040
 &nbsp;

Early Icon, 18th century

sharkskin technical drawing kit c1840
 Year: 1840
 Dealer Reference: 1039

Sharkskin technical drawing kit 19th century

A rare and highly desirable pair of Charles II silver toilet boxes designed with square cut cornered bodies and delightful detachable &lsquo;stepped&rsquo; lids. &nbsp;Both boxes have stunning hand engraved contemporary armorials and crests for importance.
Incredibly important pair of large Charles II silver toilet boxes made by the highly renowned silversmith Anthony Nelme.

17th Century Antique Charles II Sterling Silver Pair Toilet Boxes London 1683 Anthony Nelme

A rare and highly desirable English made Victorian silver wager cup designed with an elegant figural body, a stylish decorative bell skirt and an ornate upper swivel bowl.
&nbsp;
Weight: &nbsp;11.28 troy ounces/351 grams
Height: &nbsp;9.5 inches/24cm
Width: &nbsp;5 inches/12.75cm
Condition: &nbsp;Excellent throughout
Note: &nbsp;99 times out of 100 Victorian wager cups are continental made some bearing British import marks. &nbsp;Very rare to see a Victorian London hallmarked wager cup.

Antique Victorian Sterling Silver Figural Wager Cup London 1894 Charles Stuart Harris

A very important and extremely collectable oval cake basket designed by the highly renowned Peter Archambo. &nbsp;The body of the basket is stylishly hand pierced throughout and has an applied ornate border. &nbsp;The base of the basket has fine flat chasing as one would expect from this master craftsman. &nbsp;The handle is hinged and has additional similar fine flat chasing for decorative highlights.

18th century Sterling Silver George II Cake Basket London 1738 Peter Archambo

A good quality late 19th Century Ormolu, Louis XVI style fan fire screen, having pierced decoration and scrolling Rococco influenced detail.

Louis XVI Style Ormolu Fan Firescreen, Circa 1900

A fine quality French kingwood and marquetry, ormolu-mounted Bureau plat, signed Linke. Having three frieze drawers to one side, dummy drawers to the reverse, inset Moroccan leather top and raised on cabriole legs.

19TH CENTURY, BUREAU PLAT, BY FRANCOISE LINKE

18th Century Chinese Kangxi clobbered vase/lamp.&nbsp;
 A very decorative 18th Kangxi period vase / lamp, having the blue and white ground with later clobbered floral and classical motif decoration in beautiful bold colours.
 Batch 37 G8959/10 SELK.

18th Century Chinese Kangxi clobbered vase/lamp

Oval shaped mid 20th century wrought iron and glass coffee table, wonderful decorative detail to the metal, will work in a classic and contemporary setting.

20th century Spanish wrought iron coffee table

C18th framed oil painting of a European battle scene.In an impressive carved gilt frame the painting has over the years has had paint loss and been restored and retouched.The artist and the scene is unknown however this is highly decorative large painting and would &nbsp;make a great addition to an interior wall

18th century European oil painting of a battle scene 

Gessowork mirrors are all about the details. Their outlines are fairly primitive compared to the later rococo and neo-classical pieces but the richly decorated flat surfaces repay years of study.This mirror has some features that lift it above the ordinary, in particular the tasseled banner in the middle of the finial. This is a pleasing design that we have never seen on any other mirror from the period. The inner frame is worth noting in its similarity to earlier plain Queen Ann mirrors; indeed it is not impossible that the frame was made for an earlier glass which accounts for the shape.Glass was often reused in the 18th century because it was so expensive. The glass here is too thick to be original but has a lovely soft, i.e. hand done, bevel - 19th century and with some foxing.The eagle heads are quite often seen in mirrors of this type, either looking outwards or, as in this case, inwards. A nice touch is the foliage held in their beaks which then merges into the body of the frame.Concerning the shell motif at the bottom, I don't pretend to know why, but the majority of this type of gessowork looking-glasses have a shell motif at top or bottom, sometimes both! The shell is supposed to be associated with Aphrodite/Venus ('Venus on a Half-Shell') but why the Goddess of Love must always be invoked in these mirror frames, I know not.The brass candle-arms or not original but it would originally have had candle-arms if you see what I mean. It is easy to forget how dark interiors at night would have been and one of the main reasons for having looking-glasses was to place candles in front of them to increase light. This piece looks magical with the candles lit.

A gessowork looking-glass, English, circa 1720. Mainly original gilding; bevelled glass 19th century.

An exceptionally rare small carved limewood frame in the manner of Grinling Gibbons, English, circa 1690. Oil gilding possibly later; glass of the period and possibly original.Grinling Gibbons was the finest carver in England of his time and is rightly venerated for the extreme naturalism and lightness that he brought to the art of carving in wood. This is not a documented example of his work but it is from the period and displays virtuosty equal to his documented work albeit on a smaller scale. In terms of rarity it is very doubtful that there is anything comparable on the art market today.(Until a few years ago we always presumed that if any piece like this was gilded then the gilding had been added later but we have since learnt that there is in fact an extant Gibbons bill that includes the cost of gilding.)

A small giltwood mirror in the manner of Grinling Gibbons

With gesso mirrors it&rsquo;s all about the details, and this mirror has many inventive and well executed ones. Both the top and the bottom corners are unusual and beautifully carved, and the shells (usually referred to as an attribute of the goddess Venus) and other elements are also very fine.

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