JAEGER LE COULTREGold plated Atmos clock with round dial and Roman numerals. Ruby jewelled movement signed &lsquo;Jaeger-Le-Coultre&rsquo; with oscillating pendulum.Outstanding engineering with precision timekeeping.Self winding, perpetual motion clock that literally &lsquo;Runs on air&rsquo; Serial number 604493 c.1985

Jaeger Le Coultre Atmos Clock c.1985

Small Walnut Longcase Clock Retailed by Garrards.&nbsp;Small walnut Longcase clock standing on a raised, shaped moulded plinth with applied panel to the base and carved acanthus leaf decoration.&nbsp;Faux long trunk door with raised edging below the break arch hood with canted corners and glazed door.&nbsp;Brass dial with gilded corner spandrels, raised silvered chapter ring signed &lsquo;Garrard and Co Ltd, 112 Regent St, London&rsquo;. &nbsp;Silvered, raised boss to the arch signed &lsquo;Tempus Fugit&rsquo;.&nbsp;Eight day brass plated quarter Westminster chiming movement with strike/silent feature.c.1950

Small Walnut Longcase / Grandmother Clock By Garrards

Georgian Bracket Clock by Handley and Moore, London&nbsp;&nbsp;Break arch mahogany Bracket clock standing on a raised plinth and resting on brass bracket feet with decorative fishscale silk lined frets to both sides and rear glazed door opening to reveal the movement. &nbsp;The front of the case bordered with satinwood and inlaid with brass decoration surmounted by a barss bound pad supporting a brass carrying handle.&nbsp;Cast brass bezel opening to reveal an enamel dial signed &lsquo;Handley &amp; Moore, Clerkenwell, London&rsquo; with Roman numerals and finely pierced brass hands.&nbsp;Eight day double chain fusee movement of fine quality striking the hours on a large bell, anchor escapement. &nbsp;The backplate with egg and dart border engraving also the brackets and pendulum bob. &nbsp;The backplate signed Handley &amp; Moore, London. &nbsp;C.1805.&nbsp;&lsquo;Watchmakers and Clockmakers of the world&rsquo; by Brian Loomes lists Handley and Moore as working in Clerkenwell Close in London from 1801 to 1820 when George Handley retired and later died in 1824. &nbsp;The firm then became known as &lsquo;John Moore, late Handley and Moore&rsquo;. &nbsp;Both George Handley and John Moore began clockmaking as apprentices &nbsp;for John Thwaites who was one of the very leading master clockmakers of the time, later becoming a partner in the well known London firm &lsquo;Thwaites and Reed&rsquo;. &nbsp;Both Thwaites and Reed and Handley and Moore did not build many clocks for themselves but concentrated on producing fine quality movements for others to use.

Georgian Bracket Clock by Handley & Moore, London

The tripods &ldquo;Li&rdquo; (鬲) appeared in China as early as the Neolithic period. Judging from the black burn areas on the surface, they were used as cooking vessels heated directly on the fire. As the food or soup can be cooked in the hollow legs, this makes the heat transfer easier. The surface of the legs have linear impressions as decorations while the rim and the parts in between the legs have the elegantly made wavy folds. &nbsp;Two handles are attached to the sides of the legs and only one nipple shaped button is placed in the symmetric line of the tripod. One theory on how this kind of early tripod was produced without using a mould indicates that three amphoras were made as legs and then joined together. This tripod is the precursor of the later three-legged bronze vessels seen in the Shang dynasty.Neolithic period (ca. 5000 - 2000 BCE) 15 cm high

Three Legged Earthenware Jar(“LI”) 新石器時代灰陶三足鬲

Warring state 4th century BCE8.5cm high, 10.5cm diameterThis type of mini-sized, unglazed jar appeared during the Eastern Zhou dynasty and early Han dynasty. The jar has a rather flat base with, unusually, three tiny supporting knobs, suggesting the firing technique might be similar to that employed in Song dynasty some fifteen centuries later. The jar was grey after firing, and the jar&rsquo;s base has dark grey, purple and reddish hues, which could result from being used as a cooking vessel. The natural beauty of the finish comes from its delicate surface patterns, formed by impressions of a rough-woven fibre, possibly cotton or straw. It has a thin rim and two pairs of tubular &lsquo;ears&rsquo; in parallel on opposite sides of the rim. These finely-made ears have holes and allowed a thin handle to go through to lift the jar.

Mini Pottery Jar ​戰漢布紋小罐

Neolithic Siwa Culture (14th-11th century BCE) 20 cm highSiwa culture predates the Zhou dynasty and is contemporaneous with the Shang dynasty. It spans the Southeast Gansu Province. The unique shape of Siwa pottery is its flaring saddled-shaped mouth, with two handles connecting the rim and the shoulder of the vessel. This Siwa jar is made into a dark greyish colour with a well burnished surface, which is both rare and distinctive. Upon close inspection, one side of the surface and the bottom both bear an incised &ldquo;X&rdquo; symbol, perhaps suggesting the maker or the owner. The surface has the traces of scratches during the burnishing process and the plant roots during the burial period, making natural decorations to the monochrome object. This smaller Siwa jar in comparison with the larger reddish Siwa jar in the same catalogue has a more compressed body.

Small Double Handled Black Earthenware Jar 寺漥黑陶小罐

An original oil on canvas by British listed artist Frederick George Swaish and painted in 1923. He was a noted British artist of the inter war period and a regular exhibitor at the major British art institutions.Dimensions:Height30.5 cm / 12 1&frasl;4" Width36 cm / 14 1&frasl;4"

Extensive River Landscape

De Neuville was a late 19th century French Animal painter. He also painted exquisite studies of fruit of which this is a fine example. Having received a somewhat basic training from his father, he became famous in his twenties and thirties as a leading animal artist of the Paris school focussing on domestic cats and then later on still life subjects, such as fruit and flowers. He exhibited work at the Societe des Artistes Francais from 1879 and was elected a member in 1907. Throughout his life Brunel de Neuville worked hard to improve his skills and later paintings are both more complex and intricate than earlier works. Both dogs and cats became popular as the subjects of a sentimental/realist genre at which de Neuville excelled. His trademark painting is a group of mischievous kittens playing with a ball of wool or other domestic object. Although the style is broadly realist, some of the cat paintings are just a touch impressionistic in tone. Certainly the cats are not depicted as a natural subject in a strict realist way. Many of his still lifes have a charming French bucolic feel.Dimensions:Height54 cm / 21 1&frasl;2" Width61 cm / 24 1&frasl;4"

Basket of Fruit

Parker was born in London, England and was based there for most of his life. He specialised in picturesque pastoral landscapes in oils often featuring farming subjects - such as harvesting and haymaking - river and coastal landscapes, and traditional rural buildings. Much of his painting was done in the counties of southern England. He studied art at St. Martins School of Art and later at one of the Royal Academy schools. Though a popular and successful artist, he never featured in any major national exhibitions during his lifetime (though he did exhibit in Canada and the USA), and not much is known about his life. His works shows not only the influence of the impressionist school, but also owe something in technique and subject matter to his well-known contemporary Benjamin Williams Leader. He also worked for a time as an illustrator for the Illustrated London News. Parker also painted under the names H.D. Hillier or H. D. Hillyer.Dimensions:Height71.09 cm / 28 1&frasl;4" Width96.48 cm / 38 1&frasl;4"

A Victorian Riverside Landscape

A Special Clyde by S. Griffith&rsquo;s &amp; Sons of Wolverhampton, Circa 1880.Frame marked with makers name and model type.With display stand.Height: 144 cm.Diameter of front wheel: 50 inch.&nbsp;S. Griffiths and Sons, Clyde Works, Heath Town, Wolverhampton.

Special Clyde Penny Farthing

A pair of early 20th century floor standing brass candelabra.The tray and stem of each candelabra is decorated with leaves, triform base, mounted on ball feet.Height: 112 cm | 44 in

Pair Of Brass Candelabra

An early 20th century rolling tram sign with route numbers and destinations.With internal light.&nbsp;Width: 53 cm.Height: 35 cm.Depth: 28 cm.&nbsp;Numbers and destinations:1233X5695960DEP&ocirc;T ONLY6364687879RACE SPECIALFOOTBALL SPECIALBARTONS ARMS70&nbsp;81

Tram Scrolling Sign

Art deco stoneware sculpture of an antelope enameled in red.&nbsp;Signature engraved: G. Cacciapuoti, stamped &ldquo;Fabrique en Italie&rdquo; to the socle, labels to the base.Bibliography: AA.VV. Le ceramiche di Cacciapuoti da Napoli a Milano 1870-1953, Catalogue of the Exhibition, Faenza, 2000, p. 88, f. 118. Exhibitions: Le Ceramiche di Cacciapuoti, Montelupo Fiorentino, Centro Espositivo, October 11-26, 1997.

Art deco stoneware sculpture of an antelope enameled in red. 

Having fanciful and delightful floral paintings within panels . On. this dish cornflower,anemone and peony are depicted on an apple green background with raised white floral motifs and gilt decoration.9" x 7.75 " or22.50 cm 19.50 cm

A pair of unusual Spode shell dishes in porcelain, both marked spode in red, pattern 2705. C 1815.

Chinese 18th century massive, large bowl made during the reign of the emperor Kangxi 1662-1722 for export to Europe at the kilns at Jingdezhen.The painting shows two pairs of chasing dragons each with 4 claws amidst lightning and clouds. &nbsp;The painting is in great detail and excellent colour.It has a massive quality and is very thickly potted. The top rim is unglazed as is the inside top which indicates that it was to have had a lid.There is a large firing flaw to the base which recently someone has tried to restore there is no damage to it just some over glaze which I keep findingUnlike other items some contribution for shipping will be needed

Kangxi Blue and White Dragon Bowl

Chinese Early 18th century. Made during the Emperor Kangxi's reign with the right mark on the base&nbsp; (Mark and Period) - Blue and white lotus&nbsp; moulded bowl made at the kilns at Jingdezhen.The outside around the top is painted with various auspicious flowers and foliage.Around the base are shaped and moulded lappets painted in alternate panels with flowers and&nbsp; infillThe inside is painted with the same auspicious flowers with a central roundal of a flower head. The base has a six character Kangxi mark with in a double blue circle. Very pretty bowl excellent colour and pottingFrom a private collection.

Kangxi Blue & White Porcelain Mark and Period Bowl

A beautifully made mahogany combination scoring cabinet circa 1870 with facility to score Billiards, Snooker and Life Pool, central slate panel with Fleur-De-Lis flanked by revolving number bars and lettered Life Pool panels with inlaid ebony and boxwood sections. Complete with a glazed ball storage compartment with the facility to hold a selection of snooker and billiard balls, the timber quality of this scorer is exceptional. The pediment is adorned with a tasteful pierced carved section which has a central mahogany boss.Dimensions:Height 91.44 cm / 3' 0 " Width 116 cm / 3' 9 " Depth 11 cm / 4 "

Billiards, Snooker Scoring Cabinet Of Outstanding Quality

A well made solid oak Billiards Snooker or Life pool combination scoring board by John Taylor of Edinburgh, with revolving number bars, Life Pool sliding panels and a central slate panel.Dimensions:Height 65 cm / 2' 1 3&frasl;4" Width 110 cm / 3' 7 " Depth 9 cm / 3 "

Antique Billiard Snooker Life Pool Scoring Cabinet Circa 1880

An exceptional Billiard scoring cabinet of Gothic form circa 1860, profusely and tastefully carved featuring a pair of Griffins above a relief border of roses and fauna, incoporating hand painted revolving numbers in black and gold, with Life Pool sliding panels carved with the respective 'White" or following colour.The bottom section complete with penny slots and drawers for stake retrieval, all mounted on a broad oak base.Part of billiard room suite stock no 1172Dimensions:Height 115.5 cm / 3' 9 " Width 132 cm / 4' 4 " Depth 39 cm / 1' 3 "

Gothic Oak Billiard Spectacular Snooker Scoring Cabinet

A wonderful mahogany Billiards, Snooker &amp; Life pool combination scoring cabinet by George Wright of London, made circa 1895 &nbsp;with a very nice cut of mahogany a pediment top adorns this scoring cabinet.A central slate section is flanked by lettered Life Pool sliding panels which reveal mother of pearl inlay and box wood ebony stars.The makers original mark of "George Wright &amp; Co London" is in perfect condition.Two revolving number bars with nicely aged brass runners and pointers sit above symmetrical ball storage cupboards and a central drawer which is used for the retrieval of "stake money".George Wright founded his billiard table business in 1868 and records indicate the company was operating from 162/164 Westminster Bridge Road London, he achieved much success and won gold medals at exhibitions in Australia and New Zealand in the early 1880s.Dimensions:Height 98 cm / 3' 2 3&frasl;4" Width 107 cm / 3' 6 " Depth 19 cm / 7 "

Antique Billiards, Snooker Life Pool Mahogany Scoring Cabinet

An oak framed Billiards, Snooker &amp; Life pool combination scoring cabinet by Thurston.Made circa 1860 the pierced top of Gothic form adorns this scoring cabinet which is completely original.A central slate section with engraved "Fleur de Lis" is flanked by lettered Life Pool sliding panels which reveal mother of pearl inlay and box wood ebony stars.The makers original tablet "Thurston &amp; Co London and Manchester" is in perfect condition.Two revolving number bars with original pointers sit above symmetrical ball storage cupboards and a central drawer which is used for the retrieval of 'stake money'.Dimensions:Height 89 cm / 2' 11 " Width 117 cm / 3' 10 " Depth 17 cm / 6 "

Antique Billiard, Snooker & Life Pool Scoring Cabinet

A stunning shaped oval flush hinged Georgian silver tea caddy designed with beautiful curvaceous panels and intricate bright cut engraved borders. &nbsp;There are elegant contemporary hand engraved crest and armorial for importance.&nbsp;Weight: &nbsp;14.8 Troy ounces/462 gramsHeight: &nbsp;7 inches/17.7cmWidth: &nbsp;6.25 inches/15.8cmDepth: &nbsp;4 inches/10cm

18th Century Antique George III Silver Tea Caddy London 1795 Thomas Shepherd

Carved mid century travertine limestone Rhinoceros bookends by the Mannelli brothers, Travertino di RapolanoItaly circa 1970

pair of Fratelli Mannelli travertine Rhinoceros circa 1970

CHARLES MARCH GERE, RA, RWS (1884-1963)A Cotswold StonebreakerSigned l.l.: CHARLES GERE; signed and inscribed with title and the artist&rsquo;s address on the stretcher Oil on canvas41 by 51 cm., 16 by 20 in. (frame size 55.5 by 65.5 cm., 22 by 26 in.)Exhibited: London, Royal Academy, 1938, no.671.The present work shows the Painswick stonemason, Percy Musty, accompanied by his dog Patch. &nbsp;He is shown working on the wall of building near Paradise, a small hamlet about half a mile north of Painswick. &nbsp;There is a study for the painting in a private UK collection. &nbsp;Although exhibited at the Royal Academy in 1938 it seems likely this is the earlier painting known as The Stonebreaker, exhibited at the Birmingham Group Exhibition in 1919 (no.133) and at the Cotswold Gallery in 1921 (no.3). &nbsp;Gere was born in Gloucester and studied at the Birmingham School of Art under E R Taylor and he joined the staff of the art school in 1893. &nbsp;In the 1890s he worked as an illustrator, contributing to The Quest and books illustrated by the Birmingham Group and designing the frontispiece for William Morris&rsquo;s News from Nowhere (Kelmscott Press, 1892). &nbsp;In his early career he was involved in a number of the arts and crafts, designing embroidery, metalwork and stained glass and painting the reredos in the Chapel at Madresfield. &nbsp;Gradually, however, he became almost exclusively a landscape painter. &nbsp;In about 1904 he and his sister Margaret settled in Painswick, near Stroud, and many of his subjects were found in the surrounding Cotswolds, which was to become his favourite painting ground. &nbsp;He exhibited at the New Gallery, Society of Painters in Tempera, Royal Academy, New English Art Club, Royal Watercolour Society and Art Workers Guild. &nbsp;A memorial exhibition was held in Gloucester in 1963.

A Cotswold Stonebreaker - Early 20th Century British Oil Painting by Charles March Gere

As part of our Japanese works of art collection we are delighted to offer this unusual Meiji Period 1868-1912 , study of a large elephant performing a balancing act upon two huge bronze spheres fitted with a bronze peg upon its original nicely carved wooden base. The highly regarded Meiji Period foundry headed up by Genryusai Seiya &nbsp;produced literally thousands of Elephant groups of varying sizes and poses, of which we have had numerous over the years, however this is the first time we have encountered this particular model. A quite charming study displaying the huge beast rendered in such lifelike detail as he uses his huge tusks to balance, the artist has signed the group in a seal within the largest sphere.Condition report :&nbsp;Good condition throughout.Approximate Sizes :Length : 18" 46 cmHeight : 16 1/2" 42 cmDepth : &nbsp;12" 30.5 cmFree worldwide delivery and a certificate of authenticity are included within the price of this item.

Large Japanese Bronze Elephant Okimono- Genryusai Seiya

Fine contemporary jack in the pulpit glass vase in the style of Tiffany. Blown with iridescent colours with a stunning shimmering surface from every single view. The vase from American glass studio Mario Real from Santa Barbara. Signed to the base Mario Real Studio SB 97&prime; for 1997.&nbsp;

Jack In The Pulpit Vase 20th Century | Mario Real

Fine 19th century grand tour style patinated bronze figure of a seated greek mythological male. The man full of expression with noticeable hand gestures glaring at the ground. The figure perched upon a fountain with a face opening signed G. Sommer Napoli.Lot Notes: Giorgio Sommer (1834&ndash;1914) was born in Frankfurt &nbsp;Germany, and became one of Europe&rsquo;s most important photographers of the 19th century. Active from 1857 to 1888, he produced thousands of images of archeological ruins, landscapes, art objects and portraits.After studying business in Frankfurt, Sommer opened his first photography studio in Switzerland, where he made relief images of mountains for the Swiss government. In 1856 moved his business to Naples and later (1866) formed a partnership with fellow German photographer Edmund Behles who owned a studio in Rome. Operating from their respective Naples and Rome studios, Sommer and Behles became one of the largest and most prolific photography concerns in Italy.

Greek Mythological Male Bronze – Giorgio Sommer

Fine Meissen porcelain figural group model number 186. The porcelain figures around a Clavichord piano named &lsquo;Gallant couple at Clavichord. The group beautifully modelled with a male figure dressed in white with gilt accents standing behind a female figure seated at the instrument dressed in a yellow floral dress and violet jacket with stars. Marked to the base with the blue underglaze Meissen sword mark of first quality. Model number 186, former number 8528 circa 1860 designed by Johann Joachim Kandler circa 1741.Notes | Johann Joachim Kandler (1706-1775) was a German sculpture who became the most prominent sculptor from the Meissen porcelain factory, and arguably the most important across Europe. He worked for Meissen between 1731-1755 with a career spanning over 40 years.

Meissen Model 186 Figures By A Clavichord Piano | Circa 1860

Fine silver gilt rococo style oval dish with Stourbridge crystal centre. The small dish decorated with a silver gilt boarder with multiple cherubs nestled between seahorses and flowers. To each end a loop handle featuring a humours frog and lizard perching on the top of the loop. The metal with multiple hallmarks including the lion passant, leopard and date mark indicated it was hallmarked in London in 1904 by William Comyns. Mounted in the centre a piece of Stourbridge crystal completes the very elegant dish with flowers amongst a central circling motif.Notes | William Comyns opened his renowned silversmiths business in 1859 and slowly began to develop a substantial business working together with his sons. The core of his success came from producing decorative die stamped tableware and then later the company became noted for their interpretive works of important historical makers such as Paul de Lampiere. After William died in 1916 the firm continued operation until they sold to Bernhard Copping in 1953. This example encapsulates the work of William Comyns with the rococo style elements and humours handles.

Silver Mounted Stourbridge Crystal Dish | William Comyns

Fine late 19th century ormolu mounted serves style porcelain pot pourri. The cup decorated in typical Sevres fashion with a light blue ground glaze displaying two fantastically painted scenes with two birds on one side and the other with fruit, completed with gilded scrolling boarders to the outside. The inside with matching paintwork with floral sprays and a rippon like floral boarder. The cup mounted within a beatuifully cast ormolu base with blossoming flowers and leaves. To the top twin loop handles delicately attach to a pierced boarder for allowing the pot pourri scents to flow through into the room. The piece finished with a sunflower simulated lid topped by a bee final.

Ormolu Mounted Sevres Pot Pourri | 19th Century

Important oversized continental hand painted porcelain tankard probably by Dresden Germany. The tankard of exceptional form decorated extensively to the lid with encrusted flower boarders, cherub finial, nymph curved handle and royal portrait scent. The tankard likely to have been a showcase exhibition piece displaying the talents of Helena Wolfsohn. Wolfsohn commonly used a copy of renowned Meissen painter Augustus Rex&rsquo;s AR monogram until she was forced to stop by the competitor factory. Helena Woolfsohn was an outside decorator for Dresden in the 1870&rsquo;s. Her work was typically decorated with pastoral scenes, inspired by the French artist Antoine Watteau and interspersed with panels of flowers.Lot Notes: Dresden is a porcelain factory in Freital near Dresden, Germany. It was founded in 1872 and still keeps alive the long tradition of European porcelain art. Dresden has been one of the leading manufactures of porcelain since it opened engulfing much of the opposition and uniforming its products under the same umbrella. Since 1902 Dresden Porcelain has a blue &ldquo;SP Dresden&rdquo; registered trademark. Dresden became known for its expertise in painting and was known to employ at least 40 different painters with multiple paint studios within and surrounding Dresden. The majority of the porcelain wears came from the Meissen factory in plain white and were considered &lsquo;seconds&rsquo; after failing quality control within the Meissen production.Lot Reference: For an identical shaped piece with a different subject please see Elite Auctioneers, 15th January 2019, Lot 8

Oversized Dresden Porcelain Exhibition Tankard

A fine large sized pair of Japanese bronze vases. The vases each surmounted by waisted necks flanked by two spreading handles with accents in the form of Japanese Torri (traditional Japanese gates) above a bulbous body upon a spreading circular base. The vases boldly decorated with gold, silver, shibuichi and shakudo using both hirazogan and takazogan techniques with berries amongst foliage and silver bellied sparrows. Across the neck, lapels of silver hearts boarder the gilt lip with further anamorphic dragon figures and draped inlay. The vases of elongated form and of very high quality are unusually not signed. The master craftsman who painstakingly created the vases did not sign them and therefore the maker remains unknown.Notes | Shibuichi 四分一 | Japanese copper alloyZogan 象嵌 | Japanese word for Metal InlayTakaniku zogan or taka zogan 高象嵌 | Mound Inlay technique, inlay of raised or high relief solid sheet metal. The forms of this technique can also be carved, engraved and inlaid.Hira zogan 平象嵌 | the inlay of sheet metal flush with the base metalShakudō 赤銅 | A billion of gold and copper which can be patinated or left in its original state which resembles bronze.

Japanese Bronze Vase Pair | Meiji Period

Fine Japanese iron charger dating to the late Meiji period. The charger boldly decorated with an outer boarder of gilt leaves surrounding the central scene of the world famous Itsukushima Shrine also known as the Great Torii of Miyajima. The charger is inlaid with gold and silver accents with the Torii gate featuring to the center forground and the Hoden (main hall) and Heiden (offertory hall) in the background.The Shinto Shrine of Miyajima is best known for its floating Torii gate. It is located in the city of Hatsukaichi in Hiroshima prefecture Japan. The entire shrine complex is listed as a UNESCO world heritage site, with the Japanese government designating several buildings and possessions as national treasures. The shrine is one of Japanese most popular tourist attractions and is accessibly by ferry at Miyajimaguchi station. In total the shrine complex consists of two main buildings, the Honshu shrine and the Sessha Maraodo-jinja, as well as 17 different buildings and structures.There is some discussion as to when the shrine was originally built with some indication stating it was built by Saeki Kumamoto in 593 during the reign of Empress Suiko (592-628 CE) however more recently the shrine as been attributed to Taira no Kiyomori, a prominent nobel of the Imperial Court and later Chancellor Daijō-daijin, who heavily contributed to the construction of the shrine during his time as governor of Aki province in 1168.This scene is featured on a number of Japanese artwork&rsquo;s due to its widely recognisable Torrii it can be found on block prints from famous artists such as Hiroshige, Kunisada and Yoshitoshi as well as a few other pieces of Komai metalwork.The charger is signed to the rear Seibei Komai (駒井清兵衛), 駒 (&ldquo;koma&rdquo;) kanji inside the 井 (&ldquo;i&rdquo;) kanji 駒井 = Komai. Seibei Komai was the son of renowned Japanese metal artist Otojiro Komai who bears the dragonfly trademark. Once Otojiro Komai retired in 1906 his son took over the production of metal works until 1941. After the war Komai changed direction of business and began so specialise only in the sales of pearls, the komai texturised inlay technique has since been lost.This exceptional charger would be a fine addition to any Japanese collection and one with such a deep connection to Japanese culture and heritage.

Japanese Meiji Period Iron Charger | Seibei Komai

SIR CECIL BEATON, CBE (1904-1980)Historical Costume Design DetailsVariously inscribed: Green Leaves in Layers / 1775 / 1812 Pencil Unframed, in mount only27 by 18.5 cm., 10 &frac12; by 7 &frac14; in. (mount size 39.5 by 30 cm., 15 &frac12; &nbsp;by 11 &frac34; in.)Provenance: The artist&rsquo;s studio sale; Private collection.Cecil Walter Hardy Beaton was a fashion and portrait photographer, diarist, interior designer and stage and costume designer for the stage and screen. &nbsp;He was born in Hampstead and educated at Harrow and St John&rsquo;s College, Cambridge although he left without a degree in 1925. &nbsp;He worked as a photographer for fashion magazines and became an extremely popular and well-connected society portraitist who also recorded the gathering of his friends among the Bright Young Things of the 20s and 30s. &nbsp;After the war Beaton started designing stage sets and costumes for London and Broadway. &nbsp;His most lauded achievement for the stage being the costume for Lerner and Loewe&rsquo;s 1956 production of My Fair Lady.&nbsp;

Pencil Costume Design Details by Cecil Beaton

Chinese early 18th century figure in Wucai enamels and orange pigment of a standing boy in Mandarin clothing holding a vase. made at the kilns at Jingdezhen at the end of the reign of the Emperor kangxi or the start of the reign of the Emperor Yongzheng for export to Europe. The clothing the boy is wearing is typical of the period and of a Mandarin even with the cuffs on the sleeves being in the shape of a 'horse or pony hoof'. &nbsp; Unlike the figures of the twins of harmony where the vase is held to the side this boy has the vase to the centre and could actually be used for a small flower. &nbsp;it is often said that this figure was not paired with another due to the positioning of the vase. For similar see Plate 264 in Treasures of Chinese Export Ceramics from the Peabody Essex Museum by William Sargent. Earlier provenance to the base from a private European collection

Kangxi / Yongzheng Wucai Figure of a Standing Boy

Chinese 18th century pair of straight sided deep sided saucers made during the early part of the reign Yongzheng c1730. &nbsp;Made at the kilns at JingdezhenThe pair of saucers are intricately painted with a geometric design to the rim and sides and a scholar's jardini&egrave;re to the centre which is planted with bonsai bamboo, pine and grassesTo the back the saucers are painted with a six-character Cheng H'ua mark inside a double circle, to honour not to deceive. This is an apocryphal mark. &nbsp;There are also scattered flower headsThis type and pattern were more usually in sort paste porcelain these are hard paste so more unusualExcellent pair

Early Yongzheng Pair of Blue and White Porcelain Saucers

Fereydoun punishing Zoh-hak for his attempt to murder him. Persian miniature, end of 16th century. This is an Illustration taken from a Shan Namah manuscript, written by Ferdawsy, Very fine border.

Fereydoun Punishing Zoh-Hak For His Attempt To Murder Him. Persian Miniature Painting, End Of 16th Century 

A fine large Italian marble sculpture of the three graces, late 20th century. &nbsp;

The Three Graces, Life Size Marble Sculpture 

This is a very unusual Arthur Simpson of Kendal Arts and Crafts carved oak chest of drawers. It has a very unusual division on the top, one presumes for his and hers personal accessories to be kept separate. Or maybe even a jug and bowl set for each. It is clearly a special commission. It has the typical Simpson carving to the edge and the Rathbone handles. It is beautifully made. The drawers are even mahogany lined for extra quality. This piece appears to be unsigned. It is in good condition. There is just one ring mark to the top which could be removed. It measures 99cm wide, 48.5cm deep and 91cm tall.

Arthur Simpson of Kendal Carved Oak Chest Of Drawers

This is a very good Ruskin Pottery banded crystalline glazed vase. These vases that were glazed in close bands are very rare, but known to exist from a few examples. The glaze sits well on this piece and its fired pretty well. It is fully marked to the base and in very good condition. This vase measures 26cm tall.

Ruskin Pottery Banded Crystalline Glazed vase

This is a very unusual Arts and Crafts pottery hand painted vase decorated with Crane's. It has the artists initials to the base, which we have struggled to identify. It is well modelled and painted. It has a firing fault line to the rim.

Arts and Crafts Hand Painted Crane Pottery Vase

A rare early 18th Century Louis XV provincial burr elm shaped front mazarin commode of excellent colour and proportions.&nbsp; French Circa 1710.&nbsp; Constructed with thick cuts of tight burr elm dowelled to the carcass, the rectangular burr elm panelled top with a fruitwood banding, over three inverted breakfront drawers retaining their original handles and escutcheons, flanked by shaped front styles terminating on splay feet.The sides panelled with a shaped moulding.&nbsp; Please note it is very rare to find a commode of this form being in burr elm. These commodes are called Mazarin because of the shaped front styles leading down to the feet, a design first introduced in the Louis XIV period. Offered in excellent condition and of extremely good colour.&nbsp;&nbsp; Width: 48 inches - 122cm Height: 31 1/4 inches - 82.5cm Depth: 27 1/2 inches - 70cm

Rare Early 18th Century Louis Xv Provincial Burr Elm Mazarin Commode

An extremely elegant, rare Regency amboyna and brass inlaid gilt bronze mounted pier table. Provenance Part of Sir William Whitfield Collection. &nbsp;&nbsp; English Regency period, Circa 1815.&nbsp; The raised back with open shelf, surmounted by a pierced anthemion three quarter brass gallery above a rectangular mirror plate, flanked by gilt bronze pierced foliate scrolled supports, over a finely coloured amboyna and banded top above cut brass inlaid frieze drawer decorated with anthemion and flower head motif.The dual tapering scroll supports with palmette lappet surmounts and cut brass inlay terminate on gilt bronze claw feet, flanking a later large mirror plate to the rear, raised on a inverted breakfront plinth base edged with gilt bonze beading. Formerly in the collection of Sir William Whitfield.&nbsp; This elegant Regency pier table is a superb example with its fine quality mounts and distinctive amboyna veneers which are rarely found on furniture of this period.The condition is excellent, having the most wonderful colour and patination to the finest cuts of amboyna that would have been available, during the early 19th century this veneer was thought to be worth more in its weight than gold.This table would have almost certainly been especially commissioned, further research maybe undertaken to find a comparative example and insight to a potential maker.&nbsp;&nbsp; As such pieces in amboyna are far rarer, an example of pier table has yet to be found, but an amboyna sofa table with extremely similar brass inlay and form can be seen in Clifford Musgrave&rsquo;s book Regency Furniture, published by Faber and Faber in 1961, plate 63.It is from the Royal Collection and the caption includes &lsquo;made about 1816 for Clarement,&rsquo; (Claremont) &lsquo; Esher, Surrey, home of the Princess Charlotte&rsquo; by Gracious permission of H.M. The Queen. (Image shown)&nbsp; Provenance Sir William Whitfield, who was one of the most distinguished architects of his generation. Over his long career, he developed a design approach that combined contemporary progressive trends alongside great historic architectural tradition.&nbsp; Dimensions&nbsp;Width 38 inches - 97cmHeight 54 inches - 137cmDepth 16 1/4 inches - 41cm&nbsp;

Regency Amboyna and Brass Inlaid Gilt Bronze Mounted Pier Table.

An imposing late 18th century Dutch oak linen press of wonderful natural faded oak colour.Dutch circa 1790Of substantial proportions, constructed throughout with oak pegs, topped by a beautifully hand-carved dentil-moulded segmental pediment, carved with a flower vase and scrolls, above a pair of panelled doors with patera-carved spandrels set within ebonised columns, headed with brass capitals. Opening to reveal two central longer drawers above three shorter drawers with brass ring handles.The lower section having three longer drawers within leaf-carved bracketed pilasters retaining their original handles, keys and escutcheons, set on square tapering feet.&nbsp;A finely constructed linen press, with its light, naturally faded oak colour and ample storage which would have been originally designed to store clothing for an affluent eighteenth-century family. This piece would make a beautiful and useful statement piece in both a contemporary or traditional home.&nbsp;

Late 18th Century Neoclassical Dutch Oak Linen Press of Wonderful Colour

Well proportioned Victorian oak Gothic revival open armchair stamped G Tilley.&nbsp;English Circa 1860.&nbsp;Of good deep proportions having an oak framed shaped padded back with inset fluted columns, padded armrests supported by tapering fluted columns on plinth bases, flanking a sprung stuff-over seat newly upholstered in calico with space nail stud work. The front legs of typical Gothic form having trefoil Gothic tracery carved brackets and fluted turned legs united by a front foot rail terminating on the original brass and porcelain castors.&nbsp;In wonderful original condition having been newly recovered retaining the original horsehair upholstery.&nbsp;A good deep 19th century armchair that will make an ideal desk chair or reading chair.Seat Height 20 inches - 51cm&nbsp;

19th Century Oak Gothic Armchair by G Tilley of Birmingham

A wonderful 18th Century George III quill work (scrollwork) tea caddy of hexagon form.English Circa 1790Finely executed, this very attractive caddy of hexagon form of satinwood construction having glazed and decorated panels of paper scrolls and gilt rolled paper also known as quill-work. Decorated with flowers and leaves with a painted silk portrait of a young girl with a flower in hand.&nbsp;The surrounding panels and top decorated conformably with a ebony stringing and checkered banding to the top which opens to reveal an interior pull out shelve and velvet lined interior. Normally used as a tea caddy this looks to have been used a possibly a jewellery casket and the velvet lining looks to have been in there for a long time possibly shortly after being made.A wonderfully decorative object that has survived in excellent condition. As mentioned below these where often made open for wealthy ladies of leisure (never practised by a &lsquo;working-class&rsquo; women!) to infill with the art of quillwork, with this example being extremely fine.Quilling or paper filigree is an art form that involves the use of strips of paper that are rolled, shaped, and glued together to create decorative designs. The paper is rolled, looped, curled, twisted, and otherwise manipulated to create shapes that makeup designs. In the 18th century, quilling became popular in Europe where gentle ladies of quality ("ladies of leisure") practiced the art. It was one of the few things ladies could do that was thought not too taxing for their minds or gentle dispositions.&nbsp;Width 7 1/2 inches - 19cm&nbsp;Height &nbsp;5 inches - 13cmDepth &nbsp;4 1/2 inches - 11cm&nbsp;

18th Century Georgian Paper Scrolled Quilled Satinwood Tea Caddy

A very bold and unusually decorated 269 vase in Double V. This will date to 1929/1930 and is unusual in that the shaft shows a full pattern and the banding is to the globe top.&nbsp; free from damage or restoration it measures 6" in height and is fully signed to the base.&nbsp;

Clarice Cliff Double V 269 Vase C.1930

An extremely rare stamford shape sugar bowl in windmill, this would have been part of a stamford tea for two set and is a very rare find. Beautifully painted with a full version of the pattern and even showing the smaller windmill as well as the main one! it measures 2.4" by 2.8" and free from damage or restoration . Printed and handwritten Applique marks to the base.&nbsp;&nbsp;

Clarice Cliff Applique Windmill Stamford Sugar Bowl

A superbly decorated 8" tall 358 shape vase in Moonlight. A rare landscape pattern to find on a vase and is beautifully painted to this popular shape. free from damage or restoration and is fully signed to the base.

Clarice Cliff Moonlight 358 Vase C.1933

A beautifully decorated large size Clog in Honolulu. Crisp decoration, a well pained version of the pattern and free from damage or restoration. It measures 5.5" and is fully signed to the base.&nbsp;

Clarice Cliff Large Size Honolulu Sabot/clog C.1933

A beautifully decorated and hard to find Conical milk jug from a tea for two set in secrets. This will date to 1933 and is a really bold example with a full version of the pattern. It measures 2.5" in height and is free from any form of damage or restoration. It is fully signed to the base.&nbsp;

Clarice Cliff Secrets Conical Milk Jug C.1933

SIR CECIL BEATON, CBE (1904-1980)Design for an Evening Gown IIPencil Unframed, in mount only28 by 19 cm., 11 by 7 &frac12; in. (mount size 40.5 by 30.5 cm., 16 by 12 in.)Provenance: The artist&rsquo;s studio sale; Private collection.Cecil Walter Hardy Beaton was a fashion and portrait photographer, diarist, interior designer and stage and costume designer for the stage and screen. &nbsp;He was born in Hampstead and educated at Harrow and St John&rsquo;s College, Cambridge although he left without a degree in 1925. &nbsp;He worked as a photographer for fashion magazines and became an extremely popular and well-connected society portraitist who also recorded the gathering of his friends among the Bright Young Things of the 20s and 30s. &nbsp;After the war Beaton started designing stage sets and costumes for London and Broadway. &nbsp;His most lauded achievement for the stage being the costume for Lerner and Loewe&rsquo;s 1956 production of My Fair Lady.

Cecil Beaton - Design for an Evening Dress II

Original David Hockney etching of Celia Birtwell, iconic British textile designer and fashion designer, signed, numbered 13 of an edition of 75, dated 1969 Hockney has had a close friendship with Celia over the years. He first met her in Los Angeles in 1964. Celia also features in a major Hockney work (with her then husband Ossie Clark) in Hockney&rsquo;s large double portrait Mr and Mrs Clark and Percy, 1971 in the Tate Gallery. At this time she was at the top of the fashion industry in London in the &lsquo;Swinging Sixties&rsquo;.&nbsp;This etching, along with another etching of the same year, &ldquo;Peter&rdquo;, marked the beginning of Hockney&rsquo;s work in full-length figure studies. A version of this print from the same edition can be found in the collection of the&nbsp;Tate Gallery London. 75cm w x 92cm h x 3.5cm d mat size: 53cm w x 70cm h&nbsp;

Original David Hockney etching of Celia Birtwell

Small covered stoneware pot with a bird shaped handle to the lid by Jean Derval Vallauris, France 1950s signed to the base Jean Derval is a French mid century potter who worked with Picasso at Madoura in the 1940sIn the 1940s Jean Derval joined his friends Robert Picault and Roger Capron in Vallauris where they had created a pottery workshop. An elegant world of amateurs and artists was found at this time on the C&ocirc;te d&rsquo;Azur with Pablo Picasso at its center. Derval entered the famous Madoura workshop in 1949, where he rubbed shoulders with the Andalusian master for two years.

Covered pot by Jean Derval

Marble topped Louis XV kingwood veneered commode of small proportions, good original colour with its original grey and white flecked marble top.France circa 1800

Louis XV kingwood veneered commode of small proportions

Wall pocket vase &ldquo;vase muale&rdquo; by Roger Capron with multicolour &ldquo;cobblestone&rdquo; decorationSigned &ldquo;Capron Vallauris&rdquo; to the reverseFrance circa 1950

Roger Capron “vase murale” wall pocket

Roger Capron anthropomorphic shaped ceramic whisky bottle in pyjama stripes. Signed to the underside &ldquo;Capron Vallauris 39A&rdquo;Vallauris France, circa 1950

Roger Capron Whisky flask

Porto flask by Roger Capron with multicolour &ldquo;cobblestone&rdquo; decoration raised on 3 pointed feetSigned &ldquo;Capron Vallauris&rdquo; to the underside(honest restoration/repair to the spout)France circa 1950

Roger Capron Porto flask

A 1/5th scale exhibition model of an Archdale MH50 Radial Arm Drilling Machine, built in 1998 by Barry Jordan of Derby, England.Height: 65 cm.Width: 51 cm.Depth: 27.5 cm.&nbsp;With purpose build transport case.Barry J. Jordan was born in Derby, England in 1945. He left Joseph Wright Art School at 15, and secured an apprenticeship with Rolls-Royce Aero Engine Division, Derby in the experimental department. After developing a range of ultrasonic crack detection equipment used in non-destructive testing, he formed his own company in 1977 to manufacture this equipment.In 1994, Barry was diagnosed with an inoperable brain tumour. Fearing the worst, he sold the business to Rolls-Royce and Associates, bought a Myford Super 7 lathe, a Raglan milling machine, built himself a workshop and went back to his boyhood love of model engineering.

1/5th Scale Model of a Drilling Machine

by&nbsp;Michael John Hunt Acrylic on panel 16" x 12" These quiet places silently echo their past and I have always admired the skill and dedication of the craftsmen who built them.

Gothic Quad by Michael John Hunt

The clocktower by Michael John Hunt Acrylic on panel 16" x 12"

The clocktower by Michael John Hunt 

Sissinghurst by Michael John Hunt Acrylic on canvas 20" x 30"

Sissinghurst by Michael John Hunt

A silver gilt Renaissance Tankard, German, unmarked c1600; original fire gilding; the small size of the tankard suggests it was made for a lady; it stands at 16cm in height to the top of the final, which is surmounted by a hound, and weighs 13ozs approximately; around the body there are three cartouches chased with nautical scenes.

A silver gilt Renaissance Tankard

Two little rock crystal boxes with silver gilt mounts, C.1600; probably Italian; the use of such boxes would almost certainly have been to house reliquaries; the slightly larger box measures 4.7 cms in lengh and the other 4 cms.

Two little rock crystal boxes with silver gilt mounts, C.1600

A little carved mother of pearl box with silver mounts, 17th century Spanish Colonial; probably used by a travelling missionary to carry communion bread.

A little carved mother of pearl box with silver mounts, 17th Century

Le Mineur by Charles Octave Levy (1820-1899)Gilded bronze figure of a miner with pickaxe and lamp. Le Mineur c. 1890 &nbsp; &nbsp;Signed: Ch Levy &nbsp; &nbsp;Height: 56 cm

Le Mineur by Charles Octave Levy

Sable and Lioness in Combat by Robert GlenSigned: R. Glen Length: 67 cm &nbsp; &nbsp;Height: 43 cm &nbsp; &nbsp;Width: 33 cm Mariani Art Foundry, Tuscany - &nbsp;Edition number 3 of 10

Sable and Lioness in Combat by Robert Glen

La Notte By Margot Homan 

c.1860 Pair decanters engraved with fruiting vine on wide vertical panels.Height: 28 cms

Pair Decanters Engraved With Fruiting Vine on Wide Vertical Panels

c.1910 Austro- Hungarian Jugendstil spirit decanter and two glasses. Black line decoration. Probably Haida.Height: 24 cms

JUGENDSTIL SPIRIT DECANTER

Extremely large late 17th century Pewter charger, English, circa 1680-1690. Very large late 17th century English pewter Charger, engraved to the broad rim with an Armorial Panel of a Stag amidst foliage. With multiple touch-marks to front rim. With good uncleaned color and surface patina on both sides. NB. Large 17th century Pewter Chargers over 25" are not commonplace, this one is 25.5"

Large 17th Century Pewter Charger, English, circa 1680-1690

An exceptional early 20th Century Austrian bronze study of a black grouse standing in a domineering pose with head lowered, beak open and wings and tail lifted. The bronze has excellent cold painted naturalistic colours and good hand chased surface detail, signed with the Bergman 'B' in an amphora to underside&nbsp;Franz Bergman Sculptures Bergman Black Grouse &ndash; Bergman is celebrated for his great attention to detail and wonderful vibrant colours, Franz Xavier Bergman (1861-1936) is, arguably, the most famous of the Viennese cold-painted bronze artists, delighting in producing Oriental, Arab bronze and animal subjects, including Harem beauties, Arab tradesmen, Scribes and Arab Warrior and almost every animal subject that was known at the time.His father, also Franz Bergman (1838&ndash;1894), was a professional chaser (embosser) from Gablonz, Austria who came to Vienna and founded a small bronze factory in 1860. Franz Xavier inherited the company and opened a new foundry in 1900. There he created numerous cold painted (so named because the numerous layers of polychrome paint, applied to the bronze, were not fired to fix them to the metal) figures. Many other bronzes were still based on designs by Franz Bergman, the elder.Animal Subjects and the Bergman Turkey Animal figures and birds can, occasionally, be found for a few hundred pounds, though sculptures in pristine condition and larger figures can be worth several thousand pounds. Value is affected by condition. The cold painted decoration is relatively easy to damage and worn Enamel will reduce value considerably.Look out for Bergman&rsquo;s distinctive signature marks: a &lsquo;B&rsquo; in a vase shape and &lsquo;Nam Greb&rsquo;. This latter, which reads &lsquo;Bergman&rsquo; in reverse, was often used on his more erotic pieces, which were not to the taste of his more conservative clients or his family.These include sensuous poses of young women in the Art Nouveau style, disguised by a covering that revealed all when a button was pushed or a lever moved. Carefully sculpted animals, such as bears, could often be opened to reveal an erotic female figure inside.Bergman was noted for his detailed and colourful work. He signed with either a letter &lsquo;B&rsquo; in an urn-shaped cartouche or &lsquo;Nam Greb&rsquo; &ndash; &lsquo;Bergman&rsquo; in reverse. These marks were used to disguise his identity on erotic works. &nbsp;

"Black Grouse" by Franz Bergman

A fabulous early 20th Century Art Deco cold painted bronze figure of a woman dancer semi naked wrapped in a long flowing golden brown shawl. The piece has excellent colour and fine hand finished detail, raised on a large pooled green onyx base and signed LorenzlJosef Lorenzl, Austrian 1892 ~ 1950 Lorenzl Leg Out &ndash; When looking to the designs of the Art Deco period one talented sculptor and ceramist that cannot be ignored is Josef Lorenzl. A master designer, his bronze statuettes and ceramic figural work epitomise the era perfectly. As with Preiss, Chiparus and Colinet the other great sculptors from this period, Lorenzl was inspired by the female form and the new found freedom that women enjoyed, which he &nbsp;executed beautifully both in his bronze and ceramic designs.

"Charlotte" by Josef Lorenzl

An excellent mid 20th Century American Silvered Glass Vase. The surface of the vase has a deep rouge colour that accentuates the silver acorn branch design around the circumference of the body.Art Nouveau glass is fine glass in the Art Nouveau style. Typically the forms are undulating, sinuous and colorful art, usually inspired by natural forms. Pieces are generally larger than drinking glasses, and decorative rather than practical, other than for use as vases and lighting fittings; there is little tableware. Prominently makers, from the 1890s onwards, are in France Ren&eacute; Lalique, Emile Gall&eacute; and the Daum brothers, the American Louis Comfort Tiffany, Christopher Dresser in Scotland and England, and Friedrich Zitzman, Karl Koepping and Max Ritter von Spaun in Germany. Art Nouveau glass included decorative objects, vases, lamps, and stained glass windows. It was usually made by hand, and was usually colored with metal oxides while in a molten state in a furnace.

American Glass Floral Silvered Vase

An excellent early 20th Century American Glass Art Nouveau Silvered Vase. The surface of the vase has an iridescent green casing highlighting the central decorative flower made out of applied silver.Art Nouveau glass is fine glass in the Art Nouveau style. Typically the forms are undulating, sinuous and colorful art, usually inspired by natural forms. Pieces are generally larger than drinking glasses, and decorative rather than practical, other than for use as vases and lighting fittings; there is little tableware. Prominently makers, from the 1890s onwards, are in France Ren&eacute; Lalique, Emile Gall&eacute; and the Daum brothers, the American Louis Comfort Tiffany, Christopher Dresser in Scotland and England, and Friedrich Zitzman, Karl Koepping and Max Ritter von Spaun in Germany. Art Nouveau glass included decorative objects, vases, lamps, and stained glass windows. It was usually made by hand, and was usually colored with metal oxides while in a molten state in a furnace.

American Glass Art Nouveau Silvered Vase

An excellent early 20th Century American Art Nouveau Silvered red glass vase. The surface has a deep rouge colour that accentuates the silver organic floral design around the circumference of the body.Art Nouveau GlasswareArt Nouveau glass is fine glass in the Art Nouveau style. Typically the forms are undulating, sinuous and colorful art, usually inspired by natural forms. Pieces are generally larger than drinking glasses, and decorative rather than practical, other than for use as vases and lighting fittings; there is little tableware. Prominently makers, from the 1890s onwards, are in France Ren&eacute; Lalique, Emile Gall&eacute; and the Daum brothers, the American Louis Comfort Tiffany, Christopher Dresser in Scotland and England, and Friedrich Zitzman, Karl Koepping and Max Ritter von Spaun in Germany. Art Nouveau glass included decorative objects, vases, lamps, and stained glass windows. It was usually made by hand, and was usually colored with metal oxides while in a molten state in a furnace.

American Glass Slender Silvered Vase

A French kingwood marquetery commode, the shaped rectangular top inlaid with tulipwood, harewood and boxwood marquetry comprising a flowerhead trellis flanked by floral panels and within reserved foliate scroll borders and cross banding, above two disguised long drawers, the front and sides with similar marquetry decoration, with an ormolu guilloche frieze and ring handles. &nbsp;Circa &nbsp;1900.&nbsp;

A French kingwood marquetery commode

A well proportioned antique silver drinking cup with a tapering bowl on a chunky square base (often known as a &ldquo;lemon squeezer&rdquo;. Classic plain style and clean lines. Gadroon decoration to the foot.Contains 350ml. Weight 214 grams, 6.8 troy ounces. Height 14cm. Diameter 9.2cm. Base 7.2cm. London 1805. Maker unidentified. Sterling silver.Marks. Stamped on the edge of the base with a full set of English silver hallmarks. Maker&rsquo;s mark rubbed.Free Shipping Worldwide&nbsp;

George III Antique Silver Goblet. England, 1805.

A rare early English silver chamberstick (also known as a go to bed) with the solid design and excellent heavy gauge silver as you&rsquo;d expect from this date. It has the early form with a flat teardrop handle and a broad drip pan mounted on three small stump feet. The circular base is hand engraved with a coat of arms within a decorative cartouche.Weight 242 grams, 7.7 troy ounces. Diameter 4.5cm. Length 23cm. Britannia standard silver. London 1711. Maker Joseph Bird.Marks. Stamped underneath with a full set of English silver hallmarks and scratch weight &ldquo;8=5&rdquo;. Owners initials &ldquo;I.M&rdquo; engraved below the handle.*Britannia Standard. During 1696-1720 silversmiths were forbidden to use the sterling standard for their wares, but had to use a new higher standard, 95.8 per cent purity. New hallmarks were ordered, &ldquo;the figure of a woman commonly called Britannia&rdquo; and the lion&rsquo;s head erased (torn off at the neck) replacing the lion passant and the leopard&rsquo;s head crowned.Maker: Joseph BirdJoseph Bird, London silversmith, of the Brewers Company. Largeworker. 2 undated marks circa 1697. 3rd mark no date or address attributed. 4th (sterling) 1724. His mark is usually found on candlesticks.Free Shipping Worldwide&nbsp;

Queen Anne Antique Silver Chamberstick By Joseph Bird. England, 1711.

A gilded metal sculpture titled 'Aloes' created by Alain Chervet in 1974, Signed and dated. &nbsp;Alain Chervet (1944) is a reclusive French contemporary artist whose main works include Flora and Fauna. The detail in his works of art are exquisite and are also incorporated into incredible pieces of furniture including tables and lighting. Much of his work is in brass and patinated metals.

A Standing Sculpture by Alain Chervet, 1974 titled 'Aloes'

Georgian Longcase Clock By Phillip Rundell, London&nbsp;Georgian Longcase clock in a finely figured mahogany case with stepped base, raised moulding to the plinth, long break arch door with brass escutcheon and reeded canted corners to either side with brass Corinthian capitals. &nbsp;Break arch hood with reeded brass inset pillars supporting the dial surmounted by two spire ball finials.&nbsp;Impressive brass, silvered dial with gilded spandrels, strike / silent feature to the break arch, silvered centre with Roman numerals. &nbsp;Seconds dial below the XII and a calendar dial above the VI. &nbsp;Finely cut original &lsquo;blued&rsquo; steel hands and signed &lsquo;Phillip Rundell, London&rsquo;.&nbsp;Eight day, five pillar movement of fine quality with anchor escapement, striking the hours on a large bell. &nbsp;Original brass covered weights and brass rod pendulum. &nbsp;C.1780&nbsp;Britten&rsquo;s &lsquo;Old clocks and watches and their makers&rsquo; lists Phillip Rundell as working in London c.1770

Georgian Mahogany Longcase Clock by Phillip Rundell, London

Fine Fruitwood Grand-Sonnerie Striking Vienna Regulator&nbsp;Four pillar, triple train &nbsp;movement of short duration with dead beat escapement incorporating tall inverted v-shaped pallets &nbsp;regulated by a brass lenticular bon pendulum with ebonised wooden rod and with fine beat adjustment to the crutch.&nbsp;The quarter train sounding on a pair of graduated gongs positioned on a T-shaped bracket behind the movement, followed by the hour train sounding the last hour on a larger gong.&nbsp;One piece enamel dial with original &lsquo;blued&rsquo; steel hands signed &lsquo;August Tasche in Wein&rsquo; surrounded by a decorative gilded bezel.&nbsp;Original four spoke brass pulley wheel and small brass cased weight.&nbsp;Fine fruitwood case with a full length glazed door surmounted by a carved scroll pediment and terminating in an outswept pendant base.c.1840&nbsp;&lsquo;Vienna Regulators and Related Clocks&rsquo; by Rick Ortenburger lists August Tasche as working in Vienna c.1839-1850.

Grand-Sonnerie Striking Vienna Regulator

Art Nouveau brass Carriage clock with decorative handle, standing on a raised, stepped base and resting on turned brass feet.Beautifully decorated gilded dial mask, enamel dial with blue Arabic numerals and original blued steel hands.Eight day French movement with replaced silvered escapement. C,1900

Art Nouveau Style Carriage Clock

This sensitive portrait study is indistinctly inscribed along the top edge &ldquo;Hubert Jaerkele, Born June25th 1868. It&rsquo;s on a high quality wooden stretcher which suggests an artist of note.Artist 19th Century English School Country of Origin British Dates Circa 1860Dimensions 17 x 15 inches unframed Item Medium Oil on Canvas

“Portrait of a Young Boy” 19th. Century English School

Artist Circle of Henry Barraud (British. 1811-1874) Condition Good Country of Origin British Dates Circa 1850 Dimensions 12.5" x 14.5" inches including frame Item Medium Oil on Canvas

“A Sportsman Seated with his Dogs” Circle of Henry Barraud

Charles Davidson (British.1824-1902) Condition Excellent Country of Origin British Dates C. 1880 Dimensions 18.5" x 25" inches including frame Item Medium Watercolour

“Loading Hay in Gatton Park, Near Redhill, Surrey” by Charles Davidson

Late Joseon dynasty (18-19th century)38 cm high&nbsp;Even at first glance this large porcelain jar has the features of a typical Korean moon jar, despite the elongated body and the lack of a neck. The body, apart from the coarse rim and foot-ring base, is covered with a rich, glossy white glaze that has a slightly blue hue. During the Joseon dynasty moon jars were placed in the pantry as food storage vessels. In the early 20th century, they started to be appreciated as artworks by Japanese scholars. The slightly asymmetric shape and horizontally incised lines are caused by the joining of two halves to form the round body. The imperfection represents the Joseon aesthetic, which admired naturalism and the free expression of artisan&rsquo;s mind.

Large Joseon White Glazed Jar 李朝白瓷大罐

This rare marble guardian sculpture from the Tang dynasty is usually called 金剛力士which originates from the Indian Buddhist deity Vajrapani. He is a guardian that stands next to the buddhas and bodhisattvas as a protector in ritual sites such as temples and grottos. The marble sculpture was made using a realism approach, consistent with the terracotta tomb figures produced during the same period. The guardian has a wrathful and a fierce facial expression, intent on threatening evils. The exposed breast reveals dense chest muscles, and the exaggeratedly large feet stand firmly on the rock. The missing arms lead us to imagine him holding weapons or displaying fists, demonstrating his godly power. The posture is Hellenistic with the figure&rsquo;s weight held slightly on the left side of the body. Therefore, this figure can be named &lsquo;Chinese Venus&rsquo; because of his missing arms. This kind of esoteric sculpture evolved in China with the arrival of tantric beliefs in the 8th century but suffered from severe losses due to the anti-Buddhist repression in 840-846 CE. Other examples of this guardian, called Nio, can still be found in the popular post Tang-era statuary of Japan.Tang dynasty (618 - 907 CE)34.5 cm high

Small Marble Guardian ​唐代漢白玉金剛力士

This large and elegant-looking jar is the most typical vessel excavated from Sichuan province in the south west of China, near Tibet. The majority of such black jars have a uniform grey-black surface which sometimes appears as a blue-purplish hue. What distinguishes this piece is the preservation of the white slip decoration on the surface; it is rare for such detailing to survive on these jars. Although they were produced largely from the late Zhou and throughout the Han dynasty, they were definitely made by non-Han peoples. The entire design recalls that of bronze from Sanxingdui (in the same area) and during the same period as the Shang dynasty. The rim is a rhombus shape, while the base is round with a shallow foot ring at the bottom. The neck is narrow, and the body is bloated and slightly flattened to give it four sides. Two flat handles are attached to the top of the mouth at two corners of the rhombus and end at the wide sides of the body. Each side of the jar is decorated with a pair of concentric circles, which look like wide-opening eyes. Overall the shape of the jar resembles the head of a ram, thus this jar is commonly called a &lsquo;ram horn&rsquo; jar in Chinese. There are horizontal lines carved around the flared rim which are in-filled with numerous vertical lines. The handles have two large dots pressed onto the surface. The jar&rsquo;s body is partially burnished, leaving the rest of the areas a matt grey-black with subtle scrubbing traces left by the shaping tools.Warring state to Han dynasty 3rd to 2rd century BCE31cm high

Large Black Double-handle Amphora 戰漢黑陶“羊角”罐

This Mahogany butlers&rsquo; tray on stand is a high-end quality coffee table made in the late 20th century.The lift off tray has a &frac34; gallery and makes a wonderful tea tray.The stand is also mahogany that stands on a leg to each cornet joined by a stretcher. It has lovely corner brackets at the top of each leg.79cms wide 31ins49cms deep 19ins55cms high (top of gallery) 21 1/2insAll dimensions are approximate, whilst we take as much care as possible, we can be marginally out.DeliveryUK mainland FREE Other destinations please contact us, and we will get a quote. We use a professional Removal company to transport our precious items and do not entrust them to usual parcel services. Therefore, delivery may be 7 -10 days, but it is worth the wait of course.On occasions customers have been disappointed to miss an item as they e-mailed their enquiry instead of phoning, I would recommend that if you wish to get the piece, please call rather than e-mail. We are very friendly and easy to deal withThis Mahogany butlers&rsquo; tray on stand is an item of antique furniture is a green product and has not affected the environment we live in.We spend time choosing the best product, an antique item that must meet the strict criteria to be placed in Hingstons of Wilton stock.GuaranteeThis Mahogany butlers&rsquo; tray on stand carries the Hingstons Antiques product guarantee plate which gives you the peace of mind that any item with this plate, is of the quality and condition expected when purchasing from Hingstons Antiques Limited. All our goods are individually selected by Nick Hingston who uses his experience of over 40 years of trading to select the best items of the best design and condition suitable to be placed in our quality stock.PRICE MATCHING Antiques are unique, and 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. We spend time choosing the best product, an antique item that must meet the strict criteria to be placed in Hingstons of Wilton stock.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, please contact us if you are an overseas customerItems remain on sale until payment is received &nbsp; &nbsp; &nbsp;

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