A blue and white 15th century c1485 rare Hoi an Hoard Cargo brush washer modelled with a Parrot curled around a peach shaped dish. Ming DynastyThere were not many of this design in the original sale at Butterfields in San Francisco where the salvaged cargo was sold.The peach shaped bowl is held in the left hand where the pointed part goes down into the base of the thumb and the index finger curls around the parrot, but interestingly it works just as well in the other hand in case of the artist being left handedThe base of the bowl has a small flower sprayThe Hoi an Hoard cargo &nbsp;sank c1485 in the Hoi an Delta. &nbsp;This piece is glazed in cobalt &nbsp;blue is modelled as gourd or melon in a compressed form. &nbsp;The monochrome pieces are not as common as the blue and white ware. &nbsp;Today this area is in Viet Nam but during the Ming Dynasty at this time it was part of the Chinese EmpireThe cargo was being carried on a sea faring junk that archaeology concluded was over loaded and sailing at the end of the season for such trading vessels. &nbsp;The junk had been known about by modern day fishermen who would bring pieces of it up periodically in their nets. &nbsp;it was properly salvaged and recorded by Oxford University Marine Archaeology faculty and subsequently sild through Butterfields in San Francisco.An excellent rare interesting pieceThe original Butterfields yellow lot number tag still attached&nbsp;

Hoi an Hoard Brush washer 

The English-made side cabinets with fixed-shelved interior constructed from rare amboyna with purpleheart crossbanding and boxwood stringing; each supported on ormolu-mounted oblate feet, the rounded corners with faux-fluted pilasters and bronze ribbons also featured on the central lockable doors set with two hand-painted oval porcelain plaques on bleu celeste ground showing female portrait busts; a further floral painted porcelain panel set within the frieze of each cabinet.English, circa 1860Dimensions: H: 44.5 in / 112 cm &nbsp;| &nbsp;W: 28.5 in / 72 cm &nbsp;| &nbsp;D: 15 in / 37 cmChristopher Payne. 19th century European furniture. Antique Collector's Club, 2013, p. 279 (illus.), showing a side cabinet possibly made en-suite.

A Pair of Porcelain-Mounted Pier Cabinets, c.1860

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

A superb George III Period Mahogany, Satinwood, Tulipwood and Kingwood Library Breakfront Bookcase attributed to Gillows of Lancaster, the inlaid, cavetto cornice above four inlaid 6-pane rectangular glazed doors with adjustable shelves behind, the lower section with inlaid pull out book slides at the waist above four doors inlaid with flame figured mahogany oval reserves enclosed by satinwood spandrels and Kingwood and satinwood crossbandings, the whole raised on a moulded plinth base and with ebony and boxwood stringing throughout.Every part of this wonderful example is constructed and finished to the highest of standards. There are refinements in the details that make this one of the finest pieces we have had the honour to handle in over 60 years. For ease of transportation, this bookcase was made in 11 sections.The superb choice of timbers, design and construction are all typical of the work of Gillows of Lancaster.

George III Period Mahogany and inlaid Breakfront Bookcase attributed to Gillows

A particularly well figured inlaid Sheraton Period Mahogany Secretaire Chest of Drawers, the rectangular cross banded and inlaid top above a reeded edge, the four full width drawers all cross banded and inlaid with obround panels centred by oval plate brass handles and &nbsp;raised on splayed Bracket Feet, the drop front top drawer is very well fitted as a secretaire with a gilt tooled leather writing surface in front of 9 small satinwood fronted drawers and 6 pigeon holes.

Inlaid Sheraton Period Mahogany Secretaire Chest of Drawers

Wonderful English 19th century Cottage Garden Landscape.Charles James Lewis (1830-1892) was a popular and prolific painter of genre and domestic scenes. He often painted on a smaller scale depicting natural and attractive scenes featuring children as the focal point. Lewis was a regular exhibitor at the Royal Academy (1853-1890) and at the British Institute, the Society of British Artists, the New Watercolour Society, Grosvenor Gallery, and the New Gallery amongst others. He was elected a member of the RI in 1882.Dimensions:Height53.32 cm / 21 1&frasl;4" Width68.55 cm / 27 1&frasl;4"

English 19th Century Victorian Cottage With Garden Full of Flowers and Rainbow on the Right.

A Louis XVI Style Gu&eacute;ridon &agrave; l'AnglaiseAfter Adam WeisweilerConstructed using very fine matched mahogany veneers and gilded bronze; of circular form, having four pairs of cluster faux bamboo column legs, with ringed capitols over, and tapering toupie castor shod feet dressed with a conjoining looped 'X' form stretcher, emanating from a central circular boss supporting the bronze edged platform with radially laid veneers to the top.Circa 1875The design for this table with its 'bamboo' double colonettes is undoubtedly the celebrated table given by Madame du Barry (1743-1793) to the duc de Brissac. Delivered by Lignereux and Daguerre, it exemplified the height of taste at the end of the eighteenth century, which once again gained popularity at the end of the nineteenth century.Dimensions: H: 29 in / 73 cm &nbsp;| &nbsp;Dia: 36 in / 93 cmLiterature:Payne, Christopher. 19th century European furniture. Antique Collector's Club, 1985, p.193 (illus.)Segoura, Maurice, and Patricia Lemonnier. Weisweiler. Paris: Editions d'art Monelle Hayot, 1983, p. 94 (illus).

Louis XVI Style Mahogany Gueridon, c.1875

A wonderful portrait of a seated dog, framed in its original frame, signed and dated 1836, oil on canvas.Dimensions:Height55.86 cm / 22 1&frasl;4" Width66.01 cm / 26 1&frasl;4"Artist Bio: Herring was born on 12 September 1795 in Blackfriars, London, the eldest of nine children of Benjamin Herring (d. 1871) and Sarah Jemima (d. 1831), n&eacute;e Howard. His father was a fringe maker and upholsterer working from Newgate Street in the City of London. The Herring family were of Dutch origin and both his father and grandfather, Jan Frederick, pursued unsuccessful claims to the family property in Cura&ccedil;ao. Herring was never apprenticed to his father and hence ineligible to work in the trade. In September 1814 he took the Royal Leeds Union stage and arrived at Doncaster in time to attend the Great St Leger horse race. Lodging in the town, he came upon a coach builder's finishing shop and helped an employee complete the painting of a horse on one of the coaches. The coachbuilder was impressed and asked him to paint the insignia on the Royal Forrester. On the trial run of the latter, he met the proprietor, Mr Hill, and begged of him the vacant post of coachman to the Nelson. He was given the job and followed the arduous profession for six years, ending up on the box of the prestigious High Flyer plying between York and London. Despite working long hours on the stagecoach, the self-taught Herring nonetheless produced a number of surprisingly competent paintings from at least 1815 onwards. Within a year of arriving in Doncaster Herring had set up house with Ann Harris (1796-1838)- no record of their marriage has been found-and had seen the birth of the first of their children, John Frederick junior. His reputation as a sporting painting grew and he developed a following. Among his early patrons were his contemporary Mr (afterward the Revd) Charles Stanhope, a severe critic whose opinion he dreaded; Mr. Clarke of Barnby Moor, owner of the High Flyer; and Mr. Hawkesworth of Hickleton Hall, whose repeated appeals eventually persuaded him to give more time to painting and who found commissions for him from the Hon. E. Petre, Sir Bellingham Graham, and others. Herring's first exhibit at the Royal Academy was A Dog in 1818; in the following year, he had his drawing of the fractured leg of a racehorse reproduced in the Sporting Magazine. The year 1825 saw the start of the scheme that made him famous. The Doncaster Gazette arranged for him to paint the winners of St Leger from 1815 onwards. The pictures were then engraved and published first by Messrs Sheardown &amp; Son, owners of the Gazette, and subsequently by S. and J. Fuller, and then by Baily Bros. In all, Herring painted thirty-four winners, thirty-one of which were made into prints. A series of twenty Derby winners followed two years later in 1827. 'As a portrayer of the thoroughbred horse in high condition, he is, and long has been unrivaled' (Memoir). By 1830, his fame as a painter of the turf established, Herring moved to Six Mile Bottom, near Newmarket, the headquarters of racing. He stayed there for three years before departing for Camberwell on the outskirts of London. He now had seven surviving children, three of whom became artists: John Frederick junior, Charles (1828- 1856), and Benjamin (1830-1871). Another Benjamin (1806-1830), Herring's brother, was also an artist. Although apparently successful, Herring was in fact in financial difficulties and was rescued by William Taylor Copeland, the owner of the Spode China Company. Copeland paid off his debts of &pound;500, commissioned a number of paintings, and used Herring'simages of fox-hunting to decorate the company's wares. Ann, aged forty- two, died in 1838 and Herring moved from Park Street to Cottage Green in the same village. He did not totally abandon racing subjects and in 1840 visited France to paint the racehorses of the duc d'Orl&eacute;ans. Further renown came when he was appointed animal painter to the duchess of Kent (Queen Victoria's mother) and received commissions from Queen Victoria. After twenty years in Camberwell, now married to Sarah Gale (1794-1882/3), he moved to the country. He rented Meopham Park near Tonbridge, Kent. In this idyllic refuge, with outbuildings and 30 acres, he soon installed his favourite model, the white Arab Imaum, once given to Queen Victoria, together with other horses, a miniature pony that wandered around the house eating ginger nuts, ten cows, two pigs, geese, peacocks, fowl, duck, rabbits, and two dogs. This Noah's ark of animals soon featured in his immensely popular genre paintings of the farmyard which were no sooner completed than sold to the London dealers. Herring himself had suffered since his youth from asthma and bronchitis. His health now began to deteriorate and for the last few years of his life he was confined to a wheelchair. He continued to send paintings to the British Institution and the Royal Academy until his death. His work was eagerly sought by the increasingly prosperous middle classes. Engravings of over 350 of his paintings were made in his lifetime. Although suspicious that other artists might steal his ideas and apprehensive of forgers, he did collaborate with a number of his contemporaries- James Pollard, A. F. Rolfe, Henry Bright, Sir Edwin Landseer, C. E. Boutibonne, G. B. Campion, John Faed, W. P. Frith-to produce paintings in which he portrayed the animals and the others the background. He exhibited twenty-two pictures at the Royal Academy, eighty-three at the Society of British Artists, and forty-four at the British Institution. Herring died at his home on 23 September 1865 and was buried at Hildenborough, Kent. Examples of his work are in the Tate collection, Doncaster Museum and Art Gallery, many private collections in the UK and the USA&nbsp;

19th Century English Portrait of a Seated Dog, Pepper

George Morland English landscape circa 1780-90 Oils on canvas Original frameDimensions:Height45.7 cm / 18 1&frasl;4" Width55.86 cm / 22 1&frasl;4"

18th Century English Landscape With Cottage, Figure and Landscape

GeorgeIII mahogany and gilt fret mirror of good size and original plate.Chippendale Period .C 1775. Height 99cm or 39.50&rdquo; Width 53 cm. or 21&rdquo;

George III mahogany and gilt fret mirror

A pair of George III Stipple Engravings, in original gilt frames, Circa 1800.&ldquo;A Sacrifice to Cupid&rdquo; and &ldquo;The Triumph of Love and Beauty&rdquo;. &nbsp; Measurements 13 3/4 inches &ndash; 12 inches &nbsp; History Stipple engraving is a technique used to create tone in an intaglio print. By distributing a pattern of dots of various sizes and densities across the image. The pattern is created on the printing plate, by gouging out the dots with a burin, or through an etching process.

George III Stipple Engraving in Orginal frames

Early 19th century oval tole Verriere, with gold decoration on &nbsp;a tortoishell background. Verrieres were used to chill champagne or wine glasses.c1810 &nbsp; Measurements &nbsp; 30 cm by 20 cm height 10.50

Early 19th century oval tole Verriere

A Champlev&eacute; Enamel Onyx &amp; Marble PedestalAn unusual pedestal incorporating Moorish and Mughal orientalist designs of cast gilt bronze and champlev&eacute; enamelling of vivid blues, reds &amp; pinks; the green onyx pedestal of square tapering form incorporating red marble elements to the corners, with a rectangular abacus onyx platform.French, circa 1890Dimensions: H: 46 in / 116 cm &nbsp;| &nbsp;W: 14.5 in / 36 cm &nbsp;| &nbsp;D: 14.5 in / 36 cm

Champlevé Enamel Onyx & Marble Pedestal, c.1890

Large Cast Brass Ships Bell From &lsquo;Beechfield&rsquo;A large cast brass ships bell from the vessel &lsquo;Beechfield&rsquo; and dated 1922.The bell mounted on a later mahogany stand of fine quality with arch top and turned pillars to either side and resting on a rectangular plinth. &nbsp;C.1922

Large Cast Brass Ships Bell from ‘Beechfield’

A late 18th Century French provincial deux corps in beautifully faded burr and straight grained ash with its original hardware including the keys, the upper section with shaped doors enclosing two shelves, the lower section with three frieze drawer and further cupboards. France. C.1790

18th Century Ash & Elm Deux Corps

Asmall early 20th century painted chest on chest in two parts, made using traditional 18th century cabinet makers techniques. England. C.1900W80cm x D41cm x H144cm&nbsp;

Early 20th Century Painted Chest on Chest

A William and Mary period chest of drawers in walnut of glorious pale colour having geometric stringing in boxwood and holly - the drawer fronts and sides crossbanded in walnut. England. C1690W97cm x D61cm x H95cm

William and Mary Period Walnut inlaid Chest of Drawers

A small 18th century comb back Windsor chair, the shaped comb above pierced splat flanked by flat cut back supports, the single bow on shaped arm supports above a shaped seat raised on turned legs and stretchers, the front legs are well shaped cabriole legs with pointed pad feet. England. C.1770&nbsp;W53.5cm x D47cm x H100cm

18th Century Comb Back Winsdor Chair

An 18th Century Yew and Ash hoop back Windsor chair, the pierced splat with heart motif adjoining a single piece bow above a well shaped saddle seat, the whole raised on turned legs with original stretchers. England. C.1790W63cm x D48cm x H110cm

18th Century Hoop Back Windsor Chair

A good 17th century single drawer William and Mary period oak side table of great colour and finish in virtually original condition. England. C.1690W74cm x D57.5cm x H68cm

17th Century William And Mary Oak Side Table

A well proportioned Spanish table of tocinare form with a single two way drawer raised on chip carved splayed legs with original stretchers. Spain. C.1800W115cm x D64.5cm x H73cm

Early 19th Century Spanish Tocinera

An elaborate pair of foliate cast iron table ends currently repurposed with granite tops as a pair console tables. These castings are of exceptional quality, almost certainly produced by Coalbrookdale or one of their contemporaries. England. C.1875W91cm x D36cm x H70cm

Pair of 19th Century Cast Iron Table Ends

A pair of late 19th century Coalbrookdale cast iron demi lune four tier plant stands of the most exquisite quality. The top tiers supported on spiral pilasters and the remaning tiers on lion paw supports with lion masks above. Foliate motifs throughout. It is rare to find a single example in such wonderful condition, a pair is something special. England. C.1875W120cm x D60cm x H95cm

Pair of 19th Century Coalbrookdale Plant Stands

An original 19th century carriage design from the Peters Collection.&nbsp;Thomas Peters, later Peters &amp; Sons were at the forefront of the London carriage building trade throughout the 19th century. Established in 1798 and operating from premises in Park Street, they built carriages for the English and foreign Royal families as well as for the aristocracy and the City of London. Two of their carriages are still in use in the Royal Mews, including the Glass Coach. Peters and Sons exhibited at the 1851 Great Exhibition as well as the International Exhibitions of Paris, Vienna and Philadelphia. They continued to trade under their own name until 1930.&nbsp;The collection also includes a number of designs by Samuel Hobson who was widely believed to be the most influential carriage designer of the 19th century. Writing in 1877 George Thrupp remarked, &ldquo;Samuel Hobson &hellip; may be truly said to have improved and remodelled every sort of carriage which came under his notice, especially as regards the artistic form and construction both of body and carriage.&rdquo; Hobson initially worked as an apprentice with Barker &amp; Co of Chandos Street, setting up his own business in Long Acre in about 1815. Despite being a successful draftsman and designer he was not a good businessman and was forced to sell his business in 1837. At that time Peters &amp; Sons acquired the designs and combined them with their own archives. In 1932 Peters &amp; Sons were acquired by Offords &amp; Sons, who were by then building bodies for motor cars. At around this time the archives were dispersed. Half were later acquired by the Metropolitan Museum of Art, New York and these form the majority of those remaining and come from a private UK collection.&nbsp;Other designs from the collection are also available. Please contact me for further details. More Information Year &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; c 1860 Medium &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Bodycolour, gum arabic, gold paint and pen and ink, unframed in conservation mount only Country &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; United Kingdom Signed &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Signed with initials CH Provenance &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; The archives of Peters &amp; Son;private collection. Height 45.72 cm (18") Width 78.74 cm (31") Framed Height 86.36 cm (34") Framed Width 116.84 cm (46") &nbsp; &nbsp;

Design For A Barouche

MARIE PALMER-SMITH (1899-1997)Leaves and BerriesBodycolour over traces of pencil on green paper Unframed, in mount only25 by 19.5 cm., 10 by &frac34; in. (mount size 40 by 35 cm., 15 &frac34; by 13 3/4 in.)Marie Palmer Smith was born in King&rsquo;s Norton, Worcestershire. Known as Bay to her friends and family, the Christian name Palmer was after a favourite uncle and from an early age she used the name in her signature and later hyphenated it to her surname. The family moved to Worcester where she attended the Alice Ottley School and later the School of Art and Design at the Victoria Institute. By the late 1920s and early 1930s she was working as a commercial graphic artist, primarily commissioned by local businesses to provide advertising and marketing material including catalogue covers, packaging, posters, window displays and Christmas cards. He clients included Milwards Knitting and Sewing Needles; the confectioners, Clarke, Nickolls &amp; Coombs; Abell &amp; Smith, Electricals and Manders Paints. In 1941 her home in Worcester was damaged by an air raid and she moved to Malvern where she ran a sweet shop. She married John Bennett and together they devoted themselves to the study, photography and conservation of nature. For many years she was President of the Worcestershire Naturalists&rsquo; Club.More Information Year &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; c 1930 Medium &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Gouache on green paper, unframed, in conservation mount only Country &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; United Kingdom Height 25 cm (9 3/4") Width 19.5 cm (7 3/4")

Design - Leaves And Berries

On a bright and breezy summers day, a colourful fair in full swing on the local pier, based and imagined on the South Coast of the UK by Manchester born artist Simeon Stafford.Simeon Stafford was born in Dukinfield (near Manchester) in 1956. He moved to Cornwall in 1996. At the of age of 14 he met L.S Lowry who encouraged him to paint. Lowry later became a family friend and remains a constant source of inspiration to him. Simeon&rsquo;s work is light hearted, there are no dark overcast days, political content or deep soul searching angst. He comments &lsquo;we have enough of that in the world of news today.&rsquo; Simeon&rsquo;s world of pictorial imagery is a world of humour and fun, an essence of spontaneity that is joyfully translated to the viewer.Simeon Stafford is an observer of life, his paintings are crammed full of incidents and accidents, bustling scenes of human interaction, a happy dialogue of work and play. Subjects include docks and their workers, holiday seaside scenes and streets crammed with children playing. There is a nostalgic echo to these paintings, an essence that captures the excitement and expectation, of a day seen through a child&rsquo;s eyes. These paintings nurture the child within us all. Simeon has held exhibitions throughout the country and has had paintings exhibited at the Royal Academy Summer Show. His work can also be found in numerous private collections including Her Majesty The Queen and ex prime minister Tony Blair.

Simeon Stafford - “A Fair on the Pier”

A pair of full size glass serving bottles, English c.1850

A pair of full size glass serving bottles English c.1850

Art deco Maccassar ebony box adorned with a wooden fish with copper fins. The interior of the box is lined with padded royal blue velvet.The base is signed "Dankarmen Paris"Circa 1930

Art Deco Jewellery Box

A fine George III mahogany serpentine serving table in the manner of Robert Adam. The well figured serpentine top over a fluted frieze with central tablet with leaf oval centre flanked by bell flower swags and a moulded lower edge. The table is supported on four square section tapering legs, with floral pattarae to the hip and terminating in block feet. The table has excellent colour and patina throughout.Robert Adam&rsquo;s name is known as much for his work in interior decoration and furniture design, as it is for his architecture. Adam must be considered along with Thomas Chippendale, George Hepplewhite and Thomas Sheraton in the development of English furniture styles. Though he was not a cabinet-maker, Adam was one of the first to consider furniture fully worthy of an architect&rsquo;s attention, on finding nothing suitable to compliment his classical interiors, he designed furniture to suit. This table bears all the hallmarks of Adam&rsquo;s design and purpose and stands beautifully to grace an important dining room or hallway.

George III mahogany serpentine serving table in the manner of Robert Adam

Oil on canvasCanvas size: 30 x 30 inchesSigned lower right; further signed, inscribed and dated 2021 verso

Flowers and Red Peppers

Oil on canvasCanvas size: 24 x 24 inchesSigned lower right; further signed, inscribed and dated 2021 verso

Mixed Flowers in a Red Vase

Oil on boardBoard size: 7.5 x 10.5 inchesSigned lower left

A French Port Scene

Winter Asters in a Japanese Vase

Flowers and Sketch Books

Oil on canvasCanvas size: 36 x 36 inchesSigned lower right; further signed, inscribed and dated 2021 verso

Mixed Blooms in a Chinese Vase

Royal Worcester porcelain vase and cover, by Jack Southall, dated 1912. The twin handled, shield shaped vase, boldly painted with studies of roses, with a smaller spray to the reverse. Having continuous acanthus leaf moulding to the neck, and the circular pedestal base.The dome shaped cover, surmounted by a tear shaped finial.Signed J. Southall.Printed puce factory marks, date code for 1912, and model number 1921.Height: 38 cm, 15&rdquo;.Width: 14.5 cm, 5 3/4&rdquo;.Depth: 12.5 cm, 4 7/8&rdquo;.Condition: Excellent condition. No damage. No restoration.

Royal Worcester porcelain vase. Roses. Jack Southall,  1912.

Staffordshire pottery cat, c.1800. The seated cat, with his tail curled in front, coloured in Pratt type glazed spots. Set upon an oval mound base.Height: 7.5 cm, 3&rdquo;Width: 5 cm, 2&rdquo;.Depth: 3.5 cm, 1 3/8&rdquo;.Condition: Excellent. No damage. No restoration.

Staffordshire pottery seated cat. Pratt glazes, c. 1800.

Hoi an Hoard piece of cargo modelled as a gourd or Melon and with a blue cobalt glazeThe Hoi an Hoard cargo &nbsp;sank c1485 in the Hoi an Delta. &nbsp;This piece is glazed in cobalt &nbsp;blue is modelled as gourd or melon in a compressed form. &nbsp;The monochrome pieces are not as common as the blue and white ware. &nbsp;Today this area is in Viet Nam but during the Ming Dynasty at this time it was part of the Chinese EmpireThe cargo was being carried on a sea faring junk that archaeology concluded was over loaded and sailing at the end of the season for such trading vessels. &nbsp;The junk had been known about by modern day fishermen who would bring pieces of it up periodically in their nets. &nbsp;it was properly salvaged and recorded by Oxford University Marine Archaeology faculty and subsequently sild through Butterfields in San Francisco.

Hoi an Hoard lidded Box and Cover

Chinese Embroidery c1870 probably from a wall hanging.The excellent embroidery depicts a dignitary riding on a mythical beast - a qilin - with an attendant carrying the parasolThe stitch work includes an intricate couching stitch to represent the scales oh the qilinAll framed and conservedFrom a private collection from the 1980's&nbsp;

Chinese Silk Embroidery On Silk 19th Century

Artist Mervyn Goode (Born 1948) Condition Excellent Country of Origin British Dimensions 13.25 x 17.25 inches Item Medium Oil on Canvas Provenance Sold directly on behalf of the artist. Signed

“Autumn Tints” by Mervyn Goode

Artist John Yardley Condition Excellent Country of Origin British Dates Painted in 2018 Dimensions 13.5 x 18.5 inches( Framed 23.5 x 28.5 inches ) Item Medium Watercolour Provenance Sold directly on behalf of the artist. Signed

“Low Tide, St Aubyn, Channel Islands” by John Yardley RI.

This work is cast in an edition of 15 of which this is number 5.Artist Gill Brown Condition Excellent Dates Contemporary Dimensions 6.5 x 9 x 6 inches Item Medium Bronze Provenance Sold directly on behalf of the artist. Signed with initials.

“prince Charming” by Gill Brown Swa

Arts &amp; Crafts silver, enamel, sapphire and pearl dragon pendant by James Cromar Watt, Scotland c1900Marks: noneDimensions: drop 2.75 inches (7 cm) chain 20 inches (51 cm)Condition: ExcellentPrice on application

Arts & Crafts silver, enamel, sapphire and pearl dragon pendant by James Cromar Watt

Art Nouveau bronze and wood clock attributed to Tony Selmersheim, France c1900Marks: NoneHeight: 18 inches (46 cm)Condition: Original movement cleaned and overhauled with one year warrantee. Wooden back possibly re patinated

Art Nouveau bronze and wood clock attributed to Tony Selmersheim

Silver and enamel cubist plaque with figures and fruit in original teak frame by Ottaviani, Italy 1975Marks: Signed, dated and with Italian silver marksDimensions: frame 13.5 x 17.25 inches (35 x 43.5 cm) plaque 9.5 x 6.25 inches (24 x 16 cm)Condition: Professional restoration to some of the enamel, minor stress lines.

Silver and enamel cubist plaque in teak frame by Ottaviani

Liseuse by Albert Carriere-Belleuse (1824-1887)Small gilded bronze figure of a lady reading. Plaque to front of base- Liseuse par Carriere- Belleuse Gd Prix du SalonC. 1865 &nbsp;Signed: A. Carriere-Belleuse&nbsp;&nbsp;Height: 25.5 cm

Liseuse by Albert Carriere-Belleuse

Le Reveil by Joseph Descomps-Cormier (1869-1950)Gilded bronze figure of a young woman waking up and stretching. On brown marble base and signed in the bronze.C. 1925 &nbsp; &nbsp;Signed: Joe Descomps &nbsp; &nbsp;Height: 28 cm &nbsp; Base: 7.5 cm

Le Reveil by Joseph Descomps-Cormier

Maiden with Goats by Gabriel Joseph Garraud (1807-1880)Bronze group depicting reclining figure of a woman with goats on gilded wooden plinth.Maiden with Goats &nbsp;c. 1840 &nbsp;Signed: Garraud &nbsp;Length: 41 cm &nbsp; Height: 36 cmReference: Benezit - Dictionary of Artists&nbsp;

Maiden with Goats by Gabriel Joseph Garraud

Victorian leather library chair&nbsp;This Victorian leather library chair was made circa 1870.The mahogany frame with the lovely feature of having the lions head beautifully carved to the open arms.Having a deep buttoned back in a high-quality leather hide, in a warm tobacco colour.It has well turned front legs with brass cup castors.Imagine sitting back and relaxing in this chair, I expect there will be many of your family and friends who will be vying to try it out.&nbsp;I have tried it out myself and sure it is one, if not the most comfortable of chairs I have sat in.69cms widest across the arms 27ins89cms high 35ins92cms deep 36ins39cms seat height 15 1/2ins56cms seat depth 22insAll dimensions are approximate, whilst we take as much care as possible, we can be marginally out.&nbsp;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.After a few occasions where 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 Victorian leather library chair is a piece of antique furniture that are a very green product and have 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 Victorian leather library chair 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;

Victorian leather library chair 

A rare wall hanging plaque in Newlyn which will date to 1934. Superbly decorated in a full image version of the pattern in crisp, clean colours. It measures 26cm in diameter and free from damage or restoration. It carries printed marks to the reverse.

Clarice Cliff Newlyn 26cm Wall Hanging Plaque C.1934

A bold full image ashtray in the orange colourway of Picasso Flower that will date to 1930. It is in excellent and no damage or restoration. It measures 5" in diameter and is fully signed to the base.

Clarice Cliff Orange Picasso Flower Ashtray C.1930

&lsquo;The Bull&rsquo;. Gouache on paper. Paper size 77 x 58 cm. Image size 71 x 53 cm.
Original gouache painting on heavy weight Hahnemuhle hot pressed watercolour paper. 600g/m2. Signed with monogram to front. Supplied with Certificate of Authenticity on request. The painting is supplied unframed and must be mounted and framed under glass for display.

'THE BULL’. Gouache on paper.

A bold and nicely decorated 451 shaped vase in Limberlost. This will date to 1932 and is a very clean example on a rare shape. It shows a full version of the pattern and free from damage or restoration. It measures 6" in height and is fully signed to the base.

Clarice Cliff Limberlost 451 Shape Vase C.1932

A really special piece of Red Tree. This bowl is fantastically painted to show a full image around the outside and then another inside the bowl! An amazing piece and i have only ever seen one other of these plus a couple in idyll a long time ago. Bold image, bold colours and free from damage or restoration. It measures 8.5" and is fully signed to the base.&nbsp;

Clarice Cliff Applique Red Tree Bowl C.1930

A rare and superbly decorated Greek shape jug in the sought after May Avenue design. A boldly painted example showing a full version of the pattern in clean, strong colours. It measures 9" in height and free from damage or restoration. Printed marks to the base.

Clarice Cliff MAY AVENUE GREEK SHAPE JUG C.1933

Set of 4 Mid 18th Century Black and White Engravings by William Hogarth of The &lsquo;Prints of an Election&rsquo;Hogarth&rsquo;s Election series was inspired by the notorious Oxfordshire contest in the General Election of 1754. &nbsp;The seats had been held, uncontested, by the Tories, since 1710. &nbsp;Then in 1752 the Whigs, who already held a large majority in Parliament, decided to contest the Oxfordshire seats and this heralded a two-year campaign characterised by unprecedented levels of bribery and corruption. &nbsp;These prints are based on the four paintings Hogarth started not long after the General Election. &nbsp;By this time the events in Oxfordshire had been widely publicised through journals and pamphlets. &nbsp;The paintings were bought from Hogarth by the actor David Garrick and later acquired by John Soane at an auction of the effects of Mrs Garrick in 1823. &nbsp;The Gentleman&rsquo;s Magazine had been critical of Hogarth&rsquo;s work calling it, &lsquo;the very many disgusting, if not depraved exhibitions of human nature&rsquo; in the paintings. &nbsp;Fortunately Soane instead recognised them as the finest of Hogarth&rsquo;s satirical works.Circa1758&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; Price: &pound;2,750-00p. &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;H:20.5&rdquo;, 51.25 cms, W: 26.3&rdquo;, 65.75 cms, D:1&rdquo;, 2.5 cms.We have taken the following from the book &lsquo;Hogarth The Complete Engravings&rsquo; by Joseph Burke and Colin Caldwell, page 21, fourth paragraph:The Four Prints of an Election (1755-8) is the supreme masterpiece of this period, his tour de force in mock-heroic baroque parody.Notes on the Plates numbers 237-40:The election satire was occasioned by the Oxfordshire election of 1754. The four prints were dedicated respectively to Henry Fox, later Baron Holland; Sir Charles Hanbury Williams; Sir Edward Walpole; and George Hay, MP, the first three being prominent in the Whig Party.237. &nbsp;AN ELECTION ENTERTAINMENT. February 1755. Fourth State. By Hogarth, with assistance. Two Whig candidates for Parliament give a banquet to their supporters in the local inn while the rival Tory party parade outside the window. On this occasion there are no social distinctions between gentlemen and voter, and alcohol has contributed to the general sense of equality.At the left of the first candidate, Sir Commodity Taxem, receives the confidence of a fat woman, a shoemaker pushes their heads closer together and turns his pipe out over the head of a knight, while a young girl admires his ring. &nbsp;In the next group a chimney sweep takes a similar opportunity to score off his social superior by squeezing painfully the hand of the second candidate in an affected demonstration of friendship and loyalty. A glutenous clergyman acts as the division between these groups and the two succeeding ones, in which the gentry are successfully amusing their social inferiors. &nbsp;At the other end of the table the Mayor is being bled by a surgeon after a surfeit of oysters. &nbsp;In front of the table a pedlar who has brought ribbons and knickknacks for sale as gifts looks with misgiving at a promissory note in lieu of cash. &nbsp;A butcher pours gin into the wound of a ruffian hired as a bodyguard, and the election agent is knocked down by a brick hurled through the window. &nbsp;Notice that the bodyguard is receiving gin both internally and externally. &nbsp;Before the door a Methodist refuses to accept a bribe, while his infuriated wife points to the ragged condition of their son.The inscriptions, slogans, etc., refer to the rival policies of the Whigs and Tories, the former advocating &lsquo;Liberty and Loyalty&rsquo; and the latter &lsquo;Liberty and Property&rsquo;. &nbsp;The Tories carry an effigy labelled &lsquo;No Jews&rsquo; and oppose Excise Duty.The scene is an illustration of the text, &lsquo;He that dippeth his hand with me in the dish, shall betray me&rsquo; (Matthew, 26:23) and contains motives from the Last Supper of Leonardo da Vinci, although the composition is a parody of baroque banquet scenes.238. &nbsp;CANVASSING FOR VOTES. &nbsp;February 1757. Fifth state. &nbsp;Engraved by C. Grignion. &nbsp;The iconographic reference is to The Judgement of Hercules between Vice and Virtue, i.e., Tory and Whig. The sly farmer in the centre is in the happy position of being offered bribes simultaneously by two innkeepers, whose services have been retained as local agents.The inn at the left is the Portobello, representing the floating vote. &nbsp;A barber and a cobbler argue about the quarrelsome Admiral Vernon, who had brilliantly captured Portobello (1739) with six ships of the line but failed disastrously to take Cartagena (1741). &nbsp;The inn on the right is The Royal Oak, the tree in which Charles II hid after the Battle of Worcester. &nbsp;Being a Tory inn, it displays a showcloth satirizing the Whig Duke of Newcastle as &lsquo;Punch Candidate for Guzzledown&rsquo;, shovelling out bribes. &nbsp;The view of the Horse Guards by Hogarth&rsquo;s b&ecirc;te noire, William Kent, shows an arch so low that the coachman&rsquo;s head has been knocked off.The Tory candidate buys trinkets from a Jewish pedlar to secure the local influence of the two beauties on the balcony. &nbsp;The hostess counts her profits in a chair contemptuously made out of the British Lion, who has lost some of his teeth but nevertheless devours the French fleur-de-lis. &nbsp;A soldier of the English guards displays a keen interest divided between her purse and her person.&nbsp;In the distance in the Crown Inn, belonging to the innkeeper on the left. &nbsp;A disloyal crowd assaults it beneath a signpost which is being sawn down by a fanatic completely unaware that he is bringing about his own destruction as well as theirs.239. &nbsp;THE FOLLOWING. &nbsp;February 1758. &nbsp;Third state. Engraved by Hogarth and La Cave. &nbsp;Both parties have rallied every possible voter, even the disabled, lunatic and dying, and criminals temporarily released from gaol. &nbsp;The two candidates are seated at the back of the booth, with a sleeping beadle between them.The lawyers of the opposing parties argue over the oath of the old soldier, who takes it with his hook instead of his right hand, the first declaring that it is invalid, the second protesting against so scandalous as injustice to a patriot wounded in the service of his country.In the background Britannia&rsquo;s coach is about to be overturned while her coachman and footman play cards.240. &nbsp;CHAIRING THE MEMBERS. &nbsp;January 1758. Third state. Engraved by Hogarth and F. Aviline. The two victorious candidates are shown in triumphal procession, the shadow of the second being seen on the wall. The central group is based on the sacre conversaziono of the Venetians and Rubens, the first Member of Parliament occupying the place of the Madonna on her throne. &nbsp;In accordance with Hogarth&rsquo;s theory of comic form and inversion of ideas, a zig-zag pattern substitutes the serpentine line of the baroque, bearers take the place of the attendant Saints, and a fiddler leads the procession, in lieu of angels playing music.The dominant theme of the various episodes is imminent disaster. &nbsp;The bear leader is responsible for two. &nbsp;By fighting with a countryman armed with a flail he precipitates the rush of the sow, who has already overturned a woman and her litter of pigs into the stream. &nbsp;His neglected bear, prying into the pannier of the ragged man on a donkey, causes the gun on the monkey&rsquo;s back to be discharged in the direction of a chimney sweep. &nbsp;A young lady behind the wall faints with alarm on seeing the danger of the Member, to whom she is related.The defeated Whigs jeer at the procession from the house of a lawyer, who alone prospers from their humiliations. &nbsp;The house next to his is in ruins.The famous Whig politician and humourist George Bubb Doddington, later Baron Melcombe, was the model for the elected Member. &nbsp;About his head flies a goose in parody of the eagle flying over the head of Alexander the Great in Pietro da Cortona&rsquo;s Battle of Arbela.&nbsp;

Set of 4 Hogarth Engravings - The 'Prints of an Election'

A superbly decorated 5.5" octagonal sideplate in Rudyard. This will date to 1933 and shows a full version of the pattern in clean colours. free from damage or restoration and is fully signed to the reverse.

Clarice Cliff Rudyard 5.5" Octagonal Sideplate C.1933

Set of 8 Regency mahogany dining chairsThis Set of 8 Regency mahogany dining chairs were made circa 1820, probably in Scotland.Consisting of a pair of armchairs and 6 side chairs all with Trafalgar drop in seats.The chairs have the very desirable sabre legs. Sabre legs came into fashion after Britains victory at the Battle of Waterloo.This style of dining chair really compliments Georgian style dining tables, many of which we have in stock.This set of 8 Regency chairs were purchased by us from a Hungarian noble family.&nbsp;Armchairs (The side chairs are marginally smaller)51cms wide 20ins49cms deep 19ins83cms high 32 1/2insAll dimensions are approximate, whilst we take as much care as possible, we can be marginally out.&nbsp;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.After a few occasions where 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 Set of 8 Regency mahogany dining chairs is a piece of antique furniture that are a very green product and have 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 Set of 8 Regency mahogany dining chairs 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;

Set of 8 Regency mahogany dining chairs

Georgian emerald and diamond ring. Set centrally with three cushion shape old mine diamonds in closed back cut-down settings with a combined approximate weight of 0.65 carats, interspersed with six octagonal emerald-cut natural emeralds in closed back cut-down settings with a combined approximate weight of 0.16 carats, to an ornate cluster design featuring decorative granulation detail, a scalloped gallery and closed backholing, flanked by broad integrated shoulders featuring intricate engraving and metalwork, flowing through to a solid engraved D-shape shank. Tested yellow gold, English, circa 1835.RING SIZE GUIDE: N&frac12;

Georgian emerald and diamond ring, English, circa 1835

Art Deco Colombian emerald and diamond cluster ring. Set to centre with a rectangular step cut natural Colombian emerald with no colour enhancement in an open back claw setting with an approximate weight of 1.80 carats, surrounded by twelve round eight cut diamonds in open back grain settings with an approximate combined weight of 0.28 carats, further set with six round old cut diamonds in open back rubover settings with an combined weight of 0.60 carats, further adorned by four rectangular baguette cut diamonds in open back grain settings with an approximate combined weight of 0.09 carats. The total approximate diamond weight is 0.97 carats, to an elegant cluster design, featuring millegrain edging, a finely pierced decorative gallery, and fancy open backholing, leading to inwardly tapering shoulders with chenier detail, and flowing through to a solid D-shape shank, circa 1930, accompanied by Gemmological Certification Services report #5782-1546.RING SIZE GUIDE: N

Art Deco Colombian emerald and diamond cluster ring, circa 1930

Victorian Burmese ruby and diamond coronet cluster ring. Set to centre with an oval old cut natural unenhanced Burmese ruby in an open back claw setting with a weight of 1.32 carats, enircled by ten cushion shape old mine diamonds in open back claw and grain settings with a combined approximate weight of 1.15 carats, to an elegant coronet cluster featuring curving claws, an intricately pierced gallery and fancy shape open backholing, leading to broad trumpeting shoulders with engraved detail and flowing through to a solid ridged shank. Tested yellow gold, circa 1900, accompanied by GemResearch Swisslab report #GRS2005-091665.RING SIZE GUIDE: L&frac12;

Victorian Burmese ruby and diamond coronet cluster ring, circa 1900

Sapphire and diamond cocktail ring. Centrally set with a square step cut natural unenhanced sapphire in an open back claw setting with an approximate weight of 1.00 carats, flanked by four rectangular baguette cut diamonds in open back channel settings with an approximate total weight of 0.40 carats, and set to top and bottom with ten round star top diamonds in open back grain settings with an combined weight of 0.60 carats, all flanked by vertical borders of ten square step cut natural unenhanced sapphires in open back channel settings with an combined weight of 0.50 carats. The total approximate sapphire weight is 1.50 carats and the total approximate diamond weight is 10.00 carats, to a stylish cocktail ring of geometric design, polished edges and open backholing, the split trumpeting shoulders tapering to a solid D-shape shank. Marked platinum and iridium, markers mark 'SKS', American, circa 1950, accompanied by Gemmological Certification Services (GCS) report #5782-1259.RING SIZE GUIDE: L

Sapphire and diamond cocktail ring, American, circa 1950

Belle &Eacute;poque diamond cluster ring. Set to centre with one cushion shape old mine diamond in an open back grain setting with an approximate weight of 0.95 carats, encircled by twelve cushion shape old mine diamonds in open back grain and rubover settings with a combined weight of 1.40 carats, flanked by two cushion shape old mine diamonds in open back claw and rubover settings with a combined weight of 0.60 carats. The total approximate diamond weight is 2.95 carats to an impressive marquise shape cluster design featuring polished edges and granulated detail, an intricately pierced gallery and fancy open backholing, the decoratively engraved split shoulders flow through to a solid champfered shank. Marked 18 carat yellow gold, French, circa 1895.RING SIZE GUIDE: M 1/2

Belle Époque diamond cluster ring, French, circa 1895

Asscher cut diamond flanked solitaire ring. Set to centre with an asscher cut diamond, E colour, VS1 clarity, with an approximate weight of 0.81 carats in an open back corner claw setting, flanked by eight round old single cut diamonds in open back rubover and grain settings with a combined weight of 0.10 carats. The total approximate diamond weight is 0.91 carats, to an openwork gallery with cheniers and curved shoulders with intricate backholing, tapering to a solid chamfered edge shank. Tested platinum, circa 1925, accompanied by Gemological Institute of America report #16015327.&nbsp;RING SIZE GUIDE: K&frac12;

Asscher cut diamond flanked solitaire ring, circa 1925.

Georgian old mine diamond solitaire ring. Set to centre with a cushion shape old mine diamond in a closed back cut-down setting with an approximate weight of 4.30 carats, to an impressive solitaire design featuring stylised claws, a ridged gallery and closed backholing with engraved detail, flanked by split shoulders and flowing through to a solid flat ridged shank. Tested yellow gold and silver, circa 1835.RING SIZE GUIDE: N

Georgian old mine diamond solitaire ring, circa 1835

Burmese ruby and diamond flanked solitaire ring. Set to centre with an oval old cut natural unenhanced Burmese ruby in an open back claw setting with a weight of 1.11 carats, flanked by four rectangular baguette cut diamonds in open back rubover settings with a combined approximate weight of 0.40 carats, to an striking geometric design featuring curving claws and polished edges, a structural open gallery and fancy shape open backholing, leading to raised shoulders and flowing through to a solid flat shank. Marked platinum, indistinct maker's mark, French, circa 1925, accompanied by Carat Gem Lab report #CGL12556D.RING SIZE GUIDE: L&frac12;

Burmese ruby and diamond flanked solitaire ring, French, circa 1925.

This Georgian oak long dresser base was made circa 1780.The Antique oak dresser stands on elegant cabriole legs that finish on pad feet.It is fitted a box drawer each end and a further pair of wider drawers to the centre, all with the original brass swing drop handles.Imagine how wonderful this Georgian oak long dresser base will look in your home.It has so many places where it can be placed and will not only look fantastic but also provide storage.Imagine the thrill of ownership this will give you and the complimentary conversations it will spark with your family and friends.213.5cms wide 84ins53cms deep 20 3/4ins84cms high 33insAll Measurements are approximate, whilst we take care in measuring there may at times be a very slight difference.

Georgian oak long dresser base

Acrylic on boardBoard size: 24 x 36 inchesFramed size: 30.5 x 42.5 inchesSigned lower right

Mountain Monarchs by Mark Chester

19thc. gold and platinum leaf mirrorThis 19thc. gold and platinum leaf mirror was made circa 1830.It has a dramatic pierced cresting of leaves and flowers fixed to the top.The large rectangular frame with sections of platinum leaf and gold leaf running around the frame, that is adorned with other decoration of flowers.Imagine this wonderful mirror in your own home and the enjoyment it will bring as it gets admired by your family and friends.181cms high 71ins102cms wide 40ins5cms deep 2insAll dimensions are approximate, whilst we take as much care as possible, we can be marginally out.&nbsp;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.After a few occasions where 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 19thc. gold and platinum leaf mirror is a piece of antique furniture that are a very green product and have 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 19thc. gold and platinum leaf mirror 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;

Antique gilt framed mirror

A rare pair of Asembi 80 mm binoculars by Carl Zeiss Jena, the triple turret has 3 different magnifications, 12, 20 &amp; 40 times, which can changed with the "okularrevolver" mechanism.With original Carl Zeiss tripod.Literature: Zeiss Handfernglaser 1919-1946, Modelle - Merkmale - Mythos, by Hans Seeger. Pages: 547..

Carl Zeiss "Asembi" Binoculars

A rare model of a Kinora monochrome motion picture viewer on folding base. Light oak lens holder and base, with the circular Kinora badge.Circa 1905.The Kinora was an early motion picture device, developed by the French inventors Auguste and Louis Lumi&egrave;re in 1895, and patented in February 1896. The British rights to the Kinora were bought by The British Mutoscope &amp; Biograph Co. in 1898, but the machine was not marketed in the UK until 1902.&nbsp;For a similar viewer see: Science Museum Group Collection: The Kodak Collection at the National Media Museum, Bradford.Height: 25.5 cm - 10 in.Literature: The Kinora: Motion Pictures for the Home, 1896-1914. by Barry Alan Anthony, 1996. Page: 38.

Kinora Viewer

ACHIEVEMENT FOR THE DUKE OF WELLINGTON &pound; 8,400Category &nbsp; Reference 374739 A 19th century oil on canvas of the coat of arms for the Duke of Wellington showing his medals, in original black and gilt frame Height 130.00 cm (51 1/4") Width 130.00 cm (51 1/4") Year c. 1840 Provenance A Lincolnshire collection &nbsp;

Achievement for the Duke of Wellington

A 19th century water colour of the classical ruins in Rome , most likly painted on a grand tour trip in Italy

Water Colour of Rome

Antique wall bracket expertly crafted in walnut with geometric inlays of mother of pearl and exotic hardwoods. Having an architecturally intriguing form with a shelf under the dome.&nbsp;

WALNUT INLAID WITH MOTHER OF PEARL WALL BRACKET, SYRIA, 19TH CENTURY 

Pair of Late 19th Century Terracotta Busts Featuring Orientalist Figures. The female wears a headscarf and a pearl necklace of which some of the beads are missing. The male wears a keffiyeh, a Middle Eastern headdress fashioned from a square scarf. Signed on the inside with the Goldscheider signature.The Goldscheider Manufactory was founded by Friedrich Goldscheider in 1885 and became one of the most influential ceramic manufactories of terracotta, faience and bronze objects in Austria. They won a bronze medal for terracotta pieces at the International Exhibition, in Paris, France in 1889.&nbsp;

PAIR OF ANTIQUE ORIENTALIST TERRACOTTA BUSTS BY FRIEDRICH GOLDSCHEIDER 

A cross between fine and decorative arts in this piece. The Dutch painter Rembrandt van Rijn (1606-1669) was, and still is, so admired that his likeness was painted onto this Old Vienna porcelain vase. This work dates to the 19th century, before 1864 when the Old Vienna factory closed, making pieces such as this cherished. The name Rembrandt inscribed within the gilded frame under the portrait.&nbsp;

REMBRANDT VAN RIJN PORTRAIT ON OLD VIENNA PORCELAIN VASE, 19TH CENTURY

British - Rose Hilton1931-2019Signed &amp; DatedOil on CanvasRose Hilton is an Artist who has been based in Cornwall since 1965. Her painting has a magic, mystical quality that draws you in. The presence of her late husband Roger Hilton is there thanks to the lessons he gave her as he became unwell and bed bound.During this period Rose Hilton learned a great deal from her husband&rsquo;s artistic philosophy, painted sporadically, and developed an interest in Ingres and the work of the modern French School, particularly the intense colour used by Bonnard, Dufy, and Matisse.Her admiration for Matisse was a constant encouragement and inspiration during the 1980&rsquo;s and, in the summer of 1983, she flew out to Russia on holiday to visit the Hermitage and see the Matisse&rsquo;s and other French art in the state collection.Ever willing to expand her knowledge Rose Hilton enrolled for Cecil Collins&rsquo; drawing classes the following year at the Central School of Art. She states that she gained a lot of confidence from these classes and her drawing freed up and moved away from the more formal approach she had until that time.Having said this her work, for me, has reference to Patrick Heron, particularly in her most recent output. Indeed, it seems that in her late years she has become free in her work bringing another dimension to it.A hugely talented painter with a great following. She also teaches at the Newlyn School of Art.

Standing Nude by Rose Hilton 

Pennine Snowfield, 1970Nationality BritishArtist BiographyWilliam Bowyer, RALife 1926-2015Dimensions 83 x 65 cmMedium Watercolour on PaperPrice &pound;450

Pennine Snowfield, 1970 by William Bowyer, RA

A Clichy sulphide of Duke of Wellington on cobalt blue ground Period: 1850 - 1899 Year: 1850

Clichy Sulphide Of Duke Of Wellington On Cobalt Blue Ground

A fantastic vivid antique Caucasian rug known as a Kasim Ushak (Ushag) from southern Caucasus and dating from the turn of the 20th century. &nbsp;In excellent condition and showing original fringes in places, we could tidy up the ends too if required. &nbsp;It is in its original condition, coming from a private country home.Rugs that bear the name Kasim Ushak or Kasim Ushag are quite distinctive in their design with a central design and four bold corner designs varying in colour. &nbsp;These Kasim rugs come from the South Causasus in the Karabagh region of Azerbaijan. &nbsp;Tribal caucasian rug weaving grew in the 2nd half of the 19th century as the commercial market demanded exciting, bold flamboyant pieces for the West. &nbsp;Caucasian rugs and runners have always been collectable for their vivid colours and bold geometric designs.Contact us to request a home visit to arrange a preferred day and time to view this beautiful antique Caucasian rug in your home. &nbsp;We travel all over the UK and Europe showing carpets, rugs and runners in-situ.

Antique Kasim Ushak rug, Southern Caucasus

17th Century &lsquo;Menagerie de Versailles&rsquo; Tapestry - 'Air', from a four piece set, plus entre-f&ecirc;netres depicting the Four Elements. A very rare tapestry dating from 1680-1710, as in total five sets of the four piece elements set were completed before 1673 and a sixth set by 1680. &nbsp;From a private collection this exceptional and breathtaking tapestry has gold and silk thread and is in beautiful condition.The tapestries of the four elements 'Fire, Air, Water and Earth' constitute the first set to be wholly designed and executed at the established Manufacture Royale de Tapisserie des Gobelins. &nbsp;They are based on an allegorical scheme that was initiated by the finance minister and superintendent of the B&acirc;timents, Jean-Baptiste Colbert (1619-1683) and developed between 1663 and 1664 by the members of the Petite Acad&eacute;mie, a group of scholars who had been charged by Colbert with devising programs of propagandistic iconography to celebrate Louis XIV.Please request an appointment at our showroom or in-situ to view this remarkable 17th Century Tapestry up close.

17th Century ‘Menagerie de Versailles’ tapestry - 'Air'

An English Majolica Bread Dish with berry &amp; leaf decoration. Height: 36.83 cm (14 1/2") Width: 30.48 cm (12")Year c 1850 Medium Majolica Country England Condition Slight wear and glaze crazing.

English Antique Majolica Bread Dish

A Pair Coalport porcelain Money tree pattern 13.50" Platters in imari colours with underglaze blue decoration &amp; an impressed mark on the back. (See images) Width: 34.30 cm (13 1/2") Depth: 25.40 cm (10") More Information Period Early C19th Year Circa 1815 Medium Porcelain Country United Kingdom Condition In very good condition

Pair Coalport porcelain Money tree pattern 13.50' Platter

A Superb Centre Table In the Louis XVI Manner Of free standing elliptical form, the mahogany frame richly decorated with finely cast and chased ormolu, and having a thumbnail moulded edge Griotte Pyrenean platform; rising from tapered ormolu foliate cast legs with a conjoining ormolu mounted shaped and swept stretcher dressed with a central garland draped finialed urn, with oblate bun feet in ormolu below; the apron mounted with ormolu circular medallions of females interspersed with ormolu relief panels of frolicking putti, and foliate ormolu mounts to the angles. French, Circa 1870 Dimensions: H: 29.5 in / 75 cm | W: 43 in / 108 cm | D: 28 in / 71 cm

19th Century Ormolu and Marble Top Centre Table

A Fine Centre TableFirmly Attributed to Holland and SonsOf free standing rectangular form, constructed in the manner of the Anglicised Louis XVI taste, using Circassian book matched walnut, tulipwoods, green-stained Sycamore and adorned with fine quality marquetry work, ormolu mounts and a Sevres plaque; rising from tapering legs adorned with ormolu foliate cast sabots, paterae and swags, two drawers in the frieze, interspersed with a Bleu Celeste 'Sevres' plaque painted with putti, with faux counterparts to the obverse, the top with splendid book matched veneers, enclosed within a green stained border, with penwork type engraving in the guard band. Circa 1860Dimensions: H: 29 in / 74 cm | W: 42 in / 107 cm | D: 23 in / 59 cm

19th Century Walnut, Ormolu, and Porcelain Table in the Louis XVI Style

An English c.1740-50 mercury twist drawn trumpet bowl cordial glass. the bowl is engraved with fruiting vine. The stem is composed of four strong mercury threads round a long central tear. The foot has a fabrication fault which looks like a trail of unburnt material was left. The bowl is slightly cloudy. Despite these points, this an imposing glass. Height 17.5 centimetres.

English C.1740-50 Mercury Twist Cordial Glass

An English c.1770 double series opaque twist wine glass with a wide almost cup shaped bowl.The stem is composed of a central solid tube surrounded by double spiral threads. Height 14.2 centimetres.Height: 14.2 cms

English C.1770 Double Series Opaque Twist Wine Glass

A 19th century Gothick (Gothic) gilt bronze hall lantern.English, George IV period, circa 1820-1830.A very smart Georgian antique addition to a hallway, entry or foyer.Measures: H 2&rsquo;3&rdquo; (69 cm) W 12 &frac12;&rdquo; (31 cm) D 12 &frac12;&rdquo; (31 cm)<div>Nb.</div><div>An almost identical late Regency period&nbsp;hexagonal lantern was sold at Christies London for &pound;17,500 on 9th June 2011, lot 201. Dated 1820-1830.</div>

Antique Gothic Gilt Bronze Hall Lantern

Art Deco Colombian emerald and diamond ring. Set to centre with a single octagonal emerald-cut Colombian emerald with no colour enhancement and minor clarity enhancement in an open back claw setting with an approximate weight of 2.00 carats, flanked by two round old cut diamonds in open back rubover settings with an approximate combined weight of 1.00 carats, to an elegant three stone design featuring angular corner claws, an openwork gallery displaying scrolling motifs and shaped open backholing. Tested platinum, indistinct makers mark, French, circa 1925, accompanied by Gemmological Certification Services report #79219-20.

Art Deco Colombian emerald and diamond ring, French, circa 1925.

As part of our Japanese works of art collection we are delighted to offer this charming Meiji period 1868-1912 embroidery of a chin dog aside a spray of peacock feathers and by one of the most famous textile company's of the period, the Iida Takashimaya company, the breathtaking and simply captivating detail of the silkwork demonstrates some of the finest possible stitching methods available at that time and not surpassed to this day, the silk picture is cushioned and housed within its original black lacquered wood frame and importantly bearing the original and scarce Iida Takashima factory label to the reverse, an absolute masterpiece from a golden period of textile production, this picture would light up the wall of any room particularly your Japanese themed space, now reavailable for sale.

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