Fine Antique Jewellery box made of solid mahogany veneered in exotic and beautifully figured Coromandel with brass edging and double stringing on the front and top. With an engraved monogram that features a swan flanked by two Prince of Wales feathers.The interior of this splendid jewellery box is lined in teal velvet and black silk paper. With a removable jewellery tray which contains seven compartments including two lined to hold rings, earrings or cufflinks. Using the two ribbon loops on either side this can be easily removed to reveal padded storage space underneath. In the middle of the open box is a brass button, which when pressed releases a hidden drawer at the front of the box which is lined in matching black silk paper.The underside of the main lid has a velvet back hinged lid held in place by two brass clasps. Lifting this secondary lid reveals a gold-tooled leather back and two further storage compartments.This jewellery box comes with a fully working Bramah lock and tasselled key. The key must be pressed into the sprung lock whilst turning clockwise to unlock.Circa 1870

Antique Exotic Coromandel Jewellery Box

French silver-plate cocktail shaker by Gallia with removable cap and integrated strainer. Paired with six Christofle silver-plate cups.
All our items come with authentication certificate with image, care instructions and separate invoice for insurance purposes. On top of this, our items come with 14 day no-quibble money-back guarantee and are all fully insured when shipping.

Cocktail Set

Rare and magnificent inlaid satinwood sarcophagus shaped tea caddy with ebonised edging, standing on four brass ball feet with two lions head carry handles. With fine exquisite decorative inlays on all sides including a lyre on the top.
The interior of this satinwood tea caddy shows yet more impressive cabinet work with the inlays and vibrant colours kept from the light like the day it was made, this can be seen with the superb Conch shell in the lid of the tea caddy. The two compartments lids turned bone handles and still contain traces of their original lining. The underside of the main lid has a beautiful conch shell inlay.&nbsp;
Who could not be wowed by this masterpiece and imagine the scene with this spectacular tea caddy as your served tea by the servants in times past, its exquisite inlays being observed on the outside, but when opened what a delight for the eyes. This antique tea caddy is one the true collector, or for the person that's looking for a truly unique object to enhance a piece of furniture or space. You'll be hard pushed to see another like this.&nbsp;

Satinwood Sarcophagus Tea Caddy

Art Nouveau silver, plique-&agrave;-jour enamel and mother of pearl pendant brooch attributed to Meyle &amp; Meyer, Germany c1900. This piece of jewellery has an unusual and ingenious system of hinged loops for the chain which fold down when worn as a brooch.Marks: Depos&eacute; 900Dimensions: drop 1.5 inches (4cm) chain 16 inches (41 cm)Condition: excellent

Art Nouveau silver, plique a jour and mother of pearl enamel pendant brooch attributed to Meyle & Meyer 

Art Nouveau iridescent glass vase in the Helios decor by Wilhelm Kralik, Bohemia c1900Marks: NoneHeight: 12 inches (30.5 cm)

Art Nouveau iridescent glass vase in the Helios decor by Kralik

Art Nouveau monumental pewter mounted iridescent glass vase in the Diaspora decor by Kralik, Bohemia c1900
Marks: None
Height: 14 inches (36 cm)
Condition: Excellent. Pewter professionally polished.

Art Nouveau monumental pewter mounted iridescent glass vase by Kralik 

A Job Ridgway &amp; Sons porcelain pattern 500 Ice Pail &amp; lid decorated with 2 named birds Fieldfare &amp; Bullfinch and orange and gilt decoration. &nbsp;No liner Standing &nbsp;11" high &nbsp;6" deep 8" wide Height: 28.8 cm (11 1/4") Width: 19.50 cm (7 3/4") Depth: 13.50 cm (5 1/4")Period Early C19thYear Circa 1810Medium PorcelainCountry United KingdomCondition In reasonable good condition. I have tried to show with images the blemishes! Slight gilt rubbing, hairline in bowl near handle, crazing, small cracks on edge of lid

A Job Ridgway & Sons porcelain Ice Pail & lid with named birds & orange decoration

A Large English (possibly Hicks &amp; Meigh) stone china imari Jug &amp; Bowl from a wash set. Height: 33 cm (12 1/1") Width: 12.7 cm (5") Depth: 17.70 cm (6 1/1")Period 19th centuryYear circa 1830Medium Stone chinaCountry United KingdomCondition In very good condition

English (possibly Hicks & Meigh stone china imari Jug & Bowl

A Chamberlain Worcester porcelain pattern 263 tobacco leaf 7.75" Saucer Dish Diameter: 19.80 cm (7 3/4") More Information Period Early C19th Year Circa 1805 Medium Porcelain Country United Kingdom Condition In good condition no restoration, chips or hairlines BUT there is gilt rubbing please see images

Chamberlain Worcester porcelain tobacco leaf pattern 263 Saucer Dish

A fine mid 19th century 2 day marine chronometer by Frodsham and son, in a brass bound rosewood case.this super example seems to be the only frodshamchronometer signed like this as his son worked for him for only 2 years before he died.fully cleaned and serviced&nbsp;&nbsp; &nbsp;

A Fine 2 Day Chronometer By Frodsham

A Belgium slate perpetual moon phase clock with visible brocot escapement to the enamelled dial.The enamel dial to the calendar beautifully painted with maidens both dials set within a finely engraved ormolu plate.The calendar mechanism signed P B Seul, Brevete&nbsp; &nbsp; Dimensions:Height46 cm / 18 1&frasl;4" Width36 cm / 14 " Depth18 cm / 7 "

A Fine 19th Century Belgium Slate Perpetual Calendar Clock

A super set of experiment quality patent Negretti and Zambra max and min thermometers in the original mahogany case one with mercury ant other with alcohol&nbsp;from the collection of Sir Nicholas Goodison&nbsp;&nbsp; &nbsp; Dimensions:Height3 cm / 1 " Width25 cm / 10" Depth8 cm / 3 1&frasl;4"

A Cased Pair Of Max And Minimum Temperature Thermometers

&nbsp;signed pair of portrait busts of Johann Wolfgang von Goethe and Friedrich Schiller by Posch.Leonard Posch, Austrian 1750- 1831, produced these fine quality portrait busts and medallions in cast iron in Berlin in the early 19th century&nbsp;&nbsp; Dimensions:Height14 cm / 5 "

A Rare Pair Of 19th Century Cast Iron Portrait Busts By Leonhard Posch

Early nineteenth century Elk horn writing-box; the highly-textured exterior enclosing three ivory lidded boxes, a pen trough and a velvet lined writing-slope and further secret compartments and drawers, all with decorative engraved borders and lined with sandalwood in the Anglo-Indian (Viziagapatam) manner. &nbsp;Circa 1830.DEFRA Registration submission no: &nbsp;6Q9K66CT14 1/4&Prime; (36cm) wide, 11 1/4&Prime; (28.5cm) deep and 5 1/2&Prime; (14cm) highAll measurements are approximate

Early Nineteenth Century Elk Horn Writing-Box

Fine Regency period papier-mache tray richly decorated with gilded and shaded chinoiseries, including figures, pagodas, boats, trees and foliage, on a deep maroon ground. &nbsp;Circa 1820 [With a modern simulated bamboo table stand]&nbsp;

Fine Regency Period Papier-Mache Tray

Pair of 19th century gilt brass table lights with urn-shaped shafts and on square bases with paw feet, each with a campana-shaped sconce and a calyx hung with prismatic drops.Gilt brass8&Prime; (20) highAll measurements are approximate

Pair Of 19th Century Gilt Brass Table Lights

A George III Mahogany Canterbury, the concave top above three divisions with wavy uprights and an ebony edged frieze drawer above ring turned legs terminating in brass cups and castors.Circa 1800Price :&pound; 1150-00pHeight: &nbsp;19.6&rdquo;, 49 cms, Width: 16&rdquo;, 40 cms, Depth: 14&rdquo;, 35 cms&nbsp;

George III Mahogany Canterbury

Early 20th century oak arm-chair of unusual form; the circular dished seat with a &nbsp;c-scrolled arm, a row of bobbin-turned spindles and a narrow tapered back-rest with a band of fluted decoration; &nbsp;on splayed legs with paired turned stretchers.Oak19&Prime; (48cm) wide, 19&Prime; (48cm) deep and 41 1/2&Prime; (105.5cm) high All measurements are approximate

Early 20th Century Oak Arm-Chair Of Unusual Form

George III partridge-wood tea-caddy with boxwood strung edges and a silver lid-plaque; two internal lids.partridge-wood7 1/2&Prime; (19cm) wide, 4 1/2&Prime; (11.5cm) deep and 5 7/8&Prime; (12.5cm) high All measurements are approximate

George III Partridge-Wood Tea-Caddy

Fine quality Victorian burr-walnut card-table in the revived Louis XV style and in the manner of Gillows of Lancaster; the serpentine, hinged and swivelling top with finely figured paired veneers and golden amboyna cross-banding; on a conforming frame with shaped apron-pieces and chamfered cabriole legs with ormolu mounts.Burr-walnut39 1/2&Prime; (100cm) wide, 23 1/4&Prime; (59cm) deep and 28&Prime; (71cm) highAll measurements are approximate

Fine Quality Victorian Burr-Walnut Card-Table

George IV period mahogany extending dining-table with drop-leaf ends and two loose leaves on a telescopic frame with four turned and reeded legs and brass cup-castors.Mahogany48&Prime; (122cm) wide, 97&Prime; (246.5cm) long, fully extended26&Prime; (66cm) when closed, two leaves each 24&Prime; (61cm) All measurements are approximate

George IV Period Mahogany Extending Dining-Table

Fine pair of 18th century South Staffordshire, probably Bilston, enamel table candlesticks with domed and lobed bases, knopped stems and scalloped drip-pans, decorated with brightly coloured flower sprays and royal blue reserves with raised gilt flowers.From the Rous Lench CollectionEnamel5 1/4&Prime; (13.5cm) wide and deep at base, 11&Prime; (28cm) highAll measurements are approximate

Fine Pair Of 18th Century South Staffordshire, Probably Bilston, Enamel Candlesticks

Rare George III period travelling trunk by William Judson of York; the aromatic camphor-wood box covered with red leather and trimmed with patterns of close-nailing within brass borders; the interior of the lid bearing the elaborate printed trade-label of William Judson, trunk-maker of Ousebridge, York who is known to have been working in the late 18th and early 19th centuries.Camphor-wood and leather13 inch high 29.5 inch wide 15.5 inch deep All measurements are approximate

Rare George III Period Travelling Trunk

George IV period mahogany wine-cooler of tapering octagonal form with a deep plinth and turned feet; the front with a pressed-brass ring-handle and the lead-lined interior divided for six large bottles.Mahogany21.5 inch high 21.5 inch wide 17.25 inch deep All measurements are approximate

George IV Period Mahogany Wine-Cooler

Number 2 of 10 promotional exhibition boardsA rare collection of early 20th century advertising boards promoting the involvement of women in billiards and snooker.This particular match was between Eva Collins and Joyce Gardner.Joyce Gardner and Thelma Carpenter dominated the Ladies game in the 1930's, sharing the Billiard World Championship title on 14 occasions.These are original pieces and are irreplaceable.Dimensions:Height 76 cm / 2' 6" Width 50 cm / 1' 7 3&frasl;4"

Billiard Snooker Exhibition Match 1930

Number 1 of 10 promotional exhibition boardsA rare collection of early 20th century advertising boards promoting the involvement of women in billiards and snooker.Joyce Gardner and Thelma Carpenter dominated the Ladies game in the 1930's, sharing the Billiard World Championship title on 14 occasions.The former also Ladies Snooker World Champion 1950.These are original pieces and are irreplaceable.Dimensions:Height 76 cm / 2' 6" Width 50 cm / 1' 7 3&frasl;4"

Number 10 of 10 promotional exhibition boardsA rare collection of early 20th century advertising boards promoting the involvement of women in billiards and snooker.This particular exhibition was given by Joyce Gardner in Delabole circa 1935.Joyce Gardner and Thelma Carpenter dominated the Ladies game in the 1930's, sharing the Billiard World Championship title on 14 occasions.These are original pieces and are irreplaceable.Dimensions:Height 57.15 cm / 1' 10 " Width 44.4 cm / 1' 5 "

Billiard Snooker Exhibition Joyce Gardner

Number 9 of 10 promotional exhibition boardsA rare collection of early 20th century advertising boards promoting the involvement of women in billiards and snooker.This particular exhibition was given by Joyce Gardner and Thelma Carpenter.Joyce Gardner and Thelma Carpenter dominated the Ladies game in the 1930's, sharing the Billiard World Championship title on 14 occasions.These are original pieces and are irreplaceable.Dimensions:Height 49.5 cm / 1' 7 " Width 31 cm / 1' 0 "

Billiard Snooker Exhibition Match 1936

Number 8 of 10 promotional exhibition boardsA rare collection of early 20th century advertising boards promoting the involvement of women in billiards and snooker.This particular exhibition was given by Joyce Gardner and World Champion Joe Davis.Joyce Gardner and Thelma Carpenter dominated the Ladies game in the 1930's, sharing the Billiard World Championship title on 14 occasions.These are original pieces and are irreplaceable.Dimensions:Height 50 cm / 1' 7 3&frasl;4" Width 38 cm / 1' 3 "

Billiard Snooker Exhibition Joe Davis & Joyce Gardner

An early antique silver coffee pot (or chocolate pot) with domed lid and beautifully grained fruit wood side handle. Dates from the first year of George I&rsquo;s reign. The elegant plain style, with simple reed borders, has the straight lined octagonal shape which is a very rare and desirable feature. The decorative strapwork handle supports are also functional as Britannia standard silver is purer and therefore a softer silver.Contains 1000ml. Weight 1098 grams, 35.3 troy ounces. Height 26.6cm. Diameter 15.25cm (widest point of body). London 1715. Maker Martin Stockar. Britannia standard silver.Marks. Stamped underneath with a full set of English silver hallmarks and incised date &ldquo;1715&rdquo;. The lid edge has the lion mark.Britannia Standard. In 1696 the silversmiths were forbidden to use the sterling standard for their wares, but had to use a new higher standard, 95.8 per cent with new hallmarks &ndash; &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. This continued until the old standard of 92.5 per cent was restored in 1720.Maker: Martin StockarMartin Stockar, London silversmith, originally from Kent, apprenticed to Michael Fenton 1688, free 1695. 1st mark entered as largeworker probably 1697 on commencement of the register. 2nd mark in partnership with Edward Peacock 1705. 3rd mark alone.Free Shipping Worldwide&nbsp;

Antique George I Silver Coffee Pot By Martin Stockar. England, 1715.

A rare pair of heavy gauge silver sauceboats with thick gadroon borders, acanthus mounted handle and a broad oval foot. Lovely chunky design.Each contains 400ml. Total weight 767 grams, 24.6 troy ounces. Height 13cm (to top of lip). Spread 18cm. London 1752. Maker Philip Garden. Sterling silver.Ideal for serving sauces and gravies.Marks. Each is stamped with a full set of crisp and matching English silver hallmarks.Maker: Philip GardenPhilip Garden (other spellings Phil(l)ip(s), apprenticed to Gawen Nash 1730, free 1738. First mark entered as smallworker 1738, 2nd mark, as largeworker, 1739, 3rd 1744, 4th 1748, 5th 1751. Livery 1746. Grimwade describes Garden as an admirable exponent of the rococo style. There is an interesting hypothesis that Garden acquired the tools and models from Paul de Lamerie&rsquo;s estate after his death in 1751. Some of Garden&rsquo;s subsequent work bear identical features to Lamerie&rsquo;s indicating some connection between the two master silversmiths.Free Shipping Worldwide&nbsp;

George II Antique Silver Gravy Jugs By Philip Garden. England, 1752.

A magnificent pair of antique silver plates with the excellent quality and weight you&rsquo;d expect from the prestigious silversmith Paul Storr. Extra large size and plain design with traditional shaped gadroon borders. Hand engraved to the edge are two large, matching coat of arms with the motto &ldquo;Viet Virtute&rdquo;.Total weight 2448 grams, 78.7 troy ounces. Diameter 32cm. London 1812. Maker Paul Storr. Sterling silver.This large size is generally referred to as a second course dish. These plates are even larger and heavier gauge than usual.Marks. Each is stamped to the underside with a full set of clear and matching English silver hallmarks and a registration mark number 794.Motto. &ldquo;Viet Virtute&rdquo; which translates as &ldquo;By Strength and Valour&rdquo;. This motto and the left hand coat of arms are for Sir James Gardiner Baird, 6th Baronet of Saughtonhall in the County of Edinburgh.Maker: Paul StorrPaul Storr (28 October 1770 &ndash; 18 March 1844 ), was one of the most talented silversmiths of the late Georgian period. Today his legacy of exceptionally well crafted silver can be found worldwide in museums and private collections. Son of Thomas Storr, a silver chaser, apprenticed 1785 to Andrew Fogelberg. First mark, as plateworker, in partnership with William Frisbee 1792. Second mark alone 1793. 3rd mark 1793. 4th mark 1794. 5th mark 1799. Subsequent 6th - 12th marks entered 1807-1834. By the beginning of the nineteenth century, established as one of London&rsquo;s top silversmiths, he was producing commissions for Royalty. In 1801 he married Elizabeth Susanna Beyer with whom he was to have ten children. In 1807 Paul Storr entered into a working relationship with Philip Rundell and by 1811 was a partner, and managing the workshops for Rundell, Bridge &amp; Rundell. During this period he kept his own marks and separate workshop, however Rundell, Bridge &amp; Rundell were appointed Goldsmith in Ordinary to George III in 1804, and through them his reputation as a master silversmith grew. His talents lay in being able to transform ideas and designs from Rundell, Bridge &amp; Rundell&rsquo;s designers, William Theed II and later John Flaxman II. Rundell, Bridge &amp; Rundell&rsquo;s reputation grew due to the subsequent patronage of the Prince Regent (later George IV). Storr left RUNDELL, BRIDGE &amp; RUNDELL in 1819 and went into partnership with John Mortimer, the assistant of a retiring retail goldsmith and jeweller, WILLIAM GRAY, of 13 New Bond Street. The firm was renamed STORR &amp; MORTIMER and Storr concentrated on the manufacture of goods for Mortimer to sell in the shop at 13 New Bond Street. Storr and Mortimer, now manufacturing and retail goldsmiths, jewellers and silversmiths with an influential clientele, moved to 156, New Bond Street, in 1838. Storr retired to Tooting in 1839 and died in 1844. &nbsp;Free Shipping Worldwide

George III Antique Second Course Plates By Paul Storr. England, 1812.

An original oak framed Rules of Billiards by George Wright of London, a good example of an oversized Country House framed rule, becoming very hard to source.Printed paper on board, original frame, replacement glass. Provenance: Hexton ParkDimensions:Height 68 cm / 2' 3" Width 43 cm / 1' 5" Depth 2.5 cm / 1 "

The Rules Of Billiards

A very rare framed Rules of Billiards, Life Pool and Pyramid pool.Printed by the famous Glasgow manufactures Norval.Usually only one game is explained, but this condensed rule summary is very rare.Norval's business was originally established in 1866, the elegant, well fitted, and heavily-stocked showrooms were at 49, Argyle Street, while the works are at No. 57 in the same thoroughfare.Dimensions:Height 73 cm / 2' 4 3&frasl;4" Width 55 cm / 1' 9 "

Billiard, Life Pool Pyramid Rules

Exceptional opposing pair of rare Chinese silver spittoons. The pair formed with tapered bodies and wide trumpet mouths sat upon a thin circular base. The central band boldly decorated with four separate scenes of important Chinese historical proverbs.The first opposing scene features M&egrave;ng jiā lu&ograve; m&agrave;o 孟嘉落帽 translated to Meng Jia drops his hat. It is a story of statesman Meng Jia who served general Huan Wen (312&ndash;373). One day at a gathering on Longshan (the Dragon Mountain), a gust of wind blew the cap from Meng&rsquo;s head, but he did not seem to notice. A colleague at the event wrote a few lines mocking and criticizing Meng&rsquo;s unceremonious appearance, but without the slightest hesitation Meng composed an elegantly phrased reply that earned the group&rsquo;s admiration.The second scene features an old Chinese idiom of B&oacute; L&egrave; Xiāng Mǎ 伯乐相马. Known as Bole (伯乐 &ndash; B&oacute; l&egrave;), the name of a celestial being that was said to be in charge of heavenly steeds, Bole is said to have been an exceptionally good at finding hidden talent. The scene shows Bole standing in front of a lean horse as he judges its ability.The third scene features H&aacute;ngēng m&agrave;i y&agrave;o 韩庚卖药, it tells the story of a hermit who used to go into the mountains foraging for herbs to sell as medicine at the local market. As a hermit he believed that he was unknown to everyone and never sought out interaction other than selling his produce. One day he was recognised by a local, he was shocked as he believed that nobody knew him. As a consequence he hid in the mountains as a hermit the rest of his life.The final scene possibly tells the proverb of T&oacute;ng y&egrave; fēng d&igrave; 桐叶封. The proverb describes a story from the Zhou dynasty with a King gifting the leaves of a tung tree to his younger brother, he gives it him as a token suggesting he will grow up to be the bearer of great fief. Each scene is completely with scallop shaped borders onto the plain gloss silver. The base is stamped stamped to the centre Bao Heng Xiang, Beijing Silverware Shop, High Silver. 北京 寶恒祥 銀器 足紋.Notes | Spittoons have been used in China for many years dating back to at least the Tang Dynasty. A porcelain spittoon was found in a tomb dating to the reign of Emperor Xianzong (805-820). During the Qing dynasty a golden spittoon would be amongst the numerous objects displayed in the front of ceremonies with the Emperor.When China became a Communist state in 1949, the spittoon became much more prevalent. Spittoons were placed in nearly ever public place and also in homes as well. It was believed this was due to more modern hygiene practices and to stop people openly spitting on the floor. The earlier spittoons were made of porcelain often in the imperial blue and white styles, more modern versions can be found in other materials such as the examples above.Reference | For more work by Bao Heng Xiang see Christies, Lot 575, 15th May 2015 A Silver Basket.Measurements | 16.5cm High &times; 20cm Wide

Chinese Beijing Silver Spittoon Pair | Bao Heng Xiang

An elegant and rare early 19th Century burr root maple drum top table on splayed triform base. Scandinavian circa 1820. The circular top with rarely seen figured root maple segmented veneer and central roundel inlaid with fine ebonised and boxwood chequered stringing, over a frieze containing two long lockable drawers flanked by quadrant drawers, each veneered in bird&rsquo;s eye maple within an ebony strung and crossbanded surrounds with ebonised turned knob handles.The whole raised on triform base of tapering shaped and splayed legs joined by a central undertier and terminating on castors.A wonderfully impressive drum top table with a finely chosen rare figured root maple veneer, of elegant form having a superb colour and patination.&nbsp;&nbsp;&nbsp;&nbsp;DimensionsWidth &nbsp;43 1/4 inches - 110cmHeight 27 3/4 inches - 70.5cmDepth &nbsp;43 1/4 inches - 110cm&nbsp;

Rare Early 19th Century Scandinavian Burr Root Maple Drum Table

Jean Roy&egrave;re adjustable Iron standing Floor LampFrance Paris circa 1940&rsquo;sIn wonderful original condition by one of the most sought after mid 20th century French furniture and interior designers Jean Roy&egrave;re (1902-1981).&nbsp;The shaped arm is adjustable at five points allowing to user to create different lighting moods, supported by an iron stem with wrapped metal details to the top and middle conforming with the tripod base united by wrapped metal.A wonderful example of the vision and use of material by Royere.&nbsp; Retaining its original patina and wiring to show authenticity, we can happily rewire and pat test on request, the shade cover has been carefully replaced so still to retain the original frame.

Jean Royère Adjustable Iron Floor Lamp 1940

A very comfortable pair of Art Deco 20th century ebonised armchairs upholstered in an off white crushed velvet.&nbsp;French Circa 1930-40.&nbsp; The design and shape of these chairs say it all, they have elegance and style.&nbsp; Having a sprung vase shaped inset square top back , the armrest scrolled and piped retaining a feathered cushion seat.&nbsp;Of U shape design having an ebonised front facade with shaped and tapered legs to the front and rear.&nbsp; Very stylish, these chairs having been upholstered in a top grade crushed velvet with the timber having been French polished to an excellent finish. These armchairs are extremely comfortable, they have a very soft sprung back with a large feathered cushion seat.&nbsp; Offered in excellent condition these unique and contemporary armchairs have a design we have not seen before and will work well in any contemporary setting.&nbsp;&nbsp; Width: 36 1/4 inches - 92 cm Height: 34 inches - 86.5 cm Depth: 33 1/2 inches - 85 cm

A Unusual Pair of French Art Deco Ebonised Armchairs in a Crushed Velvet

An imposing 17th Century mahogany Portuguese colonial trunk / chest, of grand proportions, decorated with pierced brass panels.&nbsp; Probably Brazil, circa 1670.&nbsp; This rare chest is of Iberian design, that first emerged in the 16th century with its distinctive lozenge panelling.&nbsp;The large hinged mahogany top having a jacaranda timber moulded edge, secured by a wonderful large central iron lock, retaining its original hand forged key, opening to reveal a large storage compartment. Below are three bolection-moulded panels applied with decorative pierced and scrolling brass panels, the central acting as an escutcheon, with the conforming sides having carrying handles.In two sections, the top sits over a base raised on compressed bun feet, housing two fielded panelled apron drawers, with central brass escutcheons and conforming faux sides.&nbsp;In wonderful original condition with good colour and patina having been wax polished, the bottom two drawers lacking locks.&nbsp;&nbsp; An extremely impressive chest / trunk with the brass lozenge designed panels giving it a very decorative feel, which will work well in todays interiors as a statement piece.&nbsp; It is very possible this originated from Brazil and would have most likely been used to store items of wealth, the likes of the families silver etc.&nbsp;Width: 80 1/4 inches - 204cm Height: 41 1/4 inches - 105cm Depth: 29 1/2 inches - 75cm

Imposing 17th Century Portuguese Colonial Mahogany and Brass Chest

This wonderful French Napoleon III knotted rope twist stool / tabouret retaining its original needlepoint foliate upholstery, is very possibly from the workshop of A.M.E Fournier and previous part of the important collection of Lord Ballyedmond.&nbsp; French circa 1880.&nbsp; The circular seat retaining its buttoned silk and needlepoint foliate upholstery, raised on gilt wood twisted rope legs finishing on the original concealed horn castors to the tasselled feet.&nbsp; Provenance Lord Ballyedmond Collection&nbsp; This whimsical stool once stool place in the drawing room of the London home of the late Lord Ballyedmond. His home was a unique place - a private world in which his incredible collection was displayed, giving a glimpse of a former gilded age and thoughtfully put together to create the perfect setting for entertaining in the grandest tradition.&nbsp; A.M.E. Fournier was established by 1850 at 109 Boulevard Beaumarchais, and later at Boulevard des Capucines. Besides case furniture, Fournier also produced a variety of upholstered pieces that were exhibited at many of the famous exhibitions of the second half of the 19th century, including the Exposition Universelle of 1867. One of his most popular and enduring creations was his design for the rope-twist stool, or pouf &agrave; cordes. A giltwood stool very similar to this lot is in the Ch&acirc;teau de Compi&egrave;gne and is illustrated Helena Hayward, World Furniture, 1965, p. 241, pl. 928.Width: 24 3/4 inches - 63cm Height: 17 inches - 43cm Depth: 24 3/4 inches - 63cm

Wonderful French 19th Century A.M.E Fournier Giltwood Stool Tabouret, Lord Ballyedmond.

Le Semeur by Henri D&eacute;sir&eacute; Gauquie (1858-1927)Finely cast and beautifully patinated bronze figure of a young man sowing.Inscribed Fac et Spera to front of base.Circa 1895 &nbsp; &nbsp;Signed: H. Gauquie &nbsp; &nbsp;Height: 60 cmVrai Bronze Guaranti

Le Semeur by Henri Désiré Gauquie 

Rebecca au Puits by Emmanuel Villanis (1858-1914)Rare model of Rebecca at the well drawing water. Rebecca au Puits &nbsp;c. 1900 &nbsp; &nbsp;Signed: E Villanis &nbsp; &nbsp;Height: 66 cm

Rebecca au Puits by Emmanuel Villanis

Ostrich Running by Robert GlenOstrich &nbsp; Signed: R. Glen &nbsp;Length: 41 cm Height: 36 cm Mariani Art Foundry, Tuscany - Edition number 1 of 10

Ostrich Running by Robert Glen

Nicely carved 16c oak plank coffer

Carved 16c oak plank coffer

C1400 limestone sculpture of seated Madonna with 6 fingers on her right hand &nbsp;
 &nbsp;

C1400 Limestone Sculpture Of Seated Madonna With 6 Fingers On Her Right Hand

Oil on metal panel, England 18th century, depicting an interior of an English inn C.1780

Oil On Metal Panel, England 18th Century

An endearing cold painted Austrian Bronze study of an alert young bird with its head raised. The bronze exhibiting rich brown colour and good hand finished surface detailVienna Bronze BirdThe tradition of Vienna Bronze can be traced to the middle of the 19th century. Around 50 manufacturers resided in Vienna at the turn of the century, as small Austrian bronze sculpture with its fine detail enjoyed great popularity.At this time numerous sculptors and modellers were active in selling their work and models to bronze manufacturers, who then reproduced these. This means that a stamp (hallmark) alone shows who the manufacturer of a Bronze is, but not who the creator was. The artists remained largely unknown. Of course there are several artists whose works are also well-known, such as Lorenzl, Zach, etc. But even they did not work on every piece themselves, only the original model. One had chasers for the subsequent reproduction. Thus there are also differences in price for identical models, depending on the quality of the work.The quality of the final piece depended on how gifted the chaser was and how perfectly he carried out his work. The painting of the final finish too was, and still is, an important factor.Animal figures 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.

Vienna Bronze "Young Bird"

A very fine early 20th Century cold painted Austrian bronze figure of anArab teacher dressed in a white Thawb and a red Fez sat upon a low stall. This bronze study has excellent colour and very fine hand finished detail, signed with the Bergman 'B' in an amphora vase.&nbsp;Franz Bergman Sculptures Bergman Seated Teacher &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.Orientalist Subjects From the 17th Century onwards it was customary for the young Victorian gentleman to go on the obligatory tour of the East &ndash; the Grand Tour &ndash; as an educational rite of passage. Visiting countries and experiencing customs they had only ever heard about in stories, these young men were keen to show their families mementos of their experience, especially the lavish subjects of the Middle Eastern Arab world. The return trip would usually include a visit to Vienna, and here the &lsquo;souvenir&rsquo; shops supplied a plethora of beautifully crafted sculptures with an Orientalist Arab flavour. These were often acquired to show their friends and families images of their travels. Bergman was noted for his detailed and colourful work and he produced a huge number of Orientalist subjects to cater for this market including this Arab Tent Lamp.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 Orientalist style, sometimes the erotic nature of the subject was disguised by a covering that revealed all when a button was pushed or a lever moved. Carefully sculpted animals, such as owls, could often be opened to reveal an erotic female figure inside. &nbsp;

"Seated Teacher" by Franz Bergman

A wonderful wooded landscape vase, the everted surface decorated with a deep green spring scenery finished with excellent hand etched and hand painted detail around the full circumference. Signed Daum Nancy with the Cross of Lorraine and numbered 886P&acirc;te de Verre is a rare and ancient glassmaking technique, which dates back to 5000 bc (pieces have been found in the tombs of pharaohs).in 1900 Daum rediscovered this technique that had been long forgotten, then further developed it in 1968. The process of melting glass coupled with the lost wax technique that Daum has developed, ensures a perfect reproduction of the original piece just as the artist had imagined it. today, Daum is the only glass maker in the world able to produce this exceptional material so perfectly. P&acirc;te de Verre is a mutable substance, which has translated every whim of the imagination of the master glassmakers for over a century, in this way, no two pieces are identical, because the fragments of groisil blend and merge at will as the glass melts. This mastery and constant research have resulted in world renowned masterpieces.

"Spring Vase" by Daum Frères

A beautiful early 20th Century cameo glass vase etched and enamelled with a deep summer wooded landscape against a pale yellow background. Exhibiting very fine hand finised surface detail and vibrant colour, signed Daum Nancy &nbsp; &nbsp;Daum&rsquo;s unique technique common to all was that a clear vessel was blown with colour only on the inner surface or layer. An acid resist landscape was painted free-hand onto the vessel which was then etched by plunging into a hydrofluoric acid bath. The outer surface was then polished which gave the trees a &lsquo;third dimension&rsquo; as the onlooker can see through the clear glass to the inner colour. Then the background was frosted, tricking the eye into thinking it is seeing coloured glass.Three types of enamel were painted by the artist to complete the design: transparent enamel for the three dimensional trees, opaque enamel for the snow or the ground and a polychrome enamel for the details in the distance which could be hills or trees. Finally the piece was reintroduced to the heat to anneal the enamels with the base glass.Some very rare examples such as the &lsquo;Deep Winter&rsquo; design had an additional and more complicated process of applying a layer of cameo glass to the outer body before painting the acid resist. This had the effect of giving a more dense layer of snow or summer fields that could be further worked to give additional features in the landscape.The many landscape vases of Daum were always examples of excellence and the skill of several different craftsmen. &nbsp; &nbsp;

"Summer Landscape" by Daum Frères

Mid century rattan and wrought iron canine inspired magazine holder attributed to Raoul Guys, France circa 1960

Raoul Guys metal and rattan canine inspired magazine holder

Hermès magnifying loupe paper weight by Ravinet d&rsquo;Enfert in the manner of Maria Pergay Silver plated with gold plated belt and buckle motif Herm&egrave;s Paris France circa 1960 &nbsp;

Hermès loupe made by Ravinet d’Enfert

large vintage R&amp;Y Augousti Classic Picture Frame&nbsp; with inlayed faux bamboo decoration Paris France circa 1990 &nbsp;

R&Y Augousti picture frame

Maria Pergay style brass buckle tray Paris, France circa 1960 &nbsp;

Maria Pergay style brass buckle tray

Veronese shaped pulegoso vase by Archemide Sugoso Murano Italy 1937 Seguso Vetri d&rsquo;Arte Provenance: private collection of Archimede Seguso &nbsp;

Seguso pulegoso Veronese vase of classical shape on high base

Tall amphora shaped pulegoso twin-handled vase Murano Italy 1937 Seguso Vetri d&rsquo;Arte Provenance: private collection of Archimede Seguso &nbsp;

Pulegoso two-handled Seguso vase

Two-handled pulegoso vase by Archimede Seguso Murano Italy 1937 Seguso Vetri d&rsquo;Arte Provenance: private collection of Archimede Seguso &nbsp;

Murano pulegoso two-handled vase

Midcentury wall candle sconce in ceramic and steel designed by Konrad Galaaen for Porsgrunds Porsel&aelig;nsfabrik, Norway 1960s On the reverse, what appears to be a presentation inscription for &laquo; Knut Eng &raquo; from NORWAY&rsquo;S EXPORT COUNCIL Diplomatic visit in 1968 &nbsp;

Konrad Galaaen wall sconce

A rare Mathieu Mat&eacute;got liquor basket with a wicker handle perforated metal, original black paint. In excellent original condition.documentation: this version on page 12 of the documentation archive pages, Mathieu Mat&eacute;got by Patrick Favardin, Norma Editions, 2014 &nbsp;

Rare metal liquor basket with wicker handles by Mathieu Matégot

French Crystal lamp base by Daum France with its original electrical fitting. Etched signature, Daum France to the base. &nbsp;

Daum crystal table lamp in the form of an owl

As part of our Japanese works of art collection we are delighted to offer this late 17th early 18th century Genroku period (1688-1704) lidded bowl , the circular bowl and cover decorated in traditional Imari palette with opposing shaped panels of birds in flora between more formal geometric blue diaper borders, interspersed with gilt floral decorated roundels. The lid of the bowl rather unusually finished with a finial in the form of a peeling pomegranate fruit, a super quality and fine condition Edo period Japanese ceramic that would have sailed as part of a consignment from Japan over 300 years ago, wares of this type were destined to furnish the homes of wealthy Europeans and nobility, where they were highly prized. A most decorative and functional addition to your Japanese Ceramics or works of art collection.Condition report :Fine un restored condition with minor age related chip to stalk.Approximate Sizes :&nbsp;Diameter : 8 3/4" 22 cmHeight : 9 1/2" &nbsp; 24 cmFree worldwide delivery and a certificate of authenticity are included within the price of this item.

Japanese 17th century Arita Bowl and Cover

This fabulous antelope head sculpture is by the Mexican artist, Sergio Bustamante. This antelope head wall hanging sculpture, comprised of mixed brass and copper, with contrasting patination of the horns and ears, would work great in a within a variety of home interior styles, whether sitting perfectly within a Postmodern, Mid-Century Modern, Scandinavian Modern or Danish modern home or being the statement piece within in a Contemporary or Minimalism room. Why not consider mixing it up in a Traditional, Transitional, Classical or Art Deco room by adding a splash of juxtaposition with this statement piece.Sergio Bustamante is a Mexican Artist and sculptor. Bustamante was born in Culiacan, Sinaloa in 1949 and studied architecture at the University of Guadalajara. Bustamante's first art exhibition showcased paintings and papier-m&acirc;ch&eacute; figures at the Galeria Misracha in Mexico City in 1966. In 1975, Bustamante was part of a group of artists that established the "Family Workshop Studio" in Tlaquepaque, Jalisco, Mexico. In the mid-1970s, his practice expanded to include wood and bronze sculpture.

Sensational Copper Antelope by Sergio Bustamante 1970s

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.

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