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Click here to subscribeA George III decagon tea caddy, veneered in tortoiseshell and ivory banding, the front with a silver coloured metal plaque, and initialled C, 15 cm high, Ivory Exemption registration T7WEGD1CSome loss, probably missing the knop or finial, no key, the hinge has been broken/strengthened and repaired
A Chinese terracotta figure of a wise monkey, a blue and white plate and assorted other items (box)blue and white pieces both bearing cracks and firing faults, the plate having chips around the rim, metal box dented at the base, matching metal dishes have losses, one is misshapen, shall teapot has a loss to the finial and rubbing to the guilt
A pair of Chinese Famille Rose porcelain circular tureens and covers, Qing Dynasty, Yonzheng/Qianlong, each with domed covers and shell-shaped handles, painted with blooms in a restricted palette of rose pink, green and gilt, 15 cm wide x 12 cm overall height, together with a Famille Rose porcelain double walled reticulated tea bowl, two small vases of pumpkin form with scrolling wave bases, two early Qianlong wine cups of conical form.A private estateBoth tureens cracked. to the bodies, one cover with a glaze chip to the finial topBoth tureen covers have some chipping to the underside of the shell handles
Three Wedgwood blue Jasperware jugs, late 19th century, each with classical figures, and impressed marks, 15.5-16cm high together with a sucrier, 13cm wide and another smaller sugar bowl, 9cm wide (5)Provenance: The property of the late Baron John Mauger Langin Condition ReportWith chip to the base of one of the jugs, The sucrier with loss to the cover finial and chip to one of the handles- the piece is present. Nibbles to the sugar bowl. LEFT to RIGHT1 - jug - base with chip to the edge. 2 - bowl - chip to the edge, pencil writing to the base. 3 - sucrier and cover - handle broken and piece inside4 - jug - some cracks to the raised work. Residue to the edge of the jug.
A Royal Worcester porcelain twin-handled vase and cover, early 20th century, model 1572, painted with floral sprays, printed marks,26cm highCondition ReportWear and rubbing to the gilding. No obvious signs of restoration to the body, wear to some the matte turquoise ground, dirty within areas of low relief, body rings as expected. Possible very high quality restoration to the finial of the cover, but inconclusive to the naked eye. See photos overall good order
A collection of Wedgwood black basalt ware, early 19th century and later, comprising, a teapot, with fluted decoration and figural finial, an oil lamp, lacking base, modelled with a figure holding an open book, a plaque, depicting Hercules and the Nemean Lion, 18.5x 13.8cm, The Frightened Horse plaque, after George Stubbs, plaque 7.5x 13cm, a bowl, together with a larger example (qty)Provenance: The property of the late Baron John Mauger Langin Condition ReportThe base missing from oil lamps. Small nibbles and wear. Light surface scratched but no obvious damage or restoration
A grey marble and gilt-metal cassolette the domed cover with an acorn finial the body set with pans mask handle to either side united by floral swags, raised on a shaped gilt metal base22cm wide16cm wide46cm high together with an aesthetic style slate and brass mounted urn and cover28cm high (2)Condition Reportboth in good order with no obvious major damages, with some knocks and light surface marks
A Delft pottery birdcage late 19th century, the dome top with stepped finial, the whole having foliate painted decoration with courting scenes, on bun feet, one chipped, 42cm highProvenance: The property of the late Baron John Mauger Langin Condition ReportThere is a gap to the base, where a possible drawer once sat. Please see the additional image.
A George III mahogany stick barometer by Gilbert Wright & Hooke, London, with a break arch pediment, above the silvered dial, with a turned reservoir cover,97cm longCondition ReportWith minor knocks and wear, the brass finial to the top a little loose. With cracks to the veneer surrounding the dial. Mercury present. Please see the additional images.
A Wedgwood Jasperware presentation vase and cover, late 19th century, the cover set with shaped finial, above an elliptical body with twin handles, decorated with a frieze of classical figures, with floral swags above, in white and lavender, raised on a square foot, impressed 'Wedgwood, Made in England, AW', 12cm wide 22.5cm high Provenance: The property of the late Baron John Mauger Langin Condition ReportThe cover with a couple of tiny nibbles. Glaze to the base of the finial is slightly irregular. A couple of tiny nibbles to the base. In need of cleaning.
A collection of Wedgwood pottery items, 19th century and later, to include, a pair of twin handled vases, 13.5cm high, a smaller example, 11cm high, a coffee can, 6.5cm high and a similar cup, 6.8cm high, a matched teacup and saucer, 13.5cm, a Jasperware sucrier, with classical figures to a pale yellow ground, 14cm wide, two teapots, a coffee pot, three sandwich plates (qty.)Provenance: The property of the late Baron John Mauger Langin Condition ReportCoffee pot) Missing finial. Cracks and losses to the spout. Cream jug) Restored handle. Blue twin handled vases) One with chips to the handles. Yellow twin handled vase) Mask handle missing its horn. The remainder in a fair overall condition, with minor nibbles throughout.
A gilt bronzed cannister, classical figures to the reserves, and a pinecone finial to the cover, 26cm hightogether with a gilt bronzed tazza and cover,with rams head handles, moulded swag decoration, with putti finial to the cover, 26.5cm high (2)Condition ReportMinor knocks and wear. In need of cleaning. Please see the additional images.
A Chinese boxwood tea caddy, late 19th century, of square form on scroll feet, carved with butterflies and bats with bamboo, lotus, orchid and prunus in each panel, the domed cover with a pagoda finial, with a pewter liner and a Candareens coin knop, 23.5cm high (2)Condition ReportCover with splits and signs of glue. Chips and losses to edges and corners. Surface scratches.
A Wedgwood 'Dancing Hours' jasperware urn 20th century, the upper section decorated with a single band of neoclassical maidens in white to a black basalt ground, rising from a square plinth decorated with foliate motifs, complete with cover capped by an acorn finial, stamped 'Wedgwood Made in England',11.5cm wide25cm highCondition ReportThe acorn finial to the cover has been restored. Otherwise all in good order.
A Wedgwood black basalt potpourri vase and cover 19th century, of footed urn form, with a pierced cover with acorn finial over a further internal cover, with chrysanthemums and birds in polychrome enamel decoration,31cm highProvenance: The property of the late Baron John Mauger LanginCondition ReportWear and rubbing to the decoration, otherwise in good order.
AN INDIAN WHITE METAL MAKARA PALANQUIN FINIAL Possibly Lucknow, Awadh (Oudh) or North India, 19th centuryWith a long cylindrical body, the white metal sheet finial designed as a Hindu mythological sea creature (makara), the vahana (vehicle) of the river Goddess Ganga, with an elaborate elephantine head with a curly mane on the forehead, a pair of small tusks projecting from the sides of the mouth, a long, upward-curled trunk with a lotus flower roundel instead of nostrils, and a crocodile-like mouth with a long, movable tongue, the bulging almond-shaped eyes encrusted with untested rubies, mounted on a plain, inclined metal stand.47cm long excluding the stand 47cm long excluding the stand Qty: 2
A YELLOW-ENAMELLED ROYAL VIENNA PORCELAIN SAHLEP MUG AND TWO PLATES FOR THE OTTOMAN MARKET Vienna, Austria, second half 18th centuryComprising a mug of cylindrical shape with rounded base and gently everted rim, the curved handle made of two interwoven sections, the stepped and domed lid enhanced with an applied porcelain white carnation finial at the top, the exterior gilt and enamelled in polychromes, the decoration typical of Royal Vienna porcelain sets made for the Ottoman market in the late 18th century, featuring floral sprays and buds, and a yellow and gold fish-scale pattern around the edges of the mug and lid, the foot stamped with the factory's mark and impressed with the numeral 59-811; and two porcelain plates, bearing the same decoration and once part of a set, each feet stamped and marked with numerals 330 and 95 respectively.The mug 19cm highEach plate 24.5cm diameter The mug 19cm high, each plate 24.5cm diameter Qty: 4
AN INDIAN PARCEL-GILT SILVER TEA CUP AND SAUCER Northern India, second half 19th centuryComprising a lidded tea cup, of cylindrical shape, with rounded underside and gently everted rim, with a curved handle on one side, and surmounted by a tapering, circular lid with a bulbous finial, below the rim and around the edge of the lid two decorative parcel-gilt friezes incised with scrolling floral sprays, the body engraved on one side with an oval dedicatory cartouche in Urdu in nasta'liq script, and on the latter in English reading S. M. Moens Esq.re, both cartouches surrounded by a vegetal crown; and a matching circular saucer, with everted rim, and the same parcel-gilt vegetal band present on the the lid and body of the tea cup, located around the rim on both the exterior and interior.13cm high (together)8cm diameter the tea cup14.5cm diameter the saucer501 grams 13cm high (together) Qty: 3
A LARGE AND IMPRESSIVE UNMARKED ANGLO-INDIAN REPOUSSÉ SILVER LIDDED CONTAINER WITH LION FINIAL Possibly Kutch, Gujarat, North-Western India, 19th centuryOf tall, cylindrical shape, resting on a splayed base chased in high relief with large rosettes and curling foliage, with a compressed, dome-like lid, once hinged, surmounted by a resting lion with upward-curled tail, the repoussé container possibly once used as a betel box chased in high relief with typical Kutch silver motifs including vases issuing lush floral meanders and vegetal stems, livened by parakeets and birds perched on the flower branches, around the base six standing maidens in a pose reminiscent of Buddhist and Hindu Tree Deities (shalabhanjikas) but dressed in Western attires, attached to an interlinked chainlet going around the base, the lid decorated with a band of stylised palmettes around the rim, rosette scrolls and fretwork above it, and hatched and wavy designs at the top below the finial, the interior of the base incised with a large floral medallion, unmarked.16cm diam. and 35.5cm high3675 grams 16cm diam. and 35.5cm high Qty: 3
AN ENGRAVED AND CHASED MALAY SILVER CEREMONIAL WATER JUG Malay Archipelago, South East Asia, second half 19th centuryOf baluster-like shape, resting on a splayed, circular foot, rising to tapering shoulders and a cylindrical neck, surmounted by a domed lid with conical finial, the exterior decorated with overlapping horizontal friezes in-filled with lush vegetal meanders, stylised palmettes, diamond-shaped grids, and fretwork bands, all typical in the artistic production of 19th-century white metal and silver items crafted in the Malay Archipelago, stamped with a Dutch silver import mark, usually found on Batavian silver imported to the Netherlands.31cm high 31cm high Qty: 2
A MAGENTA-ENAMELLED MEISSEN PORCELAIN SAHLEP MUG FOR THE OTTOMAN MARKET Meissen factory, Germany, ca. 1774 - 1815Of cylindrical shape with rounded base and gently everted rim, the curved handle made of two interwoven sections, the stepped and domed lid enhanced with an applied porcelain rosette finial at the top, the exterior gilt and enamelled in polychromes, the decoration arranged in golden roundels in-filled with lush floral bouquets set against a bright magenta ground, the foot stamped with the Meissen factory's mark in use between 1774 and 1815.17.8cm high 17.8cm high Qty: 2
Christopher Dresser (1834-1904), a rare electroplate teapot, No. 2277, circa 1880, manufactured by James Dixon & Sons, Sheffield, England, electroplated metal with ebony handle, impressed with manufacturer's mark Chr. Dresser and 2277 12.5 x 22 x 13.5cm Provenance: Georgina Bourke (née Anderson, then Greenwood), who likely acquired the teapot in the early 20th century. A socialite who mixed in avant garde circles, Bourke first married Lieutenant J F B Greenwood, Kings Own Royal Regt., who was killed in action in May 1915, before moving to Cheltenham and then later, after the war, to Southern Ireland, where she lived in Castleconnell, Co. Limerick. After her death in 1967, the teapot remained undiscovered in a trunk containing her various possessions until a recent routine valuation. Literature: H.Lyons, Christopher Dresser: The People's Designer 1834-1904, p. 7 no. 8 W.Halén, Christopher Dresser, 1990, p. 182, pl. 206 W.Halén, Christopher Dresser: A Pioneer of Modern Design, London, 1993, p. 183, pl. 206 M.Whiteway, Shock of the Old: Christopher Dresser's Design Revolution, 2004, p. 158, pl. 200 Born in Glasgow in 1834, from age thirteen Christopher Dresser effectively began his career when he commenced his training at Somerset House's Government School of Design, one of a number of state-funded centres established from 1837 to train designers specifically for industrial production. This was a period defined by a stratospheric rise in machine manufacturing, making household items more widely available and creating an entirely new market for innovative and creative designs that were suited to modern methods of manufacture. Although he was only twenty-eight years old at the time of the 1862 Great London Exposition, whilst there Dresser claimed to have designed "as much as any man"; this was likely true as he was demonstrably accomplished in all aspects of industrial design, including carpets, ceramics, furniture, glass, graphics, metalwork and textiles. By the end of 1862, Dresser had published The Art of Decorative Design (1862) and The Development of Ornamental Art in the International Exhibition (1862), followed latterly, in 1873, by Principles of Decorative Design. Though he may have designed more than any other man at the Exposition, the Japanese works he saw at there inspired a lifelong interest in the country and its aesthetic principles. Closely associated with influential design reformers including Richard Redgrave, Henry Cole, Owen Jones, and Matthew Digby Wyatt, Dresser was not only interested in the practical facets of design, but also the moral and philosophical doctrines. For Dresser and his cohort, design had the capacity to "exalt" or "debase". Establishing his principles of 'Truth, Beauty and Power', Dresser looked to the natural world to inspire. Using reduced and abstracted forms from nature, Dresser aimed to express the essence of design in its most distilled form. Despite his pioneering aesthetic, many of Dresser's designs were too complex and costly to be easily mass-produced, limiting their accessibility. The present example, catalogued as no. 2277 in 1879, is a rare example of his work, with only around twelve known to exist. One such piece forms part of the collection at the Victoria and Albert Museum, London. Also displayed internationally by institutions including the Metropolitan Museum, New York, and the Musée d'Orsay, Paris, it is difficult to overstate the importance of Christopher Dresser in the history of industrial design. One foot is slightly bent inwards and the base very slightly dished around the area, a very minor crease to the underside of the base, just visible in the right light. A couple of small marks to the cover where it has knocked against the handle. Some tarnishing and the plating slightly rubbed to finial, hinge and the rim of the cover, also to joint where spout meets body. A small dent to one side, and some other light surface wear and scratching more commensurate with age and use. Please see additional images and video online. The handle does not protrude beyond the metal at either end, but does not appear to be broken, again see images. Handle rotates freely.
A silver bowl or wafer and cover, probably by John Leslie Miller Auld, London 1937, with RCA hallmark likely for the Royal College of Art below a hand-written label inscribed 'J. L. Auld', the cover engraved with a calligraphic alphabet, reeded finial and foot, 478g (15ozt)11.5 x 13.5cmThere is a dent to one side of the bowl, app. 30mm in length. Otherwise, in good condition.
A Guild of Handicrafts silver spoon, London, 1905, the tapering and faceted stem rising from a planished pear-shaped bowl and terminating with turquoise cabochon finial12.5cm longThe cobochon is slightly loose in its mount and the silver appears to have perhaps been chewed around it. The bowl and stem are good.
AN IMPORTANT VIENNA (DU PAQUIER) TWO-HANDLED OVAL TUREEN AND COVER circa 1740, from the Liechtenstein service, painted in Schwarzlot and lightly enriched with gilding, the tureen of ogee form with moulded scroll handle, the sides painted with game birds on a strapwork border, centred by shells and enriched with gilding, the interior with a bird in flight, flowers and a spider, the domed cover with game birds and dogs beneath similar strapwork around the cone finial, within a quatrefoil and lozenge border, 20cm high x 35cm wideProvenance: A. Lewis, New York, June 1950, $900,Collection of Frederick J. And Antoinette H. Van Slyke, Baltimore, U.S.A,Sotheby's New York, 26th September 1989,Christie's, 12th May 2010, lot 167,Roy Byrnes Children's Trust,The collection of the late Anthony du Boulay FSA (1929-2022),and thence by descent.Exhibited: The Baltimore Museum of Art, loan, 30th March 1964 - 2nd October 1969.
A REGENCY MAHOGANY AND BRASS INLAID BRACKET CLOCK the double fusee eight day movement striking on a bell, the enamel dial with Roman numerals, the case with a brass acorn finial and ring handles to each side, decorated throughout with floral inlay, on turned bun feet, 48cm high x 30cm wide x 15cm deepProvenance: The Les Watts Collection.
Amsterdam school: A 1920s turned wood lamp attributed to De Nieuwe Honsel. With lead and stained glass bell shaped shade (with multicoloured geomatrical pattern), topped with a wooden conic finial and with a copper rim at the base. Mounted on a walnut tapered stem on spreading foot. 74cm high - shade approx 25cm high and 22cm diameter at the widest.
An Asprey novelty ice bucket, late 20th century, modelled as an apple, the exterior in red metal, with matching lid and gilt-metal finial modelled as a leaf, the gilt-metal interior with a removable insert, stamped 'Made in France, Asprey London, Luxium' to base,19cm diameter21cm highCondition ReportBoth the exterior and interior with scratches, marks and chips throughout, the lid with mishaping to the rim.
A gilt-metal lamp, c.1970s, in the style of Maison Charles, the pineapple finial raised above gilt-metal palm leaves, mounted on a square plinth base, with a gold leaf and marbled shade,63cm highCondition ReportWith loss to gilt and marks to base. The light fittings loose. The finial has been misshappen slightly.
A Barr twin-handled, boat-shaped sugar bowl, wrythen fluted with puce, green and gilt sprigs, a Flight wrythen oval example with purple and gilt sprigs, a small Chamberlain's example similar and a small London shape example with purple and gilt flowers, late 18th - early 19th Century and three porcelain plates painted with flowers, late 18th/early 19th Century, comprising a Derby plate painted with a specimen 'Ladies slipper', a Tournai plate with a small bouquet and an English example painted with roses and oak leavesThe small Chamberlains sugar bowl has a patch of flaked gilding to the finial. All are without damage or repair.Of the plates: the yellow border Derby plate had a riveted hairline crack from 10o'clock to the centre. Light wear to the Tournai plate and the plate with the floral wreath has some flaking to the thickest pink enamel.
A group of Worcester teawares decorated with the 'Three Flowers' pattern, circa 1775, comprising a sugar bowl and cover, a hexagonal teapot stand and six tea bowls and saucers The teapot stand with a very small shallow chip to footrim.Sugar bowl cover with some minor chipping to flower finial. The bowl with a small shallow chip to top and foot rims.One saucer with a short hairline crack from rim. Three saicers each woth a very small rim chip. Two saucers in good conditon. Two teabowls each with a small rim chip.
Three fluted oval sugar bowls and covers, comprising a Factory X example with blue and gilt guilloche and star border, a tall Pinxton example with sepia leaf sprigs and a Derby pink example of the same shape, circa 1800 and three late 18th Century circular sugar bowls, wrythen fluted and reeded: a Flight blue and gilt example, a Chelsea-Derby example with flower garland and a Derby example with leaf and star scroll borderPink example with some minor restoration to ther terminal of the finial. Sepia Pinxton with a small shallow chip to inner edge of flange of cover.Chelsea-derby example possibly with finial broken off and cleanly bonded. Small glaze chip to tip of finial. Two tiny chips to flange. Small chip to inner side of the footrim. Rubbing to gilt rims and some kiln spit in the glaze.Sugar bowls not mentioned are in good condition.
An English creamware teapot and cover, circa 1780, of globular form inscribed ‘Let your conversation be as becometh the Gospel of Christ' to one side and 'Prepare to meet thy God’, to the other, within trailing foliage, 14cm highThe cover extensively cracked and restored, finial reattached, losses, chipping to tip of spout, chipping to rim of teapot, some wear and flaking to glaze and enamels overall
A peer of the realm rapierStraight double edged blade of central gableYellow metal guard of foliage and beading decorationWooden handle of mother-of-pearl plaques reinforced with two metal bands of identical decoration to guardCrown shaped finial in identical metalEngraved yellow metal mounts, the upper with buttons for suspensionIn its storage case with two scabbards, one black leather, the other white painted parchment coated woodBlack paper lined caseEurope, second-half of 19th century(signs of wear, oxidisation, losses and faults)Comp.:72 cm (lâmina)Comp.: 86 cm (total)
A Maria I coffee potSilver 833/000Segmented and engraved garlands and cartouches decorationSwan neck spout of beaded frieze, urn shaped finial and rosewood handleOporto assay-mark (1792-1803) and goldsmith's mark Tomé Gomes da Silva (1774-1799)(signs of wear)Alt.: 33 cm1348 gLiterature: ALMEIDA, Fernando Moitinho de; CARLOS, Rita - "Inventário de Marcas de Pratas Portuguesas e Brasileiras - Século XV a 1887". Lisboa: IN-CM, 2018, P-17.0 e P-223.0; SOUSA, Gonçalo de Vasconcelos e - "Dicionário de ourives e lavrantes da prata do Porto, 1750-1825", Civilização Editora, 2005, pp. 506 a 508
Armorial tureen with coverChinese export porcelainDecorated in Famille Rose enamels and gilt, featuring the coat of arms of D. Manuel Bernardo de Melo e Castro (grandson of the 4th Count of Galveias) and floral motifs. The cover is surmounted by a fruit-shaped finial, and the molded handlesare highlighted in red.Qianlong period, c. 1770(minor defects)23x31x23 cmBibliografia:João Rodrigues Calvão (coord.), Caminhos da Porcelana – Dinastias Ming e Qing, Fundação Oriente, p. 229;Nuno de Castro, A Porcelana Chinesa ao Tempo do Império, p. 155;Jenny Dreyfus, Louça da Aristocracia no Brasil, pp. 121 e 122.
Pair of Victorian figured walnut tea tables, moulded serpentine fold-over top with quarter-matched veneers, on four shaped and moulded pillar supports with central finial terminating to out splayed supports, cartouche carved knees and scroll carved terminals, carved with curled foliate decoration, on brass and ceramic castorsDimensions: Height: 71cm Length/Width: 94cm Depth/Diameter: 46cm
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