Castillian School. Circa 1500."Saint Quiteria and Saint Barbara"Oil or tempera with gold background on panel. Fragment of an altarpiece, possibly belonging to a predella.37,5 x 40,5 cm.Even though we have not been able to recognise the master behind these two saints, his great artistic skill is evident. The faces of both saints are delightful and of unfathomable sweetness.An exceptional panel that shows the splendour of the Aragonese Renaissance, both in the colour palette, with those shimmering tones on the tunics, as well as in the physiognomy of the models and the flesh tones on their faces and hands in tempera and oil. It is also evident in the perfect gold ground-covered surface for the backdrop, decorated with plant motifs and pointillé, a decorative technique used on gold which consisted of engraving different drawings with small chisel strokes or pricks, thereby pushing down the smooth gilded surface or the stucco mass. There is no doubt as to which saints they are, as they are named on their limbs, Quiteria and Barbara.Quiteria was alive during the 2nd century A.D. The daughter of a pagan Roman governor, her mother gave her up for adoption, along with her eight siblings, to prevent her honesty from being questioned and to preserve her virginity. According to Christian doctrine, this adoption brought her closer to God. Always linked to prayer, as she appears reading a book of hours, she would eventually meet her parents. Tradition has it that her father, as soon as he learned of her profession of faith, had her head cut off.Barbara came from Nicomedia, on the Anatolian Peninsula, in the late 3rd and early 4th centuries AD. Highly intelligent, she was the daughter of Diocorus, a wealthy pagan man. Through her reading and studies she questioned her paganism, and because of her religious concerns, she was instructed in the catechism and converted to the Christian faith. Because of her physical beauty, she had no shortage of suitors, but she kept herself a virgin in order to consecrate herself to God. Her father had a tower built to keep her from the eyes of strangers. On one of her father's journeys, she herself ordered the workmen to build a third window (she only had two) to honour the Holy Trinity. She was tortured for her faith, but she did not die as she received help and care from heaven. As she refused to worship the pagan gods, her father finally cut off her head. After decapitating her, her father was struck by lightning and no trace of his body was left.In the panel, she is shown holding her most characteristic attribute, the tower in which she was imprisoned, at a reduced scale on her hand, as if it were a model. A moulding runs along it and frames it in the manner of the Gothic lines to strengthen a wall or window, in which verticality predominates over horizontality, underlining the mysticism of the figures it contains. This panel would clearly have formed part of the ‘flos sanctorum’ of the lower predellas or side sections of an altarpiece.Finally, it is interesting to note that marks of the gouge can still be seen on the back of the boards which are assembled horizontally and which form the panel, and the remains of rabbit glue dissolved in water as a grout can be seen, erasing imperfections and smoothing out the pine boards, the most advanced material used at that time for this type of work.
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Imposing carved and polychromed wooden cupboard. Viceregal work. Peru. 18th century.210 x 152 x 60 cm.Structurally, it has two front doors that close with a large original wrought iron bolt. It is topped with a cornice and supported by a long continuous base. The entire cabinet is completely carved with rich ornamentation of flat carving and moulding in square ribbed sections.The decoration on the doors is divided into three segments, the upper one shows the keys and the Mitre of St. Peter (elements that are repeated in the cornice), the central one shows two Eucharistic pelicans among branches and flowers, and the lower one is formed by a single large rose window, similar to a cathedral stained-glass window.The same decoration, somewhat smaller due to there being less space, can be found on the sides.An example comparable to this is the one in the Museo de Arte de Lima, and as María Campos Carlés points out in her book on Viceregal Peruvian furniture ‘Un legado que pervive en Hispanoamérica. El mobiliario del Virreinato del Perú de los siglos XVII y XVIII": it is ’a dazzling and majestic cabinet for civilian use. This piece was built in the last quarter of the 17th century by anonymous artisans from Cusco with Italian influence.Another example comparable to this cupboard is the one in the Vivian and Jaime Liébana collection in Lima, dating from the 18th century.Regarding the origin and style of this type of baroque furniture, we highly recommend reading chapter VI of the aforementioned book by Compos Carlés (Wooden, baroque style furniture with flat carving, bare, gilded and polychromed. Civil and religious, utilitarian and ornamental use. Lima, Cusco, Arequipa, Puno and Trujillo) in which it is explained how: ’the local craftsman extracted artistic patterns from books of engravings and drawings of European art. This valuable data allowed them to ornament a piece of furniture with Europeanising morphology while inserting juxtaposed autochthonous elements. The Spanish Baroque underwent changes in the Viceroyalty of Peru as a result of the added ornamental fantasy of a typically Andean identity, avid for creativity...The three-dimensional volumetry was achieved by means of bevelled roughing on hard and ductile woods...It is relevant that on some occasions the carved wood was totally or partially gilded with gold leaf, and patinas and polychromy were also used.210 x 152 x 60 cm.Structurally, it has two front doors that close with a large original wrought iron bolt. It is topped with a cornice and supported by a long continuous base. The entire cabinet is completely carved with rich ornamentation of flat carving and moulding in square ribbed sections.The decoration on the doors is divided into three segments, the upper one shows the keys and the Mitre of St. Peter (elements that are repeated in the cornice), the central one shows two Eucharistic pelicans among branches and flowers, and the lower one is formed by a single large rose window, similar to a cathedral stained-glass window.The same decoration, somewhat smaller due to there being less space, can be found on the sides.An example comparable to this is the one in the Museo de Arte de Lima, and as María Campos Carlés points out in her book on Viceregal Peruvian furniture ‘Un legado que pervive en Hispanoamérica. El mobiliario del Virreinato del Perú de los siglos XVII y XVIII": it is ’a dazzling and majestic cabinet for civilian use. This piece was built in the last quarter of the 17th century by anonymous artisans from Cusco with Italian influence.Another example comparable to this cupboard is the one in the Vivian and Jaime Liébana collection in Lima, dating from the 18th century.Regarding the origin and style of this type of baroque furniture, we highly recommend reading chapter VI of the aforementioned book by Compos Carlés (Wooden, baroque style furniture with flat carving, bare, gilded and polychromed. Civil and religious, utilitarian and ornamental use. Lima, Cusco, Arequipa, Puno and Trujillo) in which it is explained how: ’the local craftsman extracted artistic patterns from books of engravings and drawings of European art. This valuable data allowed them to ornament a piece of furniture with Europeanising morphology while inserting juxtaposed autochthonous elements. The Spanish Baroque underwent changes in the Viceroyalty of Peru as a result of the added ornamental fantasy of a typically Andean identity, avid for creativity...The three-dimensional volumetry was achieved by means of bevelled roughing on hard and ductile woods...It is relevant that on some occasions the carved wood was totally or partially gilded with gold leaf, and patinas and polychromy were also used.
An early 19th-century figured satinwood bonheur du jour of inverted breakfront form, the "D" shaped back with a pierced gilt metal galley on a raised superstructure housing a rise-and-fall mirror panel, above a single-shaped frieze draw, with applied gilt brass moulding and fittings throughout, supported by well-drawn square tapering legs with brass socket castors. 60 cm wide x 46 cm deep x 81 cm overall height, 65.5 knee clearance.A private estateThe top has an old crack that has a glue and fabric repair to the underside of the top. The brass gallery is a little dented at the back right-hand side.The drawer runs as expected the frame has a bar below that doesn't look period to the item but I cant see why it has been applied as the frame seems quite firm.
A George III mahogany revolving circular drum library table with an inset green leather insert above a frieze fitted with four faux and four actual drawers. the whole on a quadrupedal base of moulded sabre legs with brass lion's paw castors.106 cm diameter x 72 cm overall height, 58 cm knee clearance.The leather is stained but is intact, the bordering crossbanding has some patches and some slight lifting veneer.The edge moulding is cross-grained veneer and this has a few cracks.The drawer handles are replacements, the locks look as if they are original but no key is present.The top is traditionally fixed with a peg located at the top of the central column, which allows it to rotate.Some repairs and damage to the cockbeadingThe base is in good order without repair, cracks or splits.
An 18th century Indo -Portuguese rosewood Contador (chest on stand) first half of the 18th century probably Goan the upper section with a series of ripple moulded block fronted drawers, above a typically elaborately turned stand with a carved coat of arms to the frieze. 117 cm overall width x 55 cm overall depth x 165 cm overall height.Formerly of Donnington Castle House, near Newbury, Berkshire Formerly of Donnington Castle House, near Newbury, Berkshire Some damage to the facias of the carcass and ripple moulding, left hand handle swan neck broken.The stand has some damage to the turned rings but structurally it is stable.It is possible that the chest section was married with the stand but both of a similar era and both Portuguese.
A carved and painted wood crest, 18th century, French,23cm wide29cm highand a carved giltwood furniture mount of a Cherub mask and wings13cm wide23cm high (2)Condition ReportCrest carved panel with moulding losses to the cresting and apronevodence of old worm, and paint lossesFurniture mount with some very small gilding losses
A George III mahogany chest on chest, 18th century third quarter, the Greek key moulded cornice above a fluted frieze, the upper section with two short and three long drawers, the lower with three further long drawers, on bracket feet125cm wide60cm deep183cm highCondition ReportWith knocks and wear, some losses to the moulding. Drawers run smoothly. Please see additional images.
A Wedgwood Jasperware biscuit barrel, late 19th century, with lion mask and fruiting vine swags decoration, black to a pale yellow ground, with a silver plated cover 24cm high together with two matching jars, one with a saucer base, each with a silver plated cover, impressed marks tallest 11.5cm high (3) Provenance: The property of the late Baron John Mauger Langin Condition ReportWith small nibbles to the moulding. Surface scratches, losses to the plating. Chip to the edge of the saucer. In need of cleaning.
In the manner of Heal's, a walnut library table, circa 1930, of canted rectangular form with a quarter-veneered burr walnut top, two tiers below and raised on canted, solid walnut supports54 x 61 x 40cmHigh quality construction with well-figured burr walnut veneers and the internals being 'boxed in' on the corners in the same manner as Heal's manufactured examplesOne corner has a small loss to the moulding under the top, otherwise in good condition with good, highly-polished finish and rich colour
A Charles I oak livery cupboard, of architectural form, the upper section with central arched panel flanked by doors with lozenge carved panels and with projecting column supports above an open shelf with similar column supports, 127.5cm wide, 55cm deep, 122cm highOverall appearance good, general wear, knocks and splits commensurate with age. The roof board with repaired front corner (using original piece), shrinkage gap to roof board has been filled with a fillet. Later locks. One applied moulding to front of bottom shelf is missing. Feet original with pleasant level of wear. One column has replaced section of capital but is hardly noticeable.
Late 19th century French gilt wood and gesso enclosed armchair, the cresting carved with floral bouquets over foliate moulding, upholstered in floral pattern fabric with repeating pattern, down-swept arms with scrolled acanthus leaf terminals, on turned and fluted feet carved with foliage Dimensions: Height: 101cm Length/Width: 69cm Depth/Diameter: 65cm
19th century gilt wood and gesso settee, upholstered in repeating floral pattern fabric, rolled arms decorated with trailing bead moulding and acanthus leaf, the seat rail with flower head band, on twist turned and foliate carved feet with brass castors Dimensions: Height: 77cm Length/Width: 162cm Depth/Diameter: 72cm
A Charles II joined and moulded oak cupboard – the boarded top with applied edge moulding, over a single full width two-panel drawer with original drop handles and dentil carving below, flanked by wavy mouldings, above a pair of mitre moulded doors with original drop handles, enclosing a later shelf, on bun feet. (LWH 111 x 63.5 x 98.5cm)* Provenance: Purchased from Huntington Antiques Ltd., Stow-on-the-Wold, in 1985
A Charles II oak dresser base of small proportions – the planked top with applied half-round edge moulding, over an ogee moulded and reel carved frieze, the two drawers beneath with twin mitre moulded panels and later drop brasses, divided by applied split bobbin mouldings, raised on baluster turned front supports with turned pad feet. (LWH 109 x 52.5 x 74.5 cm), alterations.
A LATE GEORGE III IRISH GREEN BLACK AND GILT JAPANNED 'ROYAL PORTABLE HARP' BY JOHN EGAN DATED 1819 Decorated overall with trailing shamrocks with an open soundbox, the brass plates blank but with inscribed paper label to interior "John Egan 30 Dawson Street, June 1819 Dublin" 93cm high Provenance: Mrs J W Mackail (nee Margaret Burne-Jones) (1866-1953); By descent to her daughter Clare Mackail (1896-1975); Thence by family descent. Harps of this form, of varying degrees of sophistication, were made by John Egan of 31 Dawson St, Dublin from 1801-1841. Generally decorated in black, blue, and green and with distinctive shamrock gilding, some of the best examples bear Egan's name inscribed on a brass plaque that proclaims 'Maker-by Special Appointment to his Most Gracious Majesty George IVth'. A comparable harp with similar paper label is held in The National Trust Collection at Snowshill Manor and Garden, Gloucestershire with label dated for April 1819 (NT 1335364). Other examples are in the collections of the Victoria and Albert Museum, London; The Fitzwilliam Museum, Cambridge; the Smithsonian, Washington D.C; and the National Museum of Ireland, Dublin. Condition Report: With dents marks and scratches and shrinkage cracks due to age and frequent use. Chips, rubbing, small scratches and wear to the decoration throughout and accretion of surface dirt. Some strings broken. Has a later triangular plate set to upper corner of one side- presumably to stabilise previous shrinkage faults which are visible to the other side. Some loss to one upper corner around final pins. Replacement pins with colour and style variances to tops, some internal taping- which may be later for greater stability. Bottom edge worn and some loose veneer and moulding Provenance: Mrs J W Mackail (nee Margaret Burne-Jones) (1866-1953); By descent to her daughter Clare Mackail (1896-1975); Thence by family descent. Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. Condition Report Disclaimer
A VICTORIAN WALNUT STOOL CIRCA 1850 With an upholstered rectangular seat, on cabriole legs with brass castors 35cm high; 95cm wide, 61cm deep Together with a smaller footstool, upholstered in the same fabric Condition Report: Fair condition, structurally secure with dents marks and scratches and shrinkage cracks due to age and use. The upholstery is rather tired and worn. 8cm loss to the frieze moulding on one short side.Condition Report Disclaimer
A WHITE MARBLE PORTRAIT BUST OF A GENTLEMAN LATE 19TH/EARLY 20TH CENTURY Depicted wearing tie, waistcoat, and double-breasted jacket, unsigned 69cm high Affixed to a white marble and simulated scagliola pedestal column, 20th century, the pedestal 114cm high 183cm high overall Saleroom Notice: The description has been updated and differs from the printed catalogue. Condition Report: Saleroom Notice: The description has been updated and differs from the printed catalogue. "Affixed to a white marble and simulated scagliola pedestal column, 20th century, the pedestal 114cm high 183cm high overall " Bust is fixed to the marble top of the simulated scagliola base- which is now detached from the base. Bust: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Dirt and paint/water splashes. Natural inclusions and spots, some scuffing and marks to both shoulders, small edge losses, Base with loss and some wear around top moulding from marble removal- further edge old repairs- some losses to lowest plinth base- paint splashes Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. Condition Report Disclaimer
A GEORGE III MAHOGANY HALL TABLE LATE 18TH CENTURY The moulded rectangular top above plain frieze and cluster column legs 76cm high, 183cm wide, 79cm deepFor a design of 'Sideboard Table' by Thomas Chippendale incorporating a related cluster column leg, see Thomas Chippendale's, The Gentleman and Cabinet Maker's Director, The Third Edition (1762), printed John Tiranti ltd, London, 1939, pl. NoLX. The collection from Trethill House, Cornwall Condition Report: Good, structurally secure with wear and tear consistent with age and use. There are the inevitable minor dents marks and scratches and shrinkage racks, the top with a patch of dark staining to back left corner and a small shrinkage split in the same area. Otherwise the colour on the top and friezes is very good. Legs and particularly thge feet with scuffing, some old repairs to the feet. Small loss to the ovolo moulding to the middle block of back left leg (see images). The underside of the top with multiple old glue blocks ( a few replaced) but looks generally undisturbed.Condition Report Disclaimer
A late George III mahogany bachelor's chest, the plain top with applied moulded edge over a brushing slide and two short over two long drawers with brass swan neck handles, raised on bracket feet, 93 cm wide x 52 cm deep x 88 cm high CONDITION REPORTS There are some areas of patching to the top, on the edges and some areas of scratching. The brushing slide is stuck and does not open. Replacement handles. Drawer liners are split. There is patching to the front as well and a large crack running along the grain of the wood to the middle and bottom drawers. There is some cracking to the grain on the right hand side panel. There is a replacement section of moulding on the right hand side. Otherwise general wear and tear conducive with age and use to include minor knocks, bumps, etc. See images for further detail.
An early 20th Century Chinese rosewood tea table, the fielded panelled top above a dragon carved frieze on scroll end supports, 98 cm wide x 43 cm deep x 34 cm high CONDITION REPORTS Has some scratching to the top particularly to one corner. There is a bit of damage in the same corner on the frame. There are some losses to the moulding on one of the side panels both at the top and further down. There is some cracking to the legs running vertically down from the top. In need of a clean. There is also a large chip from the long edge nearly half way down. See images for further detail. Otherwise general wear and tear conducive with age and use to include surface scratches, etc.
A Victorian mahogany sideboard, the raised back with applied moulding over a central serpentine section with drawer, over two recessed cupboard doors, flanked by two small drawers over further cupboard doors enclosing shelves and cellerette on a plinth base, 180.5 cm wide x 53 cm deep x 142 cm high
Mid 18th century walnut longcase clock, the five pillared twin train movement by William Stumbels, Totnes, the broken-arch brass dial with silvered chapter ring, roman numerals for the hours, arabic minutes, subsidiary seconds dial, square date aperture, signed circular boss in arch, arched hood with corinthian pilasters, door with herringbone and crossbanded details and thumbnail moulding, all on bracket feet, 240cm high William Stumbels (d.1769) has been described as the finest West Country clockmaker and one of the best outside London at the time and made clocks for the illustrations houses of the area incuding Powderham Castle near Exeter Condition Report Dial has possibly been refinished/restored. All clocks and watches are sold untested for time keeping accuracies. Has two brass weights and pendulum. Arch back top of the hood is broken/split in two places, see additional photograph. Marks, small splits to the case and wear in places commensurate with age and previous use.
Early 20th century walnut bookcase cabinet in the Queen Anne manner, the double domed top with three urn finials over two glazed doors opening to two fixed shelves and a blue fabric lined interior, the lower section with an arrangement of three drawers with brass drop loop handles and shaped backplates, the shaped apron with shell-shaped inlay and raised on four cabriole legs, 108cm wide x 47cm deep x 185cm high Condition ReportSurface scratches, scuffs and knocks. Fading/discolouration and stains in places. Area of loss to moulding on base of top section and right side of base. Splits and areas of loss to veneer, slightly raised veneer in places. Top of finial off but present, Right finial with crude repair. Area of loss to section of beading around glass. Legs joints slightly separating. General wear and tear.
Junghans, Wurttenberg, an oak mantel clock having an eight-day duration movement chiming the quarters on four gong rods with the silvered arched dial having black Arabic numerals and two subsidiary dials to the arch for Chime/Silent and Regulation, the oak flat-top case with gadrooned moulding to the pediment, fluted canted corners, and carved decoration to the top corners, height 39cm. Hamburg American Clock Company an oak mantel clock the eight-day duration movement striking the hours on a gong with the backplate stamped with the cross-sword trademark of the maker, the square brass dial having black Arabic numerals, the oak case having a gadrooned pediment, three turned finials, fluted pillars and bracket feet, the interior of the door having a paper label for H.A.C, with the cross-sword trademark, height 47cm.
Elliott a 20th century walnut chiming mantel clock for Boyce of Exmouth having an eight-day duration movement chiming the quarters and hour on four gongs, with the backplate stamped Elliott, London, 12029, the square brass dial having a raised silvered chapter ring with black Roman numerals, blued-steel trefoil hands and cast cherub-head spandrels to the corners, signed for the retailer Boyce, Exmouth, the flat-top walnut case with curved lower moulding and inset frieze, standing on bun feet, height 26.5cm.
Peerless, Germany a contemporary walnut longcase clock the eight-day duration spring-driven movement chiming the quarters on a nest of eight gong rods and striking the hours on a further four gong rods, the backplate stamped with the trademark for Peerless and numbered 1832092, the break-arch brass dial having a raised silvered chapter ring engraved with black Roman numerals with the arch having a silvered dial for selecting Westminster/Whittington or Winchester, the mahogany and walnut case having an arched moulding to the trunk door and cast-brass capitals to the hood pillars, height 172cm.
A carved mahogany occasional table in George III style, 19th century; the octagonal flip top with open latticeworked edging; the shaft with waisted moulding above foliate relief work and a tapering, tassel-swagged hexagonal section, to three foliate carved splayed legs to ball-and-claw feet; 76cm high, 64cm wide
A George III oak dresser, late 18th century and later; the associated plate rack with moulded cornice above two shelves with metal cup hooks; mounted on stepped bases at the sides; the base section with three short drawers with brass swing handles, over a central Gothic arched panel flanked by doors; with frontal base moulding, on through stiles; 198cm high, 153cm wide, 60cm deep
A Victorian mahogany serpentine front sideboard in George III style, 19th century; the gilt brass openwork gallery back with urn finials, a vacant curtain rail and reeded columnar supports to square socles; the shaped top with rosewood banded edges; above two bowfront central drawers, the lower one disguised as an arched moulding; flanked by a concave panel fronted door and a conforming deep drawer with zinc lined interior; on straight legs to spade feet; 127cm high overall, 183cm wide, 76cm deep
A late-Regency mantel clock having an eight-day duration, single-fusee timepiece movement with anchor escapement, the round white-painted dial with black Roman numerals, missing hands, the round drum case seated on a rectangular plinth with carved scroll moulding and bracket feet, height 43.5cm.
A VICTORIAN OVAL BOG-OAK MOURNING LOCKET,with carved lyre and floral swag appliqué, with engraved dove motif to interior and containing a lock of blonde hair and a photograph of a young Victorian gentleman; together with a profusely carved brooch encompassing the heraldic emblems of Shamrock, Rose and Thistle; together with a throat ornament mount featuring the same carved emblems with recumbent Irish wolfhound to centre; together with two carved Latin crucifix pendants (one damaged); together with 57 spherical beads ; and with a Victorian photograph of the owner Mrs Giffney wearing the items above.Presented with typed correspondence on the subject dating to 1951 from Mr Anthony T. Lucas (1911-1986), former President of The Royal Irish Society of Antiquaries and Director of the National Museum of Ireland.Since Classical Antiquity, humans have endeavoured to impress the inevitability of death and therefore the importance of living. The Latin trope ‘Memento Mori’ (Remember That You Must Die) is expressed through the world’s art, funerary architecture, and jewellery. Motifs such as the skull, the skeleton, the rat, the coffin and the earthworm have been employed throughout Classical history and later to impart a universal understanding of the term. Mourning Jewellery deviates from the former in that it commemorates the death of a specific person, usually by marking their death dates or even utilising their hair, skin or teeth in the fabrication of the piece. The execution of King Charles I in 1649 was arguably the first example of popular ‘Mourning Jewellery.’ Despite the grievances aired during his reign, culminating in the Second English Civil War and the dissolution of the Monarchy, Charles I had many sympathisers to the Royalist cause. After his execution, many of his supporters commissioned jewellery bearing his image and dates secretly engraved on the inside of the ring band or behind a concealed locket. This implied that these nobles had remained faithful to the Royals even during the period of the Commonwealth (1649-1653) and later the Protectorate (1653-1659) up until the Monarchy’s restoration in 1660, whereupon the wearer would hope to be rewarded for their loyalty to the Crown. Later in the 19th century, the untimely death of Prince Albert (1819–1861) provoked the reigning monarch, Queen Victoria into a lifelong state of mourning. The remaining forty years of her reign saw the macabre motifs associated with mourning jewellery evolve into decidedly more romantic imagery of roses, doves, angels, willows and urns. Typically, the piece was set with enamels and other complementary precious stones and ornamentation such as pearls, to symbolise tears, and jet for grief. The blackened wood of the bog oak became an excellent Irish alternative to the more widely recognised Jet used in Victorian jewellery. As a result, the bog oak ornaments, became the ideal transfer for the nationalistic motifs of a country on the precipice of independence. Imagery was favoured which further promoted the national identity of Ireland as an established state with its own identifiable customs and symbols. The most common motifs include round towers, shamrocks, abbeys, Irish wolfhounds and harps, all which serve to perpetuate a national identity for Ireland’s fledgling tourist industry. The use of Bog Oak for decorative purposes was not a novel concept as it had been chosen as the primary material for the Downhill Harp, crafted by Cormac O’Kelly in 1702. However, Mr Patrick McGuirk is generally credited with escalating the demand from what had previously been considered a cottage industry craft. Supposedly, in 1821 McGuirk presented King George IV and The Duchess of Richmond with a carved cane on their visit to Dublin. The Duchess commented that it would be preferable to carve in the native wood of the country. Taking this to heart, McGuirk attempted to carve on bog oak he acquired and finding it quite suitable, he commenced what would become a robust trade nationwide for the next 100 years or so. Joseph Johnson of 22. Suffolk Street, Dublin is credited with patenting a high-pressure moulding mechanism for high relief detail using heat and steel dies. This enabled the production of ornaments to increase, and it became a highly profitable business on a larger industrial scale. Other important names in the trade include John Neate (1796-1838) of Kerry, Cornelius McGoggin (fl.1850-1914) of Kerry and Dublin and William Gibson of Belfast and many more otherwise.Stephanie Brennan August 2024
AN UNUSUAL 19TH CENTURY CONTINENTAL INLAID WALNUT CABINET102cm wide; 48cm deep; 150cm highOLD MARKS AND SCRATCHES PRESENT ALL OVER, TOP SECTION HAS WARPED/BOWED IN THE MIDDLE, SPLITS AND CRACKS PRESENT TO THE VENEER TOWARDS THE DROP FRONT AND DRAWER FRONTS, MISSING ONE SECTION OF MOULDING AROUND THE MIDDLE EDGE, ALL DRAWERS SUFFER WITH MISSING CORNER PIECES OF VENEER, SEE ADDITIONAL IMAGES.
TWO 19TH CENTURY GOTHIC REVIVAL ROSEWOOD FLOORSTANDING OPEN BOOKCASES (2)With cluster column mounts, one is 138cm wide, the other is 118cm wide; each 38cm deep; 229cm high Note: These have been removed from a fitted library, two bookcase sides are unfinishedCondition Report: The smaller bookcase, with an unfinished side to the right as you face it. The larger bookcase with an unfinished side to the left as you face it, please see additional photographs. The extent of 'unfinishing' is different to each. Both bookcases with marked / scratched shelves, both are of unusual construction and have quite probably been made deeper although this would have been done some time ago and has been done by a professional. The majority of the cluster collumns are missing the moulding - see photos attached. Some shelves and brackets are later, with the correct attention these will make nice bookcases.
A 19TH CENTURY FRENCH MARBLE TOP COMMODEWith mahogany four drawer base, 123cm wide; 54cm deep; 90cm highGood overall condition, old marks and scratches present some damage to the front right corner of the top, with some later sections of moulding used, some minor cracks present to the marble top, see additional images.
LARGE 19TH C. MAHOGANY CHEST ON CHEST, two short over six long graduated drawers, turned ebony handles, central reeded moulding, raised on bracket feet, 202 (h) x 130 (w) x 60cms (d)Provenance: consigned via West WalesComments: damage to cornice, sides of reeded moulding damaged/missing, cockbeading damaged/missing, handles damaged, inspection advised
EARLY 19TH C. MAHOGANY SECRETAIRE BOOKCASE, astragal glazed double doors, adjustable shelves, fitted secretaire drawer over double cupboard base (a marriage), 227 (h) x 114 (w) x 51cms (d), minor moulding loss to cornice, warped fall, cupboard doors replaced and with moulding losses, veneer losses, inspection advised, together with, 19TH C. PROVINCIAL ITALIAN WALNUT CABINET, domed cornice above fielded panel doors on a cupboard base fitted three frieze drawers, 117 (w) x 48 (d) x 203cms (h), old worm (filled) to front upper panels, old worm damage to rear panels, general bumps and wear, inspection advised (2)Provenance: private collection LondonComments: in description
EARLY 19TH C. WELSH OAK & MAHOGANY 8-DAY LONGCASE CLOCK, B. Rice (Neath), painted Roman dial with subsidiary seconds and calendar aperture, signed dial with moon phase in the arch, swan neck pediment between real moulded columns, reeded quarter column trunk and box base raised bracket feet, dial 11.5in (dia.), 215cms (h)Provenance: private collection SwanseaComments: dial with original craquelure and paint, case missing back legs, loose moulding to trunk, generally good condition
LATE REGENCY ROSEWOOD SOFA TABLE, finely figured top, reel moulding edge, two full depth cushion frieze drawers opposing dummy ends, carved drop-flap supports, square tapering stem on concave platform, both with reel moulding detail, carved hip joint splayed legs, ornate cast caps on brass castors, 72 (h) x 90 (w) (145 extended) x 70cms (d)Provenance: private collection CardiffComments: minor fade and very fine, minor splits to top, moulding wear to one edge, minor stains and scratches, otherwise in very good condition
GEORGE IV ROSEWOOD CARD TABLE, rectangular foldover swivel top, green baize inset, reel moulding to frieze, turned and carved pillar on concave platform, gadrooned feet part-concealing brass castors, 74 (h) x 92 (w) x 46cms (d)Provenance: private collection CardiffComments: minor scratches and indents, immaculate baize
19TH C. MAHOGANY 8-DAY LONGCASE CLOCK, Jno. Barry (Bolton), swan neck pediment with applied brass bosses and central finial, 14" painted Roman enamel dial, calendar aperture, foliate decorated face and spandrels, trunk with reeded columns, shaped door, raised on ogee feet, 223 (h) x 63 (w) x 27cms (d)Provenance: private collection CardiffComments: moulding losses/repairs, door split, untested, inspection advised
Early 19th century inlaid mahogany bow-front chest, fitted with two secret drawers, above two short and three long drawers flanked by rope twist pilasters, raised on turned ribbed supportsDimensions: Height: 116cm Length/Width: 116cm Depth/Diameter: 53cmCondition Report:Some moulding missing to the top of the chest, wood splits to either side, losses to the veneer on the right pilaster
* Duke of Wellington. (Landseer (Sir Edwin, after), Duke of Wellington on the Field of Waterloo, circa 1851, uncoloured mixed-method engraving by Thomas Lewis Atkinson on India wove, proof before title and letters, signed in pencil by the artist and the engraver below the image, two small plaques attached to the frame " Presented by D Croall Thomson, Life Assoc. Institute of Journalists" and "Duke of Wellington on the Field of Waterloo, engraved by T. L. Atkinson after Sir Edwin Landseer RA", slight staining and spotting, two small repaired marginal closed tears, 680 x 1170 mm, framed and glazed in a contemporary stained wood moulding, together with Stocks (Lumb). The Meeting of Wellington and Blucher after the Battle of Waterloo, Art Union of London, 1875, uncoloured engraving on India wove after Daniel Maclise, very slight spotting, 410 x 1220 mm, framed and glazed in a contemporary gilt gesso moulding, with Solomon (A.). Field Marshall the Duke of Wellington K. G. &c. &c. &c. published by J. Watson, May 1st 1845, uncoloured engraved portrait after H. T. Ryall, large margins, very slight spotting, 390 x 310 mm, with three further engravings of or relating to the Duke of Wellington, but later restrikes, various sizes, good condition QTY: (6)NOTE:The first described item illustrates the old Duke of Wellington showing the field of battle of his greatest victory over the French to the young Queen Victoria. The original painting, which was finished in 1850, presently hangs in the Speaker's Guest Room in the British House of Lords in London.
A George III mahogany tea caddy, c.1770, in the Chippendale style, with chequered inlays and cross bandings, gilt brass handle and keyhole escutcheon, ebony moulding to rim edge on cover, interior fittings removed, on ogee shaped bracket feet, 26.5 x 15.5 x 16.5cms high.PROVENANCE: The Graham Smith Retirement Auction - 50 years in the Antiques Trade.
A good George III mahogany tea table, attributed to William Trotter of Edinburgh, the hinged swivel action top with ebony line inlay, reeded tapering stem with brass pea-moulding around lower edge, four shaped and downswept reeded legs with heavy cast brass caps and casters and brass paterae decoration, 99.5 x 49 x 75cms high.Notes: William Trotter of Ballindean JP DL (1772–1833) was a Scottish cabinet maker who served as Lord Provost of Edinburgh from 1825 to 1827. Highly respected, he has been called Scotland's greatest cabinet maker, by many.PROVENANCE: The Graham Smith Retirement Auction - 50 years in the Antiques Trade.
A set of early Regency rosewood open bookshelves, c.1820, the shelved mirror-backed top with low gallery supported by two turned supports, two adjustable shelves below with a pea-mould to the front edge, the plinth base with decorative quarter moulding around its upper edge, 109.5 x 20 x 114.5cms high.PROVENANCE: The Graham Smith Retirement Auction - 50 years in the Antiques Trade.
A Victorian mahogany stool, c.1860, the rectangular tapestry seat over tapered and part upholstered side, the lower edge of the stool is mahogany veneered with a broad half bobbin moulding, on four turned and carved bun feet with concealed casters, 73 x 52 x 40cms high.PROVENANCE: The Graham Smith Retirement Auction - 50 years in the Antiques Trade.
A mahogany chiffonier in the Chippendale manner by Edwards & Roberts, circa 1900The mirror-back upper section with pierced canopy surmounted by a flower and rocaille finial, above twin glazed display cupboards flanking shelves, the uprights carved with blind fretwork, scrolls and rocaille, the lower section of breakfront form with central frieze drawer above a rocaille apron between square section supports carved with blind fretwork united by an undertier.122cm wide x 48.5cm deep x 227cm highFootnote:Stamped Edwards & Roberts to the drawer.Condition:Generally very good overall with a few very small chips to the rocaille work. Two small pieces of rocaille carving detached from the lower section but extant. Small loss to moulding on back right support. Detached moulding extant to back left support.
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