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FOLK ART. AN UNUSUAL CARVED AND PAINTED PINE DOLL, SECOND HALF 19TH C with waisted, padded body, the hair of the shoulder head tied in a bow and hanging in ringlets, carved coral necklace and earrings, the forearms with distinctive elongated, flat hands, the lower legs with red painted and buttoned boots, 54cm h++Cracked across collar bone with small loss to shoulder, painted worn, arms detached or almost so, fabric stained and worn but original and entirely unrestored
A P.W.C. ART DECO DIAMOND AND SAPPHIRE COCKTAIL WATCH, C1930 in platinum, marked platinum and numbered 1200, white gold bracelet marked 18ct, cased++Watch in apparently good working order, running when wound, foxing to dial, no dents case, hands setting and moving freely, build up dirt and grime to gem settings
TIM BOBBIN'S' CLOCK. AN OAK AND QUARTER SAWN OAK THIRTY HOUR LONGCASE CLOCK, GEO BOOTH, MANCHESTER, EARLY 18TH C the 28cm brass dial with matted centre, cherub and crown spandrels and single pierced hand, the trunk door with bull's eye lentical, 228cm hProvenance: (according to an old handwritten label) "This clock was the property of John Collier of Milnrow who died 1786 and buried in the Rochdale Parish Churchyard, he was a Lancashire poet and schoolmaster 75 years from Bolton. This is his poetry Here Lies John and with him Mary/Cheek by jowl and never very/No wonder that they so well agree/John wants no punch nor Mol no tea" The unknown early 19th c author of the note pasted to the back of this handsome provincial 19th c clock rightly considered it worthy as a relic of John Collier (1708-1786) better known as 'Tim Bobbin', the Lancashire painter of caricatures and dialect verifier. He became nationally known and as his book of engravings 'Human Passions Delineated' (1773) went through many editions. He gave his peculiar talent free rein with all the Seven Deadly Sins. The twisted expressions of his well-to-do or lowly men and women were often so distorted that they appear grotesque freaks, not of nature but of their particular fit of passion. The evident want of even rudimentary technique only serves to heighten the effect. Collier/Bobbin was born at Urmston and lived at Milnrow, near Rochdale. Judging by his art, verse and many sardonic epitaphs neither his pen nor his pencil lacked subjects of themes in the locality. He apparently penned his own epitaph a few minutes before his death.++Very dirty with some old minor repairs and replacements to case. Trunk door lacking lock, lentical probably an early replacement. Cheeks not packed and the dial/movement apparently original to the case
AN ART DECO BRONZED SPELTER FIGURAL TABLE LAMP, C1930 in the form of a semi naked kneeling woman with contemporary glass mosaic globe lampshade, black painted wood base, 30cm h++The ring that secures the shade to the lamp detached otherwise in good original condition, original patina. Requires rewiring.
A REGENCY GILT BRASS MOUNTED ROSEWOOD WRITING CABINET, C1810, TWO OF THE PIETRE DURE PANELS GRAND DUCAL WORKSHOPS, FLORENCE, C1700-35 with gilt brass mounts and marble slab, the fall front inset with three Italian pietre dure panels of a volcano or ruins in beaded gilt brass frames , the interior fitted with drawers and pigeon holes, contemporary straight grained navy morocco inset writing surface, flanked by plain pillars with milled capital and foot above panelled frieze drawer, on tapering turned legs with reeded knop and collar, 126cm h; 39 x 107cm, keyProvenance: In the same private family ownership since the early 20th c. Florentine pietre dure panels of landscapes with ruins of this type were a speciality of the Galleria degli Lavori later known as the Opificio delle Pietre Dure and reflects the taste of the Grand Duke of Tuscany, Cosimo II (r. 1609.20). Its founder, Cosimo's father Grand Duke Ferdinando I de Medici (1549-1609) sought to emulate landscape paintings by the newly perfected art of pietre dure. Similar examples of the use of pietre dure are found on 17th-19th c case furniture and caskets but also framed or unmounted panels such as in the Florentine room of the Schloss Favorite near Baden Baden and others still in the Museo dell'Opificio in Florence. The two on the present beautifully preserved Regency cabinet are identical to two of those on the magnificent Wingfield Castle Cabinet now in the Gilbert Collection, London. Of ebonised and giltwood, it was made in England, 1775-99 to display a series of eleven panels all similarly featuring classical ruins, the monumentality emphasised by the presence of peasants in the foreground. See Massinelli (A M), The Gilbert Collection, Hardstones, London 2000, Catalogue No 6, pp 44-46 and Minter (A), Pietre Dure-A Palette made of Hardstones, article in Furniture History Society Newsletter 215, August 2019, pp 1-7, fig 5.++In fine original condition
A pair of small George III style silver baluster two handled vases, Birmingham 1912, 10cm high and the following items of silver: an Edwardian dwarf candlestick, capstan inkwell, Art Deco mustard pot frame, mounted cut glass dressing table box, pair of salt cellars, another and a button hook, also a novelty figure carrying beam scales and standing on a rectangular base (11).
An Art Deco style silver cigar box, Hardy Brothers, Birmingham 1965, the hinged cover with thread border and inscribed 'To Brigadier and Mrs. J. A. Ward-Booth from all ranks, The Parachute Regiment Royal Horse Artillery June 1973' below the regimental crest, on bracket feet, 17 x 12cm.
An Art Nouveau design amethyst and diamond pendant, with tiered design of ten diamonds and eight amethyst stones, the amethysts a mix of pear and emerald cut stones, each in rubover setting, totalling approx 1.98cts overall, the ten round brilliant cut diamonds each approx 0.01cts, totalling approx 0.10cts, on fine link 9ct gold chain, 7.4g all in, with past insurance valuation for new replacement value of 775.

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641361 item(s)/page