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Click here to subscribeVarious 60's/early 70's dresses, including a black and white shift dress, a green linen dress, "Miss Cavandish", a patterned cotton dress, a purple and lace mini dress, blue and white "Sambo" dress, an orange satin evening dress, empire waist, trimmed with lace, a pussy-bow blouse and a "Prova" cotton two-piece and 2 others (10)
An 18th century soft paste porcelain taper holder, possibly Bow, formed as two floral encrusted trees with two birds and a nest to/w a dog and a lamb on the base, the handle with a flower thumb rest, 18.5 cm h. Condition Report One bird restored, one bird re-glued, overall losses and damage.
Black 1940's evening dress with cap sleeves being beaded and pleated overall, with black satin under-slip, 57 cm across chest, to/w a 1960's 'Jeannie' jersey gold lurex dress with rushing to front, 50 cm across chest, and an embossed black cocktail dress with bow detail to shoulders 'Nettie Vogues Model', London, 44 cm across chest (3)
A Goebel Hummel figure, Little Soldier, 80, 14 cm high, and eleven others similar (12) Condition report Report by JB Model 203 - grubby, light wear, no major damage: Model 112: light crazing to figure - general wear, grubby: Model 319: bow in hair re-glued/repaired, grubby, general wear: Model 6/0: grubby, no major damage of note: Model 822/0: grubby, chip of note to base and crazing: Model 169: chip to hairline, grubby, light crazing to base, no major damage of note: Model 413/B: grubby, light crazing to figure and base: Model 67: grubby, light crazing, no major damage: Model 374: light crazing to base, no major damage of note: Model 12: crazing across figure and base, generally grubby: Model 81 2/0: internal rattle, and generally grubby, light crazing in regions: Model 69: one ski is broken off at the top, and the bottom rim is missing, light crazing present to face and base, along the underside a small nibble to hair cut.
A violin, with a 14 inch two piece back, bears a label Hart & Son, Makers, 28 Wardour Street, London 1899, and a bow, stamped Alfons Riedl, the frog inlaid with mother of pearl, in an Everest Instrumental case See illustration Condition report Report by JB The violin would appear to be in relatively good order. Marks, scratches, knocks and nicks ranging from light to deep can be observed across the back, side and top of the main body, with some noticeable rubbing/slight chipping to edge detail. There does not appear to be any structural damage to the main body, such as cracks or holes, scroll intact but requires re-threading Please see illustrations for details The violin comes from a private source who has owned it for at least 50 years. The label to the interior would seem in keeping with the rest of the violin however that is no guarantee. Violin displays general wear, marks knocks and nicks and slight rubbing to rear. It is probably played on a regular basis and has a new bridge. Few knocks and nicks to the edges, no major holes or cracks would appear present. Please see photos.
A violin, with a 14¼ inch one piece back carved the crown, fleur-de-lis and foliage of Carolus IX, the sides carved Gothic script and dated 1570, a bow, with an ivory frog, and another bow, in a fitted mahogany case having a George Withers label See inside back cover colour illustration Condition report Report by JB The violin would appear to be in relatively good order, displaying general wear and markings that you would expect from use. Lower section reasonably worn around where you would rest your chin. Some slight rubbing and chips to the edge of the violin, most noticeably on the top section. Scratches ranging from light to deep can be observed on the main body. Vertical lines, resembling splits/cracks present however, they do not appear to have compromised the main body. There would not appear to be any holes of note. The neck would not appear to have been lengthened. Full length of violin approx. 62 cm. Neck approx. 24 cm The two bows require re-stringing, one bow has an ivory frog with light wear Please see illustrations for details
A 19th century mahogany bow front chest, of four drawers, 87 cm wide Condition report Surface of the chest displays general markings, surface dents ranging from light to deep. There are a number of horizontal splits, mainly coming from the left hand side. Running from a quarter of the way up to half way in, and one from top right corner running a quarter of the way in. Some light fading and a few marks to the centre. Otherwise ok. The rear of the chest is intact. Left hand side of the chest displays a few generalised markings and dents. The same can be said for the right hand side. Front displays general wear, knocks and nicks. Handles replaced. Drawers in working order. Front feet noticeably worn and dented with some loss. Please see photos.
A Bow figure of a girl and a similar figure of a putto: the seated girl with a bird`s nest of fledglings on her knee and holding a bird[missing]aloft, wearing a yellow hat, blue jacket and a skirt painted with flowers and foliage, circa 1760, 12cm [rim of hat chipped, bird lacking]; the putto holding a vase of flowers, impressed repairer`s mark, circa 1760, 9cm., lower part of right leg missing, chips. (2)
A Bow porcelain shell centrepiece: modelled with two tiers of three scallop shells surmounted by a single shell the whole supported on three dolphins and a pillar of smaller shells, brightly enamelled and decorated with floral sprays within gilt dentil rims, 27 cm high, red dagger and anchor mark, circa 1760-70, discoloured restoration to one shell and slight chip restoration.
A French Empire ormolu figural mantel clock, Lepaute, Paris, early 19th century, the eight-day outside countwheel bell striking movement with silk suspension and circular white enamel Roman numeral dial signed LEPAUTE A PARIS to centre within engine-turned guilloche bezel, the plinth-form case with resting bow and quiver beside lovebird handled tazza surmount above ogee cornice and fine foliate cast infill around dial, to the left a standing figure of cupid holding a butterfly and flaming torch opposing staff applied with floral wreath bordered panel inscribed Fidelite, Constance, set on a plinth base adorned with ribbon tied floral swags interspersed with flaming torches to front, on lotus leaf cast skirt base with engine-turned bun feet, 37cm 14.5ins high; with giltwood plinth 42cm (16.5ins) high overall.
A YORKSHIRE WINDSOR ARMCHAIR, ASH WITH AN ELM SEAT, 2ND HALF 19TH CENTURY, with double bow back and circular seat, 93cm highThis elegant and dynamic chair was made by a skilled Windsor chair maker and rural woodworker who was aware of an earlier North American Windsor design, known as a `Sack back`, which was a common form made in Connecticut and other East Coast centres circa 1790 - 1800. (See Goyne-Evans The American Windsor Chair. p 337 fig 6-181 for a closely similar example.)This chair has amalgamated a number of features of the American form with other regional elements from the Yorkshire tradition. Specifically, the use of a round in section branch-made top bow, the shaped ends to the arm bow, the `fan` profile of the tapered back spindles. the round seat, pronounced centrally bulbous leg cross stretchers, the legs which are morticed through the seat, and the back spindles which are similarly through-morticed and wedged to secure them are all characteristic of North American design. However, the chair firmly confirms its Yorkshire origin in the particular profile of the under-arm support -turnings (see Cotton B D The English Regional Chair. p 193 fig NE 340 which shows a Windsor chair with closely similar under-arm turnings made by T.Rhodes of Halifax, Yorks fl.1866-1908.) The front leg turnings are a local form too, and have been noted on a number of regional painted Windsor chairs from Yorkshire. The rear leg turnings are of a regional design too, but in this case, in a slightly modified form, from the Thames Valley tradition, particularly in Buckinghamshire. The Elm wood used in the seat is characteristically English, whereas other woods, including Sweet Chestnut are common in American examples.The technology adopted in making this chair where expertly turned parts are combined with back spindles which are facetted and the product of a draw-horse and draw-knife technique, suggest, as it does with West Country Windsors of this type, that this chair was made by a maker familiar with using a draw knife in other rurally based crafts that he undertook: perhaps cart, ladder, sheep hurdle or dry barrel making.This chair has considerable residues of its original blue/green paint over-all and evidence of the white grain filler used under the paint can also be seen along the front edge of the seat. Use over time has rubbed away some of the paint to reveal the wood grain, and in this, the chair has acquired the warmth and evidence of its past that antique furniture often aspires to. Dr. B.D. Cotton
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