We found 117861 price guide item(s) matching your search

A Georgian mahogany bow front corner cupboard with moulded cornice and figured frieze, 3 internal shelves enclosed by 2 doors, height 43"

A Beswick character Jug `Tony Weller`, 7 1/2in H, a boxed "Old Bow" Copeland Coffee Service for six, `Exclusive to Harrods` (some damage)

A George lll bow fronted mahogany stick barometer, by Dolland, London with a swan`s neck cornice over a curved glass, the silvered register plate with maker`s name and a thermometer, the base with an urn cistern cover with inlaid vertical bars on each side, 100cm high Visit www.sworder.co.uk for larger image and condition reports.

A George III mahogany bow front sideboard, boxwood and ebony strung to the front, with oak drawer linings, 152cm wide 62cm deep 87.5cm high Visit www.sworder.co.uk for larger image and condition reports.

A George III oak bow fronted hanging corner cabinet, with mahogany cross banding, 67.5cm wide 104cm high Visit www.sworder.co.uk for larger image and condition reports.

Two eighteenth century Bow porcelain white glazed coffee cups with relief moulded Prunus decoration, similar coffee can, plus one other similar coffee cup (4)

Eighteenth century Bow porcelain coffee cup with polychrome decoration in the Chinese taste with peony and rock and one other Bow coffee cup with polychrome painted floral decoration, plus three other eighteenth century coffee cups (5)

Eighteenth century Bow white glazed salt with three scalloped shells on naturalistically moulded base with applied shells, restorations, 13 cm high x 18 cm length

Pair of mid-eighteenth century Bow circular plates with underglaze blue decoration, with central landscape reserve flanked by four fan-shape reserves on powder blue ground. Chinese character mark to reverse, c.1760, 18 cm diameter

Mid-eighteenth century Bow octagonal dish with underglazed blue central chinoiserie landscape reserve flanked by four further fan-shape landscape reserves on powder blue ground, Chinese character mark to base, c. 1760, (minor restoration), 24 cm x 16 cm

Eighteenth century Bow porcelain sauce boat painted with underglazed blue chinoiserie landscape, body of reeded form on oval foot (minor chips), 5 cm high x 11 cm length

Eighteenth century blue and white sauce boat painted with chinoiserie landscape on oval foot. Possibly Bow, 5 cm high x 11.5 cm length

Eighteenth century English porcelain teapot and cover with Japanese Kakiemon design with two quails and prunus tree, the handle naturistically moulded in the form of a branch with floral moulded terminals (possibly Bow) cracked, 13 cm x 20 cm

Eighteenth century Bow pickle dish moulded in the form of a leaf with painted underglazed blue grape and leaf design (minor chips) 8 cm, plus another similar Worcester pickle dish with underglazed blue painted floral sprigs (damaged) 8 cm

Eighteenth century porcelain figure of a putto, decorated in polychrome, wearing a wreath, carrying a basket of flowers, floral bocage on scroll base, 14 cm (minor damage) possible Bow

Eighteenth century Bow white glazed porcelain group depicting two birds on tree branch with dog at the base of tree, 16cm (restorations)

Collection of books on ceramics including a compendium of British Cups, Coalport by Michael Messenger, Bow Porcelain and others (10)

Antique violin bearing label Joseph Guarnerius Fecit Cremonae Anno 1714, bow stamped Bausch and one other bow in case

Ceccardo Egidio Fucigna, late nineteenth century carved marble bust of a lady with her hair in a bun wearing earrings, lace collar with bow on circular socle - signed, 73 cm high

Edwardian brass carriage clock with bow fronted case, white enamel and brass dial on bun feet, 15 cm

Impressive Victorian gilt metal and alabaster mantel clock with classical figure of Diana with bow and dog mount, French striking movement on paw feet with gilt wood base under glass dome, 60 cm high

Late Victorian mahogany bow front sidetable with drawer, cast brass ring handles on square taper legs, 52 cm

Nineteenth century mahogany bow fronted chest of two short and two long graduated drawers on bun feet, 90cm wide

George III mahogany toilet mirror with bow front plateau and three drawers on bracket feet, 53 cm wide

George IV mahogany toilet mirror on bow fronted plateau with three drawers on bracket feet, 58 cm

Good quality Georgian style inlaid mahogany bow fronted sideboard with crossbanded top, two drawers and two panelled doors below on splayed bracket feet, 107cm

A 9ct gold necklace composed of bow shaped links 63.5g

A george iii mahogany bow fronted corner cupboard, the cavetto cornice above a pair of doors with brass `h` hinges, the painted interior with shelves, 103cm h; 49 x 71cm

A george iii mahogany bow fronted corner cupboard, with dentil cornice and blind fret frieze, enclosed by a pair of doors flanked by fluted pilasters, 115cm h; 58 x 83 cm small losses to the blind fretwork; in good condition

A victorian mahogany bow fronted step commode

An Accles & Pollock Archery set, comprising 2 piece steel “Apollo Falcon” bow and 9 “Apollo” steel arrows, together with 6 other wooden arrows, in its fitted wooden box with banded wood lid and leather carrying handle. GC (some wear to arrows)

A similar Archery set, comprising “Apollo Merlin” bow, 3 “Apollo” steel arrows, and 5 other wooden arrows, in similar fitted wooden box; also a wooden box containing 7 wooden arrows, the lid bearing trade label of Thomas Aldred, Archery Manufacturer, 110 Edgware Rd, London, and a label of “Aldred’s patent unbreakable aluminium nocks”, and also a letter dated 1922 giving advice and information regarding use. GC

A Royal Scots officer’s Kilmarnock bonnet, blue cloth with red, white and blue dicing, black silk bow for badge, Hawkes & Co trade label. GC (badge and hackle missing, few moth holes to headband)

* An Edwardian shop type display cabinet, with one bow end and sliding doors, 215cm wide.

An Early 19th Century Mahogany Chest Of Flattened Bow From, The Banded Top Over Two Short And Three Long Drawers, The Handles Later, On Bracket Feet, Losses, 119cm

A New Guinea broad bow, length 172cms

A 19th Century mahogany bow fronted corner cabinet of small size.

Circa 1920`s Straw Cloche Hat with blue silk ribbon detailing; Six Pairs Of 1920`s And 1930`s Evening Shoes including pair of gold leather evening shoes `The American Shoe Company`; pair of silver satin evening shoes with steel cut bow detailing `Saxone Shoe Co` (size 3); pair of gold leather strap evening sandals `Dolcis`; pair of grey and green glitter evening shoes; pair of brocade strap evening sandals (size 4.5); pair of patterned silk and silk evening shoes (size 4.5) (7)

A fine bow fronted flame Mahogany Corner Cupboard with frieze drawer to base, 37`` wide x 47`` high

A reproduction, Yew finished, bow fronted low, Corner Cupboard. Gallery back, moulded shaped top, single bowed veneered door with central oval burr Yew veneer, standing on shaped bracket feet. 26`` wide x 33`` high x 17`` deep approx.

Pair of Venetian carved oak and pine bow fronted console tables, each painted with a faux giallo marble and floral decorated top, on a dolphin support and plinth base, 18thC and later, 65x 66.5cm

Xix century violin with two piece back and mother of pearl inlay; together with bow and accessories in case.

AN EARLY 19TH CENTURY SCOTTISH LONGCASE CLOCK by James Conan of Edinburgh, the dial with a matted centre and subsidiary seconds dial and date aperture, with a silvered chapter ring with Roman numerals, beneath an arch with maker`s name flanked by dolphin spandrels, with an eight-day movement striking on a bell, the hood with scrolling pediment and turned columns, the trunk with conforming applied half columns and bow fronted door, 83" high. See illustration

A LATE GEORGE III MAHOGANY BOW FRONT CHEST OF DRAWERS, the shaped caddy moulded top with broad crossbanding and chequered stringing above two short and two long graduated drawers, on bracket feet, 34º" wide

A GEORGE III MAHOGANY HANGING BOW FRONTED CORNER CUPBOARD with twin glazed doors enclosing a shelved interior, 28" wide

HEALS: A LIGHT OAK BUREAU, with a sloping fall enclosing a fitted interior, above two short drawers with compressed heart shaped handles, above twin panel doors on a plinth base, 37?" wide. See illustration.The compressed heart handles on this bureau are one of Ambrose Heal`s most instantly recognisable design features. Almost certainly derived from an early Morris Marshall, Faulkner & Co. chest designed by Maddox Brown, this bureau also shares the exposed dovetails to the top corners. THE DUNSHAY MANOR. FURNITURE BY HEALS OF TOTTENHAM COURT ROAD. Dunshay Manor is often described as the quintessential Purbeck Manor House. Of late Medieval origin, and located amongst the beautiful rolling hills, it is without doubt one of the regions finest properties. The successful artist George Spencer Watson and his wife Hilda who was involved in the avant-garde world of Mime and dance purchased the property in 1923. It was here that their daughter Mary, born in 1913, developed her love of direct carving and developed a career as a highly successful sculptor. Lot 443 in this sale is as fine an example of Maryís sculpture in wood as has come to the market, and it is appropriate that this was exhibited at Heals highly influential Mansard Gallery in 1937. The furnishings at Dunshay reflect the coupleís position in the leading artistic circles of the time, and the group of furniture included here, which was removed from the property following the death of Mary Spencer Watson, reflects this. It is unclear when this furniture was purchased from Heals of Tottenham Court Road, however it is understood that Ambrose Heal and Hilda were close friends and therefore his furniture will have been an obvious choice for the new home. Ambrose Heal, born into the successful family firm at the heart of furniture retailing in Tottenham Court Road, began designing furniture at the end of the nineteenth century. It was in the late Edwardian period that his designs began to find a character of their own, building on the influences from the Cotswold group of designers and other members of the Arts and Crafts movement. The furniture in this collection represents a number of key aspects of Healís production. The two simple bow-fronted washstands and the dressing table are similar to the earliest work, being very similar to a bow fronted dressing table that was exhibited at the Arts and Crafts Exhibition Society exhibition of 1910. The smaller dresser, the four chairs and the set of hanging wall shelves are from the ëLetchworthí range developed to provide good quality furniture in a fashionable style at a realistic price. The bureau with the compressed heart handles and the dining table with the slightly bulbous turned legs, show Ambrose Healís own personal adaptation of the Arts and Crafts as applied to furniture design. The magnificent Chestnut dresser is the finest piece in the collection, and represents the type of fine and elaborate furniture of which Ambrose Heal would have been most proud. This appears to be one of only two examples of this design known, and possibly one of only two ever manufactured. With the compressed heart handles, chip carving, and turn button cupboard doors this shows Heal at his most confident and most successful.

HEALS: A LIGHT OAK CHEST OF DRAWERS, the rectangular plank construction top with raised chamfered uprights to each corner above three long graduated drawers with turned knob handles, 36" wide.Although unmarked, the distinctive rising uprights to each corner are indicative. The turned knob handles, which can also be seen on the work table, Lot 590, are also typical of Heal`s work of the period. THE DUNSHAY MANOR. FURNITURE BY HEALS OF TOTTENHAM COURT ROAD. Dunshay Manor is often described as the quintessential Purbeck Manor House. Of late Medieval origin, and located amongst the beautiful rolling hills, it is without doubt one of the regions finest properties. The successful artist George Spencer Watson and his wife Hilda who was involved in the avant-garde world of Mime and dance purchased the property in 1923. It was here that their daughter Mary, born in 1913, developed her love of direct carving and developed a career as a highly successful sculptor. Lot 443 in this sale is as fine an example of Maryís sculpture in wood as has come to the market, and it is appropriate that this was exhibited at Heals highly influential Mansard Gallery in 1937. The furnishings at Dunshay reflect the coupleís position in the leading artistic circles of the time, and the group of furniture included here, which was removed from the property following the death of Mary Spencer Watson, reflects this. It is unclear when this furniture was purchased from Heals of Tottenham Court Road, however it is understood that Ambrose Heal and Hilda were close friends and therefore his furniture will have been an obvious choice for the new home. Ambrose Heal, born into the successful family firm at the heart of furniture retailing in Tottenham Court Road, began designing furniture at the end of the nineteenth century. It was in the late Edwardian period that his designs began to find a character of their own, building on the influences from the Cotswold group of designers and other members of the Arts and Crafts movement. The furniture in this collection represents a number of key aspects of Healís production. The two simple bow-fronted washstands and the dressing table are similar to the earliest work, being very similar to a bow fronted dressing table that was exhibited at the Arts and Crafts Exhibition Society exhibition of 1910. The smaller dresser, the four chairs and the set of hanging wall shelves are from the ëLetchworthí range developed to provide good quality furniture in a fashionable style at a realistic price. The bureau with the compressed heart handles and the dining table with the slightly bulbous turned legs, show Ambrose Healís own personal adaptation of the Arts and Crafts as applied to furniture design. The magnificent Chestnut dresser is the finest piece in the collection, and represents the type of fine and elaborate furniture of which Ambrose Heal would have been most proud. This appears to be one of only two examples of this design known, and possibly one of only two ever manufactured. With the compressed heart handles, chip carving, and turn button cupboard doors this shows Heal at his most confident and most successful.

HEALS: A LIGHT OAK CHEST OF DRAWERS, the rectangular plank construction top with raised chamfered uprights to each corner, with three long graduated drawers with turned knob handles, 36" wide THE DUNSHAY MANOR. FURNITURE BY HEALS OF TOTTENHAM COURT ROAD. Dunshay Manor is often described as the quintessential Purbeck Manor House. Of late Medieval origin, and located amongst the beautiful rolling hills, it is without doubt one of the regions finest properties. The successful artist George Spencer Watson and his wife Hilda who was involved in the avant-garde world of Mime and dance purchased the property in 1923. It was here that their daughter Mary, born in 1913, developed her love of direct carving and developed a career as a highly successful sculptor. Lot 443 in this sale is as fine an example of Maryís sculpture in wood as has come to the market, and it is appropriate that this was exhibited at Heals highly influential Mansard Gallery in 1937. The furnishings at Dunshay reflect the coupleís position in the leading artistic circles of the time, and the group of furniture included here, which was removed from the property following the death of Mary Spencer Watson, reflects this. It is unclear when this furniture was purchased from Heals of Tottenham Court Road, however it is understood that Ambrose Heal and Hilda were close friends and therefore his furniture will have been an obvious choice for the new home. Ambrose Heal, born into the successful family firm at the heart of furniture retailing in Tottenham Court Road, began designing furniture at the end of the nineteenth century. It was in the late Edwardian period that his designs began to find a character of their own, building on the influences from the Cotswold group of designers and other members of the Arts and Crafts movement. The furniture in this collection represents a number of key aspects of Healís production. The two simple bow-fronted washstands and the dressing table are similar to the earliest work, being very similar to a bow fronted dressing table that was exhibited at the Arts and Crafts Exhibition Society exhibition of 1910. The smaller dresser, the four chairs and the set of hanging wall shelves are from the ëLetchworthí range developed to provide good quality furniture in a fashionable style at a realistic price. The bureau with the compressed heart handles and the dining table with the slightly bulbous turned legs, show Ambrose Healís own personal adaptation of the Arts and Crafts as applied to furniture design. The magnificent Chestnut dresser is the finest piece in the collection, and represents the type of fine and elaborate furniture of which Ambrose Heal would have been most proud. This appears to be one of only two examples of this design known, and possibly one of only two ever manufactured. With the compressed heart handles, chip carving, and turn button cupboard doors this shows Heal at his most confident and most successful.

HEALS: A LIGHT OAK DRAWER-LEAF DINING TABLE, the rectangular panelled top with twin extensions, on turned tapering legs and extended "X"-form stretcher, 83" wide (fully extended). See illustration.The turned legs on this dining table are typical of Ambrose Heal`s work of this period. The slightly swollen leg with ring-turning can be seen on much of his work at this time. THE DUNSHAY MANOR. FURNITURE BY HEALS OF TOTTENHAM COURT ROAD. Dunshay Manor is often described as the quintessential Purbeck Manor House. Of late Medieval origin, and located amongst the beautiful rolling hills, it is without doubt one of the regions finest properties. The successful artist George Spencer Watson and his wife Hilda who was involved in the avant-garde world of Mime and dance purchased the property in 1923. It was here that their daughter Mary, born in 1913, developed her love of direct carving and developed a career as a highly successful sculptor. Lot 443 in this sale is as fine an example of Maryís sculpture in wood as has come to the market, and it is appropriate that this was exhibited at Heals highly influential Mansard Gallery in 1937. The furnishings at Dunshay reflect the coupleís position in the leading artistic circles of the time, and the group of furniture included here, which was removed from the property following the death of Mary Spencer Watson, reflects this. It is unclear when this furniture was purchased from Heals of Tottenham Court Road, however it is understood that Ambrose Heal and Hilda were close friends and therefore his furniture will have been an obvious choice for the new home. Ambrose Heal, born into the successful family firm at the heart of furniture retailing in Tottenham Court Road, began designing furniture at the end of the nineteenth century. It was in the late Edwardian period that his designs began to find a character of their own, building on the influences from the Cotswold group of designers and other members of the Arts and Crafts movement. The furniture in this collection represents a number of key aspects of Healís production. The two simple bow-fronted washstands and the dressing table are similar to the earliest work, being very similar to a bow fronted dressing table that was exhibited at the Arts and Crafts Exhibition Society exhibition of 1910. The smaller dresser, the four chairs and the set of hanging wall shelves are from the ëLetchworthí range developed to provide good quality furniture in a fashionable style at a realistic price. The bureau with the compressed heart handles and the dining table with the slightly bulbous turned legs, show Ambrose Healís own personal adaptation of the Arts and Crafts as applied to furniture design. The magnificent Chestnut dresser is the finest piece in the collection, and represents the type of fine and elaborate furniture of which Ambrose Heal would have been most proud. This appears to be one of only two examples of this design known, and possibly one of only two ever manufactured. With the compressed heart handles, chip carving, and turn button cupboard doors this shows Heal at his most confident and most successful.

HEALS: A SET OF SIX LADDERBACK CHAIRS with five graduated ladders above rushed seats, on turned legs with turned stretchers, including two armchairs with broad curving arms. Chairs of this design can be seen in Heal`s 1912 "Cottage Furniture" catalogue. THE DUNSHAY MANOR. FURNITURE BY HEALS OF TOTTENHAM COURT ROAD. Dunshay Manor is often described as the quintessential Purbeck Manor House. Of late Medieval origin, and located amongst the beautiful rolling hills, it is without doubt one of the regions finest properties. The successful artist George Spencer Watson and his wife Hilda who was involved in the avant-garde world of Mime and dance purchased the property in 1923. It was here that their daughter Mary, born in 1913, developed her love of direct carving and developed a career as a highly successful sculptor. Lot 443 in this sale is as fine an example of Maryís sculpture in wood as has come to the market, and it is appropriate that this was exhibited at Heals highly influential Mansard Gallery in 1937. The furnishings at Dunshay reflect the coupleís position in the leading artistic circles of the time, and the group of furniture included here, which was removed from the property following the death of Mary Spencer Watson, reflects this. It is unclear when this furniture was purchased from Heals of Tottenham Court Road, however it is understood that Ambrose Heal and Hilda were close friends and therefore his furniture will have been an obvious choice for the new home. Ambrose Heal, born into the successful family firm at the heart of furniture retailing in Tottenham Court Road, began designing furniture at the end of the nineteenth century. It was in the late Edwardian period that his designs began to find a character of their own, building on the influences from the Cotswold group of designers and other members of the Arts and Crafts movement. The furniture in this collection represents a number of key aspects of Healís production. The two simple bow-fronted washstands and the dressing table are similar to the earliest work, being very similar to a bow fronted dressing table that was exhibited at the Arts and Crafts Exhibition Society exhibition of 1910. The smaller dresser, the four chairs and the set of hanging wall shelves are from the ëLetchworthí range developed to provide good quality furniture in a fashionable style at a realistic price. The bureau with the compressed heart handles and the dining table with the slightly bulbous turned legs, show Ambrose Healís own personal adaptation of the Arts and Crafts as applied to furniture design. The magnificent Chestnut dresser is the finest piece in the collection, and represents the type of fine and elaborate furniture of which Ambrose Heal would have been most proud. This appears to be one of only two examples of this design known, and possibly one of only two ever manufactured. With the compressed heart handles, chip carving, and turn button cupboard doors this shows Heal at his most confident and most successful.

HEALS: A LIGHT OAK 3` SINGLE HEAD AND FOOTBOARD, with shaped top rail with moulded border above twin panels THE DUNSHAY MANOR. FURNITURE BY HEALS OF TOTTENHAM COURT ROAD. Dunshay Manor is often described as the quintessential Purbeck Manor House. Of late Medieval origin, and located amongst the beautiful rolling hills, it is without doubt one of the regions finest properties. The successful artist George Spencer Watson and his wife Hilda who was involved in the avant-garde world of Mime and dance purchased the property in 1923. It was here that their daughter Mary, born in 1913, developed her love of direct carving and developed a career as a highly successful sculptor. Lot 443 in this sale is as fine an example of Maryís sculpture in wood as has come to the market, and it is appropriate that this was exhibited at Heals highly influential Mansard Gallery in 1937. The furnishings at Dunshay reflect the coupleís position in the leading artistic circles of the time, and the group of furniture included here, which was removed from the property following the death of Mary Spencer Watson, reflects this. It is unclear when this furniture was purchased from Heals of Tottenham Court Road, however it is understood that Ambrose Heal and Hilda were close friends and therefore his furniture will have been an obvious choice for the new home. Ambrose Heal, born into the successful family firm at the heart of furniture retailing in Tottenham Court Road, began designing furniture at the end of the nineteenth century. It was in the late Edwardian period that his designs began to find a character of their own, building on the influences from the Cotswold group of designers and other members of the Arts and Crafts movement. The furniture in this collection represents a number of key aspects of Healís production. The two simple bow-fronted washstands and the dressing table are similar to the earliest work, being very similar to a bow fronted dressing table that was exhibited at the Arts and Crafts Exhibition Society exhibition of 1910. The smaller dresser, the four chairs and the set of hanging wall shelves are from the ëLetchworthí range developed to provide good quality furniture in a fashionable style at a realistic price. The bureau with the compressed heart handles and the dining table with the slightly bulbous turned legs, show Ambrose Healís own personal adaptation of the Arts and Crafts as applied to furniture design. The magnificent Chestnut dresser is the finest piece in the collection, and represents the type of fine and elaborate furniture of which Ambrose Heal would have been most proud. This appears to be one of only two examples of this design known, and possibly one of only two ever manufactured. With the compressed heart handles, chip carving, and turn button cupboard doors this shows Heal at his most confident and most successful.

HEALS: A LIGHT OAK CRICKET TABLE, the circular three plank top on triangular legs with a triangular stretcher, 23?" wide.Similar tables can be seen in Heal`s Cottage Furniture Catalogues THE DUNSHAY MANOR. FURNITURE BY HEALS OF TOTTENHAM COURT ROAD. Dunshay Manor is often described as the quintessential Purbeck Manor House. Of late Medieval origin, and located amongst the beautiful rolling hills, it is without doubt one of the regions finest properties. The successful artist George Spencer Watson and his wife Hilda who was involved in the avant-garde world of Mime and dance purchased the property in 1923. It was here that their daughter Mary, born in 1913, developed her love of direct carving and developed a career as a highly successful sculptor. Lot 443 in this sale is as fine an example of Maryís sculpture in wood as has come to the market, and it is appropriate that this was exhibited at Heals highly influential Mansard Gallery in 1937. The furnishings at Dunshay reflect the coupleís position in the leading artistic circles of the time, and the group of furniture included here, which was removed from the property following the death of Mary Spencer Watson, reflects this. It is unclear when this furniture was purchased from Heals of Tottenham Court Road, however it is understood that Ambrose Heal and Hilda were close friends and therefore his furniture will have been an obvious choice for the new home. Ambrose Heal, born into the successful family firm at the heart of furniture retailing in Tottenham Court Road, began designing furniture at the end of the nineteenth century. It was in the late Edwardian period that his designs began to find a character of their own, building on the influences from the Cotswold group of designers and other members of the Arts and Crafts movement. The furniture in this collection represents a number of key aspects of Healís production. The two simple bow-fronted washstands and the dressing table are similar to the earliest work, being very similar to a bow fronted dressing table that was exhibited at the Arts and Crafts Exhibition Society exhibition of 1910. The smaller dresser, the four chairs and the set of hanging wall shelves are from the ëLetchworthí range developed to provide good quality furniture in a fashionable style at a realistic price. The bureau with the compressed heart handles and the dining table with the slightly bulbous turned legs, show Ambrose Healís own personal adaptation of the Arts and Crafts as applied to furniture design. The magnificent Chestnut dresser is the finest piece in the collection, and represents the type of fine and elaborate furniture of which Ambrose Heal would have been most proud. This appears to be one of only two examples of this design known, and possibly one of only two ever manufactured. With the compressed heart handles, chip carving, and turn button cupboard doors this shows Heal at his most confident and most successful.

HEALS: A LIGHT OAK WORK TABLE, the rectangular top with twin drop flap sides above a single drawer with turned knob handles and sliding basket support, on square legs with "H"-form stretcher, 28" wide THE DUNSHAY MANOR. FURNITURE BY HEALS OF TOTTENHAM COURT ROAD. Dunshay Manor is often described as the quintessential Purbeck Manor House. Of late Medieval origin, and located amongst the beautiful rolling hills, it is without doubt one of the regions finest properties. The successful artist George Spencer Watson and his wife Hilda who was involved in the avant-garde world of Mime and dance purchased the property in 1923. It was here that their daughter Mary, born in 1913, developed her love of direct carving and developed a career as a highly successful sculptor. Lot 443 in this sale is as fine an example of Maryís sculpture in wood as has come to the market, and it is appropriate that this was exhibited at Heals highly influential Mansard Gallery in 1937. The furnishings at Dunshay reflect the coupleís position in the leading artistic circles of the time, and the group of furniture included here, which was removed from the property following the death of Mary Spencer Watson, reflects this. It is unclear when this furniture was purchased from Heals of Tottenham Court Road, however it is understood that Ambrose Heal and Hilda were close friends and therefore his furniture will have been an obvious choice for the new home. Ambrose Heal, born into the successful family firm at the heart of furniture retailing in Tottenham Court Road, began designing furniture at the end of the nineteenth century. It was in the late Edwardian period that his designs began to find a character of their own, building on the influences from the Cotswold group of designers and other members of the Arts and Crafts movement. The furniture in this collection represents a number of key aspects of Healís production. The two simple bow-fronted washstands and the dressing table are similar to the earliest work, being very similar to a bow fronted dressing table that was exhibited at the Arts and Crafts Exhibition Society exhibition of 1910. The smaller dresser, the four chairs and the set of hanging wall shelves are from the ëLetchworthí range developed to provide good quality furniture in a fashionable style at a realistic price. The bureau with the compressed heart handles and the dining table with the slightly bulbous turned legs, show Ambrose Healís own personal adaptation of the Arts and Crafts as applied to furniture design. The magnificent Chestnut dresser is the finest piece in the collection, and represents the type of fine and elaborate furniture of which Ambrose Heal would have been most proud. This appears to be one of only two examples of this design known, and possibly one of only two ever manufactured. With the compressed heart handles, chip carving, and turn button cupboard doors this shows Heal at his most confident and most successful.

HEALS: A LIGHT OAK DRESSING TABLE, with a circular mirror above a bow fronted top with rising lidded compartment above two open shelves, 36" wide. See illustration.This dressing table and two washstands in the following lots (592 and 593) are very similar to the washstand number "494" which was shown at the 1910 Arts and Crafts Exhibition Society Exhibition. THE DUNSHAY MANOR. FURNITURE BY HEALS OF TOTTENHAM COURT ROAD. Dunshay Manor is often described as the quintessential Purbeck Manor House. Of late Medieval origin, and located amongst the beautiful rolling hills, it is without doubt one of the regions finest properties. The successful artist George Spencer Watson and his wife Hilda who was involved in the avant-garde world of Mime and dance purchased the property in 1923. It was here that their daughter Mary, born in 1913, developed her love of direct carving and developed a career as a highly successful sculptor. Lot 443 in this sale is as fine an example of Maryís sculpture in wood as has come to the market, and it is appropriate that this was exhibited at Heals highly influential Mansard Gallery in 1937. The furnishings at Dunshay reflect the coupleís position in the leading artistic circles of the time, and the group of furniture included here, which was removed from the property following the death of Mary Spencer Watson, reflects this. It is unclear when this furniture was purchased from Heals of Tottenham Court Road, however it is understood that Ambrose Heal and Hilda were close friends and therefore his furniture will have been an obvious choice for the new home. Ambrose Heal, born into the successful family firm at the heart of furniture retailing in Tottenham Court Road, began designing furniture at the end of the nineteenth century. It was in the late Edwardian period that his designs began to find a character of their own, building on the influences from the Cotswold group of designers and other members of the Arts and Crafts movement. The furniture in this collection represents a number of key aspects of Healís production. The two simple bow-fronted washstands and the dressing table are similar to the earliest work, being very similar to a bow fronted dressing table that was exhibited at the Arts and Crafts Exhibition Society exhibition of 1910. The smaller dresser, the four chairs and the set of hanging wall shelves are from the ëLetchworthí range developed to provide good quality furniture in a fashionable style at a realistic price. The bureau with the compressed heart handles and the dining table with the slightly bulbous turned legs, show Ambrose Healís own personal adaptation of the Arts and Crafts as applied to furniture design. The magnificent Chestnut dresser is the finest piece in the collection, and represents the type of fine and elaborate furniture of which Ambrose Heal would have been most proud. This appears to be one of only two examples of this design known, and possibly one of only two ever manufactured. With the compressed heart handles, chip carving, and turn button cupboard doors this shows Heal at his most confident and most successful.

HEALS: A LIGHT OAK WASHSTAND, with a fabric rail above a bow fronted top and two open shelves, 35?" wide THE DUNSHAY MANOR. FURNITURE BY HEALS OF TOTTENHAM COURT ROAD. Dunshay Manor is often described as the quintessential Purbeck Manor House. Of late Medieval origin, and located amongst the beautiful rolling hills, it is without doubt one of the regions finest properties. The successful artist George Spencer Watson and his wife Hilda who was involved in the avant-garde world of Mime and dance purchased the property in 1923. It was here that their daughter Mary, born in 1913, developed her love of direct carving and developed a career as a highly successful sculptor. Lot 443 in this sale is as fine an example of Maryís sculpture in wood as has come to the market, and it is appropriate that this was exhibited at Heals highly influential Mansard Gallery in 1937. The furnishings at Dunshay reflect the coupleís position in the leading artistic circles of the time, and the group of furniture included here, which was removed from the property following the death of Mary Spencer Watson, reflects this. It is unclear when this furniture was purchased from Heals of Tottenham Court Road, however it is understood that Ambrose Heal and Hilda were close friends and therefore his furniture will have been an obvious choice for the new home. Ambrose Heal, born into the successful family firm at the heart of furniture retailing in Tottenham Court Road, began designing furniture at the end of the nineteenth century. It was in the late Edwardian period that his designs began to find a character of their own, building on the influences from the Cotswold group of designers and other members of the Arts and Crafts movement. The furniture in this collection represents a number of key aspects of Healís production. The two simple bow-fronted washstands and the dressing table are similar to the earliest work, being very similar to a bow fronted dressing table that was exhibited at the Arts and Crafts Exhibition Society exhibition of 1910. The smaller dresser, the four chairs and the set of hanging wall shelves are from the ëLetchworthí range developed to provide good quality furniture in a fashionable style at a realistic price. The bureau with the compressed heart handles and the dining table with the slightly bulbous turned legs, show Ambrose Healís own personal adaptation of the Arts and Crafts as applied to furniture design. The magnificent Chestnut dresser is the finest piece in the collection, and represents the type of fine and elaborate furniture of which Ambrose Heal would have been most proud. This appears to be one of only two examples of this design known, and possibly one of only two ever manufactured. With the compressed heart handles, chip carving, and turn button cupboard doors this shows Heal at his most confident and most successful.

HEALS: A LIGHT OAK WASHSTAND, with a fabric rail above a bow fronted top and two open shelves, 36" wide. See illustration THE DUNSHAY MANOR. FURNITURE BY HEALS OF TOTTENHAM COURT ROAD. Dunshay Manor is often described as the quintessential Purbeck Manor House. Of late Medieval origin, and located amongst the beautiful rolling hills, it is without doubt one of the regions finest properties. The successful artist George Spencer Watson and his wife Hilda who was involved in the avant-garde world of Mime and dance purchased the property in 1923. It was here that their daughter Mary, born in 1913, developed her love of direct carving and developed a career as a highly successful sculptor. Lot 443 in this sale is as fine an example of Maryís sculpture in wood as has come to the market, and it is appropriate that this was exhibited at Heals highly influential Mansard Gallery in 1937. The furnishings at Dunshay reflect the coupleís position in the leading artistic circles of the time, and the group of furniture included here, which was removed from the property following the death of Mary Spencer Watson, reflects this. It is unclear when this furniture was purchased from Heals of Tottenham Court Road, however it is understood that Ambrose Heal and Hilda were close friends and therefore his furniture will have been an obvious choice for the new home. Ambrose Heal, born into the successful family firm at the heart of furniture retailing in Tottenham Court Road, began designing furniture at the end of the nineteenth century. It was in the late Edwardian period that his designs began to find a character of their own, building on the influences from the Cotswold group of designers and other members of the Arts and Crafts movement. The furniture in this collection represents a number of key aspects of Healís production. The two simple bow-fronted washstands and the dressing table are similar to the earliest work, being very similar to a bow fronted dressing table that was exhibited at the Arts and Crafts Exhibition Society exhibition of 1910. The smaller dresser, the four chairs and the set of hanging wall shelves are from the ëLetchworthí range developed to provide good quality furniture in a fashionable style at a realistic price. The bureau with the compressed heart handles and the dining table with the slightly bulbous turned legs, show Ambrose Healís own personal adaptation of the Arts and Crafts as applied to furniture design. The magnificent Chestnut dresser is the finest piece in the collection, and represents the type of fine and elaborate furniture of which Ambrose Heal would have been most proud. This appears to be one of only two examples of this design known, and possibly one of only two ever manufactured. With the compressed heart handles, chip carving, and turn button cupboard doors this shows Heal at his most confident and most successful.

HEALS: A LIGHT OAK HANGING PLATE RACK with arched top above two open shelves with cup hooks, 42?" wide. See illustration.This plate rack appears in a Heal`s catalogue from 1906 as model no. 50 THE DUNSHAY MANOR. FURNITURE BY HEALS OF TOTTENHAM COURT ROAD. Dunshay Manor is often described as the quintessential Purbeck Manor House. Of late Medieval origin, and located amongst the beautiful rolling hills, it is without doubt one of the regions finest properties. The successful artist George Spencer Watson and his wife Hilda who was involved in the avant-garde world of Mime and dance purchased the property in 1923. It was here that their daughter Mary, born in 1913, developed her love of direct carving and developed a career as a highly successful sculptor. Lot 443 in this sale is as fine an example of Maryís sculpture in wood as has come to the market, and it is appropriate that this was exhibited at Heals highly influential Mansard Gallery in 1937. The furnishings at Dunshay reflect the coupleís position in the leading artistic circles of the time, and the group of furniture included here, which was removed from the property following the death of Mary Spencer Watson, reflects this. It is unclear when this furniture was purchased from Heals of Tottenham Court Road, however it is understood that Ambrose Heal and Hilda were close friends and therefore his furniture will have been an obvious choice for the new home. Ambrose Heal, born into the successful family firm at the heart of furniture retailing in Tottenham Court Road, began designing furniture at the end of the nineteenth century. It was in the late Edwardian period that his designs began to find a character of their own, building on the influences from the Cotswold group of designers and other members of the Arts and Crafts movement. The furniture in this collection represents a number of key aspects of Healís production. The two simple bow-fronted washstands and the dressing table are similar to the earliest work, being very similar to a bow fronted dressing table that was exhibited at the Arts and Crafts Exhibition Society exhibition of 1910. The smaller dresser, the four chairs and the set of hanging wall shelves are from the ëLetchworthí range developed to provide good quality furniture in a fashionable style at a realistic price. The bureau with the compressed heart handles and the dining table with the slightly bulbous turned legs, show Ambrose Healís own personal adaptation of the Arts and Crafts as applied to furniture design. The magnificent Chestnut dresser is the finest piece in the collection, and represents the type of fine and elaborate furniture of which Ambrose Heal would have been most proud. This appears to be one of only two examples of this design known, and possibly one of only two ever manufactured. With the compressed heart handles, chip carving, and turn button cupboard doors this shows Heal at his most confident and most successful.

HEALS: A PAIR OF LIGHT OAK WALL MIRRORS, with circular mirror plates within flat fronted surrounds, 24" wide (2) THE DUNSHAY MANOR. FURNITURE BY HEALS OF TOTTENHAM COURT ROAD. Dunshay Manor is often described as the quintessential Purbeck Manor House. Of late Medieval origin, and located amongst the beautiful rolling hills, it is without doubt one of the regions finest properties. The successful artist George Spencer Watson and his wife Hilda who was involved in the avant-garde world of Mime and dance purchased the property in 1923. It was here that their daughter Mary, born in 1913, developed her love of direct carving and developed a career as a highly successful sculptor. Lot 443 in this sale is as fine an example of Maryís sculpture in wood as has come to the market, and it is appropriate that this was exhibited at Heals highly influential Mansard Gallery in 1937. The furnishings at Dunshay reflect the coupleís position in the leading artistic circles of the time, and the group of furniture included here, which was removed from the property following the death of Mary Spencer Watson, reflects this. It is unclear when this furniture was purchased from Heals of Tottenham Court Road, however it is understood that Ambrose Heal and Hilda were close friends and therefore his furniture will have been an obvious choice for the new home. Ambrose Heal, born into the successful family firm at the heart of furniture retailing in Tottenham Court Road, began designing furniture at the end of the nineteenth century. It was in the late Edwardian period that his designs began to find a character of their own, building on the influences from the Cotswold group of designers and other members of the Arts and Crafts movement. The furniture in this collection represents a number of key aspects of Healís production. The two simple bow-fronted washstands and the dressing table are similar to the earliest work, being very similar to a bow fronted dressing table that was exhibited at the Arts and Crafts Exhibition Society exhibition of 1910. The smaller dresser, the four chairs and the set of hanging wall shelves are from the ëLetchworthí range developed to provide good quality furniture in a fashionable style at a realistic price. The bureau with the compressed heart handles and the dining table with the slightly bulbous turned legs, show Ambrose Healís own personal adaptation of the Arts and Crafts as applied to furniture design. The magnificent Chestnut dresser is the finest piece in the collection, and represents the type of fine and elaborate furniture of which Ambrose Heal would have been most proud. This appears to be one of only two examples of this design known, and possibly one of only two ever manufactured. With the compressed heart handles, chip carving, and turn button cupboard doors this shows Heal at his most confident and most successful.

HEALS: A PAIR OF OAK FRAMED WALL MIRRORS, the circular plates within flat fronted circular surrounds, 24" wide (2) THE DUNSHAY MANOR. FURNITURE BY HEALS OF TOTTENHAM COURT ROAD. Dunshay Manor is often described as the quintessential Purbeck Manor House. Of late Medieval origin, and located amongst the beautiful rolling hills, it is without doubt one of the regions finest properties. The successful artist George Spencer Watson and his wife Hilda who was involved in the avant-garde world of Mime and dance purchased the property in 1923. It was here that their daughter Mary, born in 1913, developed her love of direct carving and developed a career as a highly successful sculptor. Lot 443 in this sale is as fine an example of Maryís sculpture in wood as has come to the market, and it is appropriate that this was exhibited at Heals highly influential Mansard Gallery in 1937. The furnishings at Dunshay reflect the coupleís position in the leading artistic circles of the time, and the group of furniture included here, which was removed from the property following the death of Mary Spencer Watson, reflects this. It is unclear when this furniture was purchased from Heals of Tottenham Court Road, however it is understood that Ambrose Heal and Hilda were close friends and therefore his furniture will have been an obvious choice for the new home. Ambrose Heal, born into the successful family firm at the heart of furniture retailing in Tottenham Court Road, began designing furniture at the end of the nineteenth century. It was in the late Edwardian period that his designs began to find a character of their own, building on the influences from the Cotswold group of designers and other members of the Arts and Crafts movement. The furniture in this collection represents a number of key aspects of Healís production. The two simple bow-fronted washstands and the dressing table are similar to the earliest work, being very similar to a bow fronted dressing table that was exhibited at the Arts and Crafts Exhibition Society exhibition of 1910. The smaller dresser, the four chairs and the set of hanging wall shelves are from the ëLetchworthí range developed to provide good quality furniture in a fashionable style at a realistic price. The bureau with the compressed heart handles and the dining table with the slightly bulbous turned legs, show Ambrose Healís own personal adaptation of the Arts and Crafts as applied to furniture design. The magnificent Chestnut dresser is the finest piece in the collection, and represents the type of fine and elaborate furniture of which Ambrose Heal would have been most proud. This appears to be one of only two examples of this design known, and possibly one of only two ever manufactured. With the compressed heart handles, chip carving, and turn button cupboard doors this shows Heal at his most confident and most successful.

HEALS: A LETCHWORTH DRESSER with single shelf and raised back above a rectangular top with twin cupboard doors with central turn button fastening, 54" wide. See illustration.This dresser which may well have had the top rail replaced is very similar to the dresser shown at the Cottage Furniture Exhibition at Letchworth Garden City in 1905 and remained part of their Simple Cottage range for many years. THE DUNSHAY MANOR. FURNITURE BY HEALS OF TOTTENHAM COURT ROAD. Dunshay Manor is often described as the quintessential Purbeck Manor House. Of late Medieval origin, and located amongst the beautiful rolling hills, it is without doubt one of the regions finest properties. The successful artist George Spencer Watson and his wife Hilda who was involved in the avant-garde world of Mime and dance purchased the property in 1923. It was here that their daughter Mary, born in 1913, developed her love of direct carving and developed a career as a highly successful sculptor. Lot 443 in this sale is as fine an example of Maryís sculpture in wood as has come to the market, and it is appropriate that this was exhibited at Heals highly influential Mansard Gallery in 1937. The furnishings at Dunshay reflect the coupleís position in the leading artistic circles of the time, and the group of furniture included here, which was removed from the property following the death of Mary Spencer Watson, reflects this. It is unclear when this furniture was purchased from Heals of Tottenham Court Road, however it is understood that Ambrose Heal and Hilda were close friends and therefore his furniture will have been an obvious choice for the new home. Ambrose Heal, born into the successful family firm at the heart of furniture retailing in Tottenham Court Road, began designing furniture at the end of the nineteenth century. It was in the late Edwardian period that his designs began to find a character of their own, building on the influences from the Cotswold group of designers and other members of the Arts and Crafts movement. The furniture in this collection represents a number of key aspects of Healís production. The two simple bow-fronted washstands and the dressing table are similar to the earliest work, being very similar to a bow fronted dressing table that was exhibited at the Arts and Crafts Exhibition Society exhibition of 1910. The smaller dresser, the four chairs and the set of hanging wall shelves are from the ëLetchworthí range developed to provide good quality furniture in a fashionable style at a realistic price. The bureau with the compressed heart handles and the dining table with the slightly bulbous turned legs, show Ambrose Healís own personal adaptation of the Arts and Crafts as applied to furniture design. The magnificent Chestnut dresser is the finest piece in the collection, and represents the type of fine and elaborate furniture of which Ambrose Heal would have been most proud. This appears to be one of only two examples of this design known, and possibly one of only two ever manufactured. With the compressed heart handles, chip carving, and turn button cupboard doors this shows Heal at his most confident and most successful.