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Lot 2148
A 19th century mahogany chest of two short and three long drawers, with brass pulls and bracket feet. 104x97x53cm.This appears to have been stripped of it's original finish and then treated with oil and woodstain. Pulls not original. Some small repairs visible, including to tops of drawers.
Lot 2162
An antique oak and mahogany kneehole writing desk, with five drawers, cupboard under and raised on bracket feet. Overall 81x73x42cm, kneehole 28x50cm.Good condition. Whilst in the Georgian style, in our opinion this is probably an early 20th century piece. Top is possibly not original. No key.
Lot 310
Signed, plated bronze in exquisite detail measuring 14cm tall complete with original car mounting bracket and positioning screw. This is the same style of mascot gifted to the, then, Lady Diana Spencer by her sister, Lady Sarah Spencer and was mounted on the bonnet of the 1981 Ford Escort Ghia driven by her; a cheeky nod to the fairy tale about the beautiful girl who kisses a frog which turns into a handsome prince. Footnote:The right to produce this mascot was later purchased by A E Lejune in the 1930s, where a chrome plated mascot was produced without the artist's signature and stamped AEL. In the post-war years, the popularity of this mascot was revived when its manufacturer, Louis Lejune provided a chrome-plated example to be fitted onto the car owned by Lady Diana Spencer, and later on the car owned by her as HRH Princess of Wales.Click here for more details and images
Lot 400
AN ANGLO-BURMESE CARVED WOOD WALL BRACKET, CIRCA 1900 the lobed shelf supported by a crouching figure flanked by a pair of mythical nats, the openwork back panel carved with a pair of mythical lions amidst leafy foliage, fragment of old label on the reverse, 55 x 36 x 17.5cmProvenance: Private collection, England. Acquired by the vendor as a gift in 1995.
Lot 59
A LARGE SAFAVID BLUE AND WHITE CHARGER, PERSIA, LATE 17TH CENTURY underglaze painted fritware, the well with star medallion containing a mythical wild animal amidst densely arranged flowers, bordered with a black sgraffito band, the cavetto with chinoiserie flower and leaf forms, the lip with painted bracket band, the underside of the cavetto with scrolling leafy tendrils, faux Chinese marks inside the foot, 9cm high; 46.5cm diam.Sgraffito bands which are seen in earlier pottery from Kashan are also seen in later Safavid blue and white. For related large-scale dishes in the Victoria and Albert Museum, see Crowe 2002, nos.281-284.
Lot 27
A large 20th century mahogany veneered linen press/wardrobe with dentil cornice over two pairs of panel doors right concealing shelves and left hanging rail over two faux drawers to left and two long drawers to right on bracket base, 183cm high x 242cm wide x 58cm deep Condition Report:Available upon request
Lot 1065
Three gold brooches comprising a small Victorian mourning brooch of curved oval shape, length 1.8cm, a gold-coloured metal brooch of oval form with floral panel, unmarked, length 4.1cm, a 14ct gold mounted carved cameo brooch with pendant hoop, length 3cm, and a 9ct gold mounted oval locket with portrait of a gentleman to the front within a seed pearl border, woven hair to the back, with pendant mount and seed pearl clad bracket, length 5.1cm, combined approx. 12.3g (4).
Lot 764
John Lee of Loughborough. An 18thC mahogany cased longcase clock, the brass dial bearing Roman numerals, eight day movement, with central moon decoration and raised spandrels depicting the four seasons, the hood with a moulded cornice above Corinthian column brass capped pilasters, the trunk with a panelled door flanked by further pilasters, on bracket feet, with pendulum and weights, 200cm high.
Lot 762
A 19thC oak cased longcase clock, the white enamel dial bearing Roman numerals and Arabic numerals and quarters, subsidiary seconds and date aperture, eight day, bell strike, with hand painted decoration to top depicting a thatched cottage, lake and figure with painted floral spandrels, the hood with inlaid swan neck pediment and finial, on cylindrical columns, on bracket feet, pendulums and weights, 212cm high.
Lot 287
A GEORGE II MAHOGANY KNEEHOLE DESK OR DRESSING-TABLE CIRCA 1750 The rectangular top and re-entrant corners above a long frieze drawer and six short drawers around a kneehole with shallow drawer and recessed cupboard on bracket feet 78cm high, 73cm wide, 47cm deep Provenance: Possibly acquired from Ye Olde Mint House, Pevensey, May 1953, 'Chippendale mahogany kneehole desk'
Lot 10
A WILLIAM III/QUEEN-ANNE WALNUT AND FLORAL MARQUETRY EIGHT-DAY LONGCASE CLOCK JOSEPH WINDMILLS LONDON, CIRCA 1700-05 The six finned and latched inside countwheel bell striking movement with anchor escapement regulated by seconds pendulum, the 11 inch square gilt brass dial with subsidiary seconds, ringed winding holes and conforming calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with stylised sword-hilt half hour markers and signed J. Windmills, London to lower margin, the angles applied with twin cherub and crown spandrels with foliate scroll engraved infill to the plate between, the case decorated with floral and foliate marquetry and with caddy top over glazed hood door with turned columns flanking the aperture, with concave throat moulding and trunk door centred with a lenticle and decorated with three-shaped panels incorporating central bird amid flowers, on conforming plinth base with decorated shallow skirt. 232cm high excluding later finials, 49cm wide, 26.5cm deep Provenance: Acquired August 1919, 'A fine Wm & Mary long case clock with bird & flower marquetry panels'The life and work of Joseph Windmills and his successors is comprehensively documented in Neale, J.A. Joseph and Thomas Windmills Clock and Watch Makers 1671-1737. Joseph joined the Clockmakers' Company as a free Brother on 29th September 1671 - the same year that Joseph Knibb, Daniel Quare and Thomas Tompion also gained their freedom of the Company. He initially worked from Blow Bladder Street in St. Martins le Grand, London before moving to premises at 'Swan Court, Mark Lane End, next Tower Street' by April 1674 where the business remained. Joseph took his son, Thomas, as an apprentice who, after gaining his freedom in 1696, is thought to have immediately gone into business with his father; shortly after 1700 the firm became a partnership which lasted until Joseph's death in 1724. As a contemporary of Knibb, Quare and Tompion, Joseph Windmills would have had to compete with some of the finest clockmakers that have ever lived during a period of heightened scientific enlightenment. In this environment Windmills excelled, producing clocks of a quality that equalled many of his more famous peers. Condition Report: The movement is in working condition however is due for a gentle clean/service as lubrication is somewhat dry/gummy and the plates are a little tarnished with some oil staining. The escape wheel and arbor are 19th century 'service' replacements otherwise movement appears essentially all original with no visible evidence of alteration or noticeable replacements. The centre movement pillar is not fitted with a latch all other latches are present. The dial plate retains old yellow lacquer surface which has mellowed/discoloured; it is a little dirty with a few spots of oxidation, the silvering is fairly heavily oxidised; the calendar ring is operational. The hands are replacements of incorrect design and size (with respect to the hour hand). The spandrels appear original and retain good strong gilding.The movement and dial retain the original seatboard which rests at the correct level within the case with no evidence of alteration confirming that the movement and dial are original to the case. The movement backplate has spare holes from a previous securing bracket which is no longer present - there are corresponding holes to the case backboard. The case has generally survived in original 'untouched' condition, The top board to the caddy superstructure, finials and blocks are 19th century replacements; and the 'box' beneath the caddy would have been faced with scroll-pierced fretwork which has bee substituted for a piece of dark veneer. The cornice frieze would have originally also been faced with fretwork - this has been replaced by a section of marquetry veneer which appears Dutch and most likely 'salvaged' from a piece of furniture. The hood door is in good condition; the hinges are unusual being externally mounted (to the right-hand side) however they appear original. The wooden column caps and bases conform with other known examples by Windmills; the lower right front is loose and also appears to be a later turning that the others. The crossgrain chin moulding to the left-hand side is missing a section around 6 ins in length. The rear of the caddy is open and was most likely originally closed with thick paper pasted over the aperture. The throat moulding has a small veneer chip to the rear left-hand edge and a small loss to the leading upper edge of the marquetry at the front otherwise are in good condition. The trunk door is straight with some slight springing to the edge moulding to top left-hand corner and some small localised losses to the marquetry (corresponding to slight movement in the carcass board clamp) towards the lower edge. The lock and hinges appear original and undisturbed. The sides of the trunk are in good condition - the left-hand side has a small veneer chip to the rear edge and evidence of some light historic worm infestation (long gone!). The right-hand side has some 'rubbing through' of the crossbanded veneer towards the front leading edge at the level of the lower door hinge. The plinth base is original and undisturbed retaining marquetry veneers in good original condition having only slight losses to the upper left-hand edge and towards the centre. The side veneers have horizontal shrinkage cracking (but are stable) and some historic worm damage. Unusually the clock retains its original skirting faced in marquetry. The design of the marquetry suggests that the skirt may have originally been taller, there are also veneer losses to the sides and some historic worm damage. Faults to the case are otherwise limited to minor bumps, scuffs, bruises and wear commensurate with age and use. The surface/colour is particularly good and untouched with the marquetry having raised 'glue' texture around the various elements indicating that the finish is old. The backboard retains all of its origiginal height continuing all the way to the lower edge of the base.Clock is complete with pendulum, original brass-cased weights, door key and a winder. Condition Report Disclaimer
Lot 30
A GEORGE II WALNUT CHEST SECOND QUARTER 18TH CENTURY AND LATER With a crossbanded and quarter-veneered rectangular top above two short and three graduated long drawers on bracket feet 93cm high, 95cm wide, 53cm deep Condition Report: Overall in good condition, strurcturally secure and fit for use. There are the inevitable minor dents marks and scratches abnd shrinkage cracks due to age and use. The top and sides re-veneered, with shrinkage splits to both sides, and feet replaced. Handles probably replaced. The drawer fronts of good colour and figure. Some splits to drawer pine linings. Condition Report Disclaimer
Lot 89
A GEORGE III MAHOGANY BUREAU-CABINET ATTRIBUTED TO WRIGHT AND ELWICK, CIRCA 1770 The elaborate scrolled, beaded and foliate-carved pediment centred by a plinth and with foliate and pierced strapwork brackets above a concave cornice with foliage and pendant husks, the doors with reeded gothic arched and foliate astragal glazing and enclosing two shelves and three short drawers, above a stiff-leaf waist moulding, the cleated fall front with engraved brass shield-shaped escutcheon revealing a fitted interior with pigeon holes, drawers and concealed document drawers around a central sliding compartment with mirrored architectural interior, ebony and ivory parquetry floor with central boxwood stepped plinth and with further secret drawers behind, above two short and three long drawers with rope-twist cockbeading, on an associated foliate-carved plinth with ogee bracket feet, with a concealed, spring-loaded drawer to the right side waist moulding, restorations, perhaps with later embellishments 240cm high, 117cm wide, 64cm deep Provenance: H. Percy Dean, Esq. Acquired in 1909, 'A very fine Chippendale bureau bookcase with finely carved mouldings & pediment...,' Literature: P. MacQuoid, The Age of Mahogany, London, 1906, fig. 146The cabinet corresponds to designs published by Thomas Chippendale in the various editions of The Gentleman and Cabinet-Maker's Director. In particular the glazing pattern of gothic arches featured in a bookcase design of 1762, pl. CXVII, and was employed in the bookcase (probably one of four) supplied by around 1766 by Chippendale for Sir Rowland Winn's London house in St. James's Square (C. Gilbert, The Life and Work of Thomas Chippendale, London, 1978, vol. II, p.41, figs. 64 and 65), while the distinctive foot pattern corresponds closely to the design for a Desk & Bookcase (bureau-cabinet) that was first issued in the first edition of the Director, 1753, and again in the third edition, 1762, pl. CIX. The latter also featured a fret-carved panel between the upper doors and the flap which Chippendale noted `may be two drawers'; in the lot offered here a bank of conventional drawers are located behind the glazed doors, while a further shallow drawer is concealed behind the leaf mouldings on the right side. The swan-neck pediment with a central vase stand bears comparison with Chippendale's bookcase design also issued in the third edition of the Director as plate XCII. Chippendale's designs were celebrated and widely adopted by contemporaries and competitors. Among them were the Wakefield, Yorkshire, cabinet-makers and upholsterers Messrs Wright and Elwick, whose business was established in the 1750s and who became the pre-eminent furniture-makers in Yorkshire in the second half of the 18th century. Richard Wright was probably employed at, and may have directed the Soho tapestry manufactory in London before forming a partnership with Edward Elwick, furniture maker and designer, in Wakefield. Both were subscribers to the first edition of Thomas Chippendale's The Gentleman and Cabinet-Maker's Director, 1753, and they went on to supply an enormous number of houses in Yorkshire including Wentworth Woodhouse, Wentworth Castle, Temple Newsam House, Cusworth Hall, Cannons Hall and Burton Constable; they likely also worked at Nostell Priory since Chippendale referred in correspondence (in disparaging fashion) to `the Ingenious Mr. Elwick'. Their furniture often aligns closely with Chippendale's designs but with additional or more elaborate and idiosyncratic carving, as noted in Christie's catalogue for the sale of furniture from Wentworth Woodhouse, London, 8 July 1998, and elsewherePlease note, Dreweatts have applied for a de minimis exemption licence for the ivory in this lot (X4CGM12C) Condition Report: Overall in good condition, clean and structurally secure with dents marks and scratches and shrinkage cracks due to age and use. There are some minor old losses and repairs to the carving, for example to the carving of the door astragals. To the upper section there are minor marks to the right (as you view the cabinet) upright where door hinge screws were too long and disturbed the front surface. There are also minor blemishes around the escutcheon and an old door knob has been removed below the escutcheon. Patched repair to veneers to the lower member of the right door and the central division- well executed and well blended. The concealed side drawer released by a button on the right internal drawer. To the lower section, the fall front has a horizontal shrinkage split, the engraved escutcheon probably added. The fretted spandrels to the pigeon holes probably added. The central cabinet with mirrored interior released by a catch in its 'ceiling'. The interior of the pull-out section and the parquetry panel in front of it apparently original. Many of the small internal drawers with loose bottom boards. To the reverse are eight drawers concealed behind a sliding panel. There are patched repairs/replacement to veneers on the drawer divisions and the uprights. Drawer locks apparently replaced. The plinth a feet are a slightly lighter colour but the extravagant and idiosyncratic carving seems consistent with the remainder of the cabinet. Feet secure and with sturdy (apparently original) blocks behind). Minor old repairs to swan neck pediment. Overall a handsome and imposing cabinet, the quality of carving throughout is excellent.Condition Report Disclaimer
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177908 item(s)/page