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Lot 163
A crate of assorted wines, to include Sunnycliff Shiraz 1999, Thornecroft Elderflower Champagne, Napoleon Brandy, Calem Port Reserve 1984, German dessert wine, Priory Hill 2001, Dona Paulina Merlot 2003, Garnet Point Australian Shiraz, Earnest and Julio Gallo Cabinet Sauvignon 2000 two bottles, Arnhston Bay Shiraz 2003, Corbett Canyon Ruby Cabinet 2002. (12)
Lot 347
A late 19thC/early 20thC mahogany mirrored back display cabinet, with graduated triple mirror top section and scroll carving with single shelf, with shelf corner unit base with single double astragal glazed display cabinet drawer centre and single drawer, on a shaped support with single shelf on shaped legs, 195cm high, 121cm wide, 36cm deep.
Lot 232
A good mid Victorian satinwood and mahogany crossbanded Carlton House desk attributed to GillowsInlaid with ebonised lines, the curved superstructure with pierced gilt brass gallery, with two letter slots above two end drawers, two curved doors and six short drawers; above a tooled leather writing surface with ratchet, above three frieze drawers, on square tapering legs with brass cappings and castors, 140cm wide, 84cm deep, 103cm high.The first published design of a desk of this type was one illustrated in Hepplewhite & Co., The Cabinet Maker's London Book of Prices, 2nd ed., 1793, pl. 21. The pattern became associated with Carlton House, the residence of the Prince Regent, later King George IV, after Rudolph Ackermann illustrated a writing-table of this design in 1814, claiming that it was called a Carlton House desk 'from having been first made for the august personage whose correct taste has so classically embellished that beautiful palace' (see H. Roberts, 'The First Carlton House Table?', Furniture History, XXXI, 1995, pp. 124-128).Gillow produced a design for a 'Writing-table' of similar form from 1798 (see L. Boynton, Gillows Furniture Designs 1760-1800, Royston, 1995, fig. 50).
Lot 238
A late Victorian walnut and sycamore marquetry music cabinet The rectangular top with corners above a glazed door with shelves edged and labelled in leather, 'GENL MUSIC', 'SONGS' and 'SACRED', on a plinth base, 53cm wide, 32cm deep, 86cm high. Provenance: Property from a Berkshire Residence. N.B: This lot is subject to CITES regulations
Lot 46
A 17th century Dutch oak and purpleheart cabinet on stand Enclosed by a pair of doors with raised moulded panels and projecting corners with bosses, the interior fitted with an arrangement of eighteen drawers around a large arched cupboard with small drawers within, all applied with purpleheart mouldings, iron carrying handles, 105cm wide, 53cm deep, 158cm high.
Lot 61
A George I burr walnut, featherbanded and crossbanded cabinet on chestThe brass bound upper part with rectangular top and quarter-veneered doors with gilt brass strap-work hinges, enclosing twelve short and one long drawer, the lower part with two short and three long graduated drawers on replaced bracket feet, 103cm wide, 55cm deep, 189cm high.
Lot 103
A George III Channel Islands mahogany wardrobe by Thomas Bishop Inlaid with boxwood lines, the rectangular cavetto moulded cornice above triple panelled doors and sides, enclosing a hanging rail and three shelves, above a shaped apron on outswept bracket feet, signed under the base 'Thomas Bishop, Maker', 127cm wide, 56cm deep, 219cm high. Provenance: Property from a Berkshire Residence Purchased: Sotheby's, London, Fine Furniture and Clocks, including Property from Two English Collections, 10 September 2007, lot 196. Whilst no record has been found of this cabinet-maker, a William Henry Bishop is listed as a Cabinet Maker in Church Street, St Helier, in 1841.
Lot 152
A mahogany two-tier square centre what-not labelled J.Taylor of ColchesterThe square top with turned finials above a frieze drawer, the lower tier with an apron drawer, with simulated drawers to the sides and rear, on ring turned legs with brass cappings and castors, reduced, 51cm square, 79cm high.Provenance:Property from a Berkshire ResidenceJohn Taylor is listed as a carpenter, cabinet-maker and upholder (1775-1845), see G.Beard & C. Gilbert, Dictionary of English Furniture Makers 1660-1840, p.877.
Lot 205
A modern custom made mahogany and mahogany veneer gun cabinet, size 38cm deep x 86cm wide x 24cm high; set with two upper drawers, each of 38cm x 30cm and partitioned into 4 compartments to take accoutrements; the lower single drawer 80cm x 30cm with angled partitions to take stocks and barrels. Brass handles to sides, brass corner protectors and brass drawer handles with hinged pulls. Generally GC, few knocks and wear to outer shell. £50-60
Lot 199
TOPOGRAPHY: 'The Antiquarian and Topographical Cabinet; containing a series of elegant views of the most interesting objects of curiosity in Great Britain...', London, published for the proprietors, 1817: 6 vols in 3, steel engraved vignette views throughout, contemp calf gilt, rubbed and scuffed with some damage to spines, contents generally sound. (3)
Lot 227
A Collection of Various Ceramics to Include Coalport Blue and White Cabinet Cup, Trinket China to Comprise Wedgwood Kutani Crane Vases, Worcester Ardin Pattern Hexagonal Vases, Royal Crown Derby Miniature Vase, Wedgwood Hathaway Rose Dish, Wedgwood Kutani Crane Oval Tray, Various Pin Dishes etc, Susi Copper Design Green Keystone Saucer and Side Plates, Royal Albert Cottage Garden Year Series Plates etc
Lot 53
Edwardian walnut dwarf cabinet, enclosed by panelled door with vase inlay, together with a pair of mahogany hanging shelves, the cabinet 56cm wide x 32cm deep x 85cm high, the shelves 64cm wide x 66cm highCondition report: Cabinet description- should read Rosewood rather than walnut, cabinet is quite faded but otherwise ok, just general wear, one of the pair of hanging shelves has splits or scratches to top shelf but otherwise these are in good condition
Lot 78
18th century French chestnut cabinet, arched form, e closed by pair of panelled doors, 81cm wide x 24cm deep x 106cm highCondition report: Back boards are detached and have some old worm damage, some mouldings missing, wear throughout and general deterioration, front doors good. No worm holes apparent elsewhere
Lot 330
Philip Nelson decoy duck, carved in the form of female mallard, initials to base 16 cms h x 39 cms length approxPhilip NelsonBorn in 1966 in north Wales where he still lives, Philip Nelson showed an interest and aptitude for carving at an early age. When he was seven years old he presented an appreciative headteacher with an owl he had carved from a piece of wood. He trained as a cabinet maker but after being introduced to the art of the decoy by the late Bob Ridges he decided to concentrate on bird carving. In 1987, some of his early work won the admiration of H.R.H. The Prince of Wales.His work is on display in the Nature in Art Museum at Twigworth, Gloucester where his work is the only example of decorative decoy carving accepted for exhibition. This, together with an exhibition of his work at the Ward Museum of Wildfowl Art in Maryland, U.S.A., led to an invitation to exhibit at the prestigious Easton Waterfowl Festival in the same state.He has shown his work at the National Exhibition of Wildlife Sculpture in Norfolk where he won two best in show awards. He has been awarded four best in show awards at the National Exhibition of Wildlife Art, held annually in the north-west of England. His work has been part of The Best of The Best exhibition at the Art in Action event in Oxford. In 2012, Nature in Art showed a 25 year retrospective of his work entitled 'I carved until I set it free'Recently, Philip has concentrated more on the art of the miniature bird and in 2013 was awarded The Gold Memorial Bowl for the best exhibit, a Mallard drake, at The Royal Miniature Society show. In 2015, his miniature Shoveler pair was awarded a commendation at the David Shepherd Wildlife Artist of the Year competition and a miniature Shoveler drake won the award The Best 3D exhibit at The National Exhibition of Wildlife Art.Part of the Wildfowl and Wetlands Trust Collection Born in 1966 in north Wales where he still lives, Philip Nelson showed an interest and aptitude for carving at an early age. When he was seven years old he presented an appreciative headteacher with an owl he had carved from a piece of wood. He trained as a cabinet maker but after being introduced to the art of the decoy by the late Bob Ridges he decided to concentrate on bird carving. In 1987, some of his early work won the admiration of H.R.H. The Prince of Wales.His work is on display in the Nature in Art Museum at Twigworth, Gloucester where his work is the only example of decorative decoy carving accepted for exhibition. This, together with an exhibition of his work at the Ward Museum of Wildfowl Art in Maryland, U.S.A., led to an invitation to exhibit at the prestigious Easton Waterfowl Festival in the same state.He has shown his work at the National Exhibition of Wildlife Sculpture in Norfolk where he won two best in show awards. He has been awarded four best in show awards at the National Exhibition of Wildlife Art, held annually in the north-west of England. His work has been part of The Best of The Best exhibition at the Art in Action event in Oxford. In 2012, Nature in Art showed a 25 year retrospective of his work entitled 'I carved until I set it free'Recently, Philip has concentrated more on the art of the miniature bird and in 2013 was awarded The Gold Memorial Bowl for the best exhibit, a Mallard drake, at The Royal Miniature Society show. In 2015, his miniature Shoveler pair was awarded a commendation at the David Shepherd Wildlife Artist of the Year competition and a miniature Shoveler drake won the award The Best 3D exhibit at The National Exhibition of Wildlife Art.Condition ReportGood overall condition, no visible damage, paint loss or signs of restorationApprox 36cm long x 15cm wide x 15cm high
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306845 item(s)/page