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HOUSEMAN, Lawrence, Green Arras, John Lane Bodley Head 1896, 1st Ed. gold tooled green cloth binding, 8vo. Selected Poems of Thomas Hardy, Riccardi Press, paper copy number 303, engravings by William Nicholson, Warner for Medici Society 1921, vellum, splits and stains, T.S. Eliot, Ash Wednesday, 2nd imp. Faber 1930 (3)
SOWERBY, James and Smith, Sir James Edward, English Botany or Coloured Figures of British Plants, 7 Vols. Vol 1, 2nd Ed - Vol II-VII 3rd Ed. 1832-1854 1407 plates with index, gold tooled leather boards with marbled edges and end papers, 22 x 14cm, bumped, Vol V. loose, foxing
Fylde Falstaff Acoustic Guitar, no.6519 Indian Rosewood sides and 3 piece back, master grade Englemann Spruce top, one piece Honduras Mahogany neck, Ebony fingerboard and bridge, pearl position markers, gold plated Gotoh tuners, with Hiscox Liteflite caseMinimal wear to frets and some marks to front all very minor
A Pilkington's Lancastrian vase by Richard Joyce, dated 1912, shouldered cylindrical form, painted with a frieze of rearing antelopes and tall pencil cypress trees on a ground of flowers in gold and ruby lustre on a yellow-orange lustre ground, impressed factory marks, painted artist cipher and date mark, 20cm. high
A pair of H.G. Murphy Falcon Studio silver tablespoons, London 1934, plain form, stamped marks, length 22.5cm, approx. weight 4.9oz. (2) Provenance H.G. Murphy (1884-1939), and thence by descent to the present owner. H.G. Murphy was born in Birchington-on-Sea in Kent on 27th October, 1884. His father, a groom, died when Harry was only six and the family was obliged to seek lodgings in London, where they settled in premises located just off Kensington Church Street. A shy and introspective boy, Harry was largely self-taught and spent much of his spare time in the local library where, according to family tradition, he devoured Encyclopaedia Britannica from cover to cover firing a lifelong passion for many of the subjects which were to influence his designs including botany, astronomy, astrology and zoology. At the age of 14, a chance meeting at a local Arts and Crafts exhibition was to have a radical bearing on Harry's life and career. While admiring the silverware on display he fell into conversation with Henry Wilson, the celebrated designer and craftsman who, clearly impressed by the boy's enthusiasm, offered Harry a six-year apprenticeship at his studio in Kensington. Wilson was probably England's greatest teacher and mentor of young talent in the Arts and Crafts tradition and by the end of his apprenticeship Harry had mastered many of the skills necessary to be a highly competent goldsmith and silversmith, such as hammering, engraving, gem polishing, gem setting, niello work and enamelling. Unsurprisingly, much of his output before and after the First World War was strongly influenced by nature and naturalism and it was not until the 1920s that he started to experiment with a range of different ideas and concepts. In 1928, Harry Murphy established retail premises in Marylebone called the Falcon Studio. By the early 1930s, his output was prodigious encompassing silver commissions from City institutions, churches, schools and sporting associations as well as small-scale jewellery in silver and gold, such as a splendid topaz, sapphire, diamond and polychrome enamel tiara designed and made for the Princess Royal. The Falcon Studio prospered through the late 1930s but Murphy's health had begun to deteriorate. In 1938 he received the award of Royal Designer for Industry (RDI) from The Duke of Gloucester and Harry was appointed the Faculty's First Master. He died on 10th July, 1939, at the tragically young age of 54.
A Liberty & Co gold turquoise and mother of pearl necklace, the link chain set with alternate turquoise stones and carved mother of pearl bell flowers, and another smaller chain, unmarked, 36cm. long (longest chain), (2) Provenance Private collection of Arts and Crafts jewellery. Literature Victor Arwas Liberty Style Parcos, page 64-65 catalogue number J.5 for a comparable necklace illustrated. Exhibited Art & Fashion, Cheltenham Art Gallery & Museum.
A Liberty & Co gold, sapphire and moonstone pendant necklace, the square section pierced wirework frame with panels of scroll set with four sapphires, and central clear moonstone cabochon, on link chain, unsigned, 4.5cm. long Provenance Private collection of Arts and Crafts jewellery. Exhibited Art & Fashion, Cheltenham Art Gallery & Museum.
A silver ring the design attributed to Kate Eadie, with cast gold flowers to the shoulder and set with a citrine, and another ring pierced and cast foliate design set with an elliptical rutilated quartz stone, unsigned, size M½ (both) (2) Provenance Private collection of Arts and Crafts jewellery. Exhibited Art & Fashion, Cheltenham Art Gallery & Museum.
A Bernard Instone silver and enamel brooch, the circular frame cast with flowers and foliage in pink, blue and green, a Murrle Bennett gold clef brooch set with small turquoise, a silver brooch cast and enamelled with yellow flowers and foliage and set with a citrine, smaller circular brooch, a pair of earrings, and a ring, stamped marks, to Clef, 3cm. square (main brooch), (7) Provenance Private collection of Arts and Crafts jewellery. Exhibited Art and Fashion, Cheltenham Art Gallery & Museum
A Murrle Bennett silver stick pin, with shield terminal set with an opal, a Child & Child stick pin set enamelled with a maple leaf, an Art Nouveau gold stick pin, five other stick pins and an enamelled tie stud stamped marks, 5.5cm. long (9) Provenance Private collection of Arts and Crafts jewellery. Exhibited Art and Fashion, Cheltenham Art Gallery & Museum (part).
A fine Artificers Guild silver and gold pendant necklace designed by Edward Spencer, probably made by E Minns, the elliptical wirework body modelled with a frieze of flower and foliage, with three flower-heads picked out in gilt, set with sapphire, pearl and chrysoprase stones and large central elliptical opal, with foliate drop set with moonstone, in Artificers Guild Ltd fitted presentation case, 6.5cm. long Provenance Tadema Gallery Private collection Literature Nancy Schiffer Silver Jewellery Design, page 63 this pendant illustrated.
A fine Artificers Guild gold pendant necklace by Edward Spencer, the diamond-shaped wirework body cast and chased with stems of foliage, flower buds and ropework, set with elliptical opal, with pin to reverse, in Van Den Bosch presentation case, unsigned, 3.8cm. long Provenance Private collection
A rare gold brooch by Arthur and Georgina Gaskin, the wirework frame decorated with flowers and foliage, worked band and central turquoise stone, unsigned, 3.5cm. wide Provenance Private collection Exhibited Arts and Crafts Jewellery,- Arthur & Georgie Gaskin Exhibition, Court Barn, Guild of Handicraft Trust Museum, 10th October to 24th November 2013.
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1854489 item(s)/page