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Lot 271
An early 19th Century ivory aide memoire inscribed "A present from Brighton", together with an early 19th Century Bilston type enamel snuff box, the top inscribed "A trifle from Brighton", together with a tartan ware box inscribed "Caledonia" and bearing image of a penny stamp and a tortoiseshell mounted multi-tool pocket knife
Lot 309
A cinnabar laquered Chinese bowl, Middle Eastern white metal candle holder, miniature hard stone bowl, three mother of pearl handled silver folding fruit knives etc. CONDITION REPORTS One mother of pearl handled fruit knife has a small chip to both sides of the handle. The ivory basket handles have been broken and re-glued. The Madonna and Child figure has a crack to the inscription panel and cracks to the plinth base. Jade tortoise figure is broken in several places - missing head, legs, etc. The serpentine style bowl is broken into many pieces. Coinage is in various condition. The fabric panel is torn in various places, the threads are loose, etc. The blue and white panel has been re-painted and is very dirty, has an area of gilding to the top corner (unknown why this is). Firing faults, etc. See images for more details.
Lot 264
A 19th Century Chinese carved ivory snuff bottle as a pakchoi, on a carved wooden stand CONDITION REPORTS Has worn edges and some splitting to the material. Some small losses to the top of the finial and to the neck. Generally in need of a clean. Has wear and tear conducive with age and use. See images for further details.
Lot 266
A George V ivory dressing table set of seven pieces comprising three brushes, mirror, dressing table box and two dressing table scent bottles with silver mounts (London, 1937), each piece bearing white metal initials "SIB" CONDITION REPORTS One dressing table bottle has a broken neck and the bottle lid is stuck within the ivory and silver mounted cap. both bottles are dirty and in need of a good clean, have some small chips to the cut glass. The joints on the square box are coming away although solid. One of the two unhandled brushes has an ivory "pin" missing and some splits to the top. The brush inscribed "A S B" has large splits running all the way through and one "pin" missing to the top. There are various bristles etc missing from the brushes. All items have general wear and tear, some discolouration and minor chips/wear to the edges - see images for further details.
Lot 273
A 19th Century lacquered papier-mache snuff box decorated with a dog and rabbit inscribed "To be delivered immediately", together with a Mauchlineware cased booklet inscribed to front "N E view of Brighton Pavilion" and to the reverse "Brighton Pier", the interior with various scenes of Brighton, together with a reverse painted glass panel of Brighton Pavilion with mirror verso as a pin cushion, a turned bone cylindrical and reeded trinket box, a silver bladed mother of pearl handled bookmark as a trowel, two ivory mounted pocket knives, an ivory folding ruler inscribed "Dixey Brighton" and a 19th Century nickel folding drawing compass
Lot 230
William G. Simmonds (1876-1968) Tribute to the Horse, 1956 signed and dated 30cm high, 38cm across, 22cm deep. Exhibited: Royal Academy, London, 1956, no.1366. Provenance: Arthur Mitchell; thence by descent. WILLIAM SIMMONDS (1876-1965) William Simmonds - the most British of British artists - is one of the great forgotten originals of the Arts and Crafts movement, its silent heart. Simmonds first won a reputation in the 1920s through his exquisite oak, pine, ebony and ivory carvings of wild and domestic creatures. After the First World War, he moved to the Cotswolds to work on his sculpture and to document and inhabit an 18th century world whose survival was hanging by a thread, joining his friends in the last wave of the Arts and Crafts movement. His circle was a vividly diverse community, in which the artists William Rothenstein and Charles Gere, the architects Gimson, Detmar Blow, Norman Jewson and Sidney and Ernest Barnsley, the potters and stained glass artists Alfred and Louise Powell and Edward Payne, and the textile printers Barron and Larcher all played their part - a world in which included the poets Tagore, WH Davies, John Masefield, John Drinkwater, and the writers Max Beerbohm, D H Lawrence and the Sitwells and the musicians Lionel Tertis, [Violet Gordon Woodhouse with her "four husbands" at Nether Lypiatt Manor a mile from William Simmonds house, were avid collectors of the sculpture over the years]. As Simmonds' fame as a wood carver grew, he was also becoming a cult figure through his marionette shows. The beauty of Simmonds puppets, unlike any seen before or since, caught the public imagination. Booked annually in London by the Grafton Theatre and the Art Workers' Guild and performing in private drawing rooms, he also travelled with shows into country towns and small villages in Britain and in parts of Europe. His gentle wittily scripted dialogue and brilliant manipulation was accompanied on the spinet and virginals by his wife Eve. William Rothenstein saw Simmond as "…. a little master in the old German sense" and Mary Greenstead writes that"Simmonds' work has been so treasured by its original owners, that it has rarely escaped into the glare of the commercial art world …. " . However Simmonds pieces are not only private collections but have been bought by Cheltenham Museum, Sheffield Museum, Manchester Museum, Reading Museum and the Tate Gallery. He exhibited at the Royal Academy for over 50 years and each piece was bought instantly. The Tribute to the Horse is one of Simmonds's last carving in wood and where, unusually, he uses a jigsaw-like effect in blocks to create this little masterpiece. Throughout his life, Simmonds spent weeks watching and studying carthorses near his home in the Cotswolds. This piece is a homage to these magnificent animals, their strength and their unquestioning loyalty. The biography of William Simmonds by Jessica Douglas-Home is pencilled in for publication in 2017/18 and will include this current work. Jessica Douglas-Home, May 2017 We are grateful to Jessica Douglas-Home for helping to catalogue this lot.
Lot 12
A 19th century Vizagapatam ivory sarcophagus shaped sewing box, with floral finial on gadrooned and florally engraved banded top opening to reveal a fitted sandlewood, engraved ivory and horn interior on gadrooned bun feet, h. 17 cm, w. 25 cm. d. 20 cm CONDITION REPORT: Some pieces of engraved ivory missing. One later hinge. Top prop missing. Condition commensurate with age.
Lot 138
A Superb German Carved Coqvilla Nutmeg Grater of acorn form, the screw off lid with notched edge, above a diagonal diapering surmounted by a turned knop finial opening to an ivory mounted screw out steel grater. The lower section ending in a turned finial. Condition overall excellent and complete. 2.5 inches high.
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