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Lot 375
A Canton ivory card case, Qing dynasty, 19th/20th century, of barbed rectangular form, carved in relief with figures amongst trees and pagodas, 9cm long; together with a 20th century porcelain vase painted with the Eight Horses of Muwang; a modern Chinese cylindrical vase; a Japanese black lacquer ewer and cover gilt with chrysanthemum scrolls; and a small turned ivory goblet (5)
Lot 1417
A quantity of collectables, including; Carving of The Lion of Lucerne, animal horn toddy ladle, a cast iron model of a lion, an Anglo Indian ivory mounted cedar wood visiting card case, a turned hardwood circular box, a papier mache circular box with hand painted scenes, small rectangular painted wooden box, a gilt metal mounted moss agate rectangular casket on ball feet and sundry.
Lot 1699
A Beshir rug, the madder field with columns of guls, a waved vine border, 188 cm x 130 cm, a Pakistan Bokhara rug, the madder field with two columns of eleven guls,a diamond border, 183 cm x 80 cm, a Shirvan rug, the indigo field with an ivory medallion and supporting flower botehs, minor border, 102 cm x 64 cm (3).
Lot 194
Three calling card cases, to include; a tortoiseshell and carved mother of pearl example, with ivory lined interior, 10.5cm x 8cm, a Japanese white metal and enamelled case with iris plant decoration, 10cm x 6.5cm, and a Chinese Canton carved ivory example, carved with figures, boats, temples and a garden, 10.5cm x 6.5cm (3)
Lot 177
THE (NEWCASTLE) HANDICRAFTS COMPANY THE RUBAIYAT OF OMAR KHAYAM - IVORY & GOLD BINDING, DATED 1903. Probably to a design by Richard George Hatton (1864-1926), with illumination by Elizabeth Davies, 8vo, Illuminated manuscript on paper in black and red with gold capital letters and two watercolours on endpapers, leather-backed vellum binding with ivory panels centred by a 15 carat gold embossed panel surrounded by cloisonné enamel roundels depicting vines, the boards held by 15 carat gold clasps, one lacking holding pin, hallmarked for Birmingham 1903-4 and bearing makers stamp 'THCo.' 21.5cm x 16.5cm Literature: Tony Peart and Neil Moat 'The Lost Art-Workers of Tyneside - Richard George Hatton and The (Newcastle) Handicrafts Company', Journal of the Decorative Arts Society, no 17 (1993) Provenance: Charles William Mitchell, Jesmond Towers, Newcastle upon Tyne Charles Mitchell, Pallinsburn House, Northumberland and thence by descent. Note: The Handicrafts Company of Newcastle was born out of the Art Department of The Durham College of Science, Newcastle upon Tyne whose Art Committee responded to the question as to 'whether or not designers needed practical experience of the materials for which they were designing.' Charles William Mitchell succeeded his father Dr Charles Mitchell as Chairman of the Art Committee in 1896. As a young man he had trained as an artist in Paris and had exhibited at the Royal Academy and Grosvenor Gallery between 1876 and 1889. From 1884 he was an early member of the Art Workers Guild. During the 1880s the pressure of work in his father's shipbuilding business forced him to give up these pursuits however it did not prevent him from remaining at the centre of Newcastle's artistic circle and a major patron of the arts in the city. When elected as Chairman in 1886 the headmaster of the school was Richard George Hatton, a decorative artist and designer, and the two men shared a friendship and a shared goal in promoting and supporting the arts. They also both acknowledged the 'gulf that existed between the manufacture of 'Art Wares' in an art school environment, and the reality, denied students, of having to make a living from the sale of their productions in the wider community'. As a result in 1899 at C.W. Mitchell's expense the Handicrafts Company was formed at 37 Orchard Street, Newcastle upon Tyne, under Hatton's supervision and with the aim 'to facilitate the exercise of the 'Lesser Arts' and to assist students who wish to earn a livelihood by their practice'. Although metalwork by the Company does appear on the market from time to time the current lot represents an amalgam of many of the crafts practiced by the Company and is a rare and luxurious work. An untraced repoussé book cover designed by Hatton in 1902 in silver is illustrated in his book 'Figure Composition' (Chapman and Hall 1905), however no other works are known that demonstrate this range of skills. Whilst it is likely that Hatton designed the gold panel on the cover, the illumination would probably been the hand of Elizabeth Davies, who had been a student at the College and who had subsequently been employed as a teacher of illumination for the Company from 1903. Other fine examples from this period include two silver and enamel presentation caskets hallmarked for 1903 and 1906 now in the V&A and Aberdeen Art Gallery & Museums collections. Mitchell died suddenly in 1903 but it was fortunate for the Company that he had made financial provision for a further three years. At the time of his death he had also been patron to a project of refurbishments at Walker Parish Church for which the Company was to provide all the sanctuary fittings, all designed by Hatton. Hatton returned to teaching full time at the College in 1906 but continued to supply designs for the Company. The Company continued until 1912 from whence it ceased in all but name to exist. It was only legally dissolved in 1932.
Lot 183
GORDON HODGSON CRUET SET, DATED 1970 silver, ivory and ebony, comprising a mustard dish of cylindrical form with dished bowl, and a salt and pepper each of crescent form with unstained ivory and black hardwood removable lids with pouring apertures, each fitting around the mustard to form a cylinder, hallmarked London 1969-70 (3) 6.5cm high
Lot 38
French School, portrait miniature on ivory of a pretty maiden in 18th century style, bust length, wearing flowers in her hair against a sky ground, within yellow metal and seed pearl set surround, brooch fitting, 2.5cm diameter, along with an oblong mourning brooch, set with seed pearl border enclosing vacant central aperture and engraved 'Rosina', 2.5cm wide (2)
Lot 40
A miniature on ivory of the Madonna, all set within a yellow metal circular diamond and pearl set pendant, the surround with six collet set diamonds within a seed pearl set border and suspended from a diamond set lug, the yellow metal reverse with foliate engraving, pendant 3.2cm diameter, weight 10.2gms
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239713 item(s)/page