A Regency mahogany eight-day longcase clock Jullion, Brentford, early 19th century The five-pillar rack and bell striking movement with 12 inch single-sheet silvered brass Roman numeral circular dial with calendar aperture beneath signature JULLION BRENTFORD to centre and Arabic five minutes to outer track, the case with wavy edge crest to the break-arch pediment above cast brass circular bezel with ebony line infill to lower quadrants flanked by applied split pilasters to hood and circular sound frets to sides, the trunk with break-arch door above shaped-panel decorated plinth base with skirt incorporating bracket feet with shaped apron between, 206cm (6ft 9ins) high. THIS DESCRIPTION TO BE READ IN CONJUNCTION WITH ‘IMPORTANT NOTES REGARDING THE CATALOGUING OF CLOCKS’ PRINTED IN THE SALE CATALOGUE OR AVAILABLE FROM THE SALEROOM ON REQUEST. Probably by Jullian, John and Son, who are recorded in Baillie, G.H.Watchmakers & Clockmakers of the World as working in New Brentford from 1762.
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A Victorian mahogany bracket clock Drescher & Co., Hull, mid 19th century The four pillar twin fusee bell striking movement with anchor escapement and shouldered plates, the 8 inch circular white painted Roman numeral dial signed DRESCHER, & Co., HULL to centre, the case with scroll carved crest fronting the shaped pediment above bevel-glazed rectangular side windows and cast brass bezel with further foliate carved decoration to apron, on moulded plinth base with compressed bun feet, 45cm (15ins) high. THIS DESCRIPTION TO BE READ IN CONJUNCTION WITH ‘IMPORTANT NOTES REGARDING THE CATALOGUING OF CLOCKS’ PRINTED IN THE SALE CATALOGUE OR AVAILABLE FROM THE SALEROOM ON REQUEST. Two makers with the surname Drescher (John and Pius) are recorded in Loomes, Brian Watchmakers & Clockmakers of the World Volume 2 as working in Hull up to 1858, this clock may be by either of these makers successors.
An inlaid oak thirty-hour longcase clock with Adam and Eve automaton Richard Blakeborough, Otley, early 19th century The plated countwheel bell striking movement with 14 inch white painted Roman numeral break-arch dial with arched calendar aperture and signed R. Blakeborough, Otley and numbered 1939 to centre, within chapter ring with Arabic fifteen minutes to outer track and floral spray decorated spandrels beneath arch with recessed painted scene of the Garden of Eden applied with figures of Adam and Eve each gesturing with the motion of the pendulum towards a central tree entwined with the serpent, in a swan neck pedimented case with turned pilasters to hood above oval fan cartouche centred shaped-top short trunk door flanked by line decorated canted angles, on conforming crossbanded panel inlaid plinth base with bracket front feet, 228cm (7ft 6ins) high. THIS DESCRIPTION TO BE READ IN CONJUNCTION WITH ‘IMPORTANT NOTES REGARDING THE CATALOGUING OF CLOCKS’ PRINTED IN THE SALE CATALOGUE OR AVAILABLE FROM THE SALEROOM ON REQUEST. Richard Blakeborough is recorded in Loomes, Brian, Watchmakers & Clockmakers of The World Volume 2 as working in Pately Bridge up to 1817 then in Otley 1817-39.
A George III oak thirty-hour longcase clock James Gregory, Lasham, circa 1770 The plated pinned-countwheel bell striking movement with 10 inch square brass two-handed dial signed James Gregory, Lasham to the Ho-Ho bird and foliate swag engraved centre within an applied narrow Roman numeral chapter ring with Arabic five minutes and rococo scroll cast spandrels to angles, the case with cavetto cornice and plain frieze above integral pillars to hood, with rectangular door to trunk and on plinth base with bracket feet, 200cm (6ft 7ins) high. THIS DESCRIPTION TO BE READ IN CONJUNCTION WITH ‘IMPORTANT NOTES REGARDING THE CATALOGUING OF CLOCKS’ PRINTED IN THE SALE CATALOGUE OR AVAILABLE FROM THE SALEROOM ON REQUEST.
A rare George II scumbled pine thirty-hour longcase clock John Wainwright, Wellingborough, circa 1740 The plated outside countwheel bell striking movement with 11 inch square brass dial signed John Wainwright, Wellingborough, No: 1403 to centre within an applied Roman numeral chapter ring with lozenge half hour markers and female mask and scroll cast spandrels to angles, the case with ogee caddy upstand above moulded cornice, fretwork frieze and integral pilasters to hood door, the trunk with rectangular door, on plinth base with moulded skirt incorporating shaped apron, the surface with painted grained decoration to resemble walnut, (worn), 220cm (7ft 3ins) high. THIS DESCRIPTION TO BE READ IN CONJUNCTION WITH ‘IMPORTANT NOTES REGARDING THE CATALOGUING OF CLOCKS’ PRINTED IN THE SALE CATALOGUE OR AVAILABLE FROM THE SALEROOM ON REQUEST. Provenance: The property of a lady. John Wainwright is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Wellingborough, Northants 1738-51. The case of the current is directly comparable to that housing the following lot (from the same vendor) confirming that they must have been supplied by the same casemaker. Furthermore both have survived in remarkably original condition each retaining most of the original surface finish as well as the base section which is very rare for a pine case of this period. The current lot together with the following lot are believed to have been in the same Northamptonshire family since new.
A rare George II scumbled pine thirty-hour longcase clock Giscarde, Thrapston, circa 1740 The plated outside countwheel bell striking movement with 10 inch square brass dial signed Giscarde, Thrapston to an arched nameplate to the matted centre within an applied Roman numeral chapter ring with lozenge half hour markers and unusual winged cherub head, lambrequin and foliate cast spandrels to angles, the case with ogee caddy upstand above moulded cornice, fretwork frieze and integral pilasters to hood door, the trunk with rectangular door, on plinth base with moulded skirt incorporating shaped apron, the surface with painted grained decoration to resemble oak, (worn), 214cm (7ft) high. THIS DESCRIPTION TO BE READ IN CONJUNCTION WITH ‘IMPORTANT NOTES REGARDING THE CATALOGUING OF CLOCKS’ PRINTED IN THE SALE CATALOGUE OR AVAILABLE FROM THE SALEROOM ON REQUEST. Provenance: The property of a lady. A John Giscarde is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working from Thrapston, Northants in the late 18th century. As the current lot can be stylistically dated to around 1740 it is either an early clock by the same maker or by an apparently unrecorded predecessor. This clock appears to have survived in remarkably original condition and along with the previous lot, a contemporary thirty hour longcase by John Wainwright of Wellingborough (housed in a very similar case), is believed to have been in the same Northamptonshire family since new.
A William and Mary walnut and floral marquetry eight-day longcase clock Thomas Power, Wellingborough, circa 1695 The five finned and latched pillar outside countwheel bell striking movement with 11 inch square brass dial with scroll engraved calendar aperture, ringed winding holes and subsidiary seconds dial to the matted centre within an applied Roman numeral chapter ring with stylised fleur-de-lys half hour markers and signed Tho: Power, Wellingborow to lower margin, the narrow outer track with Arabic five minutes within the divisions, the angles with applied cherub head and foliate scroll cast spandrels, the case with ogee moulded cornice and foliate pierced fret to frieze above floral trail decorated door with integral ebonised columns to hood, the trunk with convex throat moulding and rectangular door centred with a lenticle and inlaid with three shaped marquetry panels decorated with bird inhabited foliage on an ebonised ground within a walnut field, the door surround with repeating scroll motifs, on a conforming plinth base with double skirt, 205cm (7ft 1ins) high. THIS DESCRIPTION TO BE READ IN CONJUNCTION WITH ‘IMPORTANT NOTES REGARDING THE CATALOGUING OF CLOCKS’ PRINTED IN THE SALE CATALOGUE OR AVAILABLE FROM THE SALEROOM ON REQUEST. Thomas Power was born in around 1630, he was working in Wellingborough by the 1660`s and continued until his death in 1709 leaving the contents of his workshop to his wife Sarah who died two months later (see Loomes, Brian COMPLETE BRITISH CLOCKS page 94). His work is generally considered to be of good quality with generous use of brass and latches for the movement plates. Power appeared to keep up with the stylistic and technical developments originating from London during his career to the extant that in the past he was once thought to have been a London maker. Although he is predominantly known for longcase and lantern clocks, an ebonised basket top table timepiece with pull-quarter repeat is illustrated in Darken, Jeff (ed.) TIME & PLACE English Country Clocks 1600-1840. A thirty-hour longcase clock by Thomas Power is included as the following lot in this sale.
A William III ebonised thirty-hour longcase clock Thomas Power, Wellingborough, circa 1700 The four latched finned pillar outside countwheel bell striking two-handed movement with 11 inch square brass dial with subsidiary seconds dial and foliate engraved calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with stylised sword hilt half markers and signed Power, Wellingborow to lower edge, with Arabic five minutes to outer track and twin cherub and crown pattern spandrels to angles, now in a case with moulded cornice and plain frieze above integral columns to hood, concave moulding and rectangular door to trunk, on plinth base, 200cm (6ft 7ins) high. THIS DESCRIPTION TO BE READ IN CONJUNCTION WITH ‘IMPORTANT NOTES REGARDING THE CATALOGUING OF CLOCKS’ PRINTED IN THE SALE CATALOGUE OR AVAILABLE FROM THE SALEROOM ON REQUEST. See previous lot (59) a William III walnut and Marquetry longcase clock also by Thomas Power for biographical notes. An early thirty-hour longcase clock movement with fine engraved dial is discussed in Darken, Jeff and Hooper, John English 30 Hour Clocks page 54.
A rare George I walnut musical eight-day longcase clock James Green, Althorpe, circa 1720 The five substantial finned pillar triple train movement with inside countwheel hour striking on a bell and playing a choice of four tunes on eight bells three times a day, the 12 inch brass break-arch dial with subsidiary seconds dial, ringed winding holes and calendar aperture within foliate engraved decoration to the matted centre within an applied silvered Roman numeral chapter ring with stylised fluer-de-lys half hour markers and Arabic five minutes to outer track, the angles applied with bird and urn cast spandrels, the arch with dolphin mounts flanking circular silvered boss signed IAMES GREEN, Althorp near Gainsbro`, Lincolnshire around a central reserve engraved with a crest of a lions head pierced with an arrow with the tip protruding from the mouth, the case with moulded cornice and applied `pyramid` motifs to frieze above dial and integral pilasters to hood door, the trunk with rectangular bookmatched veneered door, on crossbanded plinth base with shallow skirt, 219cm (7ft 2.5ins) high. THIS DESCRIPTION TO BE READ IN CONJUNCTION WITH ‘IMPORTANT NOTES REGARDING THE CATALOGUING OF CLOCKS’ PRINTED IN THE SALE CATALOGUE OR AVAILABLE FROM THE SALEROOM ON REQUEST. James Green was is recorded by W.N. Terry (in a list compiled for an exhibition held at Northampton Museum in 1966) as working from St. Giles Street, Althorpe, Lincolnshire 1712-36. The engraved crest within the signature boss to the arch is almost certainly for PEAK of Lincolnshire and of Achurch, near Oundle, Northants as it closely follows the description `a gold lion`s head, torn off at the neck, pierced through the side of the head with an arrow, the point emerging from the mouth`. This crest was used by Sir William Peak, Lord Mayor of London in 1668, its presence suggests that the current lot may have been commissioned by one of his descendants for a Lincolnshire residence.
A Scottish inlaid mahogany eight-day longcase clock with moonphase James Aitken, Markinch, early 19th century The four pillar rack and bell striking movement with 14 inch white painted Roman numeral break-arch dial with subsidiary calendar and seconds dials and signed JA`S AITKEN, MARKINCH to centre, within chapter ring with Arabic five minute outer track and figural painted spandrels representing the four seasons, the arch with rolling moonphase calibrated with age of the moon to upper margin, the case with swan neck pediment and reeded pilasters to hood above shallow arch-top line bordered door flanked by reeded canted angles to trunk, on conforming plinth base with later skirt, 211cm (6ft 11.5ins) high. THIS DESCRIPTION TO BE READ IN CONJUNCTION WITH ‘IMPORTANT NOTES REGARDING THE CATALOGUING OF CLOCKS’ PRINTED IN THE SALE CATALOGUE OR AVAILABLE FROM THE SALEROOM ON REQUEST. James Aitken is recorded in Loomes, Brian, Watchmakers & Clockmakers of the World Volume 2 as working in Markinch circa 1837.
A George III oak thirty-hour longcase clock James Staples, Odiham, circa 1760 The plated countwheel bell striking movement with 10 inch square brass single hand dial signed James Staples, Odiham to the foliate engraved centre within an applied narrow Roman numeral chapter ring with fleur-de-lys half hour markers and rococo scroll cast spandrels to angles, the case with cavetto cornice and plain frieze above integral pillars to hood, with rectangular door to trunk and on plinth base with moulded skirt, 197cm (6ft 5.5ins) high. THIS DESCRIPTION TO BE READ IN CONJUNCTION WITH ‘IMPORTANT NOTES REGARDING THE CATALOGUING OF CLOCKS’ PRINTED IN THE SALE CATALOGUE OR AVAILABLE FROM THE SALEROOM ON REQUEST. James Staples is recorded in Baillie, G.H. Watchmakers & Clockmaker of The World as working in Odiham 1757-95.
A fine and rare William III small ebonised thirty-hour longcase clock Samuel Aldworth, Oxford, circa 1690 The five finned pillar outside countwheel bell striking movement with Knibb-type pendulum suspension incorporating butterfly nut pendulum regulation, separate shaped cock for the pallet arbor and pallet shaped aperture in the backplate, the 9.75 inch square brass dial with finely pierced and worked blacked steel hands and finely matted centre within applied silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers and Arabic five minutes within the outer track, the angles applied with cherub head and foliate scroll cast spandrels, the dial plate signed Sam. Aldworth Oxonia fecit to lower edge, the case with ogee moulded cornice above original Knibb type fret and twist turned integral pilasters to the originally rising hood, the trunk with remnants of the original movement securing bracket and raised hood retention catch to backboard, the convex moulded throat with original heart-shaped spoon catch for locking the rising hood above 43 inch trunk door inset with an oval lenticle, on plinth base with moulded skirt (case with repair to trunk door and consolidation to exterior of base), 198cm (6ft 6ins) high. THIS DESCRIPTION TO BE READ IN CONJUNCTION WITH ‘IMPORTANT NOTES REGARDING THE CATALOGUING OF CLOCKS’ PRINTED IN THE SALE CATALOGUE OR AVAILABLE FROM THE SALEROOM ON REQUEST. Provenance: Part of a private collection, Gloucestershire, acquired between the wars thence by descent. Samuel Aldworth was apprenticed to John Knibb of Oxford in 1673 shortly after John had taken over the Oxford business of his brother Joseph, who had left for London in 1671. After completing his apprenticeship in 1680, Aldworth continued to work in the same workshop as journeyman until 1689 when he left to set up on his own. In 1697 he moved to London (the same year that Joseph Knibb retired to Hanslop) setting up business in the Strand. In 1703 he married Elizabeth Knibb (thought to be daughter of John) and by 1720 he had moved to Childrey, Oxfordshire. The current lot would have been one of the first clocks made by Aldworth after he had left the workshop of John Knibb to set up on his own in 1689. Features such as the pendulum suspension, separately cocked pallet arbor and butterfly nut regulation adjustment demonstrate a direct influence from his master. The dial is also closely comparable to those found on longcase clocks originating from Knibb, and the case was almost certainly supplied by his casemaker.
A fine Queen Anne walnut and Arabesque marquetry longcase clock of one month duration James Beverley, London circa 1710 The four finned pillar movement with anchor escapement, five-wheel trains and unusual hour striking mechanism utilising a pinned countwheel mounted on the frontplate driven by a two-leaf pinion against a sprung detent to gather the wheel, the 12 inch square brass dial with foliate engraved calendar aperture, ringed winding holes and subsidiary seconds dial to the matted centre within an applied Roman numeral chapter ring with stylised sword hilt half hour markers and signed Jam. Beverley, London to lower edge, the outer track with Arabic five minutes and the angles applied with twin cherub and crown pattern cast spandrels, the case with ogee cornice and foliate fret frieze above foliate trail decorated door applied with conforming marquetry decorated integral columns, with rectangular side windows and conforming quarter columns to rear angles of the hood, the trunk with concave throat moulding and rectangular door centred with a lenticle, on a plinth base with later applied skirt (part of original structure beneath) and bracket feet, the whole elaborately decorated with bird and grotesque inhabited foliate strapwork designs in various woods on a light ground within elaborate repeating foliate borders, 217cm (7ft 2ins) high. THIS DESCRIPTION TO BE READ IN CONJUNCTION WITH ‘IMPORTANT NOTES REGARDING THE CATALOGUING OF CLOCKS’ PRINTED IN THE SALE CATALOGUE OR AVAILABLE FROM THE SALEROOM ON REQUEST. James Beverley is recorded in Loomes, Brian The Early CLOCKMAKERS of Great Britain as being apprenticed to Robert Doore in June 1684 and released (but not freed) 1691.
A William and Mary walnut and Arabesque marquetry eight-day longcase clock Samuel Stevens, London, early 18th century The five finned-pillar outside countwheel bell-striking movement with 11.875 inch square brass dial with subsidiary seconds dial, ringed winding holes and decorated calendar aperture to the foliate scroll engraved and matted centre within an applied silvered Roman numeral chapter ring with stylised sword hilt half hour markers and cruciform quarter markers to the narrow Arabic five minute outer track, the lower edge signed Sam. Stevens, London the angles with winged cherub head and foliate scroll cast spandrels with engraved infill between, in a case with marquetry fronted dome caddy above blind fret frieze and integral columns with well cast brass capitals and bases to the foliate trail decorated hood door and rectangular side windows to hood, the trunk with concave throat moulding above rectangular door with brass edged lenticle and plinth base with original moulded skirt, the whole profusely decorated with birds and grotesques within foliate strapwork in various timbers on an ebony ground within conforming repeating borders, 236cm (7ft 9ins) high. Provenance: The Property of a Gentleman of title. Purchased by the vendor`s family from Christie, Manson & Woods, 9th December 1897, the catalogue entry is pasted on the inside of the trunk door: 301 AN OLD ENGLISH CLOCK, by Sam. Stevens, London, in upright walnut wood case of marqueterie, elaborately inlaid with birds foliage and arabesques of a lighter coloured wood -8ft 4in high. From New Monckton Hall where it was at the time of Charles I`s visit before Marston Moor. From the Collection of Lord Walter Scott. Samuel Stevens senior is recorded in Loomes, Brian The Early CLOCKMAKERS of Great Britain as being freed from his apprenticeship to Edward Stanton in 1679, he was known to be working from Grub Street in 1682. He took his son, also called Samuel, as an apprentice in 1699 who in turn was freed in 1706/7. Details in the movement and dial such as the outside countwheel striking mechanism and engraving between the spandrels suggests perhaps a slightly old fashioned approach at this time indicating that this clock was almost certainly made by Samuel Stevens senior. When the current contents of Sir Walter Scott`s library at Abbotsford are considered it is clear that he had a passion for artifacts with historic associations. Memorabilia from his collection includes Nelson`s pen case and blotting paper, Rob Roy`s purse and skene dhu, a lock of hair from both Bonnie Prince Charlie and Nelson, Flora MacDonald`s pocket book, the inlaid pearl crucifix that accompanied Mary, Queen of Scots to the scaffold, a carriage clock once owned by Marie Antoinette, and housed in his armory an assortment of weaponry including Rob Roy`s broadsword. The current lot, when considering its (erroneous) `provenance` to New Monckton Hall at the time of Charles I, could well have been perceived as a worthy addition to Sir Walter Scott`s collection.
A pair of early Victorian gilt brass candelabra, the cartouche shaped back reverse glass painted with figures in a ruined landscape, each with a pair of detachable branches, the back panels with painted floral decoration, the plinth bases possibly later, registration mark for 30th March 1846, 56cm (22in) high, 57cm (22.5in) wide.
A heavy bronze figure of a WWI German Lancer on horseback, wearing steel helmet with cut out for earphones (?), carrying a lance and equipped with carbine, bedroll, canteen and saddle backs, on rectangular base signed E. Koche-Ratthoff, height 12”, on a non original rectangular slate plinth. GC
The Art Of Sport, Great British Soccer Collection, a limited edition of 2100 sets of ceramic figures of iconic footballers were produced by Endurance Ltd of Cheshire, in circa 1976. The purchaser of the set could choose any 11 from 33 players manufactured, to form his own star selection. This selection is issue No 0186, and comes complete with the greats from the golden age of soccer booklet, plus the heavy wooden stand/plinth. The players selected are, Frank Swift, John Carey, John Charles, Eddie Hapgood, Danny Blanchflower, Duncan Edwards (slight damage), Raich Carter, Peter Doherty, Stanley Matthews, Nat Lofthouse and Tom Finney.
A GEORGE III MAHOGANY LONGCASE CLOCK, the case with a long arched door flanked by quarter fluted columns above a plinth with canted corners, on ogee bracket feet, the blind fretwork carved hood with corinthian columns and arch shaped pediment with brass ball and spear finials, the circular brass dial engraved with masonic emblem, Roman and Arabic numerals to the chapter ring with two train movement striking on a bell, c.90" high. See illustration
A LATE VICTORIAN EBONISED AND MARQUETRY CREDENZA with an inverted breakfront top with burr wood crossbanding and gilt metal mounts, the front with a central glazed panel door enclosing a shelved interior flanked by twin arch topped doors, with all over foliate and animal marquetry and gilt metal mounts, on a plinth base, 78" wide. See illustration
HEALS: A LIGHT OAK BUREAU, with a sloping fall enclosing a fitted interior, above two short drawers with compressed heart shaped handles, above twin panel doors on a plinth base, 37?" wide. See illustration.The compressed heart handles on this bureau are one of Ambrose Heal`s most instantly recognisable design features. Almost certainly derived from an early Morris Marshall, Faulkner & Co. chest designed by Maddox Brown, this bureau also shares the exposed dovetails to the top corners. THE DUNSHAY MANOR. FURNITURE BY HEALS OF TOTTENHAM COURT ROAD. Dunshay Manor is often described as the quintessential Purbeck Manor House. Of late Medieval origin, and located amongst the beautiful rolling hills, it is without doubt one of the regions finest properties. The successful artist George Spencer Watson and his wife Hilda who was involved in the avant-garde world of Mime and dance purchased the property in 1923. It was here that their daughter Mary, born in 1913, developed her love of direct carving and developed a career as a highly successful sculptor. Lot 443 in this sale is as fine an example of Maryís sculpture in wood as has come to the market, and it is appropriate that this was exhibited at Heals highly influential Mansard Gallery in 1937. The furnishings at Dunshay reflect the coupleís position in the leading artistic circles of the time, and the group of furniture included here, which was removed from the property following the death of Mary Spencer Watson, reflects this. It is unclear when this furniture was purchased from Heals of Tottenham Court Road, however it is understood that Ambrose Heal and Hilda were close friends and therefore his furniture will have been an obvious choice for the new home. Ambrose Heal, born into the successful family firm at the heart of furniture retailing in Tottenham Court Road, began designing furniture at the end of the nineteenth century. It was in the late Edwardian period that his designs began to find a character of their own, building on the influences from the Cotswold group of designers and other members of the Arts and Crafts movement. The furniture in this collection represents a number of key aspects of Healís production. The two simple bow-fronted washstands and the dressing table are similar to the earliest work, being very similar to a bow fronted dressing table that was exhibited at the Arts and Crafts Exhibition Society exhibition of 1910. The smaller dresser, the four chairs and the set of hanging wall shelves are from the ëLetchworthí range developed to provide good quality furniture in a fashionable style at a realistic price. The bureau with the compressed heart handles and the dining table with the slightly bulbous turned legs, show Ambrose Healís own personal adaptation of the Arts and Crafts as applied to furniture design. The magnificent Chestnut dresser is the finest piece in the collection, and represents the type of fine and elaborate furniture of which Ambrose Heal would have been most proud. This appears to be one of only two examples of this design known, and possibly one of only two ever manufactured. With the compressed heart handles, chip carving, and turn button cupboard doors this shows Heal at his most confident and most successful.
HEALS: A CHESTNUT DRESSER, the raised back with twin arch topped ends with shaped shelves, with open rails between, the bow front with chip carved border, above a slide and bow fronted drawer with compressed heart handles, flanked by twin cupboard doors with raised circular central panels and rotating handles, the cupboards fitted with slides all above an open pot board plinth base with a maker`s mark "Heal & Son, Makers London. W", 72" wide. See illustration.Jeremy Cooper: "Victorian and Edwardian Furniture and Interiors" includes an illustration no. 661, of what is almost certainly this dresser. It has been suggested that the mark on this dresser was introduced in 1916. Very few examples of this particular mark are known to exist. THE DUNSHAY MANOR. FURNITURE BY HEALS OF TOTTENHAM COURT ROAD. Dunshay Manor is often described as the quintessential Purbeck Manor House. Of late Medieval origin, and located amongst the beautiful rolling hills, it is without doubt one of the regions finest properties. The successful artist George Spencer Watson and his wife Hilda who was involved in the avant-garde world of Mime and dance purchased the property in 1923. It was here that their daughter Mary, born in 1913, developed her love of direct carving and developed a career as a highly successful sculptor. Lot 443 in this sale is as fine an example of Maryís sculpture in wood as has come to the market, and it is appropriate that this was exhibited at Heals highly influential Mansard Gallery in 1937. The furnishings at Dunshay reflect the coupleís position in the leading artistic circles of the time, and the group of furniture included here, which was removed from the property following the death of Mary Spencer Watson, reflects this. It is unclear when this furniture was purchased from Heals of Tottenham Court Road, however it is understood that Ambrose Heal and Hilda were close friends and therefore his furniture will have been an obvious choice for the new home. Ambrose Heal, born into the successful family firm at the heart of furniture retailing in Tottenham Court Road, began designing furniture at the end of the nineteenth century. It was in the late Edwardian period that his designs began to find a character of their own, building on the influences from the Cotswold group of designers and other members of the Arts and Crafts movement. The furniture in this collection represents a number of key aspects of Healís production. The two simple bow-fronted washstands and the dressing table are similar to the earliest work, being very similar to a bow fronted dressing table that was exhibited at the Arts and Crafts Exhibition Society exhibition of 1910. The smaller dresser, the four chairs and the set of hanging wall shelves are from the ëLetchworthí range developed to provide good quality furniture in a fashionable style at a realistic price. The bureau with the compressed heart handles and the dining table with the slightly bulbous turned legs, show Ambrose Healís own personal adaptation of the Arts and Crafts as applied to furniture design. The magnificent Chestnut dresser is the finest piece in the collection, and represents the type of fine and elaborate furniture of which Ambrose Heal would have been most proud. This appears to be one of only two examples of this design known, and possibly one of only two ever manufactured. With the compressed heart handles, chip carving, and turn button cupboard doors this shows Heal at his most confident and most successful.
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