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Click here to subscribeBanco Nacional Ultramarino, Mozambique, printers archival specimen 20 Escudos, 1 January 1921, serial number range A000,001 to A365,000, Decreto No. 17.154 at top left, perforated CANCELLED, order number and date inked in top margin, in PMG holder 55, about uncirculated and the only print run to feature a prefix letter and Decreto number, thus extremely rare as a specimen BNU MZ70fs, Pick 70s £240-£300 --- This is the BNU plate note
Banco Nacional Ultramarino, Mozambique, printers archival specimen 100 Escudos, 11 January 1938, serial number range 000,001 to 300,000, Artur Meneses Correia de Sa Visconde de Merceana signature, perforated CANCELLED, order number and date inked in top margin, light mounting traces, one pair of staple holes at far left, in PMG holder 63, choice uncirculated, one of only eight known archival specimens, rare BNU MZ79s1, Pick 76s £300-£400
Banco Nacional Ultramarino, Mozambique, printers archival specimen 100 Escudos, 29 November 1945, serial number range 800,001 to 880,000, Joao Baptista de Araujo signature, perforated SPECIMEN, order number and date inked in top margin, in PMG holder 64, choice uncirculated and rare, the first of seven print runs for this date and the break note between the 1943 and 1945 issues BNU MZ101as, Pick 97s £200-£260
Banco Nacional Ultramarino, Mozambique, printers archival specimen 100 Escudos, 29 November 1945, serial number range 880,001 to 950,000, Antonio Augusto Correia de Aguiar signature, perforated SPECIMEN, order number and date inked in top margin, in PMG holder 64, choice uncirculated and rare, the second of seven print runs for this date BNU MZ101bs, Pick 97s £200-£260
Banco Nacional Ultramarino, Mozambique, printers archival specimen 100 Escudos (2), 29 November 1945, serial number ranges 950,001 to 1,010,000 and 1,010,001 to 1,060,000, Jose Gabriel Pinto Coelho and Franciso Jose Vieira Machado signatures, perforated SPECIMEN, order numbers and dates inked in top margin, in PMG holders 64, choice uncirculated and rare, the third and fourth of seven print runs for this date (2 notes) BNU MZ101cs, MZ101ds, Pick 97s £400-£500
Banco Nacional Ultramarino, Mozambique, printers archival specimen 100 Escudos (2), 29 November 1945, serial number ranges 1,060,001 to 1,150,000, and 1,150,001 to 1,230,000, Manuel Rodrigues Junior and Antonio Pedroso Pimenta signatures, perforated SPECIMEN, order numbers and dates inked in top margin, in PMG holders 58, choice about uncirculated and 64, choice uncirculated, rare, the fifth and sixth of seven print runs for this date (2 notes) BNU MZ101es, MZ101fs, Pick 97s £400-£500
Banco Nacional Ultramarino, Mozambique, printers archival specimen 100 Escudos, 29 November 1945, serial number range 1,230,001 to 1,300,000, Artur Meneses Correia de Sa Visconde de Merceana signature, perforated SPECIMEN, order number and date inked in top margin, in PMG holder 64, choice uncirculated and rare, the last of seven print runs for this date and the break note between the 1945 and 1947 issues BNU MZ101gs, Pick 97s £200-£260
Companhia de Mocambique, specimen 10 Centavos, 1 October 1931, serial number 0,000,000, one small cancellation hole, printed signature of R. Ulrich, in PMG holder 65 EPQ, gem uncirculated, ink annotation stating the design was approved on 13/12/31 and signed by hand by R. Ulrich, very rare, the first on the market for almost a decade Pick SR25s £200-£260
Banco Nacional Ultramarino, Portuguese India, printers archival specimen 4 Tangas, 1 October 1917, serial number range 120,001 to 180,000, Ship seal Type II, perforated CANCELLED, order number and date inked in top margin, in PMG holder 62, uncirculated, very rare TBB B305as, Pick 19s £1,500-£2,000
Banco Nacional Ultramarino, Portuguese India, printers archival specimen 100 Rupias, 29 November 1945, serial number range 013,001 to 018,000, Joao Baptista de Araujo signature, perforated SPECIMEN, order number and date inked in top margin, a few minor mounting traces, in PMG holder 58, choice about uncirculated and rare TBB B328cs, Pick 39s £800-£1,000
Banco Nacional Ultramarino, Portuguese India, printers archival specimen 500 Rupias, 29 November 1945, serial number range 001,501 to 002,500, Jose Gabriel Pinto Coelho signature, perforated SPECIMEN, order number and date inked in top margin, a few minor mounting traces, in PMG holder 55, about uncirculated and rare TBB B329ds, Pick 40s £1,000-£1,500
Banco Nacional Ultramarino, St Thomas & Prince, printers archival specimen 100 Escudos, 21 March 1944, serial number range A06,501 to A08,500, Antonio Pedroso Pimenta signature, perforated SPECIMEN, order number and date inked in top margin, in PMG holder 64, choice uncirculated, very rare BNU ST41es, Pick 31s £400-£500
Banco Nacional Ultramarino, St Thomas & Prince, colour trial 20 Escudos, ND (1946), no signatures or serial number, red SPECIMEN overprint and two small cancellation holes, in PMG holder 50, about uncirculated, about uncirculated and rare BNU ST42ct, Pick 32ct £240-£300 --- This is the BNU plate note
GIÒ POMODORO (1930-2002)Spilla circa 1955 signébroche en or et pierres durespoinçon français d'import pour l'or 18K (750°/00)signedgold and hard stones broochFrench import assay mark for 18 carat gold8.0 x 2.4 cm.3 1/8 x 15/16 in. Poids brut : 12.13 g.Gross weight : 12.13 gramsRéalisée en circa 1955, cette œuvre est unique.Footnotes:Cette œuvre est enregistrée sous le numéro 01001 M auprès de l'Archivio Giò Pomodoro, Milan ; un certificat de l'Archivio Giò Pomodoro sera remis à l'acquéreur.ProvenanceCollection de l'artiste, MilanCollection particulière, ItalieDon de celle-ci auprès du propriétaire actuel Broche Giò Pomodoro (circa 1955) en or et en pierres.Cette belle broche, réalisée par mon père circa 1955, est l'un des rares exemples d'orfèvrerie que l'on peut documenter de cette période, liée aux premières expériences artistiques caractérisées par un grand lyrisme esthétique, où les influences absorbées du monde magique de Paul Klee sont fortes.Dans le texte d'introduction de Marco Valsecchi à la présentation des deux frères Pomodoro à la XXVIIIe Biennale de Venise en 1956 (où furent exposées les premières œuvres d'orfèvrerie et de sculpture des deux jeunes artistes), on peut lire : '...Mais c'est l'épanouissement - et même pas si mécanique - d'une tension lyrique qui s'est développée sur le fil d'une attente poétique qui soudain, comme une sorte de libération, scande les signes, les reliefs, les caillots, les pylônes et les filaments avec le même mouvement frénétique et silencieux d'une aiguille électrique qui enregistre les lignes les plus subtiles de l'imagination. On pense que Klee, lorsqu'il dessinait ses 'cathédrales gothiques' ou ses 'pagodes' microscopiques, suivait la même procédure lucide suspendue dans l'instantanéité de l'illumination. Et de ces signes subtils, arrachés à l'informe par une sensibilité prête à visualiser les traces les plus infimes, il a généré une image, presque une allégorie, de l'ordre hermétique qui tient la vie de toutes choses à sa racine.Un ordre qui fascine les deux jeunes sculpteurs, qui en tentent une transcription presque filigrane [...]'.Ces mots sont en parfaite harmonie avec l'œuvre représentée ici, où le fil d'or s'accroche à de petites pierres de rivière aux biseaux primitifs et se libère aux extrémités en articulations mobiles qui donnent au bijou une cinétique imperceptible, que l'on retrouvera souvent dans les bijoux de Giò Pomodoro des années plus mûres.Un bijou - ou plutôt un signe - dont la validité découle de la beauté élégante et aérienne de ses motifs. Bruto PomodoroSeravezza, mars 2022Giò Pomodoro brooch (circa 1955), in gold and stones.This beautiful brooch, made by my father circa 1955, is one of the few rare examples of goldsmith work documented from this period, stemming from his early artistic works characterised by a great aesthetic lyricism, strongly influenced by the magical world of Paul Klee.Marco Valsecchi's opening text to introduce the two Pomodoro brothers at the XXVIII Venice Biennial in 1956 (at which the early works of goldsmithing and sculpture by the two young artists were exhibited) reads:'... Yet it is the revelation – by no means mechanical - of a lyrical tension that follow the thread of a poetic expectancy that suddenly, like a kind of liberation, reveals signs, reliefs, masses, columns and filaments with the same frenetic and silent motion of an electric needle that denotes the most subtle lines of the imagination. It is thought that Klee, when he drew his 'gothic cathedrals' or microscopic 'pagodas', ascribed to a process of lucidity suspended in momentary inspiration. And from these subtle signs, snatched from abstraction by a sensibility tuned in to the most minute traces, he generated an image, almost an allegory, of the hermetic order that reverts to the essence of all living things.An order that fascinates the two young sculptors, who attempt a quasi-filigree representation of it...'These words are in perfect harmony with the work represented, in which the gold thread clings to small river stones of primitive bezels before finding release in its free-moving fastenings that endower the piece with an imperceptible feeling of movement, such as we often find in the later creations of Giò Pomodoro.A piece of jewellery - or rather, a sign - the substance of which derives from the elegant and aerial beauty of its motifs.Bruto PomodoroSeravezza, March 2022This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
AN EXTREMELY RARE VICTORIAN PEWTER PUZZLE-JUG, PROBABLY BRISTOL, CIRCA 1850 The flared neck with several large pierced holes, the squat bulbous body with three narrow fillets and engraved to both sides - 'Who can drink, may / Who can't drink, pay' - the rim with two spouts, the twin-handles with thumb-rest flange and 'tear-drop' terminal, apparently unmarked 22cm wide x 16.5cm high The jug's handle style would suggest a Bristol maker, possibly Peter LLewellin (fl.1840-?), (PS5910) or William Rich I (fl.1839-70), (PS5910) Noticeable repairs to rim and spouts. Some small dents, pitting and rubbing to body.Please note this is only a brief overview report, for a full condition report please send a request via the-saleroom.com
A rare Charles II pewter flat-lid tankard, circa 1680Having a plain drum, the lid with front denticulations and stamped with the initials ‘W S’ over ‘CW’, ram’s horn thumbpiece, handle with boot-heel terminal, maker’s mark of ‘LS’ inside base, (PS9172), possibly belonging to Lazarus Savidge, Sherbourne (PS8251)Height 19cm Provenance: Peter Gould CollectionA very similar tankard by the same maker included in the , 'Exhibition of Pewter in the Usher Gallery', 29th September to 27th October 1962, (no. 164), formerly in the Kenneth Bradshaw and Stanley Shemmel Collections, sold Bonhams 26 October 2006, Lot 234.Handle appears to have been repaired. Surface dents and scratches.Please note this is only a brief overview report, for a full condition report please send a request via the-saleroom.com
A late 17th century pewter multi-reed broad rim plate, circa 2685 By Thomas Powell, London, [fl. 1675 - 1715]Swedish owners' initials 'REK' over 'BOD' engraved to the front of the rim and flanked by leaf-sprays, worn touch, name label and faint hallmarks to rear of rim of Thomas Powell, (fl.1675-1715), (PS7471) diameter 26.2cm; rim 4.7cm, (35.9%) Provenance:Jan Gadd CollectionThomas Powell was free in 1676 and became Master of the London Company in 1706 and 1707. He was a prolific exporter of hardmetal pewter to Scandinavia, America and Russia. As a result, objects by Thomas Powell are relatively rare in British pewter collectionsSurface scratches and marks.Please note this is only a brief overview report, for a full condition report please send a request via the-saleroom.com
A rare 16th century brass alms dish, Nuremberg, circa 1500-1550Designed with George and the Dragon, encircled by a band of Gothic script, gadrooned booge, the rim with two bands of punched decoration, rolled rim Diameter 41cmSurface rubbing to decoration.Please note this is only a brief overview report, for a full condition report please send a request via the-saleroom.com
A rare and good Queen Anne brass chamberstick, circa 1710The flared pan fitted with a pierced fretwork porringer-type handle, and a straight-sided socket with a moulded rim on a short, waisted stem.Literature: Compare a similar example, C. Bangs, The Lear Collection (1995), No. 182 and p. 184, sold Christie's, 15 December 1998, Lot 139. Height 5.2cmOverall length16.5cmSome scratches to pan and handle.Please note this is only a brief overview report, for a full condition report please send a request via the-saleroom.com
A rare pair of mid-17th century brass alloy trumpet-based socket candlesticks, English, circa 1650The upper stem cast with a medial band, the lower stem with swelling just above the joint with the drip-tray, spreading base (2)Height 14.8cmBase diameter 10.4cmBends to feet and pans.Please note this is only a brief overview report, for a full condition report please send a request via the-saleroom.com
A 15th/16th Century long handled cooking fork, the long shaft with a knopped final to one end and twin prongs to the otherThis example would have been used to help with turning meat on a spit, a rare survivor Shaft with a slight bend.Please note this is only a brief overview report, for a full condition report please send a request via the-saleroom.com
A rare and documented Elizabeth I bronze-alloy mortar, By Anthony Wakefield (fl.1594-d.1605) Chichester, Sussex, with two angular lugs the body dated '1594' and with the initials 'TT' and 'AW', centred by a short split-column pilaster, between two cords, 23.5cm wide, 17.5cm high Fully Illustrated and discussed M. Finlay 'English Decorated Bronze Mortars And Their Makers' (2010), p. 141. The author refers to the date as '1598', with the '8' distinctive in being formed entirely of straight lines, however, it would appear to be a number '4". This mortar is from the only recorded Sussex foundry. The 'AW' cast here is exactly the same form and character as those used by Anthony Wakefield to sign a bell, the 'Bepton Treble' Chris Pickvance Collection Former Martien Klingens Collection Nibble to rim, some pitting.Please note this is only a brief overview report, for a full condition report please send a request via the-saleroom.com
A rare 14th century pottery dish, Spanish, designed with a bird to the centre, possibly a partridge, the rim with triple-linear motifs, in green and brown glaze, restorations, 21.3cm wide Chris Pickvance Collection The Victoria & Albert Museum has a similar example (no. C.21-1931) dating to circa 1325. The Valencian region of Spain was rich in the fine clays and minerals which produced the distinctive brown/green decorative palette of this type of tin-glazed wares and they were traded widely, inspiring similarly decorated wares in Southern France and Central Italy, see same collection, (no.c.202-1928) See 'Le Vert et le Brun de Kairouan a Avignon' pp.163; 'Ceramica Espanola dos Arabes a Miro', exhibition catalogue 1996, pp.14 and 39-44; Summa Artis XLII Ceramica Espanola', pp.137-149, Caiger-Smith 'Tin-Glaze Pottery', pp.66 and 69 Dish has been repaired and restored.Please note this is only a brief overview report, for a full condition report please send a request via the-saleroom.com
Four rare 15th/16th century blue and white tiles, Valencia, Spain, the first a rose tile, 9cm wide, another of whirligig design with serrated leaves, 11cm wide, one divided into eight segments with corner hearts, 12.5cm wide and the fourth with a particularly rare Moorish interlace pattern, 15cm wide, (4) Chris Pickvance Collection
Two rare late15th century majolica ceiling tiles, circa 1480-90, Italian, possibly Lazio or Le Marche region, deigned in blue, green and brown tones, with paired stylized four-petal flowerheads against a scroll motif ground, one complete the other central cut, 32cm long, 15.5cm high, 16cm x 16cm and 16cm x 16cm (3) Chris Pickvance Collection
A rare and large George III elm and fruitwood open armchair, East Anglian, the adjustable 'square' back with five reeded spindles operating on a metal side ratchets, the dished seat flanked by sweeping arms on baluster-turned supports, on square section legs united by plain stretchers, 63cm wide, 53cm deep, 103cm high, the seat 43cm high Footnote For a similar chair see Bernard Cotton, 'The English Regional Chair',, p. 217 pl. 27
A rare James I/Charles I joined oak caqueteuse armchair, Aberdeenshire, circa 1610-30, the resplendent leaf carved cresting with detrited ownership initials, atop an elongated reeded panel and stiff-carved uprights, the outsplayed square-ended arms on inverted-baluster turned front supports, trapezoid-shaped boarded seat, on inverted-baluster turned front legs, joined by plain stretchers. For similar chairs see the Trinity Hall collection, Aberdeen and the Burrell Collection, Glasgow, nos. 14.183 & 14.50 Height 114.5cm. Width 61cm. Depth 52cm
A rare brass mounted and ebony table clock, the movement by Henry Jones, London, circa 1685 and later The six latched and finned pillar bell striking movement with verge escapement regulated by a short bob pendulum and incomplete pull quarter-repeat mechanism, the foliate scroll and tulip engraved backplate signed ‘Henry Jones, in the Temple’ to centre, a 6.5 inch square brass dial with matted centre, silvered Roman numeral chapter ring with short fleur-de-lys half hour markers and Arabic five minutes within the narrow outer minute track, pierced steel hands and winged cherub mask brass spandrels. The ebony veneered caddy case with hinged floral handle and foliate cast and pierced oval mount, moulded and glazed front door applied with gilt foliate scroll escutcheons to jambs, the sides with conforming rectangular windows beneath lozenge-shaped sound frets, the rear with further rectangular glazed door set within the frame of the case, the base with shallow ogee moulded skirt over squab feet, 30.5cm (12ins) high, with a fine 17th century scroll pierced and engraved winding key, 34cm high, 23.5cm wide, 15.5cm deep Henry Jones (1634-1694) is an important maker. He was apprenticed to Edward East August 165, gaining his Freedom of the Clockmakers' Company in July 1663. It was not until 1772 that Jones set up on his own in the Inner Temple, London, having previously worked as a journeyman to Edward East. By 1775 he is recorded as 'in Inner Temple Lane' prior to being appointed as an Assistant of the Clockmakers' Company the following year, and was made a Warden in 1687 and served as Master of the Company in 1691. The engraving to the backplate of this Lot closely compares to the only known table clock by Peter Knibb. See Lee, Ronald A. ‘The Knibb Family, Clockmakers’, p. 129, pl. 139 - Stock Ref:11775-127
A rare George III stained/painted pine enclosed dresser base, circa 1760, having a pair of fielded cupboard doors, centred by fluted pilasters flanking a central bank of three graduated drawers, the whole flanked by canted fluted ends, on shaped bracket feet, 172cm long, 53cm deep, 83cm high By repute from Tranmer House, Sutton Hoo
A rare and impressive late 16th century/early 17th century walnut, boxwood and bone inlaid table cabinet or arquilla, Spanish/Spanish colonial, the fall front designed with two flower-filled pedestal urns, enclosing an arrangement of five small drawers, the top of geometric design, sides with conforming inlay and iron carry handles, 47cm wide, 28cm deep, 29cm high. Provenance: Rocio Caldevilla, Madrid, dince 1904, thence Chris Pickvance collection For a comparable example see the Victoria & Albert Museum, London (no. 343:1 to 11-1866) Some losses and damage to marquetry inlay. Drawer fronts with some losses. Right hand side frieze partially missing.Please note this is only a brief overview report, for a full condition report please send a request via the-saleroom.com
A rare Charles II boarded oak and stained box, Dorset, circa 1660The frieze carved with two bold lunettes, each filled with stylised foliage stained black and red.For a comparable boarded oak formerly in the Michael Gray Collection see Victor Chinnery, ‘Oak Furniture: The British Tradition’, (2016), p.316, fig. 3: 380b.Height 18cmWidth 57.8cmDepth 38cm
A rare Elizabeth I oak coffer, circa 1580, with triple panelled top, the front of three panels, each finely strapwork carved and centred by a flowerhead, with twin panelled sides, the stile supports set into extraordinarily rare sledge supports with naive carved paw feet ends, one replaced, 131cm wide, 60cm deep, 69cm high
A rare Charles II brass lantern clock, Edward Webb, Chew Stoke, dated November 7th, circa 1680 , the posted countwheel bell-striking movement now with anchor escapement for regulation by short lenticular bob pendulum swinging outside the frame to the rear, the dial with central alarm disc within stylised symmetrical foliate engraved infill incorporating a winged female mask at twelve o'clock and with pierced black painted brass hand within applied narrow Roman numeral chapter ring with stylised fleur-de-lys hour markers and engraved with date 'nove -7' to the dial plate behind the 'V' numeral, the upper angles engraved with signature Edward Webb, the typical 'Chew Valley' frame with one-piece column turned corner posts beneath lion and unicorn armorial engraved and pierced frets, integral multi-knopped tall vase-and-cover turned finials and domed bell bearer cast with pierced leaf decoration between the limbs, with brass side doors and iron backplate between hanging hoop above spurs to rear, on tall disc-knopped ball feet, (mostly retrained using original pivot plates/bars, alarm lacking), 40cm (15.75ins) high Edward Webb is recorded in Moore, A. J. THE CLOCKMAKERS OF SOMERSET 1650-1900 as married to Anne with sons Walter (1667), James (1670), Richard (1674), George (1678) and William (?). He was probably the son of Charles Webb who owned a foundry in Chew Stoke. Both Edward and his wife Anne died in 1694. Nine lantern clocks by Edward Webb dated 1676, 1678, 1681, 1684, 1688, 1691, 1692, 1692 and 1693 are recorded with the 1684 and 1688 clocks fully described an illustrated in White, George English Lantern Clocks on pages 232 (Figures V/39 and 40), 233 (V/42 detailing date March 10 engraved beneath the chapter ring of the 1684 clock) and 237 (V/51 and 52). In addition to these Moore notes a further undated lantern clock signed Edward Webb of Chewstoke fecit , and a posted musical longcase clock movement and dial (also illustrated by White on page 233, Figure V/43). From these references it would appear that the present clock is currently an unrecorded example of Webbs work. The current lot utilises frame castings that were favoured by the Bristol and Chew Valley school of clockmakers with the earliest surviving being the Edward Webb 1676 example (private collection). All the other recorded lantern clocks by Webb (dates ranging from 1678-93) all share the same frame castings. These castings were also used by John London of Bristol, Thomas Veale of Chew Magna and latterly by Edward Bilbie of Chew Stoke (who is believed to have succeeded Edward Webb in around 1695). Bilbie appears to have persisted with the use of such castings long after Bristol makers had moved onto patterns more closely related to London work of the period, suggesting that such frames were probably cast locally (in the Chew Valley) - perhaps initially by Edward Webb at his foundry in Chew Stoke then by the Bilbie family after Webb's death in 1694. Another noteworthy detail is the distinctive dial engraving which is executed with scrolling foliage issuing from a central point at the base of the dial centre, continuing symmetrically around the alarm disc and terminating with a central winged female mask motif at the top. The design of this decoration is typical of Webb and appears to have its roots in the work of Thomas Brown of Bristol who was most active during the 1650's (see White, George English Lantern Clocks page 232) and can can be directly compared to a clock by John Clarke of Bristol which was sold in these rooms on 15th September 2015 (lot 185) for £9,500 hammer. Some later alterations as mentioned in the description. Brass case with some tarnishing.Please note this is only a brief overview report, for a full condition report please send a request via the-saleroom.com
A rare and unusual Eliazabeth I boarded oak chest, North Devon, circa 1560-600, the single lid board with a band of punched-decoration to each end, and with chip-carved edges, the front board with all over punched-decoration formed from a four-dot die, each side with conforming lower decoration,above arched cut-away ends, 86cm wide, 42cm deep, 53c,m high Chris Pickvance Collection
A rare mid-15th century carved sandstone figure of a monk, English, standing, raised hood to his draped cowl,, folded arms, hands folded into cowl, with prominent facial hair and long beard, 32cm wide, 109cm high Provenance: reputedly from a (no longer extant) church in Preston, Lancashire Some chips and losses.Please note this is only a brief overview report, for a full condition report please send a request via the-saleroom.com
A rare and impressive Elizabeth I mastic composition inlaid oak desk box, circa 1580, the inlay in the manner of contemporary needlework (blackwork), the sloping fall with linear inscribed border, chip carved ends and lower book rest, the front board with ogee-profiled lower edge inlaid with the initials 'T' and 'B' against a profuse scrollwork ground, similar shaped plain sides, 68cm wide, 38cm deep, 34cm high Chris Pickvance Collection For an inlaid oak panel with mastic composition designed with the arms of Sir Willaim Kingston, Constable of the Tower of London (d.1540), see Victor Chinnery 'Oak Furniture: The British Tradition', p.154, fig.2:220
A small and rare Henry VIII oak boarded chest, possibly Suffolk/Norfolk, circa 1530, the rectangular hinged lid with cross-hatched or lattice design in the diaper fashion, the front and sides with similar decoration, 69.5cm wide, 28.5cm deep, 33cm high Chris Pickvance Collection A similar, but larger example, was discovered on the the Mary Rose, Henry VIII's magnificent war ship which sank in 1545. See Gardiner and Allen, 'Before The Mast', p.397, item 81A4879. Another similar chest at 'Shakespeare's Birthplace', Stratford-Upon-Avon, no. STRST:SBT 1994-73. Also another chest located in a Norfolk Church
A rare Elizabeth I/ James I boarded and joined oak coffer, Welsh, circa 1600, of exceptional colour and patina, the one piece rectangular top held with the original strap hinges above a one piece front and back, the front panel held in rebates ito the front stiles, one-piece base board with tusk tenons held by three external pegs, the front board turned 180 degree, has the lock position at lower edge, 106cm wide, 40cm deep, 58cm high Chris Pickvance Collection
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