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Nightingale (Florence). Notes on Nursing: What it is, and what it is not, 1st edition, 2nd issue, London: Harrison, [1860], head of title inscribed by the author 'From Florence Nightingale Mar 14, 1860' and the ownership in a different hand 'A. Russell Pollock, Greenhill, Paisley', with letterpress '[The Right of Translation is reserved.]' at foot of title, original yellow endpapers with printed advertisements dated 1860, head of front free endpaper bearing the date 4 Sept 1861, original brown limp cloth covers bound in at front and rear (cup ring mark to upper cover), 20th-century cream endpapers with browning to free endpapers from turn-ins, 20th-century blue morocco binding with gilt title to spine, fading to spine, 8voQTY: (1)NOTE:Alexander Russell Pollock (1821-1884) was the son of James Pollock and Isabella Russell of Greenhill, Paisley, Scotland. Alexander was a partner in the firm James Pollock and Co., a merchant and yarn agent based in Causeyside. He married Margaret Amelia Pollock, the daughter of Matthew Pollock in Stillorgan, Dublin, on 27 April 1859 and they had 19 children in the space of 16 years. Alexander died on 23 October 1884 in Dieppe, Seine-Maritime, France, at the age of 63, and was buried in his hometown. An obituary was published in the Paisley Gazette November 1, 1884. Alexander amassed a large library and collection of coins, medals, manuscripts and other antiques which were sold in a series of auction sales in 1889.
A Coalport trio of coffee cup, teacup and saucer, circa 1860, with divided entwined handles, painted by John Randall in his later style with Golden Pheasant and Pheasant cocks and hens with various scattered insects, unmarked, the saucer 13.3cm diameter (3)Condition:Good condition with no damages or repairs. The coffee cup has rubbing to the gilt on the rim. There are a couple of minute glaze faults around the gilded rim of the saucer. All items ring when tapped.
A single stone diamond ring, the cushion cut diamond claw set in white metal to white metal shank, stamped 'plat', ring size I 1/2, weight approx 3.1g Condition:Diamond measures approx: 7.5mm x 7.3mm x 4.7mmEstimated diamond weight: 1.60ctsClarity estimated approx: VVS2-VS1Colour estimated approx: J/KGeneral wear but no significant visible damage, refer to images
A three stone emerald and diamond ring, designed as a central octagonal-oval cut emerald flanked to each side by an old cut diamond, all claw set in white metal to white metal shank, stamped '18ct', ring size O, weight approx 4.1gCondition:Emerald measures approx 5.7mm x 5mm x 2.6mm deep, chip/surface reaching fracture to one corner, some slight abrasion, diamonds each measure approx 5.2mm diameter, clarity grade estimated SI2-I1, colour range estimated approx G/H/I, general wear and wear to claws, refer to images
A Coalport coffee cup and saucer, circa 1860, painted by John Randall in his earlier style with small exotic birds below a raised gilt scroll and trailing foliage border, divided entwined handle to the cup, unmarked, saucer 14cm diameterCondition:Some crazing to the cup throughout and a small patch of crazing to the saucer. No damages or repairs. Both pieces ring when tapped. Some gilt wear to teacup rim.
A pair of ruby set orb rings, each designed as a yellow metal polished orb set with eight round faceted rubies and mounted to stylised rope twist shank, indistinctly stamped, each ring size L 1/2, total weight approx 15.6g (2)Condition:Some geneal wear- light scratches and small dings but no significant visible damage, refer to images
A 17th century oak backstool, probably South YorkshireCirca 1640-50, the back with crescent shaped splats having pendant finials, between carved stiles, the boarded seat with moulded edge, raised on ring-turned front supports united by plain stretchers.49cm wide x 49cm deep x 104cm high, seat height 49cmCondition:Small chips and marks consistent with age and use. Shrinkage splits to seat boards. Structurally sturdy. No evidence of worm.
A Coalport coffee cup and saucer, circa 1860, painted in John Randall's later style with a rooster, hens, lapwing and other birds, the cup with entwined loop handle, unmarked, saucer 13.2cm diameter (2)Condition:Small chip to the underside rim of the saucer. Both items ring when tapped but the saucer is slightly duller due to the chip. A couple of small scratches to the paint on the saucer.
A 17th century oak 'wainscot' armchair, West Country, possibly SomersetThe top rail with scroll cresting above filled lunettes, the back panel with a quatrefoil flower and leaf design, the scroll arms raised on ring-turned supports above a plain boarded seat, on ring-turned front supports united by plain stretchers.57cm wide x 57cm deep x 107cm high, seat height 42cmFootnote:A Somerset panelled coffer with a very similar carved quatrefoil design can be found in V. Chinnery, Oak Furniture, The British Tradition, 1984, Woodbridge, fig. 4:85.Condition:General typical ageing throughout. Fairly sturdy but with a small amount of joint movement. Splits to tops of side rails. Apparent repair to side rails at mid point with metal bracing. Split to middle of back panel. General wear to arms and front stretcher.
A Coalport 'Animal Service' coffee can and saucer, circa 1800-1805, painted with a 'Squirrel' (red)' to the coffee can and 'The Phalanger' (Cuscuses) to the saucer, titled in red to the bases, coffee cup 6.5cm diameter and 6cm high, saucer 14cm Note: This offers an interesting addition to what was historically known as a dessert service until the publication of Roger Edmundson and Kate Cadman's article on Charles Muss, Part 2 (Northern Ceramic Society), which includes several coffee cans and saucers held in private collection. It must also be noted that some other pieces do exist using the same source inspiration but with entirely different borders and overall grounds, including a 'Hyena' campagna vase with stylised purple scrolling and puce ground in Shrewsbury Museum and Art Gallery (SHYMS: C/2565). For further information, see the footnote section. See also Bewick, Thomas, Ralph Beilby, 1800. A General History of Quadrupeds : The Figures Engraved on Wood. Newcastle upon Tyne, S. Hodgson, R. Beilby, & T. Bewick. Provenance:Private collection, purchased in London. Footnote:The animal painting, from which this service takes its title, is inspired by Thomas Bewick's A History of Quadrupeds, published in 1800. The Bewick Society states that the extent of the original service is unknown, but it likely would have comprised a centre dish, a selection of side dishes, tureens, plates and perhaps a pair of ice pails. (1) The scope of potential inspiration was enormous, with over 200 different woodcut engravings. The most extensive known offering of pieces reached the market in 1970, including a 'Polar Bear' centre dish and 'Hartebeest' lozenge dish, all of which was secured for the nation with the V&A Purchase Grant Fund and are now on display at the Shrewsbury Museum and Art Gallery. Further plates have cropped up sporadically throughout the years.The principal decorator is not definitively known, although they were almost certainly from London and working outside the factory. Roger Edmundson, however, has proposed Charles Muss (1779-1824) as at least one of the painters of this service, of which the pieces sometimes vary in style and are perhaps by more than one hand. The reasoning for this attribution includes known pieces of this service illustrated in Messenger's Coalport book and displayed at the Shrewsbury Museum and Art Gallery to exhibit aspects of Muss's technical work. For example, the 'Tigers' stripes are carefully drawn, predominantly with two fine lines and shading alongside visible outlines to some of the legs. For this, Edmundson suggests, 'Muss probably decorated some or all of the animals'. (2) Charles Muss' father was the son of an Italian artist, Beneficio, who came to London in or around 1778. Beneficio set up as a drawing master in Newcastle-upon-Tyne when Charles was eleven years old; therefore, it is likely that Charles worked under his father's instruction. Charles exhibited several works after moving to London, including Dunkeld Castle at the Royal Academy in 1800. He later produced an enamelled plaque with a named and dated view of the Coalport China Works in 1804. After several years' break, during which time his daughter was born, he again exhibited seven further works at the Royal Academy between 1817 and 1823. He produced enamels on glass and copper, including portraits and works after old master subjects. His work extended to stained glass works, with known examples of these being Eaton Hall in Cheshire and St. Bride's Church in London, among others. References: (1) Edmundson, Roger, Charles Muss, his Painting of the Coalport Works and Decoration on Porcelain (Northern Ceramic Society, Journal 33, Volume 17) (2) Newland, Barry, The Coalport Animal Service (Cherryburn Times - Journal of the Bewick Society, Volume 6, Number 9, 2016) (3) Messenger, Michael, 1995, Coalport 1795-1926 (Antique Collectors Club, Suffulk, 1995) Condition:5mm long hairline to rim of saucer. The Phalanger has a scratch through one foot and a small portion of the green landscape and belly. This piece also has some slight wear to the internal gilt ring. The coffee can is good condition with no damages or repairs. There is some expected handling wear to the gilding on the handle and the upper rim.
A Victorian yellow metal oval locket suspended from gold decorative link chain, the oval locket with bright cut engraved decoration, the front with hinged door opening to reveal hinged glazed interior, the decorative pierced link chain with bolt ring clasp, one ring stamped ‘15 625' and one stamped '9 375', length of chain approx 43cm, locket measures approx 40mm x 30mm (excluding bail), total weight approx 28.2gCondition:Some scratches to the interior of the locket where its been tested im the past, some of the oval decorative links are secured to the circular links, some small splits to a few of the decorative links and some mis-shape/compressions, general overall wear, refer to images
A late 17th century oak brass dial longcase clock The dial signed John Andrews, Londini fecit The case possibly associated and with later carving, the hood with scroll pediment above freestanding fluted columns, the trunk with moulded panel door, the base box with conforming moulded panel, raised on a shaped plinth, the 11.35 inch brass dial with silvered Roman and Arabic chapter, subsidiary seconds dial below XII and separate calendar indicator, the centre matted and engraved with floret boss and scrollwork, the four-pillar weight-driven movement striking on a bell, with two weights, pendulum, winder and case key. 47cm wide x 24cm deep x 207cm high Footnote:John Andrews was apprenticed to Nathaniel Pyne from 1680 then later transferred to Samuel Stanton. He was freed in 1688 and worked in Leadenhall Street. A bracket clock by the maker can be found in the collection of the Metropolitan Museum, New York, accession Number: 64.101.861. Condition:Hood: Generally good. Cracks to glass in both top corners.Case: Generally good with minor/expected signs of age.Dial: Good. Chapter ring silvering is slightly tarnished.Movement: Winds, sets, runs and strikes. Strike hammer not hitting the bell.Ancillaries: Good/serviceable condition.Unless otherwise stated, all clocks are likely to have been serviced and/or repaired in their lifetime and may have had parts replaced. While a clock may be described as 'working' at the time of the report, they are not guaranteed for timekeeping or durability - it is advised that all clocks are inspected and serviced by a qualified horologist before full use.
An untested ruby and diamond ring, designed as a central oval mixed cut ruby flanked to each side by an old cut diamond and interspersed with six smaller old cut diamonds, all claw set in yellow metal to yellow metal shank, not stamped, ring size O, weight approx 4.6gCondition:Ruby measures approx 7.5mm x 4.8mm x 3.1mm, diamonds each measure approx 5mm-5.5mm diameter x 3-3.2mm deep, each diamond estimated to weigh approx 0.70cts, clarity grade estimated approx VS2-SI1, one with a couple of surface reaching fractures, colour grade estimated approx F-G, general wear but no significant visible damage, refer to images
A John Rose Coalport 'Animal Service' dessert plate, circa 1805The Mongoose Lemur, the dark-blue ground flanked by gilt stylised foliage, the centre painted with the animal in a grassy landscape, untitled, dark blue ground with border gilding of a sparser type, 22.2cm diameter (gilding worn)"The Mongoose is nearly the same size as the Ring-tailed Macauco. Its fur is fine, soft, and woolly, of a deep brownish colour; the eyes are of a beautiful orange colour, surrounded with black, the ears are short; cheeks white; end of the nose black; the tail very long; and covered with hair of the same sort and colour of the body; its hands and feet are naked; and of a dusty colour, its nails, except one upon the inner toe of each hind foot are flat..." Bewick, Thomas, Ralph Beilby, 1800. A General History of Quadrupeds : The Figures Engraved on Wood. Newcastle upon Tyne, S. Hodgson, R. Beilby, & T. Bewick.Condition:Some heavy wear to the gilding. No damages or repairs.
A two stone diamond crossover ring, the brilliant cut diamonds claw set in white metal to yellow metal shank, stamped '18ct', ring size S, weight approx 4.5gCondition:Diamonds each measure approx 6.3mm diameter x 3.7mm deep, each estimated to weigh approx 0.95cts, clarity grade estimated approx VVS2-VS1, colour estimated approx G/H/I, general wear but no significant visible damage, refer to images
Kieninger, Germany - A 20th century continental 24 hours movement skeleton mantle clock. The clock having a mahogany case with glass bow front. White circular dial with Roman numerals to chapter ring and secondary dial to top. With warranty.Measures approx. 34cm x 23cm x 15cm.
A vintage 18ct yellow and white gold emerald and diamond stylised floral cluster design. Set to centre with an oval mixed cut emerald with an approximate carat weight of 0.65 carats, further set with sixteen round brilliant cut diamonds with a total approximate carat weight of 0.80 carats, to trumpeting shoulders flowing through to a solid shank. Hallmarked: 18K, SB Ltd, Birmingham, 1981. Ring size J. Weight 4.72g.
A vintage 18ct yellow gold and rubellite dress ring by Amsterdam Sauer, set with an oval mixed cut rubellite with an approximate carat weight of 1.50 carats, trumpeting openwork linear shoulders flowing down into a double strand shank. Stamped AS, 18K. Ring size J. Weight 3.12g.
Platinum ring set with an oval faceted green tourmaline stone weighing approximately 26.5cts and measuring 23mm x 16mm x 11.8mm. The ring also has six round brilliant cut diamonds with H coloration, VS/2 clarity, and combined weight of approximately .24cts. Size 7. Dimensions: See DescriptionCondition: Age related wear. Some surface scratches to the large tourmaline stone.
A flacon with a clear, diamond-cut body, accented with a teal ring, and topped with a large, frosted flame like topper. Swarovski backstamp. This item has its original box. Box measures: 4.25"L x 3.75"W x 3"H. Artist: Martin ZendronIssued: 1997-2002Dimensions: 2"L x 1.5"W x 4.25"HManufacturer: SwarovskiCountry of Origin: AustriaCondition: Age related wear.

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1087811 item(s)/page