dating: 19th Century provenance: China, Wooden structure, the seat covered with light-brown silk, richly decorated with seams in silver thread and brown silk with floral motifs and symbols, four, silver studs, pierced and engraved. Front and back parts covered with ray-skin, with iron mounts engraved with geometrical motifs. Small parts missing and defects. Classic, iron stirrups. Lined saddle-pad, lateral parts of carpet type, with polychrome decorations. Damaged internal part. Very scarce. length 47 cm.
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dating: 18th Century provenance: Mongolia, Wooden structure, composed of four pieces joined by leather bands, raw seat, leather covering almost completely missing. Front and back parts covered with hexagonal plaques of the horse teeth, with brass frame. Iron borders, richly engraved, gilded and silvered with animals and floral motifs; rings for iron laces, engraved and on gilded and engraved mounts. Parts missing and defects. Complete with iron stirrups, lateral bands chiselled with a dragon and with brass, geometrical decorations, leather part of the bridle, with iron plaques, decorated with silver-inlaid engravings. Saddle-pad of carpet type, embroidered with polychrome floral motifs. Finally, a leather whip with wooden handle. Very scarce. length 51 cm.
A closely matched pair of George III mahogany French Hepplewhite armchairs, each with beaded border to the channelled cartouche back, the back, armpads and serpentine-fronted seat covered in pale yellow silk damask, with channelled scrolling arm supports, raised on slender channelled cabriole legs with scrolled hips and feet, slight variations to frames, the first 24½in. (62.25cm.) wide, 36in. (91.5cm.) high to back, the second 25in. (63.5cm.) wide, 35¼in. (89.5cm.) high to back. (2) * Provenance: Sotheby's, unknown sale
An early George III mahogany open armchair, the waisted, rectangular back with serpentine backrail and canted angles, armpads and seat covered in nailed rust-red velvet, the arms with cabochon carved ends on leaf carved scrolling supports, raised on cabriole legs with leaf carved brackets, cusped foliate hips and stop fluting, on foliate scrolled feet, 36¼in. (92cm.) high to back, 17½in. (44.5cm.) high to seat, 26in. (66cm.) wide, re-railed, some blocks replaced. * Provenance: Sotheby's New Bond Street, London, Fine English Furniture, 2nd March 1990, Lot 159. * Provenance: Sotheby's London, 02.03.90, Lot 159.
A George II mahogany reading or cockfighting armchair, the U-shaped upholstered back and seat covered in rust-red velvet, the back with rectangular reading flap with easel back, raised on scallop shell, husk and foliate carved cabriole legs united by a later turned H-stretcher, on pad feet, 33¼in. (84.5cm.) wide, 33½in. (85cm.) high to back, 19½in. (49.5cm.) high to seat, restorations. * Provenance: Sotheby's New Bond Street, London, Important English Furniture, 13th July 1990, Lot 163.
A George II carved mahogany double chairback settee in the Irish Chippendale manner, the leaf and cartouche carved top rail with paper scroll terminals and pierced waisted splats with carved florets, the outswept arms with lion's head terminals on leaf carved supports, the padded seat covered in nailed blue damask, over a seat rail with shaped foliate aprons, raised on triple cabriole legs with foliate brackets, the hips carved with lion masks, rings and foliage, on paw feet, 57in. (145cm.) wide, 32in. (81.25cm.) to top of back, 18½in. (47cm.) to seat.
A George III mahogany easy armchair, of smaller proportions, the rectangular shaped back, scrolled sides and serpentine fronted padded seat covered in rust patterned velvet on cabriole legs with leaf carved hips and brackets, stop-fluting and scroll feet, 29¾in. (75.5cm.) wide, 40in. (101.5cm.) high to back, polish defective, sunfaded to left side. * Provenance: Sotheby's London, Important English Furniture, 6th July 1990, Lot 69.
A pair of George III mahogany open armchairs, in the French Hepplewhite style, each with cartouche back, armpads and serpentine fronted seat upholstered in nailed pale apricot damask, with channelled and scrolled arm supports on slender cabriole legs with leaf carved hips, foliate scroll brackets and leaf carved scroll feet, 25in. (63.5cm.) wide, 33½in. (85cm.) high to back, silk upholstery damaged. (2) * Provenance: Sotheby's London, Fine English Furniture, 2nd March 1990, Lot 186.
A George II mahogany T-Wing armchair, the back, shaped outscrolled sides and bowed seat with squab cushion covered in blue damask, with nailed seat-rail, raised on foliate carved cabriole legs with floret carved hips within foliate and rocaille surround, on ball and claw feet, 36½in. (92.75cm.) wide, 44¼in. (112.5cm.) high, restorations. * Provenance: Christie's London, unknown sale.
An early George III mahogany window seat or long stool, the drop-in seat covered in buttoned pale blue cotton with nailed border, the blind-fret frieze within bead and reel moulding, raised on six square chamfered channelled legs with similar carving and foliate brackets, on leather barrel castors, 50 x 18in. (127 x 45.75cm.), 18½in. (47cm.), frame possibly extended. * Provenance: Christie's, unknown sale.
An Irish George II mahogany open armchair, the serpentine shaped backrail over a pierced vase splat with interlaced strapwork, within shaped uprights, the scroll-end arms on waisted supports, the drop-in seat with old-gold damask upholstery, raised on leaf carved cabriole legs with ball and claw feet, 26in. (66cm.) wide, 35¾in. (91cm.) to top of back, restorations. * Provenance: W. A. Pinn & Sons, Sible Hedingham, Essex, 2nd March 1990.
An early 19th century mahogany window seat or stool, with scroll ends and button push moulding, raised on reeded legs, width 45insCondition Report: Wood worm holes evident to frieze of seat. Split to the roll. Some veneer loss to roundels. Some bruising and damage to reeding of legs. Some worm damage to seat ends. Various scratches and scores. Would benefit from light restoration. Maximum height 18.5ins.
A set of seventeen 19th century mahogany balloon back dining chairs, with carved back rail, serpentine front rail to the stuff over seat, raised on turned front supportsCondition Report: Chairs have been cleaned off and appear to be a set, but may well have been matched at some point or other. No depth to colour and various marks, blemishes and scratches. Some evidence of new timber underneath the seats.
A 1969 Daimler 250 V8 automatic saloon, registration number YHN 448G, Sable. This has covered a believed 87,000 miles from new, and has recently been re-commissioned after a 19 year slumber. Prior to its hibernation, some welding and body preparation was carried out but never completed. We are advised that the crows feet and the rest of the underbody are in sound condition, with a light covering of underseal. The interior is original with the driver's seat in need of localised repair. Coming to auction with receipts and old MOTs. V5C, MOT and tax exempt See illustration
[Ring, John] The Commemoration of Handel, a Poem, 1st edition, for T. Cadell, J. Walter and T. Booker, 1786, , 41 pp., final leaf repaired along fore edge and with a small interlinear tear affecting a few letters, inscribed by the author on the title page 'To Dr. Geddes, From the author John Ring Esq', 'By John Ring' inscribed below in a different contemporary hand, bound with: [Geddes, Alexander?], Ode, Congratulatory and Expostulatory, to the Right Hon. William Pitt, M.P., etc. by W-ll-m W-b-f--e, Esq M.P., 1st edition, [1798?], 3 pp., slightly spotted; [Geddes, Alexander?], Lines written in the Album at Cossey-Hall, Norfolk, the Seat of Sir William Jerningham, Bart., August 4th, 1786, 1st edition, [Norwich, 1786?], 8 pp., title inscribed 'By Dr. Alexander Geddes' in a contemporary hand; Pindar (Peter; pseudonym of John Wolcot), Advice to the Future Laureat: an Ode, 1st edition, for G. Kearsley, 1790, 18 pp. + advertisement leaf, spotting; ibid., A Poetical, Supplicating, Modest, and Affecting Epistle to those Literary Colossuses, the Reviewers, 2nd edition, for G. Kearsley, 1787, 10 pp., spotting;[ibid.], [Subjects for Painters], 1st or 2nd edition, [for G. Kearsley, 1789], 105 pp. but lacking first two leaves (title page and pp. 3-4); Bolus (Whirligig; pseudonym), The Quackade. A Mock Heroic Poem, in Five Cantos, 1st edition, by Thomas Syringe for M. Cooper, 1752, 83 pp., outer leaves spotted and browned, contemporary German news-sheet tipped to p. 9; modern green half leatherette, gilt spine-title ('Lampoons'), 4to ESTC T184797, T62583, T62583 for the first three works.Interesting volume of poetry and lampoons. John Ring (1752-1821), vaccination pioneer, evidently admired the Scottish Bible scholar and poet Geddes (1737-1802), publishing after Geddes's death a translation of one of his Latin poems. Geddes, not William Wilberforce, is suggested as the real author of the satirical ode to William Pitt in ESTC, though ESTC's attribution of the Lines written in the Album to Jerningham himself is called into question by the inscription in this copy . ESTC traces eight copies of Ring's work, nine of the Lines, and one of the Pitt lampoon. (1)
A pair of Gillows rosewood dining chairs, the shaped backs carved with shell and scroll, cane seats, on scroll carved legs, stamped GILLOWS LANCASTER to the back rail (2) 86 x 51cm (34 x 20in) Other Notes: Gillows of Lancaster and London were one of the great furniture and cabinet makers of the late 18th Century and 19th century. Founded in 1730 by Robert Gillow, the company remained in business until 1938 - albeit having merged with Waring of Liverpool in 1897. Gillows' designs were never worked up to a finished state or formally published. Instead they retained Estimate Sketch Books containing some 20,000 sketches used for the firm's private records or for customer's confidential perusal. The Gillows archive from 1731-1932 contains under 200 volumes of records. The company attracted commissions from a wide social spectrum: from tradesmen to the aristocracy and a wide range of products: from altarpieces and coffins to sideboards and chairs. Their furniture is collected and displayed in public collections and houses; dining chairs with a similar shell motif can be seen at Erdding, Wrexham: Kingston Lacy, Dorset; and Hardwick Hall, Derbyshire. One cane seat has a small hole
A George III mahogany window seat, with serpentine seat and out scrolling arms, upholstered in a crimson and gold woven fabric, the frame carved with husk swag and foliate roundels, on swept legs 64 x 93 x 37cm (25 x 36 x 14in) Previously painted and recently stripped and polished, with some definition losses to the carving.
Russian Silver Gilt chair salt, the seat a hinged lid, niello and pierced decoration, Russian '84' standard mark, St. Petersburg, dated 1874, height approx. 9cm, width approx. 6.5cm, together with a Russian silver salt spoon, Russian '84' standard mark, St. Petersburg, dated for 1871, makers mark ‘AB’, assay master Ivan Vonifatiyevich Yevstigneyev, gross weight 5.6ozt. For a condition report on this lot visit www.peterwilson.co.uk
Anglo-Indian armchair 1810-1820 rosewood with open back and sides, with cane seat on reeded supports 83cm high, 52cm deep Note: See 'Furniture from British India and Ceylon' by Amin Jaffer plates 192, 195 and 88. The chair bears similarities to features within the three illustrated chairs and as noted an affinity with chair designs published by Sheraton in the Cabinet Dictionary (1803)
A George III mahogany library armchair, upholstered in brass nailed and green leather with anthemion carved show wood cresting to the oval back, open arms carved with bell flowers, to a serpentine front seat, on fluted square tapering legs 97 x 61 x 55cm (38 x 24 x 21in) Nicely faded green leather with good patination to the frame
A suite of Sheraton revival painted satinwood chairs and settee by Wright & Mansfield, banded in tulip wood, and painted with neo-classical urn, floral spray and leaf decoration to the pierced shield backs, bearing paper maker's labels to the seat rails on two pieces, single chair: 96cm high (37in) 47cm wide, settee 97cm (38in) wide, armchair 53cm (21in) wide (5) together with the 1950 auction catalogue for Fornham Mansion Provenance: The Property of Sir William Gilstrap Bart. Fornham Park, Suffolk, 'Furnishings of the mansion', 30th March 1951, Lot 157. 'The delicate Sheraton satinwood suite with tulip wood banding and open pierced shield shaped backs with painted floral decoration, cane seats and loose cushions upholstered in amber silk damask, comprising; a two chair back settee, open armchair and three small chairs, sold for £65 Other Notes: Wright and Mansfield were one of the pre-eminent makers of furniture in the George III style and central to the revival in interest of late 18th Century English furniture from 1860s-1880s. The partnership between Alfred Thomas Wright, cabinet maker and upholsterer and Thomas Needham Mansfield was formed in 1860, working firstly at 3 Great Portland Street, and subsequently at 104 New Bond Street, London. The partnership was dissolved in 1886. They specialised in furniture based on the designs of Robert Adam, Thomas Chippendale, George Hepplewhite and Thomas Sheraton. The Victoria & Albert Museum hold as part of the collection a chair very similar in style to this suite, purchased in the stock sale of 1887. Such was the quality of the work of Wright and Mansfield, it was decided that the museum must hold an example of a reproduction chair to ensure they were not mistaken as originals in the future. The museum had previously bought a satinwood cabinet in the Adam style which Wright and Thomas had exhibited at the Paris Exhibition of 1867. No apparent damages, just expected wear.
A late 19th century satinwood armchair in the manner of Sheraton, with painted neo-classical urn, floral and ribbon swag decoration, to a pierced splat back and swept arms, on turned column legs, possibly by Wright & Mansfield, bearing stamp to seat rail OM 3881 95 x 60cm (37 x 23in) Good sound condition with stamp to the front seat rail
De Diemerbroeck (Isbrand) and Salmon (William) trans. The Anatomy of Human Bodies. London, printed for Edward Brewster, 1689. 4to, sometime rebound in full leather, retaining elements of the original binding; 16 striking copper-engraved plates after drawings of medical dissections (some with varying loss or repair), occasional marginalia. First English translation (preceeded by the Dutch first edition of 1672 (in Latin).The translation was by William Salmon, a noted 17th century English medical historian. Isbrandus De [van] Diemerbroeck was a respected Dutch physician who worked in Nijmegen during the Black Death epidemic. His experience with, and knowledge of, such diseases can be seen in the carefully recorded case histories which make up one section of the book. The majority though is a highly-detailed anatomical study, most interesting today as a historical record of 17th century medical knowledge. The book is part of a theological natural history, seeking after the seat of ''the most Noble Functions of the Soul''. It can be hard in an era of scientific enquiry and advanced medical studies to understand the twin constraints of religious objection and Ancient worship which so hampered the early study of anatomy. Whilst Vesalius' pioneering work was over one hundred years behind De Diemerbroeck, the direct study of the human body remained controversial and difficult. His introduction to this important work argues vehemently in favour of such study, appealing to authority and precedent to overcome Galenic objection and pre-empting the Church by equating anatomical work to a witness of the ''skill and workmanship of the Divine hand in building a Tabernacle for the Soul of Man.'' This is not a theological treatise however. The author's stated purpose is the improvement of medicine. The preface compares the need for anatomy to the architect who ''must know all the Parts of the House'' if they are to repair one which is ''decay'd''. He argues further that you cannot treat disease (his own especial study) without knowing ''what Part a Disease does primarily affect''. He also notes the important role medicine plays elsewhere in society, reminding the reader that ''only men skill'd in Anatomy can give true Judgement upon a Wound'' - of critical importance in criminal proceedings. This is not a recitation of learned authority; this is a deliberate positioning of personal study of anatomy at the heart of best medical practice. Plates 2, 7, 8, 9, 14, 15 and 16 torn with varying loss, generally small, 3, 12, and 13 torn but repaired, some foxing, staining etc internally but a very good copy of a rare work.
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