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PAIR OF GEORGE V SILVER PEPPER POTSmaker Northern Goldsmiths Co., Birmingham 1918, of footed, tapering circular form, in the Art Nouveau style with shaped rims and detailing, 8.5cm high; along with another pair of silver pepper pots, London 1920, of urn form, each set in fitted case, 175g gross (4)
GEORGE VI SILVER CIGARETTE CASEmaker Smith & Bartlam, Birmingham 1943, of rectangular form with canted corners, engine turned decoration, gilt wash interior, 18cm long; along with two further early 20th century cigarette cases; and a pair of silver mounted glove stretchers; the weighable silver 572g gross (4)
PAIR OF VICTORIAN SILVER SHOE BUCKLESmaker Cornelius Desomeaux Saunders & James Francis Hollings Shepherd, Chester 1898-99, 4.5cm wide; along with Art Deco silver caddy spoon, maker W.S.S. & Co., Sheffield 1932, with engraved design to handle; plated butter knife, and mother of pearl handled pocket knife, the weighable silver 32g gross (5)
THIRTY-SIX SILVER INGOTS 'LORD MONTAGUE COLLECTION OF GREAT CARS' maker John Pinches Medallists Ltd., London 1973, each showing a car displayed at The National Motor Museum At Beaulieu, 15 with pouches, 21 in original card and blister pack, each with information leaflet, the weighable silver 2460g gross
EARLY 20TH CENTURY TRAVEL COCKTAIL SETcomprising leather-bound silver-plated cocktail shaker, six tots and three Britannia metal curved flasks, inscribed, “Gin”, “Italian” and “French” respectively, contained within a leather-bound cylindrical case' along with another leather cased set of three plated flasks (2)
PAIR OF GEORGE V SILVER BONBON DISHES maker Adie Brothers Ltd., Birmingham 1932, each of circular form with pierced border and beaded rims, raised on circular foot, 11cm in diameter; along with six Edward VI silver teaspoons, maker Walker & Hall Ltd., Sheffield 1908, with golf clubs detail on handle, in original case, 290g gross (8)
MID 20TH CENTURY SILVER BON BON DISHmaker Walker & Hall, Sheffield 1962, of elliptical form, the two handles pierced with foliate decoration, beaded border, 15cm wide, along with an early 20th century silver topped, cut glass vanity jar, Birmingham 1903, of lozenge shape, the weighable silver 152g (2)
VICTORIAN SILVER SNUFF BOXmaker Edward Smith, Birmingham 1846, of rectangular form, with engine turned and bright-cut decoration, dedication to hinged lid, gilt wash interior, 8cm wide; along with an early 20th century silver napkin ring, Sheffield 1901, with engraved thistle design, 159g gross (2)
PAIR OF GEORGE IV SCOTTISH SILVER SUGAR TONGSmaker JM (Jonathan Millidge?), Edinburgh 1822, 15cm long; along with Scottish silver teaspoons and sauce ladle; also English silver teaspoons,etc., including London 1836, 1877, Birmingham 1948, etc., and some white metal examples, the weighable silver 365g gross (19)
A set of six mounted medals together with smaller rosette versions: the 1914-915 star (Lieut. E A L Green York.DNS), The British War Medal (Capt.E.A.L Green), The Victory Medal with Mentioned in Dispatches oak leaf spray (Capt.E.A.L Green), King George V Silver Jubilee Medal (Unnamed), a 1930 George V Efficiency Decoration (Unnamed) and one other (6)
An Edwardian silver bonbon dish of elliptical form with scrolled handles and rococo pierced frame, John Dixon and Sons, Sheffield 1910, together with two early 20th century cut glass and silver mounted toiletry jars; and a cut glass, box and silverv cover, together with a plain egg cup, all made in Birmingham
Attributed to Sir Thomas Lawrence RPA (1769-1830,British) Portrait of a Mother and Child with a Kitten, oil on canvas, 69 x 59cmSir Thomas Lawrence was born in Bristol. His father was an innkeeper, first at Bristol and afterwards at Devizes, and at the age of six Lawrence was already being shown off to the guests of the Bear as an infant prodigy who could sketch their likenesses and declaim speeches from Milton. In 1779 the elder Lawrence had to leave Devizes, having failed in business and Thomas's precocious talent began to be the main source of the family's income; he had gained a reputation along the Bath road. His debut as a crayon portrait painter was made at Oxford, where he was well patronized, and in 1782 the family settled in Bath, where the young artist soon found himself fully employed in taking crayon likenesses of fashionable people at a guinea or a guinea and a half a head. In 1784 he gained the prize and silver-gilt palette of the Society of Arts for a crayon drawing after Raphael's "Transfiguration," and presently beginning to paint in oil. Abandoning the idea of going on the stage which he had briefly entertained, Lawrence came to London in 1787, was kindly received by Sir Joshua Reynolds, and became a student at the Royal Academy. He began to exhibit almost immediately, and his reputation increased so rapidly that he became an associate of the Academy in 1791. The death of Sir Joshua in 1792 opened the way to further successes. Lawrence was at once appointed painter to the Dilettanti Society, and principal painter to King George III in lieu of Reynolds. In 1794 he was a Royal Academician, and he became the fashionable portrait painter of the age, his sitters including England's most notable people, and ultimately most of the crowned heads of Europe. Caroline of Brunswick was one of his favourite subjects, and is reputed to have been his lover for a time. Financial problems plagued Lawrence. In 1796, Francis Mackenzie, 1st Baron Seaforth, one of Lawrence's close patrons, gave him £1,000 (an enormous sum at the time) to relieve him from his financial difficulties. Lawrence painted several portraits for Lord Seaforth, including a full-length portrait of Seaforth's daughter, Mary. In 1815 Lawrence was knighted; in 1818 he went to Aachen to paint the sovereigns and diplomats gathered there for the third congress, and visited Vienna and Rome, everywhere receiving flattering marks of distinction from princes, due as much to his courtly manners as to his merits as an artist. After eighteen months he returned to England, and on the very day of his arrival was chosen president of the Academy in room of Benjamin West, who had died a few days before. He held the office from 1820 to his death. He was never married. Sir Thomas Lawrence had all the qualities of personal manner and artistic style necessary to make a fashionable painter, and among English portrait painters he takes a high place, though not as high as that given to him in his lifetime. His more ambitious works, in the classical style, such as his once celebrated "Satan," are practically forgotten. The best display of Lawrence's work is in the Waterloo Gallery of Windsor, a collection of much historical interest. "Master Charles William Lambton" (1825), painted for Lord Durham at the price of 600 guineas, is regarded as one of his best portraits, and a fine head in the National Gallery, London, shows his power to advantage
An assortment of four silver mustard pots, two with blue glass liners, Walker and Hall, Sheffield 1911 and London 1933, one with a lime green liner, Levi & Salaman, Birmingham 1928, and another, Wilson & Sharp, Birmingham 1922, net silver weight 204g together with an additional blue glass liner
Sydney S. Morrish (1836-1894, British) An elegant lady wearing a white silk dress and gloves, a bonnet with a pink parasol holding a Manchester terrier puppy, oil on canvas, framed, signed lower left and dated 1870, 55 x 40cmThis lively, spirited dog breed is a true terrier. Bred in Manchester, England, for the common man's sports of rat killing and rabbit coursing, he's got game and he loves to show it. The Gentleman's Terrier (as he is known in Victorian England) is not a sparring dog but loves a good chase, making him a flyball and agility expert.Though his looks suggest a miniature Doberman Pinscher or a large Miniature Pinscher, the Manchester Terrier is his own canine. A wee dog with a strong bark, he's got personality to burn: loyal, hearty, and a terrific watchdog who adores hanging out with his people. Among terriers, the Manchester is known to be one of the more well-mannered and responsive breeds and today spends his time as a terrific companion who can hold up his end of the conversation.The history of sunshades goes back thousands of years, but it was during the Italian Renaissance of the 16th century that umbrellas and parasols were introduced to Europe. At first the items were large, used interchangeably, and generally carried by a servant to protect the wealthy from the elements and sun. Some were heavy (made of leather) but silk, paper, and cotton grew in popularity. During the 1700s parasols had already evolved into a woman's fashion item, designed and decorated to match each promenade dress or walking suit, and was clearly defined as a sunshade; not for rain and snow. To make them collapsible developed around 1800, but ribs would break, paper tear, and the materials mildew if left damp. By the early Victorian era metallurgy had improved and alloy ribs were being used, nickel silver particularly popular. This type of thin strong metal was developed in Germany by craftsmen in an attempt to imitate the Chinese combination of copper, nickel and zinc, known as paktong.At the beginning of Queen Victoria's reign the parasols were quite plain, but by about 1850 tassels and frills grew in popularity. In each ensuing year the adornments became more ostentatious. If a dress had bows or flounces, the parasol could be adorned with the same decoration. This was a matter of taste, and ladies selected modest or extravagant versions for different circumstances, and based on what their income would allow. Of course it was only the wealthy who used parasols as a day-to-day accoutrement. A poor girl might have a simple parasol for church, or a Sunday afternoon stroll. It was during the 1850s the marquise parasol was developed, a style that tipped at the top, so a lady could hold the shaft straight and still shade her face well no matter the angle of the sun.During this time many houses featured racks (two horizontal parallel arms) for placing open parasols and umbrellas high overhead in front and back halls; ideal for implements that didn't close, could be damaged by constant opening and closing, or damp items. Parasol handles were usually straight, but some hooked examples exist. A plain parasol might have a wooden or metal pole with a bone handle, while the most expensive choices were of carved ivory shafts, decorated with inlaid jewels and gold banding. An in between version could be with carved horn and silver filigree accents. Throughout the Victorian era the handles grew longer, so "carriage" parasols were designed with a hinge in the middle to allow breakdown and ease of movement in tight spots.
James Poole (1804-1886,British) Travellers on the Conwy, North Wales with Mount Snowdon beyond, signed lower right, oil on canvas, 59 x 92cmThe River Conwy (Welsh: Afon Conwy) is a river in north Wales. From its source to its discharge in Conwy Bay it is a little over 27 miles(43 km) long. "Conwy" is sometimes Anglicized as "Conway." It rises on the Migneint moor where a number of small streams flow into Llyn Conwy, then flows in a generally northern direction, being joined by the tributaries of the rivers Machno and Lledr before reaching Betws-y-Coed, where it is also joined by the River Llugwy. From Betws-y-coed the river continues to flow north through Llanrwst, Trefriw (where it is joined by the Afon Crafnant) and Dolgarrog (where it is joined by Afon Porth-llwyd and Afon Ddu) before reaching Conwy Bay at Conwy. During spring tides the river is tidal as far as Llanrwst. The Conwy is bounded to the east by the rolling ancient mudstone hills of the Silurian period, the Migneint Moors. These acid rocks are generally covered in thin, often acid soils and for large parts of the upland areas the cover is of moor-grass - Mollinia spp and Erica communities. As a result the water entering the river tends to be acidic and often coloured brown with humic acids To the west, the catchment is underlain by older Cambrian rocks which are harder and the landscape is, as a consequence, more dramatic with high craggy hills and mountains through which the river falls in cascades and waterfalls. Excellent examples of torrential river geomorphology can be seen at Conwy Falls and in the Lledr Gorge. The land to the East is highly forested with planted non-native conifers.The western side of the valley is rich in lakes and reservoirs some of which provide drinking water supplies. The rocks are also rich in minerals and there are many abandoned mine sites where copper, lead and silver have been mined since Roman times.The central river valley down-stream of Betws-y-Coed is relatively wide and fertile, and supports dairying and sheep rearing. In winter time these pastures are used to nurture the sheep brought down out of the mountains to avoid the worst of the winter weather. The English name for the area derives from Snowdon, which is the highest mountain in Wales at 3,560 ft (1,085 m). In Welsh, the area is named Eryri. One assumption is that the name is derived from eryr ("eagle"), but others state that it means quite simply Highlands, as leading Welsh scholar Sir Ifor Williams proved. In the Middle Ages the title Prince of Wales and Lord of Snowdonia (Tywysog Cymru ac Arglwydd Eryri) was used by Llywelyn ap Gruffudd; his grandfather Llywelyn Fawr used the title Prince of north Wales and Lord of Snowdonia.Prior to the designation of the boundaries of the National Park, the term "Snowdonia" was generally used to refer to a much smaller area, namely the upland area of northern Gwynedd centred on the Snowdon massif, whereas the national park covers an area more than twice that size extending far to the south into Meirionnydd. This is apparent in books published prior to 1951 such as the classic travelogue Wild Wales by George Borrow (1862) and The Mountains of Snowdonia by H.Carr & G. Lister (1925). F. J. North, as editor of the book Snowdonia (1949), states "When the Committee delineated provisional boundaries, they included areas some distance beyond Snowdonia proper." The traditional Snowdonia thus includes the ranges of Snowdon and its satellites, the Glyderau, the Carneddau and the Moel Siabod group. It does not include the hills to the south of Maentwrog. As Eryri (see above), this area has a unique place in Welsh history, tradition and culture.
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2475480 item(s)/page