Wing On Co, silver backed dressing table set each decorated on low relief with dragons chasing the flaming pearl each marked with maker silver mark and Shanghai, original wooden box. CONDITION REPORT: All slightly dirty.Box and cover - clean, good condition, very front beading on cover is missing, 188g.Comb - one fine tooth missing, slight bash in middle of silver backing.Oval brush 1 & 2 - hairs slightly raggedy at edges otherwise good.Rectangular brush - hairs slightly raggedy, otherwise good.Circular mirror - good condition.Curved brush - good condition, raggedy hairs.
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Sheraton style inlaid satinwood occasional table, the oval top over frieze panel, raised on square tapering supports terminating in brass caps and castors. 80cm wide, 77cm high, 52cm deep CONDITION REPORT: Very minor scratches and nicks, overall very good. (Glass top).
A Victorian rosewood lady's dressing table box and contents, containing several glass bottles and pots with silver plated tops, an interesting Indian white metal rectangular snuff box, and the secret drawer with some items of jewellery and more (parcel)some knocks to the case, some of the wood is damaged or missing to the corners, damages and split to the top, 31x23x18cm, looks to be missing a tray, key is present, contents in generally good condition
An Art Deco period silver and enamelled dressing table set in a crocodile skin case, comprising a pair of clothes brushes and hair brushes, a comb, a hand mirror, cracked, several glass jars and pots lacking their lids, in a large case with outer canvas protective cover, initialled HMP
Chinese cinnabar lacquered miniature table decorated with a landscape scene, on cabriole legs, 15cm high, metal and red lacquered box, 15cm wide, modern resin portable shrine, the doors enclosing Buddha and figures, 16cm high, and a carved giltwood and gesso figure on black painted base, 25cm high, (4),.
Antique and vintage textile lengths and fragments, in a variety of bright colours and fabrics, including silk, silk velvet, taffeta and brocade, fringing and a quantity of lace and table linenProvenance, formerly the property of actor and director Henry Kiell Ayliff 1871-1949, and his sister Alice Mary Ayliff. Both born in South Africa, Henry came to Europe in the late 19th C, first studying Art at the Royal Academy in London. From 1901 he studied acting under Herman Vezin and went on to appear on stage in London and the provinces. Later he became a theatre director staging the first productions of many of George Bernard Shaw's plays A tall boy containing costume and other textiles, remained untouched for may years and now has been consigned by his grand-daughter Susanna .
Mixed group of items 1970's 'Primera Rome' rolled magazine clutch bag, two 1960's white dotted clear plastic rain coats and a similar cape by Tip-Topper, 1930's linen nursery tea table cloth embroidered alphabet and animals, fifty one assorted mats and food covers crocheted with 'milk', 'bread', 'shrimps', 'cake', etc. including unusual examples such as 'War 1939', Anne Hathaway etc., quantity of crochet edgings for tablecloths etc. along with 1930's bath towel woven circus animals and figures, 1930's girls smocked polka dot dress another with printed sprigs, checked apron, baby's silk matinee jacket, fine wool head scarf printed roses and a quantity of miscellaneous trimmings etc. .
C.F.A VOYSEY (1857-1941) 'THE RIVER RUG'a Sun Printed design hand coloured by Charles Voysey, a design for The River Rug which was produced at Wilton in 1903. The design depicts an aerial view of a rural River landscape, with a variety of figures and houses, farms and fields, and a variety of Boats. In it's original frame and with a variety of labels including an exhibition label from 1934, label with writing (The River Mat Hearth Mat, 8ft by 4ft, C.F.A Voysey, 73 St James) and with the writing This is the property of C F Annesley Voysey, Designed and Drawn by him, 73 St James St. Frame 58.5cms by 30cms, Picture 52.5cms by 25cms.*This is now believed to be a printed base which Voysey then hand coloured. This process called the Sun Printing method, was something Voysey employed, and two hand coloured versions were produced in 1925 - this presumably being one of them. We know one of these versions was framed in 1934, probably for an exhibition mentioned on the back of the picture. My thanks to the Voysey Society for this information.*This design was given by Voysey to George Nelson Haden, Chairman of G.N Haden & Sons (Hadens of Trowbridge) who was a friend and also worked on some of Voysey's projects with his firm. This has passed from Haden through the family. Haden is shown standing in the centre of the image.The original Rug is now at the Victoria & Albert Museum, who received this in 2014 and it is now exhibited in the British Galleries.Provenance:"My Grandfather G N Haden (known by his second name Nelson) was to my knowledge a friend of C F A Voysey and they obviously had a shared interest, in buildings and in design. In my Grandparents home were a number of items of furniture designed by Voysey's son, Charles Cowles Voysey. I remember a very beautiful dining table and chairs.In the 1930s' my Grandfather built a house for his family to holiday in Trebetherick, Nr Rock, Cornwall. It was called Mole End. I know Voysey visited and advised, as a friend, and I've attached an old postcard, showing the house, marked with a red arrow. It was the first to be built on the point I believe. The land in front is now National Trust. The postcard also shows Brock, marked with a yellow arrow. I mention Brock because Voysey's son Charles Cowles Voysey was the architect. This link of a recent planning application mentions this: and one must assume the commission was likely to have come about by the way of family connections. My Grandfather was younger than Voysey. He died in 1960, aged just 60. He was highly regarded in his field (awarded the OBE in 1948) and I imagine together they shared a mutual respect for each other's skills. I know my Grandfather had a great appreciation for design and would have had a great respect for Voysey's vision. Remembering Mole End the influences are evident". 
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