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Click here to subscribeA large Chinese blue and white porcelain ginger jar and cover, Qing late 19th century, painted with "The Three Friends Of Winter" in the round, 23 cm diameter, 21 cm high, together with a pair of small Chinese blue and white baluster vases painted with a pair of figures seated at a garden table, late 19th century, 17.5 cm high, a Chinese circular blue and white bowl 16 cm diameter and a celadon glazed Cong vase, 20th century 27 cm overall height.
An Italian (Tuscan) mahogany and parquetry inlaid centre table, late 18th century, with a short frieze drawer, supported by inverted obelisk legs. 91 cm wide x 70 cm deep x 79 cm High. Ex, lot 529 at The Conti Lamberti Rosselmini Gualandi sale held at Lucc'Aste Casad D'Aste in 2001
Johann Heinrich Tischbein d. Ä., 1722 Haina – 1789 KasselGemäldepaarLANDGRAF FRIEDRICH II VON HESSEN-KASSEL (1720 - 1785) sowiePRINZESSIN CHRISTINE CHARLOTTE VON HESSEN-KASSEL (1725 - 1782)Öl auf Leinwand.144 x 112 cm.Das Herrenportrait ist rückseitig oben links bezeichnet und datiert „Tischb. 1765 Kurfürst von Hessen“.In Rokokorahmen, die dem Innenarchitekten und Dekorationsbildhauer Johann August Nahl d. Ä. (1710 Berlin - 1785 Kassel) zugeschrieben werden. Dieser war seit 1755 in Kassel tätig.Der Souverän in Dreiviertelfigur nach links in blauem, reich besticktem Uniformrock dargestellt mit Band und Stern des englischen Hosenbandordens. Neben ihm ein kleiner Tisch, darauf sein Dreispitz und eine Kupferstichkarte, dahinter eine Vorhangdraperie. Christine Charlotte als Kniestück, den Kopf nach links gewandt, mit Band und Stern des russischen Katharinenordens vor Vorhangdraperie. Die Prinzessin hält die Pfote ihres Schoßhündchens, der auf einem Sessel steht. Dessen Halsband mit Bezeichnung C.P.Z.H: Christine Prinzessin zu Hessen. Als Cousine des Landgrafen Friedrich II war sie nach dessen Trennung von seiner Gemahlin im Jahre 1754 die ranghöchste Dame am Kasseler Hof und kam bis 1773 den Repräsentationsaufgaben der ehemaligen Landgräfin nach. Ab 1766 bekleidete sie das Amt einer Koadjutorin der Förstabtei Herford.Provenienz:Familie des Johann Jacob von Uckermann (ehemals Hessischer Geheimrat, Schloss Weesenstein, Bedeleben).Bis 1945 im Besitz der Uckermann‘schen Nachfahren auf Schloss Luttowitz bei Bautzen.1945 im Rahmen der Bodenreform enteignet mit Übergang in den Besitz der Gemäldesammlung Alte Meister, Dresden.2008/2009 Restitution an die Erben der rechtmäßigen Eigentümer.Anmerkung:Ein weiteres Portrait der Prinzessin befindet sich im Besitz der Hessischen Hausstiftung, Museum Schloss Fasanerie, Eichenzell. Eine weitere Version findet sich auf Schloss Kronberg (signiert und datiert 1765).Literatur:Das hier angebotene Gemäldepaar ist aufgeführt im Werkverzeichnis: Anna-Charlotte Flohr, Johann Heinrich Tischbein d.Ä. (1722 - 1789) als Porträtmaler. Mit einem kritischen Werkverzeichnis, München 1997, S. 176, WVZ-Nr. G14 (Landgraf) und G41 (Prinzessin), mit Abb. (1370346) (13)Johann Heinrich Tischbein the Elder,1722 Haina – 1789 KasselA pair of paintingsFREDERICK II, LANDGRAVE OF HESSE-KASSEL (1720 - 1785) and HIS COUSIN PRINCESS CHRISTINE CHARLOTTE OF HESSE-KASSEL (1725 - 1782)Oil on canvas.144 x 112 cm.The portrait of the gentleman is inscribed and dated top left on the reverse: Tischb. 1765 Kurfürst von Hessen.In Rococo frame, attributed to the interior architect and decorative sculptor Johann August Nahl the Elder (1710 Berlin - 1785 Kassel). He was active in Kassel since 1755.The sovereign is shown in three-quarter length portrait to the left, in a blue, richly embroidered tunic, with the ribbon and star of the Order of the Garter. Beside him a small table, on it his tricorn and a copperplate map, with drapery in the background. Christine Charlotte is shown in knee-length portrait, her head turned to the left, with the ribbon and star of the Russian Order of Saint Catherine in front of curtain drapery. The princess holds the paw of her pet dog, who is standing on an armchair. His collar with the inscription C.P.Z.H: Christine Princess of Hesse.Literature: The pair of paintings on offer for sale in this lot are listed in the catalogue raisonné: Anna-Charlotte Flohr, Johann Heinrich Tischbein d. Ä. (1722 - 1789) als Porträtmaler, mit einem kritischen Werkverzeichnis, Munich 1997, p. 176, catalogue no. G14 (Landgrave) and G41 (Princess), with illustration.
Louis XV-Table de toilette en coeurHöhe: 73,5 cm. Durchmesser: 41,5 cm.Frankreich, um 1765.Über drei geschwungenen gekanteten Beinen der Korpus mit Spiegelfurnier und Zick-Zack-Muster. Darüberliegend ein zentraler kleiner Schub mit Messingknauf und seitlich aufspringenden Kompartiments, über Federzug zu öffnen. Überkragende, den Zügen des Möbels folgende Holzdeckplatte mit Intarsien und hochklappbarem Scharnierdeckel mit innenliegender Verspiegelung sowie darunter befindlichem Marketeriefeld. Der Typus dieses Möbels geht auf Jean-François Oeben (1721-1763) zurück, von dem für die Zeit um 1763 zwei solcher Tische belegt sind. Solche Möbel wurden etwa von Adrien Dubois (1715-1757), Pierre Macret (1727-1796), Louis Peridiez (geb. 1764) und Simon Oeben (1722-1786) produziert.Anmerkung:Ein solcher Tisch wurde am 21. Juni 2007 bei Christie‘s, Paris, Lot 256 versteigert. Vgl. weiterhin Sammlung Lagerfeld, Christie‘s, Monaco 28./29. April 2000, Lot 29. Vgl. Sammlung Wildenstein, Christie’s, 14./15. Dezember 2005, Lot 375. Literatur: Vgl. Vera Lemus, Pushkin Palaces and Parks, Leningrad 1984, Abb. 70. Vgl. Bill GB Pallot und Pierre-Nicolas Sainte-Fare-Garnot, Le mobilier français du musée Jacquemart-André, Paris 2006, S. 139. (1371191) (13))
An oak draw leaf table, a barley twist occasional table, four dining chairs, clothes rail, three trunks, and an oak sideboard. Lots 1501 to 1590 are available to view and collect at our additional premises SALEROOM SIX, Unit 6, Ellesmere Business Park, Grantham, NG31 7XT. For more details please call the office on 01476 565118. All collections for this section must be done Friday 29th September & Monday 2nd October.
Alice Mary Havers (British, 1850-1890)Contemplation signed 'A Havers' (lower left)oil on canvas127 x 81.3cm (50 x 32in).Footnotes:ProvenanceWith Thos. Agnew & Sons, Manchester.With Pyms Gallery, London.Private collection, UK (acquired from the above).When Alice Havers died of an accidental morphia overdose in 1890, aged only forty years old, more was made of this abrupt, tragic end, linked to her status as a divorced woman than of her art. In her resultant obituaries, journalistic opinion swayed between describing her manner of dress, her mental health, only turning occasionally to the popularity of her art. Despite the seemingly gentle and traditional scope of her art, the life and career of Alice Havers, also known as Mrs Frederick Morgan, resonates with the fate of modern, creative women today.Alice Mary Celestine Havers was born on 19th May 1850. The Havers family lived at Thelton Hall in Norfolk, their ancestral home, built in the 16th century. Alice's father, Thomas Havers (1810-1870), relocated his family to the Falkland Islands in 1854, taking work as manager of the Falkland Island Company, then moving his family to Uruguay. Thomas Havers apparently had artistic aspirations himself, planning a series of pieces based on the flora and fauna of the islands and it is assumed he encouraged his daughter's talent.1 For source material far from home, Alice copied pictures from the Illustrated London News and the Graphic as her way of developing her artistic skills (Atlanta, Volume 4, 1890).After Thomas Havers' death in 1870, Alice returned to England with her siblings. She enrolled at the South Kensington Art School where her work earned her a free scholarship. She married fellow artist Frederick Morgan in April 1872 yet maintained her maiden name professionally. The couple had three children, including artist Valentine Havers (1873-1912), who tellingly used his mother's name professionally. Despite the pressures of motherhood, Alice continued to work and exhibit to some modest acclaim, including Ought and Carry One (1874), a profile of a schoolgirl working on a sum, which was bought from the Royal Academy by Queen Victoria. Coupled with this, Alice illustrated books, including the romantic novels of her sister Dorothy Boulger (1846-1923), becoming known for her spirited and expressive illustrations. The Gentlewoman magazine in September 1890 commented on Alice's work as being 'graceful, delicate, almost ethereal...She never painted anything large or very ambitious in design or colouring...it was [beauty] proceeding from purity of soul, and the outward expression of the artistic thoughts and ideas treasured up in her heart'.2 Her output bustled with images of idyllic, industrious female rural lives; groups of picturesque peasant girls washing clothes, gathering flowers or just pausing in woodland or by streams. Such public-pleasing images became coloured plates, sold for domestic display and securing her reputation as a popular, accessible artist, not to mention providing an income to her household that would have easily rivalled, if not exceeded, that of her husband. Throughout these years, Alice was contending with an abusive homelife. Frederick Morgan had conducted affairs from the year after Valentine was born until Alice filed for divorce in 1889. The marriage was violent; her sister Dorothy once took the place of her sister at a dinner party after Alice was too badly beaten to attend. It is possibly unsurprising therefore that alongside the pastoral idylls, Alice occasionally exhibited more poignant, darker paintings such as End of her Journey (1875), depicting a woman dying by the roadside, and Trouble (1885), showing a mother holding her cadaverous child la pietà, while stoically instructing her other children, within a dingy room with the grey-washed city visible through the slanting windows. When Trouble was exhibited with the Society of Lady Artists, it was praised in the way Alice 'treats the domestic sorrows of humble life with touching tenderness of sentiment.' The common thread through these works is the condition of female existence in a perfect world, sometimes in harmony, sometimes at odds.The present painting hangs between the idyllic and the pensive. A beautiful peasant girl carrying a bundle pauses by a stream in a woodland. Beyond the screen of trees lies a sunlit meadow but she pauses, hand on hair, gazing down at a patch of foxgloves. The familiar elements of Havers art are present – the setting, the character, the eternal summer – but the girl's pondering of the flowers brings interpretations to the work. In Thomas Miller's 1840 book on the language of flowers, The Romance of Nature, he gives the meaning of foxgloves as 'I am not changed, they wrong me', an expansion on the traditional meaning of 'insincerity'. Arguably a narrative of Havers own marriage, the weary, thoughtful expression and dark, atmospheric woodland speaks of choices and disappointments, raising questions of where the girl is headed or what she is leaving behind.Alice's arrival in London in 1870 coincided with that of Paul Durand-Ruel (1831-1922), famed Parisian art dealer, who sought exile from the Franco-Prussian war. With the establishment of his London gallery in New Bond Street and its annual exhibitions, the shock of Impressionism was finally released on the London masses. Art students including George Clausen (1852-1944) flocked to see Impressionism and its treatment of the rural poor as a legitimate subject. This drive gained further momentum with the publication of Alfred Sensier's 1881 book Jean-François Millet, Peasant and Painter together with others including the Fine Art Society's Twenty Etchings and Woodcuts of Millet's work on the noble, rural poor. This influence was reflected in a review of Alice's illustrations for William Morris's 1889 book of poems, where the Birmingham Mail referred to her as 'one of the foremost English lady exponents of the French school'.3 Alice's transition from rural idyll to rustic narrative reflects the general movement in Britain which resulted in the art of Henry Herbert La Thangue (1859-1929), the Newlyn School and the novels of Thomas Hardy. The girl who considers the foxgloves in Alice Haver's painting is a proto-Tess of the D'Urbervilles or Bathsheba Everdene, considering her life choices that are ever-dependent on their socio-economic status in natural surroundings that offer both light and plenty and dark and danger.After a very public and damaging divorce in 1889-90, Alice and her children moved back to London, to St John's Wood where she rented a house with a studio, but the new life was not to last long. She had been suffering from neuralgia and medicating with morphia, injected straight into her forehead, spending her nights on the couch in her studio. On the morning of 25th August 1890, the maid found her insensible from an overdose, with the needle still clenched in her hand. On the table was a letter to her doctor, describing her symptoms as unbearable and requesting another course of treatment.
An Italian mahogany library table, in the Neoclassical style, last quarter 19th century, top inset with tooled leather writing surface, on carved griffin legs to plinth base with two entwined wreaths, 88cm high, 125cm wide, 81cm deep Condition Report: One wing repaired to one of the griffins, scratches and knocks throughout, some splits to veneer, structurally sound, overall good condition.
A French gilt-bronze figural table lamp, early 20th century, by PH Mourey, modelled as three Bacchic putto, on a circular base mounted with fishing trophies, stamped PH MOUREY, converted, 52cm high It is the buyer's responsibility to ensure that electrical items are professionally rewired for use.
A Victorian Aesthetic movement oak side table by Marsh, Jones and Cribb, third quarter 19th century, part-ebonised, with single drawer, turned legs and spindles, on castors, with paper label stating Marsh, Jones, and Cribb, (late Kendell & co) no.52406 workman's name, ? Smith, 73cm high, 92cm wide, 46cm deepFootnotes: Note: Following their joint purchase of John Kendell's London cabinet making firm in 1864, John Marsh and Edward Jones, both originally from Leeds, then went on to establish their own furniture showroom in Cavendish Square. By 1872 Marsh and Jones had formed an official business partnership with Henry Cribb.Marsh, Jones and Cribb enjoyed great success and gained particular renown during the 1860s and 1870s, coinciding with a period when the company employed some of the foremost gothic revival designers of the time. Perhaps most notable among these important creative figures were Charles Bevan and Bruce Talbert (d. 1881), who both championed their own highly distinctive Geometric gothic style.
A Regency mahogany triple pedestal D-end dining table, first quarter 19th century, the three pedestals with tilt-tops, on ring turned columns to four reeded splayed legs, brass caps and castors, with two extra leaves, 70cm high, 286cm wide, 120cm deepCondition Report: Scratches, stains and old gouges throughout, a small split to the top of two of the pedestals, a repair to top of the third pedestal, structurally sound with no repairs to the bases, overall very good condition.
A George III mahogany side table, third quarter 18th century, the rectangular top above single drawer, on chamfered legs, 72cm high, 92cm wide, 48cm deepProvenance: The Collection of Lord and Lady WeinstockCondition Report: Scratches, stains and old gouges throughout, small split to the left side, structurally sound, overall very good condition.
A French transitional giltwood and gesso console table, last quarter 18th century, with marble top above carved C-scroll frieze, scrolling legs with floral carved terminal, 81cm high, 56cm wide, 33cm deep Condition Report: Minor loss of gilt and gesso, structurally sound, no repairs, scratches to top of marble and minor chips to the bottom edge, overall very good condition.
A Spanish baroque walnut side table, late 17th/early 18th century, the rectangular plank top on carved scrolling side supports, joined by iron stretcher, 76cm high, 97cm wide, 49cm deepCondition Report: Signs of old woodworm, scratches, stains and old gouges to top, structurally sound, overall good condition.
A Spanish baroque walnut centre table, 18th century, on carved scrolling trestle base, 76cm high, 138cm wide, 86cm deepCondition Report: Possibly later top with large split and small split, base with old woodworm and has a lot of restoration, structurally sound, overall fair condition.
A pair of Dutch marquetry chairs, by PHA Schadde, 19th century, on tapering splayed legs, each stamped PHA Schadde; together with a Dutch marquetry card table, 19th century, 76cm high, 83cm wide, 40cm deep (3) Condition Report: Both chairs with repair to one leg each, scratches and knocks to wood throughout, both structurally sound, bad splits to the bottom fold of the top, whole top is slightly loose from base, some veneer missing some lifting to veneer, structurally sound.
A Biedermeier marquetry walnut centre table, first quarter 19th century, inlaid with Neoclassical design, the shaped top above carved frieze, on octagonal baluster column to quadripartite base and block feet, 78cm high, 74cm wide, 74cm deepCondition Report: Scratches and stains throughout, piece of wood missing from frieze, repair to the bottom of the baluster column, signs of old woodworm, small piece of veneer missing from the edge of the top, structurally sound, overall good condition.
An English mahogany twin pedestal extending dining table, of Regency style, 20th century, the rounded rectangular top with two additional leaves, on two quadripartite pedestal bases, brass lion's paw caps and castors, 74cm high, 322cm wide, 13cm deep Provenance: Formally from Meonstoke House, Hampshire.Condition Report: Scratches, stains and old gouges to top, scratches and stains to both bases, structurally sound, overall good condition.
An Italian polychrome lava stone and pietre dure panel, attributed to Giovanni Battista Cali, documented Catania 1831-1837, the centre probably depicting the Hesiodic Cyclopes, the brothers Arges, Brontes, Steropes forging the thunderbolt of Zeus, flanked on the left by a view of Mount Etna with Catania cathedral and with the Cyclopean Isles to the right, set in a late 19th century associated oak table, with carved frieze, on fluted legs and castors, joined by stretchers, 74cm high, 85cm wide, 63cm deepProvenance: UK Private Collection since 1910.Footnotes: Note: The Catanese artist Giovanni Battista Cali came from a family of sculptors and is known to have produced mosaics mainly with views of Vesuvius and Etna. There is very little information on this maker other than that he was Sicilian and active in Naples in the second half of the 19th century and came from a family of sculptors. He was asked to produce works for the church of San Nicolò l' Arena in Catania and for the cathedral of Acireale. Rare signed examples by this maker are in the Museum of San Martino, Villa Rosebery and the Royal Palace in Naples. It is not possible to ascertain if the current lot is signed as it is set into a later oak table.Cali was the innovator of the use of lavic stone in his compositions. The Sicilian scientist Giuseppe Alessi was impressed by the works of Cali, writing thus "...the peridot crystals...mixed with the Etnea lava .., provided a beautiful material for their craftsman...".A marble and pietre dure panel signed by Cali and dated 1886, with a scene of the eruption of Mount Etna, Da una Dimora di Palazzo Farnese, sold Sotheby's, Milan,18 May 2004, lot 240. Another example centred with a view of the port of Catania, in the background Mount Etna erupting, on the right the city of Acireale and with Motta San' Anastasia with a similar border sold Sotheby’s, London, 27 April 2010, lot 74, £15,000.Condition Report: The top - the lower right corner with losses to the inset square specimen and the border. An in-filled corner to the square above this. Further losses to the right edge and historical in-fill at this point. The mottled marble border to the three pictorial panels has small flat losses in places which are hardly visible to the eye. Miniscule losses in areas overall consistent with age and use. The top is fixed into the later oak base and it is not possible to remove to examine the underside.The table base has some sun bleach, scratches, stains and old gouges throughout, signs of old woodworm, piece of moulding missing from one leg, some small splits to wood, structurally sound, overall good condition.
Lizars' Edinburgh Geographical General Atlas: Containing Maps of Every Empire, State and Kingdom; with a Tabular View of the Heights of the Great Mountain Chains....., 67 double-page engraved maps, hand-coloured in outline, missing no.9 British Islands, with one double-page uncoloured 'Table of Mountain Chains' map, half-leather boards detached, Edinburgh: W. H. Lizars, 3 St James' Square, S. Highley 32 Fleet Street, London; and W. Curry, Jun., & Co., Dublin, c.1842 Footnotes: Note: Includes two rare maps depicting the Republic of Texas between its secession from Mexico in 1836 and its annexation in 1845. The map of Mexico & Guatimala (sic) with the Republic of Texas bears ink inscription to lower right.
A painted faux tortoiseshell and parcel gilt coffee table, in the Chinese taste, 20th century, the top inset with textured bronze slab and glass top, on shaped apron and legs, 35cm high, 113cm wide, 62cm deepProvenance: The Collection of Lord and Lady Weinstock Condition Report: Some loss of paint, splits to sides, structurally sound, overall good condition.
Poetry: A collection of decorative leather-bound books, 18th century and later, comprising 27 books in total, to include:Jean-Baptiste Poquelin, Oeuvres de Moliere, Nouvelle Édition, 6 Vols., Amsterdam, 1772;William Falconer, The Shipwreck, 9th Edition, London: T. Cadell & W. Davies, 1796;John Milton, Comus: A Mask, to which are added, L'Allegro and Il Penseroso, London: E. Harding and W. West, 1799; Mark Akenside M. D., The Pleasures of Imagination, to which is prefixed a critical essay on the poem by Mrs Barbauld, London: T. Cadell and W. Davies, 1806; The Poems of Ossian, translated by James Macpherson, 2 Vols., London: W. Suttaby and B. Crosby, 1807; William Cowper, Table Talk and other Poems, with illustrations by Richard Westall, London: John Sharpe, 1817; James Thomson, The Seasons, Chiswick: C. Whittingham, 1820; Felicia Hemans, The Forest Sanctuary: with other poems, 2nd Edition, Edinburgh and London: William Blackwood and T. Cadell, 1829, together with Records of Women, 4th Edition, Edinburgh and London: William Blackwood and T. Cadell, 1834; The Poetical Works of Thomas Campbell, London: Edward Moxon, 1853; The Works of Oliver Goldsmith, ed. Peter Cunningham, 4 Vols., London: John Murray, 1854; The Poetical Works of John Keats, with a memoir by Lord Houghton, London: Edward Moxon and Co., 1869; The Poetical Works of Sir Walter Scott, with a biographical and critical memoir by Francis Turner Palgrave, London: Macmillan and Co. 1872; Poems of Wordsworth, ed. Matthew Arnold, London: Macmillan and Co., 1888; The Complete Poetical Works of John Milton, ed. Rev. H. C. Beeching, London: Henry Frowde, 1911(27)
A Victorian Aesthetic movement oak dining table by Marsh, Jones and Cribb, third quarter 19th century, part-ebonised, with three extra leaves, on turned legs and castors, with paper label stating Marsh, Jones and Cribb, late Kendal & co, 72cm high, 325cm wide, 127cm deepFootnotes: Note: Following their joint purchase of John Kendell's London cabinet making firm in 1864, John Marsh and Edward Jones, both originally from Leeds, then went on to establish their own furniture showroom in Cavendish Square. By 1872 Marsh and Jones had formed an official business partnership with Henry Cribb.Marsh, Jones and Cribb enjoyed great success and gained particular renown during the 1860s and 1870s, coinciding with a period when the company employed some of the foremost Gothic Revival designers of the time. Perhaps most notable among these important creative figures were Charles Bevan and Bruce Talbert (d. 1881), who both championed their own highly distinctive Geometric gothic style.
A George IV Anglo-Indian padouk centre table, first quarter 19th century, the circular tilt-top with carved frieze and gadrooned border, on carved baluster column to quadripartite base and bun feet, 76cm high, 98cm diameter Condition Report: Scratches, stains and old gouges throughout, the base has a large split and has been repaired with a strap of wood, minor pieces of wood missing from the gadrooned edge, chunk of wood missing from the top of one foot, structurally sound, overall good condition.
A George III hand-painted and black lacquered demi-lune console table, last quarter 18th century, the centre of the top decorated with fruit surrounded by swags and acorn leaf border and same decoration to frieze, on square tapering legs, 80cm high, 180cm wide, 60cm deepCondition Report: Scratches, stains and old gouges throughout, the top with lots of loss to lacquer and painted decoration, chips and chunks of wood missing from the bottom of the legs, structurally sound, overall fair-good condition.
An Italian parcel-gilt and polychrome decorated console table, first quarter 19th century, marble top on carved S-scroll base, 86cm high, 66cm wide, 45cm deepCondition Report: Signs of old wood worm, split to the middle of the front leg, structurally wobbly, overall good condition.
A Flemish parcel-gilt bronze plaquette of the Last Supper, late 16th century, with Christ seated behind a long table holding the Bread, with the twelve Apostles seated around him, Judas to the right with a purse and lacking halo, the foreground with two wine jars, in a later bone inlaid ebonised frame, the plaquette - 6.4 x 10.5cmFootnotes: Note: Plaquettes are small plaques or reliefs made of bronze, brass, lead or precious metals. They originated in the 1440s with the desire to reproduce coins and hardstone engravings from ancient Greece and Rome. Some were made as collector’s pieces, to be viewed and displayed in private, and others for practical purposes. They were valued as fine miniature works of art and had a role disseminating imagery and designs throughout Europe.In this plaquette it is unusual to see the figure of Judas holding the thirty pieces of silver in a bag.An almost identical un-gilded example is in the Victoria & Albert Museum, London, A.455-1910.
A George IV mahogany library table, first quarter 19th century, in the manner of Gillows, the rounded rectangular black leather writing surface above three frieze drawers on one side and three dummy drawers to the other, falsely stamped Gillows - Lancaster to central drawer, on reeded tapering legs to brass caps and castors, 76cm high, 140cm wide, 83cm deepCondition Report: Scratches, stains and old gouges throughout, structurally sound, overall good condition.
A French oak farmhouse dining table, last quarter 19th century, with three plank top, single side drawer, on square tapering legs, 77cm high, 229cm wide, 80cm deepCondition Report: Signs of old woodworm, scratches, satins and old gouges throughout, top is loose on one end but just need gluing or pinning back together, structurally sound.
A Good Carved And Inlaid Musical Tilt-Top Circular Occasional Table with the cylinder movement playing four airs, within the baffle of the hinged platform, the top with silhouette inlay of bucking stags, pierced and carved apron tulip column and finely carved leaf and flower tripod legs - 22in. (56cm) dia., 28in. (71cm) high
A late Victorian painted milk glass table lamp, collectables to include 1970's Esso World Cup coins, badges, Man in Flight and Historic Cars, Walkers Tazo collectors discs, glassware, commemorative ware, brass items, a Royal Doulton yellow fruit bowl/centre piece and other itemsLocation: RAM
Large brass table lamp with floral decoration, H: 68 cm. All electrical items in this lot have been PAT tested for safety and have passed. This does not confirm that the item is in full working order. UK P&P Group 3 (£30+VAT for the first lot and £8+VAT for subsequent lots)
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