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A Regency mahogany enclosed dressing table, the rectangular hinged top enclosing a fitted interior with crossbanded lidded compartments, a central adjustable rachetted mirror and a set of four glass decanters and stoppers, the front with three dummy frieze drawers and three short drawers below on ring turned tapered legs, terminating in brass cappings and castors, 76cm (2ft 6in) wide.
A Regency satinwood and rosewood crossbanded and inlaid sofa table, bordered with ebonised and satinwood lines, the hinged top with rounded corners, containing two frieze drawers between oval panels on solid standard end and dual splayed legs, terminating in brass cappings and castors, the top 73.5cm (2ft 5in) x 167cm (5ft 5 1/2in) extended.
An Edwardian satinwood and decorated drop flap occasional table, the square top with four D shaped hinged leaves painted with cherubs amidst clouds, floral and laurel wreaths, having a detachable glass tray top, on turned column and tripod base, 37cm (1ft 2 1/2in).
A 19th Century French carved giltwood centre table in the Louis XIV taste, surmounted by a rectangular panel of bréche violette marble, within a foliate border, the cushion frieze decorated with foliage and with shaped and pierced acanthus and paterae aprons, on openwork square section tapered legs with acanthus leaf, husk and paterae ornament, united by curved acanthus scroll stretchers with central finial, the top 165cm (5ft 5in) x 85cm (2ft 9 1/2in).
A 19th Century kingwood, floral marquetry and gilt metal mounted serpentine fronted dressing table, in the French taste, bordered with boxwood lines, the shaped superstructure with a cartouche shaped bevelled mirror with acanthus leaf cresting, flanked by four small drawers to either side, the frieze fitted with a central drawer flanked by two small drawers to either side, on cabriole legs, headed with foliate ornament, terminating in sabots, 132cm (4ft 4in) wide.
An extensive canteen of matched silver flatware mostly Old English feather edge pattern, includes six pastry forks, twelve dinner forks, twelve dessert forks, twelve fish forks, twelve fruit forks, twelve tea spoons, twelve tablespoons, twelve soup spoons, twelve dessert spoons, twelve fruit spoons, twelve cheese knives, twelve dinner knives, twelve fish knives, two sauce ladles, two salad servers, two fish severs and four carving pieces, various makers and dates, contained in a mahogany side table with two short and one long fitted drawers, raised on turned and tapering legs, total weighable silver 140.16ozs.
Miscellaneous antique fiddle pattern flatware, comprising - six table spoons, twelve table forks, ten dessert spoons, eleven dessert forks, thirteen teaspoons, a pair of sauce ladles, eight different pattern spoons and a pair of sugar tongs, various makers and dates, total weight 92ozs. (a lot)
An extensive matched shell fiddle and thread pattern flatware service some crested, some initialled, includes six tablespoons, nine dessert spoons, six fruit spoons, six teaspoons, six coffee spoons, twenty four table forks, six dessert forks, two sauce ladles, a butter knife, twelve dinner knives and twelve dessert knives, together with six fiddle and thread dessert spoons and six dessert forks, various makers and dates, total weight of weighable silver 170.09ozs.
A French majolica vase or table centrepiece in the manner of Massier, the centre modelled as a stand of purple iris flanked by three yellow and pink tulips supported on a broad base formed from three lily pads bearing cream blooms, 42 cm high, impressed France, late 19th or early 20th century.
A Meissen porcelain figure of a lady card player modelled after the original by Michael Victor Acier standing before a table in plumed bonnet, yellow apron and striped dress, on a circular scrolling base, 15 cm high, blue crossed swords, incised F.64 with press number 43, small loss of cards.
A Meissen porcelain figure of a lady card player modelled after the original by Michael Victor Acier standing before a table in plumed bonnet, yellow apron and striped dress, on a circular scrolling base, 15 cm high, blue crossed swords, incised F.64, small loss to cards.
Two Meissen figures allegorical of the senses of hearing and feeling each modelled after the original by Johann Carl Schonheit, the former sitting in green floral and striped dress before a harpsichord, the latter in crinoline bonnet, blue and floral dress petting a bird emerging from an open cage on a table beside her, both on arcaded bow fronted bases, 12 and 14 cm high, blue crossed swords, incised E.1 and E.4 respectively.
A Meissen porcelain figure allegorical of the sense of feeling modelled after the original by Johann Carl Schonheit modelled seated in bonnet, pink, yellow and floral striped dress and petting a bird emerging from an open cage on a table beside her, on an arcaded bow fronted base, 14 cm high, blue crossed swords, incised E.4 with press number 122, slight loss to one cuff.
A Victorian coromandel and brass mounted table desk, by S. Morden & Co London, the sloping top with brass fretwork spandrels inset blue jasperware style plaques, enclosing a fitted interior, signed as per title to lock plate, also inset retailer’s label for ‘ Howell James& Co, Regent Street, London’, 35 x 25 x 11cm, slight damage* Howell and James were founded in 1819 as silk mercers & retail jewellers, the original partners being John Howell and Isaac James. By 1838 the firm had become Howell, James & Co. with the partners now John Howell, William Sedgwick, Thomas Stroud and Henry Gillett although by 1855 the company was in the sole ownership of Gillett and in 1884 became a limited company known as Howell & James Ltd. The opening day of their annual ‘exhibition’ became one of the outings of the period attracting the cream of London society. They exhibited at the Great Exhibition of 1851 in Hyde Park, as well as the International Exhibition of 1862, the Paris Exhibition of 1867 and the London exhibition of 1872. The company were champions of the South Kensington School and included many items within their stock that came from this establishment, and included jewellery from designers such as C.L. Eastlake, M.D. Wyatt, F. Leighton, and L.F. Day at these various exhibitions. From 1876 they held popular exhibitions at their Regent Street premises showcasing the painted pottery produced by amateurs. One of their designers, the well- known L.F. Day had made a clock for the 1851 Great Exhibition and went on to design the company’s stand at the later 1878 Paris show. His Aesthetic clocks were a mainstay of Howell and James’s production, who had other prominent designers from the Arts & Crafts movement working alongside them including Thomas Harris and J. Llewellyn who left in 1889, taking many of the selling rights to Liberty & Co situated close-by in Regent Street
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1181390 item(s)/page