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William IV/Victorian six place setting canteen of hallmarked silver Fiddle Thread and Shell pattern cutlery, comprising six each of table forks (London 1847, maker Samuel Hayne & Dudley Cater), dessert spoons, (four London 1836 maker Mary Chawner, the other two London 1840, maker Chawner & Co), dessert forks, (two London 1836 maker Mary Chawner, the other four London 1840, maker Chawner & Co), and teaspoons, (London 1836 maker Mary Chawner), along with four table spoon, (London 1847, maker Samuel Hayne & Dudley Cater), and a salt spoon, (London 1836 maker Mary Chawner), length of table spoons 22.5cm, weight of all pieces 2014g
§ Ernest Howard Shepard (1879-1976) 'Swaggering Down the Steps' - an original illustration from The Wind in the Willows, first published in this form in 1951signed 'E.H.Shepard' (lower left); inscribed with title and printing instructions along the bottom and 'original drawing/ the property of Ernest H Shepard/ Long Meadow/ Longdown/ Guildford, Surrey' (to the reverse)pen and ink with pencil on cardstock25 x 20cm (image); 36.7 x 27.3cm (sheet)Provenance:With Walker's Galleries by 1953;Thence to an Essex country house private collectionExhibited:London, Walker's Galleries, An Exhibition of Water Colours and Drawings by Ernest Shepard, 1953, no.26Literature:Kenneth Grahame, The Wind in the Willows, London: Methuen, 1951, 101st edition, p.132Since its first publication in 1908, Kenneth Grahame’s The Wind in the Willows has appeared in various editions and reprints illustrated by nearly fifty artists, which has helped to crystallise the imagery of Ratty, Mole, Badger and Toad into the minds of millions across the world. Arguably, the most memorable and influential of these artists who helped the public visualise Grahame’s story was Ernest Shepard. He provided drawings for the first illustrated edition of 1931 and further full-page illustrations for the 101st edition of 1951, of which the present drawing is a fine example. These full-page drawings were later reissued in full colour for a special printing in 1959 that marked the book’s golden anniversary. Born in St John’s Wood, London, Ernest Shepard reportedly began to draw as soon as he gained the ability to hold a pencil. His father, an architect, instantly saw potential in his son and enrolled him at the Heatherley School of Fine Art, Chelsea, in 1897. After a year, at the age of 18, Shepard attended the Royal Academy Schools and in 1899 he won the Landseer scholarship followed by a British Institute prize in 1900. In the years that followed, Shepard began working as an illustrator on publications of works such as Tom Brown’s Schooldays by Thomas Hughes, David Copperfield by Charles Dickens, Henry Esmond by W.M. Thackeray, Aesop’s Fables, and Smouldering Fires by Evelyn Everett-Green. Also, to his delight, he had two satirical cartoons featured in an issue of Punch in 1907. However, the outbreak of WWI interrupted Shepard’s career, and he enlisted in the Royal Artillery where he was assigned to an intelligence section that sketched the combat area from their battery positions. Shepard’s service was notable and while a Second Lieutenant, acting as Captain, he was awarded the Military Cross for bravery at the Battle of Passchendaele. His citation read: ‘For conspicuous gallantry and devotion to duty. As forward Observation Officer he continued to observe and send back valuable information, in spite of heavy shell and machine gun fire. His courage and coolness were conspicuous.’On returning to London, the then editor of Punch, Sir Owen Seaman, offered Shepard a full-time position and he was invited to join the ‘Punch table’ in 1921. While working at Punch, a conversation with another Punch table member E.V. Lucas and A.A. Milne led Shepard to illustrate some children’s verses of Milne’s that Punch was publishing. These illustrations became the nucleus for When We Were Very Young (1924), Now We Are Six (1927), Winnie-the-Pooh (1926) and House at Pooh Corner (1928). Arguably, these illustrations led to the Winnie-the-Pooh books’ popularity and made Shepard one of the most sought-after children’s illustrators of his day. Following his success, Shepard was asked by Kenneth Grahame to illustrate the 1931 edition of the hugely popular The Wind in The Willows. Shepard remembered his first meeting with Grahame at Church Cottage, Pangbourne, Berkshire fondly. He reportedly said of his characters to Shepard, ‘I love these little people, be kind to them’ (see Carolyn Hares-Stryker, The Illustrations of the Wind in the Willows 1908-2008, 2009, p. 14) and described the local meadows, rivers, and woods where he had drawn inspiration for his story. Shepard set off to sketch the places Grahame had described and these formed the basis of Shepard’s vision of Grahame’s text. Shepard recalled his final meeting with Grahame before his death in 1932, ‘I went to his home and was able to show him some of the results of my work, though critical, he seemed pleased and, chuckling, said, ‘I’m glad you’ve made them real’ (ibid, p. 14). Shepard gained considerable recognition as an illustrator during his lifetime and witnessed the rapid escalation in prices for his work. In spite of this, Shepard was said to be very modest and towards the end of his life donated a considerable number of his drawings to the V&A so that they could be enjoyed by future generations.The image is slightly discoloured. Staining around the edges of the main image following the edges of the mount. Scattered foxing and brown spots. Possible erasures or white areas left of Mole's head and above Toad. 2 pin hole marks top left and right corners. A small stain left of Mole's feet. Sold in its original frame with Walker's Galleries exhibition label to the reverse. 38.7 x 34.2cm framed
E*** Andreotti, 1883 A basket of flowers and an ornate box on a draped table signed and dated 'E. Andreotti / Firenze. 1883' (lower right)oil on canvas, in a carved and pierced Florentine gilt frame46 x 58cmProvenance:With Cooling Galleries, London;Christie's, London, 17th May 2016, lot 122, for £2000,when acquired by the present ownerThe painting is executed in oil on a linen canvas support. The canvas has good tension and is in plane. The paint layers are in a good condition overall. There is a network of age cracks across the surface which are stable but there is one small loss to the paint layer at the lower left corner. Overpaint lies below the varnish and appears to be mainly around the edges of the picture. The varnish is thick and glossy.
Follower of Frans Pourbus the Younger Portrait of a noblewoman, said to be Helena de Sonzogni, standing three-quarter length, in a white, floral and gold decorated dress, beside a table, before a red curtaininscribed 'HELENA / FILIA SPECTABILIS / D[O]NI IVLIJ DE SONZONIO / VXOR / INTEGER[MI] D[O]NI IOSEPH / DE MALVETIJS / 1615' (upper left) and charged with a coat of arms of the Malvezzi of Verona impaling the Sonzogni, surmounted with a coronetoil on canvas117.5 x 84cmProvenance:According to a label on the reverse, Frederick, 4th Marquess of Londonderry (1805-1872) by 1858, whose wife, Lady Elizabeth Frances Charlotte Jocelyn (1813-1884) was widow of Richard, 6th Viscount Powerscourt (1815-1844), Her son, Mervyn, 7th Viscount Powerscourt (1836-1904),By descent at Powerscourt House, County Wicklow, Ireland, when sold with the house and some contents to Ralph Slazenger in 1961,At Powerscourt until their sale on the premises, Christie's, 24th and 25th September 1984, lot 4, as 'Follower of Frans Pourbus'Literature:Mervyn, 7th Viscount Powerscourt, A Description and History of Powerscourt, 1903, p. 26, as in the Library as 'Coello', where said to be from the Bernal collection (see Note).According to the Powerscourt guide in 1903 (see Literature) this portrait came from the collection of Ralph Bernal, sold at Christie's, London, on 5th March-30th April 1855. Though it is recorded that the 4th Marquess of Londonderry (see Provenance) was buying paintings at that sale, the catalogue description for lot 898 (8th day of sale) which is the only possible candidate, does not quite correspond with the present portrait; further, lot 898 in the Bernal sale is recorded as having been purchased by a Francis Barchard Esq., and not by Lord Londonderry, as are other lots in the sale. It would seem probable, therefore, that the 7th Viscount Powerscourt in his guide of 1903 assumed his stepfather had purchased this portrait at the 1855 Bernal sale. The sitter in the present portrait is presumably a daughter of Giulio de Sonzogni. Her family, Sonzogni, originated in Zogno in the Brembana Valley in Lombardy. According to the inscription, the sitter married Giuseppe Malvezzi, a member of an ancient noble family from Verona. However, the painter of this picture has reversed the arms as the husband should occupy the dexter side of the shield and the wife, the sinister. From the date and the style of the portrait, it can perhaps be assumed that it was painted in Mantua by a resident artist influenced by Frans Pourbus the Younger who had been court painter to the Gonzaga family there from 1600 to 1609. From this we can presume the sitter was herself at the Gonzaga court in Mantua, where she almost certainly would have met her husband from nearby Verona.We are grateful to Dr Annemarie Jordan Gschwend, Senior Research Scholar at Centro de Humanidades, Zurich & Lisbon, and Alan Chamberlain for their assistance with this catalogue entry.The painting is executed in oil on a canvas support which has been lined. The lining canvas is very fine compared to the original support and is now starting to fail along the edges with small tears forming. Overall, the canvas tension is adequate and the picture is in plane. The paint layers are stable and secure. Despite being lined, areas of impasto are crisp and well defined. There are a few old losses located in the dress. Small areas of overpaint are scattered across the surface and are reasonably matched to the original. The varnish is yellowed and dull with a layer of surface dirt present.Framed 132 x 98.5cm
An oak serving table, late 17th century style, the rectangular top above a frieze drawer with oval mouldings and raised on spiral twist front supports71 x 132 x 52cmProvenance:Chillesford Lodge, SuffolkSome loss of colour to the top, some dry cracks, front stretcher worn and with scuffs
An oak tripod table or candlestand, 19th century, the circular tilt-top raised on a turned column and cabriole legs76 x 40cmGood colour and wax polished finishStructurally sound with no play in the joints and tilt mechanism operates smoothlyThe top has a shrinkage split which has been waxed filled
A Dutch style walnut dressing table mirror, early 20th century, the rectangular swing mirror with moulded frame, the base with fall front and two long drawers above a shaped apron82 x 50 x 28cmMinor spotting to the mirror, noticeably in the top section, possibly associated and nailed onto an apprentice bureauFall front with minor splitting to veneerDrawer fronts are knocked with signs of repair, dry cracks to the corners of the top drawerA few feet look to have been broken and repairedSee photos
A fruitwood farm house table, early 19th century, the four plank cleated top above end frieze drawers and square tapering supports75 x 227 x 79cmProvenance:Denzil Grant Suffolk Fine Arts, Bradfield St.George, Suffolk, October, 1996 table is sturdy, scratches and marks, commensurate with age and use
A mahogany tea table, mid-18th century, the shaped fold over top above a single frieze drawer raised on lappet carved tapered legs with pad feet73 x 76 x 41cm (closed)70 x 76 x 80cm (open)Light scratching and indents to the top, the top left section of the drawers cockbeading is knocked off but presentgeneral wear and knocking to the legsSigns of re-enforcement and replacement to the undersideSee photos
A George III mahogany kettle stand or tripod table of diminutive proportions, the dished circular top above a baluster turned stem and raised on cabriole legs terminating in pad feet54 x 23cmgood colour and patination especially to the basethe top has good figuring but been french polished which ideally would be better removedThere are signs of a break between the stem and the circular mount beneath the topsome historic cracks to the base of the stem but structurally sound with no play in the joints
A George III style mahogany wine table, the circular top with scalloped edge over a turned column support raised on three acanthus capped cabriole legs and pad feet53 x 28cmsome slight marks and scratches to top, two minor shrinkage cracks, has been overpolishedWhere the legs meet the column shows signs of repair with an exposed screw showing
A late George III mahogany chiming table clock, circa 1820, the triple pad top breakarch case with curved brass fret panel above 20cm painted dial, signed 'Handley & Moore London', two further fret panels below and arched brass scale side frets, the triple fusee movement chiming on 8 bells and striking on a further bell, all on brass bracket feet 46.5cm high with handle foldedsome repolishing and refinishing to the case. Appears to work, chime and strike OK, but movement not tested for duration and accuracy. See photos.
A George III mahogany wine table, the dished circular top on birdcage support on cabriole legs with pad feet68 x 76cmSome light scratching and knocks to the topThe top under rails have been recently screwed to the support so it does not tiltSome damage and repair to the top of the columnKnocks and minor dry cracks to the turned supoortSee images
A George IV mahogany pedestal occasional table, the circular top raised on a stylised lotus leaf column, with weighted tripartite base with recessed casters73 x 45cm Generally superb conditionOne small area of discoloration to the french polish on the top(probably due to heat)A well executed repair to the veneer on the baseotherwise very good and with no strubtural issuesHigh quality timber and construction. The weighted base being an example of this
A large scale wooden model of the Dutch East Indiaman 'Prince Willem', 20th century, upon a baize top Regency style table with turned legs and castorsmodel 107 x 155 x 63cmtable 68 x 147 x 43cm Launched in 1649, the Prins Willem was the largest vessel in the fleet of the Dutch East Indies Company at the time. Making a total of five voyages to the company's capital, Batavia (Jakarta), it sank off the coast of Madagascar in 1662 on its homeward bound journey with no survivors.
Henry Younge in the Strand, an ebonised table clock, circa 1680, the door with four gilt metal mounts below carrying handle, 6inch (15cm) brass dial with silvered chapter ring and date aperture, winged mask spandrels, strike/silent arm to the foliate scroll engraved backplate, pull repeat cord, twin fusee movement with turned pillars, all on 4 gilt brass feet 28.5cm high (handle folded)The clock appears to run, strike and hour repeat. The clock was fully restored about 20 years ago and had previosuly been bought from a dealer in Long Melford. The chain drive is later. The pendulum hold fast is wrong. We do not have any details of the restoration, so do not know what may have been restored or replaced at that time. See photos.
A George III fiddle-back mahogany and satinwood serpentine card table, the rosewood banded and boxwood strung top opening to reveal a baize-lined surface, the frieze with a satinwood inlaid trellis and four-leaf clover design and raised on inlaid tapering legs72 x 94 x 42cmsuper condition with good, rich colour and figuringhigh quality construction using an oak carcass and good choice of veneersTop is true when folded i.e not 'smiling'Highly polished finishslight discolouration to the frieze and a small 'nibble' from the front legimage 2 most accurate for colour as remaining images ar a little too red
A late Regency mahogany side table, the rectangular top above two frieze drawers raised on fluted and turned legs with brass castors76 x 167 x 61cmTop scratched with some marks and some indents consistent with usedrawer front knocked, the right drawer cockbeading knocked with losses, thew left drawer with some sun damage and the left handle is loosebeading to the bottom of the apron missing on the left corner at the front and down the flanklegs knocked See photos
A small mahogany library table, 19th century, the shaped top inset with a red leather writing surface over single long frieze drawer and opposing dummy drawer, both with brass star knob handles, the twin end supports raised on splayed feet with brass caps and castors, caps stamped 'BS & P PATENT'72.5 x 102.5 x 50cm
A William IV mahogany extending dining table, with two additional leaves, the rounded rectangular top over a plain frieze raised on lapit carved and reeded legs, the feet incorporating brass castors, some moulding possibly replaced with some small areas of loss72 x 258 x 125cm extendedThe two additional leaves slightly darker in colour, light scratches commensurate small loss of veneer to edge of one leaf, runners stiff with some evidence of slight worm, legs with slight play in them, castors firmly housed. Length without leaves 132cm
A pair of decorative white metal table lamps with handmade Bennison fabric shades, with engraved latticework metalware formed over a clear glass body, the drum shades handmade with Bennison 'Indiastripe' fabric and piped in black30cm high to lamp holderboth lamps and shades in superb orderwired with 3-core grey flex
A decorative white-metal mounted cross-frame stool, probably Indian, 20th century, the stool with ram's head finials, together with two octagonal occasional tables, all with embossed decoration54 x 75 x 37cm23 x 62cm diameterThe beaten metalwork on all three items is very good and still bright with no obvious tarnishingThe striped cotton upholstery to the stool appears recent and the seat is well paddedOne leg on the smaller table has had a knock at some point so is a little loose but still attached by the metalwork so merely cosmetic
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1181390 item(s)/page