A MEMENTO MORI MOURNING RING EARLY 18TH CENTURY The central rock crystal panel above an enamelled skull, between two old mine cut diamonds, in reeded closed back settings, approximately 0.14 carats total, to a shaped band with a dedication to Fran Sitwell OBT 8 June Aet 73 in black and white enamel Finger size N, 2.7g gross Catalogue Note: Francis Sitwell (1659-1732) was born to parents Francis Sitwell and Catherine Sacheverell in 1659. He was baptised at Eckington, Derbyshire, England on the 14th September 1659. He is described as 'Francis Sitwell Esquire Merchant from London' in the list of burials in Eckington in 1732. He passed away at the age of 73 on the 8th June 1732. Condition Report: Some nibbles to the enamel, but no major losses, some slight rubbing to rock crystal table covering the skull. No noticeable flaking to the skull when viewed through the rock crystal table, some light scuffs as commensurate with age and useCondition Report Disclaimer
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A SET OF SIX GREEN AND POLYCHROME PAINTED DINING CHAIRSMID 18TH CENTURYEach with a shaped vertical splat and drop in seat, together with a pair of later chairs to match (8)Provenance:Sir Osbert Sitwell (1892-1969), the dining room at 2 Carlyle Square, LondonThence by descent at Weston Hall Catalogue Note:This set of green and polychrome-painted dining chairs with ornamentation by the painter, illustrator and theatre designer, Roland Pym (d. 2006), was in the collection of Osbert (1892-1969) and Sacheverell (1897-1988) Sitwell in the dining room at no. 2 Carlyle Square, Chelsea, where they were photographed by Barbara Ker-Seymer for Harpers' Bazaar in 1933 (L. Mynott, 'Unity in Diversity: Edith, Osbert & Sacheverell Sitwell, Interior Innovators', The Journal of the Decorative Arts Society 1890-1940, 1984, p. 34, plate 3). The Sitwells moved to Carlyle Square in November 1919 where Osbert created 'a literary and artistic Mecca, "a flowered pavilion"' in which to entertain in (ibid., p. 29). Chelsea was the fashionable place for artists and writers, and the 'bohemian, smarty-arty set', and it was cheap (ibid.). Although she was yet to establish herself as an interior designer, the Sitwells were friendly with Sybil Colefax, who lived at nearby Argyll House in the King's Road. Meanwhile, the Sitwells were already being noticed for their 'unusual and modish tastes' (ibid.). A dining suite, folding screen and a painted desk by Roger Fry's Omega Workshops were installed at Osbert's first London home at Swan Walk. The Sitwells favoured 'bright and violent colour combinations' undoubtedly inspired by Diaghilev's Ballets Russes (ibid., p. 31), in addition to Osbert's collection of contemporary British paintings and Vorticist and Futurist paintings. At Carlyle Square, while Edith Sitwell often played host, Osbert and Sacheverell charmed and amused their avant-garde guests with witty repartée. Cecil Beaton recalled 'No detail of their life was ugly or humdrum... A whole new world of sensibility was opened to me while sitting in candlelight around the marble dining-table in Osbert's house in Chelsea. Here, it seemed, witty observations and an appreciation of dolphin furniture were more important than anything' (ibid., p. 32). The dining room was the room that most guests remembered; in the mid-1920s, it was described as 'sub-aqueous, at moments one felt one was in an aquarium - the walls were almost iridescent' (ibid., p. 35). This was an allusion to the silvery-Aquamarine lamé wall covering and strange Venetian mirrors - 'carouched and dripping with gilded stalactites' (ibid.). The chairs offered here with their marine painting of seahorses, dolphins, scallop shells and fishing nets were evidently ornamented by Pym in this fashion for this room - albeit that they may have been introduced in the 1930s rather than the 1920s when the room was described as having 'conch-shaped silver chairs' - these belonged to a set of Venetian grotto furniture (ibid.). Pym whose work resembled that of Rex Whistler, is better known for the striking black and white illustrations he produced for Edith Sitwell's English Eccentrics (1933) and Nancy Mitford's Love in a Cold Climate (1949).These chairs came to Weston Hall when Francis (d. 2004) and Susanna Sitwell married in 1966 and took on the house 15 years later. In need of furniture they were invited by Osbert to go to his store and select what they wanted. They later had two additional chairs made for the set, and commissioned Pym, the original artist, to paint them to match the earlier six chairs.Condition Report: Six chairs:All with marks, knocks, scratches, abrasions consistent with age and useOld splits and cracks, joints opening in places but overall appear solid and stable, most chairs with later supporting blocks to the railsSome signs of old woodworm throughout, some chairs this appears more severe than others. one chair with old losses to the front rail and leg is detached. This will require restoration work to secure.Signs of wear and repairs to the painted surface, Later pair:In a condition that reflects their lack of significant age compared to the six, some marks and signs of age and use in a domestic settingAll chairs:The red seat upholstery is later, the green is probably also replacement but of an earlier date, where seat rails cannot be inspected Dreweatts can make no comments or guarantees as to their originality or condition. Some visible rails with signs of repairThe upholstery with marks and stains and would probably benefit from replacement Please refer to additional images for visual reference to condition Condition Report Disclaimer
Light Cars and Cyclecars Various small 8vo manuals and handbooks by Iliffe and Temple Press, RAC Table of Motorcars 1911-1914, Harrods Exhibition 1913 (reprint), How to Build a Cyclecar (rebound), How to Drive a Light Car or a Cyclecar (2 copies), Registration Number references and various issues of Glasses Guide and car price pamphlets from the 1920s. (Qty)
A Table-Top Smoker's Companion A well-constructed piece from nickel-plated brass, wood, leather and rubber, depicting a veteran car in the guise of a side-entrance tonneau-bodied vehicle, the bonnet hinging to reveal space for matches, and the seats hinging to reveal a place for cigarettes Nicely detailed with candle-powered lamps, leather seats, rubber-tyred spoked wheels and a working handbrake. 18-cms long, 13-cms high.
Three Herend porcelain dressing table boxes with covers, the first with mythical dolphin finial to cover, number 6045/C, raised on three rabbit legs, floral decorated with gilt trim, overall height 4½in. (11.4cm.); the second with rabbit finial and applied floral decoration, 6172/C; the third of egg form with applied floral decoration to cover, numbered 6167/MF. (3)
A Dutch silver Hanoverian pattern table spoon, Utrecht, 1926, thick gauge silver, pronounced spine, inscribed initials 'ACL' to terminal, 8 3/8in. (21.4cm.) long; together with a Dutch silver dessert spoon, weight 4.2 tr.oz. (2) * Very good condition, very light wear, nothing else to note.
A French style gilt painted and marble coffee table with Limoges plaques, the rectangular marble top over a foliate and ribbon carved frieze with inset Limoges plaques, raised on tapering fluted legs to brass feet, 38½ x 18½in. (97.7 x 46.9cm.), 19¼in. (48.8cm.) high.
An Indian painted cabinet form table box, the top with four seated figures and floral border over two Mughal style arched doors with a male and female figure within colourful banded borders, all set over two small drawers with detailed floral motif and repeating borders, both side panels also contain painted figures within floral and banded decoration, over bracket feet, 15 x 8¼in. (38 x 20.9cm.), 19in. (48.2cm.) high.
A collection of Channel Islands silver cutlery - various makers, comprising of a pair of bright cut sugar tongs, overstruck Charles T Maine (Jersey), London 1929, floral engraved decoration, inscribed initials 'BL', 4¼in. (10.9cm.) long; a Fiddle pattern table spoon, overstruck John Le Gallais (Jersey), London 1860, 8¾in. (22.3cm.) long; a bright cut Old English pattern soup spoon, overstruck John Le Gallais (Jersey), London, 1852, engraved with floral decoration, inscribed initials to terminal, 7 7/8in. (20cm.) long; and two bright cut Old English pattern teaspoons, maker's mark T.DG J.LG, struck once (Thomas de Gruchy & John Le Gallais, Jersey, c.1834-1849, inscribed initials to terminal 'JBD', 4¾in. (12cm.) long, weight 5.0 tr.oz. (5) * Slight creases and nicks to edge of bowls on table spoon & soup spoon, two teaspoons with bent and crumpled bowls and rubbed marks, tongs good.
A William IV Rosewood sofa table, the rectangular top with D end leaves over a single plain frieze drawer with turned wooden handles, on turned, reeded and lappet carved supports united by a conforming stretcher, raised on lions paw feet with concealed brass castors, 56 x 22in. (142.2 x 55.8cm.), opened, 28in. (72.3cm.) high.
A late Victorian regimental '3rd Dorset' presentation table cigar cutter / lighter, Joseph Braham, London 1898, typical rectangular form with sloping base, ring thumbpiece handle, pull-out fuel reservoir / lighter with twin taper sticks / cigar tools with acorn finials, twin cutting cigar cutter with presentation inscription 'Presented To Col. Austin & Officers 3rd Dorset Regt ~by~ LIEUT R.E.MCc . LOMER ~and~ 2nd LIEUT C.J.Mc I. LOMER on their LEAVING THE REGT.', 6¼in. (16cm.) long, gross weight 30.2 tr.oz. * Very good condition, with light surface wear, working, one taper / tool with snaped missing tip, the other slightly bent.
A pair of George IV silver King's pattern table spoons, John Harris IV, London 1825, 5.2 tr.oz. (2) * One bowl has a little wear to tip and the other shows probable signs of reshaping towards tip. Both stems slightly bent and one with small cracks to centre of stem through hallmarks. Both have wear to marks but remain legible.
A set of three Victorian bright cut Fiddle pattern table spoons, Robert Williams & Sons, Exeter 1849, with bright cut floral decoration, the terminals inscribed with initials 'AMJ', 8 3/8in. (21.4cm.) long, weight 4.8 tr.oz. (3) * Nice clear decoration, strong hallmarks.
A pair of Derby Stevenson Hancock blanc-de-chine table centrepiece baskets, 19th century, modelled as a basket of reeds seated upon water lily leaves, flanked by a pair of putto holding cornucopia, standing upon the foliate scrolled base, one with blue factory mark, 7 7/8in. (20cm.) high. (2)
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1181627 item(s)/page