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Click here to subscribeLate 19th / early 20th century Chinese marble-topped carved padouk urn stand, the circular top with foliate carved edge and pierced frieze, on slender cabriole legs united by X-shape stretcher, 92cm high CONDITION REPORT Some losses to pierced frieze particularly loss to bottom edge of frieze, splits elsewhere to frieze otherwise general wear
Pair late 18th / early 19th century Wedgwood black Jasper ware urns of bulbous form, with continuous frieze of cherubs and putti at play and bearded mask handles, on square socles - small impressed capitals 'Wedgwood' marks, 17cm CONDITION REPORT Urns possibly would originally had covers, base of one urn broken and re-glued with some losses visible, other urn has small nick/flea bite to base, firing crack to underside and loss to column when it meets base of urn
George III silver coffee pot of urn form, with bright cut decoration, oval cartouche with engraved monogram, silver loop handle with ivory separators and hinged domed cover with bright cut border and urn finial, on an oval pedestal foot (London 1800), maker - I. R. All at approximately 27ozs, 26.8cm overall height CONDITION REPORT General overall condition good, some surface wear, scratching and minor denting to body. Handle is loose and dented in places and has been repaired. Silver is torn where the bottom pin enters handle, both insulators are cracked, cover hinge is undamaged but finial is bent. Tip of spout is distorted and split, marks are clear
A Coalport cabinet plate, with painted detail of fruit bearing signature A Bowler, together with a further Crown Staffordshire miniature urn with gilt and floral detail (2) CONDITION REPORT: Plate with two large cracks from outside rim towards centreUrn with wear to decoration and chip to one handle
19th century Royal Crown Derby porcelain pedestal two-handled jar and cover, spirally wrythen reserves of roses and fir swags, 16cm, a similar lidded urn on stand (missing finial), depicting exotic brightly coloured birds, 18cm and a Coalport porcelain ewer, green ground with circular reserve depicting rocky outcrop trees and lake in distance, 25cm high (3)
An early 20th Century French mahogany cased mantel clock by Japy Freres, No. 11546, the 4ins diameter white enamel dial with Roman numerals, to the eight day two train movement striking on a gong, contained in arched topped case with scroll mouldings and inlaid with stringings and urn, on rectangular plinth base and ball feet, 9.75ins high, and with presentation plaque to front dated 1899-1921
A GEORGE VI SILVER SUGAR CASTOR, E. W. HAYWOOD, BIRMINGHAM, 1945 of square form with canted corners and reeded rims, the pierced detachable cover with urn finial, dent to base, 160g, 18cm high, and Another, Broadway & Co., Birmingham, 1966, similar, but of octagonal baluster form, 150g, 16,5cm high (2)
A 19th century North European mahogany and brass strung bookcase, the bold cornice over a plain frieze and two glazed doors enclosing three adjustable shelves, the lower section with two frieze drawers with brass urn and rope twist drop handles above two cupboard doors enclosing a fixed shelf, raised on square tapering feet, 124cm by 54cm by 220cm
Antique Chinese Hand Embroidered Applique Motif Wonderful late 19th/early 20th century ornate hand worked silk thread motif in the form of an urn surrounded by delicate blossoms and foliage formed from forbidden knot stitch. Good condition, please see accompanying image, approx 4.5 inches in length, 3 inches wide
"Geta Æ Sestertius. Rome, AD 211. P S[EPTIMI]VS GETA PIVS AVG B[RIT], laureate head right / [TR P] III COS [II P P], Italia seated left, holding sceptre and cornucopiae; at her feet, female figure(Annona or Ceres?) seated left, holding stalk of grain; at side of throne, river-god Tiber reclining right, hand on urn; SC in exergue. RIC 171a; BMCRE 45; Banti 55. 21.31g, 31mm, 12h.About Very Fine. Some encrustations. Rare.Until the death of Septimius in AD 211, Caracalla and Geta had portraits on the imperial coinage that were so similar that they were virtually indistinguishable by their faces alone. However, after the death of Septimius, in an effort to be seen as the true successor by virtue of similitude, Geta had his portraits made in the likeness of his father, with a longer beard sporting luxuriant curls, which he no doubt hoped would add a look of maturity as well as implying that the apple had not fallen far from the tree. The seated figure on the reverse, though not specifically named as Italia, is identified as the personification of Italy on the basis of the presence of the river god beside her throne, who must represent Tiber, and the small figure before holding a stalk of grain, marking her out as either Ceres or Annona (most likely the latter, since Ceres would take precedence over Italia). Holding a cornucopiae, the figure of Italia is likely intended to convey a theme of prosperity and bounty, a positive message for the beginning of his reign, which would be cut brutally short by his brother only months later."
Tenderness: A Late 18th Century Ivory Fan, the monture carved and pierced, gilded and silvered. The gorge, with slender sticks, is carved and pierced alternately with regular designs which are then gilded and silvered. The upper guard section is carved with a figure. The vellum leaf, mounted à l'anglaise, shows a couple in 18th century dress, in a classical setting, a terracotta urn with a grey profile on a pedestal to the side, the lady wearing a blue open robe with cream petticoat, her beau dressed in a long dark red jacket and cream waistcoat and breeches. The couple are looking deeply into one another's eyes as the gentleman presents a posy of pale pink roses to his lady. Vignettes to the side feature an urn and grapes and a basket and sunhat. The verso is plain save for a small painting of a lady dressed in grey, seated on a rock. Guard length 28cmThe leaf is very slightly foxed. The lower guard has been broken and repaired.
Portraits and Peacocks: An Early 18th Century Ivory Fan, with a slender monture quite classically carved and pierced, the gorge with roundels and ovals with detail within and without. The vellum leaf, mounted à l'anglaise, is unusual. Surrounding a central cartouche of a mythological figure with winged heels (Fortune? Mercury? Perseus?) crossing water on a silver ball, is first ( most unusually) a trompe l'oeil of bobbin lace, then peacock feathers in strong, bold colours which complement the colours used to the sides to depict classical urns, held aloft by Ibis (?). Along the top border are various small portraits of men and women, in oval frames, and some further panels containing classical scenes and symbols. The verso is equally interesting with a central urn of flowers, bordered with leaves, an orange circular panel to either side containing birds, perhaps griffins, and scattered around the reserves, several colourful insects or butterflies. Guard length 34.5cmSlight restoration to the leaf seen from the verso, and where the ribs meet the gorge sticks brown stains are visible, perhaps glue residue.
Jacob, Rachael and Leah, The Flight into Canaan: A Fine Early 19th Century or Earlier Ivory Fan, the guards tipped with mother of pearl and with mother of pearl thumb guards. The monture is elegantly and ornately carved, the guards with a male figure in the tips, followed by a classical female, and objects to include a diamond, shell and classical urn. The gorge is carved with a central naked figure carrying a bow and arrow, possibly Cupid, possibly a hunter. To either side is a bird, with the outer sticks filled with meandering flowers and tendrils, some being in bud, some large and fully open and with large petals. The vellum leaf, mounted à l'anglaise, depicts a woodland setting, the town in the distance behind, Jacob, now a wealthy man, with his two wives and their cow, sheep and donkeys, carrying provisions, accompanied by a servant, starting their flight into Canaan, following a souring of relations between Jacob and Leban and his sons. Two onlookers are seated to the right. The verso is plain save for painted detail on the ribs. Guard length 28cmSeen from the verso, minor repair to the leaf. Leaf quite rubbed, especially to each side.
As The Hours Pass: A Highly Unusual Mid to Late 18th Century Mother-of-Pearl Fan, the heavy sticks carved, pierced and gilded, the upper guards wide and each containing a portrait within an oval, covered with glass. The gorge sticks are shaped and several contain figures. The double vellum leaf is divided on the recto into sections, the central section quite slim, painted with a youth playing a pipe, above which is an oval containing a portrait of a lady, covered with mica. To the right, a homely scene of a lady at rest seated on a chair with her feet on a footstool, reading, a serious looking young boy in front of the fireplace, being observed by a white cat. On the wall is an embossed foil panel containing a clock, time set at ten to midday. To the left, a lady dozing in her chair, ignoring perhaps the gentleman attempting to serenade her leaning in through the window. A similar clock is above her side table. The reserves are set with a foil urn and flowers, and embroidered with gold sequins. The verso is painted with a rather crude countryside scene, to the left a man looking out from a building wearing a rather unusual hat, a lady with similar headwear plus a veil to the right, some colourful ducks on a riverbank to the fore. Guard length 24cmSome rubbing to the leaf, some patching to areas seen from the verso.
The Fruit Harvest: A Circa 1860's Bone Fan, with a silvered and gilded monture, lightly pierced and simply decorated with flower sprays. The double paper leaf is lithographed in a strong dark blue, offset in gold in the reserves. A central vignette shows 18th century county folk gathering autumn fruit, a male picker throwing the fruit into the outstretched apron worn by one of two female helpers, a donkey waiting to take the harvest home. To each side a portrait of a young girl, dressed in white. The verso has an overall design of flowers and foliage, in cream, gold and ginger. Guard length 26cm; and A Circa 1860's Faux Tortoiseshell Fan, the sticks slightly pierced and lightly gilded, possibly applied foil. The double paper lithographed leaf, with turquoise blue reserves, and gold highlights, shows several ladies seated next to a stone balustrade mounted with a stone urn, a gentleman in attendance, the grounds around them with colourful ground covering shrubs. The costumes appear more appropriate to the 18th century, with a sack back robe and lace ruffles. The verso shows a gathering of young couples, also in dress from a previous period, a boy bringing refreshments. Guard length 26cm (2)Fan 1 - loss to some of the gilding foil . Colours strong, verso a little rubbed in places. Fan 2 - Some loss to the decoration on the monture.
A Circa 1880's Austrian Ivory Brisé Fan, with wide sticks, and a scalloped top edge, ivory loop. The recto is elaborately painted with silver and gold in several shades, depicting a hat, an urn, and other items, the border with scrolling, and similar detail on the guards. Verso plain. Guard length 23.5cm. Together with a fan box covered with a cream fabric woven with pink flowers, lined in cream silk, ruched inside the lidRather dirty but sound, the box likewise. One end of the rivet is lacking so the sticks are loose.
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