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Diamond history of a different kind was also made in this century. In
I655 the Great Mogul diamond was discovered at the Gani mines in
India. It has been estimated that it weighed some 800 carats. Towards
the end of the century the Mogul sent the diamond to a Venetian cutter,
Sio Borgis, who unfortunately reduced the stone to 280 carats, a
fe for which he was punished by having all his property confis-
jlt is not known what became of this remainder of the diamond,
i first imitation diamonds were also made in this century although
t some uncertainty as to who first made them. George Ravenscroft,
r|of the Savoy Glass House in London is commonly credited with
covery, but Villiers in his Journal d’un Voyageur a Paris mentions
isieur d’Arre who was making counterfeit diamonds, emeralds,
rubies, and topazes before 1675 which was the date of Ravenscroft’s
disci very. His imitation was a ‘paste’ glass based on lead oxide, which
had a high refractive index and when cut looked like the genuine stone.
Ihe mitation was widely used following its discovery.
The new emphasis on stones rather than goldwork and enamel has,
how ever, had an unfortunate outcome: succeeding generations must have
cove ted the gems more than the settings, for relatively few pieces of good
17th century jewelry have survived the melting pot, compared with the
products of the previous century.
I namelling also flourished during this period, though in a different
style. Indeed some of the finest examples of this type of decoration are
to be round in the 17th century. The general trend was towards the use
of enamelling to enrich and enhance the settings of the stones themselves,
rather than to be an essential feature of the design. Watch and miniature
cases *are an obvious exception and it is in this form that the enameller
excelled. Early designs incorporate the moresque decoration so popular
during the previous century, combined with elaborately interlaced
Gold miniature case, enamelled in black
and while c.1620.
Jewelry
tendril scrolls and strapwork motifs, executed in light-coloured enamel
en silhouette against a dark background. Occasionally the effect was
reversed, a dark decoration against a light background, through the use
of niello. Perhaps the most important of all the designers of silhouette
enamels is JeanToutin, who was working in Chateaudun during the first
decades of the 17th century.
Designs for predominantly gem-set jewelry showed a departure, in
spirit and motifs, from the Mannerist style. The Baroque love of natural-
istic ornament evident in all the arts, especially ceramics and furniture,
was quickly adopted in jewelry as well. Brooches and pendants were
soon designed as elaborate foliate scrolls, buds and flowerheads, often
supporting several pear-shaped drops, the whole richly set with various
gems, often in pea pod-like settings. The reverse of the mount was
delicately engraved.
Enamelwork, too, found inspiration in leaves and flowers as a source
of decorative motifs. By the second half of the 18th century, designers
such as Petitot, Vauquer and Legare had perfected the technique
of painted enamel, where the medium is applied in the manner of paint
on to an enamelled ground of uniform colour, usually white though
occasionally pale blue, yellow or black. Through this technique, which
allows a far greater degree of delicacy than the more common champleve
process, flower designs achieved a naturalism and beauty hitherto un-
known and seldom rivalled. A further innovation was to model the
leaves and flowers in relief by building up contoured layers in the enamel
ground. In some instances, the ground was cut away leaving the enamelled
blooms alone, and thereby adding even greater realism.
This type of naturalistic flower decoration found its way on to most
items of jewelry, not only the pendants and watch cases already men-
tioned, but also rings, necklace links, earrings and the immensely
popular aigrette. This last jewel, a hair ornament which usually took the
form of a spray of flowers or feathers richly set with a cluster of stones,
seems to have been de rigeur at all ceremonial occasions. Sadly, few have
survived other than in engravings.
Yet another new enamelling technique called email en resille sur verre
was practised by some skilled French enamellers. After engraving a
design on glass, the cavities were lined with gold foil and filled with a
low melting point enamel. Because of difficulties in ensuring sufficient
heat to melt the enamel without cracking or melting the glass, the tech-
nique gradually lost favour. Miniature cases were sometimes decorated
in this way and some belts enamelled with hunting scenes are in the
Victoria and Albert Museum and the Wallace Collection.
In dress design, the profusion and mixture of patterns and motifs that
characterized the late 16th century were gradually abandoned for a
more luxurious and dignified style in rich silks and brocades exemplified
in the portraits by Van Dyck. The jewels themselves, rather than tending
to be lost among the plethora of decoration and ornament, as was the
case in the previous century, focused the attention glimmering with rich
colour. Many jewels were worn en parure, with matching brooch,
pendant and earrings.
An unusual and gloomy fashion was memento mori, which comple-
17th Century
merited the mourning jewelry popular since the 16th century. Fashion-
able mainly in England, they often consisted of coffin-shaped pendants
with a death’s head in enamel. One such pendant found at Torre Abbey,
Devon, has the cover of the coffin decorated with champlevk. enamel in
black while the coffin contains a white enamelled skeleton. Round the
sides is the inscription Through the Resurrection of Christe we be all
sanctified’. Such memento mori became memorials to the death of
specific people. A large number of such jewels, for instance, were made
to pommemorate the execution of Charles I.
England
After the accession of James I in 1603, embroidery in England continued
foqa while in Elizabethan styles. Spanish work was still popular, applique
waplin fashion and developed into stumpwork, while chinoiserie was in
vogue for a few years. Bird and flower motifs in petit point and appliqued
to the cloth were common decorations and designs were based mostly
on kcroll patterns sometimes with gold and silver thread couching
accompanying them. ‘Yellow silk’ embroidery evolved at this time and
cowjisted of padded panels with heraldic devices embroidered in yellow
ivory-coloured satin, which gave a quilted look when they were
fcd.
Id herbals were still widely used for design ideas as were such books
nsectorum by Thomas Moufet, published in 1607 and Simpson’s
FlAAers, Fruits, Birds and Beasts.
By the later years of the 17th century, the making of samplers had
become part of the needlework education of young girls, who would
often make several - perhaps a coloured sampler of stitches, motifs and
alphabets, a whitework sampler showing cut and drawn work and em-
broidery suitable for household linen, and finally an embroidered picture
sket in which she was able to display her most flamboyant skills.
I well into the 18th century samplers were a rich source of stitches
designs and in many cases they provide an impressive record of
ividual performance.
time, however, design books became more widely available and
adult embroideresses made samplers for their own use. Although
continued as part of the educational curriculum for girls they soon
e debased into exercises ‘in neatness and perseverance’. They
ed fewer and fewer different stitches until by the I9th century they
nearly always worked entirely in cross-stitch. As well as an alphabet
sometimes a child’s name, age and the date, they included motifs
as flowers, animals, houses and birds and, nearly always, a pious
. The whole picture - for this is what the sampler had become - was
ally surrounded by a decorative border and was clearly designed
framed and hung up for all to see.
e later 17th century in England was remarkable for its vibrant
Mid-17 th century motif popular on
embroidered curtains and hangings.
Embroidery
pictorial embroidery. The period after Charles II’s restoration in 1660
was one of unashamed luxury, colourful splendour and sensuous ex-
cesses of all kinds, and the extravagance of the time is reflected in the
array of late Stuart needlework pictures, mirror frames, caskets and
keepsakes which have survived to the present day. Some were em-
broidered in coloured silks in the flat, while others were done in three-
dimensional stumpwork, with figures, flowers, fruits and other motifs
raised and padded: details of costume-like collars and cuffs were fre-
quently semi-detached and made of needlepoint lace. Although many
of the designs were Biblical - the Finding of Moses, Esther and Ahasuerus
and the Judgement of Solomon were among the favourites - the figures
all wear elaborate Stuart costume. In the background fanciful castles,
huge caterpillars, birds, butterflies, cows, lions and flowers, mostly
taken from the popular design books of the time, jostle for space with
total disregard for the rules of proportion. Their colourful naivety is
charming, and the stitchery, often punctuated with sequins and seed
pearls, is breathtaking.
Pictorial panels, however embroidered, were put to a variety of uses.
Most frequently they were used to cover the wooden boxes which held
the owner’s jewelry and trinkets. The scenes around the sides of the box
were often from the life of a particular Biblical figure. In some cases the
edges of the panels are finished with braid or held with lacquer. The
inside of the door is usually decorated with highly formalized flower
motifs in laid work. Only the larger boxes were embroidered inside. A
particularly beautiful example, now in the Victoria and Albert Museum,
was made by Martha Edlin in 1671, when she was only 11, and shows the
Seven Virtues, Music and the Four Elements. The rest of her work made
as a child accompanies the box and it seems that box embroidery was the
first task set a child once she had mastered the basic techniques.
Embroidered mirror-frames are not uncommon, the motifs usually
comprising a figure, often cameoed, on each side of the mirror and the
rest of the frame filled with flowers, birds, insects and so on. Mirror-
frames in beadwork were also made.
Although leather and cloth bookbinding were becoming more com-
mon, embroidered binding remained popular until the end of Charles
II’s reign. Heraldic, floral and pictorial motifs were worked in petit
point on canvas, or chain and split stitches on silk, satin and velvet. A
large number of such books have survived, the most renowned being
those by the nuns of Little Gidding after 1650 and now in the British
Museum.

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Marrow Scoops

George III marrow scoop by J. and J. Perkins, London, 1796 George III plain marrow scoop, engraved with a crest, probably by Christopher Haines, Dublin, circa 1785

Mugs

George II large plain cylindrical mug on circular moulded foot and with boldly modelled scroll handle, engraved with a monogram, by Edward Lothian, Edinburgh, 1742, 25 oz, 6} in high

Two plain George III mugs, each of shaped outline on circular moulded base with double scroll handles and slightly flaring lips, engraved with a monogram, by Patrick Robertson, Edinburgh, 1775, 18 oz 5 dwt, 3J in and

4J in high

Mustard Pots

George III mustard pot, London, 1802, 4 oz

Oval mustard pot engraved with drapery festoons and a monogram, and pierced above with slits and circles, with domed cover and reeded scroll handle, with glass liner, by Robert Hennell, 1788, 3 oz 5 dwt

Early Victorian cylindrical mustard pot with pierced body and initialled cover with flower finial, leafy handle, by Elizabeth Eaton, 1847, 5 oz 6 dwt, 3} in high

Large early George III vasc-shaped mustard pot with pedestal foot, London, circa 1762, 7 oz 10 dwt

Salvers

James II plain circular salver on central spreading foot, the salver with moulded reeded border, engraved with a later monogram, maker’s mark WE mulled above and below, 1688, 16 oz 8 dwt, 10} in diameter

George II circular salver on four foliage scroll feet, the shaped moulded border decorated at intervals with shells and foliage, the centre chased with a band of scrolls, trelliswork and flowers and engraved with a

coat-of-arms in rococo cartouche, by John Robinson, 1745, 64 oz, 1 ft 4 in diameter

George I small plain salver on bracket feet with incurved corners and moulded border, the centre engraved with a

coat-of-arms, maker’s mark missing, 1724, 16 oz 18 dwt, 8J in

square 273 0

George III plain circular salver on three bracket feet, the border stamped with a band of laurel between two beaded bands and the centre engraved with a monogram within flower sprays, by Robert Jones, 1779, 27 oz,

1 ft diameter 252 0

George III circular small salver on three hoof feet with shaped shell and scroll border, the centre chased with a broad band of birds, pagodas and scrolls, engraved with a crest, by Richard Rugg, 1767, 12 oz 9 dwt, 8 in

diameter 60 18

Suits

Set of six George III silver-gilt circular salt cellars, each on three lion’s mask and paw feet with applied shields, with partly fluted bodies and chevron patterned borders, on circular plinths with bracket feet and similar

borders, engraved with a coat-of-arms and motto, by D. Scott and B. Smith, 1803, 97 oz 1,202 0

Sly circular silver-gilt salt cellars with gadrooned borders and open wirework sides, each with circular cut-glass bowl, maker’s mark C.C, 1806, in fitted wood case, 16 oz 8 dwt 420 0

Four circular salt cellars each on three mask feet, the bombe sides chased with flowers and foliage on a matted ground, engraved with a crest and motto, maker’s mark CP., perhaps for Charles Plumley, 1819 and

1821, 22 oz 94 10

Pair of plain boat-shaped salt cellars on collet bases and with reeded rims, engraved with a crest, by Samuel Hcnnell, 1800, 4 oz 17 dwt 55 0

Pair of George III two-handled boat-shaped salt cellars, each on oval moulded foot with reeded borders and loop handles, one salt cellar with partition, by Robert Sharp, 1788, with a pair of old English salt shovels,

1793, 9 oz 18 dwt 39 18

Sauceboats

Pair of George II plain oval sauceboats, each on three paw feet with moulded scrolls above, the shaped rim chased with a narrow band of wave ornament, flowers and scrolls, with double scroll handle capped by a leaf,

engraved with a monogram, by Robert Lowe, Edinburgh, 1748, 14 oz 4 dwt 800 0

Pair of George 11 plain sauceboats, each on three hoof feet with shaped rims and double scrolled handles, engraved with initials, by Bennett Bradshaw & Co, 1740, 15 oz 5 dwt 441 0

George II plain sauccboat on three hoof feet with gadrooned rim and rising scroll handle capped with a leaf, maker’s mark illegible, 1754, 13 oz 1 dwt 120 15

Plain large sauceboat on three shell feet with scalloped rim and rising double scroll handle, engraved with a crest, probably 1758, 12 oz 4 dwt 65 0

Snuff Boxes—See Small Decorative Antiques

Sugar Basins—Sec Baskets—Sugar

Tapersticks—See Candlesticks Tankards

Queen Anne cylindrical tankard and cover on fluted low domed base with a moulded rib round the body and scroll handle, the stepped domed cover chased with bands of flutes and punched motifs, with openwork scroll

thumbpiece, the front engraved with a strapwork and scrolling cartouche enclosing a later applied medallion, by Isaac Dighton, 1703, 31 oz, 7J in high

Charles II cylindrical tankard and cover on reeded foot, the raised cover with corkscrew thumbpiece, chased in the Chinese taste with figures, exotic birds and plants and engraved with a coat-of-arms in plume mantling,

maker’s mark R in script, pellet below, 1677, 19 oz 12 dwt, 6 in high

George II plain tankard of shaped outline on circular moulded foot with a rib round the body, double scroll handle and openwork scroll thumbpiece to the domed cover, engraved with a monogram in a scroll and foliage

cartouche, by Wililam Grundy, 1756, 30 oz, 8 in high

George III plain cylindrical tankard and cover on spreading base with a moulded band around the body, the domed cover with pierced scrollwork thumbpiece, by S. Godbehere and E. Wigan, 1786, 24 oz, 7| in high

Tea Caddies

Set of two George II silver-gilt tea caddies and an oval sugar box each of inverted pear shape, the foot chased with panels of scalework and flowers, the body chased with foliage and flutes, and repousse with

sunflowers, roses and other flowers, the domed cover similarly chased with bud finial, engraved twice with a coat-of-arms within chased rococo surrounds and with two crests, by William Grundy, 1744, 44 oz, 7} in high

George III oval tea caddy with shaped domed cover, urn finial and beaded borders, engraved with two bands of wrigglcwork enclosing quatrefoils and two oval cartouches enclosing a coat-of-arms and monogram, by

Hester Bateman, 1790, 10 oz 1 dwt

George III shaped oval tea caddy, the body bright-cut with formal floral borders, engraved twice with an initial, the domed cover with similar border and urn finial, with original key, by Joseph Scammell, 1791, gross

weight 12 oz 10 dwt

Plain oval tea caddy, the raised hinged cover with urn finial, engraved with a crest, maker’s mark JS in script, perhaps for John Sanders, 1794, 10 oz 15 dwt, 5 J in high

Tea and Coffee Services

George III tea and coffee service comprising compressed spherical teapot, sugar basin and cream jug, oval tea-kettle, stand and lamp and vase-shaped coffee pot, stand and lamp, each piece on rim foot and with high

collar, the stands on

four reeded scroll feet, engraved with a crest and coronet, by William Burwash, 1812, gross weight 143 oz 900 0

George III parcel-gilt tea service comprising teapot, sugar basin, and cream jug, each on circular ovolo foot and with ovolo rim applied with silver-gilt satyr’s masks entwined with snakes, the teapot with gilt foliage

spout and ivory handle terminating in a satyr’s mask and a winged monster, the slightly domed cover with baluster finial engraved with a rosette, the basin and cream jug with gilt double serpent loop handles, engraved

with a coronet, motto and initial, by Paul Storr, the teapot and cream jug, 1812, the sugar basin, 1813, 69 oz 787 10

George III tea and coffee service comprising circular teapot, pear-shaped coffee pot, two-handled sugar basin and cream jug, each on circular foot chased with flowers, scrolls and shellwork on a matted ground and

engraved with a crest and monogram, the tea and coffee pots with curved spouts and twig finial to the domed cover, the sugar basin and cream jug with scroll caryatid figure handles, by Thomas Wallis and Jonathan

Haync, 1817, gross weight 89 oz 588 0

Victorian tea and coffee service richly decorated with flowers, fruit and foliage, scrolls and cartouche panels, by J. Muir-hcad & Son, Glasgow, 1861, 70 oz 400 0

Teapots and Stands

George I plain octagonal pear-shaped teapot on rim foot with

curved spout and baluster finial to the domed cover, by Joseph

Ward, 1717, gross weight 13 oz 9 dwt 2,600 0

George II bullet-shaped teapot on circular moulded foot, the curved spout with stylized foliage base, the shoulder and flat cover chased with strapwork, shells and scrolls, engraved with a vacant baroque cartouche, the

scroll wood handle capped with silver leaf, by Sampson Bennett, Exeter, 1759, gross weight 14 oz 1 dwt 682 10

George I plain circular teapot stand on four bracket feet with moulded border, the reverse engraved with initials, maker’s mark indistinct, 1718, 6 oz 15 dwt, 6 in diameter 315 0

George III oval teapot on moulded foot with straight spout, centrally domed cover and beaded borders, engraved with a crest and motto and later monogram, maker’s mark, perhaps S.W. for Samuel Wood, 1785, gross

weight 14 oz 16 dwt 126 0

George III circular teapot of plain design, London, 1808, 21 oz        108 0

Early Victorian teapot, plain compressed melon-shaped body, fluted curved spout, melon finial and loop handle, on four anthemion feet, by Joseph and Albert Savory, 1843, gross weight 26 oz 1 dwt, 6} in high 95 0

George III teapot of compressed circular form, the matt ground chased with upright acanthus leaves and a girdle of lozenge and foliated motifs, a melon knop to the cover, by Peter and William Bateman, London, 1805,

19 oz 60 0

Trays

George III two-handled oval tray on four gadrooned feet, die

SOME AUCTION ROOM PRICES : 1969-70

fluted out-curved border with gadrooned rim and with gadrooned and foliage handles, engraved with a coat-of-arms within plume mantling, by Thomas Hannam and John Crouch, 1801, 89 oz, 1 ft 9J in wide Early

Victorian two-handled oval tea tray engraved with armorials, leafage and flowers, applied scroll border with flowers and beads, similar handles and four pierced panel feet, by E. E. J. and W. Barnard, 1840, 736″ oz 17

dwt, 2 ft 4 in wide

George II snuffer tray of hourglass shape on four shell and hoof feet, with scalloped edge and double scroll handle, engraved with a monogram in scrolling foliage cartouche, by William Cafe, 1757, 7 oz 12 dwt, 7} in

wide

Vinaigrettes—Sec Small Decorative Antiques

Waiters

George II shaped circular waiter on three bracket and scroll feet, the outcurved fluted border with shaped rim, engraved with a narrow band of beads with foliage at intervals, the centre with a crest in a foliage

cartouche, by S. Herbert & Co, 1 757, 6 oz 18 dwt, 6} in diameter

George III small circular waiter on hoof feet with shell and scroll border, the centre chased with a band of flowers, by Ebenezer Coker, 1760, 8 oz 17 dwt, 7} in diameter

Circular waiter on claw-and-ball feet, chased later with flowers, scrolls and wave ornament and engraved with the royal crown and cypher of William IV and a monogram, by R. Jones and J. Schofield, 1776, 7 oz 17

dwt, 7 in diameter

Wine Coolers

Pair of George III campagna-shaped wine coolers on circular feet chased with a band of quatrefoils and acanthus foliage, the bodies fluted below and with entwined vine tendril handles, extending below the lip with

everted ovolo border, engraved twice with an initial, by Paul Storr, 1817, 137 oz, 104 in high

Pair of Victorian wine coolers and liners with plain fluted campagna-shaped bodies, shaped gadroon-knopped stems and shaped circular bases, by John S. Hunt, 1855, 178 oz 18 dwt, 12J in high

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CLEAR GLASS
Ale Glasses
A wrythen ale, the flared bowl vertically ribbed on the lower half above a pincered knop and short stem, terminating in a folded conical foot, 6} in high
Tall ale, the slightly flared bowl spirally wrythen to within two thirds of the rim and with flammiform fringing, on a slender dumb bell knop stem terminating in a high conical folded foot. 6} in high
A wrythen ale, two-thirds of the tall bowl spirally ribbed and with flammiform fringing, on a short knopped stem, terminating in a folded conical foot. 5| in high
A wrythen ale, the tall round-funnel bowl spirally moulded on the lower half, on a short stem, terminating in a folded conical foot, 5} in high
Bowls
Irish oval cut-glass bowl of canoe shape with serrated rim, band
of star cutting on sides, on square lemon squeezer foot, 13} in
wide 115 0
A large circular cut-glass bowl, with slightly incurving rim, the
border with formal foliage, 15 in diameter 15 10
A cut-glass bowl, the exterior cut with star pattern, with fan cutting to the rim, on porcelain stand with four winged gilt beasts on shaped base with gilt scroll feet, 10} in wide 10 10
Candlesticks, Candelabrum and Tapersticks
A pair of tapersticks, the octagonal nozzles with flared rims, on octagonal Silesian stems with lozenges to the shoulders, the domed feet with similar lozenges, 7 in high 40 0
Hollow-blown candlestick with everted nozzle and two angular knops between a large central ball knop, terminating in a high domed foot, 8 in high 28 0
Ormolu mounted cut-glass two-light candelabrum, the stepped octagonal baluster stem supporting foliage branches, from the cut-glass wax-pans hang pear-shaped and pointed lustres, 13 in high 26 0
Pair of cut-glass candlesticks, with oviform stems and shaped
crenellated nozzles on domed square feet, 11} in high 14 10
Cordial Glasses
A Jacobite cordial, the small drawn trumpet bowl engraved with a six-petal rose and two buds, a star and an oak leaf, the multi-spiral air-twist stem terminating in a conical foot, 6 in high (chipped on the rim) 110 0
An unusual cordial, the small bell bowl on a collar above a swelling knop stem containing an elongated tear, terminating in a conical foot, 6 in high 75 0
A tall cordial with small drawn trumpet bowl, the slightly tapering stem containing a double mercurial corkscrew, terminating in a conical foot, 6} in high 42 0
Decanters
A Waterloo decanter and stopper of club form with fluted lower part, engraved with a band of foliage, the neck with three triple collars and target stopper, 10 in high. Impressed mark 54 10
A magnum decanter and stopper, of mallet shape, with faceted
pointed stopper, 14} in high 42 0
Large cut-glass ship’s decanter and stopper, of bell shape, the lower part ribbed and the sides with stepped cutting, with pointed faceted stopper, 15 in high 29 10
Pair of Victorian ship’s decanters and stoppers of rounded conical form engraved with a crest and monogram, with faceted stoppers, 11 in high 16 10
Three cut-glass decanters and stoppers, of barrel shape, with bands of nail’s head rutting and vertical facets above and below, with mushroom stoppers, 7} in high 16 0
Goblets
An unusual goblet with large bucket bowl, the stem composed of
a mushroom knop above a short baluster stem, terminating in a domed and folded foot, 7} in high A rare baluster goblet, the funnel bowl with beaded lower part, the stem with a hollow true baluster and an inverted

baluster divided by an annular knop on domed and folded foot, 84 in high
Goblet with a flared bucket bowl on an inverted baluster stem containing a tear above a base knop and folded conical foot, 7 in high
An engraved goblet, the lipped ovoid bowl with loop handle and diamond engraved John Harris/Fox and Goose, Greets Green, supported on a hollow knop containing an 1836 threepenny piece, above a circular foot, 64

in high
Large goblet with unusual double ogee bowl on a massive inverted baluster stem, terminating in a wooden foot, 14} in high
A cut-glass jug of helmet shape, cut with bands of lozenge ornament between vertical faceting on spreading stem and sunray base, 11 in high
Pair of jugs of pear shape, the body with nail’s head cutting, the rim serrated, 5} in high
A Georgian cut-glass jug of helmet shape, the sides with swags and hobnail patterns, the lower part, stem and neck faceted, on lobed sunray foot, 9} in high
Rummers and Firing Glass
A colour-twist firing glass with trumpet bowl above a short
stem with central opaque twists of white, blue and green,
terminating in a heavy foot, 44 in high An engraved rummer, the tall bucket bowl inscribed Lord
Nelson, Oct. R. 21, 1805, the reverse with Victory at sail,
Coronation rummer, the bucket bowl engraved with a portrait of the King’s Champion, glove in hand, the reverse with the Royal Crown flanked by GIVR, July 19, 1821, 5 in high
Pair of large rummers, the rounded bowls cut with ribbons and chrysanthemum medallions, on plain stems and feet, 7} in high
Sweetmeat Glasses
Sweatmeat glass, the cup-shaped bowl with everted rim and heavy gadrooning on the underside, on a stout spirally ribbed stem, terminating in a folded conical foot, 4 in high
Small sweetmeat, the ogee bowl with everted rim, on a collar above an inverted baluster stem terminating in a base knop and domed and folded foot, 5 in high
Small sweetmeat, the wide cup-shaped bowl with folded everted rim, on an inverted baluster stem and base knop, terminating in a folded conical foot, 4J in high
Wine Glasses—Air Twist
An unusual wine glass, the small bucket bowl on a slender air-
twist stem with five knops of varying sizes, terminating in a
A Jacobite wine glass, the round funnel bowl engraved with a six-petal rose and single bud, on an air-twist stem, terminating in a conical foot, 5] in high 95 0
An air-twist wine glass, with double ogee bowl, above a double
Newcastle wine glass, the round funnel bowl engraved with a band of fruiting vine, on a typical multi-knopped light baluster stem, terminating in a domed foot, 7} in high 85 0
Wine Glasses—Baluster
A baluster wine glass, small, the thistle bowl on a cone baluster
above a base knop and domed and folded foot, 5} in high 95 0
A diamond-etched wine glass, the bell bowl engraved with the Arms of the Hague, above a light baluster stem, terminating in a conical foot, 7J in high 55 0
A small wine glass, the round funnel bowl solid at the base and resting on an angular knop, above a baluster stem, containing an elongated tear, terminating in a domed and folded foot, 5| in high 45 0
An engraved wine glass, the round funnel bowl decorated around the rim with a border of scrolls and flower-heads, on a light baluster stem terminating in a domed and folded foot, 6} in high 35 0
A wine glass with a bell bowl set on an annulated knop above a
slender baluster stem and folded conical foot, 6J in high 4 0
Wine Glasses—Colour and Opaque Twist
Set of six mid-eightccnth-ccntury glasses, the bowls engraved with sun flowers, foliage and butterflies, supported on opaque twist stems and slightly domed feet, 5i in high 260 0
A small colour-twist wine glass, with round funnel bowl on a stem composed of thick opaque white corkscrew outlined in green, within an opaque white spiral, terminating in a conical foot, 5 in high 170 0
A colour-twist wine glass, the ogee bowl supported on a stem containing a thick opaque white corkscrew entwined by blue and white spirals, terminating in a conical foot, 6 in high        140 0
A wine glass with heavy ogee bowl, on a corkscrew and spiral white opaque twist stem, terminating in a conical foot, 5 J in high 100 0
An unusual wine glass, the round funnel bowl heavily cut with honeycomb facets, on a tall opaque twist stem and terminating in an octagonal conical foot, 6} in high 40 0
Wine Glasses—Knop, Faceted and Plain Stems
A pair of wine glasses, engraved with butterflies and vines, on
plain hollow stems and folded feet, 6} in high 82 0
A slender wine glass with bell bowl on a collar above a knopped
stem, terminating in a folded conical foot, 6j in high 35 0
An engraved wine glass of drawn trumpet shape, engraved with
a martial trophy, on plain stem and folded foot, 7 in high 33 10
some auction room prices ! 19b8-o9
Wine Glass Coolers
Six cut-glass single-lipped coolers, of bucket shape with vertically faceted lower parts and star cut bases, 4 in high
COLOURED GLASS
Blue
A pair of blue glass decanters and stoppers, of club form with two collars to the necks, rum and brandy in gilt, the flattened drop stoppers with initials, 9} in high
A blue glass spirit barrel, on four scroll feet, with trailed decoration to either end and pewter mount to the neck, 7 in wide
Bohemian Glass
Three Bohemian enamelled green glass overlay vases of slender baluster form, the raised white bands with flowers on gilt grounds, 124 in high and 10J in high
Bohemian enamelled overlay scent bottle and stoppper, pear shape with everted neck, ruby ground with white overlay cut with facets and painted with birds on branches, 114 in high
Cameo Glass (Webb)
An amber ground vase of pear shape with slightly flared neck, the amber yellow ground overlaid and carved in white with trailing blossom and with a collar of chrysanthemum medallions, 11J in high
A turquoise ground double scent bottle, of cylindrical form, overlaid in white and carved with campanulas and other flowers, hinged silver cover to one end, screw cover to the other, 54 in long (Silver 1884)
A small scent bottle and stopper with silver screw top, the pink glass globular body with shells among seaweed in white relief, 24 in high
Daum
A beaker-shaped vase, on spreading foot, exterior overlaid in grey and tortoiscshcll and cut through with trees in Autumn and falling leaves, interior with mottled and lilac ground, 64 in high (Signed Daum, Nancy)
A pair of Art Nouveau bowls, marbled in shades of purple and red and with pale flecked interiors, lj in diameter
Galle
A globular overlay vase, the amber yellow ground overlaid and
carved in purple and blue with fuchsia, 5} in high An oviform vase, the greenish ground overlaid in purple with
sprays of flowers, 5 J in high An Art Nouveau vase, with tall cylindrical neck and short
rounded base, the purple overlay carved with trailing sweet
peas,
SMALL DECORATIVE ANTIQUES
Enamels
Pair of Battersca blue and gilt candlesticks with panels of
flowers, 9 in high 60 0
A Birmingham snuff box, the square lid, sides and base with
summer flowers on a white ground, lj in wide 55 0
Pair of Battersea tapersticks painted with flowers, 6} in high 48 0
A cylindrical Staffordshire needlccase, the lid and base with landscapes and the remainder with trellis-work on a turquoise ground, 4 in long 40 0
Battersca patch box with landscape panels, 2 in wide 25 0
Aliniatures
An enamel miniature of General Thomson, by Henry Bone, signed and dated 1806, almost half-length, three-quarters sinister, gaze directed at spectator, wearing blue uniform with gold epaulettes, oval, 3 in high 250 0
A miniature of a young girl on porcelain, almost full-length, standing wearing a pink dress and holding a black and white spaniel in her arms, against a landscape background, rectangular, 4J in high 95 0
A miniature of a lady, in oil on copper, three-quarters dexter, gaze directed at spectator, wearing a wide white lace collar, jewels and a rope of pearls around her neck, pearls in her ears and falls of coloured feathers

in her brown hair, oval, 3} in high 50 0
A miniature of a child, three-quarters sinister, gaze directed at spectator, wearing a black dress tied with a blue sash, oval, 2§ in high 45 0
A miniature of a gentleman, by J. Bowring, signed with monogram, three-quarters sinister, gaze directed at spectator, wearing a dark brown coat and white vest and cravat, cloud and sky background, oval, 23 in high
A miniature of a gentleman, three-quarters sinister, gaze directed at spectator, wearing a long curled wig, blue coat and white cravat, oval, 2J in high 36 0
A miniature of a gentleman, by Patrick McMorland, signed, three-quarters sinister, gaze directed at spectator, wearing a heavy powdered wig and brown coat and vest, oval, 1J in high 20 0
A miniature of Mrs Hebdin, well-painted, three-quarters dexter, gaze directed at spectator, wearing a white dress and red shawl, her fair hair dressed in curls, rectangular, 3| in high 15 0

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POTTERY
Creamware
A mug with loop handle, transfer-printed in black with ‘The Farmer’s arms in God is our trust’, 5i in hig
A tureen and cover, naturally modelled and coloured as a bunch of grapes, the fixed stand formed as a leaf, 8 in wide
Delftware
A Lambeth blue-dash portrait charger, painted in tones of blue, green, yellow and manganese with a full-length portrait of William III, the crowned king shown standing in an ermine-lined cloak, carrying the orb and

sceptre, flanked on either side by trees and with the initials ‘WR’ above, the everted rim with dashes in blue, 13J in diameter 250 0
A Lambeth plate, with flat base and everted rim, painted in tones of blue, ochre and brown with stylised half-length portraits of William and Mary, both crowned and with the initials ‘WRM’ above, blue line border, 8} in

diameter 125 0
A Liverpool bowl, the flared sides painted in blue on the exterior with chinoiserie landscapes, showing pagodas amid willow trees, with mountains and flocks of birds in the distance, the interior with a similar

mountainous landscape, within a cell-diaper border interspersed with scrolling flowers, 11J in diameter 46 0
A Lambeth, or Bristol polychrome dish, painted in tones of iron red, green and blue with alternate vase and mirror-shaped panels containing stylised flowers and peacock feathers, reserved on an iron red trellis ground,

the centre with a floral medallion,       in diameter 40 0
A set of seventeen Bristol tiles painted in blue with scenes from the Old and New Testaments, within double blue line borders, the corners with dashes and flowerheads, 5 in square 34 0
A Bristol bowl with an everted piecrust rim decorated with blue ammonite scrolls, the interior painted with a seascape centred with a willow tree behind crossed rocks on an island, flanked by fishermen and pagodas,

the distance with four volcanoes and the outside decorated with flower scrolls, 10} in diameter 28 0
Leeds Ware
A figure of a blue roan horse, standing alert and unbridled with head raised and ears pricked a flowing mane and generous tail, the cream-coloured body well sponged in blue, and the brown hooves pegged into the flat

base, marbled in green, blue and ochre, 16 in high 2,800 0
A coffee-pot and cover, pear-shaped with leaf-moulded spout having floral and leaf terminals at the base as has also the entwined handle, the neck and cover with a beaded border, 9} in high 90 0
A figure of Venus standing in long robes with Cupid at one side and the dolphin at the other, she clasps to her breast a pair of billing doves, 7J in high 45 0
A creamware oval dish, the lobed rim with panels alternately pierced and painted in green enamel with sprays of flowers, the centre with another matching spray, 10| in diameter 32 0
A jug, transfer-printed in black with the Coopers’ Arms, the
reverse with a cooper at work, 8j in high 30 0
Liverpool Ware
A creamware jug of pear shape, with ribbed-strap handle,
amusingly painted on one side with a gentleman seated at a table, holding an ale glass and a pipe, a woman carrying in a jug closely followed by a small dog, the reverse inscribed James; Hornniblow In the Parish of

Sivern Stoke, 1783, all in tones of green, yellow, iron red and black, 8} in high A creamware jug transfer-printed in red with the American eagle surrounded by a linked chain, each with a state name, the reverse with a

compass entitled, Come Box the Compass, 7 in high
Lustreware
An unusual Sunderland tureen cover and ladle, of oval silver shape, transfer-printed on each side with a West View of the Cast Iron Bridge Over The River Wear, Sunderland, within pink lustre borders, the domed cover

with a scroll knop picked out in lustre, 12} in wide
A silver resist lustre jug, decorated with a crested bird perched on a branch between flowering plants, 5i in high
Martinware
A barn owl, naturalistically modelled with its head forming a cover, cocked on one side with a coy expression, its fat body with downy light brown feathers on his breast and dark brown on the back, its claws twisted in a

life-like manner, 9J in marked R. W. Martin & Bros, London & Southall, 12-1892, and on the back, wood stand
A grotesque bird and cover amusingly modelled as a crafty starling standing on a circular base with a blue-spotted brown breast and green, blue and brown wings, 1 OA in high, signed R. W. Martin, London & Southall,

wood stand
A pair of vases decorated on the brown oviform bodies with blue tits among apple blossom, the trumpet necks with more blossom, all tinged in blue, green and white, 10 in high, R. W. Martin & Bros, London & Southall,

1-1890.
Mason’s Ironstone
A dessert service elaborately moulded with overlapping leaves edged in blue and gilt and painted with sprays of pink roses and other coloured flowers, the tureens and stand with gilt animal’s-hcad handles and knops,

comprising: fruit stand, 2 sauce tureens, covers and stands, 3 shell dishes, 2 oval dishes, 2 shaped rectangular dishes, and 14 plates, impressed marks lion and unicorn and Patent Ironstone China
A pair of candlesticks painted around the foot and neck with flowers on a maroon ground and the stem with gilt bands and grapevine, ,r> \ in high, impressed marks
Pratt Ware
A bull-baiting group, the bull chained to a tree-stump, being baited by a spotted dog, both animals coloured in brown and ochre and the mound base sponged in green, 6J in high
A Toby jug, showing a man standing with a dog jumping up
at his side, wearing a tali brown hat, blue coat, ochre waistcoat, yellow breeches and tall brown boots, a goblet in one hand, his other hand on his hip, 9J in high 70 0
A group of a sheep standing with a lamb at its side, both with sponged ochre markings and brown eyes, horns and hooves, standing on a flat green-glazed base with shaped edge, 5 in high 48 0
A teapot of rectangular shape with fluted corners, the sides moulded in relief with caricatures coloured in blue, ochre, green and brown, the ends with flower sprays and corkscrew borders, 4} in high 38 0
A figure of Winter as a child wrapped in a long cloak standing on a leaf-scroll mound with square base, sponged in blue and ochre and covered in greenish glaze, 5 in high 25 0
Salt glaze
A bear jug and cover formed by the head, the bear clutching with both hands a small dog and with a collar about its neck with patterns in dark brown, the body covered with grit, 10} in high 70 0
A teapot and cover, the bag-shaped body moulded in relief with pccten-shells and figures, the spout modelled in the form of a serpent’s head, with plain loop handle, on an oval base, the ribbed cover with a high knop,

5 in high 55 0
A cup of almost bell shape, with ribbed-strap handle, crisply moulded with upright panels of fables, animals, portrait heads, hunting scenes and coats-of-arms, 3} in high 48 0
Staffordshire Figures and Groups
A figure of Tom Molyneux with fists raised in pugilistic attitude, the American boxer with curly black hair, wearing yellow breeches, standing on green base with brown post support, 8J in high 380 0
A figure of a cavalry officer as a general on a red brown horse,
turned in his saddle and wearing full uniform, 10} in high 360 0
A bust of Garrick as Othello from Shakespeare’s tragedy, the actor with blackened face and red turbaned head-dress, wearing a lilac tunic, supported on a brown marbled socle, 7 J in high 290 0
A cow creamer, modelled with a cow and calf on a high mound base with fruiting tree support, the cow mottled in brown and ochre, 7} in high 265 0
An Obadiah Shcrratt group of lovers sitting under an oak tree laden with acorns, the young man proposing to his companion and holding a ring, the girl turned coyly away, the base edged with coloured scrolls and

applied with a label, inscribed Perswaition, 9 in high 240 0
A group, forming a tree-trunk vase, a small boy reaching up into the trees to a bird’s nest, the base with two figures of leopards, 8} in high 150 0
Tithe pig group. A tree-trunk vase, showing the wife presenting her baby with a priest at one side and her husband holding
a pig at the other, the base with pigs, corn and a basket of eggs, 8} in high
Pastoral musicians. A group of a boy and a girl in front of a flowering arbour, the boy playing a pipe, in blue coat and yellow trousers, his companion playing a tambourine, wearing pink bodice and flowered skirt, pink

marbled base, 9i in liigh
A figure of a fowler standing with his fowling piece at his side and a goose in his arms, wearing black hat, turquoise jacket and fawn breeches, tree-trunk support, on scroll-edged mound on a square base, 9} in high,

numeral 48 in red
The Gobbler and his Wife. The man working with a shoe on his knee, a hammer and pot at his side, and wearing a black-brimmed yellow hat, grey shirt with rolled-up sleeves, green jerkin, large brown apron, red

breeches and blue boots, his wife holding a jug in one hand and a tumbler in the other and wearing a soft cap, green jacket, blue apron swept to one side and patched red skirt, both figures seated on stools, on flat

rectangular bases, 6} in and 6 in high
A sheep hollow-moulded, the animal with legs spread across grassy mound base, its tightly curled body splashed in ochre, 5 in high
Stoneware
A Nottingham mug of cylindrical form, with grooved strap handle, incised with two horizontal bands of scrolling flower sprays divided by zig-zag borders, the rim incised with the date 1727, 4i in high
A Nottingham loving cup of campana shape, with double-grooved strap handles, applied on each side with a rectangular panel of granular chippings, 5 in high
A Nottingham brown-glazed tile of square shape, incised with a central stylised florette enclosed within a circular medallion, and with a quatrefoil lozenge motif at each corner, 5} in square
Wedgwood
A pair of blue jasper urns and covers decorated in white relief with Pan, dancing figures, musicians below fruiting vine borders and between stiff leaves on a pale blue jasper ground, supported on circular feet and

square bases, 24} in high, impressed marks
A pair of campana-shaped vases and covers decorated with scenes similar to the preceding lot, the allegorical figures in white on a pale blue ground, 21 in high, impressed marks
A Jasperwarc plaque of rectangular shape decorated in white relief on a black ground depicting Greek figures performing ritual sacrifices within a wreath of berried leaves, edged with a cane-coloured border, 18} in by

C in, impressed Wedgwood, framed
A pair of Wedgwood buckles, decorated in white relief on the blue jasper ground with classical figures, one with a sacrificial scene, the other with a classically draped man and woman beside a pedestal, within gold and

cut steel frames by Matthew
Boulton, and with the original clasps trimmed with blue and
white ribbons sewn with sequins, overall height 2 in 130 0
A set of ten black basaltes medallions, moulded in relief with the heads of figures from Greek mythology, all treated with a smear glaze, 2} in wide, impressed marks 125 0
A pair of plaques in black basaltes, decorated in relief with Hercules and the Nemean lion and a boar hunter returning from the chase, 7 in wide, impressed marks, framed and glazed        100 0
A bust of Lord Nelson in full uniform, turned slightly to dexter, half length, the sash superimposed with a medal inscribed Nile, on a circular socle, the back impressed with his name and inscribed Pubd July 22nd 1798 R.

Shout Sep Holborn, lli in high, impressed mark 100 0
A creamware teapot and cover, the ovoid body attractively enamelled by David Rhodes on one side with a young girl holding a fan in a landscape, the reverse with a tall red-roofed house in a park, the whole in bright

tones of iron red, puce, green and grey, with strap handle and shell-moulded spout, the cover decorated with flower sprays and with pierced bun knop, 6 in high 75 0
A blue jasper plaque decorated in white relief with a portrait of Mrs Siddons from the model by John Flaxman in the role of the Tragic Muse, 5 in wide, impressed mark 50 0
A pair of creamware soup plates transfer-printed in lilac, one with two horsemen galloping past a cottage, the other with a man fishing from a river bank before a ruined tower, the rims with feather-moulded edges and

printed with sprays of flowers, 9$ in diameter, incised leaf marks 40 0
A crocus pot, naturalistically modelled in the form of a hedgehog, its arched brown body moulded with quills and pierced with symmetrical rows of holes, 9} in high 40 0
A creamware oval stand for a sauce tureen, with feather-moulded rim, attractively transfer-printed in black with exotic birds in a park, surrounded by birds in branches divided by flower sprays, 10J in wide 12 0
A portrait medallion, bearing the white profile portrait of Sir W. J. Hooker, on a green jasper dip ground, 2| in wide, impressed mark 8 0
Whieldon
A figure of a frog, crouched as if about to leap, and covered in
a mottled greenish brown glaze, 3} in high 160 0
A teapot and cover, the round body and cover moulded as a basket of fruit and leaves which arc covered in green, blue, yellow and manganese mottled glaze, with indented loop handle, leaf-moulded base to the spout,

and cauliflower knop to the inset cover, 4} in high 95 0
A teabowl and saucer, each piece covered with a mottled tor-
toiseshell glaze, and splashed in green and orhre 46 0
Wood—Enoch and Ralph
A Ralph Wood set of the seasons, each figure on a green and brown mound and square base, Spring with a basket and posy
of flowers, Summer with a sickle and sheaf of corn, Autumn with a goblet and bunch of grapes, and Winter skating, the two girls with yellow bodices and flowered skirts and the two young men with yellow breeches

and pink coats, 7} in high
A Ralph Wood stirrup cup in the form of a hare’s head, glazed in manganese and rising above the fluted neck edged in blue, strap handle, 6 in high
A Ralph Wood Toby jug, the grinning man shown seated on a high-backed chair, holding a foaming jug of ale on his knees, he wears grey tricorn hat, blue jacket, green waistcoat and breeches and grey shoes, his

coarse-featured face splashed in brown, 9} in high
A Ralph Wood Fair Hebe jug, modelled by Jean Voyez, one side of the green oak tree trunk moulded in relief with a young man in blue jacket and yellow breeches, handing a bird’s nest to his companion, who sits

wearing a blue dress at his side, a songsheet entitled Fair Hebe above them, the reverse with a toper standing with his dog, the trunk signed J. Voyez, 1788, 9} in high (restored)
An Enoch Wood group of the Virgin and Child, the Virgin seated on a grassy mound and holding the infant Jesus on her lap, she wears a white veil, a long white dress sprigged in puce and a yellow-lined red cloak, the

child with his arms outstretched to kiss her and wearing only a white drapery, 13 in high
An Enoch Wood teapot and cover of Castleford type, moulded on each side with arcaded panels of classical figures, divided by stiff leaves, reserved on a pricked ground, below a border of gadroons, the whole picked

out in green, blue, turquoise and iron-red, 6} in high, mark Wood impressed and coloured in blue

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MILITARIA—see also Medals

Johnson, A. C. Chats on Military Curios. 1915

Wilkinson, F. Militaria. 1969

MINIATURES

Bolton, T. Early American Portrait Painters in Miniature. New York, 1921 Bradley, J. W. A Dictionary of Miniaturists, Illuminators, Calligraphers and

Copyists. 3 vols. 1958 Bussagli, M. Indian Miniatures. 1969 Delaissl, L. M. J. Medieval Miniatures. 1965

Foskett, D. British Portrait Miniatures. 1963 (1968); John Smart: The Man

and his Miniatures. 1964 Foster, J. J. Miniature Painters. 2 vols. 1903 Hand, S. Signed Miniatures. 1925 Heath, D. Miniatures. 1905 Lister, R. The British Miniature. 1951 Long, B. S. British Miniaturists 1520-1860. 1929

(1967)

O’Brien, D. Miniatures of the Eighteenth and Nineteenth Centuries. 1952

Porcher, J. French Miniatures. 1960

Propcrt, J. L. A History of Miniature Art. 1887

Rcilly, D. R. Portrait Waxes. 1953

Reynolds, G. English Portrait Miniatures. 1953

Schidlof, L. The Miniature in Europe. 4 vols. (Edition of 750 copies.) 1965 Williamson, G. G. The Miniature Collector. 1921

MIRRORS

Roche, S. Mirrors. English translation 1957 Wills, G. English Looking-Glasses. 1965

MODEL SOLDIERS—see also Toys

Featherstone, D. F. War Games. 1962; Tackle Model Soldiers This Way.

1963; Battles with Model Soldiers. Newton Abbot, 1970 Garratt, J. G. Model Soldiers. 1962 Harris, E. Model Soldiers. 1962

Nicollier, J. Collecting Toy Soldiers. Rutland, Vermont, 1967 Wells, H. G. Floor Games. 1911; Little Wars. 1913 Young, P. and Lawford, J. P. Charge. 1967

MONUMENTAL BRASSES

Busby, R. J. The Beginner’s Guide to Brass Rubbing. 1969

Davis, C. T. The Monumental Brasses oj Gloucestershire. 1889 (1969)

Druitt, H. Manual oj Costume as illustrated by Monumental Brasses. 1906

Kite, E. The Monumental Brasses oj Wiltshire. 1860 (1969)

Macklin, H. W. Monumental Brasses. 1905 (1953)

Trivick, H. The Crajt and Design oj Monumental Brasses

MUSICAL AUTOMATA

Chapius, A. and Droz, E. Automata. 1960

MUSICAL BOXES

Clarke, J. E. T. Musical Boxes: A History and Appreciation. (Contains a valuable appendix with a list of makers of musical boxes, mechanical singing birds and automata.) 1948 (1961) Hoke, H. and J. Music Boxes: Their

Lure and Lore. New York, 1957 Ord-Hume, A. W. J. G. Collecting Musical Boxes and How to Repair Them. 1967

Webb, G. The Cylinder Musical Box Handbook. 1968 MUSICAL INSTRUMENTS—see also Violins

Anderson, O. The Bowed Harp: A Study of the History of Early Musical

Instruments. 1930 Armstrong, R. B. English and Irish Instruments. 1908 Baines, A. European and American Musical Instruments. 1966 Blades, J. Percussion Instruments and Their History. 1969 Boalch, D. Makers of the

Harpsichord and Clavichord (1440-1840). 1955 Boyden, D. D. Catalogue of the Hill Collection oj Musical Instruments in

the Ashmolean Museum, Oxford. 1969 Bragard, R. Musical Instruments in Art and History. 1969 Buchner, A. Mechanical Musical Instruments. 1961; Musical Instruments

through the Ages. 1957 Carse, A. Musical Wind Instruments. New York, 1939 (1965) Clemencic, R. Old Musical Instruments. 1968 Donington, R. The Instruments of Music. Third edtn. 1953 Galpin, F. W. Old English

Instruments of Music. 1932 (1964); A Textbook

of European Instruments. 1937

Geiringer, K. Musical Instruments. 1943 (1965) Harding, R. The Pianoforte, its History to 1851. 1933

James, P. Early Keyboard Instruments: Their History from the Stone Ag* to

the Present Day. 1961 Marcuse, S. Musical Instruments: A Comprehensive Dictionary. 1966 Rendall, G. The Clarinet. 1954 Russell, R. The Harpsichord and Clavichord. 1959 Sharpc, A. P. The Story of the Spanish Guitar.

1954

NEEDLEWORK—see also Embroidery

Alford, Lady M. Needlework as an Art. 1886

Armcs, A. Early Smoeks. Leicester, 1950

Day, L. F. Art in Needlework. 1900

Finley, R. E. Old Patchwork Quilts. New York, 1929

Glaistcr, E. Needlework. 1880

Groves, S. The History of Needlework Tools and Accessories. 1967

Hall, M. R. English Church Needlework. 1901

Harbcson, G. B. American Needlework. New York, 1938

Hughes, T. English Domestic Needlework (1660-1860). 1961

Kendrick, A. F. English Needlework. 1933 (1967). (Latest edition revised

by Patricia Wardle.) Morris, J. A. The Art of Ayrshire White Needlework. Glasgow, 1916 Morris, M. Decorative Needlework. 1893

Symonds, M. and Preece, L. Needlework through the Ages. 1928 NETSUKE

Brockhaus, A. Netsuke. Leipzig, 1905 Jonas, F. M. Netsuke. 1928 (1969) Newman, A. R. Japanese Art. 1965

O’Brien, M. L. Netsuke: A Guide for Collectors. Rutland, Vermont, U.S.A..

and Tokyo, Japan, 1965 Reitichi, U. The Netsuke Handbook. (English translation from the Japan

cse.) 1964

Rycrson, E. The Netsuke of Japan. 1968 PAINTING

This list includes only a number of general books on American, English and French painting. Biographical books on some individual artists are given under their names on pp. 45-70. The most useful book of reference is

Bcnczit’s Dictionary of the Painters, Sculptors and Engravers of every country and of every ag* to the year 1966 in 8 volumes, though, unfortunately for English-speaking readers, the text is in French.

Baker, C. N. and Constable, W. C. English Paintings of th* Sixteenth and

Seventeenth Centuries. 1930 Barker, A. American Painting: History and Interpretation. New York, 1950 Baur, J. I. II. American Painting in the Ninteenth C*ntury. New York, 1953 Boase, T. S. R. English Art (1800-1870).

1959 Combrech, E. H. The Story of Art. London and New York, 1950 Croft-Murray, E. Decorative Painting in England. 1963

Daniel, H. Adventures in Art: A Guide to Gallery-going. London, New York

and Toronto, 1960 Dickes, W. F. The Norwich School of Painting. 1905 Etheridge. K. Collecting Drawings. 1970

Flcxncr, J. H. A Short History of American Paintings. Bostou, 1950

Freedman, VV. B. Pre-Raphaelitism: a Bibliocritical Study. Harvard, 1965 Gaunt, W. The Observer’s Book oj Painting and Graphic Art. 1958; A Concise History oj English Painting. 1964; The Pre-Raphaelite Tragedy. 1942

Graves, A. A Dictionary oj Artists. Third Edition 1907. Reprinted 1969 Hardie, M. Water Colour Painting in Britain. Vol I. The Eighteenth Century.

1966 (1967); Vol. II. The Romantic Period. 1967 Hauser, A. The Social History oj Art. New York, 1951

Hughes, C. E. Early English Water Colour. 1913; Revised by J. Mayne, 1960

Ironside, R. and Gere, J. A. Pre-Raphaelite Painters. 1948 Larkin, O. W. Life and Art in America. New York, 1949 Maas, J. Victorian Painters. 1969

Newton, E. British Painting. 1945; European Painting and Sculpture. London and New York, 1950 Proctor, I. Masters of British Nineteenth-Century Art. 1961 Redgrave, S. and R. A Century of Painters of the English

School. 1866;

Revised cdtn., 1947 Reynolds, G. Painters of the Victorian Scene. 1953; Victorian Painting. 1966 Richardson, E. P. Painting in America. 1956. (With a very good bibliography.)

Sparrow, W. S. British Sporting Artists. 1922 (1965) Taylor, B. Animal Painting in England. 1955 Waterhouse, E. Painting in Britain (1530-1790). 1953

Wilenski, R. II. English Painting. 1933; Modern French Painters. 1911

(1947)

Williams, I. Early English Water Colours. 1952

PAPERWEIGHTS

Bedford, J. Paperweights. 1968

Bergstrom, E. II. Old Glass Paperweights. 1947 (1968) Cloak, E. C. Glass Paperweights. 1970

Elville, E. M. Paperweights and other Glass Curiosities. 1954 Imbert and Amic, Y. French Crystal Paperweights. 1948

Jokelson, P. Antique French Glass Paperweights. New York, 1955; Glass

Paperweights and Cameo Heads. New York, 1968 Manheim, F. J. A Garland of Weights. Limited Edition, 1968

PAPIER MAC HE

Dickinson, G. English Papier Mdchi. 1925

Toller, J. Antique Papier Mdche in Great Britain and America. 1962 PEWTER

Bedford, J. Pewter. 1965

Bell, M. Old Pewter. New York, 1905; Revised Edtn. London, 1913 CottereU, H. H. Old Pewter and How to Collect It. 1913; Bristol and West-Country Pewterers. 1918; Old Pewter: Its Makers and Marks in England,

Scotland and Ireland. 1929 (1965); Pewter Down the Ages. Plymouth,

1932

Cottcrell, II. H. and Westropp, M. Irish Pewterers. 1917

de Navarro, A. Causeries on English Pewter. 1911 (1924)

Englcfield, E. A Treatise on Pewter and its Manufacture. 1933

Gale, E. J. Pewter and the Amateur Collector. 1910

Ingleby Wood, L. Scottish Pewterware and Pewterers. Edinburgh, 1907

Markham, C. II. Pewter Marks and Old Pewter Ware. 1928 (1948)

Massd, EL J. Pewter Plate. 1904 (1911); The Pewter Collector: A Guide to English Pewter. 1921; Chats on Old Pewter. 1911; Revised by R. F. Michaelis, 1949

Michaelis, R. F., Antique Pewter of the British Isles. 1955; British Pewter. 1969

Price, F. G. H. Old Base Metal Spoons. 1908 Verster, A. J. G. Old European Pewter. 1959 Ullyett, K. Pewter Collecting for Amateurs. 1967

Welch, C. History of the Worshipful Company of Pewterers. 2 vols. 1902 PICTURE POSTCARDS

Alderson, F. The Comic Postcard in English Life. Newton Abbot, 1970 Carline, R. Pictures in the Post. 1959

Staff, F. The Penny Post, 1680-1918. 1964; The Picture Postcard and its Origins. 1966

PIPES, TOBACCO

Sources listed in The Concise Encyclopaedia of Antiques. Vol. 4, p. 208. 1959

Scott, C. and A. Tobacco and the Collector. 1966

PLAYING CARDS

Bcnham, W. G. Playing Cards. 1931

Hargrave, C. P. A History of Playing Cards. Boston, 1930 Mann, S. Collecting Playing Cards. Reprint, 1967 Morley, H. I. Old and Curious Playing Cards. 1931 Taylor, E. S. The History of Playing Cards. 1865 Tilley, R.

Playing Cards. 1967

PONTYPOOL AND USK WARES—sec also Japanned Wares John, W. D. Pontypool and Usk Japanned Wares. 1965

PORCELAIN AND POTTERY MARKS

Chaffers, W. Marks and Monograms on Pottery and Porcelain, Fifteenth

Edition, 2 vols. 1965; Collector’s Handbook of Marks and Monograms on

Pottery and Porcelain. Fourth Edition, 1968. Cushion, J. P. Pocket Book of English Ceramic Marks. 1959 (1965); Pocket

Book of German Ceramic Marks. 1961; Pocket Book of French and Italian

Ceramic Marks. 1965 Cushion, J. P. and Honey, W. B. Handbook of Pottery and Porcelain Marks.

1956

Godden, G. A. Encyclopaedia of British Pottery and Porcelain Marks. 1964; Illustrated Encyclopaedia of British Pottery and Porcelain. 1966; Handbook of British Pottery and Porcelain Marks. 1968

Kovel, R. M. and T. H. A Dictionary of Marks. 1953

Macdonald-Taylor, M. A Dictionary of Marks. 1962

Rhead, G. W. British Pottery Marks. 1910

PORCELAIN AND POTTERY—GENERAL

Barber, E. A. Pottery and Porcelains of the United States. 1901

Bedford, J. Talking About Teapots. 1964

Bemrose, G. Nineteenth-Century English Pottery and Porcelain. 1952 (1968) Binns, W. M. The First Century of English Porcelain. 1906

books  for reading and reference

Blacker, J. F. The A.B.C. of Nineteenth Century English Ceramics. 1911 (1920)

Burton, W. History and Descriptions of English Porcelain. 1902; History and Description of English Earthenware and Stoneware. 1904; Porcelain, Its Nature, Art and Manufacture. 1906; General History of Porcelain. 2

vols. 1921

Charleston, R. J. (Ed.) English Porcelain, 1745-1850. 1965; World Ceramics. 1968

Church, A. English Earthenware. 1914

Cox, W. E. The Book of Pottery and Porcelain. New York, 1945

Cushion, J. P. English China Collecting for Amateurs. 1967

Dixon, J. L. English Porcelain of the Eighteenth Century. 1952

Fisher, S. VV. English Blue and White Porcelain of the Eighteenth Century.

1947; China Collector’s Guide. 1957; British Pottery and Porcelain. 1962;

English Ceramics. 1966 Fleming, J. A. Scottish Pottery. Glasgow, 1923

Godden, G. A. British Pottery and Porcelain, 1780-1850. 1963; Victorian

Porcelain. 1961 Hagger, R. G. English Country Pottery. 1950

Hayden, A. Chats on English China. 1904; Chats on English Earthenware. 1909.

Hillier, B. Pottery and Porcelain, 1700-1914. 1968

Hobson, R. British Museum Catalogue of English Pottery. 1903; British

Museum Catalogue of English Porcelains. 1905 Hodgson, W. How to Identify Old China. 1903; Old English China. 1913 Hodkin, J. E. and E. Examples of Early English Pottery. 1896 Honey, W. B. Old English Porcelain.

1928 (1948); English Pottery and Porcelain. 1947 (Revised by R. J. Charleston, 1968) Hughes, G. B. Victorian Pottery and Porcelain. 1959 (1968); English and Scottish Earthenware, 1660-1860. 1961; English Pottery and

Porcelain Figures. 1964

Hughes, G. B. and T. English Porcelain and Bone China, 1743-1850. 1955

(1968)

Jewitt, W. The Ceramic Art of Great Britain. 2 vols. 1878-1883

King, W. Porcelain Figures of the Eighteenth Century. 1925

Lane, A. English Porcelain Figures of the Eighteenth Century. 1961

Lewis, G. A Picture History of English Pottery. 1956; A Collector’s History

of English Pottery. 1969 Litchfield, F. Pottery and Porcelain: A Guide for Collectors. 1900; Rewritten

by Frank Tilley, 1963 Mankowitz, W. and Haggar, R. G. The Concise Encyclopaedia of English

Pottery and Porcelain. London and New York, 1957 Morley-Fletcher, H. Investing in Pottery and Porcelain. 1968 Nightingale, J. E. Contributions towards the History of Early English Porcelain. 1881

Rackham, B. Catalogue of the Schreiber Collection in the Victoria and Albert Museum. Vol 1 Porcelain (1915); Vol. 2 Earthenware (1929); Medieval English Pottery. 1947; Early Staffordshire Pottery. 1951

Rackham, B. and Read, H. English Pottery. 1924

Rhead, G. W. Staffordshire Pots and Potters. 1906; The Earthenware Collector. 1920

Roscoc, W. English Porcelain Figures, 1744-1848. 1947

Rosenfeld, B. Eighteenth-Century Porcelain Figures. 1950

Savage, G. Eighteenth-Century English Porcelain. 1952; Porcelain through

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BOOKS FOR READING AND REFERENCE

The lover of antiques is always searching for clues which will help him to solve his problems. They may turn up almost anywhere—in an article, an auction sale catalogue, a question-and-answer column, or in a book. Some books embody the results of many years of original research; others, usually for the general reader, derive much of their material from earlier publications though they often contain some discoveries made by the author. Few books, therefore, are to be despised as possible sources of information. The following list contains most of the books in English that are readily available from booksellers or public libraries, together with many that are now hard to find, though most reference libraries are helpful in trying to obtain books for those who make a serious study of any subject. It must be realised, however, that some scholarly books published many years ago have already become rare and valuable. Many of them are difficult to obtain and cost a good deal of money.

The dates given are usually those of first publication but in some cases the date of a later reprint or new edition is indicated in brackets. Unless odierwise stated, it may be assumed that the books were published in London.

It is often difficult to understand and appreciate antiques without some knowledge of the social history of the periods when they were used. For this reason, this bibliography starts with a short list of general books on the antique periods and on collecting; thereafter, the various classes of antiques are listed alphabetically.

ANTIQUE PERIODS

Bcntlcy, N. The Victorian Scene, 1837-1907. 1968

Burton, E. The Elizabethans at Home. 1958; The Jacobeans at Home. 1962;

The Georgians at Home. 1967 Clark, K. The Gothic Revival. 1950 Dutton, R. The Victorian Home. 1954

Edwards, R. and Ramsey, L. G. G. The Connoisseur Period Guides; Tudor Period, 1500-1603; Stuart Period, 1603-1714; Early Georgian Period, 1714-1760; Late Georgian Period, 1760-1810; Regency Period, 1810-1830; Victorian Period, 1830-1860. 1956-8. These are also combined in one volume—The Connoisseur’s Complete Period Guide. 1968

Gloag, J. Georgian Grace. 1956 (1967); Victorian Comfort. 1961

Gordon, H. Antiques in their Periods. 1952 (1964)

Hayward, II. Thomas Johnson and English Rococo. 1964

Honour, H. Chinoiserie. 1961

the buying antiques reference book

Reade, B. Regency Antiques. 1953

Roe, F. G. The Georgian Child. 1961; The Victorian Child. 1959; Victorian

Corners. 1968. Richardson, A. E. Georgian England, 1700-1820. 1931.

Wells, G. The English Life Series, 6 vols. 1967; c. 1550-1610 Elizabeth I and James I; c. 1610-1700 Charles I to William and Mary; c. 1700-1760 Anne to George II; c. 1760-1820 George III; c. 1820-1855 George IV to Victoria; c. 1855-1900 Victoria: iMcr Years.

ANTIQUE COLLECTING: GENERAL

Many of the books in this list cover a number of classes of antiques, often unusual pieces which are not dealt with in any single volume. Bagnall, D. Collecting Cigarette Cards. 1965 Bedford, J. The Collecting Man. 1968

Bogcr, L. A. and H. B. The Dictionary of Antiques and the Decorative Arts. 1957 (1969)

Du Cann, C. G. L. Antiques for Amateurs. 1962; Adventures in Antiques. 1965

Comstock, H. The Concise Encyclopaedia of American Antiques. 2 vols.

London, New York and Toronto, 1958 Cooper, D. and Clark, K. Great Private Collections. 1963 Cowic, D. and Henshaw, K. Antique Collectors’ Dictionary. 1962 Coysh,  A.   W.  and  King,  J.  Buying  Antiques   General  Guide. 1967

(1970); The Buying Antiques Reference Book. Newton Abbot, 1968

(1971)

Eccles, Lord. On Collecting. 1968 Gohin, D. C. Small Antiques for the Collector. 1969 Goodwin, M. A Pocket Dictionary of Collectors’ Terms. 1967 Gordon, H. The Lure of Antiques. 1961

Hughes, G. B. Collecting Antiques. 1950 (1961); More About Collecting Antiques. 1952; The Country Life Collector’s Pocket Book. 1963

Hughes, T. Cottage Antiques. 1967; Small Antiques for the Collector. 1964 (1965); Small Decorative Antiques. 1959; More Small Decorative Antiques. 1962

Johnson, S. Collector’s Luck. 1968

Mebane, J. New Horizons in Collecting. 1967

McClinton, K. M. A Handbook of Popular Antiques. New York, 1945 Mitchell, P. An Introduction to Picture Collecting. 1968

Ramsay, L. G. G. (Ed.) Concise Encyclopaedia of Antiques. 5 vols. London

and New York, 1955-60 Savage, G. The Antique Collector’s Handbook. 1959 Scott, A. and G. Collecting. 1968

Speck, G. E. and Sutherland, E. English Antiques. 1969

Toller, J. Living with Antiques. 1969

Wills, G. Antiques. 1961

Wcnham, A. Antiques A-7.. 1954 (1968)

Woodhouse, G. P. Investment in Antiques and Art. 1969

ARMS AND ARMOUR: GENERAL—see also Edged Weapons and Firearms The armour enthusiast will find a great deal to interest him in early monumental brasses which very often depict the armour of a period with almost photographic accuracy. Books on the subject are listed under Monumental Brasses.

Anderson, L. J. Japanese Armour. 1969

books   for reading and reference

Aylward, J. D. The English Master of Arms. 1956; European Armour. 1958

Blair, C. European Armour 1066-1700. 1958; European and American Arms. 1962 (1964)

Blackmorc, H. L. Arms and Armour. New York, 1965 Buehn, W. Warrior’s Weapons. New York, 1962

Egcrton, Lord, of Tatton. Indian and Oriental Armour. New Edition, 1968. Ellacott, S. E. Collecting Arms and Armour. 1964 Ffoulkes, C. J. Arms and Armament. 1945 Fryer, D. J. Antique Weapons A to Z. 1969 Hayward, J. F. Armour. 1951

Holmes, M. Arms and Armour in Tudor and Stuart London. 1957 Mann, J. Outline oj Arms and Armour in England. 1960; Wallace Collection Catalogue oj European Arms and Armour. 1962 Martin, P. Armour and Weapons. 1968 Norman, V. Arms and Armour. 1964

Oakeshott, R. E. The Archaeology of Weapons. 1960; A Knight and his Armour. 1961; A Knight and his Weapons. 1964; The Sword in the Age of Chivalry. 1965

Peterson, H. L. Arms and Armour in Colonial America. Harrisburg, 1956

Robinson, B. W. Arms and Armour of Old Japan. 1951

Stone, G. C. A Glossary of the Construction, Decoration and Use of Arms

and Armour in All Countries at All Times. Portland, Maine, 1934 Wilkinson, H. Engines of War. 1841

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Art Galleries in Europe.

Victoria and Albert Museum. Ponte Vecchio by Night. Outside London

Birmingham: City Art Gallery. Valentine Rescuing Sylvia from Proteus, and others.

Manchester: City Art Gallery. The Hireling Shepherd; The Shadow of the

Cross.

Newcastle-upon-Tyne: Laing Art Gallery and Museum. Isabella and the Pot

of Basil.

Oxford: Ashmolean Museum. Christians Escaping from the Druids.

Port Sunlight: Lady Lever Art Gallery. May Morning on Magdalen Tower. See Gissing, A. G. William Holman Hunt. 1936

LANDSEER, SIR EDWIN, R.A. (1803-1872) is best known for his animal paintings, sentimental and humorous. He was immensely popular in his lifetime, though violently criticised by Ruskin and the Pre-Raphaelites.

In London

Kenwood House. Hawking in the Olden Times; The Hon E. S. Russell and his Brother.

National Portrait Gallery. Portrait of Sir Walter Scott; Portrait of John Landseer.

Tate Gallery. Dignity and Impudence; Shoeing the Mare, and others. Victoria and Albert Museum. The Old Shepherd’s Chief Mourner; The

Highland Drover’s Departure, and others. Wallace Collection. A Highland Scene; The Arab Tent, and others. Wellington Museum. A Dialogue at Waterloo; The Illicit Still.

Outside London

Bournemouth : Russell Cotes Art Gallery.

Macclesfield: West Park Museum and Art Gallery. Landseer sketches. Sheffield : Graves Art Gallery.

See Manson, J. A. Sir Edwin Landseer, R.A. 1902

LAWRENCE, SIR THOMAS, P.R.A. (1765-1830) was famous as a portrait

painter. In London Tate Gallery.

Outside London

Brighton : Art Gallery and Museum. Wilton House.

See Garlick, K. Sir Thomas Lawrence. 1954

the buying antiques reference book

LEIGHTON, FREDERICK, LORD, P.R.A. (1830-1896) travelled widely

and learned his craft under distinguished artists. In London

Tate Gallery. The Bath of Psyche. Victoria and Albert Museum.

Outside London

Leeds: City Art Gallery. The Return of Prosperine. Manchester: City Art Gallery. Captive Andromache.

LELY, SIR PETER (1618-1680) was invited to Britain from Holland in 1641 as a portrait painter of the nobility.

In London

Courtauld Institute Galleries. In the Lee Collection—Sir Thomas Thynne;

Lely and his Family; Figures in a Landscape. National Portrait Gallery.

Outside London

Abingdon: Guildhall Art Gallery.

Edinburgh: Scottish National Portrait Gallery. Portrait of John, Duke of

Lauderdale, (acquired in 1968). Manchester: City Art Gallery. Sir John Cotton and his family. Sevenoaks: Knole.

Wilton : Wilton House. Many portraits.

See Baker, C. H. Lely and the Stuart Portrait Painters. 1912 See Beckett, R. B. Lely. 1951

LESLIE, CHARLES ROBERT, R.A. (1794-1859) was born of American parents and from 1800-1811 was educated in Philadelphia. He wrote a life of Constable (qv).

In London

Victoria and Albert Museum. The Peasant Mistress of Don Quixote; Les Femmes Savantes; Le Bourgeois Gentilhomme; A Scene in the Artist’s Garden.

See Leslie, C. R. Autobiographical Reflections. 1860

Mil,I,.MS, SIR JOHN EVERETT, P.R.A. (1829-1896) was influenced in his early days by the Pre-Raphaclites but broke away in the 1870s to produce work showing an outstanding technical skill.

In London

National Portrait Gallery. Portrait of Sir Arthur Sullivan, and others. Tate Gallery. The North West Passages; The Boyhood of Raleigh, and others.

Victoria and Albert Museum. Pizarro Seizing the Emperor of Persia. Outside London

Birmingham: City Art Gallery. The Widow’s Mite; The Blind Girl; The

Ornithologist; The Forerunner. Glasgow: Art Gallery. The Ruling Passion. Liverpool: Walker Art Gallery. Lorenzo and Isabella. Manchester : City Art Gallery. Autumn Leaves.

Oxford: Ashmolean Museum. The Return of the Dove to the Ark.

Port Sunlight: Lady Lever Art Gallery. Sir Isumbras at the Ford; Alfred,

Lord Tennyson. Wolverhampton : Wightwick Manor. Portrait of Effie Gray.

See Baldry, A. Sir John Everett Millais. 1899

visiting art galleries

Sec Fish, A. Sir John Everett Millais. New York, 1923

See Millais, J. B. The Life of Sir John Millais (2 vols.) 1899

MORLAND, GEORGE (1763-1804) a painter who depicted life on the farm

and in the country. In London Tate Gallery.

Victoria and Albert Museum.

MULREADY, WILLIAM, R.A.  (1786-1863) was born in Ireland. He

specialized in scenes of ordinary life. In London

Tate Gallery. The Ijsst Inn.

Victoria and Albert Museum. Choosing the Wedding Gown; Open Your Mouth and Shut Your Eyes; John Sheepshanks with his Maid; The Sonnet. Outside London

Dublin : National Gallery of Ireland. The Bathers.

OPIE, JOHN, R.A. (1761-1807) was a Cornish boy who made good as a

painter in London. In London Tate Gallery. Outside London

Berwick-on-Tweed: Art Gallery.

PALMER, SAMUEL (1805-1881) started painting at an early age and by the time he was fourteen had had three pictures accepted for the Royal Academy Exhibition. His love of moonlight, seen in so many of his pictures,

dated from childhood. A portrait drawing by Samuel Palmer fetched Ј1,300 at auction in 1968.

In London

Tate Gallery. Rising Moon; Moonlight Landscape with Sheep; The Harvest Moon, and many others. A watercolour—Rowe—was acquired in 1968.

Victoria and Albert Museum. Full Moon and Deer; Ruth Returning from the Gleaning, and others.

Outside London

Cambridge: Fitzwilliam Museum. The Magic Apple Tree. Carlisle : Art Gallery. The Harvest Moon.

Manchester: City Art Gallery. Bright Cloud and Ploughing; The Willow;

A Man with a Faggot. Oxford:  Ashmolean Museum. The Valley Thick with Corn; Shepherds

under a Full Moon, and many others. Canada

Ottawa: National Gallery of Canada. Oak Trees in Lullingstone Park; Oak Tree, Shoreham, Kent; The Young Angler. See Grigson, G. Samuel Palmer: The Visionary Years. 1947

Ashmolean Museum booklet: Paintings and Drawings by Samuel Palmer.

PEALE, CHARLES WILLSON (1741-1827) was first and foremost a natural craftsman and this is reflected in his painting. He spent two years in London with Benjamin West (qv) learning portrait painting on the large scale

and also the painting of miniatures and engraving.

In the US.A.

Philadelphia : Museum of Art. The Staircase Group.

See Sellers, T. T. Charles Willson Peale (2 vols). Philadelphia, 1952

RAEBURN, SIR HENRY, R.A. (1756-1823) became pre-eminent as a portrait painter among Scottish artists and was knighted in 1822 by George IV.

In London

Courtauld Institute Galleries. Mrs Malcolm. Tate Gallery. Outside London

Aberdeen : Art Gallery and Regional Museum. Robert Adam.

Edinburgh:   National Gallery of Scotland. Mrs Campbell; Mrs. Colin

Mackenzie of I’ortmore. Newcastle-upon-Tyne:   Laing Art Gallery. Robert  Allan  of Kirkliston,

Midlothian.

REDGRAVE, RICHARD, C. B., R.A. (1804-1888). In London

Victoria and Albert Museum. The Governess; An Old English Homestead. Outside London

Birmingham: City Art Gallery. The Valleys also Stand Thick with Corn.

REYNOLDS, SIR JOSHUA, P.R.A. (1723-1792) was greatly influenced by the work of Italian masters. He became the first president of the Royal Academy and had many opportunities of expressing his general views on

the principles of art.

In London

Kenwood House.

National Gallery. Lady Anne Lennox, Countess of Albermarle; Sir Watkin

Williams-Wynn and his Mother; Colonel Tarleton. National Portrait Gallery. Dr Johnson. Sir John Soanc’s Museum. Love and Beauty. Wallace Collection. Outside London Aylesbury: Waddesdon Manor. Faringdon : Busrot

Park. Grantham: Belvoir Castle.

Newcastle-upon-Tyne: Laing Art Gallery. Mrs Elizabeth Riddell. Plymouth : City Museum and Art Gallery. Portrait of Mrs Hamar. Port Sunlight: Lady Lever Art Gallery. Mrs Paine with her Two Daughters;

Elizabeth Gunning, Duchess of Hamilton and Argyll. Sevenoaks: Knole. Shifnal: Weston Park. Torpoint: Antony House. Wilton: Wilton House. Woburn: Woburn Abbey. In the US.A.

Chicago : Art Institute. Lady Sarah Bunbury. New York: Metropolitan Museum of Art. Colonel Coussmaker. Washington: National Gallery. Lady Elizabeth Delmi and her Children. See Waterhouse, E. K. Reynolds. 1941

ROMNEY, GEORGE (1734-1802) was a Lake District man who started as a cabinet maker and later set up in London as a portrait painter.

visiting art galleries

In London

Courtauld Institute Galleries. Georgina, Lady Greville. Tate Gallery. Outside London

Port Sunlight: Lady Lever Art Gallery. Miss Rodbard; Mrs Oliver.

ROSSETTI, DANTE GABRIEL (1756-1827) a Pre-Raphaelite painter who was almost obsessed with the Middle Ages. He loved red hair and based many of his female figures on Elizabeth Siddall whom he married, and

Jane Morris, wife of William Morris.

In London

National Portrait Gallery. Self-Portrait; Madox Brown.

Tate Gallery. The Annunciation; Miss Siddall in a Chair; The Beloved,

and many others.

Victoria and Albert Museum. The Day Dream; Miss Siddall Standing at a

Window (drawing). Outside London

Bedford : Cecil Higgins Art Gallery. Paolo and Francesco.

Birmingham: City Art Gallery. Sir Galahad at the Ruined Castle; Beata

Beatrix (unfinished) and several studies. Cambridge : Fitzwilliam Museum. How They Met Themselves. Liverpool: Walker Art Gallery. Dante’s Dream. Oxford : Ashmolean Museum. Dante Drawing an Angel.

Port Sunlight: Lady Lever Art Gallery. The Blessed Damozel; Sibylla Palmifera.

Southend-on-Sea: Beecroft Art Gallery. Fanny Cornforth.

Wolverhampton:   Wightwick  Manor.   Portrait   of  Rossetti and Madox

Brown. Canada

Ottawa: National Gallery of Canada. The Roseleaf; Profile of a Woman; Salutatio Bealricis

See Angeli, H. Dante Gabriel Rossetti. 1949

See Doughty, O. A Victorian Romantic: Daniel Gabriel Rossetti. 1949 See Grylls, R. G. Portrait of Rossetti. 1964.

ROWLANDSON, THOMAS (1756-1827) mainly noted as a caricaturist

and illustrator. In London British Museum.

Courtauld Institute Galleries. In Spooner Bequest. Tate Gallery.

Victoria and Albert Museum. View of Vauxhall Gardens. Outside London

Northampton : Museum and Art Gallery. Southend-on-Sea: Beecroft Art Gallery. Worthing : Museum and Art Gallery.

See Oppe, A. P. Thomas Rowlandson. 1923.

SANDBY, PAUL (1725-1809) may be regarded as the first great English watercolourist. He spent a good deal of time in Wales and loved its

scenery. In London British Museum.

Tate Gallery.

Victoria and Albert Museum. Outside London

Belfast: Ulster Museum. Caernarvon Castle by Moonlight. Cambridge: Fitzwilliam Museum. Haymaking at Dolwyddelan below Moel Siabod.

Plymouth : City Museum and Art Gallery. Landscape.

SARGENT, JOHN SINGER, R.A. (1856-1925) was born in Florence of American parents, brought up in Italy, studied in Paris and thereafter worked alternately in America and England, where he settled in 1887.

In London

Tate Gallery. Miss Priestley; Ellen Terry as I nth Macbeth. Outside London

Aberdeen : Art Gallery. Self Portrait.

Cambridge: Fitzwilliam Museum. Near the Mount of Olives, Jerusalem. Farnham : Willmer Museum. A Portrait. In the US.A.

Boston : Museum of Fine Arts. The Master and his Pupils. Chicago: Art Institute. Venetian Glass Workers; Mrs Charles Gifford Dyer. Cincinnati: Taft Museum. Robert Louis Stevenson; Two Girls Fishing. Los Angeles:

County Museum. Study of a Man Wearing Laurels. New York: Metropolitan Museum. Study of Astronomy; Holy Land Mountains.

Philadelphia: Museum of Art: Duchess of Sutherland.

See McKibben, David; Sargent’s Boston, with an Essay and Biographical Summary. Boston, 1957. (This book contains a complete check list of Sargent’s portraits.)

Mount, C. M. John Singer Sargent, 1957. (This book contains a complete list of Sargent’s work in oil.

STUART, GILBERT (1755-1828), an American who showed early talent as a painter which attracted the attention of Cosmo Alexander, a Scot who took him to Edinburgh. For many years Stuart worked in London and in

Ireland as a portrait painter before he returned to America.

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Antique Collections.  IRONWORK, JAPANESE PRINTS, IVORIES, JADE, LEATHER ANTIQUES

IRONWORK

Ironwork can be seen in many museums, especially folk museums, usually

in the form of some antique implements and kitchen utensils But a few museums specialize in ironwork. In London

Hampton Court. Fine firebacks.

Victoria and Albert Museum. Room 114 has a large collection of wrought

ironwork, much of it Continental. Outside London

Some of the earliest iron furnaces in England were in Sussex and many fine ironwork objects were made there: moulded firebacks are an example. It is not surprising, therefore, that Sussex museums figure largely in

this list. Battle : The Museum. Sussex ironwork relics.

Brighton: Art Gallery and Museum. Collection of iron firebacks. Coalbrookdale: Museum of Ironfounding. Early engines and examples of iron casting.

Great Yarmouth: Old Merchant’s House. Domestic ironwork from Stuart to

Victorian times. Hailsham: Michclham Priory. Sussex ironwork and a forge. Horsham: The Museum. Sussex ironwork.

Lewes: Anne of Cleves House. Large collection of andirons, firebacks (with

some rare fireback moulds), rush-holders and other ironwork. Norwich: Bridewell Museum. The smithy. Nottingham: City Museum and Art Gallery. Petworth : Petworth House. The Mitford collection of firebacks.

JAPANESE PRINTS

This is a field for the expert since early coloured Japanese woodcuts have been reproduced freely. (See Buying Antiques 2nd Edition pp 128-31.) It is important, therefore, to see and study fine specimens. These can be

seen at: Blackburn : The Art Gallery. Brighton: The Art Gallery and Museum. Manchester : Whitworth Art Gallery.

IVORIES

A few ivory carvings arc displayed in many museums. In London

Courtauld Institute Galleries. Victoria and Albert Museum. Wallace Collection. Outside London

Burnley: Towneley Hall Art Gallery. Luton Hoo. Medieval ivories. Oxford: Ashmolean Museum. Perth: Scone Palace.

thk buying antiques reference book

Sheffield : Graves Art Gallery. Chinese ivories. Wolverhampton : Bantock House. Chinese ivories.

JADE

In London

Victoria and Albert Museum. Chinese jade carvings. Outside London

Cardiif : National Museum of Wales.

Clacton: St Osyth’s Priory. Collection of Chinese jade.

Durham: Gulbcnkian Museum of Oriental Art and Archaeology. Sir Charles Hardinge Collection of Chinese jade.

JEWELLERY In London British Museum.

H.M. Tower of London. The Crown Jewels. Outside London

Barnard Castle : The Bowes Museum. Brighton: Art Gallery and Museum.

Luton Hoo: Sixteenth- and seventeenth-century jewellery and Fabcrgc jewels.

Oxford: Ashmolean Museum. Rotherham: Museum and Art Gallery. Worthing: Museum and Art Gallery.

LACE AND LACE BOBBINS In London

Victoria and Albert Museum. Outside London Ashburton Museum.

Aylesbury : Buckingham County Museum. Lace bobbins. Blair Atholl: Blair Castle.

High Wycombe: Art Gallery and Museum. Buckinghamshire lace. Honiton: Honiton and All Hallows Public Museum. Honiton lace. Luton: Museum and Art Gallery. Local pillow lace. Lace bobbins. Nottingham: City Museum

and Art Gallery. Nottingham lace.

Collectors of lace will sec much of interest in the many museums which display costume (q.v.).

LACQUER In London

Victoria and Albert Museum. Carved red lacquer throne of the Emperor Chicn Lung, made in the eighteenth century, together with fine red lacquer vases.

Outside London

Edcnbridge: Chiddingstonc Castle. Japanese lacquer.

LEATHER ANTIQUES In London

Guildhall Museum. Edmondson Collection of jacks or bombards, the leather bottles used in England for centuries for holding ale. There are also typically English mug-shaped leather drinking vessels—so typical that the

French in the seventeenth century used to say that the English drank out of their boots I The museum also has some seventeenth-century leather gloves and gauntlets embroidered with silk, metal or ribbon.

collections of antiques open to the public

Outside London

Kettering : Westfield Museum. Leather footwear.

Northampton : Central Museum and Art Gallery. Leather footwear.

Norwich: The Bridewell Museum. Leather room.

LEEDS EARTHENWARE

Alton: Curtis Museum. Bignall collection of early Leeds crcamware—plain, painted and pierced, together with some later pieces produced in the 1870s from old moulds. Advisable to make an appointment.

Chorley: Astlcy Hall Art Gallery and Museum.

Leeds: City Art Gallery.

LINTHORPE EARTHENWARES Middlesbrough : Dorman Memorial Museum.

LIVERPOOL PORCELAIN AND POTTERY—see also Deljtware Birkenhead : Williamson Art Gallery and Museum.

Bootle: Museum and Art Gallery. Bishop Collection of Liverpool pottery-Liverpool : City Museum.

LONGTON HALL PORCELAIN In London Fenton House.

Victoria and Albert Museum.

LOWESTOFT PORCELAIN Norwich: Castle Museum.

MAIOLICA In London

Courtauld Institute Galleries. A few sixteenth-century pieces. Victoria and Albert Museum. Sixteenth-century maiolica. Wallace Collection. Outside lA>ndon

Bath : Holburne of Menstrie Museum of Art. Birmingham : City Museum and Art Gallery. Dorking: Polesden Lacy. Oxford: Ashmolean Museum.

MARITIME ANTIQUES

Many people have a special interest in antiques connected with the sea— paintings, engravings, model ships, maps and charts, instruments, ships’ furnishings, etc. Museums which exhibit these are often found in

coastal towns and cities. In London

National Maritime Museum. By far the most comprehensive maritime museum, with every kind of exhibit connected with the seafaring life, merchant and naval. The Annexe, the old Royal Observatory, has many early

navigational instruments.

Outside London

Aberdeen: Art Gallery and Industrial Museum. A regional section includes maritime exhibits and models of sailing ships—the old Aberdeen clippers.

Barnstaple: Arlington Court. Maritime material, including model ships.

Barrow-in-Furness: The Museum. Vickers-Armstrong Collection of model ships.

Belfast: Transport Museum. Model ships.

Bournemouth: Rothesay Museum. Rooms devoted to maritime material.

Brixham: The Museum. Reflects commercial aspects of the seafaring life.

Buckler’s Hard: Maritime Museum. Lies close to the old slipway on the Beaulieu River where ships of forest oak were built and launched in the eighteenth century. It has models of these ships, maps, charts, and

paintings and prints of Bcaulicu-built ships in action.

Dartmouth : Borough Museum. Maritime material.

Great Yarmouth : Maritime Museum for East Anglia.

Grimsby: The Doughty Museum. Exhibits concerned with fishing.

Hastings: Museum of Local History. Maritime items, including ship models.

Hull: Maritime Museum. Commercial aspects of shipping.

Littlehampton: The Museum. Maritime exhibits with sailing-ship material.

Middlesbrough: The Dorman Memorial Museum. Model ships.

Monmouth: Nelson Museum.

Norwich : The Bridewell Museum. River and sea room. Plymouth. City Museum and Art Gallery. Model ships. Plymouth : Buckland Abbey. Model ships.

Portsmouth: Victory Museum. Naval relics and pictures, including a panorama of the Battle of Trafalgar by W. L. Wyllie. Rochester : Public Museum. Model ships.

Southampton: Maritime Museum. A relatively new museum with models,

pictures, etc.

South Shields: Library and Museum. Model ships and early lifeboats. Sundci land : Museum and Art Gallery. Model ships.

Whitby: Literary and Philosophical Society Museum. Maritime material and relics of Captain Cook.

MARTI NWARE

The Martin brothers, who set up a small factory at Southall in Middlesex in 1877 to make a fine salt-glazed stoneware, produced a great variety of bowls, vases, jugs and grotesque figures of animals and birds. These

are now much sought after by collectors. A few specimens may be seen in the Victoria and Albert Museum but enthusiasts should visit the Public Library at Southall to sec the Martinware Pottery Collection.

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ANTIQUE PERIODS AND REIGNING MONARCHS. FURNITURE DESIGNERS

dynasty antique periods

Tudor Tudor, with antiques of the reign of Elizabeth I

1485-1603     (1558-1603) referred to as Elizabethan.

Stuart Stuart, with antiques of the reign of James 1

1603-1702 (1603-1625) and Charles I (1625-1649) referred to as Jacobean. This was followed by the Cromwellian or Commonwealth period (1649-1659) and then the Restoration (Charles II and James II). After this

came the period of Dutch influence: William and Mary (1689-1702) and Queen Anne (1702-1714).

Hanoverian The Georgian period embraces the reigns of George 1702-1901 I (1714-1727), George II (1727-1760), George III (1760-1820) and George IV (1820-1830) but the period from 1800 to 1830 is often referred

to as Regency. Few antiques are labelled William IV (1830-1837): most post-Regency pieces are referred to as Victorian.

Furniture is more usually described by the style introduced by one of the great designers than by the period of the reigning monarch. Their influence dated roughly from the date of publication of their first design books

and lasted, in most cases, for about twenty years, though ‘reproduction furniture’ in these styles is still made. The dates when their first design books were issued were :

William Kent 1744

Thomas Chippendale 1754 Robert and James Adam 1773

George Hepplewhite 1778

Thomas Sheraton 1791

Thomas Hope 1807

George Smith 1808

COLLECTIONS OF ANTIQUES OPEN TO THE PUBLIC

All lovers of antiques enjoy seeing fine examples of early craftsmanship in art galleries, museums and historic houses, even though it is not normally possible to handle them. Most large museums cover many fields,

while others specialise. Provincial museums usually pay particular attention to local industries and crafts and exhibit material with local associations. Some of the finest collections of early porcelain, pottery, silver and

glass may be seen in the towns or cities where these products were made—porcelain at Worcester and Derby, pottery at Stoke-on-Trent, silver at the assay cities and glass at London and Newcastle. On the other hand,

a collector who has bequeathed his specimens to a local museum may provide specialist material far from the manufacturing centre—the Willett Collection of Pottery at Brighton, for example. If you are interested in

particular branches of antiques it is necessary to plan your visits. The first part of this Reference Book aims to provide the signposts. It lists places in Britain, and in the U.S.A., where various classes of antiques may be

properly studied, and mentions the nearest well-known town or city. A list of museums, galleries and historic houses on pp. 80-102 gives addresses and opening times.
To understand an antique fully, it is necessary to know something about the social history of the period—how the object was used, the setting and the locality. A room in an eighteenth-century London mansion would

look very different from a room in an eighteenth-century Yorkshire farmhouse. Yet the furniture they contained may have been contemporary. Fortunately, many museums now show furniture, porcelain, needlework and

other household objects in rooms or settings characteristic of a period, so giving the viewer a clearer insight into the social life of the time than a study of individual items divorced from their surroundings can ever do.
Experts in the world of antiques acquire their knowledge and experience in three ways. They take every opportunity to see—and, if possible, to handle—fine specimens of the class of antiques they have chosen for

study. They read extensively about their subject and build up their own store of reference books. And they talk with other specialists and discuss their problems. Nor is it necessary to be a full-time professional in order

to be an expert: many an amateur collector working in a restricted field has become a specialist in his subject, a man whose advice is keenly sought. Even the ordinary buyer of antiques, who may have no strong urge

to reach expert status, must nevertheless build up a background of knowledge or he will be misled by fake or forgery and waste his money.
Part 1 indicates where and when fine collections of antiques may be seen in museum, gallery or historic house, dealing separately with each class of antique. Part 2 provides a very full bibliography for the specialist

collector and for the general reader, some notes on museum publications, and information about books recently published. Part 3, for those who wish to make contact with other enthusiasts, gives detailed information

about collectors’ clubs and societies. Part 4 provides a comprehensive list of items sold at public auctions in the United Kingdom in 1969-70, together with prices for the previous twelve months, a list of salerooms and

auctioneers, and gives some information about the Board of Trade regulations governing the export and import of antiques.

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