Spring 2013

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Spring 2013 

We have great pleasure in sending you our first brochure of 

2013, which is one of the largest we have produced for some 

time at 220 pages. 

Whilst we always complain that there is nothing to buy and 

finding good stock is getting harder every year, once again we 

have been able put together one of the finest choices of items 

currently on the market. 

We have been lucky to find a good selection of William Wyllie 

etchings and paintings and this is our feature in this edition 

which we hope you will enjoy. In addition to these we have the 

extraordinarily fine ladies dressing case featured on our front 

cover, a fine pair of duelling pistols, a travelling surgeons set, 

a collection of 18 silver nutmeg graters, an early 20th century 

football game, 2 pairs of globes, porcelain and much more. 

Currently paintings are very popular and to reflect this we 

have included over 30 paintings in this brochure with a superb 

Clarkson Stanfield, a lovely Carlton Alfred Smith, an interesting 

oil by Charles Sillem Lidderdale of a young woman who also 

modelled for a watercolour by the same artist which we have in 

stock, plus many others to tempt you. 

Working in Chichester continues to give me great pleasure and 

all the clients who have visited us seem to like the more relaxed 

atmosphere and we look forward to welcoming you all during 

2013. 

Richard & Janice Gardner 

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BOW 

Circa 1760 

Height: 4¾ inches / 12 cm 

Bow rare figures of 

Arlecchino & Columbia, 

the harlequins. 

5 Richard Gardner Antiques exceptional antiques for exceptional people


GEORGE I WALNUT LOWBOY 

Circa 1720 

Height: 28½ inches / 72.5 cm 

Width: 30 inches / 76.25 cm 

Depth: 19 inches / 48.25 cm 

George I walnut lowboy of good colour, 

the quartered top with feathered and 

cross banding, the drawers retaining 

the original brasses, within a double 

bead moulding, the cockbeaded frieze 

above cabriole legs of early form. 


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NICHOLAS CONDY SENIOR 

1793 - 1857 

Fisherfolk on the foreshore at Carrick Fergus, Northern Ireland 

Circa 1830 

Oil on panel 

Frame size: 25 x 20½ inches / 63.5 x 52 cm 

Nicholas Condy Senior was a Plymouth artist who produced 

both watercolours and oil paintings often of shore scenes 

with figures and craft in the background. His son, also named 

Nicholas Condy, was also an artist. 

9 Richard Gardner Antiques exceptional antiques for exceptional people 

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WORCESTER 

Circa 1775 

Height: 5¼ inches / 13.25 cm 

Diameter: 3½ inches / 8.75 cm 

Worcester very rare teapot 

and cover painted with 

“fabulous birds” on a blue 

and gilt ground. This pattern 

appears to have been a one off 

service, provenance a Yorkshire 

Country Manor House. 

FRENCH SINGING BIRD CAGE ATTRIBUTED TO JEAN PHALIBOIS 

Phalibois, France Circa 1880 

Height: 23 inches / 58.5 cm 

Diameter: 12 inches / 30.5 cm 

A fine large singing bird cage, all eight sides of the base are gilt and gesso with 

acanthus decoration with swags of roses. The bird is set on a tree perch within a 

naturalistic landscape with green ground, and with rocks and plants. The bird sings 

clearly and with a strong song, he moves his head from side to side and flaps his tail 

feathers, while all the time he sings his beak opens and closes. 

A fine example. 


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MANICURE SET BY CALLOWS OF MAYFAIR 

London 1925 – 1926 

Height: 3½ inches / 9 cm 

Width: 7½ inches / 19 cm 

Length: 12½ inches / 31.75cm 

A superb early 20th Century manicure set by Callows of 

Mayfair, all in a lovely burr yew and partridge wood box 

with a beautifully cut stainless steel catch, the lid opening 

to reveal a removable leather tray with leather edged 

sections for two circular silver boxes, a silver nail buffer, 

and a selection of six stainless steel tools. 


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JOHN ATKINSON GRIMSHAW 

1836 – 1893 

Sunday Night, Knostrop Cut, Leeds 

Signed & dated 1893 

Inscribed verso 

Oil on canvas 

Frame size: 14¾ x 18¾ inches / 37.5 x 47.75cm 

Grimshaw was a Victorian artist who became famous for his atmospheric views of dockyards and nocturnal scenes of urban lanes with 

leafless trees silhouetted against moonlit skies. 

He was born in Leeds, son of an ex-policeman. Grimshaw was employed as a clerk for the Great Northern Railway, and it was at this time he 

first began to paint. 

In 1858 he married his cousin Frances Theodosia Hubbarde and by 1861 left his job in order to devote all his time to painting. 

His early work was influenced by Ruskin and the Leeds painter John William Inchbold, who worked in a detailed Pre-Raphaelite style. About 

1865 he adopted a more muted palette and atmospheric style; he painted many urban scenes in which moonlight and shadows were the 

most striking features. 

By 1870 Grimshaw had become successful enough to rent Knostrop Old Hall, a 17th Century mansion about two miles from the centre of 

Leeds, and near Temple Newsom which features in many of his pictures. 

Grimshaw painted mostly for private patrons and only exhibited five works at the Royal Academy from 1874 - 6 and one at Grosvenor 

Gallery. 

The towns and docks he most frequently painted were Glasgow, Liverpool, Leeds, Scarborough, Whitby, and London. He also painted 

landscapes, portraits, interiors, fairy pictures and neo-classical subjects. 

Grimshaw usually signed his pictures on the front and the reverse, inscribed with the title. 

In the 1870’s he built another home near Scarborough which he called, ‘The Castle by the Sea’, but after suffering a serious financial 

disaster in 1879 it had to be sold. 

He moved to London and rented a studio in Chelsea, leaving his family at Knostrop, but did return, and died there in 1893. 

Two of his sons, Arthur and Louis also became painters. 


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BRASS CANDLE HOLDER 

Circa 1783 

Length: 11 inches / 28 cm 

Diameter: 4¼ inches / 10.75 cm 

A wonderful cylindrical wall 

mounted brass candle holder with 

decorated rising lid with initials 

S.T.R. Date 1783. 

IVORY OKIMONO 

Circa 1920 

Height: 6¾ inches / 17.25 cm 


Depth: 4¼ inches / 10.75 cm 

An early 20th Century Tokyo school 

ivory okimono of a young lady 

kneeling on one leg and holding 

a parasol in her left hand, on a 

wooden base, a charming figure. 


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PAIR MASONIC RUMMERS 

Circa 1790 


Diameter: 3¾ inches / 8.75 cm 

A good pair of square based 

rummers engraved masonic 

emblems. 

RARE OAK CIRCULAR MINIATURE ‘PILLAR BOX’ 

Circa 1875 



A rare John Batson style oak circular miniature ‘pillar box’ with hexagonal and lobed 

domed cover, letter aperture with brass flap lettered LETTERS with hinged door 

opening to black leather lined interior and inset with brass framed card detailing 

letter rates and time of collection and brass registration diamond for May 1872. 

In 1840, Sir Rowland Hill reformed the postal delivery service, establishing a cheap 

and reliable service. In 1840 76 million letters were sent via the post, by 1889, 

2186 million. In remote country houses, it became customary and fashionable to 

have a posting box in the hall, which was regularly emptied and delivered to the 

nearest post office. The times of collection and rates were inserted into the front 

panel. 

Comparative Literature: Edward H. Pinto, Treen and other Wooden Bygones, Bell & 

Hyman 1969. 

A comparable miniature street pillar box with a similar lobed dome cover, a leather 

lined interior and door compartment, was to a design registered in 1872, by John 

Batson of Brewer Street, Golden Square, London. 


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JOHN FREDERICK HERRING JNR 

Fl.1852 - 1886 British 

A Farmyard scene 

Oil on canvas 

Frame size: 31 x 43 inches / 78.75 x 109.25 cm 

Signed J.F.Herring 

John Frederick Herring junior was a sporting and 

animal painter. Son and imitator of J.F.Herring 

senior, one of the finest horse painters in history. 

Herring Jnr is said to have quarrelled with his 

father, and although a competent artist, he devoted 

his career to copying his father’s work, particularly 

farmyard scenes. As both painters used the same 

name & initials, their work is often confused. 

Herring Jnr.’s work is courser than that of his 

father. 

Herring Jnr exhibited mainly at The Society of 

British Artists in Suffolk Street and also at the Royal 

Academy and the British Institute. 


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EARLY 19TH CENTURY BURR YEW SEWING BOX 

Circa 1820 


Width: 13½ inches / 34.25 cm 

Depth: 11 inches / 28 cm 

An early 19th Century burr yew sewing box of fine quality, the top 

and sides are all decorated with crossbanding and a border of 

trailing foliage in holly on an ebonised background, the top also 

has a central panel of a print of possibly Britannia and Neptune 

surrounded by a painted border, opening the top reveals a pale 

blue silk lined inner lid, whilst the lift out tray and interior of 

the base are lined with pale blue paper, the lift out tray has two 

removable boxes with sliding lids, two glass bottles with silver 

plated lids, four rare Tunbridge ware painted thread barrels, four 

small wooden pots, rare Tunbridge ware painted netting tool, all 

on ring turned feet with ivory facings, whilst the side handles are 

wooden with ivory rings which are replacements for the original 

handles. 


PINK SHAGREEN DESK CALENDAR 

Circa 1920 


Width: 4¾ inches / 12 cm 

A lovely ivory edged pink shagreen desk 

calendar with a selection of interchangeable 

ivory cards showing the months and days of 

the week. 

CLARKSON STANFIELD R.A. 

1793 – 1867 British 

Calm at Vietri in the Gulf of Salerno 

Oil on canvas 

Signed and dated 1857 

Frame size: 53¼ x 35¼ inches / 134.5 x 89.5 cm 

Clarkson Stanfield was born in Sunderland, the fifth and 

youngest child of James Field Stanfield (1749-1824), wellknown 

in the north-east of England as an actor and author. 

Clarkson inherited his artistic talent from his mother, 

Mary, and as a boy probably helped his father paint stage 

scenery, occasionally appearing as a child actor. 

In 1806 he was apprenticed to an heraldic coach painter 

but went to sea in a collier two years later, being pressed 

into the Navy in London in July 1812. His artistic ability 

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Continued from page 22 

attracted attention and he helped decorate the Sheerness port-admiral’s ballroom but, failing to obtain shore employment, was invalided from 

the Service at the end of 1814. He then sailed as a seaman in the Indiaman Warley to China and back. Missing his ship for the next voyage, 

he was employed as a scenery painter at the East London Theatre, Stepney, and continued with other companies, including the Royal Coburg 

(now the ‘Old Vic’) where he worked with David Roberts (1796-1864) under John Thomas Serres (1759-1825). In December 1822 he 

moved to the Theatre Royal, Drury Lane, where, over the next twelve years, he achieved renown as the most famous theatrical painter of his 

time. Particularly notable were his ‘moving dioramas’, unrolling land and seascapes, some twenty feet high. Similar exhibitions were shown 

outside the theatre. 

Stanfield’s rise as an easel painter was contemporary with and encouraged by his scenic fame. The speed with which he worked in both areas 

was the source of amazement. He first exhibited at the Royal Academy in 1820 and between 1830 and his death only failed to contribute 

in 1839, due to a tour. In 1830 his stormy sea-piece ‘St. Michael’s Mount, Cornwall’ (now in the National Gallery of Victoria, Melbourne) 

attracted King William IV’s attention and the two following royal commissions are still in the Royal Collection. Stanfield’s prosperity was 

assured. He was elected Associate Royal Academy member in 1832 and full Academician in February 1835, when he gave up theatre work. 

Working in both oil and watercolour, Stanfield’s oils reflect his scenic training in a style of picturesque realism, painted with bright colour, great 

clarity and glowing surface effects. John Ruskin considered Stanfield the nearest rival to J.M.W.Turner (1775-1851) as a delineator of cloud 

forms and compared the nautical knowledge of his marine works favourably with that of the Old Masters. 

Like her uncle, Queen Victoria was a great admirer of Stanfield’s work, particularly his scenes of the sea both at the theatre and as paintings 

exhibited at the Royal Academy. The Queen bought several of his oils, including, in 1840, a pair of Italian scenes, ‘A view of the beach at Vietri 

in the Gulf of Salerno’ and ‘The Capuchin Convent at Amalfi’, for which the artist was paid £218. Both are in the Royal Collection (Nos. 652 

and 653), signed and dated ‘C.Stanfield R.A./1840’ and measure 22.5 x 32 in. (57 x 81 cm.) These may have been, like others, purchased 

as presents for Prince Albert. The painting of Vietri was engraved by W.Miller for publication in the ‘Art Journal’ in 1859. It was loaned by the 

Crown to the exhibition ‘Clarkson Stanfield’ mounted by Tyne and Wear County Council Museums in 1979 (No.220), catalogue by P. van der 

Merwe. 

The coastline at Vietri, between Amalfi and Salerno, was popular with visiting artists for its busy beaches backed by ancient fortresses and 

towering cliffs, all viewed in the clear Mediterranean light. Encouraged by the royal purchase, Stanfield returned to depiction of the scene with 

the present painting for the Academy exhibition in 1857. It has the same lucid, balanced appeal while giving prominence to close-up activity 

on the beach and shipping in the bay. It is substantially larger than the work in the Royal Collection. 

Stanfield was a man of striking appearance, as testified by contemporary portraits, and widely liked for his simplicity and modesty. He received 

several artistic honours and was appointed Curator of Pictures at Greenwich Hospital in 1844. He died in Hampstead on 8 May 1867. 

Provenance: Alan Russett, author. 


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WORCESTER 

Circa 1768 

Height: 4 inches / 10 cm 


Depth: 7½ inches / 19 cm 

Worcester fine two handled 

reticulated basket painted with 

exotic birds in a gilt mirror panel 

on a blue scale ground. 

GEORGE III MAHOGANY NIGHT TABLE 

Circa 1765 


Width: 17¼ inches / 44 cm 

Depth: 13½ inches / 34.5 cm 

An early George III mahogany night table of 

unusual design, the shaped gallery over a tambour 

cupboard above a drawer. 


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A CASED SET OF 12 19TH CENTURY 

SILVER AND IVORY OYSTER FORKS 

Circa 1875 

Length of fork: 5¾ inches / 14.75 cm 

A fine boxed set of 12 French sterling silver and 

ivory handled oyster forks made by the fine 

quality French maker Henin Freres, the sterling 

silver tines, which all curl up, are in 950 purity 

silver whilst the ivory handles are carved in a 

fluted design. 

Inside the case it is marked Fabrique d’orfevrerie, 

Joaillerie, Masion Laigniez, Ernest Prost, 68 Quai 

des Orfevres, Paris. 

SIR WILLIAM REID DICK 

1879 – 1961 British 


Sling Boy or The Catapult 

A fabulously modelled bronze figure of a young boy pulling the string of 

his catapult standing on an oval naturalistic base. The bronze with perfect 

original mottled brown patination and very finely finished tactile surface 

detail, signed W Reid Dick. Excellent original condition. 

Born in Glasgow on January 13, 1879, he died in London on October 

1, 1961. He studied at the Glasgow School of Art until 1907 and then 

attended the City and Guilds School, Kensington. Exhibited at the Royal 

Academy from 1912 and became President of the Royal Society of British 

Sculptors in 1933 - 1938. A member of the Royal Fine Arts Committee 

and the Board of Trustees of the Tate Gallery. He was knighted in 1935 

and became King's sculptor from 1938 to 1952 and Queen's sculptor 

thereafter. He lived and worked in London for many years. He produced a 

large number of monuments and memorials including the equestrian statue 

of Lady Godiva, Coventry and the statue of Franklin Roosevelt in Grosvenor 

Square. He also sculpted numerous busts of British Royalty, political figures 

and celebrities and also produced many notable genre bronzes including 

the Kiss and the Sling Boy. 


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NATALIE SCHULTHEISS 

1865 - 1952 Austrian 

Still Life of Poppies in a Vase 

Oil on canvas 


Frame size: 26 x 30 inches / 66 x 76.25 cm 

Natalie Schultheiss (nee Hampel) was an 

impressionist still life painter, born Vienna 

1865. Studied at the School of Fine Art in 

Munich. Wife of the distinguished Munich artist 

Karl Schultheiss. Her sister Charlotte Hampel 

was also an artist. 

The museum of Stuttgart holds her work 

‘Poissons.’ 

This painting is a very well executed and 

colourful impressionist still life in a decorative 

gilt lancret frame. 


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CLARET JUG 

Circa 1890 


An English Intaglio claret jug. 


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FINE PAIR OF 19TH CENTURY TERRESTRIAL AND CELESTIAL GLOBES 

Circa 1852 


Diameter: 24 inches / 61 cm 

A fine pair of mid 19th Century terrestrial and celestial globes by S.S. Edkins & Son 

(Successor to the late T.M. Bardin) Salisbury Square, London, and dedicated to Sir Joseph 

Banks, Bar, KB, President of the Royal Society, 1852. Each on a mahogany stand with a 

turned column to splayed down swept legs united by a stretcher and containing a compass. 

William Bardin became a freeman of the Leathersellers' Company in 1775 at the age of 35 

and transferred one year later to the Girdlers' Company. For unknown reasons Bardin moved 

into globe making c. 1780, in association with Gabriel Wright . The first globes published by 

Wright and Bardin of 9 and 12 in. diameter, are dated 1 January 1782 . The collaboration 

between the two seems to have ended by 1794/5 when the Bardin firm moved from 

Hind Court to 16 Salisbury Square, on the opposite side of Fleet Street. The business was 

continued there by Bardin and his son, Thomas Marriott Bardin (1768-1819), who in 1783 

had been apprenticed to his father. After becoming a freeman in 1790, Thomas Marriott 

joined his father's firm in the partnership of W & T. M. Bardin. Around 1798, the globe 

production of the Bardin firm was extended to include a pair of 18 in. globes. These new 

British globes were made in collaboration with the firm of W and S. Jones . A few years later, 

another pair of 12 in. globes appeared, now carrying the name of T. M. Bardin only, since 

the elder Bardin had died in 1798. The globe production of Thomas Marriott Bardin was 

taken over by Elizabeth Marriott Bardin (1799-1851), his daughter, in 1820, a year after 

her father's death. After her marriage in 1832 to the silversmith and member of the Cutlers' 

Company, Samuel Sabine Edkins, the globes were sold with the label of 'S. S. Edkins, sonin-law 

to T M. Bardin'. A son of Edkins'' (from an earlier marriage) joined the firm in 1848, 

at which point its name was changed to 'S. S. Edkins & Son'. A few years after S. S. Edkins's 

death in 1853, the firm was closed. 


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CHARLES DIXON 

1872 - 1934 

Littlehampton 


Watercolour 

Frame size: 22¾ x 27½ inches / 57.75 x 70 cm 

Charles Dixon was born in Goring-on-Thames, 

son of Alfred Dixon. He was an illustrator and 

worked for the illustrated London news the 

Sphere and the Graphic. Dixon could also have 

been classified as ‘neglected’. His style is rather 

similar to that of WL Wyllie, perhaps a trifle 

softer, and his colours are usually warm and 

his draughtsmanship accurate. He performed 

a fine service in recording many scenes on the 

tidal Thames and exhibited in the Royal Academy 

from 1889 onwards. He is perhaps better 

known today for his watercolours than his oils, 

although the latter have much merit. He spent 

his final years in Itchenor, West Sussex. 


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GEORGE III MAHOGANY NIGHT TABLE OF SEMI-ELLIPTICAL FORM 

Circa 1780 




George III mahogany night table, of semi elliptical form, with lifting top and twin doors 

formed as dummy drawers. 

By Gillows of Lancaster and illustrated in the Gillows estimate sketch book of 1797 (total cost 

to the form of £3 4s 3d). 

Provenance: British Antique Dealers Association Diamond Jubilee Festival exhibited at 

Messrs W. Stockbridge & Sons Ltd, Bridge Street, Cambridge 8-29 July 1978, exhibit no 18 

purchasers note ‘This night table was exhibited in a prominent alcove in the above exhibition, 

below the design for an identical piece from Gillows estimate sketch book 1797.’ 


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BLACK FOREST CARVED JEWELLERY BOX 

Early 19th Century 


Width: 11 ¾ inches / 29.75 cm 


A very intricately carved wooden jewellery box with 

a rooster, hen and four chicks all on a bale of wheat 

tied together with straw which is also holding a scythe, 

opening the box reveals the purple velvet lined interior. 

The workmanship and detail is exemplary and is a rare 

example of a master carver of black forest art. 

SATSUMA VASE BY MEIZAN 

Meiji Period 

Height: 5¼ inches / 13 cm 


A lovely small Satsuma vase by Meizan, 

profusely decorated throughout on 

a cream background, the top with a 

gilded pattern interspersed with the 

finest chrysanthemums, the vase is 

then decorated with various patterns, 

numerous butterflies a band of Japanese 

families eating, playing, reading, etc, 

with three further bands of heavily gilded 

decoration, beautifully painted flowers and 

more gilded decorations. To appreciate 

the quality of the decoration this really 

needs to be seen through a magnifying 

glass to see all the fine detail. Signed. 


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JOHN FRASER R.B.A. 

1858 – 1927 

Off the island of La Palma 

Oil on Panel 

Signed 

Circa 1920 

Frame size: 15¾ x 19 inches / 40 x 48.25 cm 

A landscape and marine painter and a full 

member of the Royal Society of British artists. 

He lived in Seaford Sussex and London and 

exhibited widely between 1880 and 1919 at the 

RA 61 paintings 

Royal Society of British Artists, Walker Art 

Gallery and Fine Art Society. 


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A TRULY OUTSTANDING AND PROBABLY UNIQUE LADIES 

DRESSING CASE BY BETJEMANN’S 

Circa 1877 


Width: 17¾ inches / 45.25 cm 


A truly outstanding ladies dressing case in a large and beautiful coromandel veneered 

case with brass corners and brass inlaid decoration by Betjemann’s. 

Lifting the top of the case not only reveals the outstanding interior, but at the same 

time lowers the front of the case containing a vast selection of items as well as lifting 

the centre section of the carousel so that it sits above the other bottles. We can find no 

other example of a dressing case with this action, which is typical of the type of work 

Betjemann’s would undertake, and have come to the conclusion that this piece was 

probably a commission undertaken by the company, but was so difficult to execute that 

they didn’t repeat it. 

The interior of the lid has a central section enclosing a lift out velvet lined pad with a 

selection of ivory tools with glove stretcher, shoe horn, large hand held mirror and two 

smaller hand mirrors, behind this is a leather stationery wallet with silk lined interior and 

a silver gilt clasp. Either side of the central section are two picture holders which when 

removed reveal a leather covered panel which can be removed to allow access to a 

recessed compartment, above these are two removable boxes with sliding lids and finally 

above these there is a clock to the right and a barometer to the left. 



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The main body of the case has a selection of sixteen various shaped hobnail 

cut bottles all with silver gilt tops, each decorated with the owners initials D.S. 

in coral and seed pearls. Four bottles are in the central section which rises 

when the lid is raised, surrounding this is a rotating carousel containing eight 

further bottles which sits on a mirrored floor, with mirrors to the sides and 

back, this section is flanked on either side with two further bottles over two 

long narrow drawers, at the rear are two rising candle holders on swing out 

arms, this is all over a long drawer which contains a large ivory hairbrush, 

together with a compartment for the storage of jewellery, removing this 

drawer reveals a secret two compartment for the storage of papers fitted in 

the base of the case. 

The drop down front contains an extensive selection of 28 differing tools, 

including scissors, nail tools, napkin holder, coach hook, button hook, 

corkscrew, penknife, rubber, sander, posy holder, etc all under a rising glass 

lid. 

The whole case interior is profusely decorated with engraved gilt metal 

mounts which is typical of Betjemann’s and similar work can be seen on the 

extensive desk set currently in the showroom. 

There are some envelopes and one letter in one drawer addressed to Emily 

Baird and it appears to be signed by DS. Whilst we have been able to find 

information on Emily and her family we cannot find any family connection to 

DS to enable us to confirm who this fantastic box was made for, but further 

research may be able to locate this information. 


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GERHARD ARIJ LUDWIG, MORGENSTJERNE, MUNTHE 

1875 – 1927 Netherlands 

A view of a small harbour 

Signed & dated ‘99 

Oil on board 

Circa 1899 

Image size: 12¼ x 10 ¾ inches / 21 x 27 cm 

Gerhard Munthe Morgenstjerne lived and worked in Düsseldorf, The 

Hague and Katwijk. He studied at the Academy in Düsseldorf. There he 

painted mainly fishermen and beach scenes with (bomb) barges. He 

added quickly, "Morgenstjerne '(Norwegian for morning) to his name, 

to distinguish himself from his uncle and namesake GPFW Munthe, a 

famous landscape painter. Morgenstjerne Munthe was a member of 'Arti 

et Amicitiae' in Amsterdam. His work is displayed, among others in the 

Kröller Müller Museum. 


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PAIR OF CARVED SHELL CAMEOS 

Circa 1800 


Width: 4¼ inches / 10.75 cm 


A pair of beautiful and unusual antique 

English gold mounted carved shell cameos of 

Cupid and Psyche on English black marble 

base, very finely carved and clearly conceived 

as a pair and mounted together from 

inception. 

Each cut of the sculpting tool can be seen 

under a strong glass, quite extraordinary. 

ROYAL WORCESTER 

Circa 1910 



Royal Worcester fine vase painted 

with sheep by Ernest Barker, 

signed date code for 1910, Baker 

apprenticed to Harry Davis and 

many early Barker pieces are 

signed by Davis. 


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CHARMING MINIATURE ROSEWOOD WORK TABLE 

Circa 1870 




A late 19th Century miniature rosewood work table, the top is 

inlaid with a pewter bordered chess board, this lifts up to reveal 

a fully fitted removable sewing tray with lidded compartments, 

sewing needle cases, thimble holders, tool pad and six miniature 

mother of pearl cotton reel holders, the work box is covered in 

a matching material to the interior and is supported on a turned 

central support onto a platform base on turned bun feet. A most 

charming piece of miniature furniture. 


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ENGLISH SCHOOL (IN THE STYLE OF WILLIAM ANDERSON) 

Dutch vessels in calm waters, fisherfolk landing a catch 

Oil on relined canvas 

Circa 1840 

Frame size: 17½ inches x 21¼ inches / 43.75 x 54 cm 


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JAPANESE IVORY OKIMONO BANANA 

Meiji Period 




A Japanese ivory okimono realistically carved as 

a partially peeled banana, with the naturalistic 

colouring of yellow, all on a wooden base. 

TORTOISESHELL ETUI 

Circa 1813 



Depth: ¾ inch / 2 cm 

A small tortoiseshell etui 

decorated with silver pique 

and gold line inlay, together 

with two silver plaques, 

one decorated with a heart 

and inscribed with two sets 

of initials, the other dated 

October 1813, the lid opens 

to reveal a selection of tools. 


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PAIR OF BRONZE AND ORMOLU REGENCY CANDLESTICKS 

Circa 1820 



A pair of Regency bronze and ormolu candlesticks in form of an eagle with a 

viper. 

The eagle has been beautifully modelled and there is exceptionally fine work 

to the wings and head, both eagles have the original vipers. 

REGENCY MAHOGANY WRITING TABLE 

Circa 1800 




A Regency mahogany small writing table, fitted with 

two drawers to the front and with dummy drawers 

to the other three sides, inlaid ebonised stringing and 

raised on end supports, sabre legs and castors. 


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NUTMEG GRATERS 

These portable containers were used to carry and grate nutmeg. An 

expensive and fragrant spice, nutmeg is the commercial name of the seed 

kernel of an evergreen tree, Myristica fragrans. It was imported into England 

from the East Indies, especially from islands that now form part of Indonesia. 

Initially nutmeg was believed to offer protection against the plague, but by 

the mid 17th century it was more commonly used to flavour food and drink. 

It was an important ingredient of punch and hot mulled wine. 

Nutmeg graters first appeared in the mid 17th century, with greater 

refinement in dining and a wider ownership of silver for the table. They were 

either carried in the pocket or included in a travelling canteen that might also 

contain cutlery, a beaker and a corkscrew. The graters reached the height 

of their popularity in the next century. Cheaper, thinner gauge silver, new 

manufacturing techniques and greater prosperity led to an enormous growth 

in items of small personal silver. Nutmeg graters were then made in a variety 

of forms, from cylindrical, circular or oval boxes to more unusual designs 

such as hearts or shells, to express the owner's taste and individuality. 

Over the next five pages we are pleased to be able to offer you a selection of 

18 various graters from a private collection. 


Height: 2½ inches / Width: ¾ inches 

William & Mary silver cylindrical engraved nutmeg grater. London 

Circa 1690 by ‘S’ maker. 

Width: ¼ inch / Depth: 1 inch 

George III oblong silver bright cut engraved nutmeg grater. 

Birmingham 1801-02 by T.Willmore. 

Richard Gardner Antiques exceptional antiques for exceptional people 

Height: 2½ inches / Width: 1 inch 

Victorian cylindrical silver nutmeg grater. London 1844-45 by 

Charles Rawlings & William Summers. 

Width: 1¼ inches 

George III egg shape silver nutmeg grater. London C 1775 by S. 

Meriton II. 

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Height: 2½ inches / Width: 1 inch 

George III cylindrical silver nutmeg grater. Birmingham 1811-12 

by Sam Pemberton 

Width: 1¼ inches / Depth: 1 inch 

George III oblong silver bright cut engraved nutmeg grater. 

Birmingham 1801-02 by T. Willmore. 

Height: 2 inches / Width: 1 inch 

George III silver, oval bright cut engraved nutmeg grater. 

Birmingham 1801-02 by T. Willmore. 

Height: 1¼ inches / Depth: 1 inch 

George III oval bright cut, nutmeg grater. Birmingham 1802-3 by 

Joseph Taylor. 


Width: 2¾ inches / Depth: 1 inch 

George III silver cylindrical nutmeg grater. London 1808-09 by 

Peter & William Bateman. 

Width: 1¾ inches / Depth: 1 inch 

George III elongated oval silver nutmeg grater. London 1798-9 

probably by Roger Biggs. 


Height: 1¼ inches 

George III cylindrical silver nutmeg grater. Birmingham 1801-02 

by J. Taylor. 

Height: 1½ inches 

George III silver egg shaped nutmeg grater. London Circa 1770 

by S.Meriton. 

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Height: 2¾ inches / Width: 1 inch 

George III cylindrical silver nutmeg grater. London 1796-97 by 

T.Phipps & E.Robinson. 

Width: 2 inches / Depth: 1 inch 

Victorian bright cut silver nutmeg grater. Birmingham 1848-49 

by Yappe Woodware. 

Height: 3 inches / Width: 1½ inches 

George III cylindrical silver nutmeg grater. London 1814-15 by T 

Phipps, E.Robinson & J.Phipps. 

Width: 1½ inches 

George III Silver egg shaped nutmeg grater. London 1791-92 by 

Samuel Meriton. 

Height: 1¼ inches 

Pair of George III cylindrical bright-cut silver nutmeg grater. Birmingham 1978-93 by Samuel Pemberton. 

Width: 1½ inches 

A Victorian silver ‘walnut’ nutmeg grater. Birmingham 1851-52 by Hilliard Thomeson. 


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THOMAS LUNY 

1759 – 1837 

Dutch Fishing Boats off a Coastline 

Oil painting on panel 


Frame size: 13 x 16¼ inches / 33 x 41.25 cm 

Thomas Luny was one of the most prolific and best known British marine artists whose 

working life spanned nearly sixty years. Born in London in 1759, he served in the Navy, 

reputedly as a purser. During part of his naval career he served under Captain Tobin, 

who was later to become one of his companions when he went to live at Teignmouth. It 

is believed that he was a pupil and subsequently a close friend of Francis Holman. 

He painted several large naval battle scenes, probably commissioned by the Admiralty, 

which accurately recorded these actions. Many of his marine paintings were scenes 

around the Devonshire coast. Luny’s works are outstanding in clarity of colour and 

smooth brushwork. Luny retired from the Navy in about 1805 due to rheumatoid 

arthritis and settled in Teignmouth where he continued to work until the end of his life 

in 1837. 

He first exhibited at the Royal Academy in 1780 and continued to show his works 

regularly until 1802. Examples of his work can be found in the National Maritime 

Museum at Greenwich and other public collections. 


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BELGIUM DECANTER & GLASSES SET BY VAL ST LAMBERT 

Circa 1940 

Glasses Height: 5¼ inches / 13 cm 


Decanter Height: 13 inches / 33 cm 


A delightful early 20th Century Belgium set of a decanter and a full set of six 

harlequin glasses, chased and cut, in various colours, labelled. 

MINTON 

Circa 1872 

Diameter: 9½ inches / 24.25 cm 

Minton plate painted with a naked 

young girl by Antonin Boullemier. 

Antonin was well known for his 

“whimsical cherubs” and two lesser 

plates with pictures are in Minton 

by Minton Museum Curator Joan 

Jones, page 71. Limoges enamels 

were introduced by Dersire Leroy 

when he became art director and is 

probably his early work there. 


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FINE SILVER TRAVELLING LAMP 

London 1862 – 1863 




A very fine engine turned silver travelling or carriage 

lamp by Thomas Johnson of superb quality, the 

design of the lamp allows it to be carried neatly for 

travel. To use the lamp the lid is lifted and the front 

cover can be raised to reveal the candle holder behind 

a glass panel, the base is then extended down and 

twisted on its bayonet fitting to stay in place, below 

the glass panel there is a drop down panel with 

spaces for vestas which can be struck on the serrated 

panels to light the candle. The candle is replaced by 

unscrewing the base foot to get access to the leg of 

the lamp which holds the candle, the holder has a 

spring so that the candle is pushed up as it burns 

down. The underside of the lid has a hinged double 

hook for hanging the lamp, whilst on the back of the 

lamp are two folding handles to enable you to carry 

the lamp, the lamp is hallmarked on every separate 

piece for Johnson. 


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GUSTAVE DE BREANSKI 

C1856 – 1898 

Fishing smacks returning to Gorleston Harbour (Lowestoft) 

Signed 

Circa 1890 


Frame size: 32 x 42½ inches / 81.25 x 102.25 cm 

Painter of landscapes and coastal scenes, brother of 

Alfred de Breanski. Like all the Breanski family of painters, 

Gustave painted landscapes, highland and river scenes 

but made more of a specialty of coastal scenes, often 

with fishing boats. His style is much broader and more 

impressionistic than Alfred. 


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WORCESTER 

Circa 1775 




Worcester very fine pedestal dish painted with “fabulous birds” by 

Dr. Davis, from the Grant Dixon Collection. 

Thomas Grant Dixon formed his Worcester collection from 

1940 - 1970. This discerning collector was a great friend of H. 

Rissik Marshall, the famed Worcester collector and author whose 

collection now resides in the Ashmolean at Oxford. 

The two often hunted their ceramic quarry together, sometimes 

splitting pairs. 

Guided by the well-known dealers the Tilleys, Grant Dixon refined 

his holdings to create an attractive and balanced collection which, 

on his death in 1971, he bequeathed to Ampleforth Abbey, 

Yorkshire to help one of its number, Father James Forbes, further 

his studies on 18th century porcelain. 

The Benedictine monastery deemed it unsuitable for an institution 

dedicated to religion, education and the simple life, so instead the 

collection was sent by Father James to the Ashmolean - only to be 

returned to Ampleforth in 1989 and subsequently sold. 

GEORGE III MAHOGANY DEMI LUNE CARD TABLE 

Circa 1785 




A George III mahogany demi lune card table of fine figure and 

colour, crossbanded in tulip wood, and raised on string inlaid taper 

legs to spade feet and castors. 


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LARGE GEORGIAN MAHOGANY TEA CADDY 

Circa 1810 




A rare large Georgian plum pudding mahogany tea caddy 

of unusual design, probably intended for travelling, with 

two side carrying handles. Opening the top reveals two 

mahogany caddies with sliding tops, one sitting on top of 

the other, and in the adjacent compartment is a very large, 

star engraved hand blown glass sugar bowl of great charm 

(one of the largest I have ever seen.) 


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CHINA TRADE OIL PAINTING BY SCHOOL OF YOUQUA 

Portrait of a Young Woman 


Circa 1850 

Frame size: 21½ x 18¼ inches x 54.5 x 46.25 cm 

We have been able to find out any further artist information other than 

this was painted at the school of Youqua. 


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ADRIAN SORRELL 

1932 – 2001 

Bronze Small Nyala 

Number 3/10 




Adrian Sorrell was born in 1932 in Salford; his parents were Russian and English. 

From 1949 to 1954 he studied at the Salford School of Art, then from 1957 at 

the Kunstfact School in Stockholm. Sorrell worked as a sculptor and designer for 

three years in Scandanavia, then travelled and studied in Italy and France until 

1959. He became a lecturer at the Bolton College of Art and Design in 1960 and 

held the position for fourteen years. He left the position so as to devote his time to 

the development and production of his own work. Sorrel has exhibitioned in many 

locations around Britain, including London, Bedford, Accrington, Somerset, Arundel, 

Jersey, Manchester, Stow-on-the-Wold, Bath, Edinburgh, Cardiff, Eton, Henley-on- 

Thames, Amersham, Leeds and Wimbledon. His international displays include Dubai, 

New York, Montreal, Texas, Ontario, Wisconsin, Hong Kong and Toronto. The Royal 

Academy and Royal Scottish Academy have exhibited his works for many years. 

RARE EARLY 19TH CENTURY 

SILVERED LAMP 

Circa 1800 – 1830’s 



Depth: 5¾ inches / 14.75 cm 

A rare early 19th Century silver plated 

lamp with carrying handle and snuffer, the 

shade decorated with stylised anthemion. 

(Re-plated). 

A similar lamp is illustrated in Schiffers 

‘Brass Book’, page 300, as made by 

George Greenhill, Bury Street, St James, 

London. 


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SET OF 6 WINE GLASSES 

Circa 1810 


A set of six Regency diamond and flute cut glasses. 

GEORGE III MAHOGANY CORNER BASIN STAND 

Circa 1795 


Height with top up: 48 inches / 151.5 cm 



George III Sheraton period mahogany corner basin stand of 

unusual quality, the hinged folding tops with scalloped edges, 

above a two door cupboard, a central drawer, the stretcher 

centred with a bottle ring, all inlaid with boxwood lines. 


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THOMAS SIDNEY COOPER R.A. 

1803 - 1902 British 

Cattle watering in Canterbury Meadow 

Oil on panel 


Initialled T.S.C. & dated 1852 

Thomas Sidney Cooper was born in Canterbury, 26 Sept 1803; died Vernon Holme, nr Canterbury, 7 Feb 

1902. He was encouraged in his ambition to become an artist by Sir Thomas Lawrence and the animal 

painter Abraham Cooper (no relation). He entered the Royal Academy Schools, London, in 1823. He 

subsequently taught art in Brussels where he met Eugene Verboeckhoven, whose work had a profound 

influence on him. Through Verboeckhoven he came to appreciate the work of such 17th Century Dutch 

painters as Aelbert Cuyp and Paulus Potter. In 1831 he returned to London, exhibiting at the Royal Society 

of British Artists. He exhibited 48 pictures at the British Institution between 1833 and 1863. The majority 

of his work was, however, exhibited at the Royal Academy; from 1833 to 1902 he exhibited 266 works 

there without a break, and he remains the longest continuous exhibitor in the Academies history. He was 

elected ARA in 1845 and RA in 1867. 

A wonderful example of Cooper’s fine sketches with nice detail, painted ‘from nature’ in Canterbury 

meadows in 1852. In superb condition, as originally framed under glass preserving the surface. 


DERBY 

Circa 1775 

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Derby pair of biscuit figures 

of winged cupids, one with 

a hunting horn and a hound 

at his side, the other with a 

falcon perched upon his arm, 

both seated, D marks and 

incised No 213.

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VIVIEN LEIGH, LADY OLIVIER 

(5 November 1913 – 8 July 1967) 

Vivien Leigh was an English actress, she is best known for her 

performances as Scarlett O’Hara in Gone with the Wind (1939) 

and Blanche DuBois in A Streetcar Named Desire (1951), 

winning the Academy Award for Best Actress for both. In 1999, 

the American Film Institute ranked her as the sixteenth greatest 

female movie star of all time.. 

Lauded for her beauty, Leigh felt that it sometimes prevented her 

from being taken seriously as an actress. Despite her fame as a 

screen actress, Leigh was primarily a stage performer. During her 

prolific 30-year stage career, she played roles ranging from the 

heroines of Noel Coward and George Bernard Shaw comedies to 

classic Shakesperean characters such as Ophelia, Cleopatra, Juliet 

and Lady Macbeth. 

In the popular conscience, Leigh is greatly associated with her 

second husband, the equally highly-acclaimed Laurence Olivier, 

to whom she was married, with turbulent and scandalous effects, 

from 1940 to 1960. Leigh and Olivier starred together in many 

films and stage productions, often with Olivier as director. 

Provenance: The following two items, the satinwood oval work 

table and the satinwood conversation chair from Vivien Leigh and 

thence by descent. 

SHERATON REVIVAL PAINTED SATINWOOD OVAL WORK TABLE 

Circa 1860 




A Sheraton revival painted and inlaid satinwood oval work table, the top with a 

decorative vignette, raised on elegant taper legs, originally with a work bag, now 

with a shallow compartment. 

Provenance: The actress Vivien Leigh (1913 – 1967) thence by decent. 


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SHERATON REVIVAL PAINTED SATINWOOD CONVERSATION OR GAMING CHAIR 

Circa 1860 




A Sheraton revival painted satinwood conversation or gaming chair, corresponding to plate 10 of 

Sheraton’s drawing book, published 1973, and described thus: 

The conversation chairs are used in the library or drawing rooms. The parties who converse with each 

other sit with their legs across the seat and rest their arms on the top rail’. 

This variant is evidently designed for gaming as the top rail has three compartments for gambling chips or 

counters, as per Sheratons drawing. 

Provenance: The actress Vivien Leigh (1913 – 1967) thence by decent. 


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CHARLES DIXON 

1872 - 1934 

Off Greenwich 

Signed with Initials and dated 1892 

Inscribed 

Frame size: 12½ inches x 15½ inches / 31.75 x 39.5 cm 

Charles Dixon could also have been classified as 

‘neglected’. His style is rather similar to that of WL Wyllie, 

perhaps a trifle softer, and his colours are usually warm 

and his draughtsmanship accurate. He performed a fine 

service in recording many scenes on the tidal Thames and 

exhibited in the Royal Academy from 1889 onwards. He 

is perhaps better known today for his watercolours than 

his oils, although the latter have much merit. 


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PAIR OF PAPERWEIGHTS 

Circa 1850 

Diameter: 3½ inches / 9 cm 

A fine pair of Richardsons 

concentric English paperweights. 

MARBLE AND GILT BRONZE MOUNTED BUST ‘POESIE’ 

Circa 1900 


Width: 16 inches / 40 cm 


A wonderful and very beautiful Italian Art Nouveau marble bust of a young 

woman in two tone marble mounted on a Sienna marble base. She has a 

wreath of gilt leaves around her head. Signed Prof. Garella. 


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DUKE OF YORK MEDICINE CABINET 

Circa 1800 



Depth: 8¼ inches / 21 cm 

An early 19th Century mahogany Duke of York medicine cabinet with two side carrying handles, 

the rising top opens to reveal compartments for bottles, scales etc, and there are two round 

boxes of weights and a leather box with measuring jug. The front door opens to reveal a row 

of six small bottles over a bank of three drawers all of which have sliding wooden covers and 

contain such things as pills, plasters, measuring jug, mortar & pestle ointment pots and tools, the 

back door also opens to reveal two rows of four bottles some of which contain pills, citrate of 

caffeine, bicarbonate of soda, antiseptic eucalyptus oil, a very fine example. 

In the early years of the 19th Century, the so-called ‘Duke of York’ chest became popular. This 

chest has a lifting lid plus doors front and back. Brass levers ensure that the doors cannot be 

opened once the chest is shut and locked. The name derives from a chest in the Wellcome 

Collection originally thought to have belonged to the Duke of York, younger brother of George 

III. Further research, however, revealed that the chest is dated 1789 and, as this Duke of York 

died in 1763, the name which has stuck, is a misnomer. Some of these chests lack a back 

compartment, some have double doors in front and / or at the back, others have extra drawers 

at one or both sides. There are all manner of variations on the basic Duke of York theme. These 

are rare, some unique, having perhaps been made to fit individual customers requirements. 


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FRANK KELSEY 

Fl. 1887 – 1923 

Windjammers - Carrick Roads 

Watercolour 


Frame size: 22¼ x 27½ inches / 56.5 x 69.25 cm 

Painted shipping, coastal, harbour and river 

scenes. Also painted flowers. Exhib 7 works at the 

RA 1887-1904, and 9 works at SS. 


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COLD PAINTED FOX AND ONYX ASHTRAY 

Circa 1920 



A lovely early 20th Century cold painted figure of a fox 

which is lying on the edge of a green onyx ashtray. 

ROSEWOOD CANTERBURY 

Circa 1841 




A finely carved early Victorian rosewood 

Canterbury of commemorative interest, 

with butterfly divisions fronted by crisply 

carved Prince of Wales ostrich plumes 

above a coronet and ribbon tied bow, the 

base with drawer and turned legs to castors 

stamped Collinson patent. 

We can assume that this Canterbury 

commemorates the birth in 1841 of Bertie, 

later King Edward VII, to Queen Victoria 

and Prince Albert, being the first legitimate 

heir born to a reigning monarch since 

George Augustus Frederick, later Prince 

Regent and George IV born 1762. 


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BURR WALNUT AND ORMOLU DESK SET SIGNED APPAY PARIS 

Circa 1900 




A desk set comprising of a pair of inkwells with a pin drawer and an 8 day clock 

above which stands a baiting Eagle. The set is ormolu mounted with burr walnut of 

magnificent colour. The base of the inkwell and of the clock housing have ormolu 

bases with a fine leaf and dart pattern, while the top of each inkwell has fine 

anthemion engraved tops and turned finials. The back of the clock is ormolu with 

a floral pattern. The clock has an integral key and a time setting knob at 7 o’clock. 

The desk piece is engraved with the signature "Appay Paris" to the rear of the 

ormolu base. A lovely piece. 

LETTER RACK & DESK TIDY 

Circa 1890 




A coromandel and cloissonnee enamel 

letter rack and desk tidy, this unusual 

stationary box is mounted in gilt 

bronze with coromandel inside but the 

whole outside with the exception of 

the back is decorated with cloissonnee 

enamel of starburst designs in red, 

green and black. 

The letter holder has five divisions and 

there is a drawer below for stamps 

and pins etc. 


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CHARLES SILLEM LIDDERDALE R.B.A. 

1831 – 1895 

The Farmers Daughter 

Oil on Canvas 

Monogrammed & dated 1883 

Frame size: 39½ x 34¾ inches / 100.25 x 88.25 cm 

Lidderdale was a London genre painter who exhibited 

at the Royal Academy, British Institution and Suffolk 

Street between 1851 – 1893. His subjects were 

mostly single figures in landscape, especially pretty 

farm girls. 


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SILVER BISCUIT BARREL 

London 1899 – 1900 



A lovely pressed silver biscuit 

barrel with lid, sitting on a dish 

base supported on three feet. 

BRONZE BUST OF HERMES 

Circa 1890 




A patinated bronze bust of Hermes on lovely marble socle. Hermes, the herald of the Olympian 

gods, is the son of Zeus and the nymph Maia, daughter of Atlas and one of the Pleiades. 

Hermes is the god of shepherds, land travel, merchants, weights and measures, oratory, 

literature, athletics and thieves, and known for his cunning and shrewdness. Most importantly, 

he is the messenger of the gods. He was also a minor patron of poetry and was worshiped 

throughout Greece, especially in Arcadia, and festivals in his honor were called Hermoea. The 

original full-figure of Hermes and the infant Dionysus reputed to be by Praxiteles who was 

working in the 4th Century B.C. is on display at the Olympia Archaeological Museum, Olympia, 

Greece. The statue was found, in 1877, during the excavation of the Temple of Hera. Italian 


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COPELAND 

Circa 1880 


A fine pair of jewelled 

plates made for Tiffany & 

Co, New York. 

GEORGE II BOWFRONT HANGING CORNER CUPBOARD 

Circa 1730 

Height: 33 ½ inches / 85cm 

Width: 23 ½ inches / 59.75 cm 


A George II bowfront hanging cupboard, veneered in finely figured 

walnut with cross grain mouldings and checkered line inlays within 

crossbanded borders, the doors open to reveal three shelves. 


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EDWIN HENRY BODDINGTON 

1836 - 1905 British 

River landscape with eel traps 

Oil on canvas 


Edwin Henry Boddington was a London 

genre painter, son of Henry John Boddington. 

Exhibited at the R.A. and Suffolk Street, 1854- 

56. Subjects; mainly views on the Thames. 

Boddington developed a very personal and 

recognisable style. His river scenes are usually 

painted in calm evening light, using a range of 

very dark greens and browns. 


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SATSUMA KORO 

Meiji Period 



A lovely Japanese Satsuma 

koro with silver top, decorated 

chrysanthemums heading down 

to gilded and coloured shoulders 

painted in gold, blue, red and 

green, under the shoulders 

is a white base with coloured 

chrysanthemums on a heavily 

gilded base onto three shaped 

and gilded feet. Signed 

GEORGE III MAHOGANY WORK TABLE 

Circa 1800 




George III mahogany work table cross banded in 

rose and partridgewoods, with chevron inlay and 

ebony lines raised on slender cabriole legs, the 

drawer with rare, secret spring loaded locking 

mechanism. 

Provenance: Mary, Lady Middlemiss. 


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FINE SILVER TRAVELLING LAMP 

London 1882 – 1883 




A very fine engine turned silver travelling or carriage lamp 

by Jenner & Knewstub, the design of the lamp allows it to 

be carried neatly for travel. To use the lamp the lid is lifted 

and the front cover can be raised to reveal the candle holder 

behind a glass panel. The base is then extended down and 

twisted on its bayonet fitting to stay in place, when lowered 

this then allows access to a lidded compartment for vestas 

which can be struck on the serrated lid to light the candle. 

The candle is replaced by unscrewing the base foot to get 

access to the leg of the lamp which holds the candle. The 

holder would have a spring so that the candle is pushed up 

as it burns down. The back panel extends out and releases 

a hinged double hook for hanging the lamp, there is also 

a single ring hook for hanging. The lamp is hallmarked on 

every separate piece for Jenner & Knewstub and is also 

stamped to the underside of the lid Jenner & Knewstub, 33, 

St James’s Street. 


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CARLTON ALFRED SMITH 

1853 – 1946 

Storytime 

Watercolour 


Frame size: 32 x 40¾ inches / 81.25 x 103.5 cm 

A British watercolourist, oil painter and genre artist who often 

made images of cottage interiors showing domestic life and figures 

in cottage interiors in a romantic manner towards the end of the 

nineteenth century. Smith studied at the Slade School of Art. He 

became one of the most technically accomplished watercolorists of the 

late Victorian period. With Charles Edward Wilson (fl. 1890-1930) he 

moved from London to join the artistic community founded by Myles 

Birket Foster (1848-1926) in the towns or villages surrounding Witley 

in Surrey. Smith began his career as a lithographer before the start of 

his better-known interior domestic views that are marked with strong 

sunshine. He exhibited mostly at Suffolk Street, London, but also at 

the New Watercolour Society and the Royal Society of British Artists 

from 1879 onward. He was a member of the Royal Academy of Art. 


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SUPERB ROSEWOOD GENTLEMANS DRESSING CASE 

Circa 1829 




A superb early 19th Century brass bound Gentleman’s dressing case 

by Thomas Lund, the top and front of the case decorated with cut 

brass inlay, including a central cartouche with the name D.W. Brown, 

with inlaid brass carrying handles to the sides, opening the top reveals 

an interior of plush red velvet, the lid fitted with a document wallet, 

dressing mirror and six diary pouches all in gilt tooled red leather, the 

interior of the document wallet with a trade label for Thomas Lund, 

superior manufactory, 56 & 57, Cornhill, London. The interior of the 

case is fitted with a selection of eight silver topped jars and bottles and a 

silver cased shaving brush (worn), together with two removable boxes 

with sliding lids, one containing an associated silver funnel, there is also 





a lift out tray containing a selection of ivory handled tools, boot-pulls, 

corkscrew and a twin lidded narrow silver box, when removed another 

tray is revealed again with ivory handled tools, three pairs of scissors, nail 

buffer and another twin lidded narrow silver box, under this is a further 

tray which has four numbered small silvered lidded scent bottles, two 

numbered circular silver pots, four more larger numbered silver lidded 

scent bottles, a rectangular pressed silver box decorated with putti, and 

a very small gold topped scent bottle, the main silver is dated London 

1829-1830, with varying dates for the other silver, all in its original 

carrying case. 


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HENRY THOMAS ALKEN SNR 

1785 – 1851 British 

A stable interior scene with huntsmen of The Quorn Hunt with their hunters and grooms 

Oil on prepared mahogany panel 


Signed 

Circa 1820 

Henry Thomas Alken Snr was a London sporting painter, best known member of the famous Alken family of 

sporting artists. Henry’s father, Samual Alken Snr., of Danish descent, was a landscape and sporting artist. 

Henry was born in London and first studied with J.T. Barber, a painter of miniature. The only works exhibited 

at the RA by Alken, were in 1801 and 1802, both portrait miniatures. 

Alken was a keen huntsman, and showed a real love of hunting in his pictures and prints. Although a prolific 

painter and watercolourist of hunting, coaching and shooting scenes, Alken became well known for his 

sporting prints which were mostly published by Forbes. 

A rare example of Alken’s interior genre, in good untouched condition, painted on prepared panel (paper laid 

on mahogany) giving a fine surface and deep ageing. 

Alken’s knowledge and passion for the hunt can be seen in the fine detail recorded in this Shires stable; the 

‘running fox’ painting, the Fox head mascot above window, name plaques above the hunters bays etc. 


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GEORGE II VIRGINIA WALNUT LOWBOY 

Circa 1740 




A George II Virginia walnut lowboy of fine colour, 

with unusually trefoil carved corners to the top, 

above three moulded front drawers, retaining original 

brasses and raised on cabriole legs - possibly Irish. 


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FRENCH THERMOMETER & DESK TIDY 

Late 19th Century 



Depth: 4¾ inches / 12 cm 

A late 19th Century French thermometer / desk tidy in amboyna 

framed and mounted in brass calibrated for Fahrenheit and Réaumur 

(René Antoine Ferchault de Réaumur- 1683-1757), the French 

physicist and contemporary of Gabriel Fahrenheit (1686-1736) 

devised this scale in 1731. Zero point of his scale corresponds to 

the temperature of melting ice, and 80º to that of boiling water. 

Superseded by centigrade whose zero is the freezing point of water, 

and boiling point is 100º. It is possible that the thermometer predates 

the desk tidy and was ‘recycled’ from an earlier instrument. 


William Lionel 

Wyllie R.A. 

(1851 – 1931) 


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128 

W.L. Wyllie

W.L. Wyllie R.A. 

A biographical outline by Nigel Grundy, BA (Hons), MSc. 

William Lionel Wyllie R.A. is considered by many to be the leading British marine artist of his 

period, his work is in the Royal collection, the Tate, the Royal Academy, the Imperial War Museum, 

the National Maritime Museum, the Royal Air Force Museum, the Royal Naval Museum and many 

provincial galleries, he also has a wide international following. Though a superb painter in oils and 

master of the technique of watercolour painting, it is probably for his etching skills that he is most 

revered. He used a burin, a sharp point, to draw in reverse on copper plates, usually direct from life, 

sometimes drawing on tracing paper first, then reversing it and taping it to a window as a guide. It 

is a technique known as dry-point etching, sometimes the etched plate was also immersed in acid to 

give a deeper etch, known as a bitten etching. The plate was then coated with ink and wiped clean, 


WILLIAM LIONEL WYLLIE R.A. 

1851 – 1931 

London Bridge & Southwark Cathedral 

Etching 

Signed 

Circa 1920 

Frame size: 19.25 x 16.75 inches / 49 x 42.5 cm 



1851 – 1931 

Thames View, London - Tower Bridge 

Etching 

Signed 

Circa 1920 

Frame size: 14½ x 22½ inches / 36.5 x 57.25 cm 


1851 – 1931 

Thames View with St Pauls Beyond 

Etching 

Signed 

Circa 1920 

Frame size: 15¾ x 23 inches / 40 x 58.5 cm 


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1851 – 1931 

HMS Victory in Portsmouth Harbour 

Etching 

Signed 

Circa 1920 

Frame size: 14 x 16¼ inches / 35.25 x 41 cm 


retaining ink only in the etched line. The etched plate was then 

placed in contact with a sheet of paper and run through a press to 

give a correct mirrored image print. 

Wyllie was the son of the genre painter William Morrison Wyllie 

and singer Katherine Benham, a widow with two children. He was 

born in Albany Street, London, on July 5th, 1851. As a child he 

suffered from a bronchial condition, so with his parents, brother 

Charles, and step-brother Lionel Smythe, he spent summers at 

Wimereux, a coastal village near Boulogne in northern France. 

They lived in an old Napoleonic guard house on the wide sandy 

beach, behind the house a narrow track led through high sand 

dunes to the small village of Wimereux, in front, the sea, from 

where Wyllie and his younger brother and step-brother, eleven 

years his senior, saved the lives of many ship-wrecked sailors. As 

the village grew, the track behind the house widened and houses 

were built on either side, in recognition of the lives the brothers 

had saved, the Mayor named the road La Rue des Anglais, it 

retains the name to this day. 

Encouraged by his artist father, Wyllie made sketches and 

paintings of the French coast and local fisher-folk. He wasn’t 

formally educated until 1865 when he studied art at Heatherley’s, 

prior to attending the Royal Academy Art Schools from 1866- 

69. At the age of seventeen Wyllie had, Dover Castle and Town, 

a study in oil, hung in the old Academy in Trafalgar Square, the 

following year he won the Turner Gold Medal for Landscape with 

a picture entitled, Dawn after a Storm. In 1868 he had his first 

picture accepted by the Royal Academy; during the following 63 

years, two hundred of his paintings were exhibited there. 

Wyllie met his wife to be in Boulogne harbour when, looking up 

from his boat, he saw her watching him from the quay; he was 

nineteen years old, Marian Carew was ten. 




1851 – 1931 

Fishing Boats In The Mediterranean 

Etching 

Signed 

Circa 1920 

Frame size: 18½ x 21¾ inches / 47 x 55.5 cm 


1851 – 1931 

Whitby From The West 

Etching 

Signed 

Circa 1920 

Frame size: 12 x 20¼ inches / 30.5 x 51.5 cm 


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132

Web version 


1851 – 1931 

Beaching Fishing Boats, Sussex Coast 

Watercolour 

Signed 

Circa 1900 

Image size: 9½ x 13¼ inches / 24.25 x 33.75 cm 



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134

Web version 


1851 – 1931 

Westminster 

Etching 

Signed 

Circa 1920 

Frame size: 15½ x 16½ inches / 39.25 x 41.75 cm 


From 1870 to 1890 Wyllie was an illustrator for the Graphic, 

principal rival to the Illustrated London News, and visited 

Portsmouth Harbour, the Solent and Spithead on commissions. He 

was elected to the Society of British Artists in 1875 and in 1883 

produced etchings for Robert Dunthorne the owner of London’s 

Rembrandt Gallery, their meeting led to a lifelong friendship 

and Dunthorne introduced Wyllie to Sir John Wolfe-Barry, KCB, 

architect of Tower Bridge, who would commission and buy many 

of his paintings. 

Wyllie and Marian became engaged in 1876 and married in 

Switzerland in 1879, then sailed from Wimereux to Dover in 

Marion, his 14 foot dinghy; the coastguard had difficulty believing 

the pair had crossed the Channel in such a small boat! They set 

up home in London at 70, Carlton Hill and in 1880 their first 

son Harold was born – he was to become a marine artist and 

a leading authority on the rigging of wooden-wall ships and 

was later responsible for the rigging of HMS Victory during her 

restoration. 

In 1882 their second son Bill was born. The following year, Toil, 

Glitter, Grime and Wealth on a Flowing Tide, Wyllie’s large oil of 

shipping on the Thames was bought by the Tate Gallery through 

the Chantry Bequest. 

Dick, their third son, was born in 1883 and that year Wyllie had 

five solo shows at the Fine Art Society and also produced etchings 

for Robert Dunthorne’s Rembrandt Gallery. 

In 1884 Wyllie illustrated, The Tidal Thames, by Grant Allen, the 



Web version 

W L Wyllie in his studio at Tower House, Portsmouth



1851 – 1931 

Scarborough Bay, Yorkshire 

Etching 

Signed 

Circa 1920 

Frame size: 11½ x 17 inches / 29.25 x 43.25 cm 


1851 – 1931 

Yatching on Loch Long 

Etching 



1851 – 1931 

Small Ships Leaving Portsmouth Harbour 

Etching 




1851 – 1931 

Yachts in the Solent 

Etching 

Signed 

Circa 1920 

Frame size: 14½ x 22 inches / 36.5 x 56 cm 


138

Web version 

W L Wyllie sketching at Portsmouth Dockyard 


Magazine of Art reported: 

‘At the present time he is in the front rank of English painters of 

sky and water and has hardly a rival as an exponent of the fact 

and wonder of our glorious Thames.’ 

That year the family moved to Gillingham House, near Chatham, 

but were not happy there, so rented a large house at Hoo St 

Werburgh, Rochester, Kent, where Eva, their first daughter, was 

born. Wyllie’s boats were kept on the foreshore of the Medway 

at the end of the garden and frequent painting trips were made 

aboard them to Portsmouth, Northern France and Holland. Wyllie 

developed a good relationship with the Royal Navy at nearby 

Chatham that was to benefit him when the family moved to 

Portsmouth and he was allowed access to restricted areas within 

Portsmouth Dockyard. 

In 1886 the Wyllie’s fourth son Robert was born and though 

painting extensively, Wyllie found time to design small yachts, “for 

men who have no money to spend on expensive boats.” 

In 1888, accompanied by Marian and son Harold, Wyllie made a 

third painting trip to Holland in his yawl Ladybird. He was elected 

an Associate of the Royal Academy in 1889 and sailed the West 

Coast of Scotland in a new yacht called Grey Mare. He sold the 

sixty-nine watercolours he made during the cruise to the Glasgow 

art dealers, Brown and Phillips. In 1891 Wyllie began a long 

association with the RNLI and on behalf of other artists, acted 

as spokesman in discussions with the Institute over the colour of 

their boats as it clashed with the tints of the sea the artists used 

within their paintings. The RNLI changed the colour of their boats, 

but eventually returned to original colours. Two years later Wyllie 

visited the West Indies and the Mediterranean aboard the Orient 

Line ship Garonne and crossed the Atlantic twice. 

In 1894 he held a major exhibition at the Bond Street Galleries of 

Dowdeswell and painted The Tower Bridge, London’s Water Gate, 

to commemorate its opening. A year later he bought a Thames 

barge and renamed it, The Four Brothers, and painted and etched 

scenes on the River Thames, visited Santa Pola to witness the total 

eclipse of the sun, painted major historical events including The 

Battle of the Nile, bought for the Tate Gallery, made his first major 

picture of The Battle of Trafalgar and painted and illustrated the 

pageantry surrounding the death of Queen Victoria. 




1851 – 1931 

The Glittering Path, Solent Shipping 

Etching 

Signed 

Circa 1920 

Frame size: 14¼ x 17½ inches / 35.75 x 44.5 cm 


1851 – 1931 

St Pauls, London 

Etching 

Signed 

Circa 1920 


Web version

Web version 


1851 – 1931 

Unloading Fish on the Sandbanks 

Oil 

Signed 

Circa 1870 

Frame size: 21 x 30¼ inches / 53 x 17 cm 

This oil study is probably an early work showing 

similarities with ‘Dawn After The Storm’ which 

won a Turner Gold Medal at the age of 18. 


Web version



1851 – 1931 

Battle of Trafalgar, Set of Three 

Etching 

Signed 

Circa 1920 

Largest frame size: 16 x 23½ inches / 40.5 x 59.5 cm 


Eric, the Wyllie’s fifth son was born in 1901 and that year 

Cassell’s published Marine Painting in Water Colour, an 

instructional book containing twenty four examples of his work; to 

capitalize on the success of the book Cassell’s published a similar 

work, Sketchbook, in 1908. 

In 1902 Wyllie wrote and illustrated, Nature’s Laws and the 

Making of Pictures, a comprehensive manual describing how he 

used geometry to get accurate perspective in his works. 

Wyllie’s second daughter Aileen was born in 1904 and he painted 

water colour views for his wife’s book, Norway and its Fjords. In 

1905 George Bell and Sons published Wyllie’s, J.M.W. Turner, his 

biography of an artist he very much admired, and A. & C. Black 

published London to the Nore, written by Marian and illustrated 

by Wyllie, describing a voyage along the London River from 

Westminster to the Nore lightship. That same year the French Fleet 

visited Portsmouth and Wyllie painted L’Entente Cordiale, showing 

the ships entering Spithead; Marian thought it was one of his 

strongest pictures. 

In 1906 Wyllie brought his family to Old Portsmouth where they 

W L Wyllie and his daughter Aileen painting the Trafalgar panorama 

lived in an old boat store next to Henry VIII’s Round Tower at 

the harbour entrance. He spent time converting the building to a 

family home and studio and named it Tower House. In 1907 he 

was elected a Royal Academician and as the leading marine artist 

of his time, the Art Journal devoted the whole of its Christmas 

issue to him and his artwork. Admiral Cyprian Bridge, G.C.B. 

wrote: 

‘To the seaman’s eye, a picture declared by artists to be of the 

highest merit seems of little worth if the spars, or sails, or rigging, 

or other parts of the equipment are not correctly represented…. 

errors of that kind are as disagreeable to a sailor as a false note in 

music is to a musician. Mr. Wyllie would stand the most searching 

examination in this matter and would come out of it with brilliant 

credit.’ 

In 1907 Baden-Powell asked Wyllie if he would initiate and 

lead a troop of sea scouts, a request he agreed to, allowing the 

1st Portsmouth Sea Scouts to use a room in Tower House as 

their headquarters; the troop is still in existence. While living in 

Kent, Wyllie had been in the Territorial Army, on his move to Old 



144



1851 – 1931 

Sheringham Crabbers 

Etching 

Signed 

Circa 1920 

Frame size: 14½ x 16 inches / 37 x 40.5 cm 


Portsmouth he was appointed Captain, Hants Fortress, RE, (T). 

His men were given bicycles as transport, as they cycled around 

the streets locals nick-named them, “Wyllie’s Weary Wobblers.” 

During the years leading up to 1914 Wyllie painted and etched 

naval scenes and travelled extensively with the White Star Line, the 

Union Castle Line and the Orient Company for whom he produced 

ship portraits and travel posters. During the First World War the 

whole family were engaged on war work, tragically Bill and Bob 

were killed on the Somme. Wyllie was an accredited war artist, 

sailed with the Fleet and wrote and illustrated two books, Sea 

Fights of the Great War and More Sea Fights of the Great War. He 

also painted accurate aerial and sea battles based on fastidious 

research of events and sketches sent back from the Front by his 

son Harold, a pilot in the R.F.C., who sketched the battlefields 

below. Over a period of six years Wyllie exhibited twenty-two 

pictures of the First World War at the Royal Academy. 

Wyllie was a founder member of Portsmouth Sailing Club (1920) 

and Marine Painter to the Royal Yacht Squadron and Royal 

Victoria Yacht Club. In 1922 he was invited to join the ‘Save the 

Victory’ Committee and became involved with her dry-docking 

and restoration. In 1930, at the age of 80, he spent a year 

painting the 42’ x 12’ Panorama of the Battle of Trafalgar for 

Portsmouth’s Victory Museum to help raise funds to maintain 

Victory. Wyllie spent his time sailing, painting and exhibiting his 

work until his end in April 1931. He was buried in St. Mary’s 

churchyard, within the grounds of Portchester Castle. Four years 

later Marian wrote, We Were One, the story of their life together. 



1851 – 1931 

Lobster Fisheries, Sheringham, East Coast 

Etching 

Signed 

Circa 1920 

Frame size: 14½ x 16 inches / 37 x 40.5 cm 


1851 – 1931 

Landing The Catch 

Etching 

Signed 

Circa 1920 

Frame size: 15¾ x 17¼ inches / 40 x 43.75 cm 


146



1851 – 1931 

London River 1900 

Etching 

Frame size: 27 x 34½ inches / 68.5 x 87.5 cm 


148

Web version 

Front cover 


I have known the Wyllie family for over twenty-five years, during which time I have 

had access to the family’s archives, enabling me to produce three documentary DVD 

programmes about the artist; two narrated by his great-grandson John Wyllie, the 

other documenting the 1998 restoration and conservation of Wyllie’s oil painting of the 

Panorama of the Battle of Trafalgar. My latest publication is, In the Footsteps of W.L. Wyllie 

R.A., The Old Portsmouth Trail, 1906-1931. Through the reminiscences of the Wyllie 

family, a trail map, 335 photographs, including Wyllie’s etchings and paintings and views 

of Old Portsmouth at the turn of the century, I take the reader through the historic streets 

to visit places and properties linked to the Wyllie family and trace local and world events 

they were involved with. I am currently preparing a publication documenting the Wyllie 

family’s involvement with the First World War. 

Further information about my publications is on my website at www.imagesafloat.com. 


Opposite 


1851 – 1931 

Crossing the mainyard 

Drypoint, roulette and etching 

Signed in pencil 

Frame size: 24 x 19.5 inches / 61 x 49.5 cm 

Web version

Web version 

BRASS DOOR STOP 

Circa 1880 


A late 19th Century brass 

doorstop with rope pattern base 

and scrolled edges. 


Circa 1890 


A late 19th Century brass door 

stop in the form of a seated dog. 


GEORGE III MAHOGANY TRAYTOP BEDSIDE COMMODE CUPBOARD 

Circa 1790 




A George III mahogany tray top bedside commode cupboard, the figured doors above a 

pull out drawer (converted from commode) with original brass, good colour and patina. 

Web version

Web version 

SUPERB QUALITY FITTED TRAVELLING SUITCASE BY J.C. VICKERY 

London 1909 – 1910 

Height: 8¼ inches / 21 cm 

Width: 21¼ inches / 54 cm 


A superb quality imitation crocodile leather travelling suitcase with its original outer 

canvas carrying case, with an extensive range of contents by J.C. Vickery, 179, 181, 

183, Regent Street in silver gilt with a silver border comprising of four various sized 

trays, ivory page turner, curling tongs, shoe horn, button hook, two hair brushes, hand 

held mirror, two clothes brushes, seven various sized glass jars, trinket box, hip flask, 

box for heating the curling tongs, glove stretchers, small carriage clock with a French 

movement, leather wallet containing various nail tools and scissors, leather stationary 

wallet with a dip pen and pencil, small leather wallet, leather address book, a leather pin 

holder, and two leather jewellery boxes, all marked with the owners initials F.L. A truly 

outstanding example. 


Web version

Web version 

SYDNEY GOODWIN 

1867 – 1944 

Galleons Reach - River Thames 

Watercolour 

Monogrammed & dated 1911 

Frame size: 22¾ x 29¾ inches / 57.75 x 75.5 cm 

Sydney Goodwin was a British artist who was 

born in 1867. He painted landscapes and marine 

watercolours usually featuring views and often of 

coasts with figures. 


Web version


THE BUSH BALL GAME 

Dated 12th December 1911 




An early 20th Century patented football game, initially called the Bush 

Ball Game in its original box. We believe this to be the sample model and 

therefore the only example in existence. 

The game seems to have been developed in 1912 by George Bush 

who gave a description of the game on the back of a property rental 

agreement for 19, Aldensley Road, Hammersmith, Middlesex which was 

dated 12th December 1911. 

A patent application was filed by George Bush, Henry Booth & John 

Watson on the 31st May 1915, the patent numbered 8033/1915 was 

approved and a copy of this is available with the game, and was granted 

for the invention of improved appliances for playing table games. A 

framed copy of the original specification is also available. 


In the patent application, a description of how the game is played was given and an extract from this follows: 

A suitable arrangement of our improved ball game will now be described as a representative of football. The board which 

represents the football ground is provided at opposite ends with goal posts in which is provided a suitable recess into which 

the ball must be placed to obtain a goal. Around the board is arranged a suitable fencing or guard preferably comprising 

upright posts and connected by a series of horizontal cords or wires which prevent the ball from rolling off the board. The 

ground is provided with a series of zones or depressions, each of which may have a series of grooves adapted to direct 

the ball towards their centre. At the centre of each of these depressions are provided two plungers, one of each of which 

is connected through a lever to a finger piece at opposite ends of the board and adapted to be operated by the opposing 

players. Each of these plungers face and operate in a different direction pointing towards the opponents goal, and by 

actuating the fingers pieces which operate the plungers in the particular depression in which the ball rests, one or other of 

the players may knock the ball from the space until one of the players finally secures a goal by knocking the ball into the 

recess between the opponent’s goal post. 

Continued on page 155 Continued on page 156 


158

Web version 


They then changed the name of the game to The Allies Onset or Table 

Football and produced leaflets suggesting that the game would appeal 

to wounded servicemen back from the First World War. Drawings and 

the sample game were sent to ‘The Lord Roberts Memorial Workshops’ 

for disabled soldiers & sailors to see if they would manufacture the 

game, but unfortunately they were turned down as the construction was 

somewhat intricate and rather beyond the power of the men available. 

The game can be removed from the case enabling you to see the 

mechanics and it is fairly easy to see why the game was probably never 

put into production. 


Web version


CECIL ALDIN 

1870 – 1935 

The Christmas Coat - West Highland Terrier 

Etching 

Signed Limited Edition 

Frame size: 14¾ x 12¼ inches / 37.5 x 31 cm 

CECIL ALDIN 

1870 – 1935 

Terrier 

Etching 


Frame size: 14½ x 12½ inches / 37 x 32 cm 

CECIL ALDIN 

CECIL ALDIN 


162 

1870 – 1935 

1870 – 1935 

Cracker As A Silly Ass – Bull Terrier 

Etching 


Frame size: 19¼ x 15½ inches / 49 x 39.5 cm 

Cecil Aldin was born in Slough on 28th April 1870. He had two brothers, Arthur & Percy His father was a keen amateur artist so Cecil 

started drawing at a very young age, He boarded at Eastbourne College on the Sussex coast and then moved to the less expensive Solihull 

Grammar School when things changed financially at home. 

His mother wanted him to enter the church. His father was an amateur artist, of which there are no examples of his work left today, and 

insisted Cecil be allowed to start on formal art training. 

He attended the National Art Training School, South Kensington, where he was able to study anatomy of animals. He was influenced greatly 

by John Leech and Randolph Caldecott during the 1880's. 

One teacher of his instilled in him the golden rule that the only true pictures were those drawn from life. There were plenty of dogs and 

horses in London at the time but Cecil wanted to try his hand at other animals also. Where to find them? He found many at Regent's Park 

Zoo. He turned out many drawings and stored them, like money in the bank, and the visits to the zoo helped to swell his portfolio. 

Cecil had much first hand experience of animals, surrounded by horses, dogs and hounds for most of his life. He was a Master of 

Foxhounds, carried the horn with harriers, beagles and bassets. Money earned from his drawings was used to indulge in his second passion 

of countryside and the chase. He was as likely to be seen sketching from the saddle as chasing a fox, stag or hare! 

In the 1890's, there was hardly one illustrated paper that he did not contribute to. His first drawing in print appeared in The Building News 

of 12th September 1890. He was paid 10 shillings for his drawing of 'A Chimney Corner & Polished Iron Firedogs at The Hollist Arms, 

Lodsworth, West Sussex. Three months later he received 3 guineas for a drawing of dogs at a St Bernard Club's show, published in 'The 

Graphic', to which many of the top illustrators of the time contributed. 

The turning point came when his drawings were seen by Sir Douglas Straight, editor of The Pall Mall Budget. Sir Douglas was so impressed, 

he asked Cecil to illustrate Kipling's 'Jungle Stories' which the magazine was to publish in serial form. In doing so, Sir Douglas gave Cecil a 

platform of a new work by a best-selling author, on a commission basis, providing him with financial security for months to come. These 

drawings were widely praised when they first appeared in 1894. Cecil received a further confidence boost with the issue of a book with dog 

pictures by himself called 'Spot, An Autobiography'. 

A zoo drawing used in 'The Sketch' in 1895 resulted in High Court action by Gambier Bolton, a pioneer of animal photography, who alleged 

that it infringed his copyright. Cecil knew the animal in his drawing (a tiger) and had drawn its portrait but there was no doubt that he took 

the idea from Bolton 's photograph. Judgment went against Cecil and he was ordered to pay £50. 

The proprietor of the Illustrated London News had faith in Cecil and during this same period of court action, 12 full page drawings were 

featured in the Illustrated London News, 27 in The Sketch and 32 in the English Illustrated Magazine. 

Cecil Aldin died in a room at The London Clinic aged 64 in January 1935. His death made front page news on both sides of the Atlantic.

Web version 

MINIATURE IVORY SNOOKER TABLE 

19th Century 




A miniature 19th Century French ivory model of a 

snooker table and a cue holder. 

SINGING BIRD 

German Circa 1940 



A most attractive gilt bronze 

singing bird in a cage. This is an 

original German early 20th Century 

model by the KEN.D company with 

the logo of a bird between K and 

G. The cage is key wound and 

operated from a lever to the side of 

the base. The bird sings, moves his 

head from side to side, opens and 

shuts his beak as he sings and lifts 

and drops his tail feathers. 

Lovely plumage to the bird. 


Web version

Web version 

SILVER OKIMONO OF PAIR OF EGRETS 

Meiji Period 




A lovely pair of silver okimono of egrets standing on 

a wooden base decorated with swirling water, with 

a silver okimono of a crab at there feet. Signed. 

ROYAL WORCESTER 

Circa 1916 

Diameter: 9¼ inches 

Royal Worcester fine plate 

painted by Harry Stinton 

with Highland cattle, date 

code for 1916. 


Web version


ALLAN DOUGLAS DAVIDSON R.B.A., R.O.I., R.M.S. 

1873 – 1932 

Three Nude Studies 

Signed 

Oil 

Circa 1920 

Frame size: 17 x 23¾ inches / 43.5 x 57.75 cm 

Allan Davidson was born in London on 14 May 1873. He was an 

English painter who predominantly worked in oils. His father was 

the historical painter Thomas Davidson. Allan Douglas Davidson 

studied art at the Royal Academy London, where he won a medal 

and the Armitage prize, he also studied at Julian's in Paris. He was 

elected to the Royal Institute of Oil Painters in 1921 and was also 

a member of the Langham Sketching Club. He painted a small 

work for the Queen's Doll's House. 

He lived the majority of his life in London before retiring to 

Walberswick in Suffolk. He died on 19th April 1932. 


168

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WORCESTER 

Circa 1775 



Worcester very rare teapot and 

cover painted with sailing scenes. 

It would appear only one service 

in this pattern was ever made. 

ROSEWOOD REVOLVING DESK CHAIR 

Circa 1870 




A 19th Century rosewood revolving desk chair 

of good size, with interesting detail, recovered in 

antique buttoned hide. 


Web version

Web version 

MID 19TH CENTURY MAHOGANY PEDESTAL DESK 

Circa 1840 




A mid 19th Century mahogany pedestal desk of fine colour and 

figure, the nine oak lined drawers and panelled back with boxwood 

string inlay and crossbanding in Goncalo Alves wood, cast brass 

handles, original locks & castors, the top in gilt tooled black hide. 


Web version

Web version 

ALESSANDRO LA VOLPE 

1819 – 1887 Italian 

View of the Bay of Naples 


Signed & indistinctly dated 1877 

In original orientalist frame 

Frame size: 34½ x 55½ inches / 86.5 x 114 cm 

A landscape painter, who turned his focus primarily to Italian sites and monuments, Alessandro La Volpe was a master at capturing the 

brilliant light and dry climate of his native Italy. Born in Lucera in 1819, he was the son of an employee of the Real Collegio. After finishing 

his studies La Volpe moved to Naples and entered Accademia delle Belle Arti, where he studied with Salvatore Fergola (1799-1874), the 

official painter of ceremonies of the French Monarchy at Naples. La Volpe began exhibiting in Naples in 1848. In 1850 he was sent to Sicily 

and Egypt on an official mission with the Prince of Lichtenberg to record important monuments; the assignment of such a mission reveals an 

appreciation for La Volpe’s meticulous attention to detail, as well as his skill as an accomplished painter. 

Upon his return to Italy, La Volpe moved to Florence, where he helped to found the Scuola di Staggia, a school of Romantic landscape 

painters. Sketching en plein air in the 1850s and 1860s, his work was characterized by a tendency to depict identifiable, usually picturesque 

locales in the Tuscan countryside, while focusing on specific peculiarities and everyday aspects. This focus on the everyday picturesque 

typified the work of the Scuola di Staggia. The name Staggia is derived from a village in the hilly region near Sienna where the Hungarian 

artist, Károly Markó, first painted in 1853. Markó was later joined by his sons Károly Markó II and András Markó and other artists from 

Florence and Naples, stimulating an exchange of ideas between the artists of the Neapolitan school and their Tuscan colleagues. This school 

provided a significant step in the development of landscape painting in Italy in the latter part of the 19th Century. 

The Scuola di Staggia is significant for having been one of the earliest instances in Tuscany of a group of artists painting together from 

nature, a practice that greatly influenced the Macchiaioli circle of artists. The birth of the Scuola di Staggia put the artists of Tuscany in 

concert with their mid-century contemporaries in Paris and America. 

Provenance: Private collection in America. 

Illustrated on ‘For the Love of Arts’ Southern Accents magazine, October 1990, Page 84. 


Web version

Web version 


Circa 1900 


A tall late 19th Century brass 

doorstop of stepped form. 


Circa 1890 


A HMS Victory brass doorstop 

with original iron weight base. 


18TH CENTURY MAHOGANY DROP FLAP DINING TABLE 

Circa 1760 


Width unopened: 18 inches / 45.75 cm 

Width opened: 52 inches / 132 cm 


A good mid 18th Century mahogany oval drop flap, gate action, dining 

table on four tapering legs to pad feet. 


Web version 

176

Web version 

WORCESTER 

Circa 1768 




Worcester fine yellow ground 

reticulated basket painted with 

flowers in a gilt mirror panel on a 

blue scale ground. 

PAIR OF CHINESE CLOISONNÉ VASES 

Circa 1920 - 1930 



A pair of Chinese cloisonné bottle shape 

vases of good design, with multi coloured 

chrysanthemums and butterflies on an ivory 

background. Republic of China. 


Web version

Web version 

CLAUDE THOMAS STANFIELD MOORE 

1853 – 1901 

Amsterdam 

Oil 


Frame size: 24 x 28 inches / 61 x 71 cm 

Claude Thomas Stanfield Moore was taught by his father who was a painter and 

architect. He was apprenticed as a lithographer and by the age of 27 was an 

established marine artist. He was influenced by his fellow Nottingham artist Henry 

Dawson, and by James Baker Pyne and J.M.W. Turner. He consistently maintained 

a high standard of detail in his drawing, and painted some large canvases, including 

some impressive and romantic views of the Thames and London. He was a great 

traveler and painted shipping off many of Britain’s best known ports. 

Although he moved to London in 1882 he rarely exhibited there, choosing instead to 

show his work in Nottingham, 80 paintings in all at the Castle Museum, where there 

remains a permanent collection today. He is also represented in the Derby Art Gallery, 

the Rotherham Art Gallery and the National Maritime Museum in Greenwich, London. 

Despite its small size this is one of the artist’s finest works, of exceptional quality in 

detail, execution and subject. 


Web version

LEAD LIONS MASK 

19TH Century 

Diameter: 9 inches/ 22.57cm 

An 19th Century wall mounted 

lions mask decoration. 


Web version


EARLY 19TH CENTURY CASED SURGEONS SET 

Circa 1830 




An early 19th Century mahogany and brass bound surgeons 

amputation and neurosurgical set in very good condition, 

opening the top reveals a red velvet lined interior with lift out 

tray, the lid containing a bone saw and butchers pattern bow 

saw, whilst the main box contains a variety of tools in silver and 

steel, including three Liston knives with ebony cross-hatched 

handles, petit tourniquet, two ebony T-handle trephines, 

Hey’s cranial saw, double-ended spring forceps, bone shears, 

catheters, elevator, bistouries, tenaculum, various sized scalpels 

which have smooth ebony handles, plus various other tools. 


Web version 

JOHN FRASER R.B.A. 

1858 – 1927 

Yacht racing (X- Boats) 

Oil on Canvas 

Signed 

Circa 1920 


A landscape and marine painter and a full member 

of the Royal Society of British artists. He lived in 

Seaford Sussex and London and exhibited widely 

between 1880 and 1919 at the RA 61 paintings 

Royal Society of British Artists, Walker Art Gallery 

and Fine Art Society. 


Web version

Web version 

WORCESTER 

Circa 1775 

Diameter: 9¾ inches / 25 cm 

Worcester salad bowl of 

moulded shell shape printed 

with Pine Cone pattern, the 

side printed with a vegetable 

and a snail. 

GEORGE III CHEST OF DRAWERS 

Circa 1760 




An early George III mahogany chest with 

slide, the four graduated drawers retaining 

original pierced brasses and raised on ogee 

feet, good original colour and patina. 


Web version

SUPERB SILVER CIGAR CASE 

Birmingham 1847 – 1848 




A superb large silver cigar case by Nathaniel Mills with foliate 

engraving throughout, the hinged top opening to reveal a gilt lined 

interior with two compartments for cigars, and still remaining in its 

original leather outer case, one side of the cigar case is inscribed- 

‘Presented to W.M. McKenzie ESQR by those friends whose 

esteem he won while stationed at Dromore West as a token of 

their sincere regard.’ 

The reverse is also engraved with a stags head and the motto 

Haud Immemor. 


Web version

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PERCY BUCKMAN 

1865 - 1935 British 

Mr Christopher Hammond Trout Fishing on the River Axe 

Oil on canvas 



Percy Buckman was a Dorset born landscape and portrait painter (in oil and watercolour), 

miniaturist, etcher and author on art miniatures. Studied Royal Academy Schools. Art Master at 

Goldsmiths College of Art. Elected a Member of the Royal Miniature Society 1921. 

Exhibited from 1894, 31 works at the Royal Academy, 21 at the Royal Institute, and 72 at the 

MRM. Lived in London from 1894. 

Buckman was a very interesting and diverse artist whose work rarely comes on the open market. 

He concentrated on painting miniatures in his later life. He designed a series of stamps in 1918. 

Author & illustrator of ‘Arcadian Life,’ 1891. 

Co-author & illustrator for ‘The Art of the Miniature Painter’1926. 

Museums: V&A (portrait miniature of his daughter-Helena). Montacute House, Somerset (NT). 

A wonderfully peaceful river landscape in rural Dorset at the end of the 19th Century. Whilst the 

painting shows post-impressionist influence, so typical of British artists of the 1890’s, the fine detail 

of the faces shows Buckman’s early talent as a minituralist painter. 


Web version

PRESERVE JAR 

Circa 1830 



A pedestal preserve jar and 

cover cut with swirling pillars. 


Web version


FINE PAIR OF TERRESTRIAL AND CELESTIAL GLOBES BY JOSLIN 

Circa 1873 



A fine pair of terrestrial and celestial globes by Joslin. The terrestrial globe shows 

all the most recent discoveries of the time including the over-painted track of the 

transatlantic telegraph cable and ‘National Park’ (now Yellowstone) which provides a 

date post 1873. Both globes are set in an unusual tripod stand comprising a rotating 

frame in an iron cradle on three screw-in black and gilt decorated legs. Each inscribed 

‘Manufactured by Gilman Joslin, Corrected to date’. Boston USA. Circa 1873. 

Gilman Joslin was born in 1804 and began his career as a globe maker at the firm of 

Josiah Loring. Within two years he was running the company and then set up his own 

firm in Boston. He was joined by his son William who continued alone, after his father’s 

death in 1886, until 1907. 

Gilman Joslin (1804-c. 1886), one of America's most prolific globe makers, began 

making globes for Josiah Loring (1775-c. 1840) in 1837, and took over the business 

two years later. Loring had begun selling globes in 1832. He advertised that his 

globes were superior to British globes of the period. Yet, early Loring globes were 

either imported from C. Smith & Sons, one of the leading British globe makers of the 

late Georgian period, or re-engraved versions of Smith & Sons globes. Gilman Joslin 

began as a wood turner and maker of looking glass mirrors. After taking over Loring´s 

business, he began producing globes under the Loring name and under his own name. 

Joslin set up a globe manufacturing facility in Boston, and by 1850 had five workers. 

Gilman Joslin was joined by his son William B. Joslin in 1874 and the firm continued in 

operation as Gilman Joslin & Son until 1907. 

Joslin & Son's globe handbook states that their globes were useful for instructing 

students in geography and "[f]or library or office use [were] no less valuable, showing.. 

at a glance, the true relative situations of Political and Geographical Divisions, Cities, 

etc., the world over." The handbook also enumerated various "advantages" of Joslin 

globes: "They may be depended upon as accurate, the plates having lately been revised 

to correspond with all recent political changes. All the maps are printed directly from 

copper plates, and are not lithographed. The meridians are accurately graduated. 

The varnish is warranted not to crack or peel off, a common failing. The stands are 

thoroughly and firmly fitted together, and the general workmanship throughout is of 

the first order." 

This biography was reproduced by kind permission of the author George Glazer 


Web version 

EILEEN SOPER 

1905 – 1990 

Tug of War 

Etching 

Signed 

Frame size: 10¾ x 12¾ inches / 27.25 x 32.5 cm 

CHEVAL MIRROR 

Circa 1800 




A very unusual late 18th / early 19th 

Century cheval mirror in stained larch 

with ormolu mounts surrounding an 

oval gilt decorated mirror with original 

mercury plate, with ring turned supports 

and turned wooden urn finals. 

Possibly Scottish. 


Web version

Web version 

SATSUMA BOWL BY KAIZAN 

Meiji Period 



A small Japanese Satsuma bowl by 

Kaizan, the beautifully shaped bowl 

has on the inside a band of coloured 

chrysanthemums in gold, peach, white 

and pale green, this surrounds a street 

scene of people, the outside of the 

bowl has a border of men and women 

undertaking various ceremonies, such 

as drinking tea, under this is a band 

of chrysanthemums and butterflies. 

Signed 

GEORGE III MAHOGANY WORK TABLE 

Circa 1800 




George III mahogany work table with boxwood line 

inlays, raised on extremely fine and delicately inlaid 

taper legs with a single drawer above a pull out 

work box. 

The drawer appears to retain the original paktong 

handle, an alloy of copper, zinc and nickel, first 

used in China. Its rise in England was mainly for 

candlesticks, in imitation of genuine silver, until 

superseded by Sheffield plate in the last quarter of 

the 18th Century. 


Web version

Web version 

JAPANESE IVORY OKOMONO MAIZE 

Meiji Period 




A Japanese ivory okimono, realistically carved as 

a maize ear with some naturalistic colouring, all 

on a wooden base. 

PAIR OF BOW FIGURES 

Circa 1757 


Bow figures of a sportsman and 

his companion, he holding a dead 

game bird, she holding a live bird, 

both with dogs at their feet. 


Web version

Web version 

ARTHUR WILDE PARSONS R.W.A 

1854 – 1931 

Shipping on the River Thames 

Watercolour 



Arthur Wilde Parsons RWA, was an artist who painted in oil and watercolour he painted marine and 

coastal subjects. He lived in Redland, Bristol and was one of the celebrated Bristol Savages group 

of artists. He worked, and exhibited, at the Royal Academy from 1876. As a boy he was educated 

privately, but as an artist he was entirely self taught. He was born in Fishponds House where his 

father, who was a doctor, ran a private mental asylum and later, in Clifton, a Dispensary. His aunt was 

married to the Rev. Ralph Wilde who was uncle to both Oscar Wilde and Arthur Wilde Parsons. Arthur 

married in 1873 and lived in Hampton Park where he had a studio which he shared with his brother 

Featherstonehaugh, a portrait painter. He was of independent means and able to devote his life to 

painting. In 1908 he spent some time in Italy, touring, painting and studying. Queen Mary, who admired 

his work, invited him to paint a number of miniature pictures for the Royal Doll`s House at Windsor. 

There are 14 of his works in the Bristol Art Gallery collection: 4 watercolours and 10 oils. He was quiet 

and reserved, with a beard and a pipe. A past Savages president, Charlie Thomas, wrote of him: “his 

kindly and genial personality endeared him to his brothers of the brush”. 


Web version


A CASED PAIR OF FORSYTH PATENT DUELLING PISTOLS 

BY FORSYTH & CO, PATENT GUN MAKERS, LONDON 

Circa 1837 

Length of Barrel: 9¼ inches / 23.5 cm 

Overall Length: 14¾ inches / 37.5 cm 

A fine cased pair of Forsyth patent single barrel 36 bore duelling pistols 

with percussion cap action by Forsyth & Co, patent gun makers, London, 

with heavily browned twist octagonal sighted barrels signed in full, these 

pistols have no fore-ends and no ramrods, the butts are chequered and are 

rounded at their ends, safety catches are fitted to the back action locks, the 

blued engraved trigger guards are provided with spurs, each breech has two 

transverse bars of platinum and a platinum vent plug with a pin hole in its 

centre, in addition to the rear and foresights, the octagonal barrels each have 

a curl of metal on their undersides which extends the curve of breech and this 

greatly enhances the appearance of these powerful weapons, London proof 

marks, in original fitted mahogany case lined in green velvet, the lid with 

flush-fitting handle, the interior with trade label of the seventh design (from 

1835 onwards) and including a good selection of accessories together with an 

unopened circular box of foil covered percussion gun caps by F. Joyce & Co, 

London, number 4150, no serial numbers appear behind the trigger guards, 

and as the number on the inside of only one lock plate was checked the other 

number may be 4149 or 4151. 


Web version 


Web version

Web version 


Circa 1800 


A late 19th Century brass 

bell-shaped doorstop with the 

original iron weight insert. 


Circa 1890 


A late 19th Century brass door 

stop in the form of a seated 

dog. 


ADRIAN SORRELL 

1932 – 2001 

Bronze Dik-Dik (head down) 

Number 2/10 




Please see page 80 for artist 

biography. 

Web version

F & C OSLER CENTRE PIECE 

Circa 1880 


An F & C Osler gilt metal mounted finely 

cut glass centre piece. 

GEORGE III BEDSIDE CUPBOARD 

Circa 1775 




An early George III mahogany tambour 

fronted bedside cupboard with shaped 

gallery and pierced handles, finely figured 

timber to all four sides. 


Web version

Web version 

19TH CENTURY ENGLISH SCHOOL 

Royal Navy and other shipping off Gibraltar 


Circa 1840 

Frame size: 19½ inches x 27¼ inches / 49.5 x 69.25 cm 


Web version

Web version 

JAPANESE BRONZE FIGURE OF A CROUCHING TIGER ON WOODEN STAND 

Meiji Period 



Length: 25¼ inches / 64.25 cm 

A Japanese bronze figure of a crouching tiger after a model by Nyozan Tsukuru, this howling 

tiger exemplifies the superb level of production of the Meiji period, it is anatomically accurate and 

rendered with uncompromising realism, the body extended, muscles fixed in readiness to attack, 

with outstretched limbs showing huge paws, toes splayed, jaw agape, tongue curled back, ears 

flattened and fangs exposed. The head is exquisitely finished with the piercing gaze of inset pale 

yellow eyes, the long tail is held out flickering excitedly at the tip, the tiger’s stripes are the original 

polished surface of the bronze, while the spaces between the stripes are matte, to achieve this 

pattern, the whole piece was first polished, then resist was applied to the polished surface and the 

matte areas created by applying a corrosive, the careful reduction of surface especially around the 

head accentuates the animals ferocity. 


Web version

Web version 

GENTLEMANS DRESSING CASE BY MECHI & BAZIN 

Circa 1830 




An early 19th Century brass bound mahogany gentleman’s dressing 

case by Mechi & Bazin, London. Opening the top reveals a red velvet 

lined interior with compartment for stationary and a removable 

mirror, the case with five various shaped silver plated bottles, one 

containing an ivory handled brush, together with a leather cased 

razor strop, under the large central bottle is a hidden button which 

when pressed releases the lower drawer, which contains cut throat 

razors, boot pulls, corkscrew, tweezers, scissors, nail file and pen 

knives, each fitted into their own individual recess. 


Web version

Web version 

SILVER PLATED WINE CARRIAGE 

Circa 1890 



Length: 17 inches / 43.25 cm 

A late 19th Century silver plated rococo 

style wine bottle / decanter carriage on four 

wheels, the holder decorated throughout 

with trailing vines and the handle as the 

branch of a vine finished with a bunch of 

grapes. 

PAIR OF CHARLES X BRONZE CANDLESTICKS 

Circa 1820 – 1825 



A pair of French Charles X period patinated bronze 

candlesticks on a circular base decorated with stiff leaf and 

dart pattern to the edge and with concentric circles of vine 

leaves and floral decoration. 

They have their original drip pans. 


Web version

Web version 

WILHELM POSORECK 

1880 – 

Bronze figure of a Spartan Warrior 




An antique patinated bronze 

figure of a Spartan warrior of 

great size and set upon a marble 

base, the warrior is breaking 

a blade over his knee, superb 

musculature to the body of the 

warrior. 

KEY 

Chichester 

College 

A27 

Car Park 

One Way Street 

Pedestrian Zone 

Railway Line 

City Wall 

WESTGATE 

Westgate 

Centre 

ERMINUS ROAD 

AVENUE DE CHARTRES 

VIA RAVENNA 

ORCHARD STREET 

ST PAUL’S ROAD 

Bishops 

Palace 

Gardens 

City Walls 

County Hall 

Library 

A27 

WouLD you LIkE To kNoW 

WHAT WE ARE BuyING 

A286 WHEN WE Buy IT? 

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IF So JoIN uS oN TWITTER @GardnerAntiques 

B2178 

We now produce a monthly e-newsletter 

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PROVIDENCE 

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NEEDLEMAKERS 

A259 

A27NEWS 

“voted best antiques showroom outside London” 

OpENiNG timES 

tuesday – Saturday 

10.00 am – 5.30 pm 

01243 533772 www.richardgardnerantiques.co.uk rg@richardgardnerantiques.co.uk @GardnerAntiques 

Welcome 

Welcome to the first of our new emailed newsletters which are designed to keep you up to date with what is happening in the 

showrooms, provide images of some of our latest acquisitions and let you know what new stock is coming. 

Help celebrate our first year in Chichester by joining us for champagne and strawberries during the month of August, 

enjoy seeing the many wonderful items on display and avail yourself of the delights of Chichester. 

Our next brochure will be out in mid September and will be full of many fantastic 

pieces to tempt you, so keep an eye out for it. 

If you can’t wait to until then to see all the new stock, then join us on Twitter for a 

regular update of new items arriving. 

A27 

Pair oF edwardian shiPs decanters 

Circa 1910: £550 

Frederick calvert 

Shipping in the Solent: £3950 

brass bell shaPed 

door stoP 

Circa 1870: £495 

cowrie shell & silver snuFF box 

Circa 1972: £595 

In addition to these items we also have another 14 

paintings, including Eugene Galien-Laloue, John Atkinson 

Grimshaw and a marvellous lithograph by John Piper, 

a fantastic desk set, four new tea caddies, a marvellous 

collection of glass including decanters, 18th century wine 

glasses including a blue & white twist glass and a red 

& white twist glass, both very rare! Also, a Wedgwood 

fairyland lustre vase, Staffordshire, set of library steps and 

much, much more! 

we hoPe you have enjoyed this 

newsletter, 

Please let us know. 

looking Forward to hearing From you. 

Richard Gardner Antiques | Eastrop House | 3 East pallant | Chichester | West Sussex | pO19 1tR 

meissen Figure oF 

a jay 

Circa 1925: £2100 

Web version


oPENING TIMES 

Tuesday – Saturday 

10.00 am – 5.30 pm 

(Please telephone for an appointment) 

Richard Gardner Antiques | Eastrop House | 3 East Pallant | Chichester | West Sussex | Po19 1TR 

01243 533772 www.richardgardnerantiques.co.uk rg@richardgardnerantiques.co.uk 

@GardnerAntiques 

“voted best antiques showroom outside London” 


224

Spring 2013

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