Posts Tagged ‘bracket feet’

Dishes
Pair of George III oval meat dishes by Frederick Kandler, London, 1765, 73 oz 2 dwt Pair of Victorian octagonal entree dishes and covers with
vegetable dividers for each and ball finials, Sheffield, 1880,
120 oz 14 dwt 450 0
George III circular vegetable dish with ivory grips, pierced sides and four scroll and foliate feet, by W.S., London, 1809, 80 oz 2 dwt 360 0
William IV shaped oblong entree dish and cover with engraved armorials and foliate ring handle, by J. C. Eddington, London, 1835, 61 oz 5 dwt 260 0
George III muffin dish and cover, the domed cover with urn
shaped finial, by Henry Chawner, London, 1791, 15 oz 1 dwt        210 0
Jugs—Cream and Milk
George III helmet-shaped cream jug with ‘bright-cut’ engraving, loop handle and square pedestal foot, by George Smith, London, 1790, 3 oz 7 dwt 80 0
George II cream jug of conch shell type with serpent handle and
three coral-like supports. Circa 1755, 3 oz 5 dwt 80 0
George III oblong milk jug engraved with crests and with gadroon lip and scroll handle, by R. and S. Hennell, London, 1808, 6 oz 2 dwt 70 0
Victorian baluster milk jug chased with flowers and scrolls and on three feet. Possibly by William Brawn, London, 1845, 5 oz 7 dwt 52 0
Jugs—Water
George III pear-shaped hot-water jug, stand and lamp, the jug with rams’ masks and laurel festoons, the stand on three claw feet with female bust terminals, by Andrew Fogelberg. The jug 1776, the stand 1775, 40 oz

780 0
George III vase-shaped hot-water jug, plain with wood handle and on circular foot, by William Fountain, London, 1801, 25 oz 11 dwt 460 0
George II baluster hot-water jug chased with scrolls, leaves and flowers, raffia-covered handle and rim foot, by Gurney and Cook, London, 1755, 19 oz 15 dwt 270 0
Jugs—Wine and Ale
Queen Anne ale jug, die ground embossed with foliage and flowers and a satyr spout, by John Wisdom, London, 1712, 35 oz 280 0
Victorian wine ewer with baluster body and engraved with Grecian figures and leaves, entwined snake handle and butterfly finial, by E. and J. Barnard, London, 1862, 27 oz 11 dwt        170 0
Marrow Scoops
Queen Anne scoop of typical form by Charles Jackson, 1713,
1 oz 10 dwt 68 0
Early George III scoop, the larger bowl engraved with initials,
probably by William Tuite, London, 1767, 1 oz 12 dwt 20 0
Mustard Pots
George III drum mustard with moulded borders, flat hinged lid and simple scroll handle, with spoon of earlier date. Pot by Ernes and Barnard, London, 1813, 5 oz 10 dwt 165 0
some auction room prices : 1968-69
William IV mustard with ribbed baluster body and hinged domed lid with floral finial, scroll handle and shell thumbpiece and spoon of same date but different maker. Pot by C.G., London, 1830, 6 oz 17 dwt
George III oblong mustard with domed cover, urn finial and angular handle on four bun feet, London, 1813, 3 oz 11 dwt
Salts
Four George I plain oval trencher salts with incurved sides, by
Mary Rood, 1723, 6 oz 15 dwt Pair of George III boat-shaped salts, reeded at the lips and
pedestal feet, gilt interiors, by Peter and Ann Bateman, 1792,
4 oz 6 dwt
Pair of George II compressed circular salts, with plain engraved bodies below gadroon lips each on three shell-headed hoof supports, possibly by Isaac Cookson, Newcastle, 1747, 8 oz 1 dwt
Salvers
George II large circular salver on four lions’ mask and shell bracket feet, the shaped border pierced and chased, by George Wickes, 1744, 137 oz
George I plain circular salver on central foot with moulded border, by W.P., 1720, 13 oz 12 dwt
George III circular salver, engraved with initials, chased wave border and gadroon rim, on three claw and ball feet, by Robert Rcw or Rugg, 1766, 24 oz 3 dwt
Victorian salver engraved in the centre with an initial and also with scrolls and foliage, moulded border, by J. and J. Angell, London, 1845, 25 oz 14 dwt
Sauceboats
Pair of George II plain sauceboats each on three shell and scroll feet with gadrooned rims and double scroll handles, by Peter Archambo and Peter Meure, 1754, 29 oz
George II two-handled plain double-lipped sauceboat on collet foot, with double scroll handles and waved rim, with a moulded drop beneath the spout, by Peter Archambo, 1732, 17 oz 5 dwt
Pair of George III sauceboats, each on fluted shaped lozenge foot, with gadrooned borders and double scroll handles, by William Sampcl, 1766, 25 oz
Snuff Boxes—See Small Decorative Antiques Sugar Basins—See Baskets—Sugar Tapersticks—See Candlesticks Tankards
William and Mary tankard on three lion couchant feet, scroll handle, cylindrical body and moulded base, by Robert Cooper, 1692, 31 oz
George II baluster tankard with domed cover, openwork thumb-piece and double-scroll handle, on moulded spreading foot, by William Grundy, 1755, 34 oz 5 dwt 650 0
George III baluster tankard, with domed moulded cover and heart-shaped lower terminal to the scrolling handle, by William Caldecott or Gripps, 1765, 27 oz 15 dwt 570 0
Tea Caddies
George III oval caddy, the body with two bands of bright-cut engraving in beaded borders and the plain hinged lid with urn finial, by Hester Bateman, 1781, 14 oz 10 dwt 900 0
George III shaped oval caddy, the body fluted at intervals, decorated with bright-cut engraving, hinged domed cover with wood finial, by Robert Hennell, 1787, 14 oz 17 dwt 480 0
Teapots and Stands
George II bullet teapot with engraved shoulder decoration of satyr masks, leaves and flowers, straight spout, loose lid, ivory handle and finial, by Isaac Liger, 1729, 15 oz 1 dwt 2,100 0
George III teapot stand on four fluted panel supports, by Hester
Bateman, 1789, 4 oz 15 dwt 280 0
George III oval teapot with moulded girdles and a matching stand, supported on four feet, by Crespin Fuller, London, 1800, 16 oz 15 dwt 270 0
George III oval, semi-lobed teapot, with swan-neck spout, ivory handle and finial, by P. A. and W. Bateman, 1799, 17 oz 3 dwt 170 0
George IV teapot, compressed circular body, ivory handle and
finial, curved spout, by Eley and Fearn, 1823, 25 oz 16 dwt        150 0
William IV compressed circular teapot with moulded girdle, wood finial and similar wood handle, by E. E. J. and W. Barnard, 1830, 14 oz 2 dwt 135 0
Early Victorian bullet-shaped teapot with engraved body, Edinburgh, 1840, 24 oz 82 0
George III oval teapot stand, gadroon border on four panel
supports, but George Fenwick, Edinburgh, 1806, 5 oz 14 dwt 80 0
William IV small melon-shaped teapot, with slightly domed cover and ivory finial, scroll handle and curved spout, London, 1833, 13 oz 18 dwt 60 0
Tea and Coffee Services
Victorian tea and coffee service of compressed circular form, decorated with embossed flowers and foliate handles and on scrolled feet with shell motifs, by Rawlins and Sumner, London, 1838, 72 oz 600 0
George IV three-piece melon-shaped tea service with scroll handles and shell decorated panel supports, by E. E. J. and W. Barnard, London, 1829, 44 oz 7 dwt 500 0
George III circular three-piece tea service with curved lobes, gadroon rims and leaf decorated handles, on paw supports, the pot with rose finial, by John Angell, 1819, 41 oz 6 dwt 380 0
Victorian three-piece tea service of compressed circular form,
the plain ground richly chased, by I. J. Keith, London, 1840, 48 oz
Vinaigrettes—See Small Decorative Antiques Waiters
Pair of George III plain oval waiters each on four shell and beaded bracket feet, beaded rims, by John Scofield, London, 1777, 27 oz
George II plain shaped square waiter on four hoof feet, moulded border, by Thomas Farren, London, 1734, 6 oz 17 dwt
Early George II square waiter with raised border incurved at the angles, 1727, 3 oz 18 dwt
SHEFFIELD PLATE Candelabra and Candlesticks
Pair of candelabra, each for three lights, with reeded scrolling arms, gadroon bordered knops, detachable nozzles and circular bases, 17i in high to centres
Pair of three-light candelabra, the tapering vase stems, circular bases and campana-shaped sconces decorated with chased borders, each fitted with two detachable scrolling branches, one converting to form a

five-light and bearing flame finial, 20 in high
Pair of table candlesticks with V-shaped stems, gadroon shoulders, circular bases and detachable nozzles, llj in high
Pair of table candlesticks with circular bases, vase-shaped stems and gadroon borders, detachable nozzles, 11 in high
Coffee Pots
Vase-shaped coffee pot on pedestal foot with reeded borders, ball finial and wood handle, 13 in high
An oval coffee pot on pedestal base, with reeded shoulder, gadroon borders and angular wood handle, 9] in high
Urn-shaped coffee pot, body semi-lobed between ribbed panels, on pedestal base, ball finial and wood handle, 27 in high
Coasters—Wine
Four circular wine coasters with lobed sides below gadroon lips, the wood bases centred by crested bosses, 5J in diameter
Pair of circular coasters with beaded and ovolo rims, wood bases, 6 in diameter
Caddies—Tea
Two caddies of bombd form embossed with shell motifs Serpentined caddy with hinged lid and beaded borders
Dishes
Set of four entree dishes and covers on heater bases, oblong with scrolling foliate borders, 14 in wide over handles
Pair of entree dishes and covers with gadroon borders and
detachable foliate handles, 11 in wide 22 0
A rectangular entree dish and cover complete with liner, gadroon and leaf borders, wood end handles, on four supports, 141 in wide 20 0
Teapots
An oblong teapot, body semi-Iobed between gadrooned borders, short spout, ivory finial and angular wooden handles, 5J in high 25 0
A compressed circular teapot engraved with swirling leafage,
fruit finial and scroll handle, 5J in high 18 0
Tea and Coffee Services
Oval three-piece coffee service with vase-shaped pot, oval jug and basin decorated with bands of sprays and foliage, 10 in high the pot 160 0
Three-piece tea set with compressed circular bodies, fluted,
foliate collars, scroll handles and foliate panel supports 38 0
Tea Trays
Oblong two-handled tray, engraved with armorials within a chased surround of scrolls and floral sprays, gadroon border, 30 in wide 220 0
An oblong tray, gadroon bordered and reeded end handles
springing from chased foliage, 28 in wide 95 0
Tea Urns
An inverted compressed pear-shaped urn, the body engraved
with a crest, foliate handles and flower finial, 16 in high 75 0
An oviform urn with an applied plain shield, the cover with vase finial, reeded loop handles, on square base with ball feet, 221 in high 45 0
Tureens
Large shaped oval sauce tureen on four feet below heavily
chased floral motifs, detachable liner, 16J in wide 230 0
Pair of oval sauce tureens and domed covers with gadrooned rims, decorated with acorns and oak leaves at the handles, 8Ј in wide (end handles missing from one tureen) 120 0
Wine Coolers
Set of four coolers, the campana-shaped bodies engraved with contemporary armorials above lobing reeded handles and gadroon borders, on pedestal bases, 9i in high 520 0
Pair of coolers with campana-shaped bodies, reeded handles and
on pedestal bases, 9J in high 200 0
NON-PRECIOUS METALS
Brass
Pair of eighteenth-century andirons, with spherical finials, and
masks, 29 in high 100 0
SOME AUCTION ROOM PRICES ! 1968-69
A club fender
A Corinthian column floor standard
An embossed fire kerb
A two-handled log tub on paw feet
An alms dish with lobed centre and inscription border, the rim
with punched rosettes, 15} in diameter Pair of spirally-turned candlesticks on domed feet, 20J in high A hanging oil lamp Pair of chambersticks, with snuffers A heavy log tub with lion mask handles on paw feet Brass

and steel semi-circular fender
An oval fire insurance plate with a crest of a stag, dated 1774 Pair of carriage lamps A helmet coal-scuttle
A warming-pan with turned wood handle Pair of baluster candlesticks, 9 in high
Bronze
Figure of a racehorse and jockey after Isadore Bonhcur, I0j in
high
The Capture of Alexander by G. Halse. Two warriors hold a
struggling youth. Signed and dated 1860, 24 in high Eighteenth-century Italian figure The Dying Gladiator signed
Canova
Figure of a dancing fawn, holding up a bunch of grapes and
balanced on his left foot, 14 in high Figure of an infant satyr playing a set of pipes, 9j in high Pair of busts of Henry IV and Sully, three-quarter length, both
wearing ruffs and decorations, on rouge marble socles, 20} in
high
Pair of Art Nouveau winged figures stamped A. Moreau, 9J in
high
Pair of five-light candelabra on bulbous stems Italian figure of Venus, 7 in high
Copper
Early nineteenth-century tea urn on a square base
A street lamp
Three large saucepans (one with lid) Two coal scuttles A large kettle
Coal helmet with swing handle
Large two-handled urn and cover
A copper and brass tea urn with tap
A long turned wooden-handled warming-pan
Iron and Steel
Steel and brass basket grate with pierced frieze and baluster
uprights, 20 in wide Seventeenth-century Sussex wrought-iron fireback, 2 ft 10 in
by 1 ft 8 in and a log fork Wrought-iron shaped fire-back Regency iron and brass stick stand on paw feet
Victorian cast-iron corner stick stand 5 10
Victorian cast-iron oil heater 3 10
Pewter
A charger with secondary touch of Thomas Lanyon, circa 1730,
20 in diameter 36 0
Five quart tankards 35 0
A four-branch candelabrum, 24 in high 22 0
Eighteenth-century circular charger, 20 in diameter 22 0 Pair of altar candlesticks, baluster-shaped stems on triangular
bases, 20 in high 16 0
Pair of baluster and cup candlesticks, 18 in high 15 0
A hot-water meat dish with two handles and a grill, 22 in wide 15 0
A travelling chamber-pot, stamped Jas. Dixon 14 0
Two tankards and a mug 6 0

SOME AUCTION ROOM PRICES

FURNITURE
Bookcases, Bureau-Bookcases and Bookshelves
Sheraton mahogany bureau-bookcase, swan-neck pediment, 3 ft
3 in wide 1,650 0
George II walnut bureau-bookcase 650 0
Georgian mahogany breakfront bookcase, 7 ft  10 in wide,
7 ft 8 in high 450 0
Regency rosewood cylindrical swivel bookcase with shallow
pierced gilt metal gallery, 25 in diameter, 38 in high 284 0
Large Regency mahogany bookcase with dentil cornice, the upper part enclosed by four glazed astragal doors; the cupboards in the base enclosed by four doors with indented panels 160 0
Edwardian mahogany bureau-bookcase inlaid with ribbon, shell and urn motifs in satinwood. The top with swan-neck pediment with double-glazed astragal doors. The fall flap opening to reveal drawers and recesses.

Four long drawers below on bracket feet, 7 ft 5 in high 132 0
Georgian mahogany secretaire-bookcase, fitted adjustable shelving enclosed by glazed barred doors and cupboard below drawer, 2 ft 6 in wide 120 0
Georgian figured mahogany inlaid secretaire-bookcase, the upper part fitted with adjustable shelving, enclosed by glazed barred doors and fitted with two short drawers enclosed by panelled doors below, 4 ft wide 100
Small oak bureau-bookcase, the top with glazed astragal doors, the base fitted with a single drawer and double panelled doors, 5 ft 7 in high 95 0
A nineteenth-century mahogany bureau-bookcase with satin-wood lines. Top having glazed doors. Fall flap to base, which has four long drawers and is supported on bracket feet 56 0
Bureaux and Writing Cabinets
Early nineteenth-century marquetry inlaid cylinder-front bureau with pierced ormolu gallery, mounts and beading, having interior fittings, writing slide and three drawers, on taper legs, 3 ft 2 in wide 475 0
George III mahogany secretaire cabinet, the upper lancet panelled glazed doors above secretaire and panelled cupboard doors, 8 ft 4 in high, 4 ft 2 in wide 250 0
George II walnut bureau inlaid with boxwood lines. Interior having central well, drawers and recesses. Two small and two long drawers in base, on bracket feet 210 0
Eighteenth-century fruitwood bureau with three long graduated
drawers below the fall, on bracket feet, 3 ft wide 140 0
Georgian mahogany secretaire cabinet, the top drawer opening to reveal eight drawers and recesses inlaid with shell motif and a green baize writing panel. Three long graduated drawers to the base. The upper part

enclosed by panelled doors 95 0
Georgian  mahogany fall-front bureau having four drawers
under and on bracket feet, 3 ft 2 in high 70 0
Edwardian mahogany bureau-cabinet with pierced swan-neck pediment over glazed doors, sloping fall front over four drawers, bracket feet 66 0
George II oak bureau with fall flap and small drawers, two small and two long drawers below and supported on bracket feet, 2 ft 10 in high 60 0
Victorian mahogany bureau with sloping fall front over four
long graduated drawers, on bracket feet 58 0
Cabinets
Georgian mahogany bookcase cabinet with arched pediment surmounting astragal double doors. The base with double doors supported on bracket feet, 6 ft 6 in high 470 0
French display cabinet of Louis XVI design, mounted with ormolu female caryatids, the base with panels in the style of Vernis Martin, 3 ft 9 in wide 410 0
Regency mahogany display cabinet, the upper part enclosed by brass grilled and latticed doors, panelled cupboards to the base and supported on bold paw feet 290 0
Victorian walnut display cabinet in the Louis XVI manner, mounted with ormolu and inset with Sevres porcelain panels, two serpentine glass doors to the side and a door to the centre, 5 ft 1 in wide 126 0
Mahogany display cabinet of Chippendale-style with two glazed astragal doors below a swan-neck pediment and supported on cabriole legs and claw and ball feet, 5 ft 3 in wide 80 0
Canterburys
George III mahogany Canterbury with drawer in frieze on
tapering legs, 1 ft 7 in wide 130 0
George III mahogany Canterbury with turned legs 115 0
Georgian mahogany four-section music Canterbury with drawer
in base 85 0
George III mahogany Canterbury with slatted sides and ringed
legs, 1 ft 4 in wide 60 0
Chairs—Open Arm and Elbow
George II mahogany open arm chair in the French manner. Rectangular back and serpentine fronted seat. Arm supports and cabriole legs carved with rococo foliage and with scroll feet 150 0
George III mahogany open arm chair forming library steps,
the arm supports and curved stretchers with rope twist 150 0
Two early stick-back Windsor elbow chairs
Edwardian inlaid rosewood open arm chair with pierced splats
Chair—Dining Sets
Ten Sheraton-period mahogany dining chairs with cross rail backs and satinwood crestings on turned and reeded legs. Two carvers
Eleven Regency rosewood dining chairs with carved and reeded back rails, caned seats and on reeded sabre legs
Set of eight Regency mahogany dining chairs with padded backs, sabre legs. All are strung with brass, with brass carrying handles on the cresting rails
Set of two carving and six single Hepplewhite mahogany chairs with shield backs and pierced vase splats carved with wheat ears, on tapering legs
Set of six single and one carving Hepplewhite mahogany chairs with shield backs and pierced vase splats, supported on tapering legs
A composite set of eight eighteenth-century Dutch walnut dining chairs, inlaid with marquetry depicting floral bouquets, urns, scrolls and birds. Comprising one carving and seven single chairs
Set of six Sheraton inlaid mahogany single chairs with triple splat backs and stuff-over seats, on tapering legs
Set of nine mahogany dining chairs, one carver, in the Hepplewhite style with triple vase splats and drop-in seats
Set of two carving and six single Chippendale style mahogany ladder-back dining chairs with pierced serpentine splats and moulded legs
Set of six Regency mahogany reeded frame single chairs on sabre legs
Set of six William IV single dining chairs with leather seats and sabre legs
Set of two carving and four single Chippendale style mahogany chairs with carved and pierced splats and loose stuffed leather seats, supported on cabriole legs and claw and ball feet
Set of six Victorian walnut single chairs on slender curving legs
Set of six small Victorian walnutwood single chairs with oval backs and pierced scroll splats, on curved legs
Set of four Georgian reeded mahogany wooden seat hall chairs, crested
Set of six elm rush seat chairs with spindle backs Set of six Victorian single chairs with slender curving legs and damask seats
Set of four Edwardian mahogany shield-back single chairs inlaid
with satinwood lines and a fan Set of six Victorian mahogany balloon-back dining chairs on
turned legs
Chairs—Dining Single
Pair of George III mahogany dining chairs with moulded and rounded arched backs and pierced splats carved with foliage
and husk pendants. Upholstered curved seats on square legs
with block toes 50 0
Sheraton mahogany chair with stuff-over seat 17 0
Three early Victorian yew wood standard chairs 17 0
Pair of Victorian rosewood chairs on turned carved legs 5 0
Regency mahogany standard chair on reeded sabre legs 5 0
Chairs—Easy
George III mahogany wing armchair with an arched back,
shaped sides and chamfered legs 140 0
Early Victorian mahogany frame wing easy chair 50 0
Papier m&chi nursing chair with cane scat and inlaid with
mother-of-pearl 30 0
Victorian button-back nursing chair 29 0
Chests of Drawers and Commodes
Chippendale mahogany serpentine chest with reeded and canted corners and with four graduated drawers, on wide bracket feet, 3 ft wide 980 0
Chippendale mahogany serpentine chest, the canted corners pendant with clusters of fruit and flowers in bold relief, 3 ft 3 in wide, 2 ft 8 in high 620 0
Georgian walnut bachelor’s chest with folding top and four long drawers having brass handles and lockplates; supported on bracket feet, 29 in wide, 13 in deep, 32 in high 165 0
Eighteenth-century walnut chest of three short and three long drawers with tulip wood stringing on stand fitted with two short and one long drawer with cabriole legs and claw and ball feet, 3 ft wide 105 0
Small Georgian mahogany commode with fluted and canted
corners and fitted with two small and three long drawers 66 0
George III mahogany chest of two short and three long drawers,
3 ft 2 in wide 28 0
Chiffoniers
Regency mahogany chiffonier with three stepped shelves above with gilt metal sides pierced in the Chinese style, the fronts with rope twist mouldings. The lower section enclosed by two doors panelled with radiating

pink silk, 3 ft 10 in wide        150 0
Regency rosewood chiffonier, the single shelf at the top with acanthus supports. The single drawer to the front containing writing panel and fitted compartments. The whole with double brass rail and flanked by scrolled

acanthus supports        110 0
Coffers and Chests
Early Charles II oak chest of four panelled drawers with
panelled sides and bun feet, 3 ft 1 in wide 65 0
Late seventeenth-century carved oak coffer with a domed lid. The front carved with four arches and surrounded by stylised carving of leaves, strapwork and birds’ heads, 3 ft high, 5 ft 3 in wide 60 0
Early seventeenth-century carved oak dower chest, 3 ft 6 in wide
Seventeenth-century oak coffer with lifting top, the front panelled and carved in low relief with strapwork and foliage and the initials ‘HP,’ 4 ft 2 in wide
Cu pboards—Corner
Hepplewhite free-standing, serpentine-fronted mahogany corner cupboaid. Double glazed doors at the top enclose three display shelves. Base on square feet with double doors
Mahogany bow-fronted corner cupboard with glazed door enclosing shelves
Georgian standing corner cupboard with four panel doors enclosing shelves
George I blue japanned hanging corner cupboard with small open shelves above a pair of bowed doors. Decorated with chinoiseries, 3 ft 9 in high by 1 ft 11 in wide
Lacquer bow-fronted corner cupboard decorated in gilt with Chinese figures and buildings on a scarlet ground. The whole on cabriole-legged stand {not matching), 1 ft 10 in wide
Bow-fronted hanging corner cupboard with the door painted with King Solomon and the Queen of Sheba, 1 ft 11 in wide
Black lacquer bow-fronted corner cupboard with doors decorated with gilt Chinese landscapes, 1 ft 10 in wide
Davenports and Desks
Eighteenth-century partner’s desk in sabicu with tooled green leather top and fitted with eighteen drawers to the kneehole frieze, with rococo gilt metal handles; circa 1780
Queen Anne walnut kneehole desk crossbanded with fruitwood, with one long drawer and two tiers of three small drawers, 2 ft 5 in wide
George III mahogany tambour desk, the shutter enclosing fitted interior with leather-lined slope, pigeon-holes and drawers with two drawers below on square tapering legs with brass castors, 3 ft 1 in wide
Mahogany pedestal desk with leather-lined top and nine drawers around kneehole, 4 ft 8 in wide
Georgian mahogany Davenport with drawers and slide and with leather-lined fall and brass gallery, 1 ft 8 in
Victorian figured walnut Davenport with carved front supports
Dressers
Eighteenth-century oak dresser with three small drawers with brass handles and lockplates and cabriole legs ending in pad feet, 6 ft 2 in wide
Eighteenth-century oak dresser with three small drawers with brass handles over a waved apron, with cabriole legs on pad feet, 6 ft 2 in wide
Stuart-design oak dresser, the cupboards and drawers with geometrical raised panels with gilt metal drop handles
Oak dresser, the top with a shaped frieze, two cupboard doors
and three ihelvet over three moulded drawers to the base,
with cabriole legs, 5 ft 6 in wide, 6 ft 8 in high 105 0

BOWL IN DARK RED GLASS, ENAMELLED AND GILT
Byzantine, i ith-t2th century A.D.Ht. 79 mm (3*13 in.)
Theophilus, describing ‘how the Greeks
embellish with Gold and Silver’, said ‘they
take the white, red and green glass, whicb
are used for enamels, and carefully grind
each one separately with water on a
porphyry stone. With them they paint
small flowers and scrolls . . .’. He went on
to describe the furnace in which they fired
window glass, including painted glass, and
specified that the glass be bedded down on
quick-lime. Vasari, who wrote an account
of the stained glass technique of Gugliel-
imo de Marcillat (d.1529) stressed that
‘this burning in of the colours requires the
greatest caution, for if the heat be too great
it will cause the glass to crack, and if
insufficient it will not fix the colours’. To
test the enamel, Theophilus suggested
that you should ’see if you can scratch off
the colour with your nail’. Glasses of the
type described by Theophilus are known,
dating from the 1 ith to the 12th centuries;
one of them is illustrated.
VASE WITH ENAMELLING AND GILDING
Syria, Ј.1320-30 A.D. Ht. 302 mm (11 88 in.)
(See also colour photograph 11)
Not until the 13th and 14th centuries was
the next high point in the history of
enamelling reached, with the great Islamic
mosque lamps and other vessels produced
in the near East, particularly in Syria.
Besides the weli-known lamps which
adorned Moslem holy places, the Syrian
enamellers decorated such objects as
footed bowls, sprinklers, globes, beakers
and long-necked bottles. The vase illus-
trated is decorated with golden arabesques
and fish motifs finely outlined in red. The
inscription round the widest point of the
vessel repeats the words ‘The Wise’
(referring to the God of Mohammed). The
medallions around the neck of the vase
probably contain the armorial symbol of
the nobleman who commissioned the
object. The glass itself is not clear and
colourless, for most of the Islamic glass of
that time is of a brownish or greenish tint,
often clouded with bubbles.
Adding: The Skill of the Decorator
In Islam the art of enamelling came to
maturity from the 13th century, the finest
work being done in Syria. The lamps in
Egyptian mosques exported from Syria
are the most famous examples of all the
Islamic enamelled glass. Strictly speaking,
these objects are lamp-holders or lanterns
rather than lamps, for they enclosed an
oil-vessel which provided the illumination.
They were suspended from the roof of the
mosque by chains which, when the roof
was high, passed through a glass globe or
ball, from where the chains radiated to the
handles of the lamp. Enamelled glass was
used for these lamps, not only for its
obvious decorative effect, but because the
Koran said, ‘God is the light of the
Heavens and the Earth: His light is as a
niche in which is a lamp, the lamp in a
glass, the glass as it were a glittering star’.
Many reproductions of mosque lamps
were made at the end of the 19th century.
Unfortunately, like the Romans, the Is-
lamic glass-making artists left no written
record of the craft which they practised
with such very great skill. It is not until
the 15th century that a contemporary
record of enamelling techniques is found,
but from that time, especially with the
advent of printing, there is no lack of
written evidence. Enamelling on glass was
a speciality of the Venetian glass-makers,
a technique which they developed during
the 15th century, probably reaching tech-
nical maturity by the middle of the
century. In all essentials their enamelling
technique was similar to that of the
Islamic artists, yet it would appear that the
Venetians independently re-invented en-
amelling on glass—possibly borrowing the
idea from the Italian worker in metal. By-
tradition the invention has been ascribed
to the glass-maker Angelo Baroviero.
Throughout the 15th century the coloured
glass the Venetians had invented—blue,
green, white, purple and turquoise—was
richly enamelled and gilded.
GOBLET IN  COLOURED GLASS
ENAMELLED DECORATION
Venice. Italy, late 15th 10 early 16th century
By the beginning of the 16th century the
fashion in Venice for coloured glass had
given way to a desire for clear colourless
glass. Enamelling, along with other forms
of decoration, was usually found on clear
glass specimens from this time, although
the clear metal was far less suited to the
technique. The pictorial work which had
been used so much on coloured glass soon
disappeared, and enamelling was restricted
to a few simple motifs. A favourite of these
was a form of scale pattern in bead-like
dots of enamelling and light gilding,
through which lines were scratched, al-
though simple bands of coloured dots were
sometimes the sole decoration of the piece.
Another familiar motif of the late 15th-
and early 16th-century glasses resembled
a lily-of-the-vallcy or a small fruit with a
calyx attached, as on the goblet illustrated.
This goblet also helps to show how the
Venetians combined their coloured and
clear glass in one vessel.
Although representational painting was no
longer the fashion by the beginning of the
16th century, a transitional phase is
represented by a series of glasses enamelled
with grotesque ornamentation built up
from patterns of flowers, leaves, animal
and human-like forms. Armorial glasses
were probably among the latest Venetian
work in the technique of enamelling. A
shield of arms or an emblem would be
added to the few simple decorative motifs
that were now in use on clear colourless
glass, and at their best, these were very
well drawn, as in the dish illustrated.
However, in some cases there is reason to
suspect that the shields were later addi-
tions. Venetian taste, now inclining to-
wards the new, clear colourless metal,
began to appreciate glass for its own sake
and to be interested more in its quality and
beauty of shape than in its added decora-
tion. By the middle of the 16th century the
technique of enamelling, apart from wares
made for export, had virtually passed out
of fashion in Italy.
beaker with enamelled decoration
Made in Venice for the German market, 1603
Ht. 267 mm (105 in.)
Reuhsadlerhumpen, pale green glass with
enamelled decoration
Bohemia, 1654. Ht. 200 mm (11-4 in.)
Although enamelling became unfashion-
able in Italy, it remained a favourite form
of decoration in Germany until the second
half of the 18th century. The earliest
enamelled glasses thai might have a claim
to being German are some cylindrical
beakers commonly bearing German arms,
but it is now thought that these were
ordered from Venice by German buyers.
The beaker illustrated, inscribed ‘Roccho
Grasl’, is a typical late example of the type.
The most productive enamelling work-
shops in the late 16th and early 17th
centuries were situated in Bohemia,
whence the craft was carried to Germany
by emigrant workmen. German enamel-
ling, with its bold colours, has the attrac-
tiveness of a peasant art, but the enamels
used were not of fine quality nor were the
drawings of any distinction. The glass
itself was relatively poor, and only a few
shapes were attempted: the tall Stangen-
glas, the cylindrical Humpen, jugs, beakers,
and screw-topped spirit flasks.
The subjects used by the German enam-
ellers for the most part belong to peasant
art. Gonventional portraits, simplified
landscapes, scenes of artisans at work,
guild processions, satirical subjects, alle-
gories and inscriptions, usually illiterate
and sometimes obscene, are common.
Biblical subjects, the Emperor and the
Seven Electors and the Reichsadler are also
depicted on these glasses. The Reichsadler
is the Imperial double-eagle, bearing on
its wings the arms with names of a fanciful
hierarchy of the Holy Roman Empire; the
arms are arranged in groups of four in the
so-called Quaternion system derived from
Schedel’s Wellkronik of 1483. They begin
with those of Rome and the three spiritual
Electors (Treves, Cologne, Mayence),
balanced by the four temporal ones
(Bavaria, Brandenburg, Saxony, Palatin-
ate), ending with four ‘Dorffer’ and four
‘Birg’. The Reichsadlerhumpen may have
had some contemporary significance, since
they originated during the strife of the
Thirty Years’ War. The Retchsadler and
the ‘Elector’ glasses remained popular for
a long period.
Adding: The Skill of the Decorator
In the guild regulations of the glass-
makers of Krcibitz in Bohemia (1669) one
of the tasks set the aspiring craftsman was
to ‘prepare with colours an Imperial
Eagle, with all its members, in one and a
half days’. This referred to the Reich-
sadlerhumpen, which most likely had to be
fired more than once, those enamels which
required a higher temperature being fired
before the ones which fluxed at a lower
heat In all essentials the contemporary
descriptions of enamelling agree with each
other, the cakes or beads of enamel being
pounded on marble or porphyry, [he
powder thus resulting being washed and
applied to the already annealed glass vessel
and the glass being carefully reheated so
that the enamels fused to it successfully. It
would seem that enamelled vessel-glass
began to be fired in special ‘muffle kilns’
rather than in the glass furnace itself by
the end of the 17th century. As in ordinary
coloured glass, metal oxides were used to
give the enamels their various colours.
‘SchwarzloT, or black enamelling on glass
was a Dutch invention originally used lor
the decoration of windows; it spread into
Northern Germany, and was developed b\
Johann Schaper in the third quarter ol the
17th century. Schaper was born at Ham-
burg in 1621, was at Nuremberg from
1655, at Ratisbon in 1664 and died in 1670.
Originally a painter of stained window-
glass, he was the first of the South German
llausmaler or independent artists, obtain-
ing undecorated glass and pottery and
decorating it to Ins own invention. I le used
copper oxide mixed with black enamel
pigment, painting this on to the glass ahd
then scratching his design through it with
a needle in the manner of the stained-glass
painter. He painted mainly in black, with
slight touches of red and gold. In the
beaker illustrated he used for inspiration
an engraving of a gypsy procession by
Jacques Callot (1592-1635; Callot’s work,
depicting scenes of Italian life with fan-
tastic caricature, was very popular in the
17th and 18th centuries).
Adding: The Skill of the Decorator
Johann Schaper gained some followers,
one of whom, like himself, was a window-
glass painter. This was Johann Ludwig
Paber, who also painted faience. Herman
Benckcrtt of Frankfort-on-Main was an-
other of Schapers known followers. The
Humpen illustrated is a remarkably fine
example of the Schwarzlot technique,
probably the work of one of Schaper’s
imitators. The scene shows a man being
pushed into a pigsty by a laughing and
gesticulating crowd—presumably for
drunkenness, for the Latin inscription on
the reverse is a diatribe against drinking.
After 1700 the Schwarzlot technique was
carried on in Bohemia and Silesia by
independent decorators. Though they
were using the same medium, in style and
subject their work was very different.
They concentrated on landscapes, hunting
scenes, warriors and scenes from peasant
life, then replaced these by scroll-and-
strap-work, Chinese figures, putti and
fantastic animals.
In Spain a distinct style of enamelling
glass emerged in the late 15th, 16th and
early 17th centuries. It originated in
Barcelona, where glass-makers were in
considerable rivalry with Venice towards
the end of the 15th century. The most
important product of the Barcelona crafts-
men was their enamelled ware, which
surprisingly showed a complete inde-
pendence of Venetian models. The colours
they used for their enamels were notably a
light yellowish-green, in combination with
yellow, white and lavender blue, and
occasionally they used touches of black,
red and brown. Their style of enamelling
has been described as primitive, but also
as powerful in design. The motifs they
used were Near-Eastern in feeling, such as
stylised trees, arabesque foliage, running
animals and pairs of birds. Occasionally,
figures in 16th-century European costume
were used. The vase illustrated was a
favourite shape, showing a typical motif
resembling a small fruit with calyx attached
which was also found on Venetian glass.
Enamelled decoration on glass, though
familiar on the Continent from the 15th
century onwards, was apparently never
attempted in England until the middle of
the 18th century. Two types of enamelling
emerged in the third quarter of the 18th
century, one practised by the Beilby
family of Newcastle-on-Tyne, and the
other practised on the opaque white glass
of the period (see Opaque White Glass).
William Beilby (1740-1819) and his sister
Mary (1749-97) were recorded by Thomas
Bewick, the wood-engraver, to have ‘had
constant employment of enamel-painting
of glass’. William had learned the art of
enamelling in Birmingham, and proceeded
to enamel glasses from about 1762. At
what point Mary joined him in his work is
not known, for their glasses are signed
simply ‘Beilby’. Their brother Ralph
Beilby (1743—1817), to whom Thomas
Bewick was apprenticed, may have had
some influence on their work through his
knowledge of heraldic engraving.
The first Beilby enamelled work was of an
heraldic nature, in both white and coloured
enamel on glasses or goblets with ogee or
bucket-shaped bowls. The Beilbys’ style
changed about 1774, and subjects such as
scenes of hunting, fishing and shooting,
pastoral scenes including ruins, and Chin-
ese subjects appeared, the shapes of the
glasses becoming more diverse. Colours
were not always used on these glasses, and
the subjects were often rendered in white
monochrome, sometimes with a faint tint
of blue or pink. Occasionally they followed
the motifs found on engraved glasses of the
period, such as hops, barley and the flower-
ing vine. Beilby glasses more often than
not have an opaque white enamel-twist
stem. Thomas Bewick became attached to
Mary Beilby, who unfortunately in her
early twenties suffered a paralytic stroke.
The brother and sister left Newcastle-on-
Tyne after the death of their mother in
1778, and went to Fife in Scotland, where
apparently they did not continue their
work.
Hi. 105 mm (4-15 in.)
BEAKER WITH CUTTING, GILDING AND
ENAMEL PAINTING
By Anton kothgasser, Vienna, Austria, r.1825
Hi. 115 mm (4-5 in.)
Many drinking and souvenir glasses with
translucent enamelling still exist which
were decorated by Samuel Mohn (horn
1762 in Weissenfels, died 1815 in Dresden)
and his son, Gottlob Samuel Mohn (born
1789 in Weissenfels and died 1825 in
Vienna). Their chief technical innovation
was the preparation of transparent enam-
els, in contrast with the heavy opaque
enamels used particularly in the 16th and
17th centuries. Samuel Mohn had pre-
viously been a painter of silhouettes on
porcelain. His son, who secured the
patronage of the Emperor, painted sil-
houettes on glass tumblers, as well as views
and allegorical figure-subjects. The Mohns
were among the first to cater for the market
for mementoes caused by the revival of
travel for its own sake, after the finish of
the Napoleonic wars. They worked on a
large scale, helped by apprentices, and
using transfer printing for outlines to
speed up the process, but the delicacy of
their paintings, usually on glasses in the
Ranfthecher form, makes these a worthy
item for collectors.
The Mohns’ discovery of transparent
enamels was further improved by a Vien-
nese porcelain and glass decorator, Anton
Kothgasser (1769-1851). He was a painter
from the Imperial Porcelain Factory, who
started working on stained glass with
Gottlob Mohn. He managed to make his
colours more brilliant than the Mohns’,
and made full use of yellow stain, or the
stain made from a compound of silver, as
used on stained glass windows. His glasses
are usually waistcd, with a heavy cut base
and sometimes lavishly gilt, as in the one
illustrated. Views of towns, portraits,
genre scenes and flowers, sometimes
copied, are featured in his work. His
glasses have been described as the finest
examples of the Viennese Biedermewr
style. Kothgasser and the Mohns had
many pupils and many imitators. In the-
same movement was Franz Anton Siebel
(1777-1842) of Lichtenfels in Upper
Franconia.
PERFUME BOTTLE IN COLOURLESS GLASS,
ENAMELLED AND GILT
Emile Galle, France, dated 1880
I li 157 mm (613 in.)
‘CROWN MILANO’ EWER WITH ROPE HANDLE
Ml. Washington Glass Company, U.S.A.
Ht. 254 mm (10 in.)
Emile Galle (1846 1904) the great French
glass-maker, is less well-known for his
enamelled work than for his work in the
field of cameo glass. Yet he was an expert
in the art of enamelling, and showed this
gift in his first major exhibition in Paris in
1878. It was there that he established his
reputation as an inventive and original
glass artist, using—among other tech-
niques—enamelled decoration on triple-
cased glass with gold leaf insertions. At the
exhibition in Paris in 1884 he showed
examples of clear colourless glass decorated
with enamelling, cutting and engraving.
At the 1889 Exhibition in Paris he showed
his finest works. His colours had taken on
a new softness, and a fresh note of lyricism
could be sensed in his work. The decisive
factor in his work seems to have been
Japanese art, and after 1889 he developed
to maturity the ‘nature-style’ that was to
epitomise his thoughts and ideas and was
to bring him his greatest fame. The
singular lyricism ol his work can be seen in
the enamelled perfume bottle illustrated.
An elegant painted and enamelled glass-
ware was produced by the Mt. Washington
Glass Company, New Bedford, Mass.,
towards the end of the 19th century. It was
first called ‘Albertine’, though a ware that
was the same in texture, shape and
decoration was advertised more cxotically
as ‘Crown Milano’ in about 1890. Unless
the perishable paper label survives, ‘Al-
bertine’ cannot be differentiated from
unmarked ‘Crown Milano’. Frederick S.
Shirley and Albert Steffin of that firm were
issued with a patent in 1886 for a means of
decorating an opal glassware. The articles,
which had a convex ribbed body, were
treated as follows: a perforated corrugated
stencil was laid against them; pulverised
carbon was dusted against this, which left
a design for the enameller to follow when
the stencil was taken away, so that there
was no distortion in the finished product.
When ‘Crown Milano’ was made, a blank
in white opal glass was shaped by free-
blowing, moulding or press-moulding.