Posts Tagged ‘bronze’

CLOCKS, WATCHES AND BAROMETERS Bracket Clocks
Repeater clock by Edwardus East with signed and engraved
backplatc in cboniscd case 600 0
A three-train musical clock by Moore of Ipswich with eight tunes in ebony case with gilt metal mounts in mid-eightccnth-century style, 2 ft 2 in high 440 0
George III fruitwood clock by Recordon, late Emery, London, with painted dial and frets at side and front of case, 1 ft 2 in high 290 0
George III walnut clock, the dial signed Joseph Smith, Chester,
and of pronounced Continental character, 1 ft 6 in high 210 0
George III ebonised clock, the 7-in dial signed William Smith, with calendar and strike/silent dial. The movement is contained in an inverted bell-topped case, 1 ft 4 in high 190 0
Louis XV contra-boullc clock with enamel dial signed Darmezin, Paris, and movement signed Crepaux, Paris, in cartouche-shaped case, 3 ft 1 in high 190 0
Louis XV Boulle clock by Pcrrache, Paris, with an enamelled dial, the case surmounted by a youthful figure of Jove, richly mounted in ormolu, 2 ft 6 in high 170 0
George III mahogany clock by Massey, Bridge Road, Lambeth, the circular white-painted dial with a central calendar hand, 1 ft 4 in high 140 0
George III mahogany clock, the 7-in circular dial signed Lamb and Webb, London, with calendar and engraved backplate in bell-top case, 1 ft 4 in high 120 0
Mid-eighteenth-century veneered ebony clock signed John Small-wood, Lichfield, with pull quarter repeat, 1 ft 4 in high (later dial) 85 0
George III mahogany clock, the 8-in arched silvered dial signed Gravell and Tolkien, London, with engraved backplate and tic-tac escapement in broken arch-topped case, 1 ft 6 in high 60 0
Regency rosewood clock signed on dial John P. Smith, 1 ft 3 in
high 20 0
Carriage Clocks
Clock in gilt case by James McCabe, London 675 0
Repeating French brass clock with white dial signed Gibson
and Co Ltd, Belfast, 6J in high 68 0
French brass clock with white dial signed Rowel, Oxford, 4Ј in high
Repeating brass clock with white dial and glazed brass case, 5 in high
Gilt metal timepiece, the glazed case with pierced floral frets at the sides and front, 5 in high and with travelling case
Miniature silver-cased repeating clock with white dial. The case stamped J. Keller, 3J in high
Lantern Clocks
Brass clock with engraved copper dial and an alarm disk, 1 ft 1 in high
Late seventeenth-century brass clock, the dial engraved with flowers and with pierced dolphin cresting, 1 ft 3 in high
Longcase Clocks
Late seventeenth-century marquetry clock, the 11-in dial signed Robt. Williamson, London, with calendar aperture in a walnut case inlaid with shaped panels of birds and flowers, with a bullseye in the waist door and with spirally turned columns at the corners, 6 ft 7 in high (frieze of a later date)
Tall mahogany cased clock with chimes. The elaborately foliated brass dial with a silvered chaptered ring. The case inlaid with classic urns in coloured woods, the arched hood has brass spires and the waist has a bevelled glass door
A carved mahogany cased clock with a grotesque satyr mask to the hood over a brass floral scrolled dial. Westminster, Whittington and St Michael chimes, 7 ft 7 in
Mahogany clock made by Manley of Chatham
Eighteenth-century walnut clock with domed canopy and brass face, the movement by William Stapleton, London, 7 ft 4 in high
Walnut clock, the early eighteenth-century movement signed
Andr. Dunlop, London, the 12-in dial with chestnut and
flower spandrels, 7 ft 4 in high Georgian lacquer clock with brass face and striking movement.
The case, with ‘bullseye’ door, decorated with gilt chinoiseries
on a simulated tortoiseshell ground Eighteenth-century small clock by John Lee, Gookham; with
brass dial and foliated spandrels, in a black lacquer case
decorated with chinoiseries in red and gill
Mantel Clocks
An ormolu clock, the painted dial signed F. Linke, Paris, the movement in a glazed case in well chiselled ormolu with drapery, acanthus leaves and groups of fruit and ending in double cloven-hoof feet, 2 ft 11 in high
Bronze and ormolu mounted clock, the movement contained in a drum upon which is seated a Chinaman holding a parasol, the whole on the back of an elephant, 1 ft 4 in high
A French clock, inscribed Bonniere a Clermont, in a rococo porcelain case. The blue and gilt ground painted with musicians, lovers and flowers. On a similar stand
Louis XVI marble and ormolu clock, the striking movement with enamel dial signed Hessen. The arched architectural case with drapery festoon, pineapple finials, an urn and fluted columns, 1 ft 5 in high 110 0
Regency rosewood clock, the movement by Dwerrihouse &
Carter, Davies Street, 2 ft high 70 0
Philippe clock with glass panels in gilt metal case with corinthian columns and surmounted by an urn. Decorated with coloured enamels, 18 in 68 0
An Empire marble clock mounted in ormolu, the movement with outside count-wheel, the dial surmounted by a white marble urn and suspended between fluted columns capped by ormolu pineapples, 1 ft 4 in high 55 0
Watches
Gentleman’s 18-carat gold half-hunter watch 20 0
Early nineteenth-century verge watch by D. Nevern, in a tor-
toiseshell case, the dial enamelled with a wharf-side scene 13 0
Gentlemen’s 18-carat gold pocket watch by George Harvey,
Wellington 13 0
George III verge watch by William Fowler, London, in a silver
case, London 1783 9 0
Nineteenth-century verge watch by Nicoll, Great Portland
Street, in a tortoiscshcll case 7 10
Barometers
Early   Victorian   mahogany  stick   barometer  by  E. Davis,
Shrewsbury, 3 ft 3 in high 70 0
Regency rosewood inlaid with mother-o’-pearl banjo barometer
and thermometer 46 0
George III mahogany banjo barometer and thermometer with engraved scales by A. M. Ortelli, Godalming, the case outlined with fruitwood lines, 3 ft 2 in high 38 0
Georgian mahogany stick barometer and thermometer by Rout-ledge, Carlisle 38 0
Mahogany stick barometer and thermometer by Salmon, Bath 38 0
A Regency rosewood banjo barometer and thermometer by
Aprile Sudbury 34 0
Early nineteenth-century mahogany banjo barometer by Lione and Tarone, London, with a thermometer and the case inlaid with Prince of Wales plumes and a whorl pattern, 3 ft 2 in high 30 0
Early nineteenth-century mahogany banjo barometer by A.
Celti, Reading, the case inlaid with shells, 3 ft 2 in high 22 0
SILVER
(Troy weight: 20 pennyweights [dwt] = 1 ounce [oz])
Baskets for Bread, Cakes, Fruit, Sugar or Sweetmeats George II oval-shaped cake basket on four cherub mask and scroll feet. The sides pierced and engraved with flowers and
scrolls and the base engraved with a coat-of-arms, by Paul
Crespin, 1753, 62 oz 3,600 0
George III oval pedestal cake basket by John Ernes, London,
1804, 24 oz 10 dwt 400 0
George III boat-shaped pedestal sugar basket with engraved border, reeded edge and swivel handle by Peter, Ann and William Bateman, London, 1793, 5 oz 10 dwt 320 0
Victorian oval basket, the pierced panels embossed with beading
and garlands, London, 1895, 19 oz 62 0
Candelabra and Candlesticks
Pair of George I dwarf table candlesticks, the baluster shafts upon square terraced bases by William Darkeratt, 4J in high, London, 1726, 20 oz 1,500 0
Victorian tabic candelabra with two tiers of six scrolled branches issuing from a bold Corinthian column supported on a square terraced foot, with neo-classic rams’ mask and husk swags by R.H. over R.H., London, 1877, 30 in high 355 0
Pair of George III table candlesticks, the tapering baluster shafts upon half-fluted circular bases by John Green & Co, Sheffield, 1800 195 0
George III chamber candlestick and snuffer, the gadrooned edge
witli shell motif by William Cafe, London, 1761, 12 oz 130 0
Casters
Garniture of three George II vase-shaped sugar casters of plain
design by John Delmester, London, 1758, 15 oz 10 dwt 930 0
William IV Scottish baluster caster engraved with a crest above floral decoration on a granulated ground, by Elder & Co, Edinburgh, 1832, 4 oz 7 dwt 90 0
George III baluster caster with pierced cover and wrythen
finial, by Thomas Satchwell, 1780, 2 oz 4 dwt 85 0
George III vase-shaped caster the otherwise plain body engraved with contemporary crest. The mark of George Giles struck over another, 1783, 2 oz 8 dwt 65 0
Coasters—Wine
Set of four partly fluted circular coasters with gadrooned rims and engraved with crests by John & Thomas Settle, Sheffield, 1818 410 0
Pair of George III coasters with pierced waved galleries, London, 1794 270 0
Pair of William IV circular-shaped wine coasters with foliate borders and crested silver bosses to the wood base, by Henry Wilkinson & Co, Sheffield, 1831 150 0
Pair of George III coasters with beaded rims, the pierced sides stamped with arcading, urns and laurel festoons, maker’s mark missing, 1794 100 0
Coffee Pots
George I small plain cylindrical coffee pot with octagonal spout and low domed cover with baluster finial, by Paul De Lamcrie, London, 1725, 11 oz 3 dwt 1,900 0
George II baluster coffee pot, plain with foliate decorated spout, wood handle and hinged domed lid, probable maker Fuller White, London, 1759, 21 oz 1,350 0
Late George III tapering cylindrical coffee pot, the plain body engraved with contemporary armorials and a crest, by Peter, Ann and William Bateman, London, 1802, 35 ox 2 dwt 1,200 0
George IV coffee pot, vase-shaped, with moulded bands at the neck and waist, leaf-capped scroll handle and foliate finial on lid, by Pearce & Burrowes, London, 1826, 22 oz 5 dwt 210 0
Victorian vase-shaped coffee pot engraved with key pattern
decoration, London, 1872, 24 oz 135 0
Cruets
George II five-bottle cruet frame on four shell feet with detachable baluster handle. Five cut-glass silver-mounted bottles. By Jabez Daniel, 1750, 28 oz 7 dwt 105 0
George III cruet frame for six bottles with reeded loop end handles, ring holders, on four feet. Five glass bottles all chipped, one broken. By Henry Chawner, London, 1792 16 0
Cups and Goblets
Elizabeth I secular wine goblet, the bowl decorated with tulips and strapwork motifs, on a slender baluster stem and circular fluted foot, London, 1593, 5 oz 10 dwt 2,000 0
Pair of George III goblets of plain design, probably by William
Sumner, London, 1800, 20 oz 520 0
Pair of George III two-handled pedestal challenge cups and covers with reeded decoration and urn knops, by Samuel Hcnnell, London, 1806, 32 oz 5 dwt 400 0
George III tumbler cup engraved with armorials, gilt interior and the base with contemporary initials. Possibly by John Garter, London, 1766, 2 oz 1 dwt 150 0
Victorian wine cup, the beaker-shaped bowl and pedestal base cast and chased in low relief with grape-laden vine tendrils, by Hunt and Roskell, London, 1875, 10 oz 1 dwt 52 0
Cutlery—Canteens
George III fiddle thread pattern table silver: 24 tablespoons, 36 table forks, 12 dessert spoons, 12 dessert forks, 12 teaspoons, 6 sauce ladles, 2 soup ladles, 1 marrow scoop, majority by Richard Crossley, 1798/1800/1804, 146 oz 9 dwt 750 0
Victorian fiddle pattern table silver: 12 tablespoons, 12 table forks, 12 dessert spoons, 12 dessert forks, 6 teaspoons, 2 salt spoons, by George Angell, London, 1863, 116 oz 14 dwt 260 0
Cutlery—Forks Dessert
Twelve George I  three-pronged  forks with crest, different
makers, 1718, 14 oz 1 dwt 1,500 0
Twelve George IV fiddle pattern forks by James Scott, Dublin,
1822, 15 oz 75 0
Six George III fiddle pattern forks by G.D., London, 1794,
8 oz 14 dwt 65 0
SOME AUCTION ROOM PRICES ! 1968-69
Cutlery—Forks Table
Twelve Queen Anne three-pronged forks engraved with a crest,
by David King, Dublin, 1708/10, 28 oz Four George II three-pronged forks engraved with two crests,
1755, 7 oz 18 dwt Eleven Victorian fiddle shell pattern forks by George Angell,
1857/61, 36 oz 16 dwt
Cutlery—Forks Toasting
George III fork with knopped shaft and scrolled handle, probably by R. Preston, London, circa 1767, 7 oz 10 dwt. 17f in long
George III fork with knopped shaft and scrolled handle by John Deacon, London, circa 1775, 8 oz. 19i in long
Cutlery—Knives
Forty-eight Victorian table knives and twenty-four dessert knives, kings pattern, steel blades by J.A. or T.S., 1884
Twelve eighteenth-century dessert knives, the multi-faceted bloodstone handles with knopped urn finials and mounts engraved, the scimitar blades of steel. Circa 1700, (Some handles cracked)
Cutlery—Ladles
Four George III sauce ladles, crested Old English pattern by
Hester Bateman, 1783, 5 oz 19 dwt Pair of George III sauce ladles with ribbed and punched beaded
bowls, by Michael Keating, Dublin, circa 1780, 2 oz 16 dwt
Cutlery—Spoons Dessert
Nine engraved spoons, seven by William Soame, 1741, two 1748, 12 oz
Ten Hanoverian spoons engraved with crest, 1760, 11 oz 5 dwt Cutlery—Spoons Serving
Pair of George III Old English pattern spoons by Steven Adams,
London, 1772, 5 oz 15 dwt Pair of Victorian spoons by George Angell, 1854, 10 oz 14 dwt
Cutlery—Spoons Table
Six George I Hanoverian pattern spoons with rat-tail bowls
by Charles Jackson, 1723, 11 oz 2 dwt Six George III Old English pattern spoons with contemporary
initials J.G. by Hester Bateman, 1780, 11 oz 17 dwt
Cutlery—Spoons Tea and Coffee
Six William IV ‘bright-cut’ spoons, 1836, 3 oz 7 dwt Eight George IV fiddle shell pattern spoons by J. McKay, Edinburgh, 1827, 4 oz 8 dwt

Globes
Pair of early nineteenth-century mahogany library globes by Newton, published in 1838 and 1836. The tripod frames with out-scrolled legs ending in brass castors, 3 ft 8 in high        780 0
Large pair of terrestrial and celestial globes by Newton; published 25 March 1875. Supported in mahogany frames on triple curving legs 205 0
Pair of terrestrial and celestial globes in turned stands by James
Wyld, Charing Cross East; published 1847 185 0
Knife Boxes
A pair of mahogany urn-shaped knife boxes, stamped W. Johnston, with domed lids and bodies inlaid with flowers and stripes, 2 ft 5 in high 115 0
Sheraton  inlaid  mahogany serpentine-fronted knife box in
original condition 32 0
Mirrors—Mantel
Empire-style giltwood overmantel with triple mirrored panels
and decorated with classical figures 105 0
Rectangular mantel mirror in a giltwood frame carved with
acanthus and shell motifs, 31 in by 25 in 60 0
Mirrors—Toilet or Dressing
Sheraton serpentine-fronted box-frame toilet mirror fitted with
two drawers, 17 in wide 36 0
Sheraton box-frame shield-shape toilet mirror with two drawers,
18 in wide 30 0
Mahogany box-frame toilet mirror with three drawers, 15 in
wide 15 0
Edwardian   mahogany   box-frame   toilet  mirror   with three
drawers to base, 22 in wide 9 0
Mirrors—Wall
Pair of Chinese-Chippendale giltwood girandoles of rococo outline mounted with phoenix-birds and clusters of flowers from which issue two scrolled candle branches. The base enriched with acorns and oak leaves, 38

in high 650 0
Mid-Georgian wall glass in a giltwood frame carved with scrolls
and foliage and pierced, 44 in high 200 0
Chippendale mahogany mirror with gilt gesso beading
George IV convex mirror in a gilt frame enriched with spherical ornament with two scrolled candle sconces. Crested with a gilt eagle with outspread wings 76 0
Regency giltwood convex mirror with ball encrusted moulded
frame and ebonised slip, 1 ft 11 in diameter 15 0
Settees, Couches and Chaise Longues
Small carved mahogany sofa, the arched back carved with
rococo motifs. Curved arms, carved seat rail and cabriole legs        135 0
some auction room prices ‘. 1968-69
Decorated satinwood cane-panelled settee with loose seat
cushion, 4 ft 4 in George III painted settee with flat rectangular back and arms,
on turned legs. The arms, seat rails and legs are painted
with husks and flowers on a cream ground, 6 ft wide Early George III mahogany settee with stuffed back and arms.
The seat rail and legs are carved with blind fret, 5 ft 8 in
wide, (some restoration) Victorian rosewood frame serpentine-fronted chaise longue on
short cabriole legs
Settles
Eighteenth-century oak settle, 5 ft 5 in wide Seventeenth-century panelled oak settle with box seat, 4 ft 6 in wide
Seventeenth-century carved and panelled tall-back hall settle, 5 ft 7 in wide
Sideboards
Small nineteenth-century sideboard inlaid with ebony lines. Raised back, the centre drawer flanked by a cupboard and deep drawer. Supported on six turned and tapering legs, 4 ft 8 in wide
Hepplewhite-style mahogany serpentine sideboard of rich mellow colour, cross-banded in kingwood and fitted with a napery drawer and cellaret cupboards with octagonal gilt metal handles and supported on chamfered

legs, 7 ft 2 in wide
Georgian mahogany half-moon sideboard with two cupboards to the sides and two drawers with lion ring handles in the centre. Four tapering legs, 4 ft wide
Large mahogany Sheraton-style sideboard fitted with two long drawers and flanked by two deep drawers, supported on tapering legs
Regency Empire mahogany sideboard of architectural form, with a reverse breakfront with two shallow drawers to the centre flanked by deep cupboards. Supported by two curved and four simulated bamboo legs

terminating in brass paw feet. The whole mounted with ormolu and brass griffins, lions’ masks and sphinx and with Adams-style garlands and patera, 7 ft 6 in long
Late Georgian mahogany sideboard with shaped front, the top back rail fitted with three tambour slides. Two cupboards and a centre drawer to the base over a waved apron. Supported on six slender tapering legs, 5 ft

7 in wide
Early nineteenth-century mahogany bow-front sideboard on spiral-turned legs, 6 ft 1 in wide
Tables—Break fast
Regency mahogany breakfast table with brass stringing on the banded top and a turned pillar ending in a reeded quadruped, 5 ft by 3 ft 5 in
Georgian mahogany oval breakfast table with reeded edge and
Tables—Card
Chippendale mahogany card table with shaped folding top on boldly carved cabriole legs ending in claw and ball feet, 2 ft 7 in wide 370 0
Late George II mahogany card table with border of carved flowerheads and legs and frieze carved with blind fret, 3 ft wide 250 0
Regency card table in figured rosewood inlaid with brass flowers and leaves, the D-top on a ringed stem and quadruple brass capped legs, 3 ft wide 190 0
Sheraton mahogany card table inlaid with satinwood lines and
on tapering legs, 3 ft 2 in wide 180 0
George II walnut card table with rectangular top on turned legs
with mantled knees and club feet, 3 ft wide 95 0
Regency mahogany card table with green baize interior on curving quadruple support, ending in brass claw feet. The top is cross-banded 65 0
Victorian mahogany card table with double Sap top supported
on four tapering shafts, terminating in curved legs 44 0
Tables—Centre
Regency painted centre tabic, the circular top simulating green marble, the border with brass mouldings hinged to a carved turned central support on a curved triangular base with lion’s paw feet, 4 ft diameter 120 0
Edwards and Roberts eboniscd centre table with ormolu beading on cluster column and quadruple base, 5 ft 6 in wide 38 0
Red Buhl shaped centre table with heavy ormolu mounts, two
drawers and on cabriole legs. (Poor condition) 11 0
Tables—Dining
Charles I oak dining table with a triple-plank top and the frieze carved with leaves and interlaced arcading, on column legs, 6 ft 5 in long by 2 ft 7 in wide 360 0
Large late George III mahogany dining table, the top richly carved with acanthus, ribbon motifs, satyr masks and a coat of arms. Supported on ten tapering spiral-twist legs with five loose leaves, 12 ft 4 in long 185 0
Georgian mahogany two pillar dining table with triple curving
legs ending in brass-capped feet 122 0
Georgian mahogany oval drop-leaf dining table on turned legs
and pad feet 75 0
Eighteenth-century mahogany oval drop-leaf cottage dining table
on taper legs with pad feet, 3 ft 6 in wide 44 0
Mahogany gadrooned oval dining table with cabriole legs and
claw and ball feet 40 0
Georgian mahogany drum library table with leather top and four real and four dummy drawers. On triple curving legs with brass-capped feet, 3 ft 3 in diameter 680 0
some auction room prices : 1968-69
George III mahogany library table fitted with seven drawers and dummy drawers with gilt metal lion ring handles, the top with gilt tooled green leather and the whole raised on a curved quadruple support with

brass-capped feet
Tables—Games and Sewing
Eighteenth-century mahogany, shaped folding top, games table on nutcracker frame with cabriole legs and claw and ball feet, 34 in wide
William IV games table with sliding and reversible top inlaid as a chess board opening to reveal a backgammon board with two drawers to the side. Central pillar supported on quadruple curving feet
Nineteenth-century mahogany sewing table with rising top and drawers below. The slender tapering legs ending in brass-capped feet
Tables—Gate-leg
George I elmwood gate-leg table, the oval top with flaps on
cabriole legs carved with scrolls and leaves and ending in
pointed pad feet, 3 ft 9 in wide Seventeenth-century oak oval gate-leg dining table with double
flaps supported on bobbin turned legs with plain cross
stretchers, 4 ft 9 in wide Late George II mahogany gate-leg table, the oval top with two
flaps, on unusual legs fluted and ending in paw feet, 3 ft 9 in
wide
Oak oval gate-leg table on turned underframe with drawer, 4 ft wide
Tables—Occasional
Late George II mahogany piecrust table with bird-cage support on fluted stem with carved legs and claw and ball feet, 2 ft 2 in diameter
Large mahogany piecrust tripod table with baluster stem and
pointed pad feet, 3 ft 5 in diameter Mahogany tripod table, the circular top with raised rim, on
cabriole feet, 1 ft 10 in diameter
Tables—Pembroke
Late Georgian mahogany oval Pembroke table with drawer, on
square tapering legs, 2 ft 7 in wide by 3 ft 6 in long Late Georgian mahogany Pembroke table painted with a floral
border and on turned and fluted legs Georgian mahogany Pembroke table with folding flaps and
single drawer, inlaid with satinwood lines and fan motifs, on
tapering legs, 3 ft 2 in wide
Tables—Refectory
Seventeenth-century oak refectory table of slender plain form, the base having square ends united by a single stretcher, 7 ft 3 in long
Oak refectory table on bulbous end supports with central
stretcher, 7 ft 7 in by 3 ft wide 130 0
An exceptionally long oak refectory table with triple curving
supports, 18 ft 6 in long, 3 ft 3 in wide 90 0
Tables—Side
Queen Anne banded walnut side table with two deep and two
shallow drawers on square legs, 3 ft 3 in wide 170 0
Chinese-Chippendale mahogany side table, the frieze carved with
blind fret. Moulded legs, 3 ft wide 88 0
Oak side table with drawer, on turned legs, 3 ft wide 64 0
Walnutwood side table with cabriole legs carved with acanthus
leaves 31 0
Tables—Sofa
George III satinwood sofa table cross-banded with acacia, fitted with two drawers and false drawers opposite on trestle supports with splayed curved feet and brass castors, 2 ft 10 in wide        750 0
Regency banded mahogany sofa table with tulipwood stringing with two drawers on end supports and central stretcher with brass claw feet, 5 ft 10 in extended 380 0
Late George III mahogany sofa table with two drawers in frieze and raised on flat trestle supports with out-curved legs, 3 ft 2 in wide 270 0
George III mahogany sofa table banded in rosewood and with two drawers. It has trestle supports with tripod splayed legs and brass feet, 3 ft wide 250 0
Tables—Sutherland
Mahogany Sutherland table on turned underframe, 2 ft 9 in
wide 42 0
Victorian walnut-veneered Sutherland table on turned supports,
2 ft 6 in wide 36 0
Tables—Tea
Regency mahogany tea table with folding top on a turned pillar and four curved legs, the whole inlaid with brass stringing, 3 ft wide 120 0
Late George II mahogany tea table, the top with a border of flowerheads and ribbon and the frieze and chamfered legs carved with Chinese blind fret, 3 ft wide 60 0
George III mahogany tea table with folding top, a drawer in
the frieze and square tapering legs, 3 ft 8 in wide 38 0
Tables—Wine
Hepplewhite mahogany wine table, the inlaid octagonal top
supported on triple concave curving legs 105 0
Victorian mahogany wine table on pillar and tripod base, 21 in
diameter 10 0
Tables—Writing
George III mahogany pedestal writing table, the gilt tooled leather top with three drawers at each side of the frieze and
the pedestals with cupboards and drawers at either end, 4 ft wide
Early eighteenth-century banded fruitwood writing table, fitted
with three drawers, a shaped apron and on cabriole legs with
pad feet, 2 ft 4 in wide Victorian lady’s mahogany writing table with two short drawers
on lyre end supports, 3 ft wide Carved mahogany writing table with fitted drawer, the top lined
with leather, on cabriole legs, 2 ft 5 in wide
Tallboys and Lowboys
George II walnut tallboy, the top with reeded and canted corners and three small and three long drawers. The base having three long drawers and bracket feet
Queen Anne small walnut tallboy of mellow colour, the upper chest fitted with two small and three long drawers over a brushing slide, and three long graduated drawers
William and Mary lowboy inlaid with scrolls and motifs. The top fitted with two small and two long drawers and two long drawers to the base, 4 ft 3 in high
Georgian mahogany tallboy with dentil cornice and two small and three long drawers to the top and tliree long drawers to the base which is supported on bracket feet
Georgian mahogany tallboy with dentil cornice, the top fitted with two small and three long drawers, the base with three long drawers and supported on bracket feet, 6 ft 1 in high
Waiters
Mid-Georgian mahogany dumb waiter with turned and carved columns supporting three trays. The whole on cabriole tripod feet, 4 ft high
George III mahogany dumb waiter with two revolving tiers and baluster centre on three curved and moulded legs and castor feet applied with roundels, 3 ft 2 in high
George II mahogany dumb waiter with three graduated revolving tiers and spiral fluting on turned central support. Plain cabriole legs, 3 ft 6 in high
Wardrobes
Mahogany breakfront wardrobe fitted with sliding trays, four
drawers and panelled cupboards Small Georgian mahogany wardrobe enclosed by two panelled
doors with three drawers in the base, 3 ft 9 in wide George III mahogany gents wardrobe with pierced swan-neck
cresting, a pair of doors banded in satinwood and two short
and two long drawers below, 7 ft high by 4 ft 4 in wide Regency mahogany wardrobe the upper part with sliding trays
with four drawers under on splay feet, 3 ft 11 in wide
Washstands
Late George III mahogany washstand, the top hinged and opening to form a back, the front with a pair of cupboard doors above one small drawer, on square splayed legs, 2 ft wide
Edwardian three-tier corner washstand with basin 18 0 George III mahogany corner washstand, the slender legs joined
by a stretcher with a drawer, 2 ft wide                                      14 0
Wine Coolers
Georgian inlaid mahogany sarcophagus wine cooler with lion
mask and ring handle on paw feet 65 0
Georgian mahogany octagonal wine cooler with lifting top and
short square moulded legs, 18 in wide 55 0

Earlobes, necks, wrists and fingers are among the chief parts of the human anatomy which lend themselves to applied decoration. As with so many innovations in the field of jewellery, the practice of piercing the fleshy protuberances of the ears for the attachment of ornaments symbolic of race, tribe and status seems to have originated in Western Asia. A sculptured slab from the palace of Ashurnasirpal II (8 83-8 59 BC) in the British Museum depicts the king in profile wearing a long earring with an acorn-shaped terminal. At various stages of history men, women and children have been subjected to the ordeal of ear-piercing, though the male fashion for earrings has been mysteriously intermittent and sometimes a national rather than a cultural phenomenon.
English courtiers adorned themselves with single pearl drop earrings in the late 16th and early 17th centuries but some hundred and fifty years later, when similar ornaments were worn by French officers, the vogue aroused astonishment and hilarity in England. Thomas Rowlandson capitalized on the reaction in 1786 with a cartoon showing French officers in various stages of donning their uniforms-, they all sport earrings. Eleven years later the diarist Mrs Lybbe-Powys was struck by the sight of a French emigre officer in Bath ‘with large gold earrings’. But for all the British distaste, the custom had become general in France and Italy, from the highest to the lowest. Napoleon himself did not wear them, but his brother-in-law Joachim Murat, whom he made King of Naples in 1808, undoubtedly did. In the mid-197os, when the fashion recurred, young Englishmen were among the most enthusiastic proponents of the emblematic use of a single earring.
There is no evidence of the methods employed to pierce ears in prehistoric times but references in more recent centuries establish that the well-to-do employed the services of professional jewellers when the girls in the family were considered old enough to wear earrings. The experience for the victims was usually made palatable by the prospect of possessing a pair of ornaments of their very own. But even that prize was sometimes insufficient. The august presence of a royal jeweller, Dutens, summoned by Mrs Delany to attend her niece Mary Dewes in 1756, failed to persuade the young girl to submit to the operation. She held out for two months before succumbing. Girls of less affluent families were subjected to amateur attention with the aid of a needle, which pierced the ear while the lobe was supported by a piece of wood or other solid material. A cork was popular in the 19th century and later.
Children were dressed as miniature adults until the late 19th century and the ornaments worn by girls reflected contemporary fashions. There are comparatively few breaks in the history of female earrings charted by the authors, the longest being the Middle Ages, when the fashion for swathed heads concealed not only the hair but the ears as well. In the late 16th century women showed a renewed interest in ear ornaments, especially in the pearl drops which predominated for the next century and a half and survived thereafter. They were far more comfortable to wear than the girandole earrings which rivalled the drop type from the late 17th century. Usually comprising a top, an intermediate device such as a bow and three (or more) drops, these articles were so heavy that a secondary loop was often attached to the hook which passed through the ear and a ribbon threaded to the hook to be secured to the hair, taking some of the weight off the ears. This device helped, but many women reduced the period of discomfort by carrying their earrings in their pockets to parties and balls and assuming the ornaments on arrival, padding the backs of the lobes with small pieces of silk.
Fashionable women inevitably suffered permanent distension of the earlobes, which were dragged down by the weight of the girandoles. This fate did not prevent their descendants from participating in another fashion for huge earrings in the late 182os and 183os and suffering the same consequences. One of the most enthusiastic young adherents of the vogue was the future Queen Victoria, who often wore her grandmother Queen Charlotte’s girandole earrings of 1761. Photographs of Queen Victoria in old age, when she sometimes took to simple single-stone or pearl earrings, show them lodged on elongated earlobes. Fortunately the huge variety of new types and fittings means that no one now has to wear one kind of earring for a prolonged period.
The earliest archaeological evidence for earrings dates from the 3rd millennium Bc, but it seems likely that men
and women will have adorned their ears with, for example, shells and polished peb-
bles for centuries before that.
The idea of piercing the earlobe to insert a metallic ornament originated in the Orient. From the start earrings can be divided into two types: the simple rigid hoop in its numerous variations, and the more elaborate articulated pendant. In Antiquity, they were amongst the most popular means of personal ornament.
Around 2500 BC Sumerian women were adorning their ears with gold earrings in the form of single or double crescents, as revealed by findings in the royal graves of Ur in what is now Iraq. The crescent form, comprising two thin sheets of gold soldered together with a hollowed centre, was a simple yet successful design which was to spread towards the West and remains to this day a favourite shape of earring. More elaborate Babylonian examples of the early 2nd millennium Bc, also from Ur, show how the simple crescent motif could be embellished with embossed decoration, the details picked out with filigree and granulation.
Minoan and Mycenean
Early examples of earrings with a tapered hoop design, in a way a thinner version of the crescent- or boat-shaped earring, have been found in graves in Anatolia and Greece. Hooped earrings of gold, silver and bronze, tapered at the ends, have also been excavated in Crete and date from the Middle Minoan period (2000— 1600 BC).
It is not until the second half of the 2nd millennium BC that we find variations and elaborations of the crescent or hoop type; during the Late Minoan and Early Mycenean period (i 600— i 100 Bc) earrings in the form of scalloped or tapered hoops were common in Mycaene, while in Crete during the same period the most widespread form of earring consisted of a tapered hoop decorated with a conical pendant representing a clear progression from the earlier simple hoop.
The tapered hoop supporting a conical pendant was also popular in Cyprus, where several examples come from 13th and 12th century BC graves in Enkomi. Judging from the number of extant examples, this type had a long life; a less elaborate version consisting of a tapered hoop supporting a smaller bead cluster is well testified both in Crete and in Cyprus; it may have been cast in one piece, as a steatite mould of this shape has been found in Crete. This type continued in Cyprus throughout the Dark Ages, reappearing amongst Greek designs of the 7th century BC.
By the end of the 2nd millennium BC, the hoop earring, tapering to a different degree at each end, was widely dispersed in the Aegean world, Western Asia, Cyprus and Syria, as revealed by many excavations.
In Cyprus, from the middle of the 2nd millennium BC, and particularly during the third quarter, earrings were very popular and may have had some supernatural significance, since contemporary painted terracotta idols in the form of stylized nude females, probably fertility symbols, have their earlobes pierced two or three times and large terracotta hoops suspended from them.
The simple, tapered hoop was worn there from about 1400 BC, where it arrived possibly from Crete but more likely from Syria; it continued in Cyprus for a long time, surviving throughout the Dark Ages, and was reintroduced from there into Greece around the 7th century BC.
A variation of this type, of either Cypriot or Syrian invention, consists of a hoop of twisted or plaited gold wire. Also to be found is the ‘leech’ earring, a sort of elongated tapered hoop, the lower part expanded into a fat crescent motif. Hoops supporting clusters of beads or elongated conical pendants decorated with granulation were, as we have already seen, as popular in Crete as they were in Cyprus. A typical Cypriot earring of the 13th century BC was a hoop supporting a bull’s head pendant stamped out of thin sheet gold. Although the shape of the pendant is a common Mycenean motif, no contemporary examples have been found on the Greek mainland.
When, in about 1 100 BC, the Mycenean world succumbed to the Achaean invasion, which was followed by the three centuries of poverty and near-barbarism known as the Dark Ages, the arts declined and jewellery in precious metal became rare. It is likely that the main sources of gold at the time were the tombs of earlier periods. Among the limited number of gold ornaments such as finger-rings, bracelets, pins and fibulae, there survived a small number of spirals, the purpose of which is still not certain, but which may have been earrings or hair-ornaments.
The brilliant civilization of Cyprus was destroyed at the same time, but traditions lived on and the Achaeans left intact the long-established Mycenean techniques. Goldsmiths worked throughout the Dark Ages preserving and perpetuating forms and designs that were to be reintroduced into Greece around the 7th century BC.

FILLERS AND CEMENTS
Fillers and cements arc used for the repair of china, glass, wood and occasionally metal. Adhesives are also used as fillers and cements, with the addition of a little colouring matter or powder to give them colour, body or both.
Plastic Padding. Described in the section on adhesives, this makes a useful filler for metalwork because of its colour, and it needs no further additives for this work. It is not usually used for china restoration work.
Wood fillers. There are several makes of plastic wood which are used as fillers for small holes in woodwork.
Wood filling compounds of various kinds and in various colours can be bought, in proprietary brands, and these are tenacious and excellent. When dry, fillers can be sanded to a smooth finish. Epoxy resin fillers such as Araldite, suitably coloured with dry powder pigments or oil paints, can be used as fillers for rebuilding small missing sections of woodwork. The slow drying of sonic types
makes them rather difficult to use, and care must be taken that, in larger repairs, shrinkage does not leave hair cracks between the new pieces and the old.
Various compounds are used for filling, and making casts and pressed moulds, and for modelling new pieces where it is not possible to make moulds.
Bondapaste. This is an excellent adhesive filler which can be built up on itself in layers, and when hard can be worked with files and gravers. It is a good filler and cement for china restoration needing no additive. It dries quickly so any moulding or modelling must be done fast.
Isopon. This is a paste filler which is mixed with a hardener. It dries quickly and doesn’t shrink under heat, and it needs no parting agent to separate it from the mould. It can be fined and abraded with glass paper and other abrasives. It sticks to itself so it can be used in layers, but it does not stick to china, so after hardening and removal of the mould, it must be stuck to the china with Araldite, exactly as if it were an ordinary broken piece. It can only be worked for about ten minutes before it becomes too tacky, but this is an advantage when you are fairly practised and it can be used for quite large pieces without internal support as it sets fast, so will not sag so readily as a slower setting filler. The fact that it will not adhere to plasticine also allows props and pads of plasticine to be used to support it while it is drying.
Plaster of Paris. Widely used for the making of moulds, it is quick drying and easy to handle, but it is not suitable by itself as a filler, being too soft and porous.
Seccotine with dental plaster. A hard setting adhesive mixture which is very useful for small repairs to gesso where the object is never going to come into contact with water.
Cascantite with dental plaster. Another good mixture, which can be cut and shaped with woodworking tools, provided it has not dried out completely (see Adhesives for details of Cascamite). It has the disadvantage that it must be stuck into place as it is not self-adhesive. It is most useful for filling Alabaster which it matches perfectly.
Araldite. The two tube epoxy resin adhesive described in the section on Adhesives is the most versatile filler, having but two disadvantages. It is rather sticky to use, and it dries very slowly so cannot be used for large unsupported pieces. However, it sticks so well to the object being mended, and, when set, it approaches so closely the appearance of biscuit china, that many restorers prefer it to the quicker setting compounds. It can be mixed with whitening, or kaolin or titanium dioxide to make a filler for china. Mixed with these same materials, it is also an excellent cement for use when dowelling.
Sawdust, stone powder, metallic powder, colouring pigments, either dry powder or oil paint, will all mix with Araldite to simulate almost anything you like to name.
will
It blend and adhere to the whole piece and strengthen it enormously. In the old days, plaster of Paris was used for this kind of building and restoration, but it was not strong or waterproof, whereas epoxy resins are both. Ali example mentioned in the section oil Aniis and Armour is the building up of an old worm-eaten gunstock with epoxy resins coloured to match. It can be injected by hypodermic syringe into wooden holes or cracks where it will strengthen and preserve. Unfortunately it will not take a very high Polish which may limit its use.
Fillers for Glasswork. Modern acrylic resins, which are usually powders with which a liquid is mixed, are ideal for glass restoration and repair, as if mixed with care so that there are no air bubbles present, they set to a trans- parent, very slightly yellow material which is as near to glass as you can get. Acrylic resins call be coloured with dry powder pigments to simulate coloured glass or china, and sonic can be bought already coloured.
Tensol Cement No. 7 and Aertilite Cold Curing Resin are two excellent products in this range. his is another versatile acrylic resin mentioned several times in this book. It can be used, mixed fairly thinly, to coat things made from cane or wickerwork to strengthen or preserve them, and to mend glass or certain types of china. With care it can be mixed with dry powder pigments to simulate jasper (`Wedgwood’) ware. Acrylics are not particularly difficult to handle, and in fact they are great fun to experiment with. They make excellent solid `glass cases’ for small objects which you wish to preserve. The technique for doing this is not within the scope of this book, but it is easy enough to work out for yourself, bearing in mind normal casting techniques!
Use acrylics according to makers’ instructions in so far as mixing etc. is concerned.
Gilder’s Coinpo. Invented by the Adam brothers, it has ever since been used for all kinds of moulding work instead of woodcarving, and is still a most excellent material for repairing moulded picture frames or some types of nioulding on furniture and fittings.
Recipe I.
i lb. Scotch glue 2 lbs. resin
i gill real turpentine T pint linseed oil whiting
Dissolve die glue in a gallon of water. Boil the resin, the turpentine and the oil together, and then add to the glue and water. Boil the whole lot together until the liquid has reduced a little, so that the mixture is not too runny. Add this to the whiting powder in a bucket, stirring constantly until the whole has the consistency of dough.Boil all the ingredients together for half an hour, and then add to a bucket containing whiting, rather as one adds milk and eggs to a bowl of flour when making batter. Mix until the compo has the consistency of dough.
FLY MARKS
Fly marks call be scratched offmany objects with a sharp knife or even with the point of a needle. Chalk mixed with a little ammonia will remove fly blows from a hard surface such as stone. Fly blows on glass or any surface which will
can
not be damaged by it ca be removed by washing with a five per cent solution of caustic soda, followed by rinsing. Solvents such as petrol or benzine will remove fly marks, but will also remove varnish, so be careful.
Fly marks on prints call sometimes be removed by alternate baths of ]lot and cold water in that order, and then drying out between pieces of blotting paper.
FRAMES
Painting and Texturing. Picture frames come in all shapes and sizes, complicated and simple, and there are just as many techniques for restoring and renovating them. They can be cleaned and painted with varnish or matching paint, gilded, given two-tone or antique finishes, textured or spattered. It depends a great deal on the type of frame which of these methods is used, and also oil the picture, which could well be killed by all over-weight frame or one coloured incorrectly. The frame should never be lighter in colour than the lightest part of the painting. Don’t put a white frame round a picture which does not contain white. If the frame is too glossy, the highlights distract the eye from the picture itself. Frames can also be made into trays, by adding a suitable centre, or into mirrors. Frames for watercolours, pastels, or photographs, which have glasses, should be as simple as possible so as not to overpower the picture.
First clean the frame thoroughly. Oil a simple wooden one, detergent, water and sandpaper all carefully used should remove old grease and grime. While the frame is drying, the type of repainting or decoration ion can be decided upon. If it is a plain frame in good condition, a light rub down with a fine grade of sandpaper will probably be all that is needed before a new coat of varnish is applied. Of course the varnish call be taken off, and the frame left in its natural wood state and just lightly rubbed with wax Polish, but if the old surface is stained or badly scratched, the new coat must be opaque, and some kind of paint is the answer. Ordinary household paint or plastic emulsion in a suitable colour looks quite well, but with a little more trouble, really exciting finishes call be obtained, and in most cases a broken finish definitely  looks best.
Polymer colour water based paints made either by Rowney under the trade name of Cryla, or by Reeves under the name of Polymer colours, are particularly useful, as they can be applied very thinly producing a pickled effect over stained wood, or else thick as squeezed from the tube, and then figured, or used for two-tone work. Polymer paints contain water and should be water thinned to the required consistency, not with turps or white spirit. They dry very rapidly, but if you want to slow down the process, use the special retarder. The colours, which conic ili the full range of artist’s oil paint colours, mix very well, and when dry will have a slight sheen, which is excellent for frames. A gloss medium is obtainable, or, although it is not really necessary as the paint is quite waterproof when dry, it can be overpainted with a polymer varnish to keep the frame in first class condition for years. Any tools or brushes used to apply the polymer paints should be washed thoroughly in water before they dry out, but if this is forgotten, a soaking overnight iii methylated spirit will the trick. Acetone will also dissolve these colours.
Texturing with polymer colours is not too difficult. The paint should have the consistency of thick cream. It should be painted on to the frame fairly thickly and, while it is still sticky, textured with a comb, toothbrush, an old wire brush, or anything else you caii think of that would scrape interesting patterns in the paint. A little practice on an odd scrap of wood painted with polymer, will give you some idea of texturing. Another method is to put oil different coloured layers of polymer, letting each one dry before adding rile next, and cut through these with varying pressures to get the colours showing through at different levels. Diagonal, cross, mitre or lengthwise strokes can be used, and if you get really ambitious, all sorts of curved lines and squiggles. Another way of texturing is to paint the frame with polymer, and then while it is still sticky, sprinkle on a little sand, or rice, or any other small hard grained substance, shake off the surplus, and when dry overpaint with another thinner layer of polymer, and then finish with polymer varnish. A small sponge gently pressed into sticky paint will also give an interesting finish, especially if the two-tone effect is desired, using a double layer of paint. Spattering gives a nice spotty effect and should be applied over the plain basic colour oil the frame by gently tapping a water paint brush loaded with the colour you want to apply. To make large spots hold the brush near the surface, and with a little experimentation the size of the spots can easily be adjusted.
One very useful process for finishing off plain frames or parts of ornamental ones is to rub on colour. This gives a nice soft finish and it is particularly good for insets, which can look far too hard and glaring against a light toned picture. Any oil based paint call be used and a handkerchief should be lightly smeared with this, and then the surplus paint rubbed off on an old piece of newspaper. The lightly charged cloth is rubbed gently 01, the frame, and the pressure increased until the right effect is obtained. The cloth should be recharged as necessary, but never too much as the more sparingly paint is applied tile softer tile finish will look, and it is not necessary to work it in too evenly. Burnt sienna is a particularly good colour for insets. If you want a simple gilded effect a paste made by Reeves called Restoration or an American product called Treasure Wax Gilt do an excellent job. They come in many roues of gold, bronze or silver, and are very easily applied with a cloth or finger oil to tile cleaned surface. If a bright finish is required, it should be put on fairly thickly and allowed to dry completely before being rubbed down with a soft cloth. This method is by far the best way to touch up any old gilding as the application of gold leaf is really an expert’s job (see Gilding).
heavy piece of chain, are common enough practices with disreputable dealers, but any old frame bought in a junk shop will probably have enough natural blemishes to make this unnecessary, and it all sounds rather too violent. Applications of different paints can make almost any frame look a lot older mid more interesting than it really is. Coats of paint are rubbed oil in, irregular patches and then smoothed down lightly with fine sandpaper. Deep depressions can be left dark, and bright colours should be put on sparingly. Yellow ochre, chrome yellow, raw uniber, venetian red and bumf sienlia, are all suitable colours, and when they have dried out and been sanded down, a thin coat of burnt sienna diluted with turpentine is overpainted, and later spots of gold or silver Restoration or Treasure Gilt call be rubbed oil in small areas, or tile whole frame spattered. The effect of old gold leaf call be obtained by painting the frame with a thick layer of venetian red, and then repainting with a good quality bronze paint such as Treasure Gold Liquid Leaf When it is dry, it should be rubbed with steel wool until the red shows through in places. Restoration wax call be used instead of the bronze paint, just put on rather unevenly, but it must be remembered that genuine gold leaf gets rubbed off in natural wear and tear on the raised surfaces, while tile depressions will keep the gold, and it is not so easy to get a natural finish without any rubbing off.
Mending. Old picture frames get pretty knocked about in junk shops, especially when tile pictures have been removed and tile glass broken. Usually it is the corners which go, the whole frame wringing in all directions. Corners can be strengthened quite easily (see Fig. 17)_ If the glue and the tacks which secure the frame have gone, take the frame to pieces, and remove the remains of the tacks and clean off  Sand the faces of the comers down to the natural wood, so that you have a clean surface to work on, and then put an impact adhesive, on both faces of the comers and leave it for the time specified by its makers before bringing the two faces together. In order to get good right-angled corners, use a comer cramp. These c.-ui be bought at hardware stores and arc so useful that I really do suggest that you get one and do not try to square the comer any other way, although it can be done. One method is to work with the frame on its face. Put the two faces together and square the comer using a try square to measure it and then tack a thin piece of wood diagonally across, so that the frame is held rigid until the join has set. This will hold the corners accurately, but will not put any tension on the join. To hold the comer, in addition to the adhesive, drive tacks in diagonally across the join, making sure that you don’t use tacks so long that they come right and also try to get them into the through the other side, and
thickest section of the frame. Small holes can be drilled across the corner, and a woodc’, peg inserted. If you mean to do this, it is best to drill the hole with the frame held tight in the corner cramp, before putting on the glue.
If it is not possible to mend the frame iri this way, or if you do not want to dismantle it entirely, the corners can be dowelled, or a plate can be screwed on to the corners, at the back. Depending on how big and heavy the frame is, put in a strip or triangular corner plate (see Fig. 17). If a strip is used, sink it into the frame by cutting right across the corner to the depth of the strip with a tenon saw, and then chipping out the piece with a chisel. Wooden strips and plates are better than metal ones, and plywood is fine for the job.
If you wish to make a frame smaller, this can be done without separating all the covers. Measure opposite sides to the correct lengths, at opposite ends, then cut through the two corners using a mitre box, and rejoin (see Fig. 18). When measuring frames, always remember that the edge of the frame overlaps the glass and the picture, and that you must allow for this when measuring. It is easier to measure your picture and/or glass, and then measure the frame at the inside edge of the rebate which takes the picture.
Mending Mouldhnq. If the plaster moulding of a picture franc is really badly damaged, you can always strip it all off and just use the basic wooden frame. A power drill with a rough sanding disc will take off a lot of the old plaster quickly, but some of the awkward angles will have to be done with a hand scraper.
Clean all mouldings with a hog’s hair paint brush, a sponge mid methylated spirit. Never make a frame too wet or the plaster may dissolve.
plaster mouldings are all too often broken off in great lumps. Replace these quite simply by making a moulding from an identical, but unbroken section of the frame. This is done in the same way as pressed moulding for china (see Fig. rg). Make a mould with Plasticine for small sections, and then cast a piece by pouring plaster of Paris in the mould, or preferably for small sections by making a filler with Araldite mixed with kaolin powder (use a parting agent in this case), or Cascamite and dental plaster, and pressing this into the mould. The pressing is allowed to harden and then, before it is so hard that it will not stick, is carefully put in place on the break. A little straight Araldite adhesive on the face of the broken part will help adhesion. To make a mould of a large section, or one which has any undercutting which would hook round a plasticiric pressing, use dental impressioncompound (Paribar) and make a pressed mould with this, first greasing the moulding with vaseline. Paribar can be reused many times, and no parting agents are needed before putting in
the plaster of Paris filler.
Gilder’s Compo can be used (see Fillers) and this is recommended for extensive work. It has many other uses for moulding of all kinds and is the traditional material—superseded, but not necessarily improved upon, by plastics and resins.
The mouldings can also be made in Isopon or Bondapaste filler, which dries much more quickly than Aralditc. It is a matter of personal preference, really. All these materials make mouldings which when set can be cleaned tip with needle files and abraded with glass paper until they are satisfactorily smooth.
ruler with a bevel edge and a Stanley knife (see Tools), and cut the board with a bevel. Special mat trimmers can be bought from artists’ suppliers. The secret is to cut the bevel the same all the way round and to get the comers neat. The knife must be perfectly sharp. It is difficult to stop the ruler from slipping about, and a strip of very fine sandpaper stuck oil will the bottom of it wihelp. The bevel edge can be gilded if liked.
The mat is placed oil the picture, which in turn has been put on a mount which is bigger than the hole in the mat. Photographic mountant is excellent for this job, either the paste type, or, if there is no danger involved in heating your picture, the type which is painted on with a brush and then bonded by pressure with a warm iron.
Mounts arc just pieces of cart{    which the picture is stuck; the mount being big enough to fit the frame exactly.
Linings are rather more complex, and call be most effective, both for bringing a frame down in size, and for making a picture look better. A lining may be just a strip of gilded wood inside the main frame, or it may be a wider inner frame covered with material such as linen or velvet or sheet metal. The wood inner frame is made exactly to fit the rebates of the main frame, and is mitred at the corners. The covering material may be stuck or pinned to the lining. In order to make a neat job at the corners, it is usually best to cover the pieces before joining them.
One last word—always check wire, cord and screws used for hanging up pictures—more often than not the wire is rusted, the string is rotten, and screw rings are rusted or loose. It call be a little disappointing if two weeks later all your hard work oil painting, moulding and mending together with that expensive piece of glass end up in a shattered heap on the floor.

Baroque Furniture
The principal characteristic of Baroque is its rejection of the rationalism of the Renaissance. Baroque is much more dynamic and lively, particularly with its use of light and shade in the manner of a painter. The design of a piece and its detail were subjugated to achievement of dynamism, which was at the core of Baroque. The eye for the main lines was expressed through the materials used. Wood was inlaid with gemstones or semi-precious stones, tortoiseshell, precious metal, and ivory. Light was reflected by polished wood. Supports were turned as scrolls and an overall impression of curved form was created by the use of projecting pediments, plinths, and cornices. Much use was made of acanthus stems with broad leaves and conch shell motifs.
It is difficult to determine with furniture when Baroque replaced the Renaissance because the two styles co-existed for a time. Furthermore the characteristic Baroque elements only became fully apparent during the late eighteenth century.
France
Most of Europe, with a few exceptions, fell sway to the dynamism of Baroque. France though preferred more rigid classical lines. This found its expression in an individual French style of furniture. It was precisely at this time that greater power came into the hands of the French king and with it a greater role in artistic commissions and hence of trends at the hands of the French court.
The best artists and craftsmen worked in the Royal studios — with the establishment in 1677 of the Manufacture Royale des Meubles de la Couronne. Cabinet making became regarded as an art in itself, with cabinet makers also working as ebeniste (specialist in inlay or marquetry — the name is derived from the
French predilection for ebony inlay) and woodcarver.
In addition to the importance of construction and decoration in the making of furniture, consideration was also given to the location in which the furniture was to stand. The ebeniste, designer of the ornamentation, and the architect all made decisions about the final form of a piece. In the Middle Ages furniture had been largely portable or easily moved but during the Renaissance furniture was made for a more set place in the interior of homes. Now the far extreme was reached in which it was no longer intended that the piece should ever be moved.
A strange schism arose between furniture for the citizenry and very luxurious pieces. This also meant that different materials were used in the making of these different items. Instead of the customary walnut, more exotic types of wood were now used.
A good example of this is the use of ebony, which by the time of Louis XIII was already being decorated with coloured inlays.
The artist Andre Charles, who worked for the court of Louis XIV was exceptionally talented, and stood out from the other ebenistes. In his early period he also used Dutch motifs such as vases of jasmine, roses, and tulips in his mosaic woodwork. Later he was influenced by the designs of Berain and Marot and replaced his motifs with banding linked together with acanthus stems. His designs were formed with both negative and positive inlays such as light pewter in tortoiseshell and vice versa. Later still he replaced the marquetry of the 1660’s and 70’s as it became less fashionable.
The bed was an important piece of furniture as the whole morning ceremony of rising or lever occurred around it. The enclosed square form of the bed remained with four posts and both outer and inner curtains. The bedroom had several ante-rooms attached in which there was much coming and going of court functionaries. The chest was banished from the furnishing of rooms and was replaced by the commode which became popular in France around 1700. The commode was a development of the chest with drawer which Boulle placed on legs. In the French salons table commodes also appeared, set on tall legs, encrusted with inlays of metal and tortoiseshell. These legs were furthermore decorated with bronze mascarons or grotesque masks. The drawers too were fitted with bronze handles which also held the encrusted decoration in the veneer.
The most important piece of salon furniture was a superbly made cabinet with drawes. At first the Boulle cabinets had separate plinths but later these were integral.
Tables were adapted to the considerable demands of the time and there were numerous variations. In common with other furniture, tables too were inlaid with metal and the same was equally true of cashier’s tables, most of which had a small drawer. The older-style baluster legs were considered too plump and were replaced by cabriole legs.
Other rooms than the salons were often used for a number of purposes and as required night and toilet cabinets might be placed in them.
There were also heavy tables with marble tops plus smaller tables for lamps and suchlike. Console tables provided an architectural element.Seating in the form of fa u teu ils (armchairs), tabourets, sofas, and chairs formed part of the interiors of the homes of the wealthy and the aristocracy but cabinets did not. These were found in the homes of the citizenry but the new item of luxury furniture was the bookcase.
Many different types of armchair and chair were made. Armchairs with turned legs were widely used but later these legs were replaced with richly decorated baluster legs. These were joined together
with diagonal carved stretchers or with H-form stretchers but these disappeared with the arrival of cabriole legs.
The backs of armchairs became more all encompassing and were upholstered and rounded off at the top in an arch. The curved arms of the chairs also became upholstered.
French furniture makers were also influenced by English furniture makers. This led to the introduction of the commodite — a kind of wide armchair — into France. The canape was also partially developed from the English day bed or lit de repos.
German-speaking Europe and the Low Countries
Baroque expressed itself in Germany through very excessive and lively inlay and carving and was of considerable influence there. The elements of the Baroque style were incorporated with both imagination and consistency. The output of German furniture makers was equally diverse as German politics. Designs based on the Renaissance endured for a long time but alongside this a new style developed in the palaces, castles, and grand homes of the countless principalities, which adopted a great deal of the influences from elsewhere. Furniture was imported into northern Germany for some considerable time from the northern Netherlands. After the death of Frederick I of Prussia in 1713 late Italian Baroque started to become more widespread and the artistic centre moved to Dresden, which became one of the most important artistic centres in Europe under Augustus the Strong, Elector of Saxony.
The Bavarian court in southern Germany was strongly influenced by French examples and items such as console tables with French baluster legs and lighter tables in the style of Boulle were made. The encrusted decoration of this maker and also of Marot found favour here too. Cabinets in ebony from Augsburg of this period are exceptionally fine. They have inlays of polychrome stones, ivory, wood, and pietra dura (mosaic of semi-precious stones).
Furniture was largely made from walnut with intarsia inlays of other wood. Great care was taken to ensure that the beauty of the grain of the walnut was revealed to its fullest potential.
The cabinetmakers achieved considerable results in such furniture. German Baroque ornamentation was dominated from the 1660’s by heavy use of acanthus leaf motifs that had replaced conch shell forms, and by small arrow-like columns. Intarsia decorations became figurative from the start of the eighteenth century (bouquets of flowers were very popular) and no longer utilised vines, squares, or rectangular patterns. Baroque became increasingly more valid in Germany and this is clearly apparent with cabinets.
The older-style cabinet on bun feet was drastically altered. It changed into a four-door — later two-door — cabinet with heavy cornice, turned pilasters or columns, and angled fronts.
In terms of furniture, the northern parts of the Low Countries can be considered as an entity with northern Germany, although there were local style variations of course. Hamburg was an important furniture-making centre. The Hamburg four-door cabinet closely resembled Dutch Renaissance cabinets. In addition to these a fine two door cabinet appeared from Hamburg around 1700 with a straight cornice. The faсade comprised large decorated areas with continuous pilasters. A similar cabinet from the Dutch Republic of this time is the linen cabinet for storing pillows.
The partial cornices of cabinets from Dantzig (Gdansk) gave them a less fussy appearance and their square panels were decorated with mythological scenes. By contrast, cabinets from Lubeck had arched cornices. The Baroque influence ensured that cabinets from Holstein and Westphalia were embellished with figurative decorations.
The influence of the naturalistic Dutch floral intarsia decoration remained apparent throughout the eighteenth century. In addition to the main show pieces many painted and non carved pieces were made in northern Germany.
In southern Germany, new life was given to Renaissance cabinets at Ulm and cabinets from Augsburg were smaller and sometimes overwhelmingly decorated. The popularity of the Wellenschrank originating from Frankfurt was great from the beginning of the seventeenth century. This is a simply decorated cabinet in walnut veneer with an attractive curved front. Cabinets were also the most important item of furniture in northern Germany too.
There were various variants of these as elsewhere. Those from Hamburg were decorated with acanthus stems while Dantzig cabinets were smaller with one or two doors.
Commodes with pull-out leaf for writing and bureaux formed important pieces of furniture in the homes of the middle classes. Their chairs had spiral, turned, or cabriole legs and leather seats and these were also used to sit at table.
These chairs had high backs with heavy armrests and were decorated with carved banding and acanthus stems.
Many canopy beds with turned posts had large panels that were usually copiously decorated with intarsia inlay or carving. Gradually beds began to be made without valances.
Carving fell out of favour over the years so that cabinets had large plain surfaces on their fronts which gave them a monumental appearance.

Lamps & Light Fixtures
Electricity was available to many American homes during the years between the First and Second World Wars. Electric lamps became an important part of the home furnishings market. Businesses such as department stores, offices, restaurants and theaters were another large sector of the economy in need of modern forms of light fixtures. Lighting manufacturers catered to both markets, parlaying topical Deco themes into various forms of light.
Floor lamps and table top lamps are both quite collectible. Selections may be elegant and high style or simply low camp and amusing. Lamps are not only ingenious relics of Deco design but they are also functional. Collectors should check the electrical wiring, however. Many still have the original cords which may be frayed or split, but rewiring is not too expensive. It is well worth the effort to have lamps repaired so that they can be displayed to full advantage. Rewiring does not detract but rather adds to the lamp’s value.
Floor lamps supported widely flared shades or globes. These reflected the light upward and torchere has become the name associated with that particular style. The shades were made of frosted or opaque glass or out of metal such as brass or chrome. This same type of lamp is now frequently reproduced to complement new Deco style furniture. Other Deco floor lamps had conventional parchment or silk shades with the “modern” look showing up in the stems and bases.
Figural table lamps are very much in demand. Both French and American companies made numerous vanities aimed at the middle class market. Women, nude or semi-nude, were fashioned in various stylized poses such as dancing, kneeling or with arms stretched high in the air. The light globe was positioned to the side or behind the figure or even rested in the figure’s hands. These lamps were decorative objects, designed to cleverly disguise the source of light.
Although this type of figural lamp was made in bronze, most of the ones found today were made of metal alloys. The finish may be bronze colored or painted red, black, green and so forth. Because the paint wears and chips over time, it is not uncommon for the lamps to be repainted, especially for resale. But lower prices should be reflected if that is the case, Globes on these lamps, because of their fragile nature, often have been replaced as well. It goes without saying that the most desirable lamps are those with all original parts and finish.
Regarding prices, the French figural lamps are the most expensive, and it is not uncommon for these to cost $1,000 or more, outsided the range for the moderate collector. While American specimens are considerably
less costly, it is still rare to find an all original one for less than $100. Those not in working order and needing repairs are about the only ones which might be bargains The Frankart Company, located in New York City, was probably the most prolific manufacturer of metal figural Deco items. Frankart lamps, like their other products. have become increasingly popular. Consequently, prices continue to rise, ranging from $200 to $600.
Ceramic and glass Deco lamps were also made figural designs. One ceramic lamp shown here, made by  Van Briggle, is a finely executed piece of American a– pottery. The boudoir lamp with the nude glass globe is a mass produced piece imitating the Lalique style. Other- ceramic lamps portray a Deco influence by their hand painted body decor in geometric or stylized configurations. Glass lamps may feature similar Dec: characteristics in either the body or the shade as lustrated in some of the photographs.
Deco light fixtures designed for commercial ente– prises can be turned into attractive lighting for homes. Torchere or conical shaped wall sconces adapt to baths. halls and bedrooms while cascading chandeliers an– other large fixtures can be used to light entrance foyers or porches. Shops specializing in architectural antiques may offer some interesting examples. Most commercial fixtures were made of bronze, brass or even cast iron. and these have survived the years quite well. Shapes are unquestionably Deco!

Library & Study Accessories
Numerous types of items associated with reading and writing were made along Deco lines. Bookends, inkwells and desk sets are representative items. Such accessories are expected to be found in a library or study setting and complement its furnishings. These often have a bold or masculine look as well as Deco traits. Additional objects have been included in this category. These could easily be found in the library although one might find them in other rooms as well. For example, radios, electric fans and wallhangings are shown in this section.
Desk accessories made nice gifts, and it is not unusual to find monograms on such items as letter openers and desk boxes. Most of the sets were made of metal, usually brass, bronze or silver. Fine jewelry and department stores had desk items made especially for their firms. The company name appeared either alone
or with the manufacturer’s name on pieces. Expect pieces with such famous names as Cartier or Tiffany to be quite expensive. Desk items made and marked by American metal companies such as Silvercrest, BronzMet and Heintz are usually moderately priced.
Figural bookends are an interesting Deco library accessory. As is the case with most figural pieces, the bookends say “Deco” at a glance. These seem to be the least expensive of any type of figural pieces as indicated by the prices quoted for examples shown here. Figures made into bookends do not require the same amount of workmanship that some other figural combinations do, such as clocks or lamps. Moreover, some of these are two dimensional and stamped from a metal sheet. Collectors searching for an affordable Deco figure will find that bookends offer some good possibilities.

Smoking Accessories
The cigarette, like the cocktail, became a mark of sophistication, one of the “in” things during the Deco years. To smoke (and drink) showed one was in step with the “modern” world. This was especially true for women as they shed the forbidding Victorian rules dictating “proper” conduct. More and more women began to smoke in public just as they shortened their hemlines and bobbed their hair.
A number of interesting smoker’s items were made which were either desirable or necessary accessories for those addicted to the habit. For example, ashtrays were indispensable. Both table top and free standing varieties became common fixtures in the home. Most were made of metals such as brass, copper, bronze and chrome but glass and ceramic ones were also prevalent. The ever popular nude figures sometimes were incorporated into the design. Two shown here include a rather simple table top model and an elaborate floor style.
In conjunction with ashtrays, “silent butlers” became an appropriate household item. The name was an apt description for this receptacle fitted with a long handle and hinged lid. For those who had no real butler, these were handy gadgets for emptying overflowing ashtrays at one’s party or cleaning up the stale remains the next day! They were usually made of chrome, brass or frequently hammered aluminum. The latter type, however, do not always fit the Deco image even though they are from the period.
Cigarette holders cover a broad category of smoking collectibles. In fact, the term “holder” can have several different meanings when used in connection with cigarettes. Table top holders refer to open or covered boxes for keeping a convenient supply of cigarettes. These were made as individual containers or as a combination piece with space for cigarettes and matches and even an ashtray. The boxes were also often part of a matching set of separate pieces.
Another type of holder was the cigarette dispenser. These are novel items and a good example of the “purely fun” side of the Deco years. One of the dispensers shown is a “pop-up” type, operating with a spring device. Cigarettes encased in metal holders pop up when the lid is removed. Another has concealed push buttons on two sides. When pressed, the hinged lid opens, revealing individual spaces for cigarettes. A third type of dispenser has a roll-top. When it is pushed back, a tray slides out offering five cigarettes.
The term cigarette holder, however, is perhaps most commonly associated with the individual holder. While these were designed for keeping the cigarette from direct contact with the mouth, they were also used for effect, to impact a chic or debonair look! The holders shown here
range in length from two to six inches. They are made of plastic, tortoise shell or celluloid.
Art Deco cigarette lighters comprise still another group of smoking accessories. Collectors are interested in both the table top and the pocket or purse varieties. Most of the pocket lighters have masculine overtones. Of course, it was the custom for a man to light a woman’s cigarette. Two lighters shown here with floral decor appear strictly feminine, however. One, in fact, is a combination compact and cigarette lighter.
The “bar-tender” lighter is probably the most coveted of the table top models among Deco enthusiasts. Several variations of the type featured here were made by different companies such as Ronson and the Art Metal Works. Some functioned as a cigarette dispenser as well as a lighter. Although they were made as novelties, these rather scarce items fetch hundreds of dollars today.
Incense burners are included in this section. They may be used to mask tobacco odors, and they are complementary in a decorative scheme. Other tobacco related Deco collectibles include cigarette and cigar cases, cigar clippers and cutters, pipe stands, tobacco jars and humidors. Beware that general collectors of tobacciana make the market quite competitive.

Vases
Vases are designed for displaying floral arrangements, but as solitary objects they enhance a room’s decor. Instead of being merely flower containers, they are considered art objects or decorative accessories, depending on their price. Like table wares, Deco vases were made of either pottery, porcelain, glass or metal. The photographs in this section are arranged in that order.
French art glass vases are the most expensive. Examples shown here include pieces by Legras, Schneider and Verlys. Other French manufacturers such as Baccarat, Lalique and Galld perhaps are more famous. But as their creations have become scarce and very costly, other factories’ products have gained recognition. Consequently, most French art glass has moved entirely out of the range of the moderate collector.
For Deco image, however, less expensive vases made by European and American factories are quite pleasing. Much of this glass is unmarked and not attributable to any one factory. Lack of identification may serve the collector well when Deco shape rather than company or artist is the major concern. Czechoslovakian glass made between 1918 and 1939 has been gaining interest among Deco collectors for several years. Most of the pieces are marked “Czechoslovakia” or “Made in Czechoslovakia.  The shapes and vivid colors of this good quality glass are quite representative of the Deco era. Prices usually remain moderate. Black milk glass or black amethyst glass made during the 1920’s and 1930’s is another type of relatively inexpensive glass with Deco overtones. Black glass was made by several American factories, but most pieces are unmarked.
American glass makers such as Cambridge, Fostoria, Heisey and New Martinsville, to name a few, are noted for stemware and serving dishes, but vases and other decorative items also were produced by these factories. Clear and colored glass vases were sometimes made to match the modern table ware patterns. Fan shapes, blocked geometric forms and even etched nude designs project a Deco theme. Although this type of glass is avidly collected by Depression glass collectors, prices are far less than those for French art glass.
The most expensive ceramic vases are those made by European art potteries. Art pottery, however, usually is priced lower than art glass. This is apparent when prices are compared for the Amphora and Boch Freres ceramic vases with those for the Legras and Verlys glass examples. American art pottery is generally lower in price than European. Among American Art potteries, attention is being paid to the Deco production made by companies such as Roseville. Less expensive vases are Japanese or American pottery varieties which were sold by dime stores or florists’ shops. The angular white glazed Japanese vase shown here was originally cheap, but the striking Deco shape has caused its current value to increase sharply.
Porcelain vases are medium priced with few being either bargains or exorbitantly high. Porcelain is superior to simple pottery because it is stronger and translucent, but those qualities are not always reflected in prices. Most European porcelain vases are less expensive than European art pottery. The reason is because many decorative items such as urns, vases and jardinieres were produced in quantity by porcelain factories. Moreover, they were often decorated with transfer designs or exported as undecorated vases. The latter were purchased by aspiring amateur china painters, and thus the decoration is not as creative or professional as that of art potteries.
Metal adapts well to angular shapes. Although glass and ceramic vases are more common, those made of brass, bronze, copper or chrome often evoke the Deco image in a more eye-catching way. The chrome vases pictured here are priced at the low end of the scale, but the Deco features are quite obvious. Brass and copper vases vary in price depending on size, but most are over $ 100. The sterling on bronze vases were made by the Heintz Art Metal Company. Such pieces are rarely less than $100 or more than $300. French bronze vases may be out of an affordable price range for moderate collectors. But an urn like the one shown, or similar vases, is usually considerably less than a bronze statue would cost. If French bronze would lend a note of prestige to one’s collection, such vases are a good choice.