Posts Tagged ‘Moorish’

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

Antique 19th Century Spanish and Portuguise Furniture.
ON THE IBERIAN PENINSULA, styles from
countries that had close relationships with Spain and Portugal, in particular, Morocco, were fused with a dominant French aesthetic. This resulted in
distinctive, solid furniture peppered with lighter touches.
SPANISH FUSION
“Isabellino” furniture was the Spanish interpretation of the French Second Empire style. Richly decorated with contrasting colours, it was more
exuberant than its French counterpart, and its symmetry allies it more closely with the Baroque than with the Rococo revival that swept across the rest of
Europe. Pieces made for the court of Isabella 11 (1833-68) were the most sumptuous of all and set the agenda for the aspiring merchant classes.
The use of mother-of-pearl inlays, frequently in geometric patterns, was very widespread. Other fashionable decorative elements included mounts of bronze or gilded wood, and painted decoration applied directly to the timber. Classical motifs, including carved putti and acanthus leaves, were also commonly used.
Openwork carving often made use of themes drawn from Morocco, Spain’s closest neighbour to the south, and one that has lent a distinctive
Islamic twist to the Spanish decorative arts for centuries. Moorish forms and decoration, such as woven upholstery and turned spindles, were widespread throughout Spain during this period. In fact, Moroccan influence was by now so well established that it broadened to include elements from other Islamic cultures.
Isabella It’s bedroom at the Palacio Real, Aranjuez The solidity of the dark wood furniture and fittings is offset by the sumptuous gilded carving that adorns the bed.
SPANISH MOORISH DRESSING TABLE
This walnut and ebony dressing table is inlaid with intarsia. The cabinet is surmounted by an arched mirror, at the base of which are two small drawers. A frieze drawer sits above a pair of panelled doors, which enclose a fitted interior. The case stands on block feet with casters. Mid 19th century.
SPANISH CABINET
The parquetry top of this tortoiseshell, mother-of-pearl, and walnut cabinet has projecting corners. The case has seven drawers, flanked by free-standing columns, and arranged around a central door and two drawers below. The Moorish influence is apparent in the Arab-style
design. Mid 19th century.
PORTUGUESE COMMODE
This is one of a pair of carved Rosewood petite commodes. The exaggerated waisted shape is a very common Portuguese form during this period. The ball-and-claw feet on cabriole legs are taken from mid 18th-century English designs. Late 19th century.
PORTUGUESE CENTRE TABLEPORTUGUESE SIDE TABLE
This centre table is made of rosewood and is in the style of those popular in the late 17th century. The rectangular table top has brass mounts at the corners and the frieze is fitted with drawers and dummy drawers. It stands on bulbous, twist-carved legs joined by twisted stretchers. c.1880.
This side table is made of stained walnut. Beneath the plain top is a single frieze drawer. The overall form, with its H-stretcher and central uprights, is 17th-century French, but the style of carving gives it a Portuguese provenance.
Cyrillic script betrays the central Asian provenance of some Moorish furniture constructed in Spain at this time. Carpets used as upholstery were sourced from the Tekke of Turkestan, for example. Heavy silver adornments were another decorative element borrowed From this part of the world.
The drawing-room suite, usually comprising a sofa and a pair of armchairs, became extremely popular in Spanish homes during this period. The occasional table continued to enjoy the popularity it had won in the earlier “Fernandino” period. Around 1870, Ater a period of civil war that Followed the end of Isabellas reign, designers
began to seek inspiration in traditional Spanish furniture from the 16th and 17th centuries.
PORTUGUESE ASSIMILATIONS The Portuguese had suffered greatly Lit the hands of Napoleon’s Forces but had been impressed by a system of government that freed them from the yoke of a repressive monarchy. Rebellion and civil war plagued the reigns of Maria 11, Pedro V, and Luis 1, the rulers of Portugal during the mid 19th century.
French influence had declined after liberation From Napoleon, and designers began to follow the work
of British cabinet-makers more closely. As a result, features such as the cabriole leg and paw foot became widespread in Portuguese furniture. Another important outside influence came from Germany. The Portuguese embraced the Fading Biedermeier style through Maria 11, who had a number of German consorts.
Towards the end of the century, Spain began to embrace styles based on the more distant past of their own peoples, while Portugal embarked on an
enduring affair with designs from the Joao V period (1706-50). Rosewood continued to be the favoured wood because of Portugal’s colonial interests.
LATIN AMERICAN NEOCLASSICISM The thriving Latin colonies in Central and South America had never been exposed to the French Empire style that had pervaded Europe and from which the bulk of European mid 19th-century furniture had developed. The widespread diaspora of patterns originally drawn by 18th-century masters, such as Chippendale and Hepplewhite, did reach these distant western outposts and were the basis for a Latin American Neoclassical revival. Latin American furniture in the mid 19th century was, therefore, far closer to British forms than that produced on the Iberian mainland.

Early chairs
Before the 16th century rooms were sparsely furnished, and the range of furniture was limited. Chairs were scarce and, like stools, were viewed as symbols of authority. It was not until the 16th century that more comfortable chairs were made. At this time the major artistic impetus spread northward from Italy, and chairs were made in quantity only in southern Europe. By the I7th century, as lifestyles became more settled, there was a greater demand for comfort in seat furniture.

A Turner’s or “thrown” chair
s of this type were produced in Britain from the 16th century, and
still made in provincial areas into the 19th century. “Throwing” was early term for turning. These chairs were often made from ash, which strong and ideal for turning, although susceptible to woodworm. late 17th century; ht Iml3ft3in; value H)
SOUTHERN EUROPE
The earliest prototype was the 16th-century Italian X-frame folding chair, usually in walnut, Inch was adopted in northern Europe from the end of the century. Spanish examples exist that are inlaid with ivory and metals in stellar and geometric designs in the Moorish fashion.
Armchairs of the 16th and 17th centuries were refined versions of the carved chaise caquetoire (gossiping chair) which, with its solid, carved back and trapezoidal seat, was not very comfortable. As revealed by the engravings of the Flemish designer Hans Vredeman de Vries (1526-(.1604) in his Differents Pourtraicts de Menuiserie ((.1585), the earliest-surviving traditional easy chairs were executed principally in Tuscany, Spain, Portugal, and The Netherlands in the late 16th and early 17th centuries. Known as the sillon De fraileros (”monk’s chair”) in Spain, this type of chair was usually of walnut, with scrolled and acanthus-carved stiles. The upper section Was supported by plain legs joined by waved stretchers, and the chair was upholstered with
intricately tooled and embossed leather stretched by ornamental heavy brass nails. Examples from The Netherlands often have lion finials surmounting the stiles.
NORTHERN EUROPE
Turning on a foot-operated lathe (which revolved the legs while the wood was cut to the required shape) became an increasingly popular decorative technique in northern Europe, and by the early 17th century most legs were turned. This form of decoration remained fashionable until the end of the century. Designs became increasingly intricate at this time, culminating in the “barley-sugar” (spiral) twist.
Peculiar to the 17th century is the oak joined chair with arms, often called a wainscot chair in Britain. Similar designs were made in many countries throughout northern Europe, and examples are still found in some numbers. This type of chair commonly has a scroll-carved toprail, sometimes inscribed with initials or a date. Its characteristic feature is a panel back, often symmetrically carved with stylized
leaves, lozenges, roundels, and lunettes. The seat
is solid, but would originally have had a squab cushion, and the front supports are ring-turned, with the legs joined by stretchers. Chairs of this type were made until the end of the 17th century and represent the final stage of the age of the joiner, as this period is often called. Designs and techniques changed considerably after this time, but in many provincial areas the traditional methods of construction continued to be used.

•    woods invariably indigenous – walnut in southern Europe and oak in northern Europe; rosewood was used to a limited extent during the 17th century in Portugal
•    DAMAGE examples that pre-date 1600 are extremely rare, and 17th-century examples should be examined closely for repairs; age, wear, and tear will have taken their toll – the legs and the lower part of the back are particularly vulnerable
•    DECORATION painted decoration, upholstery, leather, and caning have often been changed; if the originals remain, they increase the value
•    COPIES AND FAKES most 17th-century chairs are stylistically of a very simple form, the same designs being produced over a long period, making them difficult to date; turners’ chairs arc popular with collectors and are often faked – copies are difficult to detect as they may be quite old themselves, and tend to be in the same woods as the originals (ash or oak, not walnut), with good-quality carving; the colour of the wood on all unpolished surfaces should be closely examined, as should the overall patina