ANTIQUE PAPIER MACHE, WOOD AND NUT, ENAMELS, GLASS PASTE
GLASS PASTE
TASSIE. A GLASS PASTE PORTRAIT MEDALLION of Adam Smith, head and Shoulders, in profile to sinister, with hair en queue, inscribed on the truncation: ‘Adam Smith in his 64th year 1787′ and signed: ‘Tessie F.’, mounted on black basalt, medallion 7cm. high, rectangular ebonised and gilded wood frame.
GEORGE III AND QUEEN CHARLOTTE. An oval gold-mounted bloodstone pendant applied on one side with a Tessie glass paste portrait profile of George III, the reverse with Queen Charlotte, each after the Antique, 4.5cm. late 18th/early 19th Century.
TASSIE. A GLASS PASTE PORTRAIT MEDALLION of Alexander Easton, shown in profile to Dexter, with wavy hair, bands and high-collared coat, inscribed on the truncation: ‘Alex. Easton/Red Cross Street/Lond. 1794′ and signed ‘Tessie F.’, against an oval of clouded glass, circa 1794.
Easton became minister of the Scotch Succession Church, Meeting House Court, Red Cross Street, London in 1792. The Church removed to Miles’s Lane in 1795 and Easton himself retired in 1800.
A PAIR OF OVAL GOLD-MOUNTED GLASS PASTE
RELIEFS each of a lady in classical dress portrayed in
contemplative pose against a grey ground, 3cm. high,
English, circa 1800, probably links from a mourning
bracelet, the grounds cracked.
ENAMELS
AN IVORY AND ENAMEL MODEL OF AN ASTRAL
GLOBE, the turned ivory base and stem supporting the
spinning sphere, painted en grisaille and gilded against
a blue ground, 12cm. high, some restoration to enamel.
AN OVAL ENAMEL PLAQUE, probably intended as a miniature back, decorated in seventeenth Century taste with raised polychrome flowers on a white ground, 6.5cm.
FIVE LIMOGES OVAL GRISAILLE MEDALLIONS, attributed to Jaques I Laudin, of Roman emperors in numismatic profile, each wearing green laurel wreath pointed with gold and tied at the back with ribbon, inscribed in gold with the name of the sitter and a number, Tiberius Caesar III, Serious Galba VII, Vitellius Villi facing to sinister, Caesar (Caligula and Flavius Domitianus) XII facing to Dexter, each 7.6cm. diameter, mid-17th Century, chipped around later fastening holes.
Walters Art Gallery, for a pair of candlesticks with similar medallions on the base; other similar medallions by Jaques I Laudin, Limoges (about 1627-1695) are in the Debreu Museum, Nantes and the Society Archeologique, Montpellier.
A LIMOGES ENAMEL PLAQUE painted with an oval portrait of St. Francis Xavier in polychrome against a black ground, relief scrolls in the corners, signed I.L. on the front and Laudin Emailleur on the back, 12.7cm. high, 17th Century, slightly chipped.
A LIMOGES ENAMEL PLATE painted in translucent and opaque colours with the harvesters, with the zodiac sign for the month of August above, bearing the inscription: ‘I.C. 1536′, the reverse with gilt stars within a laurel wreath border, 19.7cm. diameter.
A LIMOGES POLYCHROME ENAMEL PLAQUE of St. Matthew, in 16th Century style, the bearded saint shown seated with an open book in his hands, an angel in the background, bearing the inscription: ‘S. Mattheus’, 14cm. in a gilt wood frame.
WOOD AND NUT
A SOUTH GERMAN OCTAGONAL EBONY FRAME, containing a circular painting on marble of a man digging, angels driving his oxen in the background, perhaps St. Guido of Anderlecht, bordered by oval plaques of pink and grey agate alternating with gilt metal cartouches against an ebony ground, the outer border set with pierced silver scrolls with gilt cherubs’ heads, alternating with gilt-metal stars, the frame with crested ornaments of cherubs’ masks and shells, 34cm. diameter, 17th Century, two cherubs’ mask ornaments wanting.
A WEST INDIES COCONUT BOWL carved with geometrical ornament, the foot and rim of Sheffield plate engraved with the initials R.K. flanked on each side by a star and crescent, 10.5 cm., I8th Century.
A COCONUT SHELL RELIEF, the shell of semi-ovoid form carved in detailed relief with a scene entitled:’ Marriage en Sicily’ above twining vines and palms, 13cm. high, probably Antilles, mid-19th Century.
A DUTCH HARDWOOD CASE carved in low relief with Old Testament subjects and explanatory texts, the cover dated 1656, 14cm. high, mid-17th Century.
A FRENCH PARQUETRY SNUFF BOX of naivete
form, the lid inlaid with a seashell intarsia against a
stained green ground, the border and sides veneered
in varicoloured parquetry with bands of chevron and
geometries motifs, 9.5cm. wide, circa 1770, slight
damage; and a rectangular French pollard wood snuff
box, sketched overall following the grain of the wood
with flowing busts of girls, putty and soldiers, 10cm.,
circa 1800.
A CIRCULAR TURNED WOOD SNUFF BOX, inscribed
on the interior of the lid in pen: ‘a bit of Shakespeare’s
Mulberry Tree saved by Garrick’ and on the base:
‘A bit of Shakespeare’s Mulberry Tree pressed by
Garrick’, 5.5cm. diameter, contained in a pressed and
pierced wooden case, the lid with a design of stars,
5.5cm. diameter, the base pressed with the initials:
VK, cracked and restored.
David Garrick, the actor and fervent admirer of Shakespeare, organised the Jubilee celebrations in Stratford-on-Avon in 1769. He was given the Freedom of the town in a presentation casket, made from the mulberry tree supposed to have been planted by Shakespeare. This is now in the British Museum. A number of other items including a chair, a vase and snuff boxes were also known to have been made from the tree.
C. STIVEN & SONS. A SCOTTISH LACQUERED WOOD SNUFF BOX of almost elliptical form, the lid finely painted with a retriever breaking cover at sunset against a background of rolling hills and threatening clouds, green and black tartan sides and base, foiled interior stamped with the maker’s mark, 10.1cm. wide, Laurence irk, circa 1820.
A special feature of Laurence irk wood snuff boxes is the integral wooden hinge, an invention perfected and mechanised by James Sandy of Alyth in Perthshire during the second half of the eighteenth century.
Charles Steven (1753-1820) was responsible for developing and commercialising the hinge. He set up his own business for the manufacture of snuff boxes in Laurencekirk in 1783 under the patronage of Lord Gardenstone. The firm quickly established a reputation for producing objects of only the very best quality and when granted the Royal Warrant attained the accolade of success. On Charles Stiven’s death the business passed into the hands of his sons who faced fierce competition from rival establishments in Ayrshire.
A RECTANGULAR SCOTTISH WOOD SNUFF BOX, the lid lacquered with a coaching scene, the Royal Mail travelling along a lowland road, the slightly bombed sides and base with diaper decoration, 11.5cm. wide, possibly by Murdock of Cumnock, circa 1830, slight wear.
For an illustration of a box of identical form decorated with a similar coaching scene, see Edward H. & Eva R. Pinto, Tunbridge and Scottish Souvenir Woodward.
A SCOTTISH LACQUERED WOOD SNUFF BOX of almost oval form, the lid painted with a hunting scene of hounds drawing a covert, green and black tartan sides and base, 10.2cm. wide, circa 1820.
A CIRCULAR SCOTTISH WOOD SNUFF BOX lacquered overall in Macbeth tartan, 9 cm. diameters, probably Mauchline, circa 1835.
A RECTANGULAR SCOTTISH BURR MAPLE SNUFF
BOX with rounded ends and raised thumb piece, the
interior lined with horn, 11.5cm. wide; and two oblong
examples, one with wasted sides, each with foiled
interior, all mid-l9th Century,
the latter with damaged hinge.
PAPIER MACHE
A RARE PAPIER MACHE SNUFF BOX, by Samuel
Raven, painted with a head and Shoulders portrait of
Joseph Grimaldi, the celebrated clown, wearing a dark
grey coat and waistcoat, white shirt and black cravat
against the lustrous black ground, 10.2cm. Diameter,
signed on the lid, rubbed signature on the interior of the
lid: the Duke of Sussex& Prince Leopold’, in original cardboard
case of simulated morocco and marbled paper.
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Joseph Grimaldi, the most celebrated English Clown, was born in 1778, the son of Giuseppe Grimaldi, a Pantaloon on the London stage, and one of his mistresses, a former Columbine. From the age of two, the young Grimaldi appeared with his father and became famed and loved for his performances which could ‘amuse the gallery without offending the boxes’. He was known for his catch-phrases ‘Here we are again’, still the trademark of the Clown and ‘Don’t you tell’. In true Clown fashion, his comic stage persona was contrasted by an unhappy and disastrous private life and he died alone and penurious in 1837.
A CIRCULAR PAPIER MACHE SNUFF BOX, painted in the manner of Samuel Raven, unsigned, with The Proposal, after the painting by G. H. Harlow, engraved by G. Meyer.
A CIRCULAR ENGLISH PAPIER MACHE SNUFF BOX, the lid inscribed in gold: ‘Jas. Clayton. With Trees near Walton’, the border and central panel of simulated beading, the mottled ground imitating walnut wood, 7.6cm. Diameter, late 18th Century
A CIRCULAR PAPIER MACHE SNUFF BOX with wasted sides, the lid painted with the caricature figure of an elderly man in uniform, 8.5cm. Diameter, probably German, early 19th Century, some damage.
STOBWASSER. A rectangular papier mache snuff box, the lid painted with ships floundering into harbour on a stormy day, 8.3cm. wide, inscribed: ‘Stobwassers Fabrik in Braunschweig’, and numbered: 1347, early 19th Century.
STOB WASSER. A RECTANGULAR LACQUERED PAPIER MACHE SNUFF BOX, the lid painted with The Sister of Dido, after Guerin, inscribed in French with the title on the interior, and on the base: ‘Stobwasser’sehe Fabrik in Braunschweig’, 9.3cm. wide, numbered: early 19th Century, some wear.
A CIRCULAR PAPIER MACHE SNUFF BOX, the lid
painted and lacquered with laundresses and a fisher-
man on a rocky river bank, 9.5cm. Diameter; another,
the lid with a printed scene inscribed: ‘Life in
London’, 8.3cm. diameter, damaged, both first half of
the 19th Century.