WICK ANTIQUES LTD Furniture

A pair of small Napoleon III kingwood display cabinets on stands, each of rectangular form with a single glazed cupboard set on a base with two disguised frieze drawers flanking a la...

A long early George III Irish mahogany dining or wake table of exceptional colour, the highly figured veneered oval top with two drop flaps down over ei...

A pair of Louis XVI style mahogany and ormolu gueridons, after Adam Weisweiler, each with a circular amboyna veneered top and triform undertier enclosed within three pairs of simulat...

Duke of Edinburgh’s World tour 1959 on HM Yacht Britannia, a fascinating photographic record of the Duke’s visit to numerous destinations between Rango...

FREDERICK CHAPMAN: ‘Naval Architecture War Vessels’, circa 1770, , 50 engraved plates of various sizes depicting naval diagrams (numbered I-XXVI), four signed ‘F. Ringheim’and one ea...

A very large mahogany centrepiece partners’ desk in the Chippendale style, attributed to Maples or Gillows, of oval form with a replaced green leather top, the frieze with six small ...

These bronze figures show Edward, Prince of Wales, standing in a nonchalant pose with one leg crossed over the other, a cigar in his left hand, his hat at his feet and a shotgun slung over his right arm. The elegant Princess of Wales is depicted skating, with feathers in her hat, and wearing a fur-trimmed coat and muff as the wind catches her three-quarter length skirt. Each stamped Elkington & Co Founders and G 1870. English, dated 1870. Provenance: Prince Victor of Hohenlohe-Langenburg, Count Gleichen. Prince Victor of Hohenlohe-Langenburg, Count Gleichen, was the son of Prince Ernst of Hohenlohe-Langenburg and Princess Feodore of Leiningen, half-sister to Queen Victoria. He ran away from school to England in 1848 and was sponsored to enter the Royal Navy by Queen Victoria. In 1854 he attained the rank of Lieutenant after serving as mate on the flagship Cumberland, where his future brother-in-law was captain and his future father-in-law was admiral. In 1866 he retired from the navy and trained with the British sculptor William Theed. As a sculptor, he carried out several portrait commissions for Queen Victoria including a statuette of Prince Alfred, her second son, and another of Prince Albert Victor...

A large pair of Irish mahogany library armchairs in the Georgian style , each with the shaped rectangular back, arm rests and seat upholstered in chestnut leather with close studde...

A Victorian walnut revolving display table, the circular leather inset top within burr walnut cross banding, the frieze also cross-banded in burr wal...

A Victorian mahogany revolving display table, the circular burgundy leather inset top within cross banding, the frieze also cross-banded, the whole r...

A pair of satinwood Anglo Chinese collector’s table cabinets, each of rectangular form with a pair of doors which open to reveal five long drawers wit...

A large Victorian leather stool, of long rectangular form, the deep buttoned top reupholstered in blue-black leather, the frieze pierced with a band ...

A generous George III wing arm chair, the shaped deep-buttoned back with scrolling arms, reupholstered in distressed blue-black leather, raised on four ...

A large George III wing arm chair, the shaped deep-buttoned back with scrolling arms, reupholstered in distressed blue-black leather, raised on four cab...

A William IV satinwood display cabinet attributed to Edward Holmes Baldock, the upper section with a marble top and ormolu gallery above two large glazed doors, the lower section in the form of a bureau plat with the original leather inset writing surface and three disguised frieze drawers, all raised upon cabriole legs, decorated overall with floral marquetry in exotic woods including tulipwood, purpleheart and fruitwoods, with superb fire-gilded ormolu mounts including elaborate goddess masks. English, circa 1830. Footnote: Edward Holmes Baldock, (1777-1845) was one of the first London antique dealers, in the modern sense of the word. He principally dealt in 18th century French furniture...

A set of 10 hand painted porcelain Vista Alegre dessert plates, each painted in bright colours with a different exotic Brazilian bird within a gilt hand chased border, the reverse with the name of the bird species, ‘VA Portugal...

A pair of double plate giltwood pier glasses, one George 1 and the other made to match by George Paton carver and gilder to Queen Victoria, each with the original, probably Queen Anne, shaped and bevelled glasses, the upper plate arched and cut with a central Brunswick star above a border of scrolls along the lower edge, all within a gadrooned frame carved in high and shallow relief with pendant bellflowers and scrolling foliage issuing from flowerheads, the swan-neck pediment centred on a cartouche. One Georgian circa 1730 and the other circa 1840. The older one with a paper label stating ‘Hugh Paton, Printseller and Picture Frame Maker…Her Majesty’s carver and gilder’. English. Footnote: The George I mirror, made c.1730, is an intriguing design that is based on the popular tabernacle shape that was a favourite of the Palladian designers in England such as William Kent and John Vardy. However, the way the slip inside the mirror is shaped indicates the Queen Anne period. This could be particularly significant as both plates in this mirror are original and may well have been re-used Queen Anne period plates. It was very common in even the grandest of homes to update mirrors by changing the style of the frame to suit the latest fashion whilst retaining and re-using the valuable mirror glass itself. This seems all the more likely with the present mirror due to the wonderful engraved Brunswick star and other designs on the top plate-again this form of decoration tends to be associated with mirrors from the William and Mary and Queen Anne periods and is almost always a sign of the highest quality as well. Although it has not been possible to find any provenance for this particular pair of mirrors, we are able to make several educated guesses due to the label on the back of one of them. The label is that of Hugh Paton, a very important and well-known mid-19th century tradesman based in Edinburgh (see below for more details about his business). Paton advertised widely in the Scottish press and from 1842 onwards he began to use the phrase “Carver and gilder to the Queen”, later amended to “Carver and gilder to the Queen and HRH The Duchess of Kent”. Although the Paton business continued under the control of his son, Hugh Paton himself had died by 1867. Therefore, our mirrors must have passed through his hands before that point. It was common practice for restorers to add their label to the back of pieces that they had worked on in some way and it is highly likely that Paton was asked to re-gild the George I mirror and then make a copy to match at the same time. The quality of the copy is quite remarkable and it is virtually impossible to tell the pair apart when viewed on the wall. Given Paton’s reputation and the location of his business, it is likely that the George I mirror belonged to a Scottish family of some prominence who then sought out the very best local gilder to work on their piece and make them a copy. Hugh Paton and his Business Hugh Paton’s business is recorded from 1827-1867, becoming Hugh Paton and Sons after his death in 1868 and flourishing until c.1892. During that time the firm occupied many different premises in Edinburgh including in Princes Street and Adam Square. Unfortunately, the relevant part of the label on our mirrors is damaged so we cannot say with certainty where the firm was based at the time that the mirrors were handled but, as stated above, the presence of the royal crest proves that the date must have been post-1842 and pre-1867 when the name of the firm was changed. As such, the firm would have either been based in Adam Square or at 10 Princes Street. Although it was common for tradesmen and women of this period to have had multi-faceted businesses, Paton operated in a truly astonishing number of markets. A brief biography of the man is maintained on the Science Museum website as he won the contract in 1851 to print the timetables for all of the railway services leaving from Edinburgh and Glasgow. An advert in the Glasgow Sentinel on the 8th of March 1851 mentioned Paton opening new premises in Glasgow specifically to print these timetables and mention was made of the fact that he had received permission to run adverts in the timetable booklets. This is just one example of Paton’s enterprising nature. The same advert described his business as “Printer and publisher, picture frame-maker and print-publisher, carver and gilder to the Queen and her Royal Highness the Duchess of Kent”. Later in the same advert, Paton mentioned that he was taking orders for “window...

A large pair of onyx and ormolu lamps, each with a central fluted column surmounted by a sconce and supporting six further ornate branches of lights, all r...

A Napoleon III parquetry card table by Sormani, the shaped hinged top with ormolu ribbon and bead guilloche edging, decorated overall in kingwood, tulipwood and satinwood diamond tre...

A very fine pair of mid-Victorian parcel gilt bronze oil lamps, by Hinks, each modelled as a bearded warrior dressed in the style of a Saxon king with a crowned helmet, broadsword and double-headed battle axe, standing in front of a slender scroll support surmounted by a cut glass oil reservoir, all set on a shaped ormolu base encircled with a victor’s wreath of oak leaves, and raised on an octagonal bronze base, converted to electricity, stamped ‘Hinks & Sons Patent’ on the fitting. English, circa 1860. Footnote: James Hinks (1816-1905). Leaving home at 16 he tried many trades from wood turning, japanning, brush making, die sinking, medal making and even being a pub landlord, before manufacturing oil lamps. Working from the Crystal Lamp Works, Great Hampton Street, Birmingham, he was joined by his son Joseph and renamed the company ‘James Hinks and Son in 1862’. They won a patent for ‘improvements in lamps’ the following year and swiftly launched the ‘Patent Duplex Lamp...

A Victorian satinwood breakfront side cabinet with Wedgwood plaques attributed to Dyer and Watts, the shaped top above a central door flanked by two gla...

A Continental brass marble-topped coffee table, of rectangular form with a pinkish marble top raised upon four waisted and sharply tapering square section legs, decorated with stippl...

An attractive late George I giltwood mirror, the rectangular frame enclosing a bevelled plate and surmounted by a broken S-scroll pediment, ce...

A pair of decorative storm lamps, each with a candle holder enclosed in a clear glass shade set on a turned gilt-brass support with a collar of petals and a...

An Elegant Musical Party in an Interior’ attributed to Gillis van Tilborgh, oil on canvas depicting a Dutch genre scene with figures dressed in rich silk clothing, fine lace ruffs and fichu collars grouped round musicians playing a clavichord, a fiddle and a flute, some couples holding hands or sitting close together and a baby playing on the floor, with a plaque reading ‘Gerard Terburg 1608-1681’, the reverse with a chalk notation ‘Ld Hesketh’. Dutch, circa 1870. Provenance: George, 3rd Earl of Pomfret (1768-1830), or his brother The Hon. Thomas Fermor, later 4th Earl of Pomfret (1770-1833), Easton Neston. Thence by descent, Lord Hesketh, Easton Neston. His Sale, Sotheby’s London, 17-19 May 2005, lot 82. Private Collection. Literature: George Baker...

A Victorian kidney shaped desk in richly figured burr walnut, attributed to Gillows, the shaped leather-inset top above a central disguised frieze drawer and four drawers with brass ...

Two landscape oil paintings on canvas by J R Wallace Orr, 1938, both showing Scottish coastal scenes with labels on the reverse from ‘Pearson and Westergaard Ltd, Fine Art Dealers, 28 West Nile Street, Glasgow, CI’ one titled ‘Ocharton Bay’ and the other’ Auchencairn Bay’, both signed ‘J R Wallace Orr 1938’. Scottish. Can be purchased individually or as a pair. James Robert Wallace Orr (1907 – 1992) attended the Glasgow School of Art and gained a diploma from the Royal College of Art in 1933. He became a well-known painter, printmaker and teacher at the Glasgow Academy until his retirement in 1967. During the war he served in the London Fire Brigade...

A large mahogany lectern by Yabsley of Plymouth, the octagonal support set on a cruciform base with scroll feet and bold scrolling brackets, surmounte...

A very fine late Victorian four fold mahogany draught screen, attributed to Hicks of Dublin, each tall rectangular leaf divided into three panels below a flowerhead border, all inlaid with stained and exotic woods on a satinwood ground, the central panels showing four classical muses, the plain lower panels with satinwood stringing on a harewood ground. English, circa 1895. Footnote: James Hicks was born into a family of Dublin chair-makers and the moved to London to train in workshops on the Tottenham Court Road, London. On returning to Dublin in 1894, he opened a business in Lower Pembroke Street, which rapidly became one of the city’s leading cabinet-making firms and won the royal warrants of King Edward VII and Princess Victoria, the Crown Princess of Sweden. He was inspired by the styles of Sheraton...

An early Victorian rosewood reading table, the shaped top hinged to form an adjustable reading slope with a ratcheted support and detachable r...

A late Victorian ebonized freestanding folio stand, of rectangular form, the solid top with an ormolu gallery above five sections divided by sets of spindl...

Wilson Chilton’s mahogany Naval Architects/Naval draughtsman box of curves and templates, probably by Gillows still retaining around 100 superb quality...

A Maltese pietra dura table top attributed to Joseph Darmanin & Sons, the circular top intricately inlaid with a central scene depicting a saddle...

An impressive and monumental rosewood Regency kneehole bureau cabinet with ormolu mounts of exceptional quality, attributed to Seddon and Morel, the central roll-top opening to revea...

A Victorian fine satinwood ladies’ writing table attributed to Holland and Sons, the shaped top set above a narrow frieze with two disguised drawers, all raised on four turned and gi...

A fine Victorian pollard oak centre table, in the manner of Bridgens, the circular top with radiating flame veneers set upon a cluster of pillars, flanked by four large C-scroll supp...

Two charming views of the Bay of Naples and Vesuvius by Maria Gianni, goache on paper, one showing fishing boats sailing into harbour and the other with a woman in a white smock carrying a basket in the crook of her arm and another on her head. Italian, early 20th century. Maria Ada Gianni...

An Art Deco marquetry panel of a jaguar, of rectangular form depicting a snarling jaguar emerging from a wood, worked in exotic woods including waln...

A pair of George IV rosewood side cabinets by Gillows, each with two of mirror-backed shelves with brass galleries and bold S-scroll ends set above a rectangular cupboard, the doors ...

A Royal Naval ship’s elm companionway board, of rectangular form with an arched top and two sturdy brass rings, naively carved with a crowned coat of arms flanked by a lion and unicorn...

Brass and steel bound teak Campaign trunk with recessed brass carrying handles.

A fine shipyard model of an early sailing steam screw ship of the transitional sail to steam period with good detailed deck fittings including hatches, ...

A George IV ebony-inlaid mahogany tilt-top centre table, the circular top with a flame-veneered cross-banded border above a moulded frieze with ebony stringing and four small rectang...

A bronze study of a boy collecting fruit in his wide brimmed hat, he is wearing a jerkin and breeches over a shirt rolled up at the sleeves, with one hand to his mouth and the other holding his upturned hat in which he has collected the fruit, impressed foundry stamp ‘A*D’. French, circa 1880. It is believed that the foundry mark is that of the fondeur Alfred Daubrée...

A model of a Dockyard built teak and brass field cannon, with a brass barrel set on a brass-bound carriage with large wheels and a brass-bound bucket, swabs and ramrods to scale, fin...

This bronze is the maquette for a sculpture of Lord Louis Mountbatten wearing a naval duffel coat, peaked cap and sea boots and holding a pair of binoculars. It is set on a highly polished black stone base and inscribed on the back ‘Mountbatten Study, G. Berlin no. 3 of 3’. English, 1989. We are indebted to Ms Berlin for her kind help in supplying the following information. “I made this piece as a working model, maquette, to show, along with another image, to the clients who were offering the commission for the nine-foot bronze of Lord Mountbatten...

An Exceptional Edwardian Satinwood Commode, Reproducing Thomas Chippendale’s Piece-Known as the Diana and Minerva Commode-Supplied to the Lascelles Family at Harewood House A satinwood Sheraton Revival breakfront marquetry commode, the shaped marble top above one long drawer flanked by two concave drawers decorated with inlaid festoons, all above a recessed, arched central drawer and concave side-cupboard doors, decorated in fruitwood and hardwood marquetry with crossbanding, bellflower garlands and classical motifs centred on roundels depicting Diane and Minerva with mother-pearl and bone detailing, applied with ormolu mounts and raised on six carved square-section legs, the locks on one drawer marked ‘Hobbs & Co’. English, circa 1900. Ivory reference number A89CGW1D Acknowledged as one of Chippendale’s finest documented pieces, the Diana and Minerva commode was supplied for the State Bedroom at Harewood House in 1773. Our example faithfully reproduces the spirit and decorative impact of Chippendale’s original-including the wonderful inlaid ivory panels-whilst adding a very practical marble top. For a very similar commode see the 1900 painting ‘Sir George Sitwell, Lady Ida Sitwell and Family’ by John Singer Sargent. The locksmiths’ company of Hobbs & Co of London was actually founded by an American salesman and inventor for Jones & Newell of New York. Boston born Alfred Charles Hobbs (1812-1891) created quite a stir at the Great Exhibition of 1851 when he picked the ‘impregnable’ locks of both Bramah and Chubb! Making the most of his fame, he registered his own company, Hobbs and Co...

This silver presentation vase is a small replica of the classical Roman ‘Warwick Vase’. The body is cast and chased with fruiting vines below the rim. The central field has a continuous band with bearded Bacchic heads floating above a lion’s mask and pelt. The applied handles comprise gnarled twisted vine stems. The spreading stem is set on a square foot which in turn sits on an ebonised wooden plinth base. The plinth is applied with two vacant laurel wreath cartouches and two rectangular plaques, one finely engraved with the Royal Coat of Arms and the other inscribed “Plymouth, Devonport and Cornwall Races 1845, the gift of her Most Gracious Majesty Queen Victoria, Augustus Coryton Esqr, W. R. Fortescue Esqr, Stewards” and “Her Majesty’s Vase, value 100gs., for three-year-old and upwards – Heats, about two miles, starting at the T.Y.C. Starting-post, once round, to the Grand Stand Winning-post.” Fully marked and stamped on the side of the foot ‘Hunt & Roskell Late Storr & Mortimer 2225’. English, assayed for London 1845. Provenance: Her Majesty Queen Victoria. Sir John Barker-Mill, Baronet of Mottisfont.Thence by descent. John Barker (1803-1860) was created 1st Baronet ‘of Mottisfont in the County of Southampton’ on 16 March 1836. A noted racehorse owner, Barker won numerous prestigious trophies with Giantess, Cymba, Miss Ellis and Pugilist. His most prestigious horse, Leviathan, sire of Giantess, won 16 of 21 starts and was sold to George IV for 2,000 guineas. Plymouth, Devonport and Cornwall Races were held from 1828 until 1930. The racecourse was a flat, oval course of 12 furlongs with a straight run-in of 2 ½ furlongs. ‘Royal Plates...

Queen Victoria’s silver coffee service, by William Bateman & Daniel Ball, comprising a coffee pot and burner, a cream jug and a sugar basin, each...

Each of these oak Glastonbury chairs has a pointed back and a fixed rectangular seat. The shaped arms and X-frame legs are attached with protruding pegs, giving the impression of a c...

These two wood panels are of rectangular form, one with rounded corners. Each is painted with a large Royal coat of arms flanked by a lion and a unicorn surmounted by a queen’s crown and red velvet mantling trimmed...

A 3 inch George III pocket globe after Herman Moll, the terrestrial globe inscribed in a cartouche ‘A correct globe with the new discoveries’ and fitted within a hinged black shagreen case, the concave interior of the case applied with the engraved celestial charts...

A 3 ½ inch Regency Lane’s pocket globe, dated 1818, the terrestrial globe with the seas in light green and the land masses outlined in darker green, contained within a hinged black shagreen case, the concave interior of the case applied with the engraved celestial charts...

This pedestal desk has a rectangular leather inset top and supports a small shelf with an openwork ormolu grille and small columns. The kneehole is flanked by three drawers on either...

A large Regency mahogany serving table attributed to Gillows, the shaped top above a fluted frieze with four superb ormolu lion’s mask r...

These charming English School portraits show the subjects half-length by a desk, the surgeon with a skull at his elbow and his wife with an open writing box. Oil on canvas within a gilded frame and accompanied by five related letters. English, circa 1810. Footnote: Robert Prideaux died aged 36 in 1818 but in his short life he managed to rise rapidly through the ranks as a naval surgeon. The Naval Chronicle Vol. 19 (1808) records his appointment as a surgeon, aged only 26, on the cutter Sprightly and that he moved to the Lily by the end of the same year. In 1809, a member of the crew of the vessel Polyphemus was involved in a drunken incident that culminated in him being sick on the quarter-deck of the Lily whilst both vessels were docked at Port Royal in Jamaica. This led to a Court Martial appearance for one Joseph Fountain, the Master at Arms...

Count Gleichen’s Russian shell paperweight, the tooth shaped fragment of a Russian armament shell set above another of rectangular form both raised on a silver mount on an ebonized rectangular plinth, applied with a plaque reading ‘Two fragments of a Russian shell fired at Mr Fred Burne assist.t paymaster and Mr Henry Crave St John midshipman of H.M.S. Cumberland in Aug.t 1854 from Tsee Fort Bonarsund whilst conveying refreshments to the English camp – for their messmate – H.S.H. Prince Victor of Hohenlohe Midshipman landed with the Naval Brigade in 1854’. With a framed caricature of Count Gleichen inscribed Vanity Fair, London, July 5, 1884. Vice Admiral H.S.H Count Gleichen – the Queen’s Nephew.Russian and English, 1854. The print has the following biography on the reverse and on the mount ‘His Serene Highness Prince Victor …. of Hohenlohe-Langenburg, is better known in England as Count Gleichen and as the Queen’s nephew. Born fifty years ago, he was sent to school at Dresden; but at the age of fourteen he conceived ideas not to be bounded within the confines of the small life of a German principality. So he ran away from school to go to sea, and his aunt the Queen of England, being informed of the fact, proposed to her sister to let her adventurous nephew become naturalised as an Englishman and enter the English Navy. This was accordingly done, and Prince Victor, as he was then called, was appointed to the Powerful on the Mediterranean Station, in 1848. He served in the Crimean War and in the operations in China he proved a popular officer and a good sailor-man, and was three times wounded in battle. In 1861 he married the daughter of Admiral Sir George Seymour, sister of the fifth Marquis of Hertford on which occasion it was that he put down his title of Prince and took up for future use that of Count. He became, in due course a Vice-Admiral, and in the meantime he also became a sculptor. It is in the latter art that he now mainly busies himself, and he has created many pleasing busts of his royal relatives and some works of greater pretensions than family portraits. An Alfred the Great, a Beaconsfield, and a Prince Imperial...

A Regency amboyna and gilt library table attributed to Seddon and Morel, with a rectangular top set upon solid end supports with a turned, reeded an...

This fine impression of the celebrated print engraved by mezzotint engraver John Raphael Smith after a painting by Henry Danloux shows the subject on the deck of a ship in the heat of the Battle Camperdown. It is framed in an ornate giltwood frame with a paper label on the reverse showing a coat of arms flanked by the inscription ‘Admiral Lord Viscount Duncan when Victorious off Camperdown, is by permission most humbly dedicated to the Hon. Miss Jane Duncan by her most obedient Servant H.P.Danloux London. Published by H. P. Danloux No 11 Charles Street, Middlesex Hospital...

A centre table attributed to Holland and Sons related to a table in Clarence House, this exceptional table has a circular top decorated with six radiating amboyna veneers with a border of concentric marquetry rings. The decoration comprising kingwood bands within boxwood stringing, a continuous boxwood laurel wreath with ivory berries on a satinwood ground and further amboyna borders. The frieze has amboyna crossbanding and applied ormolu sunburst medallions. The support is composed of purpleheart columns inlaid with kingwood, terminating in low splayed feet, which encircle a classical urn on a plinth. The superb ormolu mounts include acanthus leaves, classical masks and patera. English, circa 1860. A table with a similar base and particularly fine ormolu mounts was exhibited by Holland and Sons in the International Exhibition in 1862 and illustrated as plate 40 in J. B. Waring’s book (see pages 100-103 for further references to this exhibition). A further closely related piece was in the collection of the late Queen Elizabeth the Queen Mother and is shown in the Morning Room in Clarence House in the Daily Mail’s article ‘Inside the private world of Prince Charles’, November 2018. Originally founded by Stephen Taprell and William Holland...