17th Century William and Mary Period Kingwood Strong Box / Coffre Fort on George

An extremely rare pair of Regency cast-iron sarcophagus shaped strong boxes. Regency, circa 1820 Painted to simulate palisander wood and with parcel-gilt, the cavetto-moulded hinged lids cast with flower sprays above foliate-cast bands over front panels relieved with river gods within canted corners cast with standing muses, the sides with lion mask and ring handles over leafy aprons on massive lion’s paw feet; the Brahmah type lock stamped “T. Davis from London” and impressed with the Royal Crown. These extraordinary pieces are modelled on Regency wine coolers. The forms are classic Greco-Roman revival with the boat-hook handles, mythic figures and the overall sarcophagus pattern. You would struggle to find one let alone a pair. Good items for any collection. Research on going into these strong boxes but we have found possible information on the lock stamped Davis….(historyoflocks ) The relationship of King George III and George Davis of Windsor, who was locksmith in ordinary to His Majesty. Davis, in 1799, invented and patented a unique style of lock, which was also beautifully engraved with a warning not to make duplicate keys. Sensitive government secrets always demanded, then as today, locks that were state of the art. Davis locks ended up on government dispatch boxes...

An extremely fine, elegant and rare late 17th Century Japanese lacquer cabinet, from the Eco period, on later lacquered black stand. Japanese circa 1690 Provenance A private Scottish collection This outstanding cabinet is a fascinating fusion of east and west. The cabinet itself would have been made in Japan, c.1690, and is decorated to the outside with hiramaki-e lacquer. This technique involves the use of sprinkled gold powder which adheres to the lacquer surface. On the best pieces, as with this example, many layers are added in order to create areas of high relief and give depth to the surface decoration. The taste of the Japanese workshops in this period was often for quite restrained pieces with plenty of the black background visible, unlike some of the busier Chinese lacquer or European japanned examples produced around the same time. The Japanese makers seemed content to rely on the outstanding quality of the lacquer itself, regarded by most experts as the finest lacquer ever produced, and did not see the need to cover every surface believing that less was more in this respect. The lacquer here is used to produce a mountainous scene with buildings on the bank of a river, the other side of the river with more buildings and a contrasting flatter and forested landscape. The fine perspective achieved is the result of the clever use of raised and flatter areas in the lacquer itself in combination with the drawing of the design itself. Another remarkable aspect of this piece is the fine metalware throughout, but particularly the lockplate / hasp, hinges and foot mounts to the front. This is all beautifully cast and engraved contrasting against the black background. Interestingly another cabinet on stand with near identical metalwork was advertised in the Burlington Magazine, November 1913, with the dealer W. Williamson and Sons of Guildford. The lacquer on that piece is similarly refined and it seems likely that both pieces came from the same workshop. The European influence in our piece can be seen in both the later ebonised stand and in the japanned decoration which has been applied to the inside of the doors and is also very fine indeed. This consists of two panels with birds of prey perched on branches in colours set against a golden background. The cabinet has a recent Scottish provenance and so it is likely that the ebonised stand was made in Britain though such pieces were made throughout Europe as a way of quite literally elevating these imported pieces of eastern lacquer as in Japan these would have been used on the floor. Inside the cabinet there is a combination of more Japanese lacquer and lock plates and European drawer handles. Most of the lacquer drawer fronts incorporate mountainous scenes and birds in combination, with a few purely one or the other of the two subjects. Again the lacquer is in excellent condition and is of exceptional quality with multiple layers of relief used in one single scene in many cases. As mentioned above, Japanese lacquer is the most technically brilliant of the eastern lacquers and, as such, was highly prized by collectors and connoisseurs throughout Europe when this piece was made. The acquisition of such pieces would only have been possible for a small group of incredibly wealthy individuals, largely royal or high ranking courtiers or merchants connected with the East India trade...

An Exceptional and Highly Important Micromosaic Gold Mounted Jasper Snuff Box, most probably by Gioacchino Barberi with the box likely by Moulinié, ...

An Exceptionally Fine French Serpentine and brass marquetry inlaid Cave a Liqueur or Tantalus Box with mother of pearl. French circa 1870 Primarily veneered in fine thuya wood of...

A William and Mary Kingwood/Princes oyster strongbox or Coffre Fort, circa 1680-1700, England. Adorned with highly decorative gilt brass strapwork and decorated in knife-cut oysters ...

Rectangular with brass strapping and side handles. Lock plate and flap. Fitted sometime in the 19th century as a tea caddy. Labeled Orange Pekoe and Black tea...

A strongbox was a type of travelling chest and these types of boxes were more common in England than anywhere else where they were fabricated between 1660 and 1720. The earliest proo...

A fine late 17th-century olive oyster 'Lace Box' of small proportions, circa 1680-1690, England. The cross-grain moulded and holly banded top is finely veneered in hand-cut veneers ...