Charles II Furniture

A late 17th-century English Oak chest of drawers, circa 1680, from the Charles II period. This exceptionally well-constructed sturdy chest showcases durability of oak, complemented...

An early 17th-century oak joined bench, dating from the circa 1630-1640 features a beautiful colour and patination. It has a single thick oak plank top, turned baluster legs, and mou...

Antique fine quality Charles II revival C1920 oak and elm writing desk or dressing table. Solid heavy, no loose joints and no woodworm. Full of age, character and charm. The oak l...

This is a wonderful antique silver Charles II lidded tankard with hall marks for London 1680, bearing the makers mark T.S whichn is attributed to Thomas Smith by David Mitchell in hi...

A Very Charming Mid 17th Century, Charles II Period, Oak Joint Stool Of Pegged Construction, Plus Untouched Colour & Patina Throughout, Having Rectangular Moulded Top Over Turned Upright Supports With Original Straight Stretchers. Sometimes referred to as coffin stools (although this was much more of a 19th century trend for their usage as opposed to their original purpose in earlier times) the humble antique joint stool was by far the most common form of seating in 16th and 17th century England. Indeed they were made in relatively vast quantities and almost every house would have a selection of them on hand in a variety of difference sizes and heights so that they could be used as required. This antique oak joint stool...

A fine 17th-century Charles II nicely proportioned oak chest of drawers. It features a rectangular planked top. The chest has 2 short and two long drawers, lined with oak, brass drop...

A magnificent, fine and impressive, composite set of four Victorian English sterling silver candlesticks in the Charles II style; an addition to our Victorian silverware collection. ...

This charming 17th-century Charles II Jacobean oak geometric chest of drawers showcases exceptional colour and patina. It features a rectangular planked top with a moulded edge, posi...

Royal House Antiques Royal House Antiques is delighted to offer for sale this important, Museum Quality German safe circa 1680-1720 attributed to Johann Gottlied Dittman and Sigmund Gatchen Please note the delivery fee listed is just a guide, it covers within the M25 only for the UK and local Europe only for international, if you would like an accurate quote please send me your postcode and I’ll provide you with the exact price Where to begin, if you are looking at this listing then the chances are you know something about antique safes, if you do, then you will recognise just how rare this piece is, I have in all my online research only found one other that was in a terrible condition, it sold in the Sotheby’s Carlton Towers sale on the 4th November 2009, the sale price was £73,250 plus commission which at the time was 30% making the final sale amount £95,225 This example was missing the original key, all the silver finish had polished off and it was rusty, mine by comparison is in absolutely sublime order throughout The original key is present, it operates the exceptionally heavy top lock which has 22 separate locks, each lock works independently so if a thief tried to force one open, it would have no affect on the remaining 21 locks The front of the safe depicts a bird possibly an eagle, the top has a medieval locking plate cover which splits down the middle to reveal the entrance to the lock, it looks similar to a fleur de lis, it springs closed when the key is removed and has its own lock, it has a secret to unlock it, if you don’t know it, you can never fit the key. The sides have oversized handles as they need to be, the safe must weight in excess of 100kgs, the rear has a similar medieval crest The finish is sublime, truly exquisite, this is a work of art and will be the centre piece and pride of any collection, I have absolutely no desire to sell it whatsoever, if it stays in my collection forever so be it, I will never have the chance to own such a piece again and it is an absolute pleasure to see it each day For a similar strong box signed to the interior by Dittman and Gatchen and worthy of comparison see a very fine example from The Alphonse de Rothschild Collection which was sold on the 26th of March 1973 at the De Rede sale in Monaco as lot 167. The Rothschild box...

- EXCEPTIONALLY, RARE, MUSEUM QUALITY PIECE, THE COWDRAY PARK KNOLE SETTEE, INVENTORY NUMBER D2029 - Supplied by Lengyon & Co, the pre-eminent maker, to ...

Hallmarked in London in 1669, this handsome, Charles II period, Antique Sterling Silver Porringer, is of traditional form with chased and engraved detailing. The makers mark T.P is s...

A magnificent Antique Charles II Lidded Tankard with a traditional straight sided tapered body. The Tankard has an large engraved armorial opposite a substantial scroll handle. The 17th century Tankard...

The Rare and Important 17th Century Spring Driven Table Clock by the Celebrated Maker, Henry Jones. Provenance dating back to 1745. Owned by Captain Alexander Raitt A very rare an...

17th-century English oak upholstered stool, dating back to around 1680. The stool features a rich, warm colour and patina. The stool remains fully functional and can be used withou...

Beautiful English Needlework Panel Dating from early 17th Century Circa 1620 The entire surface worked in intricate tiny silk stitches. Hard to capture the beauty on my camera. ...

A fine, and rare, very closely-matched pair of late-17th century oyster walnut chests on stands. English, Charles II period, ca 1685. Both with f...

Important Charles II Olive Oyster Floral Marquetry Table Firmly Attributed to Royal Cabinetmaker Gerrit Jensen, Circa 1680. England This rare and exceptional 17th century Charles II...

Large antique 17th century quality oak double gate leg table having a large quality oak top with two drop leaves supported by bobbin turned and b...

Royal House Antiques Royal House Antiques is delighted to offer for sale this absolutely stunning and totally original, folded iron Ships Anchor dati...

An extremely rare 17th-century inlaid walnut geometric chest of drawers dating to 1660, featuring two short drawers, one large central cushion drawer, two lower long drawers, and one...

A fine and rare mid-17th century ebony veneered architectural table cabinet of diminutive proportions, circa 1640. Augsuerg. The moulded ebony veneered cabinet is surmounted with a...

17th century carved Oak Court cupboard, Livery cupboard This Old and roomy cupboard is made in solid Oak and needless to say it is very heavy, lucki...

This is a digitally remastered World Map Conjuring up the golden age of exploration, from an original 1642 double hemisphere map of the world. It...

A magnificent pair of vintage solid sterling silver wine goblets, a good size, each standing 5 1/2" tall and a hefty weight, a combined 591 Grams or 19 Troy Ounces. In the Charles I...

Description Charles II sterling silver tankard, John Ruslen, London, 1680. Decorated with vertical grooves separated by horizontal circular bands, handle with engraved initials, "JM"...

We are delighted to offer for sale this exceptionally rare original 17th century Northern English hand carved from solid oak Wainscot armchair ...

17th-century English , Lantern Clock, by the historically important London clock maker Ignatius Huggeford... It is worth highlighting that Ignatius Huggeford held the distinction of...

Beautiful English Needlework Panel Dating from early 17th Century Circa 1620 The entire surface worked in intricate tiny silk stitches. Hard to capture the beauty on my camera...

Beautiful English Needlework Panel Dating from early 17th Century Circa 1620 The entire surface worked in intricate tiny silk stitches. Hard to capture the beauty on my camera...

Beautiful English Needlework Panel Dating from early 17th Century Circa 1620 The entire surface worked in intricate tiny silk stitches. Hard to capture the beauty on my camera...

Large antique quality carved oak coffer having a hinged top opening to reveal a storage space and original lock above a Lynette carved frieze and three quality carved panels to the f...

Characterful, naive charm Perfect height for occassional table beside armchair or sofa for a drink and nibbles A mid-17th century oak joint stool...

A superb Charles II month duration floral marquetry longcase clock by the well-known maker John Wise, c. 1680-85. Measure: 10". The case is of the highest quality and decorated throughout in very attractive floral marquetry depicting spring flowers and birds showing a high level of sophistication with a glazed circular lenticle to the door. Similarly, the rising hood is decorated with blind frets around the top and surmounted by a shallow caddy decorated by five gilt wooden ball finials. It is flanked by prominent gilt brass-capped solid barley twist columns, with blind fretted panels to the sides. The month-going nicely finned and knopped five pillar movement has reversed going and striking trains, the striking train (on the right) being regulated by a small outside countwheel. The going train has anchor escapement and a seconds pendulum. The movement is fronted by a 10-inch brass dial with an unusual narrow silvered chapter ring, seconds ring and date aperture. It has elaborate cherub-head spandrels in the corners and is signed along the bottom John Wise Londini Fecit. The middle is finely matted, whilst the time is indicated by a fine pair of blued-steel hands, the hour hand richly pierced. The maker John Wise was born in Banbury shortly before 17 March 1624, the date of his baptism. He was the son of John and Ann Wise and a cousin of Joseph Knibb...

An impressive Antique Charles II sterling Silver Porringer of substantial size decorated with a chased stylised leaf pattern around the base and a chased band around the middle of th...

Royal House Antiques Royal House Antiques is delighted to offer for sale this super rare suite of four totally original 17th century circa 1640-1680 French Caquetoire armchairs with...

A Jacobean oak mule chest Antique English 17th century Jacobean Oak Mule Chest circa 1660 A Charles II Jacobean oak mule chest 17th...

A very fine panel of 'King Charles II and his favourite Lady' in the gardens of a Church / Castle. The bright colours of the raised stumpwork embroidery, and fine detail of the faces...

A Rare and Well Preserved 17th century Charles II Walnut High Back Bergère Decorative Carved Hallway Chair 1680s This high-back chair made from waln...

A CHARLES II STYLE MAHOGANY HIGH BACK ELBOW CHAIR, ENGLAND, 19TH CENTURY. Humped back, upholstered to the back and seat in red fabric with a lozenge design, the arms of scrolling...

Royal House Antiques Royal House Antiques is delighted to offer for sale this stunning, late 17th century, hand caved 1684 lift top writing work table traditionally used for bible s...

Each with a damask pattern of scrolling foliage, peonies, tulips and fruit. Massive pattern repeat, see image. Original braid. Cleaned and conserved. Measures: Two height 315 cm., 124 in., width 107 cm., 42 in., One height 295 cm, 116 in., width 109.5 cm., 43 in., From the collection of the 1st Viscount Cowdray, Cowdray Park, Sussex, supplied by Lengyon & Co, circa 1910. Francis Lenyon, Lenyon & Co, Lenyon & Morant Born in England in 1877, Lenyon was trained as a cabinetmaker and studied at the South Kensington Museum in London. By 1900, he found work with Art Workshops, Ltd., and soon after with Charles Duveen, son of Sir Joseph Duveen. Employed by C.J. Charles for several years, Lenyon became well-known as cabinetmaker to England's aristocracy. He opened his own firm, Lenyon & Co., in 1904, and in 1912 merged with Morant & Co., to become Lenyon & Morant, holding royal warrants under four successive British kings. In 1910, Lenyon made his first visit to the United States to supervise the interior decoration of Whitlaw Reid, and soon opened a New York branch of his firm. As in England, Lenyon 's American clients were wealthy and sophisticated and relied on Lenyon to furnish authentic and reproduction interiors in period styles. In the 1930s, Lenyon was hired by Nelson Rockfeller to serve as a major consultant to the reconstruction of Colonial Williamsburg in Virginia, and selected all the furnishings for the Governor's Palace there. Lenyon was widely known for his expertise in 17th and 18th century British furniture...

Description Charles II sterling silver tankard, AL silversmith, London, 1676. Tapered-sided body with hexagonal shield at base of handle, double scroll grip, contemporary heraldic cr...

A Charles II Giltwood and Marble Topped Console Table A Charles II giltwood and marble topped console table c.1680, on bold ‘S scroll’ supports, having central figurative decoration...

Royal House Antiques Royal House Antiques is delighted to offer for sale this super rare and highly collectable suite of twelve original Copper plate engravings dating to 1643 by Ioachimus Sandrart after the original by Joachim Von Sandrart the Elder depicting the months of the year These are a suite that will never come up for sale again, dating to 1643 they are 381 years old, the copper engraving print outlines clearly visible, each piece signed to the bottom left Ioachimus Sandart Pinxit and to the bottom right what looks like I Suijderhoef jculjit These are a highly coveted and important suite of mid 17th century prints, they wouldn’t look out of place in the finest library or museums The condition is perfect, they are mounted with full margins, on museum board with golf leaf slips and hand made 22ct gold leaf side edges Dimensions each Height:- 53.5cm Width:- 43.5cm Depth:- 2cm Please note all measurements are taken at the widest point, if you would like any additional or specific measurements please ask Joachim von Sandrart (12 May 1606 – 14 October 1688) was a German Baroque art-historian and painter, active in Amsterdam during the Dutch Golden Age. He is most significant for his collection of biographies of Dutch and German artists the Teutsche Academie,[1] published between 1675 and 1680. Sandrart was born in Frankfurt am Main, but the family originated from Mons.[2][3] According to his dictionary of art called the Teutsche Academie, he learned to read and write from the son of Theodor de Bry, Johann Theodoor de Brie and his associate Matthäus Merian, but at age 15 was so eager to learn more of the art of engraving, that he walked from Frankfurt to Prague to become a pupil of Aegidius Sadeler of the Sadeler family. Sadeler in turn urged him to paint, whereupon he travelled to Utrecht in 1625 to become a pupil of Gerrit van Honthorst, and through him he met Rubens when he brought a visit to Honthorst in 1627, to recruit him for collaboration on part of his Marie de' Medici cycle. Honthorst took Sandrart along with him when he travelled to London. There he worked with Honthorst and spent time making copies of Holbein portraits for the portrait gallery of Henry Howard, 22nd Earl of Arundel. Making all of those copies only served to arouse more curiosity in the young adventurer, and in 1627 Sandrart booked a passage on a ship from London to Venice, where he was welcomed by Jan Lis (whose Bentvueghels bent name was "Pan"), and Nicolas Régnier.[4] He then set out for Bologna, where he was met by his uncle on his mother's side Michael le Blond, a celebrated engraver. With him, he crossed the mountains to Florence, and from there on to Rome, where they met Pieter van Laer (whose bent name was "Bamboccio"). After a few years he undertook a tour of Italy, traveling to Naples, where he drew studies of Mount Vesuvius, believed to be the entrance to the Elysian fields described by Virgil. From there he traveled to Malta and beyond, searching for literary sights to see and paint, and wherever he went he paid his way by selling portraits. Only when he was done traveling did he finally return to Frankfurt, where he married Johanna de Milkau in 1637. Afraid of political unrest and plague, he moved to Amsterdam with his wife in 1637. In Amsterdam he worked as a painter of genre works, and portraits. He won a very good following as a painter, winning a lucrative commission for a large commemorative piece for the state visit by Maria of Medici in 1638, which hangs in the Rijksmuseum. This piece was commissioned by the Bicker Company of the Amsterdam schutterij, and shows the members posing around a bust of Maria of Medici, with a poem by Joost van den Vondel hanging below it. The state visit was a big deal for Amsterdam, as it meant the first formal recognition of the Dutch Republic of the seven provinces by France. However, Maria herself was fleeing Richelieu at the time and never returned to France. This piece cemented his reputation as a leading painter, and in 1645 Sandrart decided to cash in and go home when he received an inheritance in Stockau, outside Ingolstadt, he sold his things and moved there. He received 3000 guilders for 2 books of his Italian drawings, that according to Houbraken were resold in his lifetime for 4555 guilders. Though he rebuilt the old homestead...

Cosmography & Astrology Large oval engraved plate with inscriptions outlining the various parts of cosmography and astronomy; below, two emblematic figures with scientific instruments either side. Lettered with title, dedication, and various inscriptions. To his Excellency Roger Palmer, Earle of Castelmain and Baron of Limerick in Ireland, Embassador Extraordinary from his majesty King James II to his Holyness Pope Innocent 11th anno dom 1686. This plate is humbly DD by Richard Blome. On paper and retaining its original coloring. Sheet width 26 ½ cm., 10 ½ in., height 41 ½ cm., 16 ½ in., In a part-gilded Sansovino frame...

An excellent traditional Charles II Solid Silver Spoon in the simple, elegant puritan style. The Spoon has the initials SG engraved on the back of the handle. Made in London, England in 1669 by Stephan Venables. Approx. Weight - 52g Approx. Length - 18.3cm Approx. Width - 5.1cm This 17th...

A rare English 17th-century oak refectory table. Charles II-period, ca 1675. The three-plank cleated detachable top is of superb color, figuring and patination. Raised on six baluster supports united by stretchers. The frieze is guilloche-carved on all four sides: this demonstrates that this table can be free-standing. Many of these were only carved on three sides. This versatile refectory table can be used as a hall table, dining table, serving table, or a wonderful kitchen table. A number of early oak pieces which we have sold have harmonized very well with modern interiors. A similar-sized refectory table (in generally poor condition) sold for £17,000.00 plus buyer's premium, in Duke's auctioneers ATHELHAMPTON HOUSE sale, Puddletown, Dorset, UK, 9th Oct, 2019. Nb. The turning of the supports on this antique table indicates a development away from an earlier, heavy, carved bulbous leg, to a simpler baluster leg of the late-seventeenth century. However the guilloche-carved frieze is a hint of an earlier period. Some historic restoration commensurate with 350 years of use. Overall in superb condition. Dimensions: 8’5’' L. (256.5 cm) 2’8’' W. (81 cm) 2'7'’ H. (79 cm). Literature: R. W. Symonds 'The Present State of Old English Furniture...

We are delighted to offer for sale this stunning Charles I 1630 solid oak hall or refectory table from Plaish hall Church Stretton Shropshire A very good looking and well made refectory or hall table, it has a triple plank top with cleated ends, moulded frieze above turned and square section legs joined by peripheral stretchers The table came from the Collection of Plaish Hall, Church Stretton, Shropshire which was the Property of Mrs Roy Merley and Family. Plaish Hall is a stunning Grade I listed Tudor house, standing in beautiful gardens and grounds and surrounded by the unspoilt countryside of South Shropshire. It is believed to be the first brick built house in Shropshire in the 1580s, (although parts of an earlier stone house were incorporated), at a time when the great majority of buildings in the parish of Cardington were timber framed. Of special note are the chimneys of Plaish Hall which are thought to have been based on those at Hampton Court, they are considered to be the finest in the West Midlands. From the early 1980s and over a period of 35 years Plaish Hall was initially meticulously restored and then maintained, its glorious Tudor style gardens were also reinstated. Judge Sir William Leighton Plaish Hall was re-built for Judge Sir William Leighton who on his death in 1607 left land to endow church repairs at St James’s, Cardington, as well as the sum of £50 for the making of his tomb in the chancel. In his notes on the History of the Church and Parish of Cardington, G B H Bishop...

We are delighted to offer this exquisite pair of extra large Burr Satinwood framed copper plate prints dating to circa 1660 by the genius that was Pierre Mignard...

Charles II period (1630-1685) oak and walnut chest of drawers, or commode. Retaining old waxed surfaces of very good rich color and patination. With typical geometric drawer fronts and side runners, confirming a late 17th century date of c 1680. Walnut panel inserts to the drawer fronts. Retains its original stile feet and the base with its original bold moulding. Brass key escutcheons...

A magnificent Sterling Silver Lidded Cup in the style of a 17th Century Charles II Porringer. The Body and Lid of the Porringer are embellis...

John Ogilby (British 1600-1676) cosmographer and geographick printer to Charles II. A road map from Britannia, 1675/6. No 5, The road from London to Barwick: London to Stilton In a grey painted and gilded frame. In a remarkable life John Ogilby pursued, several careers, each ending in misfortune, and yet he always emerged undeterred, to carry on. His modern reputation is based on his final career, started in his sixty-sixth year, as a publisher of maps and geographical accounts. Ogilby was born outside Dundee, in 1600, the son of a Scottish gentleman. While he was still a child, the family moved to London. When the elder Ogilby was imprisoned for debt, the young John invested his savings in a lottery, won a minor prize, and settled his father's debts. Unfortunately, not enough money was left to secure John a good apprenticeship; instead, he was apprenticed to a dance master. Ogilby was soon dancing in masques at court but, one day, while executing a particularly ambitious leap, he landed badly. The accident left him with a permanent limp, and ended his dancing career. However, he had come to the attention of Thomas Wentworth, later Earl of Strafford, Charles I's most senior minister. Ever one to exploit his contacts, Ogilby became a dance instructor in Strafford's household. When Strafford was sent to Ireland, Ogilby accompanied him as Deputy-Master of the Kings Revels, and then Master of Revels. In Dublin, he built the New Theatre, in St. Werburgh Street, which prospered at first, but the Irish Rebellion, in 1641, cost Ogilby his fortune, which he estimated at £2,000, and almost his life. After brief service as a soldier, he returned to England, survived shipwreck on the way, and arrived back penniless. On his return, Ogilby turned his attention to the Latin classics, as a translator and publisher. His first faltering attempt, in 1649, was a translation of the works of Virgil, but after his marriage to a wealthy widow the same year, his publishing activities received a considerable boost. One means by which Ogilby financed these volumes was by subscription, securing advance payments from his patrons, in return for including their name and coats-of-arms on the plates of illustrations. Another approach was to secure a patron, preferably in the court circle. Ogilby's first patron was Strafford, who found out too late that all leading ministers are dispensable when Charles I assented to his execution in 1641. As he re-established himself, Ogilby sought a new patron, the King himself. In 1661, Ogilby was approached to write poetry for Charles II's coronation procession; he later published 'The Relation of His Majesties Entertainment Passing Through the City of London', and a much enlarged edition the following year, which included a Fine set of plates depicting the procession. Royal favour was bestowed in 1674 when John Ogilby received the title of 'His Majesty's Cosmographer and Geographick Printer' with a salary of £13.6s.8d per annum. In 1665, Ogilby left London to avoid the Plague then ravaging the capital. The following year, in the Great Fire of London, Ogilby claimed that he lost his entire stock of books valued at some £3,000, as well as his shop and house, leaving him worth just £5. As he sought to restore his fortunes, Ogilby was already looking in new directions. The initial opportunity he seized on was the reconstruction of London's burnt-out centre. He secured appointment as a "sworn viewer", whose duty was to establish the property boundaries as they existed before the Fire. Ogilby was assisted in the project by his step-grandson, William Morgan, and by a number of professional surveyors. The result was an outstanding plan of London, on a scale of 100 feet to an inch, on 20 sheets, although it was not printed until after Ogilby's death. Ogilby then turned his attention to publishing geographical descriptions of the wider-world. In 1667, he issued 'An Embassy from the East India Company of the United Provinces to the Grand Tartar Cham, Emperor of China.' Buoyed by the response to this volume, Ogilby conceived an ambitious project, a multi-volume description of the world. The volumes were joint collaborations, in conjunction with the Dutch publisher Jacob van Meurs. 'Africa', published in 1670, was the least original of the three, both in terms of the text, maps and illustrations. In a similar vein, he issued the 'Atlas Japannensis' (1670), the 'Atlas Chinensis' (1671), and 'Asia' (1673). In 1671, Ogilby published the 'America', translated from Arnold Montanus' Dutch text. The 'America' is certainly the most original, and most important, of Ogilby's various geographical volumes, and its influence and popularity was immediate. With its completion, Ogilby turned to a project nearer his heart, the description of Britain. Ogilby originally intended to devote one volume to Britain, but as the project evolved, he became more ambitious, as revealed in a prospectus issued in about 1672: "This having oblig'd our Author to take new Measures ... to compleat within the space of two Years a Work ... considering the Actual survey of the Kingdom, the Delineation and Dimensuration of the Roads, the Prospects and Ground plots of Cities, with other Ornamentals ... into six fair volumes. The Four first comprehending the historical and geographical description of England, with the County-Maps truly and actually survey'd. ... The fifth containing an Ichnographical and Historical Description of all the Principal Road-ways in England and Wales, in two hundred copper sculptures, after a new and exquisite method. The sixth containing a New and Accurate Description of the famous City of London, with the perfect Ichnography thereof ..." In the proposals, Ogilby emphasised the scale of the undertaking; no-one before him had attempted such a vast project. He estimated the total costs would be £20,000, a staggering amount. The cost of the complete set of six volumes was to be £34. At that time, Wenceslas Hollar...

Royal House Antiques Royal House Antiques is delighted to offer for sale this rare original 17th century Circa 1660-1680 English oak Charles II occasional side chair Please note t...

A Charles II walnut elbow chair with foliate carved scrolling arms. The rectangular back and seat covered in modern needlework authentically styled to the period.

An Extremely Rare Charles II Confit Box Made, Most Probably, in London circa 1670, Maker's Mark of M With a Crown Above This very rare piece is circular in form and plain in design ...

A Charles II 17 century oak chest with moulded front drawers, snakewood and bog oak panels and turned spindles and applied designs down each side. The top four drawers are half width...

A Charles II Gateleg table. Late 17th century Oak Gateleg table with excellent patina. Original drawer and drop handle. Dimensions: H ...

A pair of Charles II style, enamel brass and cast iron armorial firedogs, in the manner of Anthony Hatch and Stephen Pilcherd. Each firedog is decorated with red, blue and white enamel, the upperpart bearing the arms of Charles II or James II, the middle part formed of two nude male figures supporting the arms with a vase of flowers between them, the lower portions in the form of two convex disks decorated with flowers, with wrought iron supports. They are modelled after an example in the collections of the Victoria & Albert Museum, London, formerly belonging to the Earl of Cowley. For a long time, their method of production -whereby the fields to be enameled were cast in the original moulds and not, as was more common, engraved (champlévé) or enclosed (cloisonné) - was referred to as Surrey Enamels after the author Charles R. Beard ascribed their manufacture to a factory in Esher, Surrey. However, documentary evidence makes a strong case for their reattribution to the London workshops of Anthony Hatch and Stephen Pilcherd, members of the Armourers' and Braziers' Company (see C. Blair and A. Petterson, 'Details for Surrey Enamels Reattributed (Part 1)', Journal of the Antique Metalware...