Quiet Street Antiques

John H. (‘Jock’) Wilson (1774-1855)

A good framed oil painting on canvas depicting a coastal marine scene with a three-masted sailing vessel and several other sailing/fishing boats and choppy seas. Signed lower left corner.

Dimensions: Width 23.5 inches. Height: 11.5 inches (60 x 29 cm)

Dated: c. 1800-1820.

About the artist: WILSON, John H. (‘Jock’) R.S.A. 1774-1855

Born in Ayr in Scotland in 1774, Wilson was apprenticed in Edinburgh and received some instruction in drawing from Alexander Nasmyth. He later taught drawing for two years in Montrose. In 1798 he moved to London as a house painter but after he had decorated the Surrey Theatre he worked there in the scene-room and subsequently became scene-painter to Philip Astley in his Royal Amphitheatre.

He also worked for Astley in Ireland and on the Continent, and it was on his scene painting that a great deal of his reputation rested. Though none of it survives, it was very influential and admired by Clarkson Stanfield.

As an easel artist Wilson was and is most notable for his marines. His work was much admired for its dramatic effects of light and storm.

He first exhibited at the Royal Academy in 1807 and thereafter most years until his death. He also exhibited at the British Institution from 1813, and at the Society of Artists, of which he was a foundation member in 1823 and President in 1827. Late in life he moved to Folkestone where he died in 1855.

Examples of his work may be seen at the National Gallery of Scotland, Edinburgh, Folkestone Art Gallery, Leicester Art Gallery, Laing Art Gallery, Newcastle, Salford Art Gallery and Wolverhampton Art Gallery..

An exceptional late 18th century (George III period) mahogany tambour topped Cylinder Bureau in the manner of Gillows. The rear is especially interesting with an arrangement of false drawer and cupboard fronts. The sides with brass handles. Above the tambour is a shelf with a small but solid half-inch gallery around three sides.

The fully working tambour top opens to reveal an arrangement of 5 drawers and 8 pigeon holes over a full width sliding writing surface that is fitted with a hinged green leather writing surface and two further green leather writing surfaces, all with embossed and gilded decoration. Under the writing surface are two banks of three graduating drawers either side of a kneehole with a further central drawer over. Each drawer is fitted with a Bramah lock. Drawers are dovetailed and made of finest timber typical of Gillows craftsmanship. Keys included.

The desk is supported on square tapered legs ending in brass caps and castors, all original.

Dated: c.1780-1800.

Height: 43.5 inches. Width: 48 inches. Depth: 24 inches (107 x 125 x 62 cm).

Condition: Exceptional. With good rich colour and deep patina..

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Quiet Street Antiques

An early 20th century Mahogany twin pedestal Partners Desk, by Maker Domenico Bianco & Sons. A label is affixed to the inside of one of the rear cupboards.

The desk can be set up to have four drawers and a cupboard to each side, or (as we have it shown) all the drawers on one side, and both cupboards to the other (back).

The top comprises of a green leather writing surface with embossed and gilded decoration around the edge. Four graduating drawers on each pedestal with two cupboards on the back (one to the rear of each pedestal) the depth of cupboards c.10 inches. There is a dummy drawer front above each cupboard door. Original swan-neck handles. Each pedestal sits on a plinth base, with a decorative beading underneath the top drawer. Several keys.

Dated: c.1910-1920. The two sons joined the business in the early 1900’s which as the label has the “D. Bianco & Sons” suffix, helps date this desk.

Dimensions: Width: 5ft . Depth: 3ft. Height: 30.75 inches (152.5 x 91.5 x 78cm)

About the Cabinetmaker: D. Bianco & Sons. Fitzroy Works, North Crescent, Chenies Street, Tottenham Court Road, London; furniture manufacturers (fl.1880-1980). Established in 1880 by Domenico Bianco, who was born in Piedmont, Italy (1852), and arrived in London in 1873. The firm started off as a small workshop in the basement of his house just off Tottenham Court Road, producing furniture of a high quality in French, Italian and English styles. .

A good Regency period circular tilt-top rosewood Breakfast Table of 4ft diameter. The book-matched veneered top, shows off the grain to its best and features a plain edge, with further inset circular trim under to soften the appearance. The top can be released by means of the brass lever to tilt up to a vertical position. Ideal for space-saving, but also helps show-off the suberb grain of the top. The top is supported on a solid central turned column which in turn is supported on a tripod base, standing on squashed bun feet, complete with original inset castors.

Seats SIX in comfort.

Dated: c.1830-35. .

A rare pair of 18th century Georgian period hallmarked silver embossed Berry Spoons, with original gilding to each bowl which are embossed with fruit decoration and further engraved decoration to the handles.

Hallmarked: London 1784. Maker unidentified

Weight: 98g (together)

Dimensions: Length: 8 inches (20 cm) Width of bowl: 1.6 inches (4.2 cm).

A superb quality George III mahogany Batchelors Chest comprising a brushing slide over two short and three long graduating drawers. The finely figured top has a moulded edge and a lovely deep patina of rich colour. The unit is supported on a plinth with ogee feet.

Dimensioins: Width: 33 inches (84 cm). Depth: 20 inches (50.8 cm). Height: 34 inches (86.5 cm).

Date: c.1780-1810 .

A good late 19th century glazed, gilt framed, oil painting entitled “View of the Village II” by (Carlton) Edwin Harris (1855-1906). The painting captures an idyllic country village scene, with four figures and a dog walking along the village street, with thatched houses to the left and a small church in the background. Well painted and capturing the rural idyll perfectly.

Signed: ‘Carlton E. Harris’ – lower right corner.

Dated: c.1880-90.

Dimensions – (including frame): Landscape: 17 inches x 14 inches (43 x 36 cm).

Carlton Edwin Harris RBSA (1855-1906): painted mostly portraits, genre, figurative subjects and coastal scenes. He exhibited thirteen works including “The Woodcutters Daughter”, “A Village Idyll”, and “Between ‘yes’ and ‘no’ ” at the Royal Academy, 1882-1904. He also exhibited a Landscape at the Suffolk Street Royal Society of British Artists in 1891. He lived in Birmingham and later moved to Newlyn in Cornwall..

Joseph Murray INCE (British, 1806-1859)

A framed and glazed mid-19th century watercolour painting on paper – “A traveller on a wooded path” with a ‘Squire Gallery’, Portman Square, London, label verso, typed on the label… J. M. Ince 1806-1859.

Dated: c.1830-40

Unsigned

Dimensions (frame): Height: 15 inches. Width: 12 inches (38 x 30 cm)

INCE, Joseph Murray (1806-1859) – There is quite a lot known about this prolific artist. He was a landscape, marine and architectural painter, both in oil and watercolour. Born in Presteign, Radnorshire; pupil of David Cox in Hereford in 1823, and remained with him for three years before moving to London in 1826. He exhibited from 1826-58, at the Royal Academy, 1826-47, British Institute; (Suffolk Street) Royal Society of British Artists (137 works); New Watercolour Society and elsewhere.

He painted pleasing landscapes on a small scale, such as ‘Coasting Vessels, with Harbour’, 1836 Victoria & Albert Museum, and in 1832 was living in Cambridge, where he made many drawings of architectural subjects. Returned to Presteign c.1835 where he lived until his death. “His smaller works are the best, being well drawn and coloured” (Victoria & Albert Museum). Victoria & Albert Museum has three watercolours, British Museum five, National Gallery, and one in Dublin. (source… The Dictionary of Victorian Painters – 2nd edition, by Christopher Wood.).

Late 19th century gilt framed (and glazed) marine watercolour painting. Cornish school. Apparently Unsigned. This charming Cornish coastal fishing village scene features a seaside town with terraced houses and fishing sheds rising along a boat ramp, with further housing beyond and fishing boats moored aground close to the shoreline. The fine detail represents a good record of the village at the time of painting. Although unsigned this was obviously painted by an accomplished artist.

Dimensions (frame): Width: 19 3/4 inches. Height: 15 inches (50 x 38 cm). (Visible painting inside mounts): 7.5 inches x 12.5 inches. (19 x 32 cm).

Dated: Approx 1880-90.

Franklin D. Briscoe (1844-1903) – Framed Oil Painting on canvas. “Fishing Boats on the French Coast”.

A dramatic and imposing heavy gilt framed oil painting, depicting a large two-masted fishing vessel with French flag, making way under stormy clouds, with sails reefed in choppy seas, surrounded by smaller manned vessels, some also under sail, pulling their catch aboard, with attendant seagulls. The detail, clouds and choppy seas are of particular note.

Signed to the lower left corner, and Dated verso: 1893, also entitled “Fishing Boats on the French Coast”.

Dimensions (Frame): Height: 44 inches; Width: 38 inches. (112 x 97 cm).

Franklin Dulin BRISCOE (1844-1903). Born in Baltimore, Maryland USA. Died Philadelphia, Pennsylvania, USA. Franklin D. Briscoe studied with Edward Moran, a notable painter of marine scenes. Briscoe travelled throughout his life, visiting Art Museums in London, Paris and other European cities. Following periods of study both in Paris and London, he had hoped to settle in France, but the outbreak of the Franco-Prussian War forced him to establish his studio in the United States.

His seascapes for which he was best known were inspired by his own ocean expeditions and experiences. Dramatic weather was a prominant theme in his paintings. Although he preferred to paint Seascapes, he also ventured into portrait paining as well as Historical paintings. One such historical painting included a mural of the Battle of Gettysburg, that was more than 200 feet long. Briscoe exhibited at the Pennsylvania Academy of the Fine Arts, The Brooklyn Art Association and also showed work in the 1876 Philadelphia Centennial Exhibition..

George Marks (fl.1876-1922) – 19th century framed and mounted (behind glass) watercolour painting, featuring a view of the village of Batheaston from across the valley.

Signed, lower left corner.

Dated: Indistinctly dated and titled “Batheaston”, in pencil, lower left corner. Believed to be 1896.

Dimensions: 9.5 inches x 12.5 inches.

About the artist: The painting is signed “G. Marks” believed to be George Marks (fl.1876-1922). He exhibited at the Royal Academy 1878-1904, Suffolk Street Royal Society of British Artists (London); Royal Institute of Painters in Watercolours, (formerly New Watercolour Society) and elsewhere. He painted mainly in the South East of England (Kent, Surrey and the Southern Coast) working from his base in Penge. However he toured the UK and this painting would appear to be one painted whilst on his travels.

A good 2nd-quarter 19th century solid mahogany extending DINING TABLE with four different sized leaves for a variety of combinations of place numbers. The figured solid mahogany top with reeded edge is supported on two turned columns with tripod bases, culminating in reeded legs with brass castors (original). There is also a full set of metal securing clips.

Dated: c.1825-30.

Dimensions: Seats 8-10 (max length 265 cm, width 111 cm). Shortest length (2 D-ends together) 151 cm..

A good mid-Victorian mahogany COLLECTORS CABINET comprising SIX glass topped drawers graduating in depth. The front glass door with working lock and key, opens to reveal the six drawers behind. Each drawer, as well as having a sliding glass cover, has wooden k***s and the interior is papered. Each of the drawers is dovetailed in construction with sliding action for the glass cover.

In generally good condition. A few scuffs and minor scratches consistent with age. Original glass all intact and key/lock working.

Dimensions: w: 16 inches, h: 15 inches, d: 10.5 inches (38 x 42.5 x 26 cm)

Dated: c.1850-60..

A superb late 18th / Early 19th century papier-maché s***f shoe, with white metal inlaid bow, the hinged cover with MOP bird over a wire-work branch and MOP leaves. The lid is hinged and opens to reveal the hollowed space inside for ‘s***f’. In the shape of a period shoe with mid-height high heel, typical of the period. The sole has a rough abrasive finish, for striking of matches.

Dimensions: length: 3.5 inches. height: 1.25 inches. d: 1 inch (9 x 3.2 x 2.5 cm)

Dated: c.1790-1810.