This finely detailed porcelain figurine of King Henry VIII is from Bella Bisque, with this one being part of their The Noble Collection, which is celebrated for bringing historical figures to life in elegant sculptural form. Seated in royal splendor, the Tudor monarch is portrayed in richly decorated robes with elaborate hand-painted detail, from the textures of his garments to the jewels adorning his chest. The figure comes with a black base and is backstamped The Noble Collection Bella Bisque Fine Porcelain on the underside.Dimensions: 7.5"HCondition: Age related wear.
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After Sir Anthony van Dyck Group Portrait of King Charles I and Queen Henrietta Maria with their two eldest children, Prince Charles, later Charles II, and Princess Mary oil on canvas, in a mid 18th Century carved and gilded frame decorated with a running floral pattern 169 x 141cm Provenance: Bavington Hall, Capheaton, By descent to Mrs R D Shafto, Her Sale, Christie's, London, 11 November 1994, lot 66, when acquired by the present owner The present picture is a reduced copy after the original, known as The Greate Peece (303.8 x 256.5cm) which used to hang at Whitehall and is now at Windsor Castle (see O. Millar Pictures in the Royal Collection: The Tudor, Stuart and Early Georgian Pictures, London, 1963, no. 150, p. 98). A copy by Remigius van Leemput (1607-1675) is also known (288 x 228cm, Birmingham Museums Trust, no. 1970P264). During the Restoration, artists such as van Leemput were commissioned (sometimes by Charles II himself) to produce copies of such portraits in support of the Royalist cause, and it is likely the present picture was executed at a similar time. The painting is executed in oil on a canvas support which has been lined. The lining appears early and the painting is attached to a wooden stretcher with a horizontal cross bar and diagonal corner braces, one of which is missing at the top left corner (seen from the reverse). The canvas tension is slightly slack but the picture is generally in plane. The paint layers are in a good, stable condition overall. There is a network of age cracks including a regular diagonal crack pattern, possibly relating to the canvas weave. The varnish appears to have been partially cleaned, with residues of an older varnish visible in the background. The upper varnish is semi-matte, clear and even. There are localised areas of overpaint around the figures. The appearance of the picture is good. There is a thick layer of dust across the surface creating a matte, dull surface.Total framed dimensions 195 x 165cm
ROYAL CROWN DERBY; a set of seven Imari decorated circular pin dishes, diameter 10.5cm, a part setting Royal Crown Derby tea service, decorated in the 'Red Aves' pattern, comprising teapot, milk jug and two teacups with fitted saucers, also a cased Royal Crown Derby 'Red Aves' pattern pin dish, cased Royal Crown Derby Imari decorated napkin rings, cased Royal Crown Derby Imari handled butter knives and spoon, cased Minton 'Haddon Hall' pattern three piece cruet, Aynsley 'Wild Tudor' pattern pin dish and a Dartington Crystal rose bowl, with chrome plated mesh top, height 11cm (17).
Five late 19th century Staffordshire pottery house money boxes, appplied with extruded clay, one as a Gothic cottage, a Crown Staffordshire bone china miniature model of a mock-Tudor house, printed green marks, a Sylvac model of a dappled recumbent beige horse, three opaque white glass miniature models of dogs in sizes, three Chinese-style turquoise horses in sizes and a vintage turquoise glazed horse,
A COLLECTION OF AYNSLEY CERAMICS to include a vintage '2961 patterned' tea cup and saucer with a rose patterned interior and cobalt exterior (saucer is cracked, scratch below the cup's handle), an 'Orchard Gold' plate diameter 27cm and a water jug, a quantity of boxed 'Wild Tudor' giftware items comprising a rectangular trinket dish, a ring dish, two small lidded jars, a photo frame, a lidded dish, and a small pot (some knocks to boxes), a 'Howard Sprays' water jug, two 'Pembroke' trinket dishes, and a 'Cottage Garden' water jug and bud vase (qty) (Condition Report: itemised conditions above)
A COLLECTION OF AYNSLEY DECORATIVE CERAMICS to include a group of 'Cottage Garden' giftware items comprising four trinket dishes of assorted shape, a heart-shaped lidded trinket pot, three trinket pots with hinged lids (one lid in pieces, possible signs of repair to the smallest), a water jug, a bud vase, a narrow stemmed vase, a 'Pembroke vase,' a Wild Tudor' planter, clock, (repair to the reverse) and boxed bud vase, an Orchard Gold plate, a 'Little Sweetheart' vase, a Nursey Rhyme moneybox, a Blenheim Palace plate, etc (qty) Condition Report: could benefit from a clean, itemised conditions above)
A BOX AND LOOSE TUDOR MINT 'MYTH AND MAGIC' FIGURES, ETC, to include Collectors Club figures: The Dragon of Methtintdour, The Dreamy Dragon CC05, The Regal Dragon CC06, Contemplation CC07, Mystique CC08, The Drout Keeper CC09, and The Dragon Knight CC10, together with The Dragon of Pre-History, The Dragon of the Lake (missing crystal), The Unicorn Rider, Banishing of the Dragon, The Ice Dragon, The Oriental Dragon, The Master Wizard, The Crystal Treasure, Dragon of the Treasure, Pegasus, The Mischievous Dragon, The Hatchlings, The Giant Sorcerer, The Reborn Dragon, and Magical Encounter, two resin skulls, issues of Methtintdour Times, a pin badge, a bookmark, Drout coins (1 box + loose) (sd)
Clive Addis - "The Ultimate Dolls House " by Clive Addis. This custom finished wooden 1/12 scale Tudor doll's house named Bearsden Hall is signed and numbered on the back. All rooms open and the house is fully wired with lighting (untested) and plumbing. Baseboard measures 132 cm x 61 cm, The house is 98 cm hight with chimney, 81 cm with chimney removed. It comes with the original brochure and specification sheet. This very special craftsman made house was commissioned and constructed in 2012 at a cost of £3758 and is still in Very Good condition(This does not constitute a guarantee) [ba] *COLLECTION ONLY FROM RUNCORN OFFICE - SHIPPING IS NOT AVAILABLE ON THIS ITEM*
Dolls house ONLY - NO FURNITURE - The Dolls House Emporium - Stratford Bakery - A built up Tudor style dolls house in 1/12 scale with 3 x rooms. It measures 590 x 700 x 500 mm and is wired for lighting. The building appears well put together and in Very Good condition with some minor marks and signs of use. The kit and most of the fittings appear to come from The Dolls House Emporium. PLEASE NOTE THAT THERE IS NO FURNITURE WITH THIS HOUSE, any furniture showing is available separately from our sister company British Toy auctions on 23/06/25. (This does not constitute a guarantee) [ba/L]
Dolls House - A large wooden Tudor style dolls house with hinged opening roof and removable wall sections. It measures 73 x 66 x 81 cm and has a separate conservatory. It appears in Fair to Good condition overall with some signs of use. PLEASE NOTE that due to size this item would be shipped by private courier. (This does not constitute a guarantee) [ba-2]
The Dolls House Emporium - Stratford Place - A large built up Tudor style dolls house in 1/12 scale with 9 x rooms. It measures 900 x 200 x 500 mm and is wired for lighting. The building appears well put together and in Very Good condition with some minor marks and signs of use. The kit and most of the fittings appear to come from The Dolls House Emporium. (This does not constitute a guarantee) [ba-2]
Denys Roberts , Chief Justice of Hong Kong signed vintage Christmas card. Sir Denys Tudor Emil Roberts KBE SPMB QC (Traditional Chinese: January 1923 – 20 May 2013) was a British colonial official and judge. Joining the colonial civil service as a Crown Counsel in Nyasaland (now Malawi) in 1953, he became Attorney General of Gibraltar in 1960. In 1962, he was posted to Hong Kong as Solicitor-General and was successively promoted to Attorney-General in 1966, Colonial Secretary/Chief Secretary in 1973 and Chief Justice in 1979. He was the first and only Attorney-General to become both Colonial Secretary (and Chief Secretary) in Hong Kong. Never having been a judge before, he was appointed as Chief Justice of the Supreme Court in 1979 and was the first and only Colonial Secretary (and Chief Secretary) of Hong Kong to receive such appointment.
Royal Worcester fine bone china figurine depicting King Henry VIII on horseback. The figure features King Henry VIII seated on a rearing brown stallion, dressed in historical Tudor attire. The king is shown wearing a white doublet under a red velvet-style overcoat adorned with gold trimming, fur elements, and a jeweled collar. He holds a falcon on his left arm, clad in a falconry glove. The horse is portrayed mid-step atop a naturalistic green and pink base designed to resemble a grassy mound. The saddle and reins are finished in green with gold edging, and the figure is presented with extensive hand-painted details throughout. Produced in fine bone china by Royal Worcester.Artist: Kenneth PottsIssued: 1990Dimensions: 13"L x 6.25"W x 14.5"HEdition Number: 36 of 75Country of Origin: EnglandCondition: Age related wear.
Hayward (Sir John) The Life and Raigne of King Edward the Sixt, first edition, engraved title, engraved portrait on verso of a4, woodcut device and decoration on verso of final leaf, leaves L3, M3, N3, and Q4 are cancels printed in slightly smaller type, lacking initial blank leaf, a4 shaved with loss to headline and with marginal repair causing loss of one word of text and just touching portrait to verso, lower margin of a4 and Q4 renewed, some water-staining, later mottled calf, rebacked and corners repaired, [STC 12998], 4to, Printed for John Partridge, 1630.*** The first edition of Sir John Hayward’s posthumous ‘Life and Raigne of King Edward VI,’ the earliest biography of the last Tudor king, reprinted in 1636, and again in White Kennett’s Complete History of England in 1706.
Assorted Tudor & Rolex Branded Parts/AccessoriesThis lot includes a variety of Rolex and Tudor branded parts, straps and accessories which include as follows: 2 x Marconi Gents Dials1 x Rolex Gents Dial1 x Rolex Dial Ladies1 x Tudor Dial Ladies2 x Rolex Steel Crowns 2 x Rolex Steel Buckles 1 x Rolex Gold Plated Buckle1 x Movement Cog/Wheel For Rolex Movement5 x Assorted Stainless Steel Bracelet Links1 x Rolex Clasp Leaf Ref 783403 x Steel Buckle Leather Tudor 1/2 Straps2 x Gold Plate Buckle Leather 1/2 Straps1 x Full Burgundy Leather Rolex Strap (Minus Buckle)
Tudor Clair de Rose Lady’s Wrist Watch Reference: 35701Serial: J563474Bezel: SmoothYear: circa 2010Case Material: Stainless SteelCase Diameter: Approximately 33mmDial: Mother of PearlNumerals: DiamondCrown: Fluted, Screw-DownMovement: ETA Calibre 2824-2 25-Jewel Automatic Movement, marked ‘VSZRG’Complication: Date aperture at three o’clockStrap: Stainless SteelInner Circumference: Approximately 18cmBuckle: Signed, Stainless Steel, Fold-Over ClaspBox: NoPapers: NoGross Weight: 97.1 grams The watch is currently running, no long-term tests have been performed and accuracy cannot be guaranteed, a full service is advised on all watches and pocket watches once purchased.Surface scratches, scuffs and small dents throughout, consistent with use.Very slight markings to crystal, visible only under 10x loupe.Debris to some areas, such as between lugs and strap links, as well as to clasp.The online condition report may not mention mechanical replacements or imperfections to the movement, case, dial, pendulum, separate base(s) or dome. Watches with water-resistant cases may have been opened to examine movements, but no warranties are given regarding their water resistance. It is also important to note that we cannot guarantee the authenticity or originality of individual components, such as wheels, hands, crowns, crystals, screws, bracelets, and wrist bands, since subsequent repairs and restoration may have changed the original components. Also, we cannot guarantee the authenticity or originality of any engraving or re-engraving on watch cases, case backs, bracelets, straps or internal movements.
Thomas Ryan PRHA (1929-2021) “Imeacht na nIarlai, 1608,” (The Departure of O’Neill out of Ireland,) 1958 watercolour on paper, Signed l.r. ‘Thomas Ryan’ and inscribed l.l. ‘Lrucacht na nIarlaí, approx. 30cms x 40cms (12” x 16”). (1) A detailed study for Tom Ryan’s large oil painting, The Departure of O’Neill out of Ireland, this sparkling watercolour is inscribed ‘Lrucacht na nIarlaí’ (‘The Earls Misery’). A spirited work of art, it depicts a momentous event in Irish history, when, in 1607, a group of Irish aristocrats , led by Rory O’Donnell, 1st Earl of Tyrconnell, and Hugh O’Neill, Earl of Tyrone, boarded ship at Rathmullan, bound for the Continent. Their flight into exile symbolized the end of Gaelic Ireland, and the triumph of the Tudor conquest. Conceived in the grand style, with lances, suits of armour and banners, Ryan’s painting recalls the work of Velasquez and Titian. In the foreground, people lament the departure of the Earls, while a monk raises his hand in blessing. Having grown up in Limerick, the city where Sean Keating had first studied art, Thomas Ryan began his training under the local teacher Richard Butcher. He then enrolled in the National College of Art in Dublin, where his teachers included Keating and Maurice MacGonigal. Elected President of the Royal Hibernian Academy, in the 1980’s he was instrumental in the building of the RHA Gallagher Gallery on Ely Place. His early paintings from the 1950’s are strong Realist canvases, depicting scenes such as his mother standing at the kitchen sink, or a jazz trumpeter. Always an ambitious artist, aged 28, Ryan painted The Departure of O’Neill out of Ireland. Another canvas by him depicted the interior of the GPO during the Easter Rising. Always a sensitive painter, in later years, while he received many commissions for portraits of members of the clergy, judiciary and leading business figures, it was his still-lifes of flowers, atmospheric studies of interiors such as Marshes Library, and watercolours such as this, that form perhaps his most telling legacy in Irish art. This watercolour sketch for The Flight of O’Neill Out of Ireland shows the artist’s development of the complex composition. The finished painting was completed the year after the 350th anniversary of the Flight of the Earls, and displayed in the State Apartments, Dublin Castle. Dr. Peter Murray 2025
Milne, A. A., & E. H. Shepard The Christopher Robin Verses, [with autograph letter signed from E.H. Shepard] London: Methuen & Co., Ltd., [1932]. First edition, 8vo, original blue cloth gilt, signed Ernest H. Shepard to title-page, with a autograph letter signed and dated Jan 2 /33 pasted to front free-endpaper from Shepard: “My dear Phyll,/ This is to bring love & Greetings for the New Year from us all. / I don't know your little girl's name, but when she gets a bit older she may like to have the Christopher Robin verses - ‘Sycamore Square’ is for you with my love. / Kip/ Thank you very much for your card”, 12 colour plates, one plate loose Given to Phyllis Tudor by E.H. Shepard, thence by descent. Here, E.H. Shepard refers to himself as “Kip” - his nickname and a shortened version of “Giddy-Kipper”, referencing his cheery personality and fondness for practical jokes.
Folio Society, 44 volumes Including Tolkien, J.R.R. [The Lord of the Rings]. London, 1977. 3 volumes, 8vo, grey quarter calf gilt, slipcase; idem. The Hobbit. The Hobbit, or there and back again. London, 1976. 8vo, brown quarter calf gilt, slipcase;Machiavelli, Niccolo. The Prince. London, 1970. 8vo, blue satin embossed with silver and gold, slipcase;Einhard the Frank. The Life of Charlemagne. London, 1970. 8vo, Japanese vellum gilt, slipcase;Walpole, Horace. The Castle of Otranto. London, 1976. 8vo, quarter cloth gilt, slipcase;Graves, Robert. The Greek Myths. London, 1996. Brown quarter morocco gilt, slipcase;Homer. The Iliad. London, 1996. Red quarter morocco gilt, slipcase; idem. The Odyssey. London, 1998. Green quarter morocco gilt, slipcase;Barber, Richard, editor. British Myths & Legends. London, 1998. Brown quarter morocco gilt, slipcase;Magnusson, Magnus, editor. The Icelandic Sagas. London, 1999. Dark blue quarter morocco gilt, slipcase;Radice, William, editor. Myths + Legends of India. London, 2001. Blue quarter morocco gilt, slipcase;Keats, John. The Complete Poems. London, 2001. Green quarter morocco gilt, slipcase;Shakespeare, William. 17 volumes of plays, each 8vo, 12 including slipcases;and 13 others, comprising American, Russian, English, French, Japanese and Irish Short Stories; A Man of Singular Virtue; The Private Lives of the Tudor Monarchs; Medieval People; Perrault's Fairy Tales; Grimm's Fairy Tales; Hans Andersen's Fairy Tales; Queen Victoria Our Life in the Highlands (44)
E. H. Shepard (1879-1976) Group of 9 pencil sketches, 3 signed Sketches for Punch featuring Phyllis Tudor, Shepard's model, and Daphne Hill, comprising:portrait of Tudor drinking tea, signed E.A.S. to lower right corner, 21 x 27cm; Phyllis Tudor dressed in outdoor wear, 17 x 23cm; Tudor and another woman talking in the street, 23.5 x 31cm; portrait of Phyllis Tudor, 25.5 x 33.5cm; and five further pencil portraits, including two signed (9) Given to Phyllis Tudor by E.H. Shepard, thence by descent. An accompanying visiting card reads: “Mrs Tudor; Mrs Ernest Shepard. at Home Tuesday 1st December, 3 o'clock, Adila Fachini / Phyllis Tudor, C.M. Street at the piano. R.S.V.P.”
A rare Guild of Handicraft pewter ceiling rose designed by Charles Robert Ashbee for the Magpie and Stump, circular, stamped with Tudor rose flower head, and another, possibly a pendulum shade modelled as a flower head the design attributed to Charles Robert Ashbee, unsigned, 31cm. diam. (2) ProvenanceMagpie and Stump, 37 Cheyne Walk ChelseaPrivate collection. LiteratureAlan Crawford, C. R. Ashbee, Architect, Designer & Romantic Socialist, Yale, page 303 figure 150 for a drawing of the light fittings in the Dining room, 37 Cheyne Walk, page 301 figure 149 for a comparable floriform shade.
A Pilkington's Lancastrian vase designed by Walter Crane painted by William S. Mycock, dated 1912, shape 2469, painted with a frieze of lion Passant, above heart shaped foliage and Tudor rose motif in bronze lustre on red and green lustre, impressed marks, painted artist ciphers and date code, painted Crane monogram, restored top rim, 12.5cm. high, 21cm. diam.LiteratureA J Cross Pilkington's Royal Lancastrian Pottery and Tiles, Richard Dennis, page 9 plate III for a comparable example illustrated.A Catalogue of the Lancastrian Pottery at Manchester City Art Galleries, catalogue number 186 for a comparable piece. This design, also known as the Lion Bowl, painted by Richard Joyce was exhibited at the Franco British Exhibition in 1908.
A Vintage Tudor OysterDate wristwatch. The silver tone dial, with black enamel silver tone illuminous hourly applied marks, illuminous infill silver tone hands and second sweep, date window at three o'clock, the dial is signed 'Omega OysterDate Shock-Resisting Swiss, plain polished bezel, enclosing plexi glass, to the plain polished bracelet with fold over clasp, the watch has an accompanying Tudor case, outer box, booklets and guarantee certificate stating model number 7992 date indistinct, watch with model number 7992/0, serial number 882751, circa 1960s, approx case diameter 34mm, gross weight 61.3 grams.
Tudor. A stainless steel and gold automatic wristwatch with date and bracelet, Ref. 57003, Glamour, circa 2014. Movement: cal. 2892, automatic. Dial: silvered, applied baton and diamond-set indexes, engine-turned chapter ring, double date aperture, engine-turned subsidiary seconds with Tudor Rose design. Case: stainless steel, gold bezel, screw-down back and crown, no. J509771, stainless steel and gold bracelet. Signed: case, dial, movement and bracelet. Dimensions: diameter 42mm. Accessories: guarantee card, instruction booklet, spare links, presentation case. £1,000-£1,500 --- Please note this lot is subject to 20% on the hammer price. Condition Report Movement: running at the time of cataloguing, date advancing. Dial: in good condition. Case: scuffs throughout, crown screws in place. Gross weight: 168.5gms. Please note that the above condition report is a statement of opinion only and may not specify all mechanical replacements or imperfections. Watches are opened to examine the movements, no warranties are made that the watches are water-resistant. The watch has not been tested for the accuracy of its time keeping and would benefit from a service at the buyer’s expense.
Tudor. A lady’s white gold and diamond-set bracelet watch, Royal, circa 1962. Movement: manual winding, 17 jewels. Dial: silvered, applied baton indexes. Case: 9ct gold, snap-on back, diamond-set lugs, integral 9ct gold bracelet, no. 372029. Signed: case, dial, movement and bracelet. Dimensions: diameter 17mm, bracelet circumference approximately 170mm. £200-£300 --- Condition Report Movement: running at the time of cataloguing. Dial: some spotting. Case: scuffs throughout, winding crown looks later. Gross weight: 13.8gms. Please note that the above condition report is a statement of opinion only and may not specify all mechanical replacements or imperfections. Watches are opened to examine the movements, no warranties are made that the watches are water-resistant. The watch has not been tested for the accuracy of its time keeping and would benefit from a service at the buyer’s expense.
The Warner ‘Gresham Grasshopper’ Seal Ring An important 16th century gold signet ring, circa 1560-1575, the oval crystal bezel intaglio carved with the coat of arms of Warner, with tinted foil behind to colour: Or a chevron between three boars’ heads couped sable, in a closed gold mount with tapered shoulders, the underside of the bezel engraved with a grasshopper in green enamel, weight 14.8gm, ring size Q. £10,000-£15,000 --- Provenance: This, until now unrecorded ring, is one of a series of ‘Gresham Grasshopper’ seal rings, gifted by the great Tudor financier Sir Thomas Gresham between the years 1560-1575. This ring was inherited through a private family from the 19th century, thence by descent, until circa 2010. Sir Thomas Gresham (1519-1579) The Gresham family were an old Norfolk family, merchants and financiers by trade. Sir John Gresham (1495-1556) worked for Henry VIII, Cardinal Wolsey and Thomas Cromwell. The young Thomas Gresham, following in his family’s footsteps, served his apprenticeship as a merchant under his uncle Sir John Gresham, dealing principally in woollen cloth and other luxury textiles such as silks and velvets. However his true talents lay elsewhere, like his father Sir Richard Gresham, in making deals in foreign exchange and arranging finance. His father “taught him some of the secrets of exchange dealing in Lombard Street and Antwerp” (Guy, J., p.13). By the 1530s Thomas began working and training within the family business, by this time the Gresham family firm were the largest shippers trading out of London. In 1543, at the age of just 24, Thomas was, again following family tradition, admitted as a liveryman of the Mercers’ Company, leaving England later that year to pursue business in the Low Countries. Quickly earning respect for his adept and skilful play of the financial markets, his trade took him regularly to Antwerp, the principal trading port for cloth in the European markets, and by the 15th century the “commercial capital of Northern Europe” (Guy. J., p.19). Here he began to undertake financial arrangements on behalf of Henry VIII, including smuggling over £30,000 of gold and silver coins into Bologne to pay the king’s mercenaries based in Antwerp. A shrewd and astute businessman, Thomas Gresham skilfully kept out of the religious fever sweeping back and forth across 16th century Europe and this determined neutrality allowed him to maintain his role as financial agent to the Crown, not only to Henry VIII, but Edward IV, Mary and finally Elizabeth I, negotiating foreign and domestic loans, advising on financial matters, and manipulating the exchange rates to allow him to restructure and reduce the crown debt. Under Elizabeth he was also appointed as ambassador to the Court of Margaret of Parma, Governor of Netherlands. In 1565 Thomas Gresham agreed to finance and oversee the construction of the Royal Exchange, largely modelled on the Antwerp Bourse, on a site between Lombard Street and Cornhill, a grand and appropriate venue for him and his fellow merchants to conduct their business. After his death in 1579, in his will Thomas Gresham left the Royal Exchange in trust, to be split between the Corporation of London and the Mercers’ Company but both parties being thereafter required to fund Gresham College, the first institution of higher education in London. Mark Warner (d.1583/1584) This ring bears the arms of the family of Warner. A potential candidate for these arms was Sir Edward Warner (1511-1565) of Polstead Hall and Little Plumstead in the County of Norfolk, but as Sir Edward bore for his arms: ‘Per bend indented sable and argent’, this cannot be the case. It is therefore believed that this ring belonged to Mark Warner, of All Hallows, Lombard Street. (Ref: Beacon Genealogical and Heraldic Research). Mark Warner is recorded as a cloth merchant and a member of the parish of All Hallows, Lombard Street, in the City of London. He was twice married at the church, first to Elizabeth Farthing in 1554 and then Judith Grymson in 1579, and was buried there in January 1583/4. His will (National Archives ref: PROB 11/66/333) lists two daughters, Cicelye and Elizabeth, and a son, John. The Warner family owned property at Stroud Green in Middlesex but had long been associated with Lombard Street. Mark’s grandfather John and his father Richard both contributed to the building of All Hallows church. Mark Warner was a member of the Worshipful Company of Drapers, being apprenticed in 1543 and called to the livery in 1552. By 1554 he had become a freeman, in this year he took his first apprentice, William Bocher, followed by a second apprentice James Cranfyld, prior to 1558. Like Gresham, Warner was not just involved in the cloth trade but also in finance. His name is included in a list of known insurers in London, in business between 1559-1573. (National Archives ref: HCA 24/39). At this time, high risks were associated with the safe passage of goods by sea. Marine insurance was provided by ‘Lombard Street’ custom (although not yet legislated for). Collectively groups of merchants based around Lombard Street would each loan against part of the cargo of a ship, the loan being dismissed if the vessel floundered, thus insuring the vessel and spreading the risk of overseas trade amongst the merchant community. When, in 1575, the Chamber of Assurances was set up to register insurance contacts, it was Gresham’s long time agent Richard Chandler who was given the position and an office inside the Royal Exchange. The quantity and value of overseas deals negotiated by Gresham must surely have necessitated elaborate insurance deals. Both being cloth merchants, involved in finance and insurance, and both residing and working in Lombard Street, Warner and Gresham’s paths would undoubtedly have crossed. The Grasshopper Rings This form of signet ring, with an intaglio carved rock crystal bezel, foiled behind to tint the colours of the coat of arms (allowing impressions to be taken without exposing the colours to hot wax), first appeared in Germany in the early 16th century (Princely Magnificence, cat no. 4 and 7). By the second half of the 16th century this style of ring had made its way to England where it became “the status symbol ‘par excellence’”. (D. Scarisbrick, 1993, p.48). Through the third quarter of the 16th century Thomas Gresham gifted a series of these rings to acquaintances/business associates, each with a foiled crystal bezel displaying their coat of arms, with an enamelled grasshopper to the underside of the bezel. The grasshopper was the family crest of the Gresham family, probably derived from their Norman ancestry, being descended from the De Gresses. After becoming citizens of England, the French prefix ‘DE;’ was dropped, and to distinguish them as landowners, the word ‘HAM may have been added, and under this modified name, the family coat of arms granted prior to 1460. The Gresham family coat of arms are: ‘Argent a chevron ermine between three mullets pierced sable’, with a crest: ‘On a mound a grasshopper vert’. These arms are recorded in the Heralds Visitations for the County of Norfolk, 1563 and for the City of London, 1568; these pedigrees indicate the arms were granted to John Gresham (died 1460), the 2x great grandfather of Thomas. Nine such ‘Gresham grasshopper’ rings are recorded. The Warner ring, until now undiscovered, brings this total to ten. The recorded examples are: The Sir William Fleetwood ring, in the British ...
A unicorn gold seal ring, 15th - 16th century, the heavy ring with round bezel intaglio carved with a unicorn restant within a corded border, the interior of the band inscribed in Medieval French gothic script ‘Le voyr’, weight 15.3gm, ring size Q. £8,000-£10,000 --- Provenance: From a private family collection, circa 1970, and thence by family descent. The Medieval French inscription ‘le voyr’ or ‘le voir’ translates as ‘see it/him’, probably alluding to the unicorn. Whilst a titled gentleman’s signet ring bore his family crest or coat of arms, by the late Medieval and post Medieval periods, signet rings were in wider use often engraved with para-heraldic devices. “The image graven on the bezel needed only to be a visual representation or device of an individual; something that was enough to create a distinctive, identifiable sign... Many rings with non heraldic devices attempt in part to make reference to true heraldry... This could in turn elevate a man’s status socially and this was one means of defining his masculinity”. (Awais-Dean, N.) Of all the mythical beasts, the unicorn is one of the most elusive and secretive: its essential characteristics being the single horn, the magical quality of repelling poison, its fierceness and fleetness of foot and its ability to elude capture. They are said to represent purity, innocence and truth. In the Middle Ages the unicorn was sometimes used to symbolise the death and sacrifice of Christ, whilst in the 13th century a more romantic imagery was popular: Richard de Furnival, in Bestoire d’Amour, referred to the unicorn as “symbolising the lover, beguiled by the virgin who represents his beloved”. In his work on Mythical Beasts, John Cherry notes that where the unicorn is depicted in Medieval art “one cannot be sure whether it is the triumph of religious or secular love that is being celebrated. It is this ambiguity that makes the unicorn one of the most fascinating mythical beasts.” Literature: Awais-Dean, N., Bejewelled: Men and Jewellery in Tudor and Jacobean England, British Museum Press, pub. 2017. Cherry, J., Mythical Beasts, British Museum Press, pub. 1995. Condition Report According to a PMI test on an XRF machine the gold is testing as 21ct. Some general surface wear, but in overall fine condition, detail still crisp. Bezel measures 12mm diameter. Gross weight 15.3gm.
A COLLECTION OF PEWTER FIGURES, twenty two various themed figures, comprising two from The Dinosaur Collection by Tudor Mint 'Tyrannosaurus Rex' and 'Stegosaurus', also by Tudor Mint, 'Dragon of the Treasure', 'The Protector of The Young' 3097, 'Nimue' 4372, 'The Skeleton Rider' 3849, from The Oxford Bear collection, Little Oxford Bear 'City Gent' 90B-2-Gent with box and certificate, three English Miniatures, Gnomes, vintage white metal tone pig hinged salt pot with small spoon as the tail, etc. (22), (Condition Report: all items appear in ok condition, some crystals are loose, price tickets from previous seller still attached)
A GROUP OF NAO FIGURES AND MISCELLANEOUS CERAMICS, comprising ten Nao figures and similar to include children, geese, ladies in bonnets, seated figure with pets etc. height of tallest 32cm, height of smallest 10cm, five small pieces of Aynsley 'Wild Tudor' design, an unmarked hand painted moriage footed tea cup decorated in a floral design, royal memorabilia cups and saucers and glasses etc. (qty), (Condition Report: two figures have some damage and restoration but overall no obvious damage to other items)
A COLLECTION OF APPROXIMATELY EIGHTEEN ANYSLEY 'WILD TUDOR' GIFTWARE ITEMS to include six vases of assorted form, a candlestick, a decorative water can and iron, a group of assorted trinket dishes, and a display dish (qty) (Condition Report: some scratches to the base, overall in fair condition)
Impressive Royal Doulton porcelain figurine titled Henry VIII, model HN3458. Designed by Pauline Parsons, this historical figure is rendered and hand-painted in rich detail, portraying the Tudor monarch in a regal stance with ornate attire, including a fur-lined cloak, jeweled collar, and ceremonial staff. Issued as part of the prestigious Kings and Queens of England series, this limited edition figurine is individually hand-numbered 1322 of 9500. The base features the Royal Doulton backstamp along with edition information. A distinguished piece celebrating one of England's most iconic rulers.Artist: Pauline ParsonsIssued: 1994Dimensions: 9.5"HCountry of Origin: EnglandCondition: Age related wear.

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