Base-metal candlesticks - those in brass, bronze, pewter and paktong - rather than the valuable metals such as silver and gold, fall into a fascinating category of antiques. Everybody recognises them, they can still be bought, a large number of people collect them, but nobody knows very much about them. This is understandable for hardly anything of any substance has been written on candlesticks apart from a short learned paper delivered to the Society of Antiquaries of Scotland in 1926. This posthumous book is the first detailed account to record the development of the candlestick from the 13th to the 19th century. The author was a leading authority on metalwork (particularly pewter), gained from his long experience as a dealer, coupled with painstaking research particularly of candlesticks portrayed in contemporary paintings. He amassed a large collection of photographs of examples most of which he had personally examined. The result is a key reference book particularly useful because of the caref

Old Domestic Base-Metal Candlesticks

Arts & Photography

MICHAELIS, Ronald F.

History & Criticism

Antique Collectors Club Dist

This book is one of the classic works on British clockmaking and remains by far and away the best account of the development of the main types of clocks since the middle of the seventeenth century. Perhaps the secret of the book's success is that it was written by experts who were themselves keen collectors and, therefore, covered in depth the type of clocks available to collectors. They steered clear of the trap of discussing one-off historically interesting examples which collectors may never see and will certainly never own. They explained in lucid English just how clocks work, the results of the introduction of the pendulum, and the subsequent development of longcase (grandfather), bracket and lantern clocks. Generations of clock enthusiasts have learned to date a clock from the invaluable illustrated chronology of hands, dials, spandrels and to learn to judge the quality of a wide variety of clocks. It is, therefore, the ideal companion for anybody interested in the subject.

English Domestic Clocks

Crafts, Hobbies & Home

Cescinsky, Herbert

Antiques & Collectibles

The nineteenth century produced dozens of independent designers, particularly towards the end of the period. As the furniture trade developed, so manufacturers and retailing split. Catalogues began to be used in retail shops as they are today. Competition between retailers and the use of the new design books resulted in a large number of designs, not only new ones but also a constant looking backwards to earlier centuries for inspiration. This change in the structure of the industry made full use of highly individual interpretations of Gothic, Renaissance, Elizabethan, Naturalistic styles, Egyptian, Old French, Louis XIV, Louis XV and Italian decorations, all applied to a wide variety of furniture. The complexity of the subject is best explained by a very large number of illustrations and this is the reason why some 6,000 appear within this book. The Dictionary is made up from forty-nine contemporary design and pattern books issued by manufacturers such as Heal s, Smith, Tatham, King, Pugin, M

Pictorial Dictionary of British 19th Century Furniture Design

Joy, Edward

A welcome reprint of the standard work of reference on English horology up to the beginning of the eighteenth century. Written by three acknowledged experts in the fields of clock cases, horological history and clock movements respectively, it is rare that top practical men, who have between them handled thousands of examples and whose joint horological experiences span well over a century, can be persuaded to provide so lucidly the fruits of their knowledge. The major importance of this book lies in the minute examination of the work and evolution in the thinking of the clockmakers. Some 800 superb photographs, many of them details of the mechanisms, and the careful descriptions provide not only an unrivalled catalogue of the work of the earlier makers, but also place their work within a carefully defined chain of development. By this means the evolution of clocks is made easier to understand while at the same time there is a clear basis for comparing other clocks encountered. The rea

Early English Clocks

Dawson, Percy G.

In the fifteenth and sixteenth centuries, Suffolk and Norfolk were the most prosperous industrial counties in Britain. The inscription in a Suffolk church I thank my God and ever shall, It was the sheep that paid for all sums it up perfectly. For three hundred years wealth poured into Suffolk, first from the wool staple and then from the cloth trade. Most of the churches were rebuilt and adorned during this period, and have been rightly praised. It is strange that so little notice has been taken of Suffolk houses. Suffolk has no building stone, but until Tudor times was rich in oak forests. Men have been building with timber since the earliest times, and by the Middle Ages had become master-carpenters with an immense skill in making and enriching timberwork. Not all of this went into churches, although, from a tradition which gave rise to the epithet seely [bless,d] Suffolk, perhaps the best did. The timber-framed houses, however, had their own Golden Age which reached its zenith by the Great

Suffolk Houses

History

Sandon, Eric

Europe

Joseph Southall is perhaps the most important Arts and Crafts painter. Born in Nottingham in 1861, Southall spent most of his life in Birmingham, where he originally trained to be an architect, before falling under the spell of John Ruskin and switching his interests to painting. He played a key role in the revival of the mediaeval techniques of tempera and fresco painting. This book shows a wide variety of work produced by Southall during his lifetime. As well as superb watercolours of England, there are also scenes from the Italian lakes and Tuscany; several images of sailing barques in the harbour at Fowey in Cornwall and a number of works done at Southwold in Suffolk, where the Southalls spent every July. These range from tempera paintings of local fishermen and their boats to delightful pencil and chalk studies of elegant ladies and children playing on the beach.

Joseph Southall 1861-1944

Breeze, George

Skipwith, Payton

Sprague, Abbie

Individual Artists

Nathaniel Lloyd (1867-1933), the distinguished architect and author, wrote this great standard work on English bricks and brickwork in 1925. It is a superb photographic record, meticulously annotated, which has never been rivalled and is unlikely ever to be surpassed. A History of English Brickwork is one of those rare books which covers the whole spectrum of the subject, from the practical problems faced by the craftsman shaping a brick or 'manipulating' it to make the glorious decorations found on so many English houses, to the detailed drawings necessary to construct a complicated capital; from the historical aspects of the manufacture to the dating of work by the thickness of the joints. Thus, whether the reader seeks practical advice on the restoration of an old house, wishes to make modern structure that will tone in with the older one, or simply wants to undestand the most varied and valuable building material used in this country, this book will be a good companion.

A History of English Brickwork

Lloyd, Nathaniel

This book acts as an extremely practical introduction to the subject of collecting British watercolour paintings. There is a lot more to collecting than noting just the price, the name of the artist and deciding whether or not one likes the subject. Many watercolours are either not signed or bear false signatures, or perhaps have been saddled with misleading attributions. The excellent text and carefully chosen illustrations take the collector behind the formal signature on the picture and show him what to look for in it, the idiosyncrasies of the artist, his style and his individual methods of working. Yet even when all the technical points are understood, there remains the whim of fashion which varies over long periods and has moved round, ignoring or puffing each artist in turn. Without an understanding of the movement of fashion, past collections and ideas on collecting, it would be hard to understand the subject.

Understanding Watercolours

MALLALIEU, H.L.

From bird , cat and horse to ape and camel, Animals in Bronze examines and illustrates the work of hundreds of sculptors and founders who have worked in this highly popular and much-collected field. The definitive animal bronzes, renowned for their vigour and authenticity, are those of Antoine-Louis Barye, and there is full coverage of his work here, along with that of others of his school. However, the scope of the book extends well beyond the confines of Les Animaliers to include the output of artists such as Troubetzkoy, Bugatti, Pompon, Haseltine, John Willis Good and Sir Joseph Edgar Boehm. Space is also devoted to several of today's practitioners. The main body of the book is arranged by subject matter, enabling the reader to observe trends in the portrayals of different animals from the 1830s onwards. In addition, the biographical index of artists gives page references to illustrated pieces, so that the work of particular sculptors can also be followed across different subject areas. Other

Animals in Bronze

Payne, Christopher

Reference

Regency furniture is popularly defined as the furniture produced in the period 1790-1840 and this definition is followed here. These fifty years produced some of the most inventive and decorative furniture that has ever been made, for the end of the eighteenth century saw the move away from strict Palladian influence which produced the staid, respectable furniture beloved by generations of scholars, dealers and collectors. However, in the last fifty years the shortage of 'Georgian' furniture and the realisation that Regency furniture meets the decorative requirements of overseas buyers has led to a complete reappraisal of the production of these turbulent years. The story is complex and fascinating, both from the design as well as social aspects, and apart from Margaret Jourdain's pioneer work in 1948 there has been no standard text on what has now become one of the most expensive and least understood periods of English furniture. For the influences on Regency design and taste were legion: from She

Regency Furniture

Collard, Frances

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