Carved from a single block of hardwood, most likely Iroko (Milicia excelsa / Milicia regia), and densely ornamented with brass upholstery studs, this sculptural Ngombe stool is a powerful example of late 19th-century Central African prestige furniture. The form is compact and architectural, with a gently concave seat supported by a continuous curved base, creating a low, muscular silhouette characteristic of Ngombe seating. The surface is articulated with hand-hammered brass studs arranged in graduated densities, producing a subtle, almost topographical rhythm across the seat, sides and front. Areas of exposed wood form deliberate geometric reserves, providing visual contrast and emphasising the sculptural mass of the stool. The brass has developed a deep, warm patina, with traces of verdigris in recesses, consistent with age, handling and long-term oxidation. Among the Ngombe and neighbouring groups of the Lower Congo region, such stud-decorated stools were associated with authority, status and lineage. The use of imported brass, a valued and controlled material in the 19th century, further underlines the prestige of the object. Stools of this type were not utilitarian furniture in the Western sense but functioned as symbols of rank, used by chiefs, elders and individuals of social importance, and often displayed rather than routinely sat upon. The underside reveals early repair, including a hand-cut wooden brace and iron straps, indicative of a period repair carried out prior to the Second World War. These interventions are themselves part of the object’s history, reflecting continued use and cultural value rather than later restoration for the market. The presence of an old split in the wood, stabilised by these early repairs, is entirely consistent with age and material. Comparable Ngombe studded stools from the late 19th century are held in major museum collections, including the Royal Museum for Central Africa, Tervuren. Examples of this quality, scale and density of stud decoration are scarce.

The stool is structurally stable. There is a visible age-related split to the body of the wood, which has been stabilised by an early, pre-war repair using original wood bracing and iron strapwork to the underside. The studs show surface wear, oxidation and patination consistent with age, with occasional minor losses and verdigris deposits. The wood exhibits surface wear, abrasions and tonal variation throughout, all commensurate with use and age. No evidence of modern restoration.

A vintage fibreglass and resin composite 1:36 scale Concorde model in full British Airways Landor livery, mounted on a chrome-plated stand and produced in England by Executive Display Models, circa 1990.

This large display model represents Concorde, the Anglo-French supersonic passenger jet that redefined commercial aviation during the late twentieth century. Finished in the distinctive British Airways Landor scheme, the model captures the elegant delta wing form and sharply tapered fuselage that made Concorde instantly recognisable worldwide.

The underside is marked:

SUPPLIED BY
EXECUTIVE DISPLAY MODELS
NOBLE CORNER
GREAT WEST ROAD
HOUNSLOW MIDDX ENGLAND

Executive Display Models were known for producing high quality fibreglass display aircraft for airlines, travel agents and corporate environments. The scale and finish of this Concorde model reflect the period when supersonic travel was still regarded as the future of long distance aviation.

The full-size Concorde first flew in 1969 and entered commercial service shortly thereafter. Capable of cruising at Mach 2, approximately 1,350 miles per hour, regular transatlantic flights between London and New York were completed in under three and a half hours. In November 1986, a British Airways Concorde completed a round-the-world flight covering 28,238 miles in just under thirty hours.

Concorde was operated exclusively by British Airways and Air France. Developed by the British Aircraft Corporation and Aérospatiale, it represented the height of Anglo-French aerospace collaboration during the Cold War era. Although expectations in the 1960s suggested supersonic travel would dominate commercial aviation, only a limited fleet was ever produced.

Following the tragic Air France crash in 2000 and declining passenger numbers, Concorde was withdrawn from service in 2003, bringing an end to the era of supersonic passenger travel. Since then, original airline display models produced for corporate and promotional use have become increasingly difficult to source.

This Executive Display Models Concorde sits on its tripod stand, retaining markings and British Airways Landor livery, offering a substantial and well proportioned example of a late twentieth century aviation display model.

A carved Black Forest terrier ashtray dating to the early twentieth century, executed in the traditional Swiss carving style and full of character.

Modelled as the head of a terrier, the carving displays alert ears, deeply worked fur, and expressive inset glass eyes. The naturalistic modelling reflects the quality associated with skilled Black Forest woodcarvers, who were celebrated for their ability to bring animal subjects convincingly to life.

The top of the head is hollowed to form the ash bowl and retains its original brass liner, protecting the carved timber from heat while providing a practical surface. Pieces of this type were often placed within a gentleman’s study, smoking room, or country house interior, combining functionality with decorative appeal. Signed to the base Kanderstec which refers to a municipality in Switzerland and the origin of the carving.

Dog subjects were particularly popular within Black Forest carving, echoing loyalty and companionship while also allowing the craftsman to demonstrate technical control through texture and expression. Well preserved examples with strong definition are increasingly sought after.

This Black Forest terrier ashtray dates to circa 1910 and represents a confident example of early twentieth century Swiss animal carving.

English Boulle Sewing Box by Friedrich Ludwig Hausburg dating to circa 1840.

Formed in the classical sarcophagus shape, the box stands on four turned ball feet and is extensively decorated with brass and tortoiseshell boulle inlay. The cutting of the brass scrollwork is precise and confident, set against a rich tortoiseshell ground typical of Hausburg’s mid nineteenth century production.

The lid rises in a pagoda profile with brass edging. Each panel is worked with mirrored inlaid scenes of birds, foliage and flowers framed within scrolling borders.

The interior is faced in ebony with patterned centre stringing, a recognised detail of the workshop. The inside of the lid retains its inset mirror above a velvet lining embossed with scrollwork.

The removable upper tray remains complete with thick mother of pearl reels and lidded compartments, together with a glass bottle and a central tool pad fitted with scissors, pencil, pick, needle case, tweezers and bodkin. The tray lifts out to reveal further storage below.

A well preserved mid nineteenth century example retaining its original fitted interior and strong decorative inlay.

See more from our Sewing Box Collection.

Pair of 18th Century metal shop signs from a music chop with double faces.

Made of metal with polychrome.

This alabaster group depicts The Pancrastinae, also known as The Uffizi Wrestlers, a celebrated Hellenistic composition immortalizing two naked athletes locked in combat. The sculpture captures the climactic moment of the pankration—a brutal blend of wrestling and boxing that was among the most demanding events of the ancient Olympic Games. The sculptor demonstrates a masterful understanding of anatomy and movement: the taut musculature of each figure, the twisting torsos, and the intense interlocking of limbs are carved to convey both strength and strain. The smooth, luminous alabaster accentuates the play of light across the figures’ forms, lending the scene an almost ethereal vitality. Reproducing the celebrated marble group housed in the Uffizi Gallery, Florence, this work reflects the 19th-century neoclassical revival and the era’s fascination with antiquity. Alabaster—valued for its translucency—was a favoured medium among Italian sculptors seeking to reinterpret classical masterpieces for the grand tours of Europe’s elite. The Pancrastinae remains one of the most dynamic and admired examples of ancient athletic sculpture, symbolizing both the physical ideal and the intellectual engagement with competition and harmony. The present alabaster reduction exemplifies the enduring appeal of classical subjects in 19th-century European art.

From our Boxes collection, we are please to introduce this Stationery Carriage Companion by Asprey of London.

The Stationery Box finished in moroccan red leather with a slanted lid features two hooks to the rear originally for mounting on a carriage. A rare example in excellent condition, the stationery set features a window on front for telling the time and a pull out address book at the base. The interior is fitted with multiple partitions and a retractable mirror which opens on a mounting showing the mirror and a reading or writing pad. The rear of the box is signed in gold, Asprey London along with matching gold on the Address book label and the front pocket houses the removable pocket watch also by Asprey of London.

This carriage companion reflects the way wealthy individuals travelled during the Victorian period. Made for use in a horse drawn carriage, it provided a practical means of carrying personal items while travelling and is typical of the quality and workmanship associated with Asprey during the Victorian period circa 1870.

Green Colour Body

From our Barware collection, we are delighted to offer this Art Deco Master Incolor Green Cocktail Shaker.

The Cocktail Shaker a world famous icon from the Art Deco period with its Blue bakelite (moulded urea formaldehyde) tapered body, silver plated ribbed shoulder and lid with eight built in recipes on a turntable window. The lid can be removed and used as a ‘1 gill’ measure. A secondary lid is housed upon the pouring spout and is removed ready for pouring the desired cocktail. The hip of the flask can be unscrewed to fill the body with your favoured liquor before mixing which also contains has a removable strainer which sits on the bottom half of the body. The Cocktail Shaker is signed to the base Patents Pending 427237, The Master Incolor Cocktail Shaker, Made in England and dates to the Art Deco period and the first half of the 20th century circa 1935.

These original Master Incolor Cocktail Shakers were designed by Lawson Clarke for the english firm Wilson & Gill and were available in a range of six colours. Today they have become a collectable icon of the Art Deco era and are a rare accompaniment to any collection.