{"product_id":"edward-carter-preston-domestic-kitchen-geometry-british-modernist-watercolour-c-1925","title":"Edward Carter Preston – Domestic Kitchen Geometry, British Modernist Watercolour c.1925","description":"\u003cp\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eEdward Carter Preston – Domestic Kitchen Geometry, British Modernist Watercolour c.1925\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eJug, Pot and Bottle — A Post-Impressionist and Cubist-Influenced Still Life with Direct Family Provenance\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHighlights\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e• Original British modernist watercolour on paper.\u003c\/p\u003e\n\u003cp\u003e• By Edward Carter Preston, Liverpool sculptor, painter, medallist and designer.\u003c\/p\u003e\n\u003cp\u003e• Dating stylistically to circa 1925.\u003c\/p\u003e\n\u003cp\u003e• Initialled “E.Cr.P.”\u003c\/p\u003e\n\u003cp\u003e• Direct family provenance.\u003c\/p\u003e\n\u003cp\u003e• First documented market appearance at a North West auction house in September 2025.\u003c\/p\u003e\n\u003cp\u003e• Auction label retained verso.\u003c\/p\u003e\n\u003cp\u003e• Exhibited at the Famous Lord Hill Museum, Shropshire.\u003c\/p\u003e\n\u003cp\u003e• Preston trained at Liverpool’s pioneering School of Architecture and Applied Art, the “Art Sheds”.\u003c\/p\u003e\n\u003cp\u003e• Closely associated with the progressive Sandon Studios Society.\u003c\/p\u003e\n\u003cp\u003e• Documented influence from painter Gerard Chowne.\u003c\/p\u003e\n\u003cp\u003e• Documented engagement with Post-Impressionism and modern French painting.\u003c\/p\u003e\n\u003cp\u003e• Preston exhibited at the Sandon in 1911 alongside works associated with Roger Fry’s first Post-Impressionist exhibition.\u003c\/p\u003e\n\u003cp\u003e• Documented admiration for Paul Cézanne.\u003c\/p\u003e\n\u003cp\u003e• Contemporary criticism recognised Preston’s assimilation of Post-Impressionist simplification and abstract design by 1912.\u003c\/p\u003e\n\u003cp\u003e• Professionally mounted using acid-free materials.\u003c\/p\u003e\n\u003cp\u003e• Larson-Juhl distressed-finish frame.\u003c\/p\u003e\n\u003cp\u003e• AR70 anti-reflective glass.\u003c\/p\u003e\n\u003cp\u003e• Framed dimensions: 80.5 cm wide × 66.5 cm high × 5 cm deep.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eIntroduction\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThere is something particularly revealing about the still life of an artist better known for monumental public commissions.\u003c\/p\u003e\n\u003cp\u003eEdward Carter Preston achieved national recognition as a sculptor and medallist, yet painting and watercolour formed a continuous strand throughout his remarkably varied artistic career.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eDomestic Kitchen Geometry: Jug, Pot and Bottle\u003c\/em\u003e, dating stylistically to circa 1925, transforms an arrangement of everyday kitchen vessels into an exploration of form, volume, colour and pictorial space.\u003c\/p\u003e\n\u003cp\u003eA broad jug, cooking pot, bottle, spoon and smaller vessels overlap across the composition. Their circular openings become ellipses; their bodies approach cylinders; handles and rims establish an interconnected network of curves and angular planes.\u003c\/p\u003e\n\u003cp\u003eTransparent washes of ochre, sand, celadon, muted blue and grey soften this underlying geometry.\u003c\/p\u003e\n\u003cp\u003eWhat makes the work especially compelling is the documentary context now available for Preston’s development as a modernist painter.\u003c\/p\u003e\n\u003cp\u003eHis training, association with Liverpool’s progressive Sandon Studios, exposure to Post-Impressionism and documented admiration for Paul Cézanne establish a substantial art-historical framework within which the present watercolour can be considered.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCatalogue Details\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eArtist: Edward Carter Preston\u003c\/p\u003e\n\u003cp\u003eDates: 1884–1965; frequently published as 1885–1965\u003c\/p\u003e\n\u003cp\u003eNationality: British\u003c\/p\u003e\n\u003cp\u003eBorn: Liverpool, England\u003c\/p\u003e\n\u003cp\u003eModern descriptive title: \u003cem\u003eDomestic Kitchen Geometry: Jug, Pot and Bottle\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eAuction description: Cubist still life of jug, pot and spoon, bottle and other kitchen items\u003c\/p\u003e\n\u003cp\u003eDate: Circa 1925\u003c\/p\u003e\n\u003cp\u003eMedium: Watercolour on paper\u003c\/p\u003e\n\u003cp\u003ePeriod: British interwar modernism\u003c\/p\u003e\n\u003cp\u003eGenre: Still life\u003c\/p\u003e\n\u003cp\u003eStyle: Post-Impressionist and Cubist-influenced British modernism\u003c\/p\u003e\n\u003cp\u003eSignature: Initialled “E.Cr.P.” in a lower corner\u003c\/p\u003e\n\u003cp\u003eImage dimensions: Approximately 42 cm high × 55 cm wide\u003c\/p\u003e\n\u003cp\u003eFrame: Larson-Juhl distressed-finish moulding\u003c\/p\u003e\n\u003cp\u003eMounting: Acid-free materials\u003c\/p\u003e\n\u003cp\u003eGlazing: AR70 anti-reflective glass filtering approximately 70% of ultraviolet light\u003c\/p\u003e\n\u003cp\u003eFramed dimensions: 80.5 cm wide × 66.5 cm high × 5 cm deep\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCatalogue Note\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003ePreston organises the composition around a deliberately restricted collection of domestic vessels.\u003c\/p\u003e\n\u003cp\u003eThe broad jug and rounded cooking pot establish the principal masses. An upright bottle introduces a firm vertical rhythm, while the spoon traverses the foreground, visually connecting the surrounding objects.\u003c\/p\u003e\n\u003cp\u003eCircular openings become ellipses. Bottles and pots become cylinders. Handles, rims and overlapping contours create a network of curves and angular passages.\u003c\/p\u003e\n\u003cp\u003eYet Preston never abandons representation.\u003c\/p\u003e\n\u003cp\u003eThe individual objects remain clearly identifiable while simultaneously functioning as components within a broader geometric construction.\u003c\/p\u003e\n\u003cp\u003eThis tension between observation and simplification places the work convincingly within the development of British interwar modernism.\u003c\/p\u003e\n\u003cp\u003eRather than describing it simply as an example of orthodox Cubism, the available documentary evidence supports a more precise interpretation: a British modernist still life combining Preston’s established Post-Impressionist engagement with later Cubist-influenced geometric simplification.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFrom the Art Sheds to Modernism\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003ePreston’s development was unusually broad.\u003c\/p\u003e\n\u003cp\u003ePublished research records that he was apprenticed to the decorative-glass firm E. R. Latham of Renshaw Street, where he studied gilding, lettering and engraving, before moving to Morton’s furnishing company.\u003c\/p\u003e\n\u003cp\u003eAt the same time he studied modelling, painting, drawing and decorative design at Liverpool’s School of Architecture and Applied Art, popularly known as the \u003cstrong\u003eArt Sheds\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eThe multidisciplinary character of this education is significant.\u003c\/p\u003e\n\u003cp\u003ePreston was trained to think simultaneously as painter, designer and craftsman — an approach that would eventually enable him to move fluently between watercolour, sculpture, medal design, decorative glass and other media.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGerard Chowne and Modern French Painting\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eOne of the most significant influences upon Preston’s painting was \u003cstrong\u003eGerard Chowne\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003ePublished research records Chowne’s early influence upon Preston and the subsequent emergence of strongly coloured decorative Post-Impressionist watercolours in Preston’s practice.\u003c\/p\u003e\n\u003cp\u003ePreston later acknowledged Chowne as an important artistic influence, while Chowne encouraged his pupil to look towards modern French painting.\u003c\/p\u003e\n\u003cp\u003eThat shift is particularly significant when considering \u003cem\u003eDomestic Kitchen Geometry\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Sandon Studios and Post-Impressionism\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eFollowing his studies, Preston became deeply involved with Liverpool’s progressive Sandon artistic community.\u003c\/p\u003e\n\u003cp\u003eThe Sandon provided an alternative to Liverpool’s established artistic institutions and became one of the most adventurous centres for contemporary art in the city.\u003c\/p\u003e\n\u003cp\u003ePreston’s Post-Impressionist watercolours were exhibited there in 1911 alongside works associated with Roger Fry’s famous first Post-Impressionist exhibition.\u003c\/p\u003e\n\u003cp\u003eThe wider exhibition brought Liverpool audiences into contact with artists including \u003cstrong\u003ePicasso, Gauguin, Matisse, Van Gogh and Cézanne\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eThis is unusually important context for the present watercolour.\u003c\/p\u003e\n\u003cp\u003ePreston was not encountering modernism remotely or retrospectively. He belonged to an artistic circle actively engaging with major developments in European modern art during the formative years of his career.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePreston and Cézanne\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eCézanne is especially important when considering the geometric construction of \u003cem\u003eDomestic Kitchen Geometry\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eResearch records Preston’s admiration for Cézanne and his appreciation of the French artist’s concern with underlying form.\u003c\/p\u003e\n\u003cp\u003eThe relationship should not be overstated: there is presently no documentary evidence demonstrating that this particular watercolour was consciously painted “after Cézanne”.\u003c\/p\u003e\n\u003cp\u003eNevertheless, Preston’s documented admiration provides meaningful art-historical context.\u003c\/p\u003e\n\u003cp\u003eThe jug, pot and bottle are simultaneously everyday objects and arrangements of volume.\u003c\/p\u003e\n\u003cp\u003eEllipses establish their openings. Cylindrical masses establish their bodies. Intersecting planes organise the spaces between them.\u003c\/p\u003e\n\u003cp\u003eThis concern with underlying structure is consistent with Preston’s documented engagement with modern French approaches to form.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eContemporary Evidence of Preston’s Modernism\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe strongest evidence comes from criticism written during Preston’s own early career.\u003c\/p\u003e\n\u003cp\u003eA 1912 Sandon Studios Society exhibition included his work alongside that of J. Herbert MacNair and Frances MacDonald MacNair.\u003c\/p\u003e\n\u003cp\u003eContemporary criticism singled out Preston’s \u003cem\u003eDancers\u003c\/em\u003e for its particularly accomplished assimilation of the simplification and abstract design associated with Post-Impressionism.\u003c\/p\u003e\n\u003cp\u003eThis assessment is highly significant.\u003c\/p\u003e\n\u003cp\u003eIt establishes that simplification and abstraction were recognised characteristics of Preston’s work more than a decade before the proposed circa-1925 date of \u003cem\u003eDomestic Kitchen Geometry\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEdward Carter Preston: Painter\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003ePreston’s subsequent fame as a sculptor and medallist has sometimes overshadowed his identity as a painter.\u003c\/p\u003e\n\u003cp\u003eThe documentary record makes clear that painting was fundamental to his career.\u003c\/p\u003e\n\u003cp\u003eBefore the official commissions that ultimately established his wider reputation, Preston was known professionally for his paintings. These were exhibited both in Liverpool and elsewhere in Britain, and he continued painting throughout his lifetime.\u003c\/p\u003e\n\u003cp\u003ePreston himself recalled drawing and painting from his earliest memories and considered himself already proficient in watercolour by approximately ten years of age.\u003c\/p\u003e\n\u003cp\u003eThis makes the present work considerably more than a peripheral experiment by a sculptor.\u003c\/p\u003e\n\u003cp\u003eIt belongs to an artistic discipline Preston pursued throughout his life.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEdward Carter Preston: 1884 or 1885?\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003ePublished sources disagree regarding Preston’s year of birth.\u003c\/p\u003e\n\u003cp\u003eThe Public Statues and Sculpture Association and the important 1999 University of Liverpool exhibition catalogue use \u003cstrong\u003e1885–1965\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eSubsequent doctoral research undertaken at the University of Liverpool by Maureen Ann Bampton identifies Preston as \u003cstrong\u003e1884–1965\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eCrucially, Bampton directly investigated the discrepancy and records that although several publications had adopted 1885, Preston’s birth certificate confirms that he was actually born in \u003cstrong\u003e1884\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eAccordingly, Cheshire Antiques Consultant LTD® uses \u003cstrong\u003e1884–1965\u003c\/strong\u003e within the present catalogue while acknowledging the alternative 1885 date found in established literature.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFrom Painter to Nationally Important Medallist\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003ePreston achieved national recognition in 1918 after winning the competition to design the First World War Next-of-Kin Memorial Plaque.\u003c\/p\u003e\n\u003cp\u003ePopularly known as the “Dead Man’s Penny”, the bronze plaque was issued to the families of British and Empire service personnel who died during the conflict.\u003c\/p\u003e\n\u003cp\u003eHis success established Preston as an important medallist and was followed by further official commissions, including decorations associated with the newly established Royal Air Force.\u003c\/p\u003e\n\u003cp\u003eYet painting continued alongside these prestigious public commissions.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLiverpool Cathedral\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAround 1930 another major chapter opened in Preston’s career.\u003c\/p\u003e\n\u003cp\u003eHis sculptural involvement with Liverpool Anglican Cathedral ultimately extended across approximately three decades.\u003c\/p\u003e\n\u003cp\u003ePreston produced numerous figures, memorials, reliefs, inscriptions and architectural sculptures for the Cathedral.\u003c\/p\u003e\n\u003cp\u003eHis sculpture combined historical references with distinctly twentieth-century stylisation.\u003c\/p\u003e\n\u003cp\u003eThe sculptural concern with mass, volume and proportion provides an illuminating context for the present work.\u003c\/p\u003e\n\u003cp\u003eThe jug, pot and bottle are painted in watercolour, yet Preston appears to conceive them almost sculpturally as masses occupying and defining space.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eA Lifelong Engagement with Modernism\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003ePreston never became confined to a single historical style.\u003c\/p\u003e\n\u003cp\u003ePublished research records that towards the end of his career he produced imaginative wood figures and groups employing a modernist language indebted to \u003cstrong\u003eBarbara Hepworth and Henry Moore\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eThis is significant when considering his career as a whole.\u003c\/p\u003e\n\u003cp\u003eFrom his early involvement with Post-Impressionism through the interwar period and into his later sculpture, Preston repeatedly absorbed contemporary artistic developments while adapting them to his own multidisciplinary practice.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eDomestic Kitchen Geometry\u003c\/em\u003e belongs naturally within that broader story.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eFrom a relative of Edward Carter Preston.\u003c\/p\u003e\n\u003cp\u003eDirect family provenance prior to its first documented market appearance.\u003c\/p\u003e\n\u003cp\u003eOffered by a notable North West auction house in September 2025; auction label retained verso.\u003c\/p\u003e\n\u003cp\u003eThe auction catalogue described the work as a watercolour “Cubist still life of jug, pot and spoon, bottle and other kitchen items” and recorded the initials “E.Cr.P.”\u003c\/p\u003e\n\u003cp\u003eCurated, researched and catalogued by Cheshire Antiques Consultant LTD®.\u003c\/p\u003e\n\u003cp\u003eExhibited at the Famous Lord Hill Museum, Shropshire, within a presentation of British modernist and interwar works.\u003c\/p\u003e\n\u003cp\u003eThe title \u003cem\u003eDomestic Kitchen Geometry: Jug, Pot and Bottle\u003c\/em\u003e is a modern descriptive title rather than a documented title given by Edward Carter Preston.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eResearch and Literature\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eResearch undertaken in connection with the present work has included:\u003c\/p\u003e\n\u003cp\u003ePublic Statues and Sculpture Association, biography of Edward Carter Preston by Emma Roberts, 2012.\u003c\/p\u003e\n\u003cp\u003eMaureen Ann Bampton, \u003cem\u003eCraftsman and Client: The Official Commissions of Edward Carter Preston\u003c\/em\u003e, PhD thesis, University of Liverpool, 2007.\u003c\/p\u003e\n\u003cp\u003eAnn Compton (ed.), \u003cem\u003eEdward Carter Preston, 1885–1965: Sculptor, Painter, Medallist\u003c\/em\u003e, University of Liverpool Art Gallery, 1999.\u003c\/p\u003e\n\u003cp\u003ePublished research concerning Edward Carter Preston, the Sandon Studios Society and Liverpool’s early engagement with Post-Impressionism.\u003c\/p\u003e\n\u003cp\u003eThese sources have been used for biographical and art-historical context. No claim is made that \u003cem\u003eDomestic Kitchen Geometry\u003c\/em\u003e itself is specifically illustrated or discussed within these publications.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDimensions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eImage height: Approximately 42 cm or 16.5 inches.\u003c\/p\u003e\n\u003cp\u003eImage width: Approximately 55 cm or 21.7 inches.\u003c\/p\u003e\n\u003cp\u003eFramed width: 80.5 cm or approximately 31.7 inches.\u003c\/p\u003e\n\u003cp\u003eFramed height: 66.5 cm or approximately 26.2 inches.\u003c\/p\u003e\n\u003cp\u003eFramed depth: 5 cm or approximately 2 inches.\u003c\/p\u003e\n\u003cp\u003eAll measurements are approximate.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition Report\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe watercolour remains in good overall condition.\u003c\/p\u003e\n\u003cp\u003eThe painted surface appears clean and stable, and the colours retain an attractive tonal balance.\u003c\/p\u003e\n\u003cp\u003eThe paper displays age-related toning and mild areas of yellow or brown discolouration consistent with natural oxidation and previous light exposure. The earlier auction report also noted some discolouration and possible very light foxing visible from the reverse.\u003c\/p\u003e\n\u003cp\u003eThe work has been professionally mounted using acid-free materials.\u003c\/p\u003e\n\u003cp\u003eIt is presented in a Larson-Juhl distressed-finish frame. The deliberately chipped, cracked and rubbed appearance forms part of the moulding’s manufactured decorative finish and should not be mistaken entirely for accidental damage.\u003c\/p\u003e\n\u003cp\u003eThe AR70 anti-reflective glass provides clear colour transmission, reflections below approximately 1% and filtration of up to approximately 70% of ultraviolet light.\u003c\/p\u003e\n\u003cp\u003ePlease study all available photographs, as they form an integral part of the condition report. Additional photographs are available upon request.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWorldwide Shipping\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWorldwide shipping is available.\u003c\/p\u003e\n\u003cp\u003eThe glazed watercolour will be professionally packaged using appropriate protective materials and dispatched fully insured.\u003c\/p\u003e\n\u003cp\u003eInternational buyers are welcome. Please contact us for a destination-specific delivery quotation or to discuss any particular shipping requirements.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCertificate of Sale \u0026amp; Dealer Attribution\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe artwork will be supplied with a Certificate of Sale \u0026amp; Dealer Attribution issued by Cheshire Antiques Consultant LTD®, recording the artwork’s catalogue details, attribution, provenance as stated, and details of the sale. This document accompanies the work as part of its ongoing ownership and provenance record.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAttribution and Research\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe historical observations, provenance research, attribution analysis and contextual commentary presented within this catalogue entry represent the professional opinion of Cheshire Antiques Consultant LTD®. They are offered in good faith as informed scholarly assessments based upon the available evidence, comparative research, published reference material and our experience within the international fine art market.\u003c\/p\u003e\n\u003cp\u003eThese observations should be understood as professional opinions rather than definitive statements of fact or guarantees of authorship, attribution, date, origin, provenance or historical interpretation. As with all historic works of art, future documentary discoveries, technical examination, conservation analysis or advances in academic research may refine, expand or revise current interpretations.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCheshire Antiques Consultant LTD®\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSpecialising in carefully curated British and European fine art, antiques and historic works of art.\u003c\/p\u003e\n\u003cp\u003eEvery artwork is professionally researched and catalogued using comparative scholarship, published reference material and more than two decades of experience within the international fine art market. We are committed to offering collectors works of artistic and historical merit accompanied by transparent provenance research, detailed catalogue descriptions and professional, client-focused service.\u003c\/p\u003e\n\u003cp\u003eAdditional photographs and further information are available upon request.\u003c\/p\u003e","brand":"Cheshire Antiques Consultant LTD","offers":[{"title":"Default Title","offer_id":56018529157498,"sku":"k40000045","price":13500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0201\/2227\/1808\/files\/CubistPaintingByEdwardCarterPreston.jpg?v=1760367536","url":"https:\/\/cheshireantiquesconsultantltd.com\/it-it\/products\/edward-carter-preston-domestic-kitchen-geometry-british-modernist-watercolour-c-1925","provider":"Cheshire Antiques Consultant LTD","version":"1.0","type":"link"}