534297 Lose gefunden, die zu Ihrer Suche passen. Abonnieren Sie die Preisdatenbank, um sofortigen Zugriff auf alle Dienstleistungen der Preisdatenbank zu haben.
Preisdatenbank abonnierenA REGENCY MAHOGANY CANTERBURY with four sectional top supported by split column uprights above a frieze drawer fitted gilt brass knob handles; raised on short turned legs with cup casters48cm wide 35cm deep 46cm high A good genuine canterbury has a nice light mahogany colour and polish, the top slats are all loose and would require regluing.
A MING DYNASTY BLUE AND WHITE CHINESE LARGE DISH decorated with panels of animals and fish within geometric borders enclosing a lake and landscape centre.45cm diameter We have looked at the dish under a UV light it has no hairline cracks or restoration, just a smal rim chip approx 1cm, and a surface chip which has been re-glued. please see extra image
A GEORGE IV SILVER TEA CADDY with stepped lid and square body, engraved with wheatear border and coat of arms - Exeter 18249cm high 6cm wide 4cm deep It has a small dent to the top corner of the lid and a small dent to the inside corner of the lid (see images). The rest is in good condition with some light surface scratches to the body.
AN EARLY 19TH CENTURY STAFFORDSHIRE SCULPTURE OF A RECUMBENT LION decorated in polychrome colours11cm wide 8cm highIt is in unrestored condition with a small chip to the ear and a tiny chip to the other ear. There are some minor losses to the glazing on the nose and the end of the tail. There is a very fine hairline crack to the underside of the base, visible with a black light.
A LARGE ELIZABETH II PIERCED SILVER TAZZA the shallow dished top with pierced engraved grapevine border and vine side handles raised on a circular foot, app. weight 1366g - Viner's Ltd. Sheffield 1963In very good condition with no damage or restoration. There are some light surface scratches to the top.
A VICTORIAN SILVER SALVER the ornate shell and feather-edged border enclosing a scrolled leaf and flower head engraved centre; on 3 scrolled feet. London 1898, Goldsmiths & Silversmiths Co, 936g32cm diameterIn very good undamaged condition with only some light surface scratches to the centre of the salver.
AN 18TH CENTURY ITALIAN VENDETTA DAGGER the leather scabbard with octagonal shaped handle of mother of pearl and ebony27cm longThe blade has no damage, is nice and straight with no nicks, there is light pitting to the surface. The handle is in good condition with no losses or damage. The mounts to the scabbard are loose and the seem to the leather has opened slightly
A LATE GEORGE III LACQUERED BRASS CAMERA LUCIDA BY CARY, LONDON the hinged signed head with prism, dark light filter and light reducing flap on a telescopic arm calibrated 0-10 for distance, the base with hinged clamp for attaching to a tabletop; original Moroccan leather maroon case. Case 22cm long
A FINE LATE 18TH CENTURY SEVRES PORCELAIN BOWL AND COVER on a celestial blue ground decorated with painted panels depicting children playing, marked with an interlaced L's mark surrounding the letter B.13cm high 9.5cm diameter.In unrestored condition with no cracks or chips. There is a small area on the inside of the lid which has been overpainted, which shows up under black light.
JOHN WILLIS GOOD, BRITISH (1845-1879) A 19TH CENTURY BRONZE EQUESTRIAN SCULPTURE finely modelled as a saddled hunter on a shaped naturalistic base - signed, brown patination23.5cm high 25cm wideThe bronze is the same colour as in the photo, it is very good quality casting with no damage or restoration, it has a light surface scratches to the left hind of the horse
A PAIR OF 19TH CENTURY FRENCH MILLIFIORI GLASS ELECTRIFIED TABLE LAMPS of green ground baluster form with typical flower head decoration, on brass bases31cm high The shades have no cracks or restoration, there are some small chips to the bottom rims, the light fitting are later. Extra images have been uploaded.
A 19TH CENTURY PORTRAIT OIL ON CANVAS LAID ON WOOD PANEL depicting a mother and daughter in a garden setting - unsigned, in gilt moulded frame30.5cm high 24cm wideThe painting is in good undamaged, unrestored condtion, we have looked over it edith a black light and can see no restoration, the planet is warped and split from behind, this hasn't come through to th epainting but it is warped, the oil paint has crazing.
EUREKA CLOCK CO. LTD. LONDON. AN EARLY 20TH CENTURY ENGLISH BRASS FOUR-GLASS ELECTRIC MANTEL CLOCK the moulded case inset with bevelled glass panels enclosing a 5" porcelain dial with Roman numerals and subsidiary seconds dial fronting a battery-powered mechanical movement with weighted compensated magnetic impulse balance wheel32.5cm high In good overall condition, with some very light surface scratches to the top of the case. All of the bevelled glass panels are in good undamaged condition. The dial has no chips cracks or restoration and the movement looks clean and is in working condition, however we cannot guarantee mechanical parts.
PATEK PHILLIPE. A MID 20TH CENTURY GILT BRASS SOLAR POWERED TABLE CLOCK the burgundy and gold coloured dial with roman chapter ring enclosed by an engraved masked dial and matching side panels raised on shallow square feet; the dial with signature plaque. The movement numbered 874'070 - with solar panel to the top23cm high 17cm wideThe clock is in very nice condition, the laquerework to ther brass is in good condition and original but would benefit for a light clean. All of the glass panels are in good condition with no damage. All side panels and dial again in nice undamaged condition. The movement is clean and complete and in good working condition. We cannot guarantee mechanical parts.
A LATE 19TH CENTURY FRENCH CHAMPLEVE ENAMEL STRUT CLOCK retailed by Goldsmiths & Silversmiths Co. 112 Regent Street, London the blue enamel ground shaped brass case decorated with coloured floral inlays enclosing a 3.5" silvered rectangular dial with Roman numerals fronting an eight-day spring driven movement with cylinder escapement.24.5cm highThe case has some fine hairline cracks in the enamel to the top left and right corners, with a small amount of restoration to the light blue enamel. The silvering to the dial is worn slightly, and the gilding to the back of the case is also worn. The movement looks clean and ticks when wound with the original lever escapement but may need a service. We can not guarantee mechanical parts
A LATE 19TH CENTURY FRENCH CHINOISERIE LACQUERED MANTEL CLOCK the arched green ground case decorated with raised gilt figures in a village scene enclosing a 5" enamel dial with Arabic numerals fronting an eight-day spring driven movement striking the hours/half hours on a bell30cm highThe case is in good original condition with no losses, some light rubbing to the edges and crazing to the top but very stable, small scratch to the front bottom D-mould, the dial is in good condition with no chips or cracks, the movement ticks and strikes when wound but is dirty and will require a service. Extra images have been uploaded.
AN IMPRESSIVE EARLY/MID 19TH CENTURY COUNTRY HOUSE SILVER PLATED TABLE HORS D'OEUVRE SERVICE with Spode type porcelain fittings and set of 9 plates, the four handled revolving body for containing hot water heating fitted four crescent shaped lidded dishes and a central tureen set with four castors; with a set of 9 matching side plates decorated chrysanthemum flower head sprays and a richly gilt foliated royal blue ground. - tureen lid bares label for property of Lord De Isle of Anglesey(?)70.5cm across handles side plates 19cm diameterThere is rubbing and light scratches to the gilt decoration on the plates. One of the plates has a hairline crack but the others are in good condition. All of the terrines are in good condition with no damage. The central terrine has a hairline crack running around the rim of the base. The silvered metal is worn and pitted and the castors have also lost their silvering.
George III mahogany tallboy, the moulded dentil and blind fretwork cornice above two short and three long drawers flanked by blind fretwork canted corners, the base with a brushing slide above three further drawers, all with original gilt brass handles, raised on bracket feet, 44ins wideSome veneer and moulding repairs needed. Light in colour, no patina.
FRANÇOIS THEODORE LEGRAS. France, ca. 1910.Pair of Art Nouveau vases.Blown glass in various layers of colour and enamelled with floral decorations.Signed.Procedure: Private Collection, Spain between 1970-1990.Measurements: 44 cm (height) x 12 cm (diameter).Pair of Art Nouveau vases of slender structure, with rounded, circular and low foot, flared belly narrower at the base and prominent shoulders. Both vases are blown glass, in different layers of hand-applied colour, depicting light poppies set against an orange background, emerald-green at the bottom.The firm of F. Th. Legras was founded by Auguste Jean-François Legras (1817 - 1887) around 1864 in St. Denis, near Paris. At the beginning of the 20th century, the firm specialised in the production of acid-etched cameo glass, inspired by Gallé's pieces. Legras & Cie. produced a multitude of pieces for sale, as well as several of particular quality for display at international fairs.
ÉMILE GALLÉ (Nancy, France, 1846 - 1904).Vase, ca. 1920.Acid-etched cameo glass.Signed on the reverse.Procedure: Private Collection, Spain between 1970-1990.Measurements: 13 x 8 x 6 cm.Acid-etched cameo glass vase, with an ovoid body and curved mouth. It is decorated with floral decoration that is freely arranged on the surface, as is typical of Gallé cameo glass. It is composed of two layers of glass, yellow, white and green in colour, cut at different levels to create tonal variations and details that add three-dimensionality to the flowers.Gallé presented his acid-etched cameo technique at the Paris Exhibition of 1889, with the aim of bringing Art Nouveau glass to the public. It was a quicker and cheaper form of decoration, resulting in more affordable, mass-produced but handmade pieces, as no stencils were used and the motif was hand-drawn on each piece.Émile Gallé began his career working for his father, who owned a glass and ceramics factory, producing designs with floral and heraldic motifs. Very interested in botany, he studied it in depth during his youth, alternating with drawing classes. Between 1862 and 1864, at his father's request, he travelled around Italy, England and Germany, taking an interest in the applied arts but also in subjects that he would later reflect in his works, such as music, philosophy and nature. On his return he settled in Meisenthal, where his family's glass furnaces were located, in order to fully learn the craft of glassmaking. He also travelled to London and Paris to see the collections of their museums. In 1874 he took over his father's factory and soon achieved great international success, winning prizes at International Exhibitions and selling works to important collections and museums. Today, works by Emile Gallé can be seen in the Hermitage Museum in St Petersburg, the Metropolitan Museum in New York, the Orsay Museum in Paris, the Brohan Museum in Berlin and the Victoria & Albert Museum in London, among many others.Nature is one of the main sources of inspiration for Gallé, whose style is characterised by the naturalistic rendering of the elements, as if observed through a macro, at a large size, or in the form of landscapes. This piece is worked with hydrofluoric acid, which was Gallé's main industrial production technique. It is a cameo glass, which consists of making a piece with two or more layers of glass of different colours so that, after immersion in the acid, the decorative motif is in relief on a plain background of a different colour. The decoration in this case has three levels, with variations in relief, the dark motif on the light background and, finally, a twilight sky in ochre tones. Gallé presented his acid-etched cameo technique at the Paris Exhibition of 1889, with the aim of bringing Art Nouveau glass to the public. This was a quicker and cheaper form of decoration, resulting in more affordable pieces, which were mass-produced but handmade, as no stencils were used and the motif was drawn by hand on each piece.
LOETZ. Czech Republic, ca. 1910.Art Nouveau vase.Blown glass.No signature.Vases of similar characteristics and decorations at www.loetz.com/decoraciones.Provenance: Spanish private collection, formed between 1970 and 1995.Measurements: 30 cm (height); 11 cm (largest diameter).Art Nouveau vase of clear floral inspiration, made in yellow glass, iridescent on the inside. It is made using the air-blowing technique, and the organic appearance of the upper part, imitating a leaf, has been obtained by hot modelling the glass, using tweezers and other tools. The iridescent, multicoloured and irregular appearance of the upper part is typical of Art Nouveau glass, characterised by its ornamental sense and technical experimentation.The quality of the materials and the workmanship of the glass is common in the Loetz firm, especially in the use of iridescent glass, widely used in Central European modernism, characterised by its chromatism, which changes according to the angle of incidence of light on its surface, and by its metallic appearance. This material, the result of intensive technical research carried out in the artistic glass workshops of the second half of the 19th century, is obtained by adding various metallic oxides to the base mass of glass.Loetz, founded in 1840, was a pioneer in the use of new techniques and materials, following the line of experimentation of the glass artists of the second half of the 19th century. The firm took part in the 1889 Paris International Exhibition, where its pieces were unanimously acclaimed by the critics.
Loading...
