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2720344 Los(e)/Seite
A Victorian silver and cut glass inkwell, Haseler Brothers, London 1893, the cut glass spherical body with silver cover, set to a navette shaped stand, pierced and embossed with floral detail, 16.5cm wide, together with a George V silver bon-bon dish, George Nathan & Ridley Hayes, Chester 1915, 16cm wide, gross weight (excluding ink bottle) 7.04ozt (2)
A George V silver and enamelled souvenir napkin ring, Walker & Hall, Sheffield 1915, of circular form, inscribed 'Souvenir of voyage by R.M.S. Akabo', 41mm wide, together with an Edwardian silver and enamelled souvenir napkin ring, Walker & Hall, Chester 1906, inscribed 'Souvenir of the British Cotton Growing Association's trip to the West Indies per the "Port Kingston" 1907, Presented by Sir Alfred L Jones K.C.M.G.', 41mm wide, and an Edwardian silver and enamel 'Jersey' napkin ring, A & J Zimmerman Ltd, Birmingham 1909, 50mm wide, gross weight 2.38ozt (3)
A selection of Victorian and later silver and silver coloured napkin rings, to include an Elizabeth II example with applied Prince of Wales feathers, Henry Griffith & Sons Ltd, Birmingham 1965, 44mm diameter, a Victorian example engraved 'Father' with foliate decoration, Robert James Chaplin & Sons, London 1898, 45mm diameter, a Burmese silver coloured example embossed with deities, 39mm wide, and ten further assorted examples, gross weight (excluding two unmarked examples) 5.79ozt (13)
A silver bon-bon dish, Adie Brothers, Birmingham 1958, of pierced circular form, the bowl with inscription 'Nance & Edith with love Pastor', 13.8cm diameter, together with a Victorian silver wet mustard and spoon, James Deakin & Sons, Chester 1894-5, mustard 5.9cm high, spoon 9.1cm long, a pair of Victorian silver shell shaped salts, James Deakin & Sons, Chester 1896, 5cm wide, four pairs of assorted sugar tongs, longest 10.6cm, and a silver teaspoon, 11.2cm long, gross weight 7.68ozt (10)
A selection of silver accessories, to include an Edwardian silver ring tree, Walker & Hall, Chester 1906, the hexagonal base with pierced and embossed scrolling foliate detail, the central tree with textured bark effect detail, 7cm high, an Edwardian silver spectacles case, Chester 1906 (maker's marks worn), 11.6cm wide, an Edwardian posy-cum-menu holder, Cornelius Desormeaux Saunders & James Francis Hollings (Frank) Shepherd, Chester 1901, 9cm high, a pair of Art Nouveau style silver place-card holders, each 32mm high, a pierced silver menu-holder, 4.8cm high, a silver bloodstone set propelling pencil, 8.1cm long, a silver abalone shell pill box, 28mm wide, and a miniature silver coloured model of a fan, 7.6cm wide, gross weight (excluding fan) 5.72ozt (9)
A pair of George V silver candlesticks, marks for 'WS', Birmingham 1921, the weighted stepped square bases with beaded borders, Corinthian columns and capitals with detachable sconces, one inscribed to base 'Presented to Mr & Mrs S.Y.Pitcher, by the Parishioners as a token of esteem on their leaving Kemberton-Mar-25-1922', each 24.9cm high (at fault)
An Art Nouveau silver pin dish, James Deakin & Sons, Chester (date letters worn), of rectangular form with shaped border, embossed floral and foliate detail, 22cm wide, together with a George V silver cigarette case, Frederick Field Ltd, Birmingham 1935, 10cm x 8.5cm, a Victorian silver vesta case, Henry Pope, Birmingham 1899, 4.9cm x 3.3cm, a further George V silver vesta, William Aitken, Birmingham 1912, 5cm x 3.9cm, and two silver coloured Albertina chains, longest 26.5cm long, gross weight 267gms (6)
A George V silver sugar caster, A L Davenport Ltd, Birmingham 1931, of baluster form on circular pedestal foot with pierced pull-off cover, 16.9cm high, together with a George V silver cigarette case, S Blanckensee & Son Ltd, Chester 1934, 8.2cm x 6.1cm, a Scottish silver butter knife, Francis Howard Ltd, Edinburgh 1969, 13.6cm long, and three William IV and later silver teaspoons, gross weight 8.41ozt (6)
A Tiffany silver perfume flask and funnel, flask 42mm long, funnel 33mm long, set to a fitted boxBottle in good order - no large dents, splits or repairs. Moderate scratching and wear to the exterior. Cover and spactula in good order. Funnel in good order, no large dents, splits or repairs. Moderate scratching and wear. No inscriptions. Box in good order.
A 19th century Austrian silver box, of rectangular form, chased with scrolling floral detail, vacant cartouche to cover, 9cm x 5.4cm, together with a Victorian glass silver mounted 'glug-glug' decanter, 36.5cm high, an Edwardian silver mounted cut glass decanter, import marks for Berthold Muller, Chester 1905, 23.1cm high, and a cased set of six butter knives with weighted silver handles, Atkin Brothers, Sheffield 1936, each 17cm long (9)
A Victorian silver bon bon dish, A & J Zimmerman Ltd, Birmingham 1897, of shaped oval form with pierced trellis and embossed scrolling foliate decoration, 17.8cm x 12.3cm, together with an oval silver tray, J B Chatterley & Sons Ltd, Birmingham 1972, of oval form with gadroon border, 19cm x 15.5cm, gross weight 8.60ozt (2)
A Victorian silver propelling pencil, Sampson Mordan, London 1872, of typical form with engine turned decoration and hardstone set seal top terminal, maximum length 11.8cm, together with a George V novelty silver pen in the form of a golf club, James Fenton, Birmingham 1924, 15.2cm long, and a Chinese silver coloured pen, 16.5cm long (3)
A silver cigarette box, J B Chatterley & Sons Ltd, Birmingham 1962, of rectangular form, the cover with scrolling foliate borders, raised on four cast feet, opening to reveal a fruitwood lined interior, 12.9cm x 9cm x 4.8cm, weight 12.39ozt Several small to mid-sized dents to the body, mostly concentrated to the edges and corners. Moderate scratching and light wear to the surface. No splitting or repair. The box wobbles slightly on a level surface. Fruit wood lining in good order, no splits or losses.
A Victorian silver dressing table jar, Thomas Hayes, Birmingham 1898, of cylindrical form, embossed with floral scrolling detail, the cover with green man mask and birds in a foliate surround, cartouche inscribed 'Maye', 8cm high, together with an Edwardian silver cigarette case, William Henry Sparrow, Birmingham 1909, of curved rectangular form with scrolling foliate detail and monogrammed initials to shield cartouche, 8.6cm x 7.5cm, gross weight 6.46ozt (2)
A selection of silver and silver mounted tableware, to include a set of nine silver teaspoons, Emile Viner, Birmingham 1930, each 10.7cm long, a pair of Victorian silver sugar tongs, Robert Williams & Sons, Exeter 1851, 14.7cm long, a Victorian cut glass silver mounted dressing table jar decorated with Reynold's Angels, Levi & Salaman, Birmingham 1899, 4cm high, three assorted silver napkin rings, each 4.cm diameter, a silver salt, 7.3cm wide, a silver mounted scent bottle, 8.9cm high, a silver mounted cut glass caster 13.5cm high, and a silver mounted bottle coaster, 12.5cm diameter, gross weight (excluding glass and bottle coaster) 7.91ozt (18) (at fault)
A George V silver three-piece tea service, Williams (Birmingham) Ltd, Birmingham 1921, comprising teapot, sucrier and milk jug, each of compressed octagonal form with scrolling handles on four paw feet, teapot with ebonised handle and knop, 14.1cm high, gross weight 38.09ozt (3)CR; Teapot in good order, no major dents, splitting and repair - light scratching and wear only. Cover opens smoothly and sits flush. Handle in good order, though slightly wobbly in it's setting. Teapot sits flat on a level surface.Milk jug in good order, no splitting and repair - minor denting, light scratching and wear only.Sucrier in good order, no splitting, major dents or repair - light scratching and wear only.
A Victorian silver mug, Thornhill & Co, London 1885, of cylindrical form with C-scroll handle, inscription 'Presented to R Winfield by Clayton Aniline Company Limited on the occasion of his retirement after 40 years long and faithful service 1962' 9.8cm high, weight 7.69ozt
A Victorian silver hip flask, Louis Dee, London 1881, of curved rectangular form with bayonet clasp cap, detachable stirrup cup with monogrammed initials, 16.5cm long, weight 11.02oztPLEASE NOTE: No splits to the body or cover - this flask holds liquid, but if moved vigorously it does leak around the edge of the cap.
Signed and located 'Ridgway Knight/Paris' bottom left, oil on canvas35 1/2 x 46 1/4 in. (90.2 x 117.5cm)Please note this Lot will be on view in New York City at the National Arts Club (15 Gramercy Pk S) the week of January 23. To make an appointment, please contact Raphael Chatroux at rchatroux@freemansauction.comProvenanceCollection of William C. Sproul. His sale, Parke-Bernet Galleries, New York, sale of January 26, 1949, Lot 65.Parke-Bernet Galleries, New York, sale of April 2, 1975, Lot 161.(Presumably) acquired directly from the above sale. Private Collection, North Carolina.NoteHailing from Chambersburg, Pennsylvania, Daniel Ridgway Knight made his name through his paintings of idyllic country life. Spending the majority of his life in France he established his house and studio at Poissy along the Seine. Knight studied at the École des Beaux-Arts, Paris under Marc Gabriel Charles Gleyre and later worked in the private studio of Ernest Meissonier (see Lot 57).Depicting three women in an overgrown garden next to a river, this work is a fine example of maybe his most popular subject: peasant women. The middle figure is waving a white kerchief signaling to an unseen character. The beautiful young peasant women seem to exist in perfect harmony with the scenery around them. The lush garden in tandem with the muted light creates the feeling of a serene country evening and a simple way of living. Knight’s work reflected the French demand for paintings of pastoral charm, which was also favored by puritan collectors in the United States. His accolades include a silver medal and Cross of the Legion of Honor from the Exposition Universelle, Paris in 1889, and a gold medal of honor from the Pennsylvania Academy of the Fine Art, Philadelphia in 1893. Knight died in Paris, his son Louis Aston Knight would go on to become a well-known painter in his own right.The apparently unlined canvas in overall very good condition. The evident excess of varnish has yellowed in some parts, thus commanding a clean, which would benefit the overall apperance of the work. Scattered droplets in the sky at center and upper center (surface soiling), along with brown dots at upper left and upper right corners, which should be easily removed. Surface cracks (age related) present throughout the composition, mostly visible in the sky. Examination under UV light does not reveal any major sign of inpainting apart from a 1 in. diagonal repaired scratch at bottom left corner. Otherwise we see a heavy layer of old greenish varnish throughout. To see Specialist's images, please email Raphael Chatroux at rchatroux@freemansauction.com.
Spanish school ca. 1830."Portrait of a lady.Gouache on vellum.Signed "García fecit".Silver frame.Measurements: 8 x 7 x 0,4 cm.Most probably this female portrait is a work made by a painter of the García family. Sergio García was a painter from Madrid who had a small production, whose artistic activity is documented mainly between 1831 and 1841. In addition to being a painter, Sergio García was a member of the staff of the Royal Museum of Paintings and Sculpture (later the Prado Museum), where he was caretaker from 1847 and caretaker from 1854. According to the Museo del Prado, "He was the son of Nicolás García, a miniaturist in the Chamber from 1852, with whom he must have learnt the technique while producing a number of portraits of the royal family, some of which were engraved. From 1840 onwards, as documented by the specialist Carmen Espinosa (1999), he devoted himself almost exclusively to copying the royal paintings and portraits commissioned by Isabella II, especially those by the painter Federico de Madrazo. There are some miniatures by his hand in private noble collections and a gouache on ivory in the Museo Lázaro Galdiano attributed to him, which depicts Manuel Fernández Varela, Commissary General of the Crusade, dated around 1840, a copy of the portrait of him painted in 1828 by the painter Vicente López, probably for Queen María Cristina (Text drawn from Azcue, L.: Museo Nacional del Prado, Memoria de Actividades 2016, pp. 90-91)."
IGNACIO PINAZO CAMARLENCH (Valencia, 1849 - Godella, Valencia, 1916)."Albaes", 1887.Oil on panel.Signed and dated in the upper left corner.It has bands added on the sides. It has craquelure.With original label of the Gallery of Art and Auctions, Valencia.Measurements: 20 x 31 cm; 38 x 48.5 cm (frame).Born into a humble family, Pinazo was obliged from a very young age to contribute to the support of his household with different occupations. He had only completed the eighth year at school when his mother died of cholera, so he was soon employed in various trades, including silversmith, tile decorator, baker, gilder and fan painter. After his father's death he moved in with his grandfather and in 1864 he entered the San Carlos Academy of Fine Arts, where he was a pupil of José Fernández Olmos. During this period he earned his living as a milliner. He began his artistic training at the age of twenty-one, achieving his first success three years later in Barcelona. In 1871 he took part for the first time in the National Exhibition of Fine Arts. He was in Rome twice, the first time thanks to the sale of a painting in 1873, and the second time on a scholarship between 1876 and 1881. It was there that he began his major historical productions, far removed from the conventions of the genre. In his first period he developed an academicist style, but from 1874 he began to paint in a more intimate, impressionistic style. When he returned to Valencia he abandoned historical themes and instead began to paint family subjects, nudes and scenes from everyday life. He is now considered a precursor, in both subject matter and style, of Joaquín Sorolla and Francisco Domingo. In 1884 Pinazo left Valencia temporarily due to a cholera epidemic, moving into the house that the banker José Jaumandreu owned in Bétera. From his return that same year until 1886 he taught at the Valencia School of Fine Arts. During these years he received numerous commissions from the Valencian aristocracy, and his clients included prominent figures such as the Marchioness of Benicarló. Pinazo exhibited his works at the National Exhibitions of Fine Arts in Madrid, winning a silver medal in 1881 and 1885 and a gold medal in 1897 and 1899. In 1896 he was appointed a member of the Academy of San Carlos, and in 1906 he became a member of the Academy of San Fernando in Madrid. In 1900 he was involved in the decoration of the staircase of the palace of Don José Ayora, together with Antonio Fillol, Peris Brell, Ricardo Verde and Luis Beüt. During these years he was awarded a royal medal and in 1912 the city of Valencia dedicated a street to him. After his death in 1916, a series of commemorative events were held to commemorate his life and work. Pinazo is currently represented in the Prado Museum, the MACBA in Barcelona, the Museum and Circle of Fine Arts in Valencia, his House-Museum in Godella and the Valencian Provincial Council, as well as in various important private collections.

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2720344 Los(e)/Seite