We found 44913 price guide item(s) matching your search

An Edwardian mahogany display cabinet, with moulded cornice and blind fretwork carved frieze with glazed door opening to shelves with further low shelf and raised on moulded legs. Height 184 cm, width 121 cm, depth 37 cm.

A mahogany blind-fret carved card table, 19th century, with concertina action, the rectangular fold-over top enclosing a green baize playing surface above a blind-fret lozenge carved frieze raised on square channelled legs with fret carved corner brackets73 x 92 x 46cm closed71 x 92 x 92cm opensurface re finished, surface scratches, past restorations, two corner brackets loose, wear to baise

A George III mahogany silver table, the rectangular top over blind-fret carved frieze and legs with C-scroll corner brackets on brass castors69.5 x 87 x 59cmSome wear to top and light marks with some replacement of veneer, crack to the top of one leg, some wear commensurate with age and use.

A walnut framed needlepoint of children playing blind man's buff, 19th century, 26 x 23.5cm;together with another of Adam and Eve before the Tree of Knowledge24 x 20.5cmProvenance:Collection of Mike Handford, 'Hillsleigh', Burford, Oxfordshire

A George III mahogany secretaire chest-on-chest, the Greek-key moulded cornice above a blind fret carved frieze with two short over three long drawers flanked by quarter fluted pilasters, the lower section with a secretaire drawer over two long drawers raised on bracket feet195 x 115 x 60cmBallykeel House, Hillsborough, Northern IrelandCornice with knocks and some losses, noticeably the top right corner, some repair to the fret-workDrawers slide well, drawer fronts quite knocked with minor repairs to the veneer surrounding the drawers, the front generally slightly sun fadedBottom drawer with an added bar across the middleFeet are very knockedsee photos

SIR WILLIAM CHARLES ROSS (1794-1860). Portrait of John Arkwright; and of his wife Sarah, both seated three-quarter length, he wearing a black coat, she in a lace-trimmed dress, on ivory, 7 x 5¼in; a pair. (Ivory Reference Nos PK1Y43W9 and 9JGKYAWX) Both miniatures are said to date from 1854. Provenance: Kinsham Court, Presteigne, Powys.John Arkwright first moved to Hampton Court, Herefordshire in 1814, though he didn't formally inherit the Hampton Estate until his father's death in 1843In 1830, John married his wife Sarah, the daughter of Sir Hungerford Hoskyns Bt. of Harewood Park, Herefordshire. In the following years they were to have 12 children.Sarah Arkwright was twenty-three years younger than John, which wrote the wife of the vicar of Bodenham, some thought 'unfortunate ..persons who know her say her manners are artificial and that she has a very high spirit...but love is blind they say & Miss H is young and pretty looking '

A Chippendale style mahogany settle with blind fret carved frieze, shaped arms and red cushioned seat, raised on squared supports and stretchers, 3ft 6" H 3ft 8" L

A spade foot mahogany cabinet with two blind doors and two doors, housing a record deck and tuner, 94 x 43 x 94 x 94cm.

A MAHOGANY AND MARBLE TOP SIDE TABLE, c. 1900, of Georgian design, the moulded edged oblong top over a plain frieze centred by a blind fret panel, raised on moulded square supports with pierced fret corner brackets, 59 1/4" x 28 3/4" x 33 3/4 (Est. plus 21% premium inc. VAT)Minor loss to fret panel of frieze and missing both rear corner brackets, otherwise very good.

AN OAK LONGCASE by P Clare, Manchester, the eight day movement with anchor escapement striking on a bell, 12" square brass dial with Roman and Arabic numerals, the foliate chased centre with seconds dial, the mahogany banded case with caddy top and brass finials, blind fret frieze on turned columns, arched door flanked by quarter columns, canted base and bracket feet, 93 3/4" high (Est. plus 21% premium inc. VAT)

LAURENCE STEPHEN LOWRY (1887-1976) "Station Approach", lithograph, limited edition with blind stamp, signed in pencil, plate size 15 3/4" x 20", framed (Illustrated) (subject to Artists Resale Right) (Est. plus 21% premium inc. VAT)Very good, colours strong as behind non reflective glass

A late 19th century satinwood longcase clock, having inlaid and painted decoration of classical maiden, urns and garlands. The arched hood with blind fret decoration, four gilded brass columns, enclosing an eight day movement with brass spandrel dial and steel chapter ring, the possible replacement face has arch, the Bombe shaped trunk enclosed by a full length panel door above a swept box base and scrolled supports, 228cm high

A George III mahogany chest on chest, with a moulded dentil cornice over two short and three long lip moulded drawers, applied with associated brass swing handles and flanked by blind fretwork canted corners, upon the lower chest formed with three conforming long drawers, raised upon bracket feet, 182cm H x 100cm W x 55cm D (at fault)

English school (early 20th century),Bust length portrait of a bearded gentleman,Charcoal on paper,Unsigned, framed with art school label inscribed "Gunnis" aged 20, blind stamp lower left,42cm x 30.5cm,Framed and glazed,With a further bust length portrait by the same hand, charcoal on paper, similarly labelled, 38cm x 30cm, in matching glazed frame (2)

Nymphenburg, Figur "Tegernseerin"Nach 1927. Porzellan (1.Wahl). Rautenmarke (blind), Modellnummer 488, Pressnummer 2. Modell von Josef Wackerle (1880–1959), Modelljahr 1910. Sockel mit Künstlersignatur und Rautenmarke (geprägt und unterglasurblau). Polychrome Unterglasurbemalung. H 38 cm.- Leichte Altersspuren.

Volkers, Emil (Birkenfeld 1831–1905 Düsseldorf)Englische Vollblutstute. 1888. Öl auf Leinwand. Unten links signiert und datiert, verso auf altem Etikett bezeichnet und datiert. 34,4x42,5 cm.- Kleinste Farbausbrüche im Hintergrund, Firnis an gewissen Stellen etwas blind.

Two Flight, Barr and Barr Worcester vases, circa 1815-25With serpent handles, one painted with 'Milton composing Paradise Lost', inspiration descending upon the blind poet, dictating his verse to his daughters, fine neoclassical gilding enlivening the white ground, 19.5cm high, impressed crowned FBB mark, title and script mark with Coventry St address, the other with a man on horseback, travelling by moonlight, 'Stump, stump the Beast with heavy tread', reserved on a gilt weed ground, the square plinth and interior rim with gilt and bronze caillouté, 16.2cm high, title and script mark with Coventry St address (2)Footnotes:The well-known image of John Milton dictating his epic 'Paradise Lost', was much copied in the early 19th century. The scene of the drunken farmer asleep on his horse is from a more obscure source. It is taken from the frontispiece of the anthology 'The Minor Minstrel' by William Holloway, published in 1808, a verse from the poem 'Hurst Water'. See also lot 220 in this sale.For further information on this lot please visit Bonhams.com

A late Victorian Scottish carved wooden "blind man" snuff box, decorated all over in high relief with scenes from the adventures of Tam O'Shanter, 1880-1900, 14.7cms long.NB:Mythical and folklore stories abound where these snuff boxes occur and some believe that they were carved by a blind man operating in Ayrshire at the end of the 19th Century, or were perhaps made in the Mauchline workshops, or they could just be for the use of the blind, given their exaggerated detail and large size.

A French Silver Plated Rectangular Box, Hinged Lid Engraved by B Wicker after Lancret, Le Colin Maillard, (Blind Man's Buff), 9.25cms Wide

A BRITISH OFFICER'S PATTERN 1897 DRESS SWORD BY R. MOLE BIRMINGHAM FOR TRAYLOR & CO, PORTSMOUTH, serial no. M7117, circa 1914, with straight 32 1/2in. blade, broad blind fullers for approximately half its length, both sides etched with scrolls, geometrics and arabesques together with the Royal Coat of Arms, King's crowns and a 'GRV' device, signature at forte, the reverse with inlaid 'Star of David' proofmark, plated and pierced half-basket hilt with turned down inner guard, sharkskin grip and chequered back-strap (some staining to plated areas), complete with a later bullion sword-knot and in its pigskin leather field service scabbard with Sam Brown sword-frog. This bladed product is not for sale to people under the age of 18. By bidding on this item you are declaring that you are 18 years of age or over.Please be aware that we are unable to send edged weapons or bladed products by postal courier to a UK residential address (Offensive Weapons Act 2019)

A GERMAN KRIEGSMARINE NAVAL DIRK SIGNED ORIGINAL EICKHORN, SOLINGEN, with 9 3/4in. stiletto blade etched with scrolls and anchors (extreme tip absent), twin narrow blind fullers, makers mark at forte, carved cross-guard with central fouled anchor and push-button scabbard lock (traces of gilt), white celluloid grip (wire binding absent) and eagle and swastika pommel, complete with its brass scabbard embossed with lightning bolts (multiple dents, traces of gilding). This bladed product is not for sale to people under the age of 18. By bidding on this item you are declaring that you are 18 years of age or over.Please be aware that we are unable to send edged weapons or bladed products by postal courier to a UK residential address (Offensive Weapons Act 2019)

AN AMERICAN CIVIL WAR CAVALRY TROOPER'S PATTERN 1860 SWORD SIGNED C. ROBY, MASSACHUSETTS, with waist belt, the sword dated for 1864, with curved 35in. blade with a broad blind fuller to both sides and a narrow fuller to the middle section of the back edge, the right side of forte marked 'U.S.' over '1864' over 'A.G.M.', the reverse with 'C. ROBY, W. CHELMSFORD MASS.', brass three-bar hilt (slightly mis-shapen) with domed and banded pommel and ribbed leather covered grip (wire binding absent) and complete with its iron scabbard (stained and frosted) and original black leather sword waist-belt complete with Union buckle. This bladed product is not for sale to people under the age of 18. By bidding on this item you are declaring that you are 18 years of age or over.Please be aware that we are unable to send edged weapons or bladed products by postal courier to a UK residential address (Offensive Weapons Act 2019)

A WORLD WAR TWO GERMAN KRIEGSMARINE DAGGER BY CARL EICKHORN, with 10in. stiletto blade etched with scrolls and anchors, twin narrow blind fullers, makers mark at forte, carved cross-guard with central fouled anchor and push-button scabbard lock (traces of gilt), white celluloid wire-bound grip and eagle and swastika pommel, complete with its gilt brass scabbard embossed with lightning bolts (some denting). This bladed product is not for sale to people under the age of 18. By bidding on this item you are declaring that you are 18 years of age or over.Please be aware that we are unable to send edged weapons or bladed products by postal courier to a UK residential address (Offensive Weapons Act 2019)

A MODERN REPRODUCTION OF A 'BALDOCK SPEAR-KNIFE' WITH DAMASCUS BLADE SIGNED W.J. JEFFERY, LONDON, with rose damascus 9 1/2in. spear-point blade false edged for the last 3 1/2in., the remainder of the back edge with saw-back, narrow blind fullers to both sides, squared ricasso signed 'W.J. JEFFERY, LONDON' on the left side, moulded straight brass cross-guard, blued steel hollow hilt with knurled sliding cylindrical locking piece to attach to an improvised wooden shaft (not included), appearing unused in an oiled leather bolstered scabbard. This bladed product is not for sale to people under the age of 18. By bidding on this item you are declaring that you are 18 years of age or over.Please be aware that we are unable to send edged weapons or bladed products by postal courier to a UK residential address (Offensive Weapons Act 2019)

A Deswin roller blind

A 19th Century mahogany chest on chest with secretaire drawer blind fret decoration

Gerald Maurice Burn (British, 1862-1945),, 'The Cutty Sark', framed print with blind stamp, 25 x 20cm

A 19th century oak Bible box, with a blind carved frieze panel to its front, 65 by 39 by 26cm high.

A William IV Goncalo Alves library table, the plain frieze having two blind drawers and raised on an octagonal flaring column to a quatreform base, width 144cm, depth 77cm, height 71.5cm (some fading to margins)

A mid-17th century and later oak full tester double bedstead, the canopy blind carved with nine panels above a full carved frieze, the head with six panels each with leaf blind carving, the foot supported on heavy cup and cover turned columns with leaf and flower carving, w. (head) 144cm w. (foot at square section to mid column)160cm, length 217cm, h.221cm

A 17th century joined oak two-panel coffer, of small proportions, having a two-plank hinged top with moulded edge above a blind carved frieze and panels, opening to reveal candle box fitted interior (replacement hinges), the whole raised on high stile end supports, w.63cm, d.33cm, h.52cm

J Manuel, Sheffield: An Early Victorian Rosewood and Fret Carved Davenport, mid 19th century, of unusual form, the hinged lid pivoting to enclose a green and gilt leather covered writing slope, pen tray and compartments above folding fret carved pivoting supports, end panels and blind fret carved mouldings, on a moulded plinth base with recessed castors 77cm by 48cm by 88cm

A Pair of Victorian Gothic-Revival Satinwood and Rosewood Fret-Carved Bedside Cupboards, 3rd quarter 19th century, the moulded tops above cupboard doors with satinwood interiors, on square moulded legs with scrolled toes38cm by 33cm by 53cmTimber is rather dry and faded (see images). Both with shrinkage splits to the top/gaps (as photographed). Blind fret-carving in good condition.

A George III Mahogany and Oak-Lined Chest on Chest, late 18th century, the carved and Greek Key dentil cornice above a blind fret carved frieze and three short over three long drawers, all between carved and canted stiles, the base with three deep drawers, on carved bracket feet108cm by 54cm by 187cmGood quality timber. The oak-lined drawers run freely. Some splits in the drawer linings but otherwise in excellent cosmetic condition. Small fault to the moulding on the middle section (as photographed). Some small losses to the blind fret carving on the top end panel.

A George III Mahogany Chest on Chest, late 18th century, the Greek Key dentil cornice above a blind fret frieze and two short over three long oak-lined drawers, all between blind fret carved and canted stiles, three deep drawers below with original brasses, on bracket feet109cm by 56cm by 1082cm

A George III Mahogany Chippendale-Style Straight-Front Chest of Drawers, 3rd quarter 18th century, the crossbanded and moulded top above a pull-out brushing slide and two short over three oak-lined graduated drawers with later brasses, all between blind fret carved canted stiles, on moulded bracket feet90cm by 51cm by 87cm

A George III Mahogany Library Armchair, circa 1760, recovered in green and floral needlework fabric, with outswept arms, carved and pierced armrests above an overstuffed serpentine shape seat, on blind fret carved forelegs 68cm by 65cm by 98cm

RUSSELL FLINT - 'Ann Marie on the Loire', a large framed print, signed by the artist and with blind stamp, c. 1966

Blues/Country/Folk/Jazz, a large collection of CD's to include The Travelling Wilburys - The Travelling Wilburys Collection Second Edition, Bessie Smith - The Complete Columbia Recordings, Billie Holiday - The Complete Billie Holiday On Verve, The Dave Brubeck Quartet - Jazz Goes To College, Miles Davis - Kind Of Blue, Blind Willie Johnson - Praise God I'm Satisfied, B.B. King - Live At The Regal, Benny Goodman - Live At Carnegie Hall, Paul Simon - Graceland, Memphis Minnie - 1929-1937, Lonnie Johnson - Guitar Blues and Anita O'Day - Cool Heat etc. (approx. 262, some doubles and sets)

A Victorian walnut sewing table, the marquetry top lifting to reveal lift out three division tray, the tapering case with blind fret work and further inlay, raised on four floral carved splayed supports H73cm, W46cm, D35cm

Allen Jones RA (British 1937-): 'Rosso' Head and Shoulder Portrait, limited edition chromolithograph signed in pencil with BolaffiArte blind stamp 27cm x 20cmCondition Report:Excellent condition, well presented, ready to hang

Two Worcester porcelain Blind Earl small dishes

After Luca Madrassi (1848-1919); Bronze model of a girl playing Blind-Man's-Buff, with a ribbon over her eyes on an oval base, signed MADRASSI LUCA, H41cm

Rembrandt van Rijn (1606-1669)A Blind Hurdy-Gurdy Player and Family Receiving AlmsEtching and drypoint, 1648, but a later impression of New Hollstein's third state (of five), printing before later rework on laid paper without watermark, platemark 165 x 130 mm (6 1/2 x 5 1/8 in), sheet 170 x 134 mm (6 3/4 x 5 1/4 in), small split to upper left, faint diagonal crease, which is only visible to verso, minor surface dirt (unframed)Literature:Bartsch 176; New Hollstein 243 iii/vTogether with:Collection of eight etchings after Rembrandt, including a copy of Christ Preaching, called "a Petite Tombe", Young man in a velvet cap (Petrus Sylvius?), Portrait of Jan Six, and five landscapes, all unframed (9)

A Victorian cottage lustre fruit bowl, 11½' diam; a Royal Worcester plate decorated with rose flowers and foliage in low relief. (Blind Earl pattern but 20th century ) and a ribbon plate

A George III satinwood Pembroke table, with single bow fronted frieze drawer and opposing blind drawer, 92cm wide, 61cm deep, 72cm high

An oak mule chest, incorporating period elements, the hinged lid over a carved frieze 'dated' 1713, over four blind and two real drawers, 120cm wide, 53cm deep, 83cm high

Norman Stevens (1937-1988), 'Stonehenge', signed and numbered 75/100 in pencil, dated 1978, studio blind stamp, 49x54cm

A 19th century mahogany vitrine, the hinged lid opening to a velvet lined glazed interior tray with lined compartment below, over three blind drawers and a single real drawer, on slender square tapered legs with brass caps and casters, 43cm wide, 38cm deep, 78cm high

A George III mahogany Pembroke table, single end drawer with opposing blind drawer, on plain square tapering legs, 86cm wide, 55cm deep, 74cm highProvenance: from the estate of Professor James Griffin, formerly White's Professor of Moral Philosophy at Oxford University and an Emeritus Fellow of Corpus Christi college, Oxford

A small Regency mahogany Pembroke table, two end drawers with opposing blind drawers, on delicate ring turned tapering legs with brass caps and casters, 70cm wide when open, 53cm deep, 71cm high

G. B. Sowerby. A Conchological Manual, third edition, hand-coloured frontispiece and 26 hand-coloured plates, tissue guards, engraved illustrations in text, original blind-stamped cloth, spine gilt, 8vo, London: Henry G. Bohn, 1846. ** Spine slightly faded.

A George III Chippendale period figured mahogany hanging corner cabinet, the blind fretwork frieze above a pair of doors enclosing a dark green painted interior, height 116cm, width 87cm. Provenance: the property of Michael Godfrey.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

An Edwardian mahogany display cabinet-on-stand by James Shoolbred & Co, the glazed top and stand with overall blind fretwork decoration, height 202cm, width 80cm, depth 40cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

An early 20th century giltwood framed serpentine fronted display case, the frame carved in relief with acanthus leaves and foliage, the interior with two adjustable glass shelves, raised on a mahogany stand with blind fretwork frieze, height 180cm, width 116cm, depth 57cm. Provenance: the property of Michael Godfrey.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

A George III Chinese Chippendale style mahogany stool, the overstuffed blue fabric seat on blind fretwork legs and pierced stretchers, height 50cm, width 57cm, depth 48cm. Provenance: the property of Michael Godfrey.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

A late Victorian Chippendale style walnut hall stand, the scrolling pediment with blind fretwork detail, over a shaped bevelled mirror, flanked by brass hooks, over a small shelf and a single drawer, on turned supports. H.230 W.90 D.37cm.

A Bamboo Blind H160 x W180

* ROBERT EADIE RSW (SCOTTISH 1877 - 1954) HIGH STREET AND BLIND ASYLUM, GLASGOWwatercolour and ink on paper, signed, titled versomounted, framed and under glassimage size 36cm x 26cm, overall size 60cm x 45cm

JAMES DRUMMOND RSA (SCOTTISH 1816 - 1877) THE ABBOT OF INCHAFFRAY BLESSING THE SCOTTISH ARMY BEFORE THE BATTLE OF BANNOCKBURN THE ABBOT OF INCHAFFRAY BLESSING THE SCOTTISH ARMY BEFORE THE BATTLE OF BANNOCKBURNoil on canvas, titled partial label versoframedimage size 85cm x 125cm, overall size 108cm x 148cmPartial handwritten exhibition label verso. Label verso: Britnell's Art Galleries, London & Toronto.Exhibited: Royal Scottish Academy Annual Exhibition 1844 cat no 173.Exhibited: Royal Scottish Academy Annual Exhibition 1880 cat no 298 (Lent by Mrs Ballantine)Note: The Scots soldiery was aroused at around daybreak on Sunday 23rd June 1314. Maurice, the aged blind Abbot of Inchaffray celebrated mass for the army. On seeing this, Edward II is reputed to have said: "Yon folk are kneeling to ask mercy." Sir Ingram de Umfraville, a Balliol supporter fighting for Edward, is said to have replied: "They ask for mercy, but not from you. They ask God for mercy for their sins. I'll tell you something for a fact, that yon men will win all or die. None will flee for fear of death." "So be it", retorted Edward. Robert the Bruce addressed his soldiers, informing them that anyone who did not have the stomach for a fight should leave. A great cry re-assured him that most were ready for the battle. If there is a fact every Scot knows, it is who won the Battle of Bannockburn in 1314; although it did not bring outright victory in the war, which lay 14 years in the future and would only be won at the negotiating table. The victory was a combination of Bruce's demand of 1313: that all of the remaining Balliol supporters acknowledge his kingship or forfeit their estates, and the imminent surrender of the English garrison encircled in Stirling castle – which spurred Edward II to invade Scotland. He mobilised a massive military machine: summoning 2,000 horse and 25,000 infantry from England, Ireland and Wales. Although probably only half the infantry turned up, it was by far the largest English army ever to invade Scotland. The Scots common army numbered around 6000, with a small contingent on horseback. It was divided into three "divisions" or schiltroms (massive spear formations), led by King Robert Bruce, his brother, Edward, and his nephew, Sir Thomas Randolph, Earl of Moray. After eight years of successful guerrilla warfare and plundering the north of England for booty, the Scots had created an experienced battle-hardened army. The battle opened with one of the most celebrated individual contests in Scottish history. Sighting a group of Scots withdrawing into the wood, the English vanguard, made up of heavy cavalry, charged. As they clashed with the Scots, an English knight, Sir Henry de Bohun, spotted Robert Bruce. If de Bohun had killed or captured Bruce, he would have become a chivalric hero. So, spurring his warhorse to the charge, he lowered his lance and bared down on the king. Bruce, an experienced warrior, didn't panic, but mounted "ane palfray, litil and joly" and met the charge. Dodging the lance, he brought his battle axe down on de Bohun's helmet, striking him dead. Elated, the Scots forced the English cavalry to withdraw. The Scots had won the first day. Their morale was high and Bruce's new tactic of using the schiltroms offensively rather than statically, as Wallace had used them at Falkirk, appeared to be working. Yet Bruce must have been contemplating a strategic withdrawal before the set piece battle that would inevitably follow in the morning. For the English the setbacks of the first day were disappointing. Fearing Bruce might mount a night attack, they encamped in the Carse of Balquhiderock. The following day they still hoped to draw Bruce into a full-scale, set-piece battle where their decisive Welsh longbowmen could be brought to bear rather than let Bruce return to guerrilla warfare. At this critical moment, Sir Alexander Seton, a Scots noble in the English army, defected to Bruce bringing him vital intelligence of Edward's army: its confined position and the low morale within the English camp. Bruce decided to risk all in the morning and face Edward in open battle. At dawn the Scots ate their breakfast and advanced out of the wood to face the enemy. Medieval battles were seen as the judgement of God; it was important to have the saints on your side, and so, in the midst of the Scots schiltroms, Abbot Bernard of Arbroath carried their ancient lucky talisman, the Breccbennach (or Monymusk Relquary), which held the relics of St Columba. Bruce himself made a speech invoking the power of St Andrew, John the Baptist and Thomas Beckett. Then, according to the chronicler Walter Bower: "At these words, the hammered horns resounded, and the standards of war were spread out in the golden dawn."