We found 389650 price guide item(s) matching your search
There are 389650 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
389650 item(s)/page
Lot 12
A fine and rare William and Mary double-horizontal carved Portland stone and bronze sundial circa 1690 inscribed and constructed for latitude 52° 24’ N., bearing the Arms and motto of the Cornwallis family, signed Henricus Wynne Londini Fecit, the dial plate seated on three bronze bearings upon a Portland stone plinth with octagonal top and four volute supports with acanthus terminals flanking scallop shells, on moulded square base Sundial 69cm.; 27in diameter, plinth 130cm.; 51ins high The double-horizontal sundial, as the name implies, is a dual instrument, its principal features comprising a ‘double’ gnomon and complementary hour-scales on the dial plate. The primary instrument is the fiducial edge of the inclined or sloping part of the gnomon, which, when the sundial is correctly set, lies parallel to the earth’s polar-axis and aligned in the north/south plane of the meridian and the shadow of which indicates the time against the outer hour-scale on the dial plate, in hours and minutes. The secondary instrument is the sharp vertical edge of the triangular-shaped support to the gnomon, which lies in the axis of the observer’s zenith, and the shadow of which indicates the position of the sun at the point where the straight edge of the shadow intersects the hour-line on a planispheric projection of the celestial sphere, corresponding to the time indicated on the main dial. This observation provides various astronomical data, including the sign of the zodiac in which the sun is situated, the times of sunrise and sunset, the length of the day in terms of the number of hours in the day from sunrise to sunset, the altitude and azimuth (direction) of the sun, together with the means to determine the time when certain ‘fixed’ stars would transit the meridian. The Cornwallis double-horizontal sundial has a floreated gnomon, seated on a sheet-brass dial plate, which is affixed to a cast-bronze base by means of ‘hidden’ rivets. The dial plate is engraved with various scales and tables, the primary hour-scale in the outer ring being graduated in hourly, ten-minute, five-minute and one-minute intervals, within which there are inner rings calibrated to indicate direction in terms of azimuth or bearing. The planispheric projection is also engraved with an inner and outer hour-scale, to facilitate its use, being graduated with hour-angle divisions (meridians) and parallels of declination to the limits of 23½ degrees north or south of the celestial equator or equinoctial line. Two engraved arcs, representing the ecliptic, the apparent path of the sun, extend from the points where the 6 o’clock meridians or hour-circles cut the equinoctial and graze the north/south extremities of the projection at the tropics of Cancer and Capricorn. The signs of the zodiac are inscribed at their respective intervals along these two arcs. At the east/west extremities of the projection there are date-scales, graduated in months and days, whereby the date may be determined from an observation. Conversely, the date being known, the sundial may be readily be orientated and aligned in the meridian, without recourse to the more usual and protracted methods involved in setting up an ordinary common or garden horizontal dial. Other scales engraved on the dial include a semi-circular lunar hour-scale (situated within the arc of the inner hour-scale of the planispheric projection), by which the time may be deduced from an observation of the moon, and two sets of altitude scales, for use with a pair of compasses or dividers. The names of certain fixed stars are inscribed within the boundaries of these scales, together with the values of their respective hour-angles or angular distances measured eastwards of the so-called first point of Aries, the vernal equinox. On the planispheric projection this is the point, at the eastern extremity of the grid system,
Lot 16
Attributed to William Grant Stevenson: A rare Victorian carved white marble group of two water spaniels and a whippet circa 1870 signed Stevenson and with later white marble plinth 81cm.; 32ins high by 94cm.; 37ins long by 84cm.; 33ins deep Although a number of Stevenson’s are recorded as sculptors working in the second half of the 19th century, largely in Scotland, William Grant Stevenson, (1844-1919) is specifically known for his animalier pieces. A member of the Royal Scottish Academy he exhibited a bronze stag in 1894, now in the Edinburgh Museum. He also sculpted a monumental stone statue of William Wallace in Aberdeen. This unusual group would have been undoubtedly have been an individual portraits commission for a family’s dogs, interestingly the marble separates into five different sections so that the dogs maybe viewed together or as individual groups.
Lot 7
A rare Coadestone armorial for the Founders Company stamped Coade and Sealy, Lambeth, 1800 124cm.; 49ins high by 94cm.; 37ins wide by 33cm.; 13ins deep Provenance: Most probably removed from the façade of the Founders Hall, London. The Worshipful Company of Founders is one of the oldest Livery Companies of the City of London, and can trace its existence back to 1365. It was formed to protect the interests of its members and to promote high standards of quality and workmanship in articles of bronze and brass. The first hall was built in 1531, when 18 members of the Company joined together to buy two houses and a garden in Lothbury and proceeded to build a Hall on a site which still bears the name of |Founders’ Court|. The Company was hard hit when the Hall, like so many others, was destroyed in the Great Fire of London in 1666 and rebuilt at a heavy cost mainly borne by the Liverymen from their own pockets. Built in brick with a stone front it is almost certain that this armorial was a later addition to the Hall and would have been positioned at parapet height on the façade, in the same position as a royal coat of arms, supplied in many cases by Eleanor Coade, for businesses which had received a Royal Warrant to supply some commodity or service. It would have been removed when the hall was demolished in the 1840’s to make way for a new Hall started in 1845. This piece would have been an individual commission and incorporates the Founders Company coat of arms which show a laver or washing ewer flanked by candlesticks reflecting the Founders who in the early days of the guild worked in brass and brass alloys or tinplate known as |Iatten| or |laton|, producing small cast articles. The top of the armorial incorporates a flaming furnace including a crucible from which the molten brass would have been poured into moulds. The lower portion with the bronze mortars and dolphin handles together with chain shot cannonballs normally used in naval engagements for destroying rigging on enemy ships, were very topical given the date of 1800 on this piece, since Britain was engaged in a maritime duel with Napoleon’s France for supremacy at sea which culminated in the battle of Trafalgar 5 years later in October 1805. The skill of the Coade modellers in faithfully reproducing in clay, the wooden carriage even down to the square iron strengthening plates and screws flanking the Coade stamp is testament to the quality to which Eleanor Coade aspired. This unusual Coade commission represents an opportunity to acquire a unique example from the best of the 18th century manufacturers and a piece of social history from one of the oldest and most august of the historical Livery Companies of London.
Lot 82
Clare Trenchard Hareman I & II Bronze resin Edition of 5 185cm.; 73ins high Clare studied at the Chelsea School of Art and graduated with a BA in Fine Arts in 1978. Her work is modelled from life in clay, plaster or wax and cast in bronze and bronze resin. She has exhibited at the ICA in London and for The Society of Portrait Sculptors. Her work is exhibited widely across the West Country of England.
Lot 84
David Meredith Balios (Monumental) Bronze resin Edition of 8 300cm.; 118ins high David Meredith was born in Leicester, England in 1973. He was educated at the Leicester College of Art. He has worked as a sculptor professionally for the past 16 years. Having travelled widely in Africa, Asia and North America, Meredith now concentrates his efforts on wildlife sculpture produced in bronze. He has spent the last six years producing a considerable body of work, where his passion for wildlife shines through.
Lot 91
Martin Williams Pecking Portland & Kilkenny limestone Unique 125cm.; 49ins high by 150cm.; 59ins wide After completing graduate and post-graduate training in Stoke-on-Trent and London, Williams established his first studio in Swansea, South Wales, in 1978. Working initially in ceramics, he ran a successful studio pottery specialising in domestic stoneware and relief decorated commemorative ware. In 1988, he won his first commission for public artwork with a series of eight ceramic relief panels for a seaside monument entitled |Copper Flame|. This was a collaborative work with the Swansea based Architect, Robin Campbell. Williams won several major commissions including a series of relief panels for a waterside site in Cardiff, and a large continuous relief work in Woolwich Arsenal Station in London. This was one of the largest ceramic relief works produced in the UK in the 20th Century. His most recently completed public work is a four figure bronze composition on a carved Bath stone base for the World Health Organisation in Geneva, Switzerland. This work resulted from winning an international design commission, and a copy of the work has been produced for a site in America.
Lot 92
Dorothy Brook After the Ball Bronze resin Edition 1 of 9 178cm.; 70ins high by 51cm.; 20ins wide by 35cm.; 14ins deep Educated at St Martins School of Art, Brook has continued to study art forms at Marylebone Institute and Camden and Hampstead Schools of Art. Working as a graphic designer, she became freelance to concentrate her efforts on sculpture.
Lot 93
Simon Wyard Daughters of Janus Bronze Signed and numbered 1 from an edition of 6 277cm.; 109ins high by 97cm.; 38ins wide As a child whose parents were both artists, Simon loved to paint and draw, and as a teenager took to sculpting in clay, then spent four years at Maidstone College of Art studying painting and printmaking for a degree in Fine Art. Further studies at Goldsmiths College included training as an art teacher, and studying ceramics - working on large figurative bowls and figurative sculptures. He now works loosely in pencil, charcoal ink and paint to help produce ideas as small maquettes before working in clay on the larger finished piece. From 1988 to 1995 Wyard lived in the South of France working, exhibiting, and further developing his ideas by visiting many continental museums, galleries and cave paintings. His work has largely been concerned with using the human figure as a point of departure to produce dynamic forms that also suggest an intimate connection to the landscape. Now living and working in the Exmoor National Park, ideas are sparked from patterns in the surrounding rocks, trees and banks of undulating moss, which often echo forms seen on his travels throughout Europe.
Lot 94
Ann Vrielinck Think Talk Tell Bronze Edition of 49 208cm.; 82ins high by 50cm.; 19½ins wide by 50cm.; 19½ins deep Ann Vrielinck was born in Varsenare, Belgium in 1966. She was educated at the Academy of Fine Arts in Bruges, then obtained a higher degree in Painting from the Sint-Lucas Institute in Ghent after four years of studying with the Dan Van Severen Studio. Vrielinck subsequently completed further courses in restoration of paintings and ceramics, then obtained a teaching degree which has led her back to lecturing at the Academy of Fine Arts. Much of her work is based around ballet, dance and movement.
Loading...-
389650 item(s)/page