We found 235346 price guide item(s) matching your search
There are 235346 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
235346 item(s)/page
Lot 2474
A Victorian Chestnut mirror back Sideboard, moulded cornice, central shaped bevel plated mirror flanked by shelves, mirrors and carved panels. The base having moulded edge top over two central bow fronted drawers over single door cupboard, flanked by drawers and cupboards, standing on bun feet and carved throughout. 60 1/2" wide x 86" high x 22" deep
Lot 2535
A good quality Mahogany cased eight day Longcase Clock, having hand painted face, with four figures of ladies, signed I. Morgan Aberystwith. The hood having swan pediment, central finial and reeded columns. Banded and inlaid short door case, on bracket feet. 20 1/2" wide x 93" high x 10" deep.
Lot 121
Mid 18th Century oak longcase clock by Edward Bilbie of Chew Stoke having a square hood with tapered cylindrical columns, trunk with long door and standing on bracket feet, 11.5" brass dial with silvered chapter ring having Roman and Arabic numerals, engraved foliate decoration and calendar aperture to the centre, cast brass spandrels, 30 hour striking movement, 196cm high
Lot 122
Late 19th Century American walnut cased `Gale`s New Perpetual Calendar Clock` by the E.N. Welch Manufacturing Company, the white clock dial with Roman numerals, calendar dial below with two subsidiary dials, the case with shallow carved decoration, raised pediment and arch shaped glazed door enclosing the dials, 69.5cm high
Lot 804
A CAIRO WARE SILVER INLAID BRASS QUR`AN STAND, KURSI, EGYPT OF SYRIAin the Mamluk style of hexagonal section inlaid with calligraphy, palmette scrolls and other ornament and with cusped arches, one incorporating a door, 30cm h, late 19th c++Old polish residue but complete, no restoration, nor repolished
Lot 936
A FRENCH GILT BRASS CARRIAGE CLOCKthe enamel dial signed below the blue chapter ring PAUL GARNIER PARIS, with Breguet hands later platform lever escapement, striking on a bell, the medallic backplate signed as dial and numbered 5630 in engraved `one piece` case with repeat button in the top, the door with shutter and numbered, 12cm h, excluding handle, mid 19th c++Of fine quality and in good original condition with wear to the gilding most noticeable on the handle, the enamel dial and glass lights undamaged, the movement apparently complete and in running order, sold without warranty, long in the local private vendor`s ownership
Lot 938
A VICTORIAN MAHOGANY TAVERNTIMEPIECEthe painted circular dial inscribed Ab Hunt Yarmouth, the brass weight driven four pillar movement with anchor escapement and tapered plates, the case with square hood with undulating pediment, the crossbanded trunk with breakarched door, 141cm h++A good example in well preserved original condition but extremely dusty and in need of overhauling but apparently complete. The dial discoloured and the signature and place name worn, the wood of pleasing deep colour
Lot 940
A GEORGE II WALNUT LONGCASE CLOCKthe brass breakarched dial signed on a silvered tablet Ant Marsh opposite Ye Bank of England London, having subsidiary seconds dial, square date aperture and silvered chapter ring, TEMPUS FUGIT DISC to the arch, with spandrels of the Seasons and dolphins above, the eight day movement in line inlaid case with brass mounted and stop fluted pillars and break arched and figured door to the trunk, on stepped plinth, 227cm hWhen the clock was overhauled and cleaned for the present owner in November 2007 it was discovered that the reverse of the chapter ring is also engraved with Anthony Marsh`s name.Anthony Marsh, son of John Marsh, a wheelwright of Stow on the Wold, Gloucestershire, was apprenticed to Abraham Acton, on 7 June 1714. He was made free of the Clockmakers` Company on 5 October 1724 and became a Steward of the Company 21st July 1745.++An attractive clock, not unsympathetically restored, probably original to the case and working when removed from the present private consignor`s home
Lot 941
A VICTORIAN MAHOGANY NEO ROCOCO LONGCASE CLOCKthe gilt brass dial with silvered chapter ring and subsidiary seconds dial, three subsidiary dials to the arch, engraved on a tablet T ARMSTRONG & BROS LTD MANCHESTER and applied with rocaille, the movement chiming on eight tubular bells and with three brass sleeved weights, in richly carved case with inlaid panels of floral marquetry, the glazed door applied with trellis and floral swags, the sides conforming, on ogee feet, 274cm h++Complete and in entirely original condition although heavily encrusted with dust. In need of thorough clean. The movement complete but with heavily build up of dust and oil over time. Small breaks in part of the applied mahogany scrollwork to the glazed door, the nickel plated tubular bells with some surface corrosion.
Lot 944
A MAHOGANY DWARF LONGCASE TIMEPIECEthe brass breakarch dial engraved to the centre with a basket of fruit and flowers and spurious inscription `Whitehurst Derby`, with floral spandrels and masonic emblems to the arch, having 30 hour movement, the hood with swan neck pediment with carved roses, turned pillars above blind fret frieze and ogee arched door, on conforming base and feet, 144cm h, early 20th c++A little dusty, movement requiring cleaning but complete
Lot 966
A FLEMISH IVORY AND EBONY INLAID padouk and ROSEWOOD AND BUREAU CABINETthe upper part with dentil cornice and fitted with shelves enclosed by a pair of chevron banded, panelled doors, the bureau with conforming interior centred by a mirror inset door above a well and with three short and two graduated drawers to the front, on bracket feet, the sides also chevron banded in ebony and a light wood, 221cm h; 60 x 106cm, mid 18th c++The brass locks and eagle angles and lockplates all present. The handles possibly early replacements. Minor veneer loss and repair, lightly linseed oiled by the present vendor and with other small restorations, long in the present local private family`s ownership
Lot 969
A GEORGE III MAHOGANY SECRETAIRE CHESTthe upper drawer fitted with central door and pigeon holes, three graduated drawers below, all with brass lock and loop handles, on bracket feet, 110cm h; 54 x 120cm++Top with a few minor old black marks and scratches, the interior of the secretaire well fitted, cockbead to drawer three slightly damaged
Lot 981
A GEORGE IV MAHOGANY AND EBONY LINE INLAID BREAKFRONT SIDEBOARDfitted with a drawer, cellaret and door and having arched apron drawer, on tapering turned legs, 93cm h; 73 x 213cm++The right hand sided unevenly stained/faded. Horizontal shrinkage cracks to veneer. The celleret lacks fitted interior but with drain hole in drawer, the three brass locks original, the brass ring handles replaced. The top slightly uneven and with a few old minor scratches and marks
Lot 987
A GEORGE III MAHOGANY AND LINE INLAID LINEN PRESSwith cavetto cornice and chevron banded frieze, the interior originally fitted with trays enclosed by a pair of doors with crossbanded oval panels, the lower part with drawer, shaped apron and splayed feet, 203cm h; 57 x 135cm++Shrinkage cracks in sides of chest. Minor loss to mouldings, door lock damaged with consequent small damage to veneer on opposing door. Locks to drawer`s probably original, the brass ring handles original or early replacements
Lot 1003
A FRENCH MAHOGANY AND VERNIS MARTIN BUREAU À CYLINDREin Louis XVI style, with gilt brass mounts, the cabinet enclosed by a panelled door flanked by pilasters and pillars with galleried open shelves, the bureau with sliding writing surface and drawer, on tapering legs with sabots, 140cm h; 79 x 48cm, early 20th c++The decoration to the cylinder with a number of small paint chips, minor veneer knocks and scratches but in basically sound original condition
Lot 1023
A FRENCH BRASS INLAID MAHOGANY VITRINEth rectangular marble slab in pierced brass gallery, the frieze and sides inlaid with engraved fine brass scrollwork and pendants, the glazed door with brass roundels, on toupee feet, 136cm h; 31 x 55cm, early 20th c++A good example of the type in fine original condition, retaining all the mounts and free from the usual knocks or scratches
Lot 84
A LATE 19th CENTURY KOMET OAK CASED PENNY IN THE SLOT FLOOR STANDING MUSICAL DISC PLAYER OR POLYPHON, having an ornate cabinet with domed simulated slated roof with bobbin turned gallery, projecting cornice, plain frieze, the upper section containing the mechanism, enclosed behind an engraved and gilt decorated panel door, arched glass with pierced corner spandrels, turned and carved pillars either side to the hinged door, the lower section of architectural form with a centre fall front cabinet containing storage for additional discs, stepped flanged base carried on concealed bun feet, 103cm wide x 57cm deep x 240cm high. The cast metal mechanism plate inscribed Komet, having twin combs either side of the centre roller, together with thirty-eight 60cm diameter metal discs. See illustration
Lot 85
A LATE 19th CENTURY ARTS AND CRAFTS COPPER DOOR PORTER IN THE STYLE OF CHRISTOPHER DRESSER, having a loop carrying handle, the base of semi-circular outline stamped to the shoulder with stylised roundels above a waisted border of criss-cross panels and roundels, on a stepped foot, weighted base, traces of enamel, 44.5cm high
Lot 123
A LATE 18TH CENTURY/EARLY 19TH CENTURY MAHOGANY LONG CASE CLOCK, the later eight day movement striking on a bell, the brass dial with silvered chapter ring, Roman numerals and foliate engraved centre, mask spandrels and Tempus Fugit boss to the arch, the arched hood with fluted pilasters, the slender trunk with conforming door flanked by reeded and canted corners, on bracket foot, 218cm high See illustration
Lot 36
William John Leech RHA (1881-1968) Interior of a Cafe (1908) Oil on canvas, 73.7 x 83.8cm (29 x 33") Signed and dated 1908 Provenance : Purchased at the RHA 1909 by the Hon. Lawrence Waldron; Subsequently bought by Senator Brennan who left it to Harry Clarke,who in turn left it to Lennox Robinson; Purchased from the Dawson Gallery, Dublin 11/12/1950 for £150 (A photocopy of the original receipt will be given to the new owner) by the present owner's father and thence by descent. Exhibited: Royal Institute of Oil Painters, 1908, Cat. No. 400 priced £80; Royal Hibernian Academy, Dublin, 1909, Cat. No. 81 priced £63 where purchased by the Hon. Lawrence Waldron; Salon des Artistes Français, Paris, 1914; where awarded a bronze medal; Royal Hibernian Academy, Dublin, 1969, "William John Leech Memorial Panel" No. 4; "Irish Art from Private Collections 1870 - 1930" Wexford Arts Centre, 1977, Cat. No. 29; "The Irish Impressionists", The National Gallery of Ireland, Dublin, 1984, Cat. No. 117; "The Irish Impressionists" The Ulster Museum, Belfast Cat. No. 117; 1996 The National Gallery of Ireland "William John Leech: An Irish Painter Abroad" Cat. No 4; 1997 Exhibition above toured to Musée des Beaux Arts, Quimper and the Ulster Museum Belfast. Literature: "Painters of Ireland: 1660 - 1920" by Anne Crookshank and The Knight of Glin 1979 P275 (Ill. p 278) 'The Irish Impressionists" by Julian Campbell NGI 1984 P260 "Leech in Brittany" by Dr Denise Ferran Irish Arts Review 1993 P227 "William John Leech" by Dr Denise Ferran 1992 p12 - 13 "Les Peintres de Concarneau" by H. Beleoch 1993 France P154 "William John Leech: An Irish Painter Abroad" by Dr Denise Ferran 1996 P103 (Ill p105) Some suspicion and slight distancing of the peasants from the artist/viewer can be detected in this work of 1908, which combines the group of peasants and their bar interior into a meticulously finished studio painting. The old peasant sitting becapped at the extreme left is the subject in 'A man with a bottle' (private collection). Since that is dated 1903, it seems probably that Leech worked on this painting for a long time. Here the man sits amicably drinking a cup of coffee with two of his friends - one of whom has a small liqueur glass on the table in front of him. All three look toil-worn with shoulders rounded by work in the fields, with bent backs and expressively painted boned hands. It is especially in the face of the standing figure that the viewer can detect distrust and suspicion. It is possible that Leech worked from a photograph or a postcard to complete the details of the bar interior, especially in the row of bottles above the bar, and added the figures from studio poses. The exaggerated space in the foreground, which directs the eye to the figures in the middle distance, suggests the angle of a camera lens, and the questioning gaze of the standing figure captures a momentary 'off guard' expression. The well stocked shelves of bottles and china cups which glisten in the reflected light and shine under the brass lamp may possibly be those of the Hotel des Voyageurs, where Leech stayed from 1907. Leech conveys the intimacy of this darkened interior, disturbed by the intrusion of light from the left, perhaps from a door, just opened. The gentle, withdrawn figure of a young girl reading, silhouetted against the lacy curtains of the lighted window, creating depth with light on dark, in a series of decreasing rectangles. The painting of the head and shoulders of a young red-haired woman in the framed picture on the wall of the cafe interior indicates the direction Leech's painting style was to take. Its simplified, bold areas of paint, lightened palette and strong play of light depart from the more academic treatment of the room's interior. 'Interior of a cafe' is a carefully constructed composition which combines drawing from life into a meticulously 'finished' studio panting. Here he makes use of sunlight and shadows to contrast the lighted areas of the three faces engrossed in conversation in dramatic chiaroscuro against the brown shadows which verge into black. To the right, enveloped in shadow, is the figure of a fourth man who waits, leaning on the counter, seeking service. When Leech exhibited 'Interior of a cafe' at the RHA in Dublin in 1909, the review in The Irish Times declared: "His interiors of French cafes are distinguished by a brilliance of execution, a realistic treatment, and a mastery of composition, which makes them singularly attractive." Leech had exhibited another work, 'Interior of a kitchen - Brittany' (whereabouts unknown) at the RHA in 1908, showing his interest at that time in the intimiste world of darkened interiors. The work failed to sell, however, and Leech exhibited it at the Royal Institute of Painters in Oil that October. It was possibly this work which was exhibited at the Salon des Artistes Francais in 1913, for which he was awarded a Bronze Medal. Leech later stated that the Salon work was bought by an American gallery in Philadelphia, but extensive research has failed to trace it. Leech also exhibited an Interior of a cafe in the Sinn Fein-organized exhibition 'Aonach', in Dublin, in December 1909. The review in Sinn Fein recognized that 'The picture of the Interior of a Cafe shows him to be a skilled draughtsman, possessing masterly technique..." Dr. Denise Ferran
Loading...-
235346 item(s)/page