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Lot 1226
AN 18TH CENTURY MAHOGANY LONGCASE CLOCK. the 11 1/2" brass dial with silvered chapter ring, strike/silent dial and date aperture signed Thomas Wagstaff, London, on a brass eight day two-train movement striking to a bell, the case with fret carved detailing and brass inlay, with pendulum, case key and two weights, height 250cm. * Wear to dial, door warped, general wear and losses to case, worm damage to seating board, untested and not currently working. **BP 22.5% inc VAT + Lot Fee of £8
Lot 1335
A FRENCH MAHOGANY AND ORMOLU MOUNTED VITRINE. 19th century in the Louis XV style, the glazed top with brass gallery above a beaded door flanked by concave glass panels enclosing an interior with three fitted shelves and a mirrored back, on tapering turned supports, height 131cm, width 100cm, depth 37cm. * Some metalwork misshapen, chips and nibbles to glass shelves but generally presents very well. **BP 22.5% inc VAT + Lot Fee of £8
Lot 4129
A late Victorian satin walnut chemist/doctor's cabinet on base the two glazed sliding doors with working lock and key over two drawers and two door cupboard with working lock and key on a plinth base. (Right hand sliding door with internal brass bolt at base to release door) 236cm high x 112cm wide x 55cm deep
Lot 1507
An XVIII Century Oak and Mahogany Longcase Clock, with swan neck pediment, arched door and column supports, the arched white dial inscribed "Bowen Alfreton" and painted with a boy fishing and floral astragals, Roman numerals, the trunk with shaped crossbanded door with shell inlay and half round pilasters with brass capitals, pencil chamfered sides on ogee feet, 223cm high.
Lot 435
A Victorian Boardroom or Table Clock signed Williamson & Sons, Guildford. Contained in an ebonised case with round top, 2 carrying handles, reeded corinthian columns to front, 4 finials on top and cast metal feet. All gilded 8-inch brass dial with chime silent in the arch and Westminster chimes on eight bells. Shell spandrels. Three-train chain-driven fusée movement. Striking on eight bells and chiming on a gong. Back plate of movement signed by Williamson & Sons, Guildford. All engraved with leaves. Pendulum bob engraved with similar design. Rear door has mesh, backed with silk, as does the side brass frets. Dimensions 18" high, 16" wide, 91/2" deep. 2 winding keys, 1 door key.Condition report: All appears present, will need servicing. Some small bits of veneer lifting on one side of case. Bottom left side of front door slight old damage to corner. Movement not tested.NoteNo record found of a Clockmaker Williamson and Sons in Guildford. However the famous cabinet makers Williamson and Sons made fine furniture in Guildford from 1790 to 1889. They are well documented and this maybe a commission piece by them.
Lot 440
Joseph Donisthorpe of Normanton Leicestershire (inscribed Jofeph Donithorpe) 30 hour longcase clock approx 1746, with 10" square brass dial with four season spandrels. Single hand. An early rope driven posted movement striking on a bell. Contained in an oak case with plain columns to the hood and caddy top.Dimensions 79" x 21" x 12"Condition report.Good restored condition, rope for movement has broken and will need re-splicing Base cut down slightly but does not detract from the proportions of the case. Weight pendulum and door key present.Note Joseph Donisthorpe of Normanton-le-Heath Leicestershire was working at that location from the 1740s This is an example of one of his early works. He had many apprentices including Samuel Deacon from 1762 Deacon went on to be a prolific clockmaker in Barton in the Beans Leicestershire
Lot 1023
**PLEASE NOTE COLLECTION OF THIS LOT WILL BE FROM BISHTON HALL STAFFORDSHIRE****AUCTIONEER TO ANNOUCE CHANGE TO DESCRIPTION - SMALL SIDE TABLE REMOVED - NOW TWO TABLES RATHER THAN THREE**Two George IV mahogany bedside tables, each with tray top, one on turned and one with square legs, 37.5cm and 36cm wide respectively (2) Cond: cupboard one: one side panel crackedCupboard two: door slightly warped
Lot 1028
**PLEASE NOTE COLLECTION OF THIS LOT WILL BE FROM BISHTON HALL STAFFORDSHIRE**A pair of cream silk taffeta floor length window curtains and a pair of door curtains en suite, late 20th century, interlined, the window curtains with 413cm long, 58cm deep fringed pelmet, the door with 167cm wide, 58cm deep pelmet, each with tasselled ties, main curtain drop of 245cm (window) and 241cm (door). Condition: as seen and found. A.f Vertical edges of the curtains exposed to light show splits in material
Lot 1040
**PLEASE NOTE COLLECTION OF THIS LOT WILL BE FROM BISHTON HALL STAFFORDSHIRE**Two pairs of printed cotton curtains each with pelmets, Isnik pattern, late 20th century, one for a window but floor length (drop 260cm but only drawing out to 102cms): and a double door and side window set ensuite, pelmet 280cm, drop 235cm: both sets with watered silk effect interlined curtains. Condition: as seen. Appear to be in good state
Lot 1109
**PLEASE NOTE COLLECTION OF THIS LOT WILL BE FROM BISHTON HALL STAFFORDSHIRE**Three pairs of floor length double door curtains and a window curtain ensuite, modern, classical vase and floral patterned, with one full length conjoined pelmet 6.7m, composed of three partially fringed swags and four drapes, curtains with drop of 250cm, and the window pelmet 144cm, drop of 250cm (4) Condition: some sun fading/weakening, especially the edges.
Lot 40
BANKSY (B. 1975)Fallen Angel 2008 signed and inscribed Thanks Simon ☮spray paint on paper 56.3 by 75.5 cm.22 3/16 by 29 3/4 in.This work has been executed in 2008, and on the reverse of a Morons Sepia print.Footnotes:This work has been authenticated by Pest Control Office and will be issued with a new certificate of authenticity.ProvenanceSimon Evans Collection, UK (gift from the artist in 2008)Iconic, instantly recognizable, and scathingly satirical, the work of legendary street artist Banksy continues to shock and entertain today. Banksy's striking, silhouette like visuals, coupled with his sardonic wit has led to one of the most innovative oeuvres in the history of Street Art. Banksy has been one of the leading pioneers of the Street Art movement to have emerged in the last thirty years, a creator of some of the most iconic and beloved public works of art in the world.In 2002, Banksy published a short book entitled Existencialism, which illustrated a selection of his early street art created in various public locations, from the Millenium Bridge in London to the giraffe enclosure at Barcelona Zoo. Amongst the works highlighted in Existencialism, is a graffiti stencilling of a downtrodden and lonesome angel spraypainted onto an inconspicuous door on Old Street. The work from Old Street is a precursor of the present lot Fallen Angel, and in both pieces Banksy's highly stylised and graphic visual language is on full display. Fallen Angel combines all the masterful elements of Banksy's practice in one work – vivid symbolism, an acute awareness of social issues and the dramatic chiaroscuro-like contrasts resulting from the artist's stencilling technique. Much like the original public piece on Old Street which inspired the present work, the lit cigarette, crinkled clothes, and trainers on the individual shows that the Fallen Angel is in fact an ordinary person, not a divine being. This is Banksy's empathetic manner of suggesting that anyone can have a fall from grace. The focus on an angelic figure is a mark of Banksy's highly satirical genius; under Banksy's hand, the figures of cherubs or putti from Renaissance and Baroque art are subverted from symbols of peace, prosperity, and joy to victims of modern poverty and subjects of societal denigration. Banksy deliberately used a heavier application of white spray paint on the head and shoulder of the crouched angel and used a lighter hand on the legs. Viewing the lower half of the scene, the figure almost seems to vanish from the audience's gaze. The dramatic spot lit effect on the subject deepens this atmosphere of undue public judgement. Some art critics draw parallels between the conventional religious iconography found in Fallen Angel and the Christian, Jewish and Islamic reprimanding stories of angels that were ousted from heaven after refusing God's will. However, both Exclamation Rat (Lot 38) and Fallen Angel display undertones of an autobiographical account. These works allude to the artist as an anonymous crusader for equality and social justice.Although most details of Banksy's identity remain a mystery, the story of Fallen Angel provenance provides a first-hand glimpse into the artist's sense of humour. The present work was gifted by the artist to the comedian Simon Evans after including one of Evans' jokes alongside an illustration of the earlier, Old Street version of Fallen Angel in Existencilism. The joke as told on the stage goes 'it is rather ironic... that the favourite drink of the homeless, should be a beer called Tennent's'. Unlike the Old Street version, the present Fallen Angel includes Banksy's signature on the lower right and is inscribed Thanks Simon ☮. The work was also sent with a handwritten note from Banksy, who jokes 'Who said good things come to those who wait? 'Average stencil garbage' is more like it'. This tongue-in-cheek and ironic wit is also evident when the reverse of Fallen Angel is viewed. It is executed on the back of a Morons Sepia print – one of Banksy's most scathing yet commercially popular commentaries on the art world. In Banksy's world, exposing the truth takes precedence to following established social, moral or behavioural codes. Banksy engages with a long art historical tradition of compassionately capturing aspects of life that are often downplayed, forgotten, or censored altogether. The artist follows in the footsteps of Spanish Old Master painter Francisco Goya, whose Black Paintings visually chronicle the artist's criticisms of war and contemporary Spanish society, or American photographer Dorothea Lange who documented the plight of impoverished families during the Great Depression. Armed with his resounding voice, strong visuals and highly contextual narratives in each work, Banksy is one of the most recognizable and sought-after Street artists of the century having completely transformed graffiti culture. His identity, even after more than twenty years, remains gleefully anonymous.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 102
Catalan or Valencian school, late 17th century."Still life of flowers".Oil on canvas.Re-drawn.Restorations. Lack of polychromy. Frame with woodworm.Probably, it was a painting of overdoor.Measurements: 81 x 64,5 cm.An elegant vase decorated with gilded bronze gallons holds a variety of floral species: roses, carnations, daisies... which combine their beautiful corollas in a somewhat anarchic and wild way. The open curtain and the framing based on fluted pilasters lend a certain theatricality to the scene, as if it were an aristocratic portrait. The vase rests on a velvet cloth. This emphasis on staging is characteristic of the Baroque period in which the painting is set. The painter has paid great attention to the precise description of each flower and each of its petals, a detail that is also evident in the painstaking rendering of the textures and qualities of the bronze and marble. The format and subject of the painting suggest that it could have been a still life for a door or window.
Lot 55
Fragment of a Gothic door attributed to the VERGÓS workshop, Catalonia, 15th-16th century.Wood and pigments.Provenance: property of the estate of Marlene Nasreddine, Miami.Publications: Presented at the Hispanic Society of America, 1912.Measurements: 200 x 60 cm.The Vergós workshop stood out in 15th and 16th century Barcelona as one of the most representative of Catalan painting. They are considered the last representatives in Catalonia of the fourteenth-century painting, although with reduced projection, since the new pictorial tendencies did not find in Catalonia a place where they could develop. The brothers Francesc and Jaume Vergós (¿-Barcelona, 1460) and their respective sons: Francesc and Jaume Vergós (Barcelona, ? - 1503) and the sons of the latter: Pau and Rafael Vergós (Barcelona, 1463 (?) - 1495). The technique of this workshop clearly derives from that of Master Huguet, with whom they even collaborated. On this occasion we present a painting on a Gothic door. It depicts a bearded saint with a perfectly defined face, an aspect very much to the taste of the Vergós. The figure stands out against a gilded background with ribs. The predominance of gold leaf occupying a large part of the background as a symbol of transcendence was characteristic of early Gothic.
Lot 116
A. Lange & Söhne. Belle montre bracelet en platine (950) avec grande date mouvement mécaniqueA. Lange & Söhne. A fine platinum manual wind calendar wristwatch Model: SaxoniaReference: 105.025Date: Purchased 12th November 2003Movement: 30-jewel Cal.L941.3 manual wind, adjusted in 5 positions, No.26502Dial: Silvered, applied polished lozenge hour markers, black outer minute divisions, subsidiary seconds at 6, double date apertures at 12, polished dagger handsCase: Brushed and polished round, exhibition back secured by 6 screws, date setting button at 2, No.136456Strap/Bracelet: Black alligator leatherBuckle/Clasp: Signed platinum folding claspSigned: Case, dial & movementSize: 34mm Weight: 109,11g Accompaniments: A. Lange & Söhne box, outer card, swing tag, Instructions for use, Guarantee & Services booklet, micro-fibre cleaning cloth, Purchase receipt dated 12/11/2003, Service receipt dated 04/06/2020Footnotes:With the reunification of Germany the door was open once more to re-establish the A. Lange & Söhne brand worldwide, a challenge readily taken on by Walter Lange and Günter Blümlein. It was on the 24th October 1994, that the newly re-formed A. Lange & Söhne presented to the world four models which were to be the foundation of the company as we now know it. Forming the cornerstones of their collection these four models were the Lange 1, Arkade, Saxonia and Tourbillon Pour le Merite.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
Lot 834
DANISH MAHOGANY BREAKFRONT BOOKCASE,of Art Deco design, with stepped cornice over a central astragal glazed door with bevelled plates, encolsing adjustable shelves, flanked by two bowfronted doors enclosing further shelving, on tapered block feet, 167cm high, 142cm wide, 74cm deepGood overall condition with only very minor damage to rear of cabinet
Lot 422
19th Century mahogany-cased eight day painted dial longcase clock, Bristol area, anonymous circa 1830, 13-inch Roman dial with subsidiary seconds ring and terrestrial calendar crescent, ruins to spandrels and lady with dog to arch, within typical local wavy hood door surround and matching hood, 220cm high, sold with two weights and pendulum
Lot 183
A GREEN-PAINTED AND DISTRESSED CUPBOARD early 20th century, the three-quarter galleried top over a single partially glazed door, opening to a shelved interior, on block legs (one damaged), 94cm high x 56cm wide x 35cm deepProvenance: The Richard Pratley Collection of English Furniture, Naïve and Folk Art.
Lot 195
TWO PAINTED HANGING CABINETS including an early 20th century green-painted example, with a single glazed door, 82cm high x 45cm wide x 19cm deep, together with a blue-painted example, with a single glazed door opening to a shelved interior, 54cm high x 48cm wide x 21cm deepProvenance: The Richard Pratley Collection of English Furniture, Naïve and Folk Art.
Lot 593
SCOTTISH VICTORIAN MAHOGANY CASED DRUMHEAD EIGHT DAY LONGCASE CLOCK BY GEORGE STROMIER OF GLASGOW,with carved surmount above circular dial with Roman numerals and twin subsidiary dials, signed, the trunk and door with moulded and turned detail to stepped plinth base, 202cm highDamage to top left of cresting. Dial completely repainted. Trunk door locked. Tape keeping section of moulding in place. Other wear as per use and age. Warped drop to pendulum. Weights and pendulum present though cannot test to confirm working order.Additional images now available.
Lot 88
A CONTINENTAL PAINTED PINE HANGING CORNER CUPBOARD 19th century, with marbled blue and black all over patternation, the pedestal, panelled door and single drawer beneath all decorated with flowers, 114cm high x 95cm wide x 55cm deepProvenance: The Richard Pratley Collection of English Furniture, Naïve and Folk Art.
Lot 89
A PAINTED PINE ESTATE CUPBOARD 19th century, with two sets of cupboard doors, both opening to shelved interiors, the facade painted black and each door with a stencilled numeral, 189cm high x 90cm wide x 32cm deepProvenance: The Richard Pratley Collection of English Furniture, Naïve and Folk Art.
Lot 317
A mid 20th Century teak three-piece bedroom suite, comprising: a lady's two door wardrobe, fitted hanging space, 120 x 51 x 169.5cms, a gentleman’s wardrobe fitted hanging space and shelves, 90 x 51 x 169.5cms, and a dressing table fitted with mirror, and five drawers around a kneehole, 147 x 58 x 111cms high.
Lot 427
An 18th century oak and fruitwood two door panelled armoire, possibly Jersey, the flared, moulded cornice over five panel sides and a pair of three panel doors with pierced brass escutcheons and exposed hinges, the interior with two shelves, on stile feet, 61½ x 25¼in. (156.25 x 64cm.), 74¾in. (190cm.) high, good colour and patina.
Lot 561
A Maple & Co. panelled, joined oak wardrobe in the Elizabethan manner first half 20th century, maker's label inside door, the dentil cornice over a foliate and mask carved frieze, panelled sides and a pair of seven panelled doors with cast iron butterfly hinges, the upper panels with Romanesque portrait roundels, the interior with single high shelf and brass rail, on stile feet, 44 x 21in. (111.75 x 53.4cm.), 70in. (177.8cm.) high.
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235346 item(s)/page