There are 116041 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeA MATCHED FOUR PIECE TEA SERVICE, three pieces Sheffield c.1928 and one c.1927, comprising teapot, coffee pot, sugar bowl and creamer, the out-turned rim cast with shell motifs above plain baluster bodies and circular feet, the tea and coffee pots with ebonised handles and finial. Tea pot 27cm wide handle over spout, coffee pot 22cm high (c. 61 troy ozs in all including handles and finials).
A 19TH CENTURY SILVER TEAPOT AND CREAM JUG, hallmarks rubbed, the teacup of oblong form, with angular acanthus leaf wrapped handle with ivory insulators and cast finial, the lipped gadrooned rim above fluted banding, raised on ball feet. (c. 32 troy ozs) 30cm wide over handle and spout. 16cm high. The cream jug 16cm wide over handles and spout.
A SILVER THREE-PIECE TEA SERVICE, Sheffield, c.1918/1919, mark of Joseph Rodgers & Sons, comprising a teapot, cream jug and two handled sugar bowl, of oval form, with demi-fluted decoration, the teapot with ebon handle and finial, (c.34 troy ozs all in). The teapot 27cm wide across handle and spout
A SILVER PLATED SAMOVAR, c.1820, the domed top with cast stylised finial, above graduated section with gadrooned rims, the baluster body with applied cast vine leaf twin handles, the hot water dispenser with cast foliate handle, raised on shaped rectangular plinth base and leaf capped claw and ball feet. 45cm high, 30cm across handles
A VICTORIAN SILVER TEAPOT, London c.1838, mark of George Cowie, of plain compressed design with applied finial raised on bracket feet, 24cm wide, 14cm high; together with an associated sugar bowl, Sheffield c.1826, with floral banding, twin handles and raised on four bun feet, 19cm wide. (c.40 troy ozs)
A PAIR OF CARVED ALABASTER URNS, 19TH CENTURY, IN THE NEOCLASSICAL STYLE, each of amphora shape, each with a central frieze depicting classical figures, both of similar design with acanthus leaves and beads banding running along the neck and body raised on spreading circular foot on square base. One example with pineapple finial cover. 100cm without cover, 120 cm with cover.
A NEPALESE SILVER MOUNTED COPPER EWER AND COVER, 19th Century, of elegant design, the detachable cover with chain link and silver bud finial, the body and handle with chased silver mask mounts on waisted and domed oval foot, 23cm high;together with a Tibetan silver and burl wood bowl, 12.5cm diameter (2)
A VENETIAN FIVE BRANCH CLEAR AND COLOURED GLASS CHANDELIER, 19th Century, the corona applied with a band of colourful flowers, with tapering central stem, surrounded by a row of interspersed stiff and coloured flowers, hung with scroll armbands, with light sockets and drip pans, ending with a finial of encrusted flowers. 70cm high
AN IRISH SILVER VICTORIAN SQUASHED MELON TEAPOT, Dublin c.1896, markers mark of John Smyth, the hinged lid with cast foliate finial, the lobed body chased and embossed with floral and foliate decoration, with applied c-scroll handle, raised on cast splayed feet, (c.31 troy ozs). 34cm wide across handle and spout
A GEORGIAN SILVER BULLET SHAPED TEAPOT, with timber handle and finial, mark of IE under a star, engraved around the lid and with crest, raised on rim foot, (c.16 troy ozs). 12.2cm high over handleCondition Report: small proportionsgood overall condition strong sidewallsclear mark to lidscratch weight 15.5joining mark around to foot ringsee images see images
A SIX PIECE VICTORIAN SILVER TEA AND COFFEE SERVICE, London, c.1868, c.1873 (hot water pot), c.1878 (tea kettle), all mark of Martin Hall & Co. , each of baluster form with all over chased and engraved decoration, surrounding vacant cartouches, the teapot, coffee, hot water and tea kettle with bird finial, with applied mark decoration to spout with bird head mouth, raised on four pierced bracket supports, (c.185 troy ozs all in). The tea kettle 45cm high
AN IRISH VICTORIAN SILVER HOT WATER POT, Dublin c.1896, maker's mark of John Smyth, of lobed baluster form, the hinged top with cast berry finial, applied with s-scroll handle with ivory insulators, the lobed body decorated to the lower half with embossed floral decorations, raised on cast scroll feet (c. 17 troy ozs.) 22cm high, 17cm width handle over spout.
A 19th Century European twin handled tray possibly Portuguese, filigree work to the base, gilt centre, with simple scroll; together with a twin compartment basket, with upright division with ball finial and bird surmounted, the everted sides of filigree decoration, raised on four paw cast bracket feet(Diameter across handles: 35cm, 19cm)
An Egyptian coffee pot three marks to underside, of baluster form, the domed hinged lid with applied nesting bird finial, S-scroll handle, raised on a domed spreading foot; together with a 19th Century Indian twin handled bowl and sugar bowl with cover, each unmarked with embossed scroll and floral decoration throughout(Height of coffee pot: 24cm)
A 19th Century Indian teapot unmarked, of ovoid form, heavily embossed and chased foliate decoration throughout, with hunting depictions to the body, the hinged domed lid with similar decoration and a knopped finial, all raised on a heavily decorated circular foot; together with an Indian rose-water or oil ewer, the neck of elongated slender form to a globular body, the hinged lid with applied serpent and tail extending to the handle, with all-over engraved and chased floral and foliate decoration(Height: 25.5cm, 19cm)
An early 20th Century waterpot Lambert & Co, London 1911, of baluster form, gadrooned borders, engraved initials to the body, S-scroll handle and acorn inspired finial; together with a smaller example Lambert & Co, 1894, all-over spiral fluting decoration(Height: 26cm, 19cm, weight (all in): 30.2oz)
Y A George III three piece tea service James McKay, Edinburgh 1817, comprising a teapot, twin handled sugar basin and milk jug, of demi-fluted form, cast floral border, leaf clasped C-scroll handles , the teapot with budding finial, ivory inserts to teapot handle(Height of teapot: 16cm, combined weight: 54oz)Footnote: Note: Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/
A collection of miscellaneous silver to include a cased cruet set, Hamilton & Inches, Edinburgh 1926, with gadrooned border; together with a caster Hamilton & Inches, Edinburgh 1910, of octagonal form, the pull-off pierced lid with knopped finial; a pair of sauce boats, Birmingham 1911 with scalloped border; a mug Birmingham 1919; together with a cased set of spoons with a knife; a cased set of fruit knives and forks with two modern trefid spoons with crest to the terminal, a collection of Victorian Apostle teaspoons and a three-pronged fork(Weighable silver: 41oz)
An impressive cased George III silver-gilt twin handled cup and cover Benjamin Smith II & James Smith III, London 1810, the cup of traditional Neo-Classical urn form with a cast foliate border, two high relief Classical Bacchus masks to either side in a swag border of applied vines, with leaf-clasped fluted handles and applied acanthus leaves to the lower half of body, the stem with an everted gadrooned border to a circular foot with a flat chased foliate border; the pull off cover with a gadrooned border and a small central pull off lid with a leaf clasped emerging bud finial, presented in original fitted red leather case(Height: 34cm, weight: 104.8oz)Provenance: The cup was presented to William Jeffrey Lockett (1768-1839) a lawyer who received the cup and cover in lieu of payment for an apparent indiscretion of the Duke of Devonshire, and thence by descentFootnote: Note: By 1800 the vast wealth amassed from the Industrial Revolution had created a wealthy emerging middle class, this prosperity is clearly illustrated with the silver commissioned during this period. Requests for huge dinnerware services to presentation holloware were not unusual and highlight how this success was enjoyed. This prosperity was not only centred around London but was shared with emergent cities such as Glasgow, Sheffield and Birmingham and allowed silversmiths such as Benjamin Smith and his brother James to really make a mark for themselves as skilled silversmiths and chasers. Of the two brothers, Benjamin was the more prolific, born in Birmingham in 1764, he began his carrier with Matthew Boulton, before moving to London and later embarking on a partnership with his friend and silversmith Digby Scott in 1802. Their workshop in Greenwich supplied Rundell & Bridge, where they would have worked alongside eminent silversmith Paul Storr; many believe their work comparable in quality to his. His collaboration with Scott was a particularly fruitful one, it was at this time they were commissioned to create ‘The Duke of York Baskets’ for Prince Frederick, Duke of York and Albany (1763-1827), the second son of George III, previously exhibited in the Powerhouse Museum in Australia; and also the Jamaica Service, created in 1803 for William IV (1765-1837), then Duke of Clarence, still in the Royal collection today. This was no doubt facilitated by their connection with the Crown jewellers Rundell & Bridge, who were the retailers responsible for supplying all banqueting plate and jewellery of the Royal family. It would seem that Benjamin preferred to work in partnership with other silversmiths, rather than independently, however these collaborations were always short lived, though why is unclear. By 1809 he had left Scott and joined forces with his brother James; and though this only lasted until 1812, it was during this time that this this impressive cup and cover were commissioned. They may well have continued to produce for Rundell & Bridge, but regardless their craftsmanship remained impeccable, and their pieces typify the style of the period. In the wake of George III’s failing health and as he was deemed unfit to rule, the Prince of Wales succeeded as Prince Regent in 1811 until his father’s death in 1820. This period offered new beginnings with more influences from the continent and the French Empire style filtering through. The swags of applied fruiting vines, foliate motifs and Bacchus masks are a clear nod to the emerging Regency style, while the symmetry and sumptuous opulence of the piece have their origins in the French influence. For a similar example, see Christies 10th June 2010 auction, Centuries of Style: Silver, European Ceramics, Portrait Miniatures and Gold Boxes, lot 352 for The Doncaster Races Cup, 1805, also by Digby Scott & Benjamin Smith. This cup and cover with the presentation leather case is a rare example of not only an eminent silversmithing family but that of a new and exciting period where wealth was to be shown in the home with great commissions of silver and even grander examples of silver-gilt ware.
An 18th century Chinese blue and white teapot and cover with moulded pomegranate finial and foliate mounted double strap handle, the fluted body painted with the same design on each side with two figures rowing a boat through an idyllic river landscape with pagodas, Qianlong period (1736-1795) Qing dynasty, 12.5 cm high Very small chip to the interior rim of the teapot and inner lip of the cover, some minor firing splits around the foliate mouldings around the handle, but generally good condition
An Edwardian RMS 'Oceanic' (White Star) enamelled souvenir teaspoon, Birmingham 1905, to/w various other small silver spoons, including preserve spoon with Art Nouveau finial, Sheffield 1913, set of six coffee spoons, Birmingham 1910, five silver souvenir spoons, two Sterling spoons, Edwardian enamelled 'Whitby Abbey' souvenir spoon and four coffee spoons with harlequin enamel finials (20), 7.5oz (235g) gross total weight
A silver sauce-boat with cut rim and scroll handle, on paw feet, with sauce ladle with trifid finial, both Horace Woodward & Co. Ltd., Birmingham 1911, 3.8oz (119g), to/w a pair of late Victorian silver small specimen vase flutes with engraved decoration and weighted bases, London 1896, 11.5cm high (4)
A late 19th Century Meissen vase and cover of ovoid form, painted with mirror shaped panels of Amphitrite, Venus and Mars, within gilt foliate scroll borders, on a dark blue ground, the cover with pineapple finial, pierced with acanthus, double entwined serpent handles, crossed swords mark in blue, impressed 19, incised G69, 30cms high.
A metal and alabaster type glass ceiling light, early 20th century, approximately 23cm highCondition Report: Marks, knocks, scratches, abrasions consistent with age and use,The metal with discolouration and pitting, The glass with one crack, other pieces protruding, these will probably require tightening in the mounts prior to installationThis requires a bar or mount to secure it to the ceiling - this has never been present whilst at Dreweatts and would require sourcing by the purchaser for installation. There are no electrical fitments present either. Please note this has an associated lampbase, this has the usual marks and wear overall, there is a split and crack to the finial which has previously been repaired, the base has been wired - this would need testing and possibly replacing prior to use in a domestic setting Please refer to additional images for visual reference to conditionCondition Report Disclaimer
A clear and frosted glass candelabrum, probably Baccarat, modern with spier finial, the column formed as a frosted classical maiden, 60cm highCondition Report: Two drip pans are missing pendent drops, sevesal pendant drops have small chips, the central sconce above the figures head with chips Condition Report Disclaimer
Mark Brazier-Jones, Tzar Chandelier, a metal and glass ceiling light, late 20th century, with bands of cabochon glass and drop ball finial, approximately 68cm high, 55cm diameterCondition Report: Marks, knocks, scratches, abrasions consistent with age and use,Some bumps and nibbles to some elementsThe metal surface with patination and discolouration, this appears to be by designNO obvious missing elementsThe bottom finial is a little precarious on the hanging loop - this may need a little attention (re-shaping?) to the mounts to secure more firmly. the mount does appear a little mis-shapen at present This is electrified by design - it would require testing and possibly re-wiring before use in a domestic setting, this should be carried out by a professional electrician prior to use Please refer to additional images for visual reference to conditionCondition Report Disclaimer
A Dutch polychrome Delft ware vase and cover, c1770, the vase with moulded cartouche and painted with a woman seated by a pedestal by a river, in brown scale pattern surround with moulded flowers and leaves, 38cm h, painted L P KAM in manganese Finial and rim of cover chipped, vase in good condition but for minor chip on foot at back, no restoration
Miscellaneous pottery and porcelain, to include Lovatt Langley Mill glass glaze waisted jar and cover, Bretby pottery, square box and cover with bee finial, William Ault lilac dressing table box and cover and a Myatt & Son castle top vase, two Susie Cooper oval meat dishes and a Honiton pottery wall pocket, together with Worcester Evesham flan dishes, tureens, fluted bowls, Midwinter jugs, etc Generally good
A George III oak eight day longcase clock, Willm Hallen Henley Oxon, late 18th c, the breakarched brass dial with matted centre, date aperture, subsidiary seconds ring, signature disc to the arch and rococo spandrels, the trunk enclosed by moulded, breakarched door, pendulum and two lead weights, 224cm h excluding brass finial Good restored condition, pediment altered at early date
A French ormolu mounted kingwood display table, late 19th c, in Louis XV style, with bevelled glass to the hinged top, velvet lined interior and glazed sides, on slender tapering legs united by stretchers, ormolu finial, shoots and sabots, 80cm h; 55 x 90cm Of excellent quality and in fine preservation but for chip on one of the glass side pieces and one or two small veneer chips, stretchers added at an early date to lend stability and could be easily removed
A Continental mahogany-stained beech wall clock, the broken architectural pediment centred of a fleur de lis, arched glazed case enclosing white enamel dial with chapter ring, roman numerals and single winding hole, pendant base with split turned finial, 82cm h approximately Scuffing, polish loss, cracks, abrasions and scratching to case. Re-polished at some point. Dial with rubbing to Roman numerals. Other wear generally consistent with age
A Viennese mahogany-stained beech cased wall clock, late 19th c, the stepped pediment centred on a fluted tablet above an arched glazed door, the white enamel dial with cast brass bezel, roman numerals, inscribed Franz Stockl, Hernals, single winding hole, the door with split pillars to top and base, waisted pendant with finial, 100cm h approximately Case re-polished but with abrasions and some losses to polish, dial cracked, otherwise wear generally consistent with age
A mahogany-stained Continental wall clock, c1880, arched moulded case with ornate cornice with turned compressed ball and spire finial centred on a broken arch, the white enamel dial with chapter ring, roman numerals, the lower section of the case conforming with turned pillars, shaped pendant base, 90cm h Dial cracked, case re-polished, minor abrasions and wear consistent with age
A Continental ebonised wall clock, late 19th c, the flared cornice with arched pediment centred on a fluted tablet and finial, the arched glazed case with moulded border enclosing white enamel dial with chapter ring, roman numerals, single winding hole, waisted pendant with split turned finial, 92cm h Case re-polished, scuffing, abrasions, cracks and other wear to case. Dial cracked. Right hand cornice return damaged but present
An Edwardian inlaid mahogany tub chair, with lozenge inlaid vertical railed splats, upholstered seat with close studded border on square tapered legs; together with an Edwardian inlaid mahogany jardinere stand, satinwood, boxwood and ebony inlaid, the circular top ring above a slatted body with finial, spreading legs and incurved triangular undertier, brass caps to leg terminals 92cm h and an Edwardian satinwood and veneered small oval occasional or lamp table, the top painted in green with leafy arabesques, shallow frieze and splayed square tapered legs painted in ivory with flowerheads and tapered pendants, the legs joined by concave stretchers, 70cm h Chair with scuffs, scratches and wear, front edge with abrasions, some patching on seat rail, other wear consistent with age. Jardinere - heavily damp stained, losses to stringing, lifting of veneer and other extensive wear. Satinwood table with veneer losses, extensive damp stains, lifting veneer, faults to stretchers and wear to feet
A Victorian silver tea kettle, of pear shape, the domed lid with bud finial and integral hinge, chased with flowers and rocaille, the lamp stand having conforming cast openwork apron, scrolling legs and shell feet, spirit lamp, crested, 42cm h, fully marked by Wrangham & Moulson, London 1853 and further stamped Lambert & Rawlings Coventry St London, 88ozs Provenance: George Fitzroy Seymour (1923-1994) of Thrumpton Hall, Nottingham, by whom inherited from his grandmother; thence by descent to the present vendor Good overall condition with some light polish wear and residues, spirit lamp lacking the small domed extinguisher, no holes, splits or repair
Loading...
