We found 48015 price guide item(s) matching your search
There are 48015 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
48015 item(s)/page
Lot 1496
•DR DAVID BETHEL, CBE, RWA (1923-2006) A FOLIO OF TEN COLOUR LITHOGRAPHS, 1980-2000 Comprising The Long Man of Wilmington, Printer's Garden, White Gate, The Cerne Abbas Giant, Cock & Weathercock, Ingarsby Hall, The Grand Union, Dhow Yard, Bahrain, St Mary's Colston Bassett and Hallaton, each signed, titled, numbered and dated variously 1980-2000, unframed The largest image 42.5 x 64.5cm. Provenance: The family of the artist ++ Good condition; a few very slight blemishes
Lot 109
Chesterfield - Derbyshire, In Excess of Seventy-Five Early XX Century and Later Picture Postcards, Photographs, including The Crooked Spire, streets and suburbs, Market Hall, Town Hall, High Street, Corporation Street, Burlington Street, Knifesmith Gate, Queens Park, Locomotives, Stephenson Place.
Lot 50
Holmesfield - Derbyshire, In Excess of Fifty Early XX Century and Later Picture Postcards, Photographs, Remembrance Card, including Horsley Gate Hall, Fanshawe Hall, Church, Little Chatsworth, Cartledge Hall, Fun Fair, The Vicarage, Smeetly Wood, Chatsworth Cottages, Woodthorpe Hall, (one album).
Lot 175
A fine and rare William III table clock movement and dial with pull-quarter repeatJohn Knibb, Oxford, circa 1695The five latched baluster turned inside rack and bell striking movement with plates measuring 7.125 by 5.125 inches and verge escapement regulated by short bob pendulum and pull-quarter repeat on a graduated nest of three bells, the backplate finely engraved with tight Ho-Ho bird inhabited repeating foliate scrollwork around a central signature John Knibb, Oxford, the 6.875 inch square brass dial with ringed winding holes and herringbone chamfer engraved calendar aperture to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers, Arabic five minutes to outer track and signed John Knibb, Oxford to lower margin, with fine scroll-pierced sculpted steel hands, winged cherub mask spandrels to angles and N/S strike/silent selection lever above twelve o'clock, (unrestored, lacking backcock). John Knibb was born in 1650 and was apprenticed to his older brother, Joseph, in around 1664. When Joseph moved to London in 1670 to set up business (presumably in the workshop inherited from his uncle, Samuel) John, his younger brother, took on the Oxford workshop gaining the Freedom of the city on payment of a fine in 1673. Joseph Knibb retired in 1697 selling up most of his workshop (most likely to his former Oxford-based apprentice Samuel Aldworth) before moving to Hanslop in Buckinghamshire where he made a few clocks prior to his death in 1711. During his career John Knibb became a high profile figure within the City of Oxford being a member if the City Council from 1686, a Bailiff in 1688 and then twice Mayor in 1698 and 1710. He also held positions of Alderman and Keykeeper. On his death in 1722 he was recorded as being of Smith Gate in the Parish of Holywell and was buried in that Parish at St. Cross church. Due to the comparative rarity of clocks signed by John Knibb it has been suggested that his workshop may have generally served to supply Joseph's larger concern in London. The strong similarities between John's best work and those signed by Joseph would certainly support this view. However it is also clear that John was a high profile tradesman in the City off Oxford who trained no less than ten apprentices, therefore it is perhaps more likely that, although the two workshops were connected, they generally worked separately to supply clocks to differing groups of clients. The current lot is a fine example of a 'phase IV' movement and dial belonging the final fully-developed design of table clock produced by John Knibb during the mid to late 1690's. The mechanism itself is particularly well built with typical 'Knibb' baluster pillars, delicate wheelwork and finely executed internal rack striking mechanism. The engraved decoration to the backplate is notable in that the composition of Ho-Ho bird inhabited repeating leafy scrolls around a signature cartouche incorporating a small grotesque mask and basket of fruit at the apex in that it can be directly compared to that of a magnificent silver mounted table clock by Thomas Cattell illustrated in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS... on page 236 (Figure 13.22). Indeed the strong similarities between the engraving of the Thomas Cattell clock and the current lot would suggest that they were executed by the same hand in a style that would have been at the height of fashion at that time. Exploring the engraving further throws-up strong similarities with designs seen on the backplates of a handful of important clocks by Thomas Tompion; most notably that of the celebrated 'Selby Lowndes' grande-sonnerie clock (no. 217 circa 1693) illustrated in Evans, Jeremy; Carter, Jonathan and Wright, Ben THOMAS TOMPION, 300 YEARS on pages 388-91. Interestingly Evans, Carter and Wright attribute this engraving to 'G155' with a suggestion of Bartholemew le Maire being a possible candidate for this work cited on pages 177-78.The dial of the present movement exhibits the increased level of decoration seen on 'phase IV' clocks by John Knibb. These include ring-turned decoration to the winding holes and herringbone engraving to the canted recess of the calendar aperture - a preferred detail often seen of examples of John's work. The design of the hands are unmistakably 'Knibb' and remain essentially unchanged from those seen on clocks made a decade or so earlier. Although essentially in unrestored condition the current lot appears to have survived in particularly good original condition with the escapement appearing essentially unaltered (with the possible exception of the backcock fixings) therefore presents as rare opportunity for restoration. The lack of a case is a shame, however as the form of a Knibb 'phase IV' case is well documented (see Lee, Ronald The Knibb Family, Clockmakers pages 92 and 93 for example) a replica can no doubt be constructed by a suitably skilled cabinet maker enabling this fine clock from the 'Golden Age' of English horology to be 'brought back'.
Lot 98
A fine French porcelain inset ormolu 'Japonaise' mantel clock garniture The porcelain front panel signed for C. Kiffert, circa 1880The circular eight-day gong striking movement with recoil escapement for regulation by disc bob pendulum incorporating Brocot type rate adjustment to the suspension, the backplate stamped with serial number 5797 to upper left hand margin, the rectangular mid blue ground simulated cloisonné porcelain dial panel painted with bird and butterfly amongst chrysanthemum blooms to centre within pseudo Japanese character gilt cartouche numeral chapter ring and with fine pierced and engraved brass hands, the surround populated with additional insects and birds within flowering foliage incorporating shaped ornithological panels with the lower one signed C. Kiffert to left hand margin, the case with fine porcelain surmount modelled as a zoomorphic dragon carp set on a rectangular four-legged plinth over shaped stepped platform decorated with incised geometric patterns and with galleried bollard finials to corners, with cavetto top mouldings centred with a geometric decorated pendant panel flanked by stylised scroll-pierced projecting corbels to the front, over line-incised frame around the dial panel terminating with smaller conforming apron panel to the lower margin, the sides with arcaded panels inset with further matching porcelain panels each painted with a fan and geometric panel within a simulated cloisonné field decorated with birds and butterflies within delicate flowering foliage, the rear with hinged circular cover for the movement within geometric line decorated panel infill flanked by further pieced projecting corbels, on elaborate waisted cavetto moulded base bordered with geometric incised half-round band to upper margin and applied with scroll pierced projections matching the upper corbels to sides, over swollen skirt inset with further bird and flower painted porcelain panel flanked by geometric blind fretwork infill to front apron and incorporating elephant mask feet, the porcelain panels and case each inscribed with serial number 32495 to rear, 51cm (20ins) high; the matching side pieces each modelled in ormolu mounted porcelain as a square section tapered shoulder vase painted with birds, insects and panels on a simulated cloisonné ground with elephant mask handles over elaborate waisted base incorporating blind fretwork to apron and scroll feet, each 17cm (10.5ins) high, (3). The current lot can be directly compared to another garniture of almost identical pattern (with the exception of having additional candelabra extensions to the side pieces) which was sold at Christies, London The Opulent Eye - 19th Century Furniture, Sculpture & Works of Art 6th March 2014 (lot 197) for a premium inclusive £35,000.The full identity of the painter of the porcelain panels of the current lot, C. Kiffert, appears not to be recorded, however this signature is sometimes seen on large impressive porcelain vases often executed in the style of Sevres. One such example was sold at Christies, London 19th Century Furniture, Sculpture, Works of Art & Ceramics 27th September 2007 (lot 63) for a premium inclusive £18,500. The painted porcelain surmount adorning the present clock is unusually modelled as a carp with a dragon's head. This form comes from the legend of Koi-no-Takinobori which has its roots in ancient China wherein carp swim, against all odds, up a waterfall known as the 'Dragon Gate' at the headwaters of China's Yellow River. The gods are very impressed by the feat, and reward the few successful carp by turning them into powerful dragons. The story symbolizes the virtues of courage, effort, and perseverance, which correspond to the nearly impossible struggle of humans to attain Buddhist enlightenment.Condition Report: Movement appears complete and all original with no visible alteration or significant replacements. Although the mechanism will run and strike it is in dirty/neglected condition hence requires a clean/service. The dial panel is free from visible chips or cracks other than some very slight nibbling around the winding holes. The numerals may have been re-touched/strengthened and there is a slight firing blemish near the VIII numeral otherwise panel is in good albeit slightly dirty condition with minimal wear to the gilding. The side panels are free from visible damage or restoration and have minimal gilt wear however are a little dirty. The dragon fish figural surmount has had some chipping to the whiskers touched-in with red pigment - this will require attention to bring the figure back to fine condition. The securing studs for the platform holding the surmount are presently incomplete hence it can be lifted straight-off the case. The gilding to the brass is original and generally in sound albeit very dirty condition but has some noticeable rubbing to high spots. Both side pieces are generally in good original condition although one has cracking and related small shallow chips to the base part of the ceramic. Otherwise faults are limited to very light gilt wear.The clock has a pendulum but no winding key. Condition Report Disclaimer
Lot 132
A EUROPEAN STAINED GLASS CIRCULAR PANEL PROBABLY FRENCH, 13TH CENTURY AND LATER depicting Joachim and Anna at the Golden Gate, inscribed 'AUREA PORTA', with later painted glass replacements, 42.5cm diameter, in a modern grey painted wood frame Catalogue Note This panel depicts Joachim and Anna meeting at the Golden Gate of Jerusalem. In style the panel compares favourably to the stained glass of the great cathedrals of the early 13th century, in particularly to a similar panel of Joachim and Anna at Chartres Cathedral.
Lot 1549
Norman Ackroyd RA, CBE, (British b. 1938) Jackson's Pond, signed monochrome limited edition screen print 11/50, 49.5 x 65 cm approx sheet size, together with four copies of Andrew Hemmingway (British b. 1955), signed limited edition screen print - half term, all editions out of 125, 27.5 x 25, Edwina Maloney (British 20th century) Moon Gate, signed limited edition screen 10/70, 50 x 66 cm, all unframed, (6)
Lot 250
J. Craig Thorpe (American, B. 1948) "Colorado Locomotive" Signed lower right. Original Mixed Media painting on Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original which appeared on the Fleetwood Legendary Locomotives of the 50 States Colorado Commemorative Cover postmarked March 11, 1995. March 11, 1884, marked the opening of Colorado's famed Georgetown Loop. Publicized as one of the greatest engineering feats of its time, this line of the Colorado & Southern Railway (C&S) was constructed as the Colorado Central Railroad to connect the mountain settlements of Silver Plume and Georgetown. Although the direct distance between the two towns is slightly less than two miles, the difference in altitude is 638 feet. To surmount this obstacle and keep the grade as low as possible, narrow-gauge tracks were laid out in a series of loops with one even crossing over itself. A noted railroad structure that formed part of the Georgetown Loop was Devil's Gate Bridge. Resting on granite piers, the bridge carried the rails across Clear Creek -- a rushing mountain stream located 95 feet below. Epitomizing the railway boom in the Colorado Rockies during the late 19th century, the Georgetown Loop was part of an extensive network of narrow-gauge lines stretching for hundreds of miles, weaving around mountainous vistas and linking mining towns throughout the Centennial State. Though the Loop was abandoned and dismantled in early 1939, it was reconstructed by the Colorado Historical Society and reopened in 1984, its 100th Anniversary. This painting shows C&S's 2-6-0 Mogul engine No. 8 built by the Cooke Locomotive Works in 1884. Image Size: 14 x 12 in. Overall Size: 18 x 14.75 in. Unframed. (B14949)
Loading...-
48015 item(s)/page