A three-tier oak Globe Wernicke type bookcase, the escutcheons cast "The Lebus Bookcase"Condition report: The gallery with a split and loss. The top with ring marks and scuffs. Damage to every section where the lock plate rests. One handle lacking. Scuffs and scrapes throughout the main body. 88cm by 35cm by 123cm. Internal depth is 26cm. Internal height of shelves is 23.5cm.
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Devon clock globe timepiece, the movement contained within a blue metal globe with raised gilt continents, with silvered horizontal chapter ring indicating the hours, suspended from a gilt metal bracket fixed to a mahogany back board, 26? high overall (this clock movement requires a return spring)
French ormolu, bronze and white marble figural mantel clock timepiece, the movement with platform escapement, within a bronze globe casing studded with gold stars and held aloft by an ormolu cherub flying above clouds, supported upon an oval white marble stepped base, raised upon a circular plinth and under a glass dome, 15" high (key)
French ormolu and white marble small ornate mantel clock, the movement with platform escapement stamped no. 5415, within a globe case studded with gold stars, surmounted by two doves above clouds and supported upon a breakfront stepped marble base with rounded ends raised upon four ormolu foliate feet, 7.5" high (key)
Globe Theatre.- Howell (James) Londinopolis; An Historicall Discourse or Perlustration of the City of London, first edition, engraved portrait frontispiece trimmed and laid down, double-page engraved view of London by Wenceslaus Hollar torn at fold, title in red and black, lacking initial blank, title soiled, later calf, gilt, rebacked, rubbed, [Wing H3091; Pforzheimer 515], folio, Printed by J. Streater, for Henry Twiford, George Sawbridge, Thomas Dring, and John Place, 1657.⁂ Largely taken from Stow's Survey. The view by Hollar shows The Globe theatre next to the Bear Garden.
Recommended by Captain John Smith.- Hues (Robert) A Learned Treatise of Globes, Both Coelestiall and Terrestriall, first English edition, title within typographic border, woodcut diagrams, blank leaf )(4 present, lacking final 2 leaves (V3 with imprimatur, V4 blank) V1 and 2 with inner corner defective causing slight loss of text, a few ink and pencil annotations, contemporary sheep, worn and repaired, new spine label, [STC 13908], 8vo, Printed by the Assigne of T. P. for P. Stephens and C. Meredith, 1639.⁂ Originally published in Latin in 1594, here translated by John [i.e. Edmund] Chilmead 'for the benefit of the Unlearned'. Scarce and important work on globes. Hues circumnavigated the world with Thomas Cavendish, accompanied by Emery Molyneaux, whose globes he took as the basis for his observations. Hues was also a close friend of Walter Raleigh, and Captain John Smith in his work The Sea Grammar, gives this work as one of ten recommended for study by sea-goers. The final section gives a detailed explanation of rhumb lines and their use. Although Mercator had included rhumb lines on his globe, their use was still not properly understood, and in this treatise Hues discusses their general characteristics and significance in navigation, and then their use on a globe in the solution of various navigational problems. He sets forth for the first time the six standard cases of the nautical triangle. There are several references to America including a series of observations made by the author off the American coast at the time of his voyage with Cavendish.
A Vaughan CL04/SR glass globe three light lantern, small, brass mounts, labelled to ceiling mount, approximately 51cm high to top of ceiling mount; and a gilt tole decorated wall light, 2nd half 20th century, 3 candle sconces in a scrolling frame with glass drops, approximately 72 high 49cm wide (2) Condition Report: Vaughan- dirty- bras with polish residue- small fritting around hole to lid Wall light- incomplete- drops missing, tarnishing and dirt ELECTRICAL GOODS. These are sold as 'antiques' only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician before use. Condition Report Disclaimer
Eleven Titus denarii from the Lincolnshire 2018 hoard. (Rome mint). (Head of Titus, laureate, 9 x right and 1 x left.) (Brit. Mus. cat. # 55-61) 1 x RIC II.I 1. Obverse: IMP T CAESAR VESPASIANVS AVG. Reverse: TR P VIII COS VII (trophy and captive). (3.28g)1 x RIC II.I 19. Obverse: IMP TITVS CAES VESPASIAN AVG PM. Reverse: (Capricorn left and globe below). (3.40g)1 x RIC II.I 109. Obverse: IMP TITVS CAES VESPASIAN AVG PM (left). Reverse: TR P IX IMP XV COS VIII PP (wreath on curule chair). (3.21g)2 x RIC II.I 115. Obverse: IMP TITVS CAES VESPASIAN AVG PM. Reverse: TR P IX IMP XV COS VIII PP (elephant left). (3.32 and 3.29g)2 x RIC II.I 119. Obverse: IMP TITVS CAES VESPASIAN AVG PM. Reverse: TR P IX IMP XV COS VIII PP (seat with thunderbolt above) (3.30 and 3.42g)1 x RIC II.I 124. Obverse: IMP TITVS CAES VESPASIAN AVG PM. Reverse: TR P IX IMP XV COS VIII PP (seat with frame decorated with corn-ears). (3.24g)3 x RIC II.I 128. Obverse: IMP TITVS CAES VESPASIAN AVG PM. Reverse: TR P IX IMP XV COS VIII PP (tripod with dolphin above). (3.34, 3.10 and 3.38g)
Ten Hadrian denarii from the Lincolnshire 2018 hoard. (Rome mint). (Brit. Mus. cat. # 224-230) Obverse: IMP CAESAR TRAIAN HADRIANVS AVG 1 x RIC II 110c var. Obv.: draped bust – viewed from front. Reverse: P M TR P COS III (Hadrian standing left with rudder on globe and spear). (3.44g)1 x RIC II 114b. Obv.: drapery - front of truncation. Reverse: P M TR P COS III / AET AVG (across field), (Aeternitas standing left). (3.32g)1 x RIC II 115b. Obv.: drapery - front of truncation. Reverse: P M TR P COS III / AETER AVG (across field), (Aeternitas standing left). (3.57g)2 x RIC II 118b. Obv.: drapery - front of truncation. Reverse: P M TR P COS III // CONCORD (Concordia seated left). (3.43g with conucopiae under chair). (3.23 and 3.43g)2 x RIC II 118b. Obv.: drapery - front & rear of truncation. Reverse: P M TR P COS III // CONCORD (Concordia seated left). (3.37g with conucopiae under chair). (3.29 and 3.37g)2 x RIC II 120a. Reverse: P M TR P COS III // FEL PR (Felicitas seated left). (3.15 and 3.45g)1 x RIC II 120 variant. Obv.: drapery - front & rear of truncation. Reverse: P M TR P COS III // FEL PR (Felicitas seated left). (3.21g)
Ten Hadrian denarii from the Lincolnshire 2018 hoard. (Rome mint). (Brit. Mus. cat. # 244-245 and 247-251) Obverse: HADRIANVS AVGVSTVS 2 x RIC II 147d. Obv.: drapery - front of truncation. Reverse: COS III (Diana standing right). (3.35 and 3.33g)1 x RIC II 149d. Obv.: drapery - front of truncation. Reverse: COS III (Hercules seated right on arms). (3.27g)3 x RIC II 160d. Obv.: drapery - front of truncation. Reverse: COS III (Virtus standing right). (3.29, 3.40 and 3.35g)1 x RIC II 170d. Obv.: drapery - front of truncation. Reverse: COS III (Annona seated left). (3.88g)1 x RIC II 171d. Obv.: drapery - front of truncation. Reverse: COS III (Annona seated left, globe in ex.). (3.45g) 1 x RIC 340 variant Obv.: drapery - front of truncation. (3.39g)1 x RIC II 173c. Obv.: Reverse: COS III (Genius sacrificing left). (3.32g)
Nine Hadrian denarii from the Lincolnshire 2018 hoard. (Rome mint). (Brit. Mus. cat. # 252-259) Obverse: HADRIANVS AVGVSTVS drapery - front of truncation. (1 variation) 1 x RIC II 173d. Reverse: COS III (Genius sacrificing left). (3.48g)1 x RIC II 175 variation. Obv.: HADRIANVS AVGVST (draped bust – viewed from front). Reverse: COS III (Libertas standing left). (3.39g)1 x RIC II 178d. Reverse: COS III (Pudicitia seated left). (3.42g)1 x RIC II 179d. Reverse: COS III ((Pudicitia seated left, globe in ex.). (3.61g)2 x RIC II 181d. Reverse: COS III (Spes advancing left). (3.26 and 3.38g)1 x RIC II 182d. Reverse: COS III (Victory standing right). (3.27g)1 x RIC II 197d variation. Reverse: COS III (Modius with poppy and corn-ears). (3.36g)1 x RIC II 198d. Reverse: COS III (priestly implements). (3.37g)
Ten Antoninus denarii from the Lincolnshire 2018 hoard. (Rome mint). (Brit. Mus. cat. # 320-321 and 323-329) 1 x RIC III 111b. Obverse: ANTONINVS AVG PIVS P P TR P COS III. Reverse: IMPERATOR II (Victory standing left). (3.84g)1 x RIC III 127c. Obverse: ANTONINVS AVG PIVS P P. Reverse: COS IIII (Aequitas standing left). (3.45g)1 x RIC III 137. Obverse: ANTONINVS AVG PIVS P P. Reverse: COS IIII (Thunderbolt on throne). (3.44g)1 x RIC III 155. Obverse: ANTONINVS AVG PIVS P P. Reverse: TR POT COS IIII // LIB IIII (Liberalitas standing left with abacus and cornucopiae). (3.51g)1 x RIC III 350a. Obverse: DIVA AVG FAVSTINA (Bust of Faustina I). Reverse: AETERNITAS (Providentia standing left with globe and sceptre). (3.50g)1 x RIC II 394a. Obverse: DIVA AVG FAVSTINA (Bust of Faustina I). Reverse: PIETAS AVG (Pietas standing left before lighted altar). (3.41g)2 x RIC III 395c. Obverse: DIVA AVG FAVSTINA (Bust of Faustina I). Reverse: PIETAS AVG (Pietas standing left before candelabrum). (3.46 and 3.40g)1 x RIC III 396. Obverse: DIVA AVG FAVSTINA (Bust of Faustina I). Reverse: PIETAS AVG (Hexastyle temple). (3.66g)1 x RIC III 344. Obverse: DIVA FAVSTINA (Bust of Faustina I). Reverse: AETERNITAS (Juno? standing left). (3.60g)
Globe Wernicke sectional bookcase consisting of three sections of five glass-fronted long cases and two sections of five-doored corner cases, each on bases, the top sections with painted decoration 'Globe Wernicke, Always Complete but Never Finished, Made in England'Condition ReportBookcase section (Five longcases) Approx. dimensions: Width 80.5cm x Height 178cm x Depth 29cmWear throughout including damaged longcase door. See pictures.
An Art Deco chrome standard lamp, with a globe shade, the shade raised on a chromed crescent with a green-lacquered double hoop to the bottom, 186cm highProvenance: The Lawrie Gatehouse Collection.Condition report: Some scuffing to the chrome and minor dents to the base. Double ring to the centre are green and again slightly spotted.
A pair of Lucite lamps,French, designed by Jean Claude Mahey for Maville Interiors, each mounted with a globe, mounted on a tapering Lucite pedestal, raised on a stepped plinth, labelled,25cm wide119.5cm high (2)Condition report: Cracks to the globular section of the lamp. Knocks and wear to lucite.
Mahdjoub Ben Bella (Algérie, né en 1946)Florence huile sur toilesigné 'Ben Bella' et daté '18' (en bas à droite)exécuté en 2018116 x 89cm (45 11/16 x 35 1/16in).Footnotes:ProvenanceCollection de l'artisteLa présente oeuvre est vendue par le Fonds Claude et France Lemand au profit des Artistes et de l'Institut du Monde Arabe'J'ai bien connu Mahjoub Ben Bella. J'aimais son œuvre intense, lumineuse et sensible. Peintre délicat, il peignait ses rêves et nous les offrait en partage. Formé dans les écoles des Beaux-arts d'Oran, puis à Tourcoing et à Paris, il s'installe en France, dans le Nord gris et chaleureux qui, rapidement, l'adopte. Ce Nord accueillant, Mahjoub Ben Bella l'illuminera des couleurs, de la lumière de sa Méditerranée natale et de son pays, l'Algérie qui coulait passionnément dans ses veines. Peinte neuf jours avant sa disparition, sa dernière peinture sur son lit d'hôpital en est la parfaite illustration.Il fut un peintre virtuose aux multiples facettes. Parallèlement à ses grandes et petites peintures sur toile, sur papier, sur bois ou sur pavés, il réalisera des céramiques, des objets, des gravures, des performances et des fresques monumentales dans des lieux publics. En 1986, il peindra les célèbres pavés du Paris-Roubaix, L'envers du Nord, fresque routière de 12 kilomètres, véritable tapis de signes, rouleau magique d'écritures. En juin 1988, il rendra à Wemblay un fraternel hommage à Nelson Mandela.Expositions personnelles et collectives dans de nombreux musées, centres d'art et galeries d'Europe, du Proche-Orient et une rétrospective au MAMA d'Alger, Mahjoub Ben Bella a été représenté dans vingt musées et collections publiques. Grâce à la Donation Claude & France Lemand, le musée de l'Institut du monde arabe est riche de seize de ses éclairantes peintures.'- Jack LangNé en 1946 à Maghnia, dans l'ouest algérien, Mahjoud Ben Bella est un peintre aux multiples facettes, réalisant à la fois des œuvres monumentales, des céramiques, des objets, des peintures sur toile de tous formats ainsi que des œuvres sur papier, sur bois ou sur pierre. A ce jour, Mahjoub Ben Bella est représenté dans vingt musées et collections à travers le monde. « Sa peinture est un chant incantatoire. Dans ses toiles, il compose des champs sacrés dont les sillons nous entraînent au-delà du simple lyrisme. Il se laisse posséder par le vertige de l'écriture jusqu'à l'extase, jusqu'à devenir le chantre d'un livre de prières à la gloire même de l'Art. » - Jean-Louis Pinte, Les champs sacrés de Ben Bella, cité in Le Figaroscope, Paris.'I knew Mahjoub Ben Bella very well. I was fond of his intense oeuvre, full of light and sensitivity. A delicate artist, he painted his dreams and shared them with us. Studying at the School of Fine Arts of Oran, and then in Tourcoing and Paris, he settled in France in the grey warmth of the North, which quickly adopted him. Mahjoub Ben Bella sought to brighten up that welcoming North with his colours, with the light of his Mediterranean origins and of his native country, Algeria, that passionately ran through his veins. His last painting, dating from nine days before his death, was executed from his hospital bed and illustrates perfectly the essence of his art.He excelled as a painter, but also as an artist with multiple facets. Besides his large and small paintings on canvas, on paper, on panel or on cobblestone, he also realized ceramics, objects, prints, performances and monumental frescoes in public spaces. In 1986, he painted the famous cobblestones of the Paris-Roubaix, L'envers du Nord, a twelve kilometer-long road fresco, a true carpet of signs and a magical scroll of writings. In June 1988, he paid a fraternal tribute to Nelson Mandela at Wembley. With several solo and group exhibitions held in many museums, art centers and galleries across Europe, the Near-East and a retrospective exhibition at the MAMA of Algiers, Mahjoub Ben Bella's work is represented in over twenty museums and public collection. Following Claude and France Lemand's donation, the museum of the Institut du Monde Arabe now has sixteen of his illuminating paintings.' - Jack LangMahjoub Ben Bella was born in the Western part of Algeria, in Maghnia, in 1946. He did his artistic training first at the School of Fine Arts of Oran, then in Tourcoing and finally in Paris, and settled in France. Ben Bella is a multifaceted artist, producing monumental artworks, painting ceramics, objects, in addition to large and small paintings on canvas, on paper, panel or even on stone, as well as performances and monumental compositions for public spaces. His works have been exhibited in many solo and group shows in museums, art foundations and galleries across Europe and the Middle East. Besides having his works featured in prominent private collections across the globe, Ben Bella's oeuvre is also present in the collections of twenty museums and public collections.Click for an instant shipping quoteFor further information on this lot please visit Bonhams.com
An early 20th century Philips' 12 inch terrestrial globe showing the principle steam ship routes, with brass support and ebonised base, 53cm high overallCondition report: Some minor marks, scratches and surface cracks, particularly around the equator joints to the globe with some discolouration to the varnish, the base in reasonable condition. The globe spins freely but with a slight noise. Top and bottom fixings into the globe are tight.
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