A vintage vertical live steam boiler, lagged in planked hardwood with brass boiler bands, water sight glass fittings (glass tube missing) traditional latched boiler door to circular fire grate, central flue with chimney. Boiler diameter 17cm. Overall height 54cm. The lot also includes a polished brass condenser (2).Condition Report: Additional images are available. Condition Report Disclaimer
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A large pair of brass andirons, Victorian circa 1880, with fluted cushion tops, fluted stems, and bifurcating legs, with associated iron toothed log grate, 65cm high. A Victorian brass frie curb with bar and three lion head scroll motifs, 142cm long, 40 cm deep (2) Both Good condition ready to use OBJECT LOCATION: THE MUSIC ROOM
Schwarz-weiße Sturmhaube mit Visier, deutsch, um 1570 Zweiteilig geschlagene Glocke mit glattem Mittelgrat, rechts und links davon zwei weitere getriebene Grate. Angenieteter Augen- und Nackenschirm mit gebördelten und leicht geschnürlten Rändern, rs. angenietete Federbuschtülle, im Bereich der Befestigung der Wangenklappen ältere Ergänzungen. Im Scharnier gelagerte Wangenklappen mit fünffach gelochten Gehöröffnungen. Höhe 28 cm. Aufschlächtiges, zweifach geschobenes Visier mit hochovalen bzw. runden Öffnungen, ebenfalls mit gebördeltem und leicht geschnürltem Rand. Höhe 27 cm. Einige Nieten und Teile der Belederung ergänzt. A German black-and-white burgonet with visor, circa 1570 The skull forged in two pieces with a smooth medial ridge, two additional ridges chased to the right and left of it. The riveted peak and neck guard with turned and slightly roped flanges, the plume socket riveted at the back, old replacements around the attachments of the cheek pieces. Hinged cheek pieces with five pierced openings for hearing. Height 28 cm. The pivoted visor sliding on two lames with extended oval and circular apertures, likewise with a turned and slightly roped flange. Height 27 cm. Some rivets and parts of the leather lining replaced.
A pair of George III Paktong candlesticksunmarked Of typical column form, cast, topped with Corinthian capital and removable shaped-square drip-pan, fluted pillar on a stepped square base with gadroon borders, the monogram 'AC' inscribed to one side, height 28cm. (2)Footnotes:Property of a private collector.A similar pair is illustrated in Keith Pinn, Paktong: The Chinese Alloy in Europe 1680-1820, (Suffolk: Antique Collectors Club, 1999), p.99, plate 59.Paktong is an alloy that can trace its roots in China to the 4th century AD, created by the process of combining copper, nickel and zinc. The name is derived from the Chinese 'baitong', meaning 'white copper'. In Ming-Qing China, it was widely used for making every day domestic items such as water pipes for smoking, bowls, dishes, ink boxes, and so on. In the late 17th century, it was frequently exported to Europe where it became fashionable for decorative domestic wares. English makers, such as Matthew Boulton, saw the potential for making candlesticks and other goods from paktong as the metal could be cast, took a high polish and was slow to tarnish. The imported alloy was therefore used by silversmiths and by Birmingham brass manufacturers to imitate silverware. A page from one of Boulton's books from the Soho factory in 1769 lists twenty-two 'subjects into which it (paktong) may be manufactured'. Once called 'Tutenag' or 'Chinese white copper' it is believed that English and European makers were experimenting with the alloy as early as the opening decades of the eighteenth century. However most surviving paktong is from the 1760-1780 period. Candlesticks are often found in paktong, but other items were also created from the versatile alloy. Robert Adam designed paktong fire grates for Syon House and a 1782 inventory of Osterley Park House records the fire grate, fender and fire irons as paktong. Paktong died out as a product for high fashion candlesticks and other objects in the late 18th Century, when Sheffield plate emerged as a cheaper alternative.Also refer to Chao Huang, Metallurgical knowledge transfer from Asia to Europe: Retrospect of Chinese paktong and its influence on Sweden and Austria, accessed via https://doi.org/10.4000/artefact.1996For further information on this lot please visit Bonhams.com
A heavy cast iron and brass-mounted serpentine-fronted fire grate in late 18th century style: the back decorated with a central urn and harebell swags in Robert Adams style, two neoclassical-style brass finials above a pierced frieze centred with an anthemion motif and flanked by further scrolls, the turned brass legs headed with further conforming finials (fitted for gas) (65 cm widest x 34 cm deepest x 70 cm high)
GEORGE WASHINGTON JACK (1855-1931) (DESIGNER), LONGDEN & CO., SHEFFIELD (MAKER) ARTS & CRAFTS FIREPLACE, CIRCA 1893 cast iron, plated copper & Cipollino marble, bears cast inscription of a riddle to the left-hand panel THE FIRE MY GLITTERING FATHER IS/ TH' EARTH'S MY MOTHER KIND / THE SEA MY YOUNGER BROTHER IS/ BUT ME NO MAN CAN FIND, and to the right-hand panel WHO CAN STAND AGAINST HIS COLDDimensions:cast section 141.5cm wide, 81.5cm high, 33cm deep; repoussé panel: 29cm x 141cm excluding fittings; marble panels: 159.7cm x 10cm x 2.5cm; the other two 111cm x 9.3cm x 2.5cmProvenance:Provenance: 8, Grand Avenue, Hove, until removed in 2019.Note: Note: George Jack exhibited a fire grate of this design at the fourth annual arts and crafts exhibition in 1893. It was shown in the north room of the New Gallery at 121 Regent Street, London, as item number 169. The Studio magazine reviewed the exhibition, where they commended the 'quiet unostentation of the chimney piece proper and the iron grate it houses' At least two other examples of this fireplace are known to have been made. One was supplied in 1895 to the 3rd marquess of Bute's House of Falkland, Fife, Scotland for Lady Margaret's sitting room where it remains today. It differs only by being dated quite visibly on the right-hand panel. Another example (with Carrara marble) was used by the Scottish architect James Miller (1860-1947) in the Royal reception rooms of the Glasgow International Exhibition of 1901. It was possibly then relocated for use in a bedroom at Coupar Grange in Perthshire, also designed by Miller (completed 1902) as it can again be seen there in a photograph of circa 1904.
ENGLISH ARTS & CRAFTS FIRE SURROUND, CIRCA 1900 oak, stained and leaded glass, inset with copper roundels and patinated metal fittings, with brass insert and wrought iron fire grate Dimensions:including cornice outer measurement 167cm wide, 209cm high, 30cm deep; internal wooden measurement 96cm high x 101.5cmwide; further internal measurement 40.8cm wide, 56cm high to cowel
Versuchung Christi - Opfer Gideons. 2 Andachtsbilder in farbiger Aquarell- und Gouachemalerei auf Kupferstichgrund mit Paillerahmen und Textilen Einarbeitungen, teils mit Gold- und Silberbrokatfäden. Je ca. 13 x 7 cm. Deutschland um 1780.Jesus fastet in der Wüste, als ihm der Teufel heimsucht - hier in Gestalt eines in prachtvollen roten Mantel mit beigefarbener Schärpe gewandeten jungen Knaben, der zwei Hörner auf dem Kopf trägt. Jesus gelagert an einen grünen Grashügel trägt einen kostbaren gelben Goldbrokatmantel mit einem Umhang aus leuchtend weiß schimmernder Seide, alle originalen textilen Stücke sind intarsienartig hinter die aus dem Stich ausgeschnittenen Grate gelegt - eine meisterhafte Klosterarbeit vom Ende des 18. Jahrhunderts. Das zweite Bildchen zeigt wohl das Opfer des Gideon nach dem Buch der Richter (6,11-8,35) des alten Testaments. Ein heranschwebender Engel übergibt dem König Gideon, dessen Krone neben dem Altar liegt, einen Totenschädel, eine Garbe und ein Schwert. Auch dieses Blatt ist mit zahlreichen wertvollen Stoffen als Spickelbild ausgestattet. - Minimale Fehlstelle im aus gefärbten, gebügelten Grasrauten (losanges de paille) zusammengesetzten Schmuckrahmen, Darstellung kaum fleckig. - Beiliegt:
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