A George V silver mounted glass teardrop shaped scent flask, William Hutton & Sons, Ltd, Sheffield, 1925, 25.9 cm.***CONDITION REPORT***PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
We found 14769 price guide item(s) matching your search
There are 14769 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
14769 item(s)/page
A pair of Victorian silver apostle serving spoons, Edward Hutton, London, 1890, 20.5cm and a George III silver sifter spoon, London, 1761.***CONDITION REPORT***PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
A George II silver Onslow pattern sauce ladle, London 1741, 16.7cm and a Victorian sifter spoon, Edward Hutton, London, 1889, 71 grams.***CONDITION REPORT***PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
A William IV silver baluster form mustard, by Richard Pearce and George Burrows, London 1831, with shell thumb grip and acanthus leaf decorated scroll handle, together with a small silver sauce boat with beaded rim, raised upon triple ball supports (marks rubbed), and a silver semi-fluted jug, by William Hutton & Sons Ltd, London 1907. (total 250.2g). (3)
A pair of French silver open salts - late 19th / early 20th century, circular form with rope edged rim, raised on three pineapple and paw feet, 5cm. high, weight 153g; together with a late Victorian silver four division toast rack, William Hutton & Sons Ltd., London 1897, of serpentine navette form with hoop handle and claw feet, 10.2cm. high, weight 86g. (3)
Kurt Schwitters 1887 Hannover - 1948 Ambleside/Westmorland Mz 122 Tropfen rot. (Merzzeichnung). 1920. Collage. Papier auf Papier. Auf dem Originalpassepartout monogrammiert und datiert sowie betitelt. 8,4 x 6,8 cm (3,3 x 2,6 in), Collage im Passepartoutausschnitt. Originalpassepartout: 16,5 x 11,5 cm (6,5 x 4,5 in). [JS]. • Frühe 'Merzzeichnung' des bedeutenen Dadaisten. • Nach impressionistischen und konstruktivistischen Anfängen findet Schwitters in seinen 'Merzzeichnungen', Collagen aus typografischen Fundstücken, zu seiner eigenen, revolutionären Bildsprache. • Kurz nach Erfindung der abstrakten Malerei geht Schwitters hier noch einen entscheidenden Schritt weiter, indem er jeglichen Duktus als künstlerische Handschrift aus seinen Schöpfungen verbannt. • 'Mz 122' – ein kleines, feines Zeugnis dieses künstlerischen Aufbruchs in die Moderne. • Schwitters berühmte 'Merzzeichnungen' sind heute Teil zahlreicher bedeutender Museumssammlungen, wie u. a. der Tate Modern, London, und des Museum of Modern Art, New York. PROVENIENZ: Rose Fried Gallery, New York. Gertrude Stein Gallery, New York. Privatbesitz, Beverly Hills, Kalifornien. Rachel Adler Fine Art, New York. B.C. Holland Inc., Chicago. Annely Juda Fine Art, London. Privatbesitz London. Timothy Baum, New York (vor 1994-2000). Galerie Brockstedt, Hamburg (seit 2000). Firmensammlung Ahlers AG, Herford (2000 vom Vorgenannten erworben). AUSSTELLUNG: Surrealism. revolution by Night. National Gallery of Australia, Canberra, 12.3.-2.5.1993; Queensland Art Gallery, Brisbane, 21.5.-11.7.1993; Art Gallery of South Wales, Sydney, 30.7.-19.11.1993. Small Formats, Leonard Hutton Galleries, New York, Oktober-Dezember 1994 (außer Katalog). Ruhestörung. Streifzüge durch die Welten der Collage, Marta Herford, 28.9.2013-26.10.2014, S. 17 (m. Abb.). Schwitters. Miró. Arp, Hauser & Wirth, Zürich, 12.6.-18.9.2016, S. 23 (m. Abb. S. 188). Konstruktive Welten. Anfänge einer neuen Universalsprache der Kunst, Stiftung Ahlers Pro Arte, 17.9.-11.12.2022, S. 61 (m. Abb.). LITERATUR: Karin Orchard/Isabel Schulz, Kurt Schwitters. Catalogue raisonné, Bd. 1: 1905-1922, Ostfildern-Ruit 2000, WVZ-Nr. 673 (m. Abb.). Schwitters 'Merzzeichnungen', wie Kurt Schwitters seine ab 1919 entstandenen dadaistischen Collagen nennt, gelten gemeinsam mit den 'Merzbildern' als der bedeutendste und bekannteste Werkkomplex des Künstlers. Im Anschluss an den Ersten Weltkrieg befreit Schwitters sich und seine Kunst von jeglicher akademischen und kunsthistorischen Tradition, lässt seine impressionistischen und konstruktivistischen Anfänge hinter sich. 'Merz' war für Schwitters nicht nur die Bezeichnung für den künstlerischen Stil seiner Ein-Mann-Kunstbewegung, sondern vielmehr gleichbedeutend mit künstlerischer Revolution und Neuanfang. In seinen 'Merz'-Arbeiten löst Schwitters die Grenzen zwischen den Kunstgattungen auf, kombiniert verschiedene Materialien, Zeitungsausschnitte, Eintrittskarten und sonstige banale Fundstücke des Alltages, stellt neue, unerschließbare Bezüge her und wird auf diese Weise vom introvertierten Künstler zum experimentellen Bürgerschreck von unerschöpflicher künstlerischer Produktivität. Auch als Dichter, Schriftsteller und Architekt verleiht Schwitters seiner progressiven Produktivität Ausdruck und schafft auf diese Weise ein provokantes und beeindruckendes Gesamtkunstwerk, zu dessen international gefragtesten künstlerischen Produkten die 'Merzzeichnungen' zählen. Die vorliegende frühe Collage 'Mz 122', in der Schwitters verschiedenste typografische Produkte wie Fahrkarten und Zeitungsfragmente scheinbar zufällig zu einem neuen ästhetischen Eindruck verbindet, trägt diesen künstlerischen Aufbruch in komprimiertem Format in sich. Sie ist ein kleines, feines Zeugnis dieses bedeutenden Kapitels der Moderne. Nachdem Kandinsky und die Konstruktivisten zu Beginn der 1910er Jahre den Gegenstand überwunden und die abstrakte Malerei erfunden hatten, geht Schwitters kurz darauf noch einen entscheidenden Schritt weiter. In seinen berühmten 'Merzzeichnungen', Collagen aus typografischen Fundstücken, ist es ihm gelungen, sogar jeglichen Duktus und damit die künstlerische Handschrift aus seinen faszinierenden Schöpfungen zu verbannen. [JS] Aufrufzeit: 09.12.2023 - ca. 18.58 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.
Only Fools & Horses - The Musical - an original colour promotional 11x14" photograph from Only Fools & Horses: The Musical, signed by all three main cast members - Ryan Hutton, Tom Bennett, and Paul Whitehouse. All autographs in black marker. With certificate from an AFTAL registered dealer.
Paar Beistelltische, John Hutton. Modell "Chariot". Dunkel lackiertes und kanneliertes Gestell aus Wenge. Ablage mit matt geätzten Glaseinlagen (Gebrauchsspuren, 1x Platte fehlend), einschübige Zarge mit Bronzegriff, Zwischenboden und Messingrollen. Kratzer. John Hutton, New York. 62x 56x 56 cm.
A Victorian three piece silver tea setWilliam Hutton & SonsLondon, 1897Comprising teapot, cream jug and twin handled sugar bowl, all of oval, half lobed design, the teapot with ebonised handle and finial, teapot 14cm high (inc. handle), 25.8cm wide, cream jug 9cm high, sugar bowl 16.5cm wide, total weight approx. 26.5ozt (3)Condition Report: Marks rubbed off on the teapot.
A group of silver including an Edwardian barrel-shaped christening cupWilliam Hutton & SonsSheffield, 1909The christening cup realistically designed as a barrel, 7cm high. The rest of the group comprising: a Victorian swing-handled sugar bowl (liner deficient), of half lobed design and raised on an oval foot, London, 1886, John Aldwinckle & Thomas Slater, approx. 10cm high; a Victorian footed dish with gilded interior and geometric engraved pattern to sides, Sheffield, 1867, Martin, Hall & Co., 5.5cm high, 12.5cm dia.; and a cased set of Victorian silver salts, Birmingham, 1895, Lines, Bunn & Mason, with three associated silver plated spoons, total weight approx. 16.9ozt (a lot)Condition Report: cup approx. 3.8ozt
A silver inkstandWilliam Hutton & SonsSheffield, 1924Of rectangular form with shaped gadrooned border, pierced along the rim with scrolling foliate motifs and decorated with shells to each side, on four bracket feet, engraved with presentation and dated 1904 - 1925, supporting two silver mounted squared inkwells, the stand 23.4cm wide, 17cm deep, together with: a German silver bonbon spoon, Edwardian import marks for B Muller & Son (Berthold Muller), Chester, 1901, the bowl pierced and decorated with seated woman with a putto within a scrolling foliate motif and two putti to sides, with pierced terminal, 13.8cm long; a German silver caddie spoon, pseudo Hanau marks for Karl Kurz, Edwardian import marks for Boaz Moses Landeck, London, 1908, the bowl repousse decorated with a peasant in the countryside, with pierced handle and boat-shaped terminal, 9.5cm long; a 19th century Dutch silver caddie spoon, Edwardian import marks for Boaz Moses Landeck, Chester, 1907, the bowl repousse decorated with a scene of two peasants in an outdoor setting, with pierced handle and boat shaped terminal, 9.5cm long; and a spirit label, unmarked, weighable silver approx. 14.8ozt (5)Condition Report: Weighable silver doesn't include the spirit label and the two silver mounted inkwells.
A George V silver three piece tea setBarker BrothersBirmingham, 1931Of plain, oval form with reeded banding to upper bodies, the teapot with wooden handle and finial, together with a late Victorian silver coffee pot of fluted, baluster design with stylised foliate spout, London, 1897, William Hutton & Sons, 23.5cm high, total weight approx. 46.7ozt (4)
A group of silver and silver mounted objectsThe group comprising: a capstan inkwell, Birmingham, 1915, Charles S. Green & Co., with name DORA engraved to lid, liner deficient, filled, 7cm wide; a hobnail pattern jar with silver lid, William Hutton & Sons, Birmingham, 1905, 7.8cm high; a silver mounted inkwell, Birmingham, 2000, stamped CDH 925; a glass jar with silver lid, Joseph Gloster, Birmingham, 1938, 10.3cm wide; two small silver mounted hobnail pattern glass jars, London, 1994; a silver mounted scent bottle, maker's mark rubbed, Birmingham, 1900; the base of a guilloche enamelled candlestick, W. Wilkinson, Birmingham, 1928, filled, 13.2cm high; and a rattle, stamped 925; together with a pair of Italian casters, stamped 800, of baluster form, on a stepped circular foot, 19.5cm high; and a tulip vase, of baluster form, on a spreading foot with scalloped rim, the base filled, 19cm high, weighable silver approx. 11.8ozt (a lot)Condition Report: Weight only includes the silver lid from the hobnail pattern jar, the silver lid from the glass jar and the two casters.
A hallmarked silver toast rack and trinket dish. The Victorian trinket dish having a heart shaped form with pierced repousse scrolled design and sitting on three balled feet. Hallmarked for Sheffield, 1898. Makers mark WN for William Neale. A George V toast rack hallmarked for Sheffield, 1921. WH&SLD for William Hutton & Sons Ltd. Combined weight approx 132g. Measures approx 13cm x 12cm / 8.3cm x 5.3cm.
A collection of hallmarked silver items.The lot to include a cased set of six coffee spoons. The tea spoons each having a finial in the shape of a coffee bean. Hallmarked for Birmingham 1924. Makers mark WJM&Co for W J Myatt & Co. Two condiment pots with one of circular form, hallmarked for London, date and makers mark illegible. The other Victorian condiment pot being of oval form and having a pierced ribbon design and having a blue glass liner. Hallmarked for London,1898. Makers mark WH&SSLd for William Hutton & Sons Ltd. Combined weight approx 404g. Measures approx 7cm x 4.5cm / 9cm x 2cm (spoon).
A collection of Victorian and later hallmarked silver items. The lot to include an apostle spoon, christening cup and thimbles. The Victorian hallmarked silver apostle spoon hallmarked for London 1899. Makers mark partially rubbed, attributed to William Hutton & Sons Ltd. The AF Christening cup having repousse figurative design with central vacant cartouche. AF Handle has come away. Hallmarked for Birmingham, 1908. Makers mark B.J.K & Co for B J Keyzor & Co. Two hallmarked silver thimbles with one hallmarked for Chester, 1899. Makers mark CH for Charles Horner. Combined weight approx 75g. Measures approx 18cm x 5cm / 2cm x 1.7cm.
Five: Lance Corporal W. Brown, Imperial Yeomanry, later Yorkshire Hussars Queen’s South Africa 1899-1902, 4 clasps, Cape Colony, Orange Free State, Transvaal, South Africa 1901, unofficial rivets (and glue) between state and date clasps (497 Pte. W. Brown. 9th. Coy. 3rd. Imp: Yeo:); 1914-15 Star (2689 L-Cpl. W. Brown. York. Hrs.); British War and Victory Medals (2689 Pte. W. Brown. York. Hrs.); Yorkshire Imperial Yeomanry Medal 1900-1902, 3rd Battalion, South Africa 1900-1901 (497 W. Brown) mounted court-style; together with the recipient’s Imperial Service badge, very fine and better (5) £400-£500 --- Walter Brown was born at Sheriff Hutton near York, in 1874. A farmer, he attested at York for the Imperial Yeomanry on 4 January 1900, serving in South Africa with the 9th (Yorkshire Hussars) Company, 3rd Battalion, Imperial Yeomanry, from 28 January 1900 to 8 June 1901. Returned home to England with his Squadron, Brown was discharged at his own request on 15 June 1901 and likely returned to employment at High Roan’s Farm, Strenshall, York. Returned to service during the Great War, Brown fought in France with the Yorkshire Hussars from 27 February 1915. Raised Lance Corporal, he transferred to the Corps of Hussars and was discharged on 11 February 1919. Sold with a contemporary postcard photograph of the recipient in military uniform wearing the Imperial Service badge; together with copied research.
AN ART NOUVEAU SILVER AND ENAMEL BELT BUCKLE, DESIGNED BY DAVID VEASEY 'Tree of Life' design with blue/ green enamel, by William Hutton & Sons Ltd, retailed by Connells of Cheapside, London 1906. 9cm wide, 64 grams grossThe marks are clear. The silver bright and shiny wth good polish. The enamel is in excellent condition without damage.
KATE HARRIS FOR HUTTON & SONSSilver belt, 1903-1904Fashioned from embossed silver plaques depicting the head of a girl united by links, safety chain.72.5 cm long One plaque stamped with maker's marks for William Hutton & Sons, Birmingham hallmarks with date letters for 1903 and 1904.For further information on this lot please visit Bonhams.com
GUILD OF HANDICRAFT LTD.Napkin ring, 1901Silver, embellished with leaves and tendrils, set with a green cabochon, stamped G of H Ltd, London hallmarks 1901; together with a John Sidney Reeve hammered silver circular box, the cover finial set with blue cabochons, on bun feet, stamped JSR, Birmingham hallmarks 1932; and a William Hutton & Sons Art Nouveau silver cup, possibly a design by Kate Harris, having sinuous openwork handles, stamped maker's mark, London Hallmarks 1905Hutton & Sons cup: 12 cm high, 16.2 cm wide(3)Footnotes:John Sydney Reeve worked with the Guild of Handicraft Ltd 1902-1904, later becoming a teacher at Leicester College of Art. ProvenanceSotheby's, London, 19 March 1998, lot 188For further information on this lot please visit Bonhams.com
12th-13th century A.D. Recalling workmanship similar to that found in the floor of the Sistine Chapel and other important Roman churches; comprising a central panel with design of alternating green and speckled porphyry lozenges, with interstitial green and porphyry squares flanked by green or blue rhombuses on each edge; the square central panel flanked by two green and porphyry roundels composed of panels with inset squares and triangles, with white dentilled edges over a green background; each roundel enclosed within a mosaic crosier, one filled with yellow rhombuses with dentilled edges composed of white, green and porphyry triangles; the other comprising two parallel rows of squares and rhombuses in porphyry, green and black stones. See Boito, C., Architettura Cosmatesca, Torino, 1860; Hutton, E., The Cosmati, The Roman Marble Workers of the XIIth and XIIIth Centuries, London, 1950; Tosca, P., Storia dell’Arte Italiana, il medioevo, vol. III, Torino, 1965; Glass, D., Studies on Cosmatesque Pavements, BAR Publishing, London, 1980; Matthiae, G., 'Componenti del gusto decorativo cosmatesco,' in Rivista dell'Istituto Nazionale di Archeologia e Storia dell'Arte, vol. I, 1952, pp.249-281; Cigola, M., 'Mosaici pavimentali cosmateschi. Segni, disegni e simboli,' in Palladio, Nuova serie, anno VI n. 11, Giugno, 1993, pp.101-110; Grant, L. & Mortimer, R. (eds.), Westminster Abbey. The Cosmati Pavements, Courtauld Research Papers no.3, 2002. 41 kg, 80 x 36 cm (31 1/2 x 14 in.).French gallery, Paris, 1990s. From a family collection. Accompanied by an academic report by Dr Raffaele D'Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no. 11921-209564.A similar pattern to the current panel can be seen on the cosmatesques of the Grottaferrata Abbey, near Rome, variously dated between the 1160 and 1282 A.D., which can be a good chronological indicator for our mosaic for style and composition. The Cosmatesque style was a characteristic type of ornamentation of Eastern Roman origin (opus alexandrinum) in the technique of opus sectile (elements already cut with the final shape: circles, squares, triangles and lozenges; small geometric elements which, expertly fitted together, manage to create the effect of a magnificent embroidered carpet) used by marble-makers of the 12th and 13th centuries A.D. The practice of inlaying glass and stone tesserae into white marble panels in this way, although reaching its zenith under the directorship of the Cosmati, had already been established in the Eastern Roman Empire for at least five centuries, and by the 12th century many marble pavements and panels of Opus Alexandrinum had been used to decorate prestigious churches and religious foundations, both across Italy and further afield, often by reusing old Roman monuments. [A video of this lot is available to view on Timeline Auctions Website]
A small collection of silver including an oval caddy spoon, a Victorian butter knife and three teaspoons. The caddy spoon with the mark of William Hutton & Sons Ltd, Sheffield 1923; two Victorian fiddle pattern tea spoons, Edinburgh 1846; and an Art Deco style small spoon with a straight-tapering handle, Sheffield 1954, the four spoons weigh 66g gross; together with a silver and mother of pearl handle butter knife, the foliate engraved blade with hallmarks for Sheffield 1896
Two silver mounted clear cut-glass scent bottles. One with a pierced and shaped collar and hinged lid profusely embossed with roccoco cartouches, flowers, scrolls and leaves, hallmarks for William Hutton & Sons Ltd, Birmingham 1903, approx. 14cm high overall (7 1/2 inches), embossed collar; the other with a silver screw-off cover embossed with a vacant scroll cartouche within leaves and scrolls, hallmarks for Chester 1910, 13cm high overall (5 inches)
Gerhard Marcks, Venus, sich die Haare aufbindendBronze. Höhe 143 cm. Auf der quadratischen Plinthe vorne rechts mit dem Künstlersignum und rückseitig am Plinthenrand mit dem Gießerstempel "GUSS BARTH RINTELN" und der Exemplarnummer versehen. Exemplar 4/6. - Mit graugrüner, teils lebhafter Patina bedingt durch Außenaufstellung.Rudloff 748; Gerhard Marcks Werktagebuch Gips/Bronze 528ProvenienzPrivatsammlung HessenAusstellungenVgl. u.a. Köln 1964 (Stadthalle Köln-Mülheim), Acht Kölner Bildhauer, Kat. Nr. 60; New York 1967 (Leonard Hutton Galleries), Gerhard Marcks, Kat. Nr. 26, mit Abb.; Berlin 1969 (Galerie Nierendorf), Gerhard Marcks, Kat. Nr. 65, mit Abb.; Paris 1971/1972 (Musée Rodin), Gerhard Marcks, Kat. Nr. 45Als Modell stand hier Merwe Scherneck, nach der Gerhard Marcks auch andere Plastiken gearbeitet hat (vgl. Rudloff 742, 743 und 774).Offenbar gefiel Marcks die Figur so gut, dass er sie als "Venus" - als ideales Frauenbild - bezeichnete. Dieses Exemplar wurde extra für den Vorbesitzer gearbeitet. Die vorgesehene Auflage von 6 Exemplaren wurde offenbar nicht ausgegossen.
A pair of small Victorian silver Open Salts, by William Hutton & Sons, hallmarked London 1887, circular fluted form with alternate foliate engraved decoration, gilt interior, 3.5cm rim diameter, together with a pair of late Victorian silver pepperettes, by James Dixon & Sons Ltd., hallmarked Sheffield, 1893, and two silver egg cups, approx. total weight 6.2ozt (6)
Loading...-
14769 item(s)/page