We found 307207 price guide item(s) matching your search
There are 307207 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
307207 item(s)/page
Lot 6233
Mouseman - oak standard lamp, tapered octagonal stem on stepped octagonal base, carved with mouse signature, by the workshop of Robert Thompson, KilburnProvenance - this lot comes to us for sale from direct descent of Robert Thompson. Thompson is the great grandfather of the vendor.Dimensions: Height: 144cm Condition Report: Height excludes fitting.
Lot 6061
Two Victorian toleware shop display tea canisters, the first decorated in gilt with Chinese writing within laurel leaf borders and numbered 3, on black ground with hinged cover, H43cm, the second decorated in gilt with the number 8, within S scroll borders, on green ground, later converted to a table lamp, H81cm overall (2)
Lot 6298
I19th century Neoclassical Italian bronze standard lamp, the globe finial surmounted with a bronze statue of Mercury after Giambologna (1529-1608), on a triple sconce branch decorated with a relief mask of the goddess of the moon, Luna, surrounded by moulded scrolling foliage, the light fittings on anthemion decorated branches, with draped chains attached, over an urn shaped capital with floral decoration, the fluted column over a gadrooned collar, the tripod base in the form of three out-splayed cabriole supports with lappet knees and paw feet, separated by anthemion finials and pierced inverted palmette bracketsDimensions: Height: 225cm Condition Report: Requires re-attachment
Lot 157
A 20TH CENTURY CHINESE PORCELAIN BLUE AND WHITE OVIFORM VASE ADAPTED AS A LAMP. Painted in the Transitional style with figures of immortals and attendants observing bats within a rocky wooded landscape, on wooden base, with twin-light fitting, 39cm high Overall in good order. Uninspected below wooden mount but presumed drilled. Some very minor wear to the glaze overall.
Lot 154
A 20TH CENTURY CHINESE PORCELAIN OVIFORM FAMILLE ROSE VASE ADAPTED AS A LAMP. Painted with butterflies, peony, fruits and flowers within lappet-shaped borders, enriched in gilding, on wooden base, 35cm high Overall in good order. Some slight wear to gilding and enamels overall. Uninspected under the wooden base, but presumed drilled.
Lot 223
A GROUP OF MIXED METAL ITEMS, INDIAN AND SOUTH EAST ASIAN. Comprising a bronze hookah base; An oil lamp base; A silver inlaid circular box and cover, possibly Philippines; A small pot and cover with lion mask handles; A bird finial; A goblet; A pierced cylindrical case and cover; A white metal handle with ram terminal; Together with a conical cover. Largest 25cm tall. (9) Lion mask pot's cover is loose and detached.
Lot 149
A CHINESE PORCELAIN KANGXI PERIOD (1662-1722) BLUE AND WHITE OVIFORM JAR, A BALUSTER PRUNUS CRACKED ICE GROUND VASE, A 19TH CENTURY FLUTED BLUE AND WHITE VASE, A CELADON GROUND FAMILLE ROSE BOTTLE VASE. The first painted with vases of flowers, scrolls and flowering shrubs, within panels, the 19cm high, the prunus vase with double concentric ring to base, 22.5cm high, the fluted vase painted with vases of flowers within lappet-shaped cartouches, on fret pattern ground 31cm high, the famille rose celadon vase moulded with pairs of figures before vases of flowers and terracing, 23cm high, a small meiping vase in brown monochrome glaze, 13.5cm high and a carved wooden stand (6) af The Kangxi blue and white jar - extensively cracked and repaired, chipped and with loss at shoulder. Prunus vase - lacking cover, drilled to base and with associated hairline crack. Blue and white fluted vase - large rim chip to upper rim and with further chipping to rim, large flat chip to footrim and lower part of vase, adapted as a lamp, with fittings plastered to inner vase (but not drilled at base). The famille rose and celadon ground vase with large chip to the underside of the rim, the vase extensively cracked and repaired. Small meiping vase with rim chip and small footrim chip. Stand with some wear.
Lot 152
A LATE 19TH/EARLY 20TH CENTURY CHINESE PORCELAIN BLUE AND WHITE OVIFORM JAR AND COVER ADAPTED AS A LAMP. Painted with jardinieres of flowers on tables, the cover with stylised characters, on wooden base, 26cm high exc. fittings Presumed drilled although the wooden base is fixed and so the base has not been fully inspected. Cover cut down, possibly matched, some scratching to glaze and wear overall.
Lot 153
A 19TH CENTURY CHINESE PORCELAIN BLUE AND WHITE HEXAGONAL BALUSTER VASE ADAPTED AS A LAMP. With lion dog handles, painted with a figure crossing a bridge within mountainous landscape, the reverse with a calligraphic inscription, on wooden base, 33.5cm high exc. fittings The wooden base is fixed and so it has been uninspected to the underside although it is likely to be drilled. One corner of vase restored, minor chipping to glaze at the rims and corners, some glaze sanding and pitting overall.
Lot 159
A CHINESE OVIFORM FLAMBE VASE ADAPTED AS A LAMP ON WOODEN BASE. Glazed in mottled blue/green, on wooden base and with later fittings, the vase 24.5 cm high exc. fittings Presumed drilled through the base, although the wooden base is glued in position and this has not been removed. With two poorly overpainted and restored rim chips, scattered small chips to glaze, wear and crazing to glaze overall
Lot 295
Two Hornby OO gauge Steam Locomotives in Boxes, both Tested Runners(1200g)Hornby R2638 Class N15 4-6-0 30777 "Sir Lamiel" in BR green with late crest - as preserved, loose details as shown but includedHornby R2101 Class A4 4-6-2 'Golden Fleece' 60030 in BR Green, loose lamp but includedInstructions included Condition Report - Locomotives - Good/Very GoodBoxes - Very Good
Lot 211
An Art Deco patinated spelter figural lamp, having an alabaster removable shade, modelled as a semi-nude seated woman raised on mottled marble integral rectangular base, max h.27cm, length 37.5cm; together with an Art Deco patinated spelter model of a flower girl, in seated partially recumbent pose and holding a basket of flowers, raised on rouge marble integral rectangular base, h.21cm, length 32cm (2)
Lot 2524
AN IMPRESSIVE RENAISSANCE-STYLE VICTORIAN SILVER EWER by Frederick Elkington, Birmingham 1871, designed by Benjamin Schlick and adapted from designs by Francois Briot and Caspar Enderlein, the tapered ovoid body with a central band depicting three continents, Europe, Africa, the above band decorated with the seasons Autumn, Winter and Spring, further decorated with masks, the handled formed as a caryatid terminating in a grotesque mask, with a knopped stem supported on a stepped circular base, stamped 978, 30cm high 1,080gms / 34.72oz This ewer's extravagant design belongs to one of Elkington's most interesting periods of production which saw the company employ foreign designers to create decorative silver in various styles. This early period also heralded Elkington’s foray into the Electroplating process. Benajmin Schlick was a Danish-born designer and architect who, in the early years of his life, had spent time in Italy and France and was directly exposed to Classical visual and material culture. In 1839 he become one of the leading figures in the restoration and preservation of the ancient remains at Pompeii, making observations and sketches which would influence his designs made for Elkington. Shlick’s ewer makes direct reference to two makers, Francois Briot (1550-1616), the Huguenot die-cutter and medallist, as well as Casper Enderlein (1560-1633), a Master pewterer who was active in Nuremberg. Francois Briot’s most famous design is undoubtedly the ‘Temperantia’ basin, his only known signed work and a prime example of ‘Edelzinn’ (precious pewter) that was produced in France and Germany during the late 16th and early 17th centuries. The basin featured a figure of Temperance in the centre, surrounded by four plaques depicting the four elements. The patron was most likely Friedrich I, Duke of Württemberg and Count of Montbéliard. Briot moved to Montbeliard in 1579 and a few years later he was appointed seal-engraver to the count and is known to have made medals for Friedrich. The ’Mars’ basin is another masterwork of Briot’s that follows a similar allegorical composition to the ‘Temperantia’ basin. The God Mars replaces the figure of Temperance, while the elements are now depictions of Pax, Invidia, Abundantia and Bellum. The outer border features depictions of famous commanders (Caeser, Cyrus, Julius, Alexander) and the four continents, of which the latter group draws on a series of prints by Jan Sadeler the Elder (1550-1600) after Dirk Barendsz (1534-1592). Basins such as the Temperantia and Mars basin nearly always accompanied ewers with complimentary decoration. Briot seems to have designed ewers at around the same time as the basins, circa 1585. See Hanns-Ulrich Haedeke 'Zinn' 1973. Abb. 129-130 & 134 in the Germanischs Nationalmuseum Nurnberg. Briot’s moulds were made to be copied. His basins and ewers were disseminated widely and in different materials such as Palissyware. Caspar Enderlein’s reproduction of Briot’s Temperance basin brought him great fame. Like many artists who take inspiration from others, Enderlein embellished Briot’s moulds and forms. An ewer made by Enderlein was sold at Sotheby’s (L12230, lot 47) which lifts from an example by Briot in the Metropolitan Museum of Art (accession number :1975.1.1473, Robert Lehman collection). The three continents (minus Asia) represented in Shlick’s design feature an inscribed cartouche below, an addition Enderlein made to Briot’s work. Shlick’s design further incorporates designs from another dish made by Enderlein from a later date. The dish, made around 1628 (an example is found in the Victoria and Albert Museum, accession number 1203-1903) depicts the creation of Eve in the centre surrounded by four allegorical figures of the four seasons. Shlick’s ewer design takes three seasons (excluding Summer) to be used as the top band of decoration. The form also differs – Shlick’s handle is longer and straighter, while the foot differs in decoration and is slightly taller. Most works by Briot and Enderlein that Shlick used as reference material are held in the Victoria and Albert Museum. The museum also holds an identical example of the ewer, though theirs is electroplated parcel-gilt rather than silver. Henry Cole, the first director of the Victoria & Albert Museum (then known as The South Kensington Museum) quickly grasped the potential of Elkington’s newly-bought patent for the process of Electroplating, as they shared a belief that classical source material should be disseminated to aid in the development of good taste. Cole agreed with Elkington to take moulds of ancient objects in the museum and others around the world and reproduce electrotypes of them. These were a huge success and by 1920, the museum held over 1000 electrotypes. Schlick also shared this belief and was instrumental in procuring source material for Elkington. As one of the company’s earliest commissioned designers, Schlick provided direct source material, with his designs being patented by the firm and reproduced as early as 1845. During excavations at Pompeii, he had patented a form of pantograph to make reproductions of works discovered in the ruins. One such example is the famed inkwell / taperstick in the form of a roman lamp, based on Shlick’s sketches from Pompeii and given by Queen Victoria to Prince Albert on their wedding anniversary in 1850. Schlick’s relationship with Elkington’s was not without its problems and their relationship ended in 1851, possibly due to the fact that Elkington was mainly a commercial enterprise. The company continued to produce and sell Shlick’s designs, namely international events such as the Great Exhibition and the 1867 Paris Exposition. To buy an electroplate example of the ewer being sold would cost £9, 9s in 1854. An example in silver would have been much more expensive and of which there are scarcer examples. The lot above provides a detailed and varied insight not only into the commercial activities of the silver and plate industry at a key time in its history and how these objects were used as educational tools for the improvement of general public taste, but also the constant adaption of artists’ works across myriad mediums which produced a wholly different piece that simultaneously looks towards the past and future. Condition Report:There is a dent to the left of Winter (Hyems). The top band is slightly uneven below autumn probably caused by a fall. Some unevenness to the bottom band also.The foot appears to have solder repairs below the knop, the decoration is disrupted - the underside base may have been a later addition
Loading...-
307207 item(s)/page