We found 472 price guide item(s) matching your search

A 20th Century centrepiece / mantelpiece twin handled planter vase having an oval bowl being decorated with a central floral panel with twin brass scrolled handles, raised on a columnal support with a plinth base with scrolled brass feet. 

A collection of antique ceramic items to include a Mason's ironstone plates to include one decorated with florals and precious objects and another having transfer printed Chinoiserie decoration on domestic scene with patterned borders and painted details, together with a Staffordshire mantel dog, a mantelpiece in the form of a horse, along with a pair of blue and white Staffordshire “ for a good boy “ children mugs. Measures: 24cm tall.

Playtime signed with a monogram lower right under the chair '18 JH 60' oil on canvas 57 x 70 cmFootnote: Provenance: Frost and Reed, London, where purchased on 19th December 1960 for 78gnsCondition report: Oil on canvas which has been lined. There is flaking and loss along the lower edge and an old damage with raised cracks in the sculpture on the mantelpiece. There are scattered retouchings across the surface which are well matched to the original. The varnish is matte, dull and yellowed. There is some wear to the gilded surface of the frame.

A good pair of antique neoclassical carved marble obelisk mantelpiece ornaments, each being raised on square plinth bases. Together with a heavy marble vases. Measures 33cm tall with a 7.5 x 7.5 cm base

Ambrose McEvoy (British 1878-1927) Miss Violet Henry Oil on canvas 27 x 101cm (50 x 39¾ in.) Painted in 1918.Provenance: The collection of Philip Henry Esq, the sitter's father, Asheville, rth Carolina Thence by descent to the present owner Exhibited: London, Grosver Gallery, International Society of Sculptors, Painters and Gravers, 24th Exhibition, 1918, .18 (catalogued as Miss Henry (Red Cross Portrait)) The Ambrose McEvoy Exhibition, Duveen Brothers, New York, 1920, . 26 Literature: Christian Brinton, The Ambrose McEvoy Exhibition: Introduction and Catalogue of the Paintings, New York, 1920, . 26, illustrated Wigs (ed.), The Work of Ambrose McEvoy, London, 1923, p. 79 John Rothenstein, Modern English Painters: Sickert to Smith, London, 1952, p. 211 Miss Violet Henry (1901-1976) was the daughter of Philip Solomon Henry (1863-1933) who was a Jewish Australian gentleman who made his fortune in copper and coffee before moving to the United States in 1900. Henry married Florence Lewisohn, in April 1900 at Lewisohn Mansion in New York and they went on to have two children, Violet Rosalie Henry and Leore Gladys Henry. Just a year after their second daughter was born Florence tragically passed away, in a fire at the Windsor Hotel in New York. Philip Henry and his children subsequently left New York. In 1908 Henry married Annie Hyatt-Woolfe in Paddington London. It is assumed that Philip, Annie and Philip's two children spent most their time in England until 1930 when it is kwn that Henry, a naturalised US citizen, purchased Zealandia Estate on Beaucatcher Mountain in Asheville. Henry developed the property adding a Tudor mansion and founded the Asheville Art Association and Museum which supported his passion for art and collecting. Henry was recognised as an international Jewish leader and was a board member of the Jewish Theological Seminary. Miss Violet Rosalie Henry married Brigadier Hartley Alfred Macochie, of Somerset, England with whom she had one daughter Jean Susan Macochie. This portrait of Miss Violet Rosalie Henry was painted in 1918 and according to the exhibition held at the Grosver Gallery in the year of its conception, the portrait was likely to have been commissioned as part of a series of portraits McEvoy painted for the benefit of the Red Cross. McEvoy studied under tutors Frederick Brown, Philip Wilson Steer and Henry Tonks and he became close friends with fellow student Augustus John, who went on to become a figurehead of British 20th century portraiture. Influences of Whistler can be seen in the portrait of Miss Violet Henry. The composition of a girl standing at a mantelpiece with her reflection showing in the mirror was one he had seen in Whistler's Symphony in White, .2: The little white girl painted in 1864. McEvoy first experimented with reflections in Ear-ring in 1911 and again in Myrtle in 1912, however its whereabouts is unkwn. This work was exhibited in the ground breaking Duveen Brothers exhibition in New York in 1920. The exhibition ran from 10th March 1920 to the end of the month and exhibited thirty-eight oil paintings and a small collection of watercolours. On the back of the success of the exhibition McEvoy was inundated with commissions and it was clear his reputation which he had worked hard to cement in London was building in New York. Please Note: Miss Violet Rosalie Henry and Brigadier Hartley Alfred Maconochie had two daughters, Violet Sally Florine and  Jean Susan Maconochie 

A group of three antique neoclassical carved pink marble obelisk mantelpiece ornaments, each bing raised on square plinth bases. 

A pair of 19th Century Victorian porcelain mantelpiece garniture vases of tapering form having gilt scrolled handles with hand painted green panels to the front depicting floral garlands and butterflies raised on plinth bases with scrolled feet. Measures 20 cm high.

Pair of satsuma urn shaped mantelpiece vases decorated Geisha Girls under Acacia trees beside the sea (9 1/2" high)

Pair of satsuma mantelpiece vases decorated traditional floral sprays, the majority in rust brown (each 12" high)

Pair of handled urn shaped mantelpiece vases decorated coloured pink and yellow roses

Ditmar Urbach, Czechoslovakian Art Deco pottery Alianware pair of twin handled vases and candleholder mantelpiece set, 7815, circa 1930, 12 1/8"h

Pair of Victorian brass ladies boot mantelpiece vases, height 17cm

A novelty silver 'mantlepiece' clockCharles & Richard Comyns, London 1923 Modelled as a mantelpiece, length 15cm.

A JAPANESE EMBROIDERED SILK MANTELPIECE RUNNER with deep fringing and other Japanese textiles and similar

with wood mantelpiece and side mouldings (grate not included) (Dimensions: 89cm x 107cm x 14cm)(89cm x 107cm x 14cm)Condition report: Generally good. Marble sections all seem fine. One broken concrete fill-in section broken as per image Paintwork may need refreshing

A collection of ceramics and glass, including two Poole dolphins, a pair of Beswick mantelpiece dogs, pressed glass decanter and shot glasses, Wedgwood cup and saucer etc.

A mid-19th century rosewood and brass inlaid mantel clock, known 'The Courier of St Petersburg' mantelpiece clock , having convex white enamel dial with Roman numerals, single winding hole for a French brass eight day cylinder movement, twin ring handles, the base with cut-out brass panel depicting Andrew Ducrow's Courier of St Petersburg Act of Horsemanship riding five in hand, standing on the rear two horses, the other three in front, the whole raised on chased brass ball feet, h.53cm. A similar example in mahogany can be found in the Victoria & Albert Museum collection , museum No.S.877-1981. This was exhibited in the V&A Circus Display celebrating the 250th anniversary of the foundation of circus April 2018 - February 2019.

A mid-19th century rosewood and brass inlaid mantel clock, known 'The Courier of St Petersburg' mantelpiece clock, having convex white enamel dial with Roman numerals, single winding hole for a French brass eight day cylinder movement, twin ring handles, the base with cut-out brass panel depicting Andrew Ducrow's Courier of St Petersburg Act of Horsemanship riding five in hand, standing on the rear two horses, the other three in front, the whole raised on chased brass ball feet, h.53cm. A similar example in mahogany can be found in the Victoria & Albert Museum collection , museum No.S.877-1981. This was exhibited in the V&A Circus Display celebrating the 250th anniversary of the foundation of circus April 2018 - February 2019.

A second period brass lantern clock with later spring movement The front fret signed for William Selwood, London, circa 1640, the movement late 19th century Now with four pillar single fusee movement with anchor escapement regulated by a short lenticular bob pendulum and passing strike sounding on the original bell above, the dial engraved with central flowerhead enveloped by stylised leafy floral sprays issuing from another flowerhead positioned just above six o'clock and incorporating large blooms to upper and lower margins, with original iron hour hand and later minute hand carefully made to match within applied narrow silvered Roman numeral chapter ring with stylised wheatear hour markers and engraved leafy infill to angles, the standard London second period 'Lothbury' frame with column turned corner posts beneath engraved foliate scroll pierced shield centred stapwork fret signed William sellwood at y’e Mermayd in Lothbury to lower edge and plain side frets, vase turned finials and domed bell bearer above, the sides with hinged brass doors, on turned ball feet, 38cm (15ins) high. William Selwood was born in Abingdon in Berkshire in 1607 and is recorded as a Free Brother in the Clockmakers' Company in 1633 until his death in 1653. He trained under Henry Stevens from 1624 to 1632, and worked at the Mermaid in Lothbury till his death in 1653. Selwood was succeeded by his is former pupil, Thomas Loomes, who married Mary, the daughter of Ahasuerus Fromanteel in 1654. A clock by Selwood with related dial engraving to the current lot (albeit around an alarm disc) is illustrated in White, George English Lantern Clocks on page 134 (figure III/14). White also illustrates two further dials by Henry Ireland and Thomas Knifton (both of whom were apprenticed to William Selwood) which also exhibit very similar engraving (figures III/15 and III/14 respectively). The design of fret used on the present clock is of the earlier 'strapwork' type (which was generally phased-out during the 1650's in favour of the later 'foliate' pattern - see White page 144), whilst the frame castings are of typical second period 'Lothbury' pattern which were mainly in use up until around 1660 (see lot 154). These details reflect the fact that by the 1650's Lothbury had become a hub for the horological trade mainly due to the abundant supply of brass and iron from nearby foundries. The efficient supply of raw castings lead to the emergence of a degree of standardisation (assisted by many workshops having shared roots) with regards to frame patterns, dial engraving and fret design. During the latter part of the 19th century the re-purposing of ‘historic’ objects became fashionable in order to create interiors which had an authentic feel of antiquity. Regrettably this fashion meant that many items (particularly furniture) were altered in form and/or had decorative elements added. At this time many original lantern clock survivors were converted from weight-driven to spring movements in order that they can rest on a table or mantelpiece, indeed they became so popular as decorative objects that reproductions began to be made. The current lot was converted at this time however the all of the original frame elements were retained as well as the hour hand hence the original appearance of the clock has been largely preserved and it has good rich patination.

Pair of black painted multi-floral coloured urn shaped handled mantelpiece vases together with a central pedestal vase on circular plinth

A pair of silver plated Art Nouveau mantelpiece spill vases in the form of opening flowers raised on round stepped pedestal bases together with a brass lidded box having repousse floral decoration panels to the lid and a pine lined interior .

A three piece green Jasper mantelpiece garniture comprising a pair of ewer's and a lidded Neo classical vase with rams head handles, height of jug is 35cms

A 20th Century garniture of mantelpiece ornaments to include a pair of cast metal figural candlesticks being raised on scrolled bases with intricate sconces decorated with leaves and panels, a twin handled urn with gilt handles and rim with an applied putti to the front and a cast figure of a cherub bearing flowers on a pedestal base with a stepped marble base below, signed Louis Beataux.

JAMES CADENHEAD R.S.A., R.S.W. (SCOTTISH 1858-1927)THE MANTELPIECE Signed with a monogram, watercolour35cm x 24cm (13.75in x 9.5in)

Bronze and steel scope with bubble level, numerous adjustments.A classic piece of scientific surveying equipment, this Buff & Buff Co. transit scope is built from brass, bronze, and steel casements and machined parts, befitting the quality of early 20th century precision instruments. Two toned, equipped with a large bubble level and stored in its original wood and leather field case, an excellent addition to any collection of engineering, scientific, navigational, or American industrial equipment, and certainly a handsome mantelpiece. Artist: Buff & Buff Issued: December 1st 1960 Dimensions: 20"L x 6"H x 10"H, in case Country of Origin: United States Condition: Use and age related wear

Pair of camel mantelpiece vases, cream plastic telephone, desk bell etc.

6 decorative figures incl. 2 Staffordshire flatbacks, liver and white Spaniel mantelpiece ornament, Huntsman storage keg etc.

2 large Victorian mantelpiece ornaments incl. a white Spaniel and a mare and foal ornament

Decorative light blue brown water jug, a Blackpool Tower Wurlitzer ballroom organ ornament and a mantelpiece pedestal.

A French gilt bronze mantelpiece garniture, late 18 th / early 19 th century, attributed to Pierre Philippe Thomire (1751-1843), comprising a two handled campana urn with floral cast handles and body on a stepped square plinth, cast to each side with a quiver of arrows and leaf and foliate scroll work on an anthemion cast canted square base, and two conforming ewers each cast with cherubs and swags, the urn 27cm high, 8.5cm square, the ewers 32cm high, 8.5cm square (3)

Pair of French Mantelpiece 5 branch Candelabras

Pair large Beswick mantelpiece spaniel dogs 1378-3, height 25cm (2)

ALFRED STEVENS (1817-1875) PAIR OF PAINTED PLASTER CARYATID FIGURES, 1870S modelled as female nudes, raised on ebonised square bases, 26cm high; and also a PAINTED PLASTER FIGURE OF JAEL, 23.5cm high (3) Note: These figures are studies for the right- and left-hand figures on the Dorchester House mantelpiece completed in 1873. Steven's decorations for the dining-room at Dorchester House, London was one of his greatest achievements for which he made countless drawings inspired by the Italian High Renaissance style, and in particular the work of Michelangelo.

Old oak fire surround with mantelpiece, width 137cms

Polished steel fire surround with mantelpiece, and fire kerb, width 120cms

A Chinese celadon glazed vase, bronze koro and cover, similar bowl and rootwood carving and a gilt metal figural mantelpiece lustre garniture on stepped marble plinth bases

A pair of Victorian mantelpiece spill vases with strike on reverse

C19th hardwood white painted mantelpiece in the Adam taste 155 X 136cm H

JOHN MOYR SMITH (1839-1912) FOR W.B. SIMPSON & SONSFIVE 'NURSERY RHYME' SERIES FRAMED TILES, CIRCA 1875 four bearing inscriptions MISTRESS MARY/ QUITE CONTRARY; GOOSEY GANDER; LYTTELE JACKE HORNER; HEY DIDDLE DIDDLE; and one without inscription, later framed (5)each tile 15.5cm squareLiterature: Stapleton, Annamarie 'John Moyr Smith 1839-1914: A Victorian Designer', Richard Dennis 2002, pp. 44-45, fig. 75 illus.Note: Moyr Smith was employed by W. B. Simpson & Sons in the 1870's, possibly under the auspices of Cox & Son or the Society of Decorative Arts. His first interior for the firm was at 86 Marlborough Street, Boston Massachusetts, built by Sturgis & Brigham in 1872 for Mr Charles H. Joy. It is not clear whether Sturgis & Brigham approached Moyr Smith directly or through Simpsons however he produced a great deal of designs for the house including a set of 12 Nursery Rhyme tiles for a mantelpiece, also produced for the British market.

Massive neoclassical revival painted wooden fire surround with fish-scale carved cushion mantel piece raised on relief carved frieze dated 1888 and projecting squared column supports, 265cm wide by 195cm highProvenance: removed from Ampton Hall, Bury St Edmunds, during a refit in the 1950s CONDITION REPORT internal dimensions 137cm high x 147cm long, maximum depth 61cm (top of mantelpiece) some significant rot and deterioration, will require renovation, however most of carved elements are present and in sound. Condition with the deterioration mostly concentrated to the rear, sides, towards base, some elements detached

A Victorian brass mantelpiece face screen with original small banner.

Porcelain Mantelpiece Ornament Woman and Two Children - Marked on Base with Crossed Swords - Damage to Girl's arm Refer to Images

A Delabole slate fireplace, 1946, by Naum Gabo (1890-1977), height 102cm, width 137.5cm. Mantle shelf, 137.5 x 20.5cm, depth 3.5cm. The following extract is from 'Constructing Modernity, The Art & Career of Naum Gabo' by Christina Lodder & Martin Hammer, reproduced here by kind permission of the authors: Gabo did see one functional design actually executed while he was in Cornwall. In 1946 he produced two identical fireplaces for the house of Mr Ince in Redruth. Gabo had met Ince, the chief obstetrician for Cornwall, through Jane Lowenstein, a friend of Mrs Ince and Miriam Gabo. The commission seems to have come from Mrs Ince who was interested in art. The fireplaces were produced for the family's new home; grey slate for the drawing room and brown for the dining room. Only the former has survived, although not in its original location. Gabo and Ince visited the Polyphant Quarries at Delabole near Tintagel together to choose the stones. The mantelpiece on the extant fireplace consists of one piece of unpolished polyphant stone, three slabs of which also form the hearth, while the bulk of the structure is built up of small pieces of slate, the selection and cutting of which Gabo apparently supervised. His initial design was for a surround completely flush with the wall, but Mrs Ince insisted on having a mantel shelf. The surround curves inwards towards the opening, which is recessed by approximately 4" at the centre, and in this respect the conception is the opposite of a conventional fireplace structure built out into the room. The design is simple and graceful. The small variations in colour and marking on the slates animate the curved surface, while the darker stone of the shelf and hearth highlights the curve and tonal graduations of the surround. Note: Russian-born Gabo was one of the most important and influential figures in Russia's post-revolution avant-garde, the development of modernism in St Ives and arguably, in twentieth century sculpture. This was one of two fireplaces by Gabo commissioned by the Inces. The other, in brown slate has been destroyed. This remaining piece is an intriguing and unique work and it illustrates the way in which the St Ives artists sought to bring their art into everyday life. Gabo emigrated to the United States in 1946 so this would have been amongst the last of his works created in Cornwall. Condition report: Some smoke discolouration above opening, bottom left and bottom right have slight damage/imperfections, Fireplace has been removed as one piece and is crated. Integrity is good. Mantle shelf is separate piece and crated. Also comes with its 3 original hearth slates.

* John Maddison [b.1952]- The Mantelpiece; Dining Room; The Sitting Room:- three, all signed with initials and further signed, inscribed and dated 2003/2004 on the reverse two oils on board, one gouache largest 39 x 48cm. [3] *Provenance. The Wickham Gallery, Stockbridge.

Jacqueline Rizvi (British, b. 1944), 'The mantelpiece with miniature rosebush', signed with initials and dated '82, bodycolour, 22.5cm x 16.5cm,.

A 1920s mahogany mantelpiece, with inset shelf and moulded supports, 135cm wide

SCOTTISH SCHOOL ARTS & CRAFTS RENAISSANCE REVIVAL OAK MANTELPIECE, CIRCA 1910 the moulded and gadrooned mantle shelf above a panelled frieze with applied busts above fluted jambs and enclosing a rouge marble slip 190cm wide, 142cm high, 28cm deep, inside 121cm wide, 99cm high

Pair 19th century large Staffordshire mantelpiece dogs, height 33cm (2)

Marble mantelpiece Art Deco mirror L: 36 cm

Late 19th century French gilt and bronzed spelter mantel clock in ornate case with lion attacking an Indian elephant with mahout on howdah on back - the dial with enamelled numerals and French movement striking on a bell, the base with elephant-head supports, 44cm high. An identical clock featured in the popular television drama 'Downton Abbey' and appeared on the Dowager's mantelpiece (key and pendulum present)

Pair of early 20th century white spaniel dog mantelpiece ornaments (each 9" high)

CHINESE CARVED SOAPSTONE TOMB, THE FRONT PULL UP PANEL RISING TO RELEASE A SRUNG COFFIN (4.5 cm x 10.5cm), PORCELAIN ROUNDEL PAINTED WITH A FIGURE ON HORSEBACK, ON STAND (H: 13cm), OPIUM SCALES, PAIR OF BAMBOO MANTELPIECE ORNAMENTS, DICE SHAKER WITH DICE, TWO BRASS BOWLS ON STANDS AND SEVEN OTHER ITEMS [A LOT]

A brass trotting horse doorstop plus a pair of brass horse mantelpiece ornaments

A pair of early 20th century Art Noveau cast metal mantelpiece easel mirrors having an intricate design featuring aristocratic figures dancing having easel backs with scrolled details. measures: 36cm high x 27cm wide.

Box of assorted items to include: octagonal wall barometer; silver plated teaware; miniature mantelpiece with various miniature cooking implements; mirror and picture frames etc.(B.P. 24% incl. VAT)

Cast iron fire surround/mantelpiece.(B.P. 24% incl. VAT)

A pair of 19th century gilt metal 4-branch mantelpiece candelabra, height 63cm

A carved sandstone mantelpiece/fire surround with cast iron grate inset, overall 125cm high x 151cm wide

A pair of 20th century novelty desk/ mantelpiece salts in the form of birds - one being a falcon. Please see images.

A three-piece mantelpiece garniture together with a blue and white tea bowl (a/f) and four trinket boxes etc