A mid 19th century Louis XV style French ormolu mounted kingwood, tulipwood and parquetry inlaid bureau plat, the top inset with gilt-tooled green leather panel, with a wide reeded and fluted border, three short drawers in the frieze and three short dummy drawers verso, on angular cabriole legs, applied with female bust and foliage angle-plates, on paw and foliate sabots, with moulding, swing handles and lockplates 79 x 182 x 90cm (31 x 71 x 35in) Provenance: Mawley Hall, Shropshire
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A late 19th century Adam revival mahogany partners desk, the eared top inset with a green leather panel and with seven small drawers around the kneehole, carved in relief with paterae, pendant husks, anthemion and swags of husks, the angles with ram's masks, and seven similar drawers on the reverse, on tapering square legs and pieds-de-biche feet 75 x 158 x 93cm (29 x 62 x 36in) Provenance: Mawley Hall, Shropshire
Central Italian School, late 18th Century Capriccios of castle ruins with a sleeping shepherd in the foreground, and figures travelling to a hilltop farmhouse oil on panel, circular, in Napoleonic period frames (a pair) 20 x 20cm (8 x 8in) Giancarlo Sestieri suggests that this may be the work of a Frenchman working in Rome at the end of the 18th Century and influenced by Paolo Anesi. Old red wax Continental estate seal to the reverse, inscriptions and remains of label verso. Condition appears fine - old gilt frames have cracks. Oil on wooden panels, one with the woodgrain running horizontally and one vertically with a red wax seal on the reverse. The panels have a slight warp and both have a gesso coating on the reverse. The paint layers are in a stable and secure condition, there is some abrasion which has been extensively retouched in the sky. The retouchings are well matched to the original. The varnish is clear, even and semi-glossy. The frames have suffered from woodworm damage and there are a few chips and losses to the gilding. The picture with the building has a split in the slip of the frame.
A pair of Chinese export Mandarin palette two-handled vases, Qianlong (1736-95), of rectangular baluster form, the neck mounted with dragons, decorated in famille rose enamels with panels of Manchu courtiers in lakeland settings, reserved on a cellular ground, 36cm high (2) Rubbing to gilding, firing fault to the main panel (approx 1in) corner of footrim restored and one panel with loss of enamel in two places and glaze blisters loss of enamel to the rockwork. The main panel with loss of enamel (approx 1 in). The other vase with rubbing to gilding and both dragons heavily restored. Two flakes on the rim ane one angle with abbrasions. One facial panel with enamel loss in the foliage. Typical scratching to the enamel.
Manner of Hendrick Avercamp (Dutch, 1585-1634) Frozen river scene with figures skating oil on panel 28 x 38cm (11 x 15in) Overcleaned. Yellowed varnish in the sky area. Oil on a wooden panel. There are old splits in the panel which have been reinforced from the reverse with strips of canvas and wooden buttons. The paint layer is a little worn in areas and there are localised areas of cracked and lifting paint. There are retouchings across the surface, notably at the lower left corner where damage has occurred. The varnish is very yellowed and uneven. The frame is in a good condition.
A George III mahogany breakfront library bookcase, circa 1800, the stepped cornice above a pair of glazed doors flanked by a further glazed door to each side, all opening to adjustable shelves, the lower section with a pair of panel cupboard doors opening to a shelved interior, flanked by a further panel door to each side, both opening to four graduated drawers, on a plinth base, 243cm high, 235cm wide, 63cm deep
Ï’A tortoiseshell and mahogany triptych dressing mirror, second quarter 20th century, the arched and angle adjustable central mirror flanked by a further hinged mirror panel on each side, each supported by a shaped foot, the central section supported by tapering trestle feet, 76.5cm high, 112cm wide overall when fully opened Ï’ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.
An Irish George IV mahogany secretaire bookcase, circa 1825, the fret cut pediment incorporating shamrock motifs, above a pair of pleated silk and brass grille panel doors opening to a shelved interior, the lower section with a cylindrical roll top door opening to a pull out tooled leather writing surface and an arrangement of pigeon holes and small drawers, above a pair of pleated silk and brass grille panel doors opening to a bank of four drawer to one side and a removable shelf to the other, on carved lion paw feet at the front, 243cm high, 117cm wide, 59cm deep
De Wint, P[eter] Views in the South of France chiefly on the Rhone. Henry Leggatt & Co., 1830. Folio, green-morocco backed boards; 24 plates. Large paper copy. Batty, Cpt. Robert French Scenery from Drawings Made in 1819. Rodwell & Martin, 1822. 4to, full calf, sometime rebacked, boards with gilt floral panel border enclosing title lettered directly in gilt, spine lettered directly in gilt, a.e.g.; 56 (of 64) plates.
Turner, J.M.W. Picturesque Views on The Southern Coast of England from Drawings Made Principally By J. M. W. Turner, R. A. John and Arthur Arch, London. 1826. Folio (2 vols). Full leather, boards with gilt roll-tooled borders enclosing central blind panel, spines lettered directly in gilt, marbled endpapers, marbled edges; 80 plates and vignettes. First Edition.. Binding rubbed and bumped, joints on I cracking, II sometime rebacked, some foxing, spotting etc throughout, offsetting from plates, some pages toned, a very good copy
Banks, Lynne Reid The L-Shaped Room. Chatto & Windus, 1960. 8vo, org. cloth, in unclipped jacket (16s). First ed. Naughton, Bill Alfie. MacGibbon & Kee, 1966. 8vo, org. cloth, in unclipped jacket (25s). First ed. Sillitoe, Alan Saturday Night and Sunday Morning. W.H. Allen, 1958. 8vo, org. cloth, in unclipped jacket (13s 6d). First ed. . Banks spine of jacket faded, creasing and rubbing to head and foot of spine with some loss to head, a little bumping to board edges, a little marking to page edges, expected toning to pages, generally clean internally. Naughton with some wear and creasing to jacket edges, head and foot of spine a touch bumped, pages edges slightly foxed, occasional foxing internally, owner's ink inscription to ffep. Sillitoe jacket with edge wear, with a touch of loss to head and foot of spine, lower panel a bit dusty, board edges a little bumped, slight foxing to page edges, occasional foxing internally, pages slightly toned, clean internally. All very good.
Ornithology Thorburn, Archibald, British Birds, 1931. 8vo, org. cloth. New edition, second impression. Dixon, C. Game Birds and Wild Fowl, 1900. 4to, org. cloth. Second edition, enlarged and improved. U.S. Dept. of Agriculture, Hawks and Owls of the United States, 1893. 8vo, org. cloth. Audubon, James, Original Watercolour Paintings for Birds of America, 1966. 4to (2 vols). Org. cloth in slipcase (lacking rear panel). with a number of others [16]
Walton, Izaak and Cotton, Charles The Complete Angler. Rivington, Caslon & Withy, 1766 (Part 2: 1760). 8vo, half green calf over marbled boards by Mudie, spine with blind panel in four and morocco lettering pieces in two, marbled endpapers; pp. lvi, xxii, 303, [1], xlviii, iv, iv, 128, [8]; 2 eng. frontis, 14 eng. plates. 2nd Hawkins edition.Binding with a little shelfwear, variable internal toning, foxing, offsetting etc. but a very good copy.
Ransome, Arthur Missee Lee. Jonathan Cape, 1941. 8vo, org. cloth in unclipped jacket (7s 6d). First ed. idem The Big Six and Great Northern? 8vo, org. cloth in jackets. Jonathan Cape, 1956-58. Later impressions.. Missee Lee jacket with dulled spine, wear to edges with tiny loss to head and foot of spine, rear panel dusty, slight foxing to verso, rear panel with some spotting, board edges a little rubbed and bumped (esp. head and foot of spine), page edges dusty, pages toned, with occasional marking inside but generally clean. A very good copy as are the later impressions.
Haight (Gordon S., editor), The George Eliot Letters , 9 volumes, 1st edition, Yale University Press, 1954-1978, first 3 volumes with some marks to fore-edges, uniform original dark grey cloth, first two volumes with some wear to extremities, volume 3 with extremities lightly rubbed, volumes 4-7 still in original cellophane wrappers, dust jackets to volumes 8 & 9 with faded spines, some light toning or minor marks, and slight fraying to top edges, mainly to volume 9 front panel, 8vo (Qty: 9)
A framed and glazed mid to late 19th Century wool work panel of The Suffolk Regiment.Panel depicts the union flag and regimental flag with the campaign names throughout the regiments history. The panel contain a photograph of what is believed to be a member of the regiment. Age related damage.
Aquila (Pietro). Galeriae Farnesianae Icones Romae in aedibus Sereniss. Ducis Parmensis ab Annibale Carracio ad veterum aemulatione posterumq. admiratione coloribus expressae cum ipsarum monocromatibus et ornamentis a Petro Aquila delineatae incisae, 1st edition, Rome: Giovanni Giacomo de Rossi, [c.1674], etched title-page, 24 etched plates by Pietro Aquila including dedication, allegorical plate and portrait of Carracci after Carlo Maratta (all unnumbered), and 21 plates after Annibale Carracci (numbered 1-21), all except numbers 11 and 13 double-page and mounted on guards, a little light spotting and dust-soiling, slightly stronger to plate 21, faint tide-mark to upper outer corners never affecting images, bound with: ibid., Deorum Concilium in Pincis Burghesianis hortis ab Ioanne Lanfranco Parmensi tum spirantibus ad vivum imaginibus tum monocromatibus atque ornamentis mira pingendi arte expressum, a Petro Aquila ad similitudinem delineatum et incisum expressum, 1st edition, Rome: Giovanni Giacomo de Rossi, [c.1675], etched title-page, 8 etched plates by Pietro Aquila after Giovanni Lanfranco (numbered 2-9 in manuscript to margins of plate-marks, plates 2 and 3 forming a single overview of the whole ceiling), all double-page and mounted on guards, dust-soiling, guards renewed, a few stains to title-page, 2 plates with short closed tears to bottom edge of central fold not affecting image, marginal tear to plate 6 (numbered 7), the corresponding right-hand panel laid onto thicker paper at an early date, plate 8 (numbered 9) similarly laid down, later marbled boards, green vellum spine, vellum tips, sides rubbed, wear to extremities, large folio (46.3 x 36 cm) (Qty: 1)NOTESProvenance: Michael Jaffé CBE (1923-1997), English art historian and director of the Fitzwilliam Museum, Cambridge. Berlin Katalog 4088 (first work). Two uncommon large-scale works by Pietro Aquila (c.1630-1682) recording important Italian baroque ceiling decorations. The plates in the first work reproduce Annibale Carracci's decorations to the barrel-vaulted ceiling of the gallery at the Palazzo Farnese, which were executed between 1597 and 1601 for Cardinal Odoardo Farnese and depict Greek and Roman myths exemplifying the triumph of love. The second work is a record of Lanfranco's ceiling fresco 'The Council of the Gods', painted in 1624-5 in the central hall of the casino of the Villa Borghese for Cardinal Scipione Borghese.
[Hodges, James] The Present State of England, as to coin and publick charges. In three parts. Treating of the necessity of more money before taxes can be effectual, or trade revived, and of ways and means to procure it: as calling in all the plate on ready money; restoring credit; bringing out hoarded money; rectifying the balance of trade; raising the value of money, against which the opposite prejudices, as injurious to King, Parliament and People, with Mr Lock's chief positions, are refuted by demonstrable reason and matter of fact, 1st edition, Andrew Bell, 1697, bound with a supplement..., containing some further considerations of the circumstances of the Kingdom with proposals of help by raising the value of credit, some spotting and browning throughout, lacks final blank, old closed tear paper repair to upper margin of leaf A3 of first part slightly obscuring lettering of running head ("TD"), old manuscript name inscription and alphanumeric shelf marks to first title, armorial book plate of William Perceval, contemporary panel calf, rubbed and slight edge wear, a little wear at head and foot of spines, 8vo (Qty: 1)NOTESWing H2299 & H2300.
Bible [English]. The Holy Bible, Containing the Old Testament and the New. Newly translated out of the Original Tongues..., Cambridge: Printed by John Field Printer to the Universitie, 1663, general title engraved by John Chantry (frayed and a little torn to margins, strengthened to verso), letterpress New Testament title, bound without Apocrypha, bound with an incomplete Psalms at rear (without title), with imprint Edinburgh: Printed by James Watson, His Majesty's Printer, 1720, leaves of Psalms frayed and with some tears, dust and some finger-soiling mostly at front and rear of volume, front blank endpaper with late 18th/early 19th century manuscript genealogical entries, lacking front free marbled endpaper, all edges gilt, early 18th century Scottish black morocco binding, rubbed, raised bands, compartments gilt tooled with central saltire incorporating seedhead tools and fleurons, volute cornerpieces, sides with central rectangular herringbone panel of leaf fronds, crescent moon with face tool above and below, enclosed by a seedhead roll border, within a larger hound's tooth roll and palmette panel containing a variety of tools, including cherubs, crescent moon, stars, and seedheads, within an outer panel enclosed by an edge border of gilt hound's tooth roll and milled semi-circles, containing fish scale pyramids, wheel tools, flower tools, and fleurons, gilt seedhead roll on turn-ins, 4to (leaf size 22.8 x 16.8cm), with old leather loose protective cover (Qty: 1)NOTESHerbert 684; Darlow & Moule 538. The National Library of Scotland has in its collection a Holy Bible printed by Charles Bill in 1699 bound in a Herringbone binding which most likely came from the same workshop, utilising as it does several of the distinctive bookbinding tools found here (Shelfmark: F.4.d.29 Ref. 00002670); as well as the unusual and attractive moon tool. The two bindings also have in common the following tools: large seedhead, tripart leaf frond, flower and seedhead volute, fleuron, and wheel.
A Victorian Gothic hardwood and parcel gilt reredos, probably from a private chapel, the panelled back with outswept pediment, two renaissance coronets above a monogram, the centre section set with a print of the Madonna, Child and St John The Baptist After Sandro Botticelli, flanked by foliate tendrils, the oak table base, fronted by a panel of scrolling and interlocking tendrils, 262cm H, 176cm W, 65.5cm D.
Four antique brooches, one oval cut citrine, 30 x 22mm, surrounded by beaded and floral border, stamped 15 ct, another seven stone amethyst brooch, mount testing as 15 ct, a single oval cut amethyst, cabochon cut moonstone brooch, both mounted in 9 ct and two clasps, one with plaited hair panel, reverse engraved 'Mary Ann Edwards ob 5 Aug 1859 aed 72' testing as 15 ct, and rose cut diamond set enamel and seed pearl clasp, in 9 ct. CONDITION15 ct gross weight 33.6 grams9 ct gross weight 14.1 grams citrine brooch, pin is mishapen but functional, measuring approximately 4.1 x 3.8cm including mount, three flower petals are bent inwardsAmethyst single stone brooch, pin is mishapen but functional, 2.7 x 2.1cm Seven stone amethyst brooch, 5 x 2.7cmmoonstone brooch 2.1 x 1.7cm, moonstone measures 1.7 x 1.4 x 9.7mmHair panel clasp 1.9 x 1cmpearl and enamel clasp 1.8 x 1.1cm
Mixed group of gold jewellery, wedding band in 18 ct, ring size N, heart pendant in 15 ct, paste set cluster ring, size O, red paste bar brooch, faux pearl pendant and chain, two Victorian brooches, one set with rose cut diamond, another set with seed pearls all mounted in 9 ct and open locket and a pietra dura panel on the reverse, with gilt metal mount, 4 x 2.8cm. CONDITION18 ct weight 1.6 grams15 ct weight 0.7 grams9 ct gross weight 11.7 gramspietra dura panel loose in locket
Late Victorian memorial ring, central oval panel set with seed pearl cross and black enamel, woven hair in band with letter plaques spelling 'In Memory', inside engraved 'M C F. and J.F Feb. 1875', in 9 ct hallmarked Birmingham 1876, ring size L. CONDITION 9 ct weight 2.4 gramsoval panel missing small section of enamel above cross and to each side of cross'In Memory' plaques missing enamelsolder marks are visible under central panel and there is a small hole inside the shank near the hallmark
Victorian mourning pendant, central seed pearl star motif, reverse hair locket panel, black enamel articulated bail, 5.7 x 3.4cm and faceted belcher link chain, tube clasp, in 9 ct, 58.2cm in length. CONDITIONOverall good condition chain weight 12.2 gramslocket weight 18.1 gramsIn C.Packer & Co, London box pearls are all present and secure couple of links are soldered together on chain
Jean Dinh Van, an 'Anthea' design ring , with central diamond pave set circular panel, estimated total diamond weight 0.23 carats, band 11mm wide, ring signed DINHVAN, bearing French marks for 18 ct and platinum, ring size N, with original 1998 receipt from Paris Store. CONDITIONOverall excellent conditionweight 8.8 gramsJean Dinh Van (1927-) trained at Cartier, in 1965 he started his own workshop. He was known for geometric and minimalist designs. He retired in 1998.
1970's emerald and diamond bracelet, central leaf panel set with three Swiss cut diamonds, seven round cut emeralds, concealed clasp and two figure of eight safety catches, with four fancy link strands, stamped 18 ct, 19cm. CONDITION Overall good conditionleaf panel is soldered to the clasp and three of the bracelet strands, one strand is not currently solderedclasp opens and closes securely, gross weight 63 grams

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