There are 28093 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeAn inlaid mahogany longcase clock, 19th century, with associated dial and movement signed 'Thomas Knifton, Lothbury', the 30cm brass dial signed in the arch above subsidiary seconds and calendar dials, 4 pillar movement with 'Birmingham' falseplate, the case front inlaid with swags and other motifs230cm high
JOHN JONES PWLLHELI OAK & MAHOGANY LONGCASE CLOCK, circa 1860, 14 inch square painted dial, Roman numerals, subsidiary seconds dial, date aperture, twin weight pendulum bell strike fully refurbished movement (pendulum and weights included), swan neck pediment hood, single glaze door, half and full turned pillars, panel trunk door, half pillar detail, stepped trunk base, corner bracket feet, 225 (h) x 65cms (w) Provenance: private collection Conwy
LATE VICTORIAN VIENNA TYPE WALL CLOCK being walnut encased, lion mask upper roundel, pillar detail, glazed single door, cream dial, Roman numerals, twin weight pendulum driven movement (pendulum and weights, winding key included), 114 (overall h) x 47cms (w)Provenance: private collection Gwynedd
Striking faceted crystal figure of the iconic swan with raised crystal accents, celebrating Swarovski's 100 year anniversary. Swarovski mark. Includes pillar stand: 2"H x 2.75"W. This item has its original box: 4.75"H x 6"dia. Issued: 1995Dimensions: 2.25"L x 1.25"W x 2"HManufacturer: SwarovskiCountry of Origin: AustriaCondition: Age related wear. Pillar stand show age discoloration.
Robert Johnson of B,Money - an early 19th century mahogany longcase clock, having 13" painted arched dial with rolling moon dial to the arch, subsidiary seconds dial, rolling date dial, eight-day weight driven four pillar movement, the case with spiral reeded canted corners, sold with weights and pendulum, h.232cm
A mahogany longcase clock, 19th century and later, having 12" unsigned painted arch dial, with subsidiary seconds dial, rolling date aperture, four pillar weight driven eight-day movement striking on a bell, the London type case having stop-fluted pilasters to a boxbase, sold with single weight, no pendulum, h.217cm
James Blair of Kilwinning - an early 19th century mahogany and inlaid longcase clock, having 14" painted arch dial with subsidiary seconds dial and date dial, twin winding holes for a brass eight-day four pillar weight driven movement striking on a bell, the case with mahogany crossbanding and conch-shell marquetry inlay, sold with pair of weights and pendulum (pendulum a/f), h.240cm
F. Arkinstall of Market Drayton - an early 19th century oak and mahogany crossbanded longcase clock, having a 14" painted arched signed dial with rolling moon dial, twin winding holes for a brass eight-day weight-driven four pillar movement, the case having fluted canted corners (for restoration), h.222cm
A rare set of Napoleonic uncut playing cards, hand coloured etching, mounted, glazed and framed, published by Jeu des Drapeaux (Paris), circa 1816, each card 101 by 65mm - these famous playing cards were issued when Emperor Napoleon I returned to France after his brief exile on Elba. The deck commemorates his greatest battles, and the cards illustrate his troops and those of his enemies. Hearts depict the French, spades show English, Scottish and Irish troops. The Germans are diamonds and the Russian soldiers are clubs. The court cards have queens as female figures on the flags, the kings show Generals and their aids and the jacks portray single solders from their respective countries. The aces depict soldiers with cannon(s). The title card (missing from this print) has the names of all the great victories from Ulm to Moscow on the pillar.
A pair of late Victorian silver Grecian Revival table candlesticks, James Deakin & Son, Sheffield 1895, stepped square bases with multi-pillar column, acanthus leaf bud and removeable sconces, loaded bases, 14.5cm, 19.6oz gross Condition Report: General wear to high points, a few small holes on stepped base edges, both sconce edges slightly bent, hallmarks rubbed
Late Victorian Binding by Watson of Marylebone. The Book of Common Prayer and Hymns Ancient and Modern, bound together, worn cloth boards with traces of inlaid silver motifs, gilt gauffered edges, fitted with two 18th century pillar and heart-shaped silver clasps engraved ‘I.J. 1760’, each with makers mark ‘IL’.
An Axminster APTC M600 woodturning lathe (class 1 Pat Test Pass) together with a Record power RSBG6 6" Bench Grinder, (class 1 Pat Test Pass) a Kinzo pillar drill (Sold for parts only), a Record SM155 bench grinder (Sold for parts only), a Rexon SS-16A Scroll saw (class 1 Pat Test Pass) and other tools
A Hardy Perfect 2 7/8" Fly Reel. Right hand wind with ribbed brass foot and ebonite handle together with an unbranded 2 5/8" fly reel, four cast wallets and a small quantity of flies. (7)Hardy Perfect: no cracks or other amage apparent, unfiled foot, mechaniclly sound, signs of wear and external/internal staining; Unbranded: is similar but with line burn to pillar and stiff to turn handle
FREDERICK ARTHUR BRIDGMAN (AMERICAN, 1847-1928)Sanctuary in the Sahara signed and dated ‘F. A Bridgman 1879’ (lower left) oil on canvas 56 x 87cm Provenance The artist Arthur Croft (1828-1902); Thence by family descent to the current owner Exhibited London, Royal Academy, Annual, 1880, no. 232 Literature For a related work see; Frederick A. Bridgman, Winters in Algeria (New York: Harper and Brothers, 1890), drawing, Mosque of Lichana, repro. p. 248. The present work will be on view at Cromwell Place SW7 on 12th and 13th March 2024FootnoteSanctuary in the Sahara is a product of Fredrick A. Bridgman’ssecond visit to Algeria. Having painted Algiers and its neighboringvillages in 1872-73 during his first trip to North Africa, during his 1879stay, he decided to investigate the smaller towns and villages south of themetropolis, which remained less westernized, despite French control of theregion. After Biskra, he made a three-day excursion towards the Sahara Desert,visiting several south-eastern villages, accompanied by a French militaryescort, native guide, interpreter, and other artists.Their initial adventure was to the oasis village of Lichana. Bridgman remarkedin his published account, Winters in Algeria (1890, p. 245)that it “presented a different aspect from anything we have seen.” The partyselected as their first sightseeing stop the local mosque, one of the oldest inAlgeria. Bridgman was so taken by its sad beauty that he devoted a pageto describing its features.Heavy roundarches of whitewashed clay stood upon rude columns that looked as if they hadbeen fashioned by throwing the material together from a distance rather than byany careful trowelling. Several pillars of limestone, with rude capitals,probably Roman, were worn quite smooth from being constantly leaned against. ... More than half the mosque was not used, and the impalpable dust lay severalinches thick round the base of the columns farthest removed from the . . .pulpit. . .. On the white walls were various square patterns and scroll-work,painted in vivid colors to take the place of tiles. The little windowswere of fascinating design, each one different, and here and there wereenlivened with bits of stained glass between the open-work—a remnant of betterdays that the mosque and village had seen before the French occupation. (pp.246-47)Throughouthis description of the mosque, shadowy covered passageways, and dwellings,Bridgman remarked on the dilapidated state of the village and surrounding highwalls, not as a criticism, but as a comment on the inhabitants’ poverty. So impressed was he by the mosque that he devoted a half-pageillustration, Mosque of Lichana, to it in his travel book. Thedrawing, which includes far less figures, has a similar setting and no doubtserved as the study for the painting, Sanctuary in the Sahara. Bridgmanadded bits of color throughout the monochromatic shadowy interior, placing oneof the painted decorative lintels on the center column for emphasis.The painting was first exhibited in London at the 1880 annual exhibition of theRoyal Academy. It was probably bought then or soon afterwards by theEnglish artist Arthur Croft (1828-1902) as it never again appeared in any ofBridgman’s many contributions to annuals, nor in his solo exhibitions. The twounidentified exhibition stickers on the canvas indicate the painting was latershown again, probably in regional displays. Croft was known primarily as awatercolorist of landscapes and topographical views; he married an Americanwoman and spent some time in New York, depicting New England scenery. Croft mayhave met Bridgman in 1880 or 1881 when Bridgman was back in his home country tohold a large solo display of his paintings. However, it is more likelythat the two artists met in London as both were married to American expatriatesliving there. Croft may have even visited Algeria with Bridgman, as theAmerican was accompanied by four other artists, who remained unnamed in hiswritings. The few located Croft Algerian scenes are dated 1880 and 1881. Sanctuaryin the Sahara remained in Croft’s family for generations.We are grateful to Dr Ilene Fort for preparing this note and for her assistance with the cataloguing ofthis work. Condition ReportOriginal canvas. There is a small one-inch tear to the central pillar; scattered surface staining to the left side of the work; areas of paint separation to the doorway, lower left, to the figures, lower centre and to the foreground. Otherwise original condition and held in the original frame.Nothing fluorescing under UV light.
Glossy bone china figure of a lady in a dark peach dress, floral overskirt and black hat leaning on a pillar. Part of the Harradine Classics series. Royal Doulton backstamp. Issued: 1936-1949Dimensions: 5.75"L x 4.75"W x 7"HManufacturer: Royal DoultonCountry of Origin: EnglandCondition: Age related wear.
Stan Taft (American, 20th/21st c). Oil on board painting titled "Phyrne" depicting a shrouded figure behind a large golden pillar, 1983. Signed, dated, and titled along the verso.Provenance: Distinguished Corporate Collection, Minnesota.Unframed; height: 24 in x width: 36 in. Framed; height: 25 3/4 in x width: 38 in x depth: 1 1/2 in.Condition:There are a few scuffs to the surface of the work. There are no apparent losses or restorations. Extreme edges not inspected. Light wear to the frame.
A BRUSSELS HISTORICAL TAPESTRY FROM THE LIFE OF ALEXANDER THE GREAT LATE 17TH CENTURY Alexander the Great astride Bucephalus, trampling his enemies, with foreground of water's edge, soldiers on the riverbanks in the middle distance with war elephants to the left, with a hilltop citadel in the distance, within elaborate architectural border with ribbons, floral swags and winged cherubic figures and central cartouche to each edge, small unidentified weaver's mark to lower left side guard border approximately 345 x 524cm The most important and probably influential series of scenes from the life of Alexander was originally designed by Charles le Brun between 1660 and 1673 for Louis XIV, and initially woven by the King's weavers at the Royal Tapestry of Les Gobelins. The Alexander series was the first major new tapestry commission of Louis XIV's reign, and the tapestries were designed to flatter the king by comparing his virtues and achievements to those of Alexander the Great. The success of the designs led to other versions being produced by weavers such as the Aubusson factories, Judocus de Vos, and the Felletin weavers in the region of Le Marche. The use of Alexander as a suitable subject matter pre-dates le Brun's designs however and by the end of the 17th century onwards, factories took to producing their own versions, interpolating elements from earlier designs with le Brun's iconography to produce new scenes from his life. It would seem that this tapestry is one such example of this type. It draws on elements from various sources which depict one of two significant successful battles in his life; either the Battle of Granicus in 334BC, or the Battle of Gaugamela in 331BC. The first is suggested by the river setting, the second by the war elephants and the broader landscape- both details recorded in Plutarch's Life of Alexander. It is probable that the weaver's design is drawn, in part, from a set executed by the workshop of Karel van Mander the Younger (1579-1623) in the early 17th century. One such panel is held in the Art Institute of Chicago collection and depicts "The Crossing of the Granicus" (1911.439). It is possible that the fortified buildings on the mountain in the distance and Alexander's horses pose are directly influenced by this panel. In overall style and with distinctive cherub pillar supports flanking swags to the main borders, it is perhaps from the workshop that produced the Flemish 17th century tapestry attributed to the Van Maelsack Atelier Bruxelles and which depicted Alexander the Great astride Bucephalus, sold Bonham's London, Fine Decorative Arts, 1200-1900, 18 December 2020, lot 29. Interestingly it also carried a similar atelier symbol to the left hand guard. Condition Report: There is evidence of cuts and mis-joins to sections of main border- this together with the abrupt ending of spear to the sky has raised discussion as to whether this may originally have been slightly larger in size overall.Fading and discolouration throughout but retaining some of the more fragile paler colours. Looks to have been through various stages of remedial repair and restorations- some more modern and refined than others. Some of the repair colours have denatured at a different rate from the main piece. Later backing for better overall hanging stability and conservation. Some loose threads and open gaps which may benefit from further small repairs. Some creasing and fold marks. Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer
A CARVED OAK GROUP OF THE VIRGIN AND CHILD WITH SAINT ANNE 'ANNA SELBDRITT' ANTWERP, EARLY 16TH CENTURY With figures seated within architectural pillars, Christ child reaching out for St Anne, with Antwerp town hand mark between feet of figures 37cm high, the base 29cm wide, 6.5cm deep The vendor has noted that "In the late 1960's my father did some research - contacting the keeper of sculpture at the Rijksmuseum. The keeper advised my father that the carving was made in Antwerp around 1515". The letter itself was from Jaap Leeuwenberg Keeper of Sculpture and dates from 1968, a copy of the letter accompanies this piece. Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. The whole looks to have been cleaned back, repolished from use and handling- restorations including to base edge- pillar by Mary Losses to limb extremities such as Christ's arms, book edge etc- the reverse of Anne slightly canted in shape- possibly may have had further adornment to the reverse originally - old worm holes and probably formerly mounted with nimbus to heads Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer
AN OLIVEWOOD AND CARVED 'DRUM' TABLE PROBABLY MALTESE, 19TH CENTURY Decorated with ebonised stringing, the top set to revolve on the central pillar 72cm high, the top 70cm diameter Condition Report: Overall there are some scratches, marks, chips, cracks, some veneer replacements and abrasions consistent with age and use.There is some small evidence of old worm but not to the veneers.Some wear to the ebonised finish of the nulled collar and legs.The bearer to the underside of the top is probably re-positioned or later. The table top revolves.Please see all the additional condition report photographs through the link on the condition report email as a visual reference of condition. Condition Report Disclaimer
William Barker, Wigan . A George III figured mahogany eight-day longcase clock with moonphase the four-pillar rack and bell striking movement with 13in brass break-arch dial with subsidiary seconds dial and calendar aperture to the matted centre within an applied silvered Roman numeral chapter ring with Arabic five minutes the angles with cast spandrels beneath rolling moon to arch the upper edge. The hood with swan neck pediment with rose detail, fretwork/fabric panels and pilasters .The body with shaped-top trunk door flanked by quarter columns the panel fronted plinth base with canted angles and ogee bracket feet 228cm high. William Barker is recorded in Baillie G.H. Watchmakers & Clockmakers of the World as working in Wigan circa 1760
Barwise, Cockermouth, a late-George III mahogany longcase clock with swan-neck pediment, reeded pillar hood and 8-day bell-striking movement, the 33.5cm dial with painted moon phase in the arch, with cast spandrels, the silvered chapter ring with inner calendar and outer seconds (numerals), 230cm high, with weights and pendulum.
Antique Furniture, small mahogany drawing room Pembrooke table, two fold down flaps with two drawers under and false drawer fronts to rear, central square pillar base with 4 legs and brass lion paw feet and casters approximately 36cm x 42cm (75cm extended) x 71cm, along with a three tier mahogany Edwardian folding tea stand with inlaid decoration.
AN 80-BORE PERCUSSION TRANTER'S PATENT POCKET REVOLVER SIGNED T. RICHARDSON & SONS, CORK, serial no. 17437, circa 1858, with octagonal 3 3/4in. barrel, dove-tailed pillar fore-sight, signed top-strap, plain cylinder with engraved rope twist border to leading edge, borderline engraved frame, chequered walnut one-piece grip, iron butt-cap and second model swinging rammer mounted to left of frame, the majority retaining much original blued finish and traces of colour.
A 16-BORE PERCUSSION SPORTING or TARGET RIFLE SIGNED SCHOURUP, AARHUUS, no visible serial number, Danish, circa 1840, with heavy multi-groove rifled and swamped octagonal iron 27 3/4in. barrel, engraved radial bands to muzzle-face and inlet white metal band around muzzle, tunnel fore-sight, adjustable standing notch rear-sight with later spirit level notch sight behind (spirit evaporated), plain top-tang with moulded snail, plain flat lock of semi flint form and signed in script 'D.J. SCHOURUP' above 'AARHUUS' in block letters, plain hammer, walnut full-stock (age related splits) with chip-carved wrist in lieu of chequering, period but later applied pillar peep-sight to wrist, raised angular cheek-piece, iron furniture including shotgun heel-plate, plain trigger guard bow with spurred tang, double-set triggers and flat bracing plate and hook to front of fore-end, no provision for ramrod. * Please note this item is subject to 5% VAT on the hammer price (UK Buyers only).
A RARE AND UNUSUAL .177 BREAK-BARREL 'PAFF' AIR-RIFLE, no visible serial number, early production circa 1889, with reblued two-stage smoothbore 18in. barrel, pillar fore-sight, nickel-plated hollow rectangular frame with long barrel release lever running along the top-strap incorporating a fixed rear-sight notch and released via a catch at rear, blued plain cylindrical air-chamber mounted within the frame, chequered hardwood semi pistolgrip butt-stock, guarded trigger and shaped flat tensioning spring guiding the cocking rod in lieu of fore-end, the whole well refinished. Pre-1939
AN EARLY CASED 54-BORE PERCUSSION KERR PATENT REVOLVER TO THE 1st SUSSEX ARTILLERY VOLUNTEERS, serial no. 37, circa 1860 and marked for the London Armoury1 , with 5 1/2in. blued octagonal barrel, the left hand top-flat with London proofs, conical pillar fore-sight, sighting groove to the top-strap, plain five-shot cylinder, (matching number), borderline engraved two-piece frame marked on the right 'KERR'S PATENT 37', single action mechanism, borderline engraved back-action lock signed 'LONDON ARMOURY' over 'LONDON' and mounted into the chequered walnut grip, iron butt-cap engraved '1st SUSSEX ARTILLERY VOLUNTEERS' and 'No. 15', hinged under-barrel rammer, retaining strong amounts of original finish and colour, together with its original oak storage case compartmented and lined in green baize (mothed), Kerr's New Patent Revolving Pistol instruction label inside the lid and containing a period powder flask, an ebony cleaning rod, nipple-key, bullet-tin and a cap bag.
A GOOD PAIR OF 28-BORE FLINTLOCK DOUBLE-BARRELLED HOLSTER PISTOLS SIGNED CAIRES ST. ETIENNE, no visible serial number, French, circa 1800, with side by side 8 1/2in. barrels decorated with gilt-washed engraving at the breeches, along the top-ribs and alongside the set back from the muzzle boat-shaped fore-sights (gilding thinned), engraved top-tangs with deep sighting grooves, borderline engraved bevel-edged locks with engraved pointed tails and signed below the lozenge-shaped pans 'CAIRES' on the right lock and 'A ST. ETIENNE' on the left (one top-jaw on each pistol replaced), walnut full-stocks with raised borders around the furniture and floral carving around the top-tang and behind ramrod throat, oval white-metal escutcheons to back of the wrists engraved with a shield device, long eared engraved and moulded iron butt-caps, engraved and moulded pillar fronted trigger-guard bows and finials, probable replacement ramrods, each pistol approximately 2 1/2lbs. in weight and 15in. overall length.
A GOOD .44 PERCUSSION REMINGTON NEW MODEL ARMY MARTIAL REVOLVER WITH LATER ENGRAVING, serial no. 116547, circa 1865, with octagonal 8in. barrel, the first two thirds with panels of American scrolls against a stippled ground and bordering the rectangular address panel signed 'PATENTED SEPT 14 1858' over 'E. REMINGTON & SONS ILION NEWYORK U.S.A.' over 'NEW MODEL' (all good and crisp), further scroll engraving to muzzle, pillar fore-sight with pinched blade, scroll engraved solid frame with sighting groove to the top-strap, plain cylinder with a panel of scroll engraving over each chamber, colour hardened hammer and trigger, engraved brass trigger guard and smooth walnut grips (traces of a martial cartouche), 'J' inspector's initials and engraved under-barrel rammer.
Joal - A caterpillar forklift with a damaged roof pillar in a good box. A Volvo BM set in a worn box (slight tear to the box window) and a set of two caterpillar diggers in a poor box. This lot also has a collection of unboxed Joal CAT diggers in Play worn to good good condition. Some of the items in this lot are missing some detailing parts but their overall function looks to not be impaired- all hydraulics still work and the string/ cables are still attached. (This does not constitute a guarantee) RG
Loading...
