We found 30666 price guide item(s) matching your search

A 19th century oak snap top occasional table of circular form raised on a ring turned pillar and swept tripod, 72 cm diameter

An early 19th century mahogany fold over top tea table of rectangular form with rounded corners, raised on a central turned pillar, with swept and reeded quadruped, with brass castors, 73cm high x 92cm wide x 46cm deep (closed)

A Victorian mahogany snap top occasional table of oval form raised on a bobbin turned pillar and shaped tripod, 67 cm high x 44 cm x 58 cm

A Georgian mahogany snap-top occasional table with circular top raised on a vase shaped pillar and swept tripod, 70cm high, 73cm diameter

A Victorian loo table with quarter veneered burr walnut top, raised on a four pillar base with scrolled supports, 135cm max

A 19th century rosewood breakfast table of circular form raised on a onion shaped pillar and domed platform base with lion's paw feet, 133cm diameter (af)

A Victorian mahogany two drawer writing table with inset leather top, on turned supports, together with a further snaptop table on turned pillar and tripod base

A collection of contemporary furniture including a pair of circular Ercol light elm occasional tables on four swept supports, with plate glass top, further painted occasional table with oak top, two ironwork frames, a square cut mirror panelled pillar with stepped plinth and a circular brass occasional table with plate glass top and a painted demi lune side or hall table in a Regency style on swept supports

A Georgian mahogany twin pillar dining table with three additional leaves, the turned columns raised on reeded tripod supports, 245cm long x 115cm wide to seat 10, together with eight chairs (6+2) with upholstered drop in seats on square tapered supports

A Regency rosewood centre table, the circular top raised on a tricorn pillar and base, 135cm diameter

A hand powered pillar drill

A mahogany twin pillar dining table with one extra leaf and a of eight Chippendale revival chairs, comprising of two carvers and four standards

Victorian 6 pillar Belgian slate mantle clock 31cm

A BLACKSPUR PILLAR DRILL height 58cm, an unbranded Tile saw (both PAT pass and working) and a vintage Burgess band saw (PAT fail due to uninsulated plug but working and no blade)

A COLLECTION OF CANDLE HOLDERS AND CANDLES ETC, to include a modernist style candelabra holding six tealights, approximate width 74cm, six textured blue candle holders, winter themed candle holders, two sets of aluminium candlesticks, a ceramic house shaped candle holder, Lene Bjerre pillar candles, two boxed sets of Coronation crown candle pins etc

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.

Late Victorian carved oak centre table, octagonal moulded top with carved scrolling foliage band, on five turned and foliate carved pillar supports joined by turned x-framed stretchers, on turned feetDimensions: Height: 73cm  Depth/Diameter: 99cm

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 brass skeleton clock under glass dome, with a fusee movement, striking on a bell, silvered dial on pillar supports, 16cm by 10cm by 37cm tall

A Victorian burr walnut workbox with a fitted interior on turned pillar supports united by a strecher, 61.5 by 41 by 85cm tall.

Collection of Crested China Post Pillar Boxes and 2 Thimbles

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

An alabaster plant stand, along with a faux marble pillar - tallest 96.5cm

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’.

Power Craft table top pillar drill.

Wolf ES14 pillar drill stand.

Axminster pillar drill ND16B.

A Quantity of Mid XX Century 'O' Gauge and Similar Railway Accessories, by Hornby and others, including tin luggage, watchman's hut and pillar boxes, all playworn.

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

Yankee No. 100 Cast Iron Bench Pillar Drill

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

A Naerok GP13 pillar drill.

19th century black slate architectural single train mantle clock with brass pillar mounts and ceramic Arabic dial. 28cm high approx. (B.P. 21% + VAT)

An early Victorian rosewood breakfast table, with moulded oval top, octagonal baluster pillar, on three carved and channelled scroll legs with brass castors, approx. 76cm high, 132cm wide, 106cm deep, floor to base of table approx. 71cm.

Brass Pillar Lamp

A Mid 20th Century Brass Bentima Pillar Clock under Glass Dome, 17.5cms High

Vintage table lamp in the form of a gilded elephant on a pillar (approx. 57cm high)

Black jacket and cap; white shirt; red pillar box.Royal Doulton backstamp. Artist: Stanley J. TaylorIssued: 1988Dimensions: 4"HEdition Number: 1292 Edition Size: 5000Manufacturer: Royal DoultonCountry of Origin: EnglandCondition: Age related wear.

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.

Heavy duty professional engineers pillar drill.Please note this lot has the standard Ewbank's standard buyers premium payable on top of the hammer price and not the reduced rate for cars and motorbikes.

A circular pietra dura pillar table, 20th century, the top inlaid with a central stylized radiant sun, in marmo siciliano, verdi alpi, giallo sienna and others, supported on a similarly inlaid obelisk form column on a stepped square base, 66 cm diameter x 69 cm overall height. 69

Clarke CDP SDC metal worker pillar drill. Not available for in-house P&P

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.

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

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

G.B. - A contemporary copy of George III Bank Pillar Dollar 1788 Mo, oval countermarked with George III portrait (N.B. Silvered with copper core) VG-F (1 coin)

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.

Silver hallmarked Edwardian novelty pillar box stamp dispenser hallmarked for London 1904 by maker WH William Hornby with engraved initials approx 65mm tall

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.

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

A mahogany extending dining table raised on twin pillar supports with extra leaf

A Simplex Autowest pillar drill (lacking power lead)

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.