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Lot 421
Silvija Buss - Excellent Hand Painted Porcelain Figure Group Sculpture, In An Exclusive Ltd Edition of Only 20 Pieces. This Is No 3 of only 20 Pieces. Titled ' Cats on a Ruined Column ' Depicts 6 Cats on a Ruined Column ' Depicts 6 Cats Around and on a Derelict Column Raised on a Plinth. Stands 10.25 Inches - 26 cm High. This Figure In Rarely Available for Sale, with Original Box and a Framed Certificate of Authenticity. Please See Photo.
Lot 4020
A George II Chinoiserie lacquered longcase clock, the arched brass dial with silvered chapter ring, roman and arabic numerals, mask head spandrels, subsidiary seconds and date aperature, to an 8 day movement striking a gong, housed in a case with arched hood and moulded cornice over a trunk door to plinth base,223 cm high-with weights
Lot 124
19/20th Century French Louis XV Style Boulle Marble top Side Cabinet with Gilt Bronze Fittings. Large sliding door flanked by figural mounts, brass and faux tortoise shell inlaid, acanthus leaves accents, raised on plinth base. Measures 46-1/2" H x 31" W x 13" D. Condition: Wear to inlay, oxidation to mirrored front, no key Estimate: $600.00 - $800.00 Domestic Shipping: Third party
Lot 142
ERSKINE NICOL RSA ARA (1825-1904)Prayers at the High CrossOil on canvas, 98 x 73cmSigned and dated 1851 lower right The location of Nicol’s painting bares some similarities with the monastery at Clonmacnoise in county Offaly which after many centuries of attacks was finally destroyed by the English garrison in Athlone in 1552 as part of the dissolution of the monasteries. The round tower in the background strongly resembles O’Rourke’s tower, whose cap is missing after the structure was struck by lightning during a storm in 1135. Nicol, a Scotsman by birth, spent many years in Ireland, first visiting in 1846. He established a longstanding relationship with the country and this work may reflect his sympathy towards the Irish people whose religion and de facto culture had been systematically destroyed by English colonisation. The focal point of the painted composition and in turn the attention of its subjects is the high cross. It is most likely a depiction of the Cross of the Scriptures, which is one of the most skilfully executed carving of the surviving high crosses in Ireland. Nicol has positioned it at an angle to give us full view of the detailed carving on the side panels, casting the centre of the cross in shadow. Instead the light falls on the individuals kneeling in devotion around the base. While no dialogue is being spoken, there is an intense expression of the inner communion between the faithful as they offer their prayers up to the cross. One cannot ignore the visual reference to crucifixion paintings in the present example. The figure of young woman to the left of the composition is visually reminiscent of depictions of Mary Magdalene clinging to the foot of the cross. Overcome with emotion, her hat discarded on the ground, she fallen forward, her forehead resting on the stone plinth. The carving on the cross itself depicts scenes from the scriptures, including Christ’s death. The episodic nature of the decoration culminates in the central motif of Christ, with his arms outstretched shielding two figures. Only one figure is standing, set apart in many ways from her genuflecting companions. While they close their eyes and bow their heads in quiet reflection, she stands staring defiantly at the cross. While we are denied the visual drama of the crucified body of Christ, the cross acts a symbolic reminder of that sacrifice. The woman who is standing, similar to the Virgin Mary’s role in crucifixion paintings, bears witness to this suffering, interceding on our behalf and that of the faithful gathered around her. Nicol enlivens the scene with his characteristic eye for detail. The elderly gentleman leaning on his cane for support, his coat worn thin with age, and the faintest glimpse of red handkerchief peeking out from one of the pockets. Or the young woman seated behind him, rosary beads clasped between her hands, still wearing her apron, whose edges are fraying. These are ordinary, working peasants, whose life and customs were the focus of much of Nicol’s artistic output while in Ireland. He exhibited this painting at the Royal Scottish Academy in 1857, showing a version of Irish identity that was not inclined towards caricature of the ‘stage Irishman’ but moving towards the Realist tradition of his European counterparts. The development of the Celtic revival in the 1840s saw a call for more specifically Irish art, as expressed by Thomas Davis, one of the founders of the Young Ireland who claimed that painting ought to be “a pictorial history of our houses, arts, costume and manners”. (Murray, Peter (ed), “Realism versus Romanticism in Framing National Identity”, Whipping the Herring, Survival and Celebration in Nineteenth-Century Irish Art, Murray, Cork: Crawford Art Gallery and Gandon Editions, 2006, p. 11
Lot 175
A LARGE EBONISED AND GILT METAL BRACKET CLOCK, marked Tiffany and Co., of domed form, set with pointed finials to each corner and applied with side handles above pierced grills, with arched glazed panel door enclosing a silvered and gilt metal dial with Arabic numerals and blued steel hands, flanked by fluted outset columns on plinth base and short feet, 48cm high
Lot 95
AN INDIAN BLACK STONE MODEL OF A NANDI, (the Bull) probably Pala Period 12th century, in recumbent position, with right foot forward and wearing a jewelled necklace, bell collar and saddle blanket, resting on a rectangular plinth, 26 cm wide*Nandi, meaning joyfulness in Sanskrit, is the name of the bull and vehicle of the Hindu god Shiva - the god of strength and destruction.Sculptures of Nandi are typically displayed sitting on a plinth guarding temples dedicated to the Hindu deity, and positioned to face the sanctuary which houses the main representation of Shiva.Each of the major Hindu deities are associated with a bird or animal vehicle (vahana), with qualities specific to a divinity's image and functions. The bull can be seen as a symbol of fertility and strength. The significance of bovines in Indian culture have entitled them to sacred status in Hindu society, and thus became a favourite animal subject for Indian sculptors and miniature painters.
Lot 349
A French bronze, white marble and ormolu mantel clock, 19th century, with eight-day bell striking movement with outside countwheel, the back plate stamped ER 187, / RICHOND F / A PARIS, with white enamel dial with blue Roman numerals and Arabic numerals to the outside track, the case surmounted by a bronze maiden holding a scythe above a basket of wheat and a watering can, the stepped plinth further centred by a basket of wheat, 41cm high
Lot 368
A French Empire ormolu figural mantel clock , Alexandre Roussel, Paris, early 19th century The eight-day countwheel bell striking movement with anchor escapement regulated by disc bob pendulum with silk suspension and numbered 158 to backplate, the dial with fine rosette cast centre within Roman numeral chapter ring indistinctly inscribed ALEXANDRE ROUSSEL A PARIS above six o’clock, with steel moon hands set within entwined snake cast bezel, the case cast with Apollo dressed in robes standing and supporting a lyre with his right hand whilst leaning on an architectural pedestal surmounted with a scroll resting within a laurel wreath, over egg-and dart cornice, dial and musical trophy mount to front, set onto a generous plinth base with mount cast and chased with triple foliate wreaths issuing reeded trumpets, on acanthus cast ogee moulded skirt base with generous stylised foliate scroll cast bracket feet, 61cm (24ins) high.
Lot 468
ϒA Dutch ‘mulberry’ veneered eight-day longcase clock with moonphase, Daniel Soos, Amsterdam, mid 18th century The five pillar rack and bell striking movement repeating the hour on a second smaller bell at half past and with anchor escapement regulated by seconds pendulum, the 12 inch brass break-arch dial with date-of-the month and day-of-the week apertures, ringed winding holes and subsidiary seconds dial to the scroll decorated matted centre within applied silvered Roman numeral chapter ring with stylised sword hilt half hour markers, Arabic five minutes to outer track and signed Daniel Soos, Amsterdam to lower margin, with scroll pierced steel hands and spandrels cast as figures emblematic of the four seasons to angles within a herringbone border, the silvered arch with rolling moonphase incorporating cloud engraved lunettes, age of the moon to the visible circumference and high-water times to a sector within the conforming cloud decorated upper margin, the lampblack-stained burr field maple veneered case with giltwood flambeau finials and domed ogee caddy over fretwork frieze and ebonised cavetto moulded break-arch cornice with conforming fret to lintel, with ebonised three-quarter columns to hood door and the sides with scroll pierced break-arch sound frets and conforming quarter columns set against bargeboards at the rear, the trunk with triple-line bordered break-arch door centred with a circular brass lentical, the sides with twin ebony line bordered panels, on conforming panel-outlined plinth base with swept skirt and bracket feet, 254cm (100ins) high excluding top finial. ϒ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.
Lot 438
A large Edwardian rosewood glazed bookcase, from Harrods Walter Carter of Manchester, the top with moulded cornice above three sections with adjustable shelves, each enclosed by a pair of lattice glazed doors with bevelled glass, a full-width recessed open section with mirrored back beneath, the lower section with central foliate carved panelled doors enclosing adjustable shelves, flanked by a pair of drawers and glazed cupboards, on plinth base, 325cm wide x 207cm, Harrods Walter Carter pasted label
Lot 201
An Edwardian mahogany and marquetry tulip shaped mantel clock, with a turned brass finial, the enamel dial with Arabic numerals, above an oval patera on plinth base, 36cm H.Provenance: This timepiece formed part of Luke Jerram's installation Harrison's Garden, at The Ropewalk Gallery, Barton Upon Humber 2019.
Lot 217
A German mantel clock, in a walnut case, the crest decorated with a lion mask above a squared dial, with silver chaptering, and gilt metal spandrels, the plinth with a silver presentation plaque, engraved Presented to H Rhodes, the remainder indistinct, 42cm H.Provenance: This timepiece formed part of Luke Jerram's installation Harrison's Garden, at The Ropewalk Gallery, Barton Upon Humber 2019.
Lot 1322
A Fine Scratchbuilt 'Approximately' Gauge I Live Steam LNWR 'George The Fifth' Locomotive and Tender on Display Plinth, the model evidently built by W H Tunnicliffe circa 1944, using brass sheet obtained from the Rotherham Depot, with single inside cylinder and slip-eccentric valve gear, possibly a commercial boiler with three water tubes, basic firetray for solid fuel blocks or similar, finished in polished brass with numberplates 2663 to cab and nameplates 'George the Fifth' to splashers, G-VG, no boiler history, supplied with a period section of display track, brass 'boiler cleaning' plate, and a framed photograph of the original locomotive
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173444 item(s)/page