An Edwardian gilt ship's helm mantel clock presented as a gift by The Earl of Jellicoe to Dr P H Devitt, together with signed correspondence:, the double barrel eight day gong strike movement by the Chelsea Clock Company Boston, MA, numbered 98943, with silvered dial and stylized Arabic numerals, inscribed with Goldsmiths & Silversmiths Co Ltd London address, and also marked 'Ship's Bell', under a glazed bezel in a helm mounted case, on a down swept plinth with a mahogany base, 35cm high, together with a letter to Mrs Devitt asking for suggestions for a suitable gift to present to Mr Devitt '... a dressing case, tie pin (if he wears them) , a clock...' and a letter to Mr Devitt sent with the clock ' I am sending you with this note a clock which will I hope remind you occasionally of a very grateful sailor' and three other notes all signed 'Jellicoe'.
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A Victorian style mahogany dining table, the shaped rectangular top with scroll carved corners, raised on pedestal plinth, tripod legs with foliate carving, on claw feet, 77cm high x 214cm wide x 140cm deep. CONDITION REPORT: leaves are different colour, veneer losses, general ware and splits, base not original to top
A Victorian mahogany rectangular bookcase, 19th century, the shaped rectangular top, with scrolling uprights, raised on plinth base, with adjustable shelves, 101cm high x 161cm wide x 33cm deep. CONDITION REPORT: has been converted to back to be shaped around a skirting board, overall stretches but in reasonable condition for age.
A Large and Impressive French gilt and patinated bronze clock, 19th century, mounted with a model of a silvered horse with a slave tied to its back, leaping over a tree stump, on a rectangular plinth, with stepped leaf moulded base, on bracket feet, the clock with white enamel dial and Roman numeral chapter ring, the barrel movement with count wheel striking and bell gong, lacking keys and pendulum, 61cm high CONDITION REPORT: overall slave is lacking silvering in all areas, gilding is rubbed all over, otherwise in good condition
A mid 19th century Florentine ebony break front side cabinet, in the Neo-Classical taste, gilt metal mounted and bone inlaid, having a central fielded panelled cupboard door decorated with anthemions and bell flowers, flanked by a pair of split pilasters and a pair of bow front glazed doors, plinth base, lacking upper superstructure. H.99cm, W.153cm, D.42cm
** Ricky Swallow (b. 1974) - Standing Figure, 2012 bronze withbrown/black patina, from the edition of 2 (plus 1 AP), with integral cast plinth 25 x 6 x 5 in., 63.5 x 15 x 13 cm (height) Provenance: Modern Art/Stuart Shave, London. One of the most memorable pavilions at the Venice Biennale of 2005 was the Australian, for which Ricky Swallow exhibited a group of large sculptures carved in wood depicting skeletons, skulls, bicycle helmets and rattlesnakes. Seemingly borrowed from Old Master paintings, Swallow updated the Trompe L'Oeil aesthetic for today's audience. Since then, his interest in art history has branched out into Modernism and beyond, in step with his increasingly varied use of medium and experiments with process.
A Victorian mahogany sideboard base with curved side doors, a central bank of two short and two long drawers on a plinth base on bun feet with added bookcase top, triple glazed doors beneath a plain frieze, the top probably early 19th Century (a marriage), 82 x 70 ins (208.5 x 178 cms) overall
A late 18th/early 19th Century chest of two short and four long drawers with cock beaded edges, oak linings, brass escutcheons and replacement brass pommel and swing handles, twin raised chamfered panels to the sides and a bracket corner plinth base (drawer bases have added strengthening bars), 40 x 37 ins (101.5 x 94 cms)
A good quality late Victorian oak side cabinet, small mirrored back top with single shelf supported by turned pillars, curved side doors crossbanded with mahogany below a shaped top, single central glazed front panel flanked by half cut reeded pillars on a shaped plinth base, 53.5 x 37.5 ins (136 x 95 cms)
A late Victorian/early Edwardian oak and mahogany apprentice chest, half cut columns and top decoration with two small and two large drawers having brass decorative back plates and swing handles on a plinth base, written inscription underneath 'William Williams, Cabinet Maker, Abererch, Pwllheli', 14.25 x 15 ins (36 x 38 cms)
A Victorian oak Wellington type tabletop chest of drawers having a moulded top with chamfered corners above a bank of six drawers, central locking bar on a double plinth base, gilt backplates and faux bamboo swing handles with gilt metal corner plates to the base, small gilt metal plaque to the rear with the words 'Makin, Manchester', 12 x 15 ins (30.5 x 38 cms) approximately
A Georgian oak dresser with closed back three shelf plate rack in pine, the two plank top over an arrangement of two drawers and two cupboard doors flanking a full flight of four opening drawers, the lower with locking pegs, brass circular plate and swan neck handles with shaped chamfered panel doors on stile feet, 82 x 73 ins (208 x 185.5 cms), (back boards with evidence of worm, some ring staining to base surface, plinth frieze missing, lacking colour in areas)
A Regency rosewood and gilt metal mounted four tier whatnot, circa 1815, in the manner of Marsh and Tatham, after Henry Holland, the top tier with three quarter pierced brass gallery, with three further graduated tiers joined by chamfered uprights decorated with rosettes, above two frieze drawers, on gilt winged lion paw feet and on a simulated porphyry plinth, 138cm high, 64cm wide, 54cm deep Please refer to the footnote for lot 32 regarding this lot
A George III mahogany breakfront library bookcase, circa 1780, the moulded cornice incorporating lappet carved, dentil and fluted frieze interspersed with relief carved patera terminals, above four astragal glazed doors opening to adjustable shelves, the base with four panelled doors opening to adjustable shelves, on a plinth base, 272cm high, 305cm wide, 54cm deep
A Dutch walnut and seaweed marquetry press cupboard, circa 1750, the moulded cornice above a pair of profusely decorated doors incorporating geometric panels of seaweed marquetry within borders of oyster veneer, each central panel incorporating marquetry moths incorporating green stained bone elements, opening to three open shelves, two of which incorporate fitted drawers, the stand with three further drawers above arched stretchers and octagonal tapering legs on a plinth base, 211cm high, 179cm wide, 58cm deep
The following lots 706-708 are by the Mexican Sculptor Armando Amaya, b.1935 Born in 1935 in Mexico City, sculptor Armando Amaya is one of Mexico's most eminent interpreters of the female form. Whether sculpting in terracotta clay, bronze or marble Amaya works directly from the model and his interpretation of the female body is dignified, graceful and unique, a melding of the Mexican Figurative movement with modernist experimentation. Like many of his great piers working in the Latin American tradition, his work is a union of European and indigenous aesthetics. Amaya studied at the National School of Painting and Sculpture under the Costa-Rican born Mexican artist, Francisco Zuñiga, who was also well known for his portrayal of the female form in sculpture. Having graduated from the school, he was personal assistant to Zuñiga for five years before being appointed a Professor at the same institution in 1969. He received much of his art training at the Esmeralda School, which was formed by a group of artisans producing government works. Amaya's sculptures are in private and public collections throughout the United States, Canada, Japan, Ecuador, Mexico and other Latin American countries. Armando Amaya, Mexican b.1935- "Mariposa"; bronze with green patina, signed, dated 1987 and inscribed A/P, 51cm height excluding base CONDITION REPORT: appears as issued with no noticeable signs of defects dimension including the plinth are: 51x46x60cm plinth is 5cm in height
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