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Lot 752
Peter Hayes (born 1946), a white raku bow form, incised signature and date 2001 to plinth base, 23cm high CONDITION REPORT: Good conditionARR Artist's Resale Right may apply to the sale of this lot, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk
Lot 753
Peter Hayes (born 1946), a red raku bow form with turquoise disc, incised signature to plinth base, 31cm high CONDITION REPORT: Good conditionARR Artist's Resale Right may apply to the sale of this lot, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk
Lot 754
Peter Hayes (born 1946), Figure, ceramic sculpture, painted signature to plinth base, 16cm high CONDITION REPORT: Some discolouration to plinth, perhaps re-glued. Otherwise good. ARR Artist's Resale Right may apply to the sale of this lot, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk
Lot 12
A RARE FIGUREHEAD MAQUETTE FOR THE CLIPPER SHIP ABERGELDIE BUILT BY JOHN DUTHIE, SONS & CO., ABERDEEN, 1869 in the form of a 34in. high full-length highland clansman, wearing a tam o’shanter and tartans with sporran and holding a claymore handle, depicted stepping forward on a plinth base -- 53in. (134.5cm.) high overallFootnote: The full-rigged Abergeldie was built in Aberdeen by Messrs. Duthie and launched in April 1869. Owned by her builders for almost her entire career, she was intended for the lucrative Australian wool trade and was widely regarded as a particularly strong and handsome vessel. With her fine lines, stout construction – including iron deck beams – and lofty sail plan, she entered service under the command of Captain James Duthie with high expectations from all concerned, especially as she had cost more than practically any other Aberdeen-built ship before her. On her maiden voyage, she left Aberdeen on 17th May (1869) in company with another brand new clipper, the Centurion, and the two of them raced to London with Abergeldie getting in first at 3.20am on the 21st. Despite this, she proved steady and reliable rather than a record-breaker, although many of her homeward passages were better than average. After an uneventful six years, she was badly damaged in “a furious gale” just after leaving Sydney early in November 1875 and forced to return there for significant repairs to all her upper masts. In October 1879, whilst at sea, she suffered a serious fire below decks but when the hatches were unsealed after four days, the fire had fortunately extinguished itself due to lack of air. Early in 1884, she was again damaged in a gale and forced to limp back to Sydney for further repairs estimated at £800. Sadly, the autumn of 1889 proved a watershed and barely three weeks after a brief stranding on the Thames foreshore after colliding with the barge Aldeborough off Barking, she was then in another collision, this time fatal, at the beginning of November. After twenty years in the wool trade, she had been sold by Duthies after the stranding in the Thames and was bought by Messrs. J. Rust & Co., timber merchants. Leaving London with a cargo of iron on 23rd October 1889, bound for Sundsvall (Sweden), and there to load timber for Melbourne, she collided with the S.S. Eden, of West Hartlepool, off the Norwegian coast and sank almost immediately although all her crew were picked up by the British steamer.Condition report: claymore lacking blade, paintwork sympathetically restored
Lot 42
A NOVELTY DESK CLOCK, CIRCA 1930 modelled in the form of a ship’s bridge telegraph with 2in. white-painted clock dial signed to centre Mercedes/made in Germany, with rear wind to clockwork movement loosely contained in wooden brass plinth base -- 9in. (23cm.) highCondition report: Good overall condition, running well at the time of cataloguing
Lot 629
A Greek Revival carved and ebonised console table, of recent manufacture, the rectangular veined white marble top raised on a winged monopod support, with acanthus detail and a paw foot, on a moulded rectangular base, 81cm wide, 39cm deep, 82cm highCondition report: The marble appears associated and maybe a 19th-century piece. Dirt and surface wear to marble, with some small chips to the back edge. General wear, knocks and losses to base, particularly to the plinth, where there are several areas of lost and chipped lacquer.
Lot 1443
Good Victorian mahogany twin pedestal desk, the top with inset tooled red leather and having thirteen drawers about the kneehole on plinth base, 112cm wide x 70cm deep x 76cm highCondition report: Good condition, piece of beading missing from middle drawer. The rear is faded and has a piece of moulding missing. The handles have been replaced. The top leather is mostly evenly worn and faded to a coral colour . The right side has a piece of beading missing- see extra images
Lot 1475
Giosue Argenti (1819-1901) - Fine 19th Century Italian carved Carrera marble sculpture of a sleeping female nude, signed and dated 'CAV. GIOSUE ARGENTI F. MILANO 1869' raised on canted rectangular plinth, total dimensions 123cm wide x 58cm deepN.B. Another version of the same subject - il Sonno Dell'innocenza (The Sleep of the Innocence) signed and dated Milano 1872, sold Sotheby's, New York, 26 April 2017, lot 279, for £9,346 hammerProvenance: Property of a Lady, removed from a Hertfordshire Country EstateCondition report: Slight damage to her feet - little toe on her right foot is missing, wear to both feet at extremities, there is damage and repair to her hand. The lower plinth (different colour marble) has numerous chips and small losses around the periphery. There is some overall weathering and grubbiness/surface marks, also a little paint adhered to surface. Condition is mostly ok
Lot 1745
Group of sculptural works of art, to include antique possibly 18th century carved wood and wax headed doll, raised on associated wooden triangular plinth, total height 43cm, wire work figure of a cobra, Black Forest carving of a bird, abstract wooden carving and a wooden bird carvingProvenance: The Robert Barley Collection
Lot 238
Pair of late 19th century Sèvres style ormolu mounted porcelain vases, each of slender form with twin female bracket handle, raised on spread socle and stepped laurel leaf moulded plinth, with Boucheresque painted classical reserves signed 'Collot', 58cm high, one vase partially dismantled but elements presentCondition report: Assembled vase is very dirty. The fittings retain little of their original gilding, there is movement to them and there is overall wear to gilding and painted decoration. Due to dirt we cannot comprehensively access ceramic elements but there are no obvious signs of damage or restoration.The disassembled vase is very dirty. The fittings retain little of their original gilding, there is overall wear to gilding and painted decoration. The neck has some chips to the rim. All elements would appear to be present. Due to dirt we cannot comprehensively access ceramic elements but there are no obvious signs of damage or restoration to body.
Lot 1418
Good 19th century mahogany breakfront bookcase of narrow proportions, the upper stepped with Greek key cornice above four astragal glazed doors enclosing adjustable shelves, drawers and panelled cupboards below on plinth base, 150cm wide x 45cm deep x 215cm highCondition report: In two sections, good condition , flanking glazed doors bowed and not closing properly, piece of beading missing from central cupboard door
Lot 1823
Orange Order, George III silver and gilt metal badge, by James Brush, circa 1798, circular form, with an armoured equestrian figure of William III above a plinth numbered '474', and engraved 'J.A.S. Brush, Junr. Dubn. Fecit ', within a ribbon tied laurel wreath, with a ring attachment, diameter 6.8cm. James Brush, of no. 7 St. Andrew's Street, silversmith and medallist. Silver pierced and engraved jewels were often worn by Irish Freemasons during the latter half of the eighteenth century and James Brush was quick to recognize a niche market, providing not only jewels worn by members but also Officers jewels and also Past Masters jewels, the latter being presented to the outgoing Master of each Lodge. In his elaborate trade card of 1802, Brush refers to himself and his son as "Masonic Jewellers to the Grand Lodge of Ireland", also advertising "Jewellery Work in the most Correct and Elegant Stile and Medals for Farming and other Societies done with Taste". Brush was himself a member and in 1792, was involved in founding a "Society for the "Schooling of the Orphan Female Children of Distressed Masons", which led to the foundation of the Masonic Female Orphan School", an institution to which he was to become Treasurer. James Brush was also listed as a seal engraver and as a Madeira wine merchant.
Lot 1913
A two-handled silver-gilt cup and cover, with cancelled marks and London Assay Office marks for 2020, classical urn form, with ribbon tied drapes and medallions, fluted leaf capped scroll handles, pull-off swirl fluted cover with a cone finial, on a raised swirl fluted foot on a square base with beaded medallions, on a square stepped wooden plinth, applied with a plaque inscribed 'The Golden Cup, A Symbol of Charity and Generosity The Butchers Charitable Institution', and set with a George III Guinea, underneath inscribed '1773', height 54cm, height on plinth 61cm, approx. weight 116oz. Provenance: This lot is being sold on behalf of The Butchers and Drovers Charitable Institution. Antique Plate Committee case number 9405.
Lot 108
A 20th Century Georgian style twin pedestal dining table, with moulded top and reeded edge, above a pair of columns with outswept legs terminating in brass cap and castors, 239 (extended) x 90 x 73cms high; together with a sideboard, raised gallery, the rectangular top above an arrangement of three frieze drawers and three panel cupboard doors, raised on a plinth base, 149 x 56 x 90cms high.
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173487 item(s)/page