We found 186094 price guide item(s) matching your search
There are 186094 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
186094 item(s)/page
Lot 351
Johnson (John?) of Grays Inn Passage, London. An early 19th century, mahogany cased twin fusee, eight-day bracket clock with pull repeat, fitted with an incremental stirrup pendulum. Bearing engraved signature to the backplate with pendulum stay. The white painted dial. marked in Roman numerals with strike/night lever behind the door fitted gilt brass folding handle fish scale grilles and supported on ogee bracket feet. 40 cm high x 29 cm wide x 19.5 cm deep.Footnote: John Johnson is recorded as working at 9 Grays Inn Passage between 1770-1800.See Loomes, Brian. Watchmakers and Clockmaker of the World, page 425.Condition report: I have wound the clock and it runs and when the corresponding hour is reached it chimes proving both going and chiming train are intact, however, I can not vouvch for its accuracy or reliability.The fusee is a steel cable rather than a chainThe case has a crack at the top near the entablature that the handle fixes to and other fine cracks to the case.The movement is very clean and looks to have been recently cleaned.The circular dial looks like painted enamel the name and details are becoming feint and the dial also shows some marks and chip around the winding mandrelsThe rear door is very tight and seems to be slightly twisted and the hinges are looseSee further images
Lot 372
A probably 1960s phosphor bronze, engineer's scale model of HM Submarine; "Tally-Ho" on a titled wooden base, 44 cm long x 13 cm highFootnote: The HMS "Tally-Ho" was a "T Class" submarine; laid down on the 25th March 1942.She saw considerable action during WW2 and was finally scrapped at Briton Ferry, Wales in 1967.Condition report: No apparent major defects.
Lot 437
A pair of Samson of Paris blue scale and "fancy bird" globular porcelain vases, bearing blue faux seal mark to bases. 11.5 cm high x 9 cm diameter, together with a pair of probably Samson two handles vase and covers painted with exotic, birds, bearing fouled anchor marks to base, 23 cm wide x 36 cm high, and other items of Continental porcelain.Condition report: The pair of blue scale vase are OKMost of the secondary items are for restoration.
Lot 15
John Luke RUA (1906-1975)Landscape Composition (1933)Pencil on tracing paper, 37 x 72cm (14½ x 28")In 1933 John and Roberta Hewitt commissioned Luke's first painting in tempera, known as Landscape or County Down. It was also his first imagined landscape. This is a scale study for the work, which is illustrated in Hewitt's monograph on Luke.
Lot 21
Sean McSweeney HRHA (1935-2018)Pool Áth na Beitheoige (1998)Oil on canvas, 91 x 122cm (35¾ x 48'')Signed and inscribed on stretcher verso, Opus No.98-189Exhibited: Taylor Galleries, Dublin, 'Bogland Shoreline Sligo', October 1998, catalogue no.49.A sense of place is very important to Sean McSweeney's process, his compositions are focused around one small area in Sligo where he has lived from the 1980s. By confining himself to this particular area it allows him to get to know the landscape and its environment intimately. His work is characterised by an enduring act of trying to extract the beautiful from the more mundane aspects of the natural environment. On finding the bog pools in Sligo he remarked "They gave me an opening back into painting, a private space, and another world." (True West, Interview with Brian McAvera, Irish Arts Review, Autumn 2012)While working within the tradition of Irish landscape painting, McSweeney's art has its own unique character defined by their abstract style, the bog pools reduced to rectangular shapes surrounded by intruding grasses and plants. The coastline is a horizontal line separating land, sky and sea. While often painting on a small scale, this present work is much larger and more impressive. With the bogland that has been cut away you are looking at framed pools, the light centre with sky and flowers reflected in it, surrounded by the dense green undergrowth.In speaking about his relationship to the landscape he remarked "in the early days, certainly it was memory... a romantic view. That all changed when I went to live in Wicklow. Living in the landscape - living through tough winters was a great challenge... It hardened things up. I got a lot more structure in my work." (True West, Interview with Brian McAvera, Irish Arts Review, Autumn 2012) This is reflected in how he breaks down the canvas first with colour, using rigorous brushwork often aided by a palette knife. Often, he paints the entire canvas one colour and then introduces another into to it to see what might emerge, an organic process that captures the natural rhythms of the landscape and changing light. Niamh Corcoran, 2021
Lot 44
Jack Butler Yeats RHA (1871-1957)The Belle of Chinatown (1943)Oil on canvas, 35.5 x 46cm (14 x 18")SignedProvenance: Purchased at the 1943 exhibition by well-known collector Jack Toohey. Sold in these rooms 11th December 1990 Lot 45, thence by descent.Exhibited: 'Later Paintings' Jack B Yeats Exhibition, Victor Waddington Gallery, Dublin Nov 1943, Cat. No. 12;'National Loan Exhibition' Jack B Yeats Exhibition June/July 1945, Cat. No. 126;'From Yeats to Ballagh' Arts Council Exhibition, Lunds Konsthall, Sweden, April-May 1972, Cat. No. 52Literature: 'Jack B Yeats: A Catalogue Raisonné of the Oil Paintings' Hilary Pyle, Vol 11, Cat. No. 582 p535The genesis of this intriguing work is found in sketches of 1904 and 1905. In 1904 Yeats travelled to New York where an exhibition of his work had been organised by John Quinn. Whilst there he was intrigued by the sights of the city, especially its cosmopolitan mix of races and its streetscapes of signs and advertisements. He visited and sketched Chinatown several times. The young girl with the large flowery hat, the "Belle of Chinatown", is found in the pages of one of these New York sketchbooks (83, X180, Yeats Archive, National Gallery of Ireland). He drew a second sketch of the figure a year later when he was staying at Freshford with J. M. Synge. This is inscribed 'Chinatown, New York'. Yeats has elaborated on these earlier drawings a great deal in this painting created forty years later. The child stands in the daylight in front of a darkened side-street. Next to her in the full glare of the light is a stall on which are displayed an array of hats at 5 c each. An old man, the vendor, is seated behind it. The contrast between youth and age is sharply observed with the man's gaze directed at the bizarre sight of a tiny girl wearing the enormous hat. The dramatic changes in light caused partly by the scale of the buildings also fascinated Yeats. On the left hand side numerous marks of yellow and red indicate the colourful signs and banners of Chinatown. The richly textured use of paint conveys the steep perspective of the streetscape while imparting a strange vignette of the city, reconstructed and enriched by Yeats's combination of memory and imagination. A related painting is "The Public Letter Writer", 1953, (Private Collection) which is also based on his memories of New York, highlighting again cosmopolitan life. Dr. Roisin Kennedyi. Hilary Pyle, Jack B. Yeats. A catalogue raisonné of the oil paintings, 1992, II, p.535.
Lot 45
Patrick Swift (1927-1983)Garden Study (1950)Oil on canvas, 75 x 100cm (29½ x 39¼'')SignedExhibited: Dublin, 'Irish Exhibition of Living Art', 1951, catalogue no.58.Patrick Swift made his exhibition debut as a professional artist at the Irish Exhibition of Living Art in 1950. Critic Edward Sheehy named him as the most promising newcomer - with reservations, chiefly relating to his limited technical abilities. Louis le Brocquy and others had established the IELA in 1943, as response to the perceived, insular conservatism of the RHA. Swift gravitated naturally towards it.Originally from Dolphin's Barn, Swift initially worked for the Dublin Gas Company, studying for two years as a night student at NCAD. By 1950, he regarded himself as a practicing artist and was a resident of Dublin's literary and artistic quarter, Baggotonia, living first in a flat in Baggot St, then in Hatch St, with an American Trinity student and aspiring poet, Claire McAllister. They spent the summer of 1950 in Paris where he studied life drawing and painting.John Ryan (whose sister Oonagh, Swift fell in love with and married), Patrick Kavanagh, Anthony Cronin, Nano Reid, Patrick Pye and Nevill Johnston were friends and part of their circle. Swift wrote as well as painted and was active in literary life. Lucian Freud, in pursuit of Caroling Blackwood, visited and painted, and Swift stayed with him in London in return. There has been much discussion of the flow of influence between them. It seems fair to say that Freud was a significant influence on Swift, but at the same time, he was very much his own man. He had his first solo show with Victor Waddington in 1952.It has been remarked that Swift's early work is characterized by an objective, even cold realism, not that distant from Freud's approach at the time. This fine garden study with its carefully limited palette - gardens and plants remained a source of intense interest throughout his working life - does have a certain analytical quality. It is closely observed but also boldly stylised, in the Cubist mode favoured by several leading modernist painters. Swift cleverly uses Cubism as a device to effectively open up and layer the spaces, leading the viewer into the garden rather than offering a single perspective view.In 1952, when his relationship with Oonagh began, he began the process of moving away from Ireland. After time in London, when he and Oonagh spent a summer in the Algarve in 1962 they realized that they would like to live there, and set about doing so, eventually building a house and setting up a full-scale, working pottery. While Swift painted all the while, he had little interest in exhibiting his work; he was even reluctant to do so. A steady stream of visitors ensured continued contact with Ireland, but within quite a narrow circle, and his artistic profile became diminished. In fact he was relatively unknown as a painter in Ireland until, in 1983, some ten years after his death, a substantial retrospective at the Irish Museum of Modern Art reintroduced him to the wider art public and, more, established him as one of the leading Irish artists of his time
Lot 63
Harry Clarke RHA (1889-1931)Bluebeard's Last WifeMiniature stained glass panel in an inlaid mahogany, walnut and tortoishell cabinet, made by Dublin cabinet maker James Hicks28 x 14.5cm (11 x 5¾)Signed and dated 1921.Backlit by full -size LED light panelProvenance: Purchased at the 1921 Arts & Crafts Society, cat. no. 292 Exhibition by Albert Wood, a barrister, friend and patron of Clarkes for £20 and he had it mounted in the Hick's cabinet. Thence by descent and sold in these rooms, 9/12/1998, cat. no. 62; also 5/12/2011, cat no.113 where purchased by the current owner. Exhibited: Arts & Crafts Society of Ireland 6th Annual Exhibition 1921, cat. no. 292;Exposition d'Art Irlandais, Galeries Barbazanges, Paris 1922 cat. no. 258; Harry Clarke Retrospective Exhibition, The Douglas Hyde Gallery, Trinity College Dublin, November-December 1979, cat. no. 167; The Arts & Crafts Movement in Europe and America, 1800-1920, Los Angeles County Museum of Art, December 2004-April 2005; this major exhibition toured to Delaware Art Museum from June 2005-September 2005 and The Cleveland Museum of Art from October 2005-January 2006. Clarke's piece was one of only a handful of Irish works included in the exhibition; A Celebration of Irish Art & Modernism, The Ava Gallery, Clandeboye, Co. Down, June- September 2011, cat. No. 4; The Arts & Crafts Movement - Making it Irish, McMullen Museum of Art, Boston College, February - June 2016, cat. no. 160. Literature: Nicola Gordon Bowe, The Life and Works of Harry Clarke 1989, fig 120, p.136; Nicola Gordon Bowe and Elizabeth Cumming The Arts and Crafts Movements in Dublin and Edinburgh 1885 - 1925 cat. no. 30, p.103; Nicola Gordon-Bowe, Harry Clarke, cat. no. 167 p.110; Wendy Kaplan, The Arts & Crafts Movement in Europe and America; Design for the Modern World, Thames and Hudson, 2005, p296, full page colour illustration p.294; Lucy Costigan and Michael Cullen Strangest Genius - the Stained Glass of Harry Clarke 2010, full page illustration p.291; Vera Kreilkamp, The Arts & Crafts Movement - Making it Irish 2016 cat. no. 160, illus. p.288 Eleanor Flegg writing a preview of the present lot in The Irish Independent (26/2/2021) explained the story thus -'Bluebeard's last wife should have known better. He already had been married to several wives and nobody knew what had become of them. That was her first warning. Then he told her not to open the door to his secret chamber, while allowing her access to the key. Her curiousity would not be denied.Finally, having discovered what was in the chamber (dead wives), she orchestrated his downfall and became mistress of all his estate. Bluebeard was a nasty piece of work, but his last wife was also a woman to be reckoned with. She was the one that got away.' A masterpiece of the Arts & Crafts movement, this is one of three extant stained glass panels made by Clarke to illustrate one of his favourite scenes from literature and be mounted in a cabinet purpose-made by the renowned Dublin furniture maker, James Hicks. The concept of using two single panels, intricately worked in a microscopically demanding technique with such imaginative skill, and then registered to provide a magical scene of astounding intricacy, and in this case, gruesome foreboding, was unique to Clarke. Apart from this time factor, such was the risk of breakage that he only made such tiny autonomous panels between 1915 and 1923, although he had been incorporating narrative detail into full-scale windows ever since his well-known Honan Chapel series in Cork (1915-1917). It seems likely that this panel was made for inclusion in an anthology which Harraps, the London publishers, planned to illustrate using Clarkes narrative stained glass panels beside his better known watercolour and pen and ink work. The idea was scrapped in favour of twelve new colour and twelve new black and white plates, published as The Years at the Spring in 1920, and, two years later, the same number of illustrations (also on paper) for a uniform edition of The Fairy Tales of Perrault. When the panel was exhibited at the 6th exhibition of the Arts and Crafts Society of Ireland in Dublin in 1921, it was bought by Albert Wood, a barrister and friend and patron of Clarkes, who had it mounted by Hicks, just as his friend Thomas Bodkin had done with his Song of the Mad Prince panel in 1917, and another friend, Sir Robert Woods, would do with his Bottom and Titania panel in 1922. Influenced by the exotic productions of Diaghilevs Ballets Russes then in such vogue, it depicts the sadistic king, scimitar in hand, lying in wait for his innocent bride as she dances unsuspectingly over a garlanded bridge. Her fate if suggested by the gleaming blade he brandishes, the bloody orb below her darkened by ominous silhouettes, the wildly painted whorls in the dramatic sky and two white birds in the foreground vainly trying to escape. Dr Nicola Gordon-Bowe (1948 - 2018)James Hicks (1886 - 1936), is arguably Irelands best known cabinet maker. A virtuoso craftsman, he was born into the furniture making business, his father, Patrick being a master chair-maker. James trained in the cabinet making workshops of Tottenham Court Road in London before returning to Dublin in 1894 to set up his own business on Lower Pembroke Street. The firm rapidly became the leading cabinet-making firm in the country. Describing himself as Cabinet Manufacturer, Collector and Restorer of Chippendale, Adam and Sheraton Furniture, he included among his clients members of the British and Swedish Royal families as well as the aristocracy. In 1928 Hicks won the commission from President Cosgrave to fit out the Dail and Senate chambers in Leinster House and work was also done in the Four Courts and the National Library of Ireland. Aras an Uachtaráin, official home of the President of Ireland, also has a number of important pieces by Hicks including a set of magnificent dining chairs in the Chippendale style.
Lot 16
William Kentridge (B. 1955)Large Typewriters 2003 signed and dated 67/3charcoal and pastel on paper215 by 499 cm.84 5/8 by 196 7/16 in.Footnotes:ProvenanceGoodman Gallery, South AfricaThe BHP Billiton Collection, Melbourne (acquired directly from the above in 2003)Acquired directly from the above by the present ownerWilliam Kentridge has come to be known as one of the most celebrated contemporary artists, lyrically combining both the political and the allegorical into his work. Born in Johannesburg in 1955, Kentridge's parents dedicated involvement to the fight against apartheid in South Africa would have a deep and lasting effect on the artist. Setting him apart from many of his white peers from a young age, Kentridge's somewhat unusual background and upbringing would go onto inform his work throughout his life.'It gave me a kind of belief in bastardy, in mixed traditions, in societies made up of very different impulses, of the fundamental instability of the world rather than its stability and of the central point of the absurd. I mean, what could be more absurd than the racial laws of apartheid South Africa for those 40 years? But they were followed through with great assiduity and cruelty. So in a way the absurd was lodged at a very early age in understanding the unnaturalness of the society I was in.' (The artist in an interview with Louisa Buck, 'William Kentridge: an animated life', theartnewspaper.com, 31 August 2016). Kentridge completed a degree in Politics and African History in Johannesburg, only later turning to art and theatre, however it is this unconventional path that would go onto inform his practice both aesthetically and intellectually, with South African culture and identity at the heart of his practice.A consummate example of the artist's work, Large Typewriters, 2003 combines both the banal and the absurd, the real and the imagined. Here, Kentridge presents the viewer with two quasi-identical typewriters – while fairly commonplace in one's imagination, the typewriter retains a somewhat dated and nostalgic quality, a relic of times gone by. Working from a variety of images and reference points, Kentridge often comes back to the same images in his work, whether that be the typewriter, the megaphone, the telephone or the tree, each image retains its familiarity while referencing something outside of itself in each of its contexts. 'I work closely with different kinds of references. I have a collection of images and things to which I refer throughout my working process. I find my visual imagination is always less interesting than those things I've discovered in looking at the specifics of details. If one can hold on to the specific, it almost always is more interesting [...] Take the drawing of an old typewriter, for example. One has a universal image of what an old typewriter looks like in one's head, so there is an image of it, but it will be bland and inaccurate. There are details of the different kinds of carriage returns, or different kinds of moulding of the black surface of the typewriter around the space bar, which are always more interesting than I could imagine.' (The artist in an interview with Dale Berning, 'Artist William Kentridge on charcoal drawing,' theguardian.com, 19 September 2009)In the present work, the immediacy of the subject matter is palpable, the almost identical objects floating on the sheet consume the viewer by their sheer size. Their specificity is rendered in each of the objects' details outlining both their similarities and their differences, while Kentridge's signature monochrome palette and use of charcoal emphasizes the speed of creation in the smudged lines and sooty surface. For the artist, drawing and in particular charcoal drawing is at the centre of his artistic process, with drawing used at the inception of most of his works, each mark representing the artist's thought process.Kentridge's work has the unique ability of speaking to a universal audience while addressing complex themes specific to South Africa's history of racial discrimination and apartheid. The present work however is discreet in its symbolism, on one hand speaking to wider themes in the artist's work while on the other simply referencing its own physicality. Specific objects are repeated throughout Kentridge's work both singularly and without context but also accompanied by others and placed within a specific narrative. Here the use of tautology as an artistic device forces the viewer to contemplate each typewriter's specificity but also their differences, the thought process outlined by each mark and ultimately their symbolism within the larger socio-political and aesthetic framework of Kentridge's practice. It is from these drawings that the artist's universal vision can be created through his film, theatre and operatic works enveloping each object with multiple and specific meanings – here, the typewriter can be understood as a mimetic device which points beyond itself to Kentridge's larger artistic vision and ultimately the world beyond.William Kentridge's bold artistic vision has seen him become one of the world's most sought-after artists by museums and collectors alike. The artist's singular and monochrome aesthetic is upheld throughout his work allowing for a distinctive and original aesthetic recognisable in his drawing and sculpture through to his projection and full-scale operatic productions. Kentridge's work can be found in the collections of some of the most prestigious museums in the world including the MoMA, New York, Tate Modern, London and the Museum of Contemporary Art, Chicago among many others.This lot is subject to the following lot symbols: * AR TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 37
* Mixed Silver. A Victorian silver mug, London 1863, engraved with gothic scrolls, gilded interior and scroll handle, 10cm high, 188g, together with a mixed collection including a pair of scallop form butter dishes, a pedestal bowl with scale decoration, a pair of pepperettes and others items, combined weight approximately 966gQty: (11)
Lot 48
Maps and Guides: Ordnance Survey of Mullingar c.1904; Dublin District, c.1918; Dublin District, c.1918; Philips' Handy County Atlases of Ireland; Phoenix Maps Plan of Tralee 1842; Geographica Large Scale Plan of Dublin and Index; Murray's Handbook of Ireland; Your Holiday In Ireland by Cooper and Welsman, Ward Lock & Co. Dublin and Ireland Part 2, Baedeker's Guides of the Rhine and of Switzerland and Dublin and Wicklow Manure Company Ltd Catalogue for 1905 (14)
Lot 106
Corgi Eddie Stobart Limited die cast vehicles, comprising a forklift truck, 56702., four Motoring Memories Collectables, 61203., Transit van, 58112., Ford Escort van, 58304., Mercedes 207D van, 58401., a Ford Cargo box van, 59601., and a Special Edition Volvo FH fridge trailer Emma Jade, H4663., all boxed, together with a Vanguards Eddie Stobart Limited Morris Minor van, scale 1:43, VA01116, boxed. (11)
Lot 266
Matchbox Models of Yesteryear, comprising a scale model E Class Tram Car Y3, Fowler Big Lion Showman's Engine Y9, Duke of Connaugut Locomotive Y14, Horse Drawn Fire Engine Y4, Santa Fe American Locomotive Y13, B Type Bus no.2, 1914 Sunbeam motorcycle Y8, scale model of a Sentinel Steam Wagon no.4, an AC white type lorry no.6, and a 4 Ton Leyland no.7. (10)
Lot 34
A pair of 19thC prints, Travelling on The Liverpool and Manchester Railway 1831, plates I-IV., a Train of The First Class of Carriage with the Mail., a Train of The Second Class Outside Passangers with three Third Class Carriages behind., a Train of Wagons with the Goods, etc., and a Train of Carriages with Cattle., published by M B Cotsworth, York., 23cm high, 67cm wide., together with a folder containing scale drawings and plans for scratch built locomotives. (3)
Lot 170
A George II silver salverWilliam Peaston, London 1751Shaped-circular with leaf scroll border, centre chased with rococo scrolls, flowers and fish scale decoration around a later engraved crest, on three paw feet, diameter 32.5cm, weight 33oz.For further information on this lot please visit Bonhams.com
Lot 326
Louis-Ernest Barrius (French, 1841-1905): A gilt bronze figure of 'Nature Revealing herself to Science,'the semi-nude figure with downcast gaze clad in a draped robe on rectangular shallow plinth base signed E.Barrius and with Susse Freres foundry mark and pastille stamp, 24cm highFootnotes:Barrias began his artistic training as a painter but moved on to study sculpture under P. J. Cavalier. He partook in the sculptural decoration of the Paris Opéra, executing a marble statue of Virgil (1865).Numerous editions of La Nature exist, Barrias's most popular design. The first example was a large-scale version, admitted to the Salon in 1893. Examples can now be found in bronze and marble in various heights (97, 73, 58, 43, and 24cm) and tones.For further information on this lot please visit Bonhams.com
Lot 342
A Louis XIV giltwood and gilt gesso mirrorlate 17th centuryProbably circa 1675, the rectangular bevelled plate within an opposing C-scroll-and-leaf moulded slip, flanked by two freestanding ballet dancing putti, within an alternating addorsed and opposing C-scroll carved, floral and foliate strapwork surround with projecting theatrical classical mask embedded cartouche angles, surmounted by a shaped panel cresting comprising trellis work carved with interlacing scrolled acanthus strapwork and flowers centred by a musical trophy, with two musical putti flanking a central freestanding balletic figure holding a dagger aloft whilst standing poised on a pedestal, 156cm high x 88cm wide.Footnotes:Featured'Treasures from Sussex Houses: Bronzino to Boy George' exhibition, 17th September-10th November 1985, Brighton Museum and Art Gallery, Royal Pavilion, No. 31.The Sun KingIt is probable that the main central carved figure on the offered lot is a representation of Louis XIV as a young man. The figure's relatively large scale, central prominence, classical costume and balletic posture suggests that it is a portrayal of Louis XIV in one of his sixty-eight roles as part of the twenty-four ballets de cour that he took part in, often in one of the main roles, during the period 1651-1669. The King first performed at the age of twelve in the Ballet de Cassandre in 1651 and it is believed that his last appearance in this capacity was in 1670, when he took part as a thirty-one year old in 'Les Amants Magnifiques'. However, the apparent depiction of Louis XIV on the present mirror is perhaps most reminiscent of two specific drawings which show the youthful 'Sun King' in full balletic garb. The first is as Apollo from the widely celebrated and important 1653 Ballet Royal de la Nuit and the second illustrates Louis in the part of La Guerre from Les Noces de Pelee et de Thetis.Louis XIV was a highly influential figure in the early development of ballet and a major proponent of ballet as a flourishing art form in France during the third quarter of the 17th century. His active involvement in, and evident enthusiasm for, a distinctively French style of 'court' ballet, alongside such key figures as the Baroque composer Jean Baptiste-Lully (1632-1687), cannot be understated. The king even founded the first Academy of ballet when in 1661 he established the Academie Royale de Danse.Referenceswww.danceinhistory.comwww.planethugill.comwww.vam.ac.ukThis lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 424
A small Charles II oak gateleg tableThe oval hinged top above a moulded frieze on bobbin turned legs, 67cm wide x 60cm deep x 69cm high, (26in wide x 23 1/2in deep x 27in high)Footnotes:ProvenanceSotheby's London, The Moller Collection from Thorncombe Park, Surrey, 18 November 1993, Lot 28LiteratureCHINNERY Victor 'Oak Furniture, The British Tradition' 1979, pp. 397-409SYMONDS R.W. 'Gate Leg Tables of the Seventeenth Century', The Antique Collector', April 1947, p.57, fig.10SYMONDS R.W. 'Furniture Making in Seventeenth and Eighteenth Century England', 1955, p.66, pl.79The small scale of this table suggests that it might originally have been intended for the use of children and may have originally formed part of the furnishings of a late 17th century nursery.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 417
JOHN SPEED (1552-1629) The West Riding of Yorkshire, hand coloured engraved map with title cartouche, plan of York, figural scale and armorials, script to reverse, 16 1/2" x 21 1/2", Hogarth frame (Est. plus 21% premium inc. VAT)generally good, colours strong, good margins, some creasing to top right and lower left corners
Lot 56
10 Modellautos Schuco Examico 4001; 2x Schuco Akustico 2002; Schuco Studio-Mercedes; BMW 5er Touring, 1:87; 2x Faller, Mercedes, je 1:43; Schuco, BMW Isetta "Lufthansa", Schuco, BMW "Dixi Scale"; Schuco Piccolo, VW-Kastenwagen. Altersspuren, tls. in Originalverpackung, tls. unvollständig, min. besch..
Lot 396
Johannes Blaeu/Devonia vulgo Devon-Shire/Amsterdam, circa 1645/engraved map with contemporary hand colouring, decorative cartouche and mileage scale, slight spotting, 39.5cm x 50.5cm and /Cornubia sive Cornwallia/Amsterdam, circa 1650/engraved map with hand colouring, 39.5cm x 50.5cm (2)/Provenance: Sotheby's 7th April 1998, Lot 212 (part) CONDITION REPORT: The paper is very slightly discoloured, the colouring is good, the impression good.The glass to frame has been broken, the frame is
Lot 397
Johannes Blaeu/Monumethensis Comitatus Vernacule Monmouth Shire/Amsterdam, circa 1645/engraved map with hand colouring, large decorative cartouche and mileage scale, 38cm x 50cm and/Comitatus Dorcestria sive Dorsettia; vulgo Anglice Dorset Shire/circa 1660/engraved map with hand colouring, large ornate cartouche, 38.5cm x 50cm (2)Provenance: Sotheby's 7th April 1998, Lot 212 (part)
Loading...-
186094 item(s)/page