A pair of Italian carved and silvered wood open armchairs:, in the 17th Century taste, the backs with needlework and wire thread tassel hung banners with metal rosette ornament, having scale decorated scroll arm supports and plush embroidered tassel hung seats on square section legs, united by acanthus scroll and shield decorated front stretchers.
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Donaldson & Sons, Niddry Street, Edinburgh, a 12ins table top terrestrial globe: the globe inscribed 'Donaldson's Terrestial Globe, 1836, Engraved by W. & A.K Johnston, Published by Donaldson & Sons, Niddy St. Edin.', the horizon band with printed paper scale for months and zodiac signs, mounted on an ebonised frame, raised on ring turned peg feet linked by stretchers, 46cm. high.
A late 19th Century carved giltwood rectangular wall mirror:, the plate within a spiral ribbon slip, surround with paterae, cornucopia, urns of fruit and foliage, scrolling acanthus leaves and mythical birds on light brown velvet grounds and with an egg and dart and scale border, 119cm (3ft 10 3/4in) x 92cm (3ft 0 1/4in).
Isaac Taylor Map of the County of Gloucester 1777, large ornate title cartouche, top left hand corner five views of Berkeley, Beverstone, St Briavels, Sudeley and Thornbury Castles, scale is 4 miles : 3.25 inches, it shows towns, villages, hamlets, churches, etc., however the map has been cut into six large panels backed with paper and bound in an oblong folio, each section measuring 60cm x 46cm approx., there has been some restoration to the edges and there is some creasing, quarter-leather, brown bds with a red leather and gilt tooled title pastedown to front board
A Meiji period signed, carved wooden netsuke, modelled as a seated kirin, the long mane from head to tail with flames to body, signed to base Gypkuseki, 5.8 cm high x 2.5 cmScuffs around the forehead.Small chip to a scale on the leg.Small chip to the edge of a hoof.Slight rubbing to one side of the neck.Overall in very good condition.
A 19th century Worcester style porcelain coffee pot, the body with scale blue ground and reserves painted with brightly coloured birds, flowers and butterflies, surmounted by a similarly decorated lid with naturalistic flower bud knop, unmarked with a small chip to the inside footrim 22 cm H
A stunning vintage 1930's extremely large canvas backed land Utilisation Survey of Britain North Wales, surveyed on the six-inch scale ( 1932-5 ) Caernarvonshire by the schools of the county and students of Normal College. London School of Economics, Director of the Survey L. Dudley Stamp B.A., D.Sc.Printed by Edward Stanford Ltd, 12 - 14 Long Acre, London WC 2. Fitted on period hanging rail with turned finials to base.
Jack Butler Yeats RHA (1871-1957) AGAINST THE STREAM, 1945 oil on panel signed lower left; inscribed with title on reverse; also with inscribed Dawson Gallery label on reverse and typed Waddington Galleries, London label on reverse Sold by the artist to R.N. Flynn, 1945;Christie's, 17 June 1960;Where purchased by Waddington Galleries, London;Collection of Mr and Mrs F. Hess, London;Collection Mrs Y. Tucker;with Waddington Galleries, London;Where purchased by a Mr Daniel O'Keeffe;Private collection;Whyte's, 26 November 2012, lot 44;Private collection Pyle, Hilary, Jack B. Yeats: A Catalogue Raisonné of the Oil Paintings, André Deutsch, London, 1992, Vol.II, p.639, catalogue no. 708 A man walks briskly along a river bank pulling a small barge in the water along behind him. The dramatic contrast in scale between him and his passengers suggest that the latter is a toy or that some fantastic scene is before us. Yeats' intricate handling of the paint conveys a breezy day with the trees on the bank blowing in the gentle wind. The bright blues of the sea and river compliment the dark greens and yellow tones of the surrounding vegetation and suggest the warmth of a summer's day. The blue paint of the water has been scrapped back in parts to reveal the white of the canvas underneath. This denotes the reflected light of the sky on the surface of the river, while drawing our attention to the physical construction of the painting. The pink shirt and grey trousers of the ferryman while contrasting in hue with that of its environs are blended into the composition through the way in which the artist has sculpted the form out of paint. Rivers and ferrymen are a major theme in Yeats' work. The ferryman, like the pilot man who guided the ships in and out of port is symbolic of an innate wisdom and a keen understanding of the complexities of the sea and the tide. The title of this work, Against the Stream, indicates the skill of the man as he manoeuvres the boat upstream. The disconcerting discrepancy in scale between the giant male figure and the tiny doll-like forms of the passengers equally evokes a world of make-believe. One of Yeats' great pleasures as a young man was making paper boats and floating them on the River Gara close to his Devon home of that time. The poet John Masefield, a close friend of the artist, often joined in this pursuit. Several of Yeats' paintings of the mid 1940s such as The Launching (1945, Private Collection) and A Beach in Lilliput (1944, Private Collection) refer back to memories of this time. Another work, The Model Ship (1945, Private Collection) depicts a sailor looking at a model yacht sailing in the water below. [1] Rivers are moving forces and as such they represent the unending progress of life and nature. The sense of journeying is keenly expressed in this work through the movement of trees, the water and above all by the striding figure and the boat. The wide spread of the composition takes in the breadth of the river and its opposing bank and thus sets the expedition of the man and the boat within the much greater context of natural forces. In a playful manner Yeats uses the work to pose quite profound questions about the purpose of an individual life set against the bigger forces of the natural world. Dr. Róisín KennedyAugust 20171. Hilary Pyle, Jack B. Yeats. A Catalogue Raisonné of the Oil Paintings, André Deutsch, 1992, no. 637, II, p.581 9 by 14in. (22.9 by 35.6cm)
A pair of early 19th century landscape plates, a pair of similar Derby plates and a Derby shaped dish, the pair of plates numbered B 732 to base (one titled 'Princes Islands'), with green and gilt scale decoration to shaped borders, the Derby items with gilt foliate borders and variously titled 'Oreston Passage, Plymouth', 'In Cumberland' and 'Madeley Castle, Staffordshire', puce Derby mark, all with some wear to gilding (5) Dia 22-24cm
A late 19th century marine stick barometer having an iron case with brass mounts and silvered sliding scale on mahogany plinth, the whole mounted in an ebonised glazed case bearing a label for Yardley & Sons, 25 Mount Pleasant, Clerkenwell, case dimensions: width 31.5cm, depth 19cm, height 126cm
A Grand Tour bronze sculpture after the antique, being a scale copy of the Dancing Faun at Pompei, 72 cm The original Dancing Faun was discovered in the atrium of the subsequently named 'House of Faun' in Pompeii, first excavated by archaeologists in 1830. The figure of the dancing faun originally stood on the lip of the impluvium, a basin for catching rainwater, and a copy has since been placed in the centre. The original Dancing Faun is currently held in the collection of the Naples Archaeological Museum.
A rare 17/18c French Butterfield type brass sundial with compass and folding gnomon by N. BION Paris (1652-1723) who became Engenieur du Roi to Louis 14th. The names of 26 European cities finely engraved verso, the gnomon with beautifully engraved and applied decoration of a bird whose beak acts as a pointer on the scale in orig velvet trimmed mahogany box G+
BOOK - COLLINS, John - 'GEOMETRICALL DYALLING: or DYALLING performed by a line of CHORDS only, or by the PLAIN SCALE...' printed by Thomas Johnson for Franci Cossinet 1659, very rare first edition with twenty plates & numerous engravings on the pages, pages 57 & 58 missing, within later 18th or 19th Century board covers.
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