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Master of Santiago. Artist from the circle of the Master of Palanquinos. (León and Astorga, circa 1500)Master of Santiago. Artist from the circle of the Master of Palanquinos. (León and Astorga, circa 1500)"The Martyrdom of Saint Sebastian"Tempera and gold on panel. This lot and the following one were part of the same altarpiece. Panel measurements: 89 x 62 cm.Thanks to the research of Dr. Albert Velasco, it has been possible to ascribe this table and the subsequent one (lot 6) as from the Master of Santiago.In his thesis “De la pintura Hispano-flamenca al primer Renacimiento en las antiguas diócesis de León y Astorga: El Maestro de Palanquinos y el Maestro de Astorga (c. 1480-1540)” (On Hispanic-Flemish painting of the early Renaissance in the former dioceses of Leon and Astorga: The Master of Palanquinos and the Master of Astorga (c. 1480-1540)), Marc Ballesté, in chapter 2.5, Collaborators and the Maestro de Palanquinos Circle, identifies a series of artists whose paintings were attributed to the Master of Palanquinos until that moment. One of these is the painter known as the Master of Santiago, because of the number of scenes he dedicated to the pilgrim saint. These panels, lots 5 and 6 in our catalogue, unknown until now, have thus been identified by Dr. Albert Velasco as being by the Master of Santiago, and they could in fact have belonged to the same reredos of the life of the saint as those mentioned by Marc Ballesté: “Finally, it is worth mentioning some panels which are all work of the same painter. On describing four of these, kept in Raimundo Ruiz’s collection in Madrid, Post does not only ascribe them to the Master of Palanquinos but also defines them as some of the artist’s greatest achievements. They represent scenes from the life of James the Great (Santiago), specifically the Drowning of the Persecutors of the Saint’s Disciples, the Sermon, the Decapitation, and the Removal of the body of Saint James.A sign of its relation to these is the human form of the only figure in a frontal position in both panels, which is identical in its features. According to the photo library, the painting The Removal of the body of Saint James, can be found in E. García’s collection in Madrid. According to what can be seen in both images, we are disposed to refute the attribution put forward by Post. As in the paintings studied recently, the Master has something of the style of Palanquinos but does not share various elements with him. He shows, for example, a lack of control over proportions both of human and architectural forms, and introduces flat landscapes without gilded skies, and with scattered trees, definitively more naturalist and closer to the renaissance, which was yet to arrive. The way that he paints the characters’ eyes, with their certain, rounded shape framed by rather arched eyebrows deserves attention. Just like the Master of Valencia de Don Juan, the originality of the gold decoration of the haloes is also outstanding. There are two more panels, one in Dr. Esteve’s collection in Barcelona and the other in the museum at Astorga Cathedral, which are likely to have been painted by the same artist, which according to the number of scenes he dedicated to the pilgrim saint, we can call the Master of Santiago.”We thank Dr. Alberto Velasco Gonzàlez, for his help in identifying and cataloguing this work.Bibliography:Ballesté Escorihuela, Marc: “De la pintura Hispano-flamenca al primer Renacimiento en las antiguas diócesis de León y Astorga: El Maestro de Palanquinos y el Maestro de Astorga (c. 1480-1540)”. Lleida, abril de 2017.
Imposing wooden cabinet covered with ivory and painted ivory with gilded bronze applications. Augsburg, Germany. Circa 1650.Imposing wooden cabinet covered with ivory and painted ivory with gilded bronze applications. Augsburg, Germany. Circa 1650. Possibly from Melchior Baumgartner’s workshop (1621-1686) 27 x 24 x 18 cm. Magnificent cabinet, probably for keeping jewellery in. The central body has two doors which show us two Biblical scenes from the story of Adam and Eve when opened. The interior has a central body with a shrine surrounded by small drawers. All of this is decorated with magnificent miniature scenes from the Old testament, such as the Great Flood, the Tower of Babel and Isaac’s Sacrifice, all following models of engravings by Albrecht Dürer. The upper part has a top with a folding lid and the lower part has a draw that rests on a base with small claws. There is a similar chest kept in the Victoria & Albert Museum in London, with the inventory number W.60-1923. As we can read in the description on the museum’s index card: “By about 1600, Augsburg, in Germany, was already the centre of the production of cabinets, mostly in ebony and, more rarely, in ivory, mounted with silver or gilt brass, enamel and semi-precious stones. Because these cabinets were made from precious materials and assembled with such skill, they were regarded as fit for princes and noblemen and served as diplomatic gifts. Https://collections.vam.ac.uk/item/O61320/table-cabinet-baumgartner-melchior/
Carved wooden cabinet with card stones and rock crystal. Florence. Italy. Second half of the 17th century.Carved wooden cabinet with card stones and rock crystal. Florence. Italy. Second half of the 17th century. Cabinet measurements: 50 x 56 x 31 cm. Table measurements: 76 x 73 x 34 cm.
An early 19th Century Dutch marquetry demi lune card table, the hinged shaped top inlaid with central urn issuing flowers and vines, contained within foliate scrolls and parrots, enclosing a baize lined playing surface, above a single frieze drawer and raised on square tapering legs, 74.5 x 81.5 x 40cms.
An 18th Century Dutch marquetry card table, the rectangular hinged top with lobed corners, inlaid with central urn issuing foliate vines, enclosing a baize lined interior, with inlaid playing cards to the corners, with frieze drawer to one side and raised on slender cabriole legs and pad feet, 74 x 77 x 38cms.
A 19th Century rosewood and boxwood lined card table, the hinged rectangular top with inlaid fleur-de-lis, enclosing a baize lined interior, above a turned and reeded column, raised on a quadripartite base and outswept legs, terminating in brass caps and castors, 73 x 91 x 45cms.
A Regency mahogany Pembroke table, the ebony lined rectangular top with inlaid fleur-de-lis and two rounded drop leaves above a single frieze drawer, raised on scroll supports and outswept legs, terminating in brass caps and castors, 71.5 x 103(open) x 86cms.
An Edwardian mahogany library table, the rectangular top with inset green tooled leather writing surface, above two frieze drawers with opposing dummy drawers raised on shaped supports and outswept legs, terminating in brass caps and castors, united by a turned stretcher, 74 x 112 x 55cms.
Bague en or jaune sertie d’une intaille en agate blonde représentant Ulysse reconnu par son chien. Art romain. IIème - IIIème siècle après J.-C 11 x 9 mm. (Intaille). Très belle conservation. Monture moderne.Poids brut : 4,71 g ) - Tour de doigt : 56.D'après la légende d'Ulysse et son chien Argos. (*)Le sujet de cette intaille mérite un rappel de cet évènement mythologiqueD'après l'Odyssée d'Homère (chant XVII), Argos est le chien d'Ulysse, qui, fidèle à son maître le reconnut immédiatement, après vingt ans d'absence, à son retour de la guerre de Troie. Le déguisement d'Ulysse en mendiant ne le trompa pas. À peine le vit-il qu'il en mourut sur place.Soudain un chien couché près d'eux lève sa tête et dresse ses oreilles : c'est Argos, que le vaillant Ulysse avait élevé lui-même ; mais ce héros ne put voir le succès de ses soins, car il partit trop tôt pour la ville sacrée d'Ilion. Jadis les jeunes chasseurs conduisaient Argos à la poursuite des chèvres sauvages, des cerfs et des lièvres ; mais depuis que son maître était parti, il gisait honteusement sur le vil fumier des mules et des bœufs, qui restait entassé devant les portes, jusqu'à ce que les serviteurs d'Ulysse vinssent l'enlever pour fumer les champs. C'est là que repose étendu le malheureux Argos tout couvert de vermine. Lorsqu'il aperçoit Ulysse, il agite sa queue en signe de caresses et baisse ses deux oreilles ; mais la faiblesse l'empêche d'aller à son maître. Ulysse, en le voyant, essuie une larme qu'il cache au pasteur, puis il prononce ces paroles : « Eumée, je m'étonne que ce chien reste ainsi couché sur le fumier, car il est d'une grande beauté. Toutefois j'ignore si avec ses belles formes il est bon à la course, ou si ce n'est qu'un chien de table que les maîtres élèvent pour leur propre plaisir. »Le pasteur Eumée lui répond en disant : « Hélas ! c'est le chien de ce héros qui est mort loin de nous ! S'il était encore tel qu'Ulysse le laissa quand il partit pour les champs troyens, tu serais étonné de sa force et de son agilité. Nulle proie n'échappait à sa vitesse lorsqu'il la poursuivait dans les profondeurs des épaisses forêts : car ce chien excellait à connaître les traces du gibier. Maintenant il languit accablé de maux ; son maître a péri loin de sa patrie, et les esclaves, devenues négligentes, ne prennent aucun soin de ce pauvre animal ! C'est ainsi qu'agissent les serviteurs : dès qu'un maître cesse de les commander, ils ne veulent plus s'acquitter de leurs devoirs ; Zeus ravit à l'homme la moitié de sa vertu quand il le prive de sa liberté. »Quand Eumée a achevé ces paroles, il entre dans les demeures d'Ulysse et va droit à la salle où se trouvaient les fiers prétendants. — Mais le fidèle Argos est enveloppé dans les ombres de la mort dès qu'il a revu son maître après vingt années d'absence ! »Selon le dictionnaire grec-français d'Anatole Bailly, l'adjectif argos signifie soit brillant, luisant, blanc soit rapide, agile, léger tandis que l'article relatif au nom propre indique pour le chien d'Ulysse : « littéralement l'agile ou peut-être le blanc »
Subbuteo 'Top Spin' table soccer OO scale football teams, East Midlands and Yorkshire clubs, comprising C.100 Derby County, boxed; C.100 Leeds United, boxed; C.100 Nottingham Forest, boxed; C.100 Sheffield United, boxed; C.100 Sheffield Wednesday, boxed and C.100 York City, boxed (6)
Subbuteo 'Top Spin' table soccer OO scale football teams, Southern, Northern and Scottish clubs, comprising C.100 Blackburn Rovers, boxed; C.100 Bristol Rovers, boxed; C.100 Celtic, boxed; C.100 Luton Town, boxed; C.100 Middlesbrough, boxed; C.100 Queens Park Rangers, boxed and C.100 Watford, boxed (7)
Advertising, Liebig Company's - a 19th century rectangular pictorial showcard, depicting a young female feeding, she sits beside a tripod side table with a can of Peptone of Beef to the side, "Liebig Company's Peptone of Beef a Strengthening Food for Invalids and Convalescents / a Highly Nourishing Diet Especially for Dyspeptic Patients", framed, 62cm x 47cm (measurements including frame)
An Aesthetic movement mahogany two tier centre table, by Howard & Sons, circa 1890, on turned and reeded spindle supports and stretchers, the underside with old paper label for the maker 'Tea table / 14262 / 2779 / HOWARD & SONS / CABINET MANUFACTURERS / DECORATORS / 25, 26, 27, BERNER'S STREET W. 79cm high, 92cm wide, 61cm deep,
Art Nouveau table lamp, the glass shade etched mark La Verre Francais, 43cm high overall Condition Report: Marks to the metal, The wiring is recent but would need testing and probably replacing prior to use in a domestic settingThe glass appears in fair condition overallCondition Report Disclaimer
A chrome and black slate console table, 20th century, by Villiers, 92cm high, 200cm wide, 45cm deepCondition Report: Marks, knocks, scratches, abrasions consistent with age and use, overall the condition the lack of significant age of this console table There are brackets designed to hold this securely to a wall on installation - at present it is free standing in Dreweatts salerooms and is slightly wobbly. This is by Villiers - there is a small button label to the lower part of the baseThere is surface dust and dirt, this would benefit from a clean it appears to have been in storage previously.Please refer to additional images for visual reference to conditionCondition Report Disclaimer
David Linley, a Macassar side table, of recent manufacture, 53cm high, 50cm wide, 40cm deepCondition Report: Marks, knocks, scratches, abrasionsSome minor chips and losses This wired and whilst this will have been recent due to the lack of age of this piece it should be tested by a professional electrician prior to use in a domestic setting. It is sold as a decorative, modern furnishing item only.Please refer to additional images for visual reference to conditionCondition Report Disclaimer
David Linley, a Macassar low centre table, early 21st century, with one drawer to the front, on a perspex base, 34cm high, 100cm squareCondition Report: Marks, knocks, scratches, abrasions, Chips and losses to some veneers, mainly around the drawerSigns of use in a domestic setting There are scratches around the opening of the non-drawer side, overall this will probably benefit from a polishThe handles are original - these are designed to say LINLEY in the reflectionPlease refer to additional images for visual reference to condition Condition Report Disclaimer
Lalique, Cristal Lalique, Cactus, a circular table, 1980s, with a clear glass circular top on a metal ring, glass leaf supports and short leaves to the base, the frosted glass base with fitted slots for the supports, marked, 72cm high, the glass top 150cm diameter Condition Report: One long frond previously detached at base but has been professionally restored, all elements are present and attached now in the saleroom. The previously detached frond can be seen in the additional imagesMinor scratching to the surfaces, minor chips and nibbles to be expected but overall condition reflects lack of significant age and use in a domestic settingThe metal frame with some pitting and discolouration but is overall solidThe whole table solid and stable overall Please refer to additional images for visual reference to conditionCondition Report Disclaimer
A console table, recently manufactured by Hamilton Conte, Paris, Orick pattern in Cognac (walnut) finish to simulate rosewood, 92cm high, 180cm wide, 40cm deepCondition Report: Overall this table appears to be a condition overall that reflects its lack of age and light use in a domestic setting - there are some scratches to the lacquered/polished surface but these do not appear to be major - there are no clear chips or losses to the underlying timber or veneersPleas refer to additional images for visual reference to conditionCondition Report Disclaimer
Y A sculptural chromed metal side table, modern, of unusual form, the mirrored top above the body applied with Abalone shells, 91cm high, 235cm wide, 62cm deepCondition Report: There are knocks and scratches, the top with marks, The shell applied body with knocks and scratches, the gaps between the shells with a grey-coloured grout/putty. There are some small chips and losses but these do not appear hugely noticeable due to the construction of this table.Dreweatts has no knowledge of the maker of this table Overall appears very solid and stablePlease refer to additional images for visual reference to conditionCondition Report Disclaimer
Jonathan Adler, a burr wood extending dining table, 'Bond' pattern, with one additional leaf insertion, 77cm high, 254.5cm wide (extended), 102cm deepCondition Report: Marks, knocks, scratches, abrasions consistent with age and use, The top is presently separate from the stand, this will require some screws to secure, Please refer to additional images for visual reference to consistent with age and useCondition Report Disclaimer
A gilt and patinated metal table, of recent manufacture, in the manner of Giacommetti, with glass top above the base modelled as branches and with a creeping lizard, 62cm high, the top 60 x 60cmCondition Report: Marks, knocks, scratches, abrasions consistent with age and useOverall solid and stableSome slight surface discolouration and spotting to the gilt and patinated metal elementsThe glass with some surface scratches - there are little feet to the corners to protect the glass from the metal base, these have stuck the two elements together and at present it is not possible to separate them (it is not clear if this was by design or due to longterm positioning.Overall this table reflects its lack of significant age Please refer to additional images for visual reference to condition Condition Report Disclaimer
Two Chinese carved hardwood stands or occasional tables, one 70cm high, 31cm square, the other 52cm high, 50cm square Condition Report: Crack to the top panel and carved decorative side panel of the lower table, otherwise with general wear commensurate to ageCondition Report Disclaimer
A quantity of decorative ceramics, to include tea ware, oval Booth's tureen, cover and ladle, Wedgwood blue jasper dip, other Wedgwood dressing table items, Coalport spill vase, dressing table trays, reproduction Chinese bowls, Continental porcelain shaped circular dishes, Wedgwood Clementine pattern bottle vase, etc Generally good, tureen crazed, some cracks, chips, other faults
Miscellaneous pottery and porcelain, to include Lovatt Langley Mill glass glaze waisted jar and cover, Bretby pottery, square box and cover with bee finial, William Ault lilac dressing table box and cover and a Myatt & Son castle top vase, two Susie Cooper oval meat dishes and a Honiton pottery wall pocket, together with Worcester Evesham flan dishes, tureens, fluted bowls, Midwinter jugs, etc Generally good
An Anglo-Indian carved and pierced black wood tripod table, Bombay (Mumbai), late 19th c, the octagonal top with floral apron with beaded edge on baluster pillar and zoomorphic legs, 63cm h; 50 x 50cm Damp stained and sun bleached, top loose, complete, requiring small / cosmetic restorations
A reproduction pine topped kitchen table in Victorian style, modern, the stripped pine rectangular top with rounded angles above a taupe painted under frame and turned legs, top 140 x 90cm, 78cm h Top good with some wear consistent with age, some losses to painted decoration to underframe
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1181390 item(s)/page