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Click here to subscribeTwo William VI silver hallmarked mustard pots each having gadrooned rims, one having an acanthus leaf handle (hallmarked London 1826) to one and a stirrup handle to the other (London 1822) . Together with a Mappin & Webb toast rack (hallmarked Sheffield 1932), a silver plated table cruet and Victorian silver plated tea caddy. Tea caddy measures 13.5cm wide.
Pair of Victorian Britannia silver hallmarked trefid spoons with rat tail type bowls (hallmarked London 1886, makers mark rubbed), together with a pair of engraved spoons (hallmarked Sheffield 1921) and a silver lidded dressing table box (hallmarked Birmingham 1926). Trefid spoons measure 11cm
The Lismore Salt & Pepper Set combine the clarity of fine crystal with the brilliance of stainless steel. These classic table accessories boast intricate detailing and Lismore's signature diamond and wedge cuts, along with the comforting weight and distinctive clarity of Waterford's hand-crafted fine crystal. Waterford backstamp. Dimensions: 3.25"H x 2"diaManufacturer: WaterfordCountry of Origin: IrelandCondition: Age related wear.
This Waterford crystal Salt & Pepper Set combine the clarity of fine crystal with the luxury of sterling silver. These classic table accessories boast intricate detailing with diamond and wedge cuts, along with Sterling Silver tops. Waterford backstamp. Dimensions: 4"H x 2.25"diaManufacturer: WaterfordCountry of Origin: IrelandCondition: Age related wear.
Easily elevate your table with these Waterford Crystal seahorse napkin rings! They'll make a splash in your collection, thanks to Waterford's signature seahorse pattern giving these napkin rings a touch of crystal and class. Waterford backstamp. This item has its original box which measures 9.5"L x 7.5"W x 5"H. Dimensions: 1.5"H x 2.25"diaManufacturer: WaterfordCountry of Origin: IrelandCondition: Age related wear.
The Waterford Crystal Tray, O'Connell 1062987 is perfect for serving snacks, drinks, or appetizers. It can also be used as a decorative piece on a coffee table or dining table. Waterford backstamp. This item has its original box which measures 9"L x 9"W x 4"H. Dimensions: 9.25"L x 5.25"W x 2"HManufacturer: WaterfordCountry of Origin: IrelandCondition: Age related wear.
ROPEOne-Sheet (27" x 41")Fine Folded Warner Bros., 1948Here is a great one sheet for this classic film, the second of Hitchcock's "limited settings" films (the first being Lifeboat [1944]) and the first of his films to be shot in color, with a great color image of Stewart that is sure to please any fan of Hitchcock, Stewart, or classic cinema.From the Hitchcock thriller, this folded poster is unrestored. It only has some insect damage in the lower border but does not affect the image or copyright. This would be a perfect candidate for restoration.The film follows two students (John Dall and Farley Grainger) who kill a former classmate in an attempt to prove their intellectual superiority by committing a "perfect" murder. They hide the body in a trunk in their living room and then host a dinner party - complete with the murdered boy's parents as guests - with the trunk containing the body used as a buffet table. James Stewart must sift through the web of lies to uncover the truth. Hitchcock filmed the picture in such a way that it seems to be shot in a single continuous take, allowing the audience to follow the events of the party in real time as the inevitable conclusion looms ever closer. This lot will be auctioned on Thursday, December 7th. The auction will begin at 9:30am PST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on December 8th.
CHRISTMAS STORY, AOne-Sheet (27" x 41")Mint Rolled; Artist Robert Tanenbaum MGM, 1983Comically conveying all the best moments from the Bob Clark Christmas classic, from prize-winning leg lamps to turkey-stealing hound dogs, this poster for A Christmas Story is as festively funny as the famed film itself. This poster is unused and in pristine condition.A holiday season staple, this family comedy is the third film in the Parker Family Saga, in which the eponymous clan deals with, among other things, a faulty furnace, their neighbors' troublesome dogs, and a table lamp in the shape of a woman's leg.This lot will be auctioned on Friday, December 8th. The auction will begin at 9:30am PST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on December 7th.
WYLD, James (1790-1836), the elder. A General Atlas, Containing ... Maps of the Several Empires, Kingdoms and States in the World, London, [c.1822], folio, 44 engraved maps, hand-coloured in outline, contemporary half calf (worn, partly disbound).WYLD, James (1790-1836), the elder. A General Atlas, Containing Maps illustrating some important periods in Ancient History and distinct Maps of the Several Empires, Kingdoms and States in the World, from Original Drawings, according to the latest Treaties by J. Wyld and Engraved by N. R. Hewitt. Edinburgh: Printed for John Thomson & Co., [n.d. but c.1822]. Folio (365 x 270mm). Engraved "Table of the Comparative Lengths of the Principal Rivers of the World" as a frontispiece, hand-coloured wood-engraved illustrations, "Table of the Comparative Heights of the Principal Mountains in the World," 44 engraved maps, as called for, numbered I - XLIV, hand--coloured in outline, vignette views (the frontispiece offset onto title, one map torn at the margin without loss, some light mainly marginal spotting and staining). Contemporary half calf with the original printed label mounted on the upper cover (worn and mostly disbound, covers detached, lacks spines, three large black ink spots to upper cover). Provenance: E. M. Graham (faint old pencil signature to front pastedown); some old ink annotation at a few margins; a few old autograph notes relating to the work loosely-inserted.
MAVOR, William (1758-1837). Historical Accounts of the most Celebrated Voyages, Travels and Discoveries, London, 1796-1801, 25 vols., 12mo, 75 engraved plates, contemporary morocco-backed boards. With a work in 4 vols. only (of 6), uniformly bound. (29)MAVOR, William Fordyce (1758-1837). Historical Accounts of the most Celebrated Voyages, Travels and Discoveries, from the Time of Columbus to the Present Period. London: Printed for E. Newbery, 1796-1801 [?but 1810]. 25 volumes, 12mo (142 x 90mm). 75 engraved plates, of which 2 folding, and including a portrait of the author and a folding map of the world; with a folding letterpress "Comparative Table of the Probabilities of Life in New England and in Europe" (one leaf torn in vol. VI without loss, one leaf torn in vol. IX with minor loss of letters, some mainly light spotting and staining. a few darker spots). Contemporary plum-backed marbled paper boards with vellum corners, spines lettered and ruled in gilt with small galleon motifs stamped in gilt (rubbed, corners bumped, some joints splitting). With the same author's The British Tourists; or Traveller's Pocket Companion, through England, Wales, Scotland, and Ireland (London, 1798 [?but 1810], volumes I - IV only (of 6), 12mo, 4 folding hand-coloured engraved maps inserted in each vol. as frontispieces), uniformly-bound with the preceding set and with the vol. numbers on the spines continuing the sequence to vol. 29. See Brunet III, 327: "Cette collection a été réimpr. à Londres, 1810, en 31 vols. ...". (29)
â—† SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1871-1935) STILL LIFE WITH TULIPS Signed, oil on canvas Dimensions:51cm x 51cm (20in x 20in) Provenance:Provenance: Mr & Mrs John B. RankinPrivate Collection ScotlandExhibited: Scottish National Gallery of Modern Art, Edinburgh, S. J. Peploe 1871-1935, 26 June - 8 September 1985, no.78 Note: Still Life with Tulips is a remarkable painting by Samuel John Peploe, in which he brought to bear the Edwardian sophistication of the work with which he made his professional name in turn-of-the-century Edinburgh, the lessons he learnt at the heart of the Parisian art world before World War One and the progress he made during the conflict from which he emerged as a Scottish master of modern art.In an image of striking design, which remains as arresting now as when it was painted, Peploe set up his still-life arrangement in front of a sheer black background. This shows the silhouettes and bright colours of the cloth-covered table, glass vase and tulips to the greatest possible effect. He had used this approach in a celebrated series of still lifes painted in the early 1900s, such as Coffee and Liqueur (Kelvingrove Museum and Art Gallery, acc.no.35.586), Peonies (National Galleries of Scotland, acc.no. GMA 1946) and Still Life (Edinburgh Museums and Galleries, acc.no.CAC4/1964), in which Peploe paid his respects to Dutch Old Masters such as Frans Hals and to Eduoard Manet. Paintings such as these proved extremely popular when included in solo and group exhibitions in Edinburgh and London of the period, establishing Peploe as an artist of note and accomplishment.Encouraged by his friend and fellow Scottish Colourist, John Duncan Fergusson, Peploe spent two key years in Paris from 1910 until 1912. He was welcomed into Fergusson’s avant-garde Anglo-American circle of friends, the Rhythmists, and immersed himself in the very latest developments in French painting, experienced at first hand. Such was the pace of his development that he was elected a sociétaire of the cutting-edge Salon d’Automne in recognition of his contribution to the modern movement. His paintings became bolder in technique, colour and design, their progressive nature quite unlike anything that had been created, or seen, in the Edinburgh art world to which he returned two years later.Declared medically unfit for service during World War One, Peploe used the period for continuing experimentation, when canvas and paints could be sourced. Rich colour, spatial compression and a strong structure became the foundation of his still lifes, with furrowed brushstrokes and pronounced outlines coming to the fore. In 1917, he moved studio to 54 Shandwick Place in Edinburgh, where he was to remain until 1934. The following year, his election as an Associate member of the Royal Scottish Academy secured his place within the Scottish art establishment.As Alice Strang has written ‘The still lifes which Peploe painted during the period between approximately 1918 and 1923 are the works for which he is best known…Peploe changed his technique, adopting an absorbent gesso ground and reducing the amount of medium in his paint. He pushed his use of colour to the extreme and obsessively arranged objects – such as blue-and-white Chinese porcelain vases, filled initially with tulips and then usually with roses; fans; books; fruit in a variety of dishes…to create finely balanced compositions.’ (Alice Strang et al, S. J. Peploe, National Galleries of Scotland, Edinburgh, 2012, p.23)Still Life with Tulips dates from this exceptional immediate post-war period, before Peploe settled into the rose still lifes which he painted, exhibited and sold in great numbers during the 1920s. During this period he worked particularly closely with his other fellow Scottish Colourist, F. C. B. Cadell and the two shared an interest in a style which was to become known as ‘Art Deco’ following the Exposition international des arts décoratifs et industriels modernes held in Paris in 1925.At this point, tulips were Peploe’s preferred flower, often bought from stalls on nearby Princes Street. His enjoyment of their strongly-coloured stems, leaves and heads comes to the fore in their balletic presentation here. Their reaching, curving and swooning qualities, in all directions, is played out in the very frontal plane of the image to the right and in an effusion of movement from the vase. The simplified forms of the boldly-coloured petals play against the black and white planes in front of which they are positioned.Throughout, Peploe plays with notions of the space beyond the canvas, with just the angled corner of the table included, whilst the cropped fan, red tulip above it and emerging tulips to the right allude to a continuation of the narrative beyond the viewer’s gaze. The realisation not only of the translucency of the water in the vase and the stems within it, but also its reflection of the space within which the artist was working, is a tour de force passage.Given the brilliance of his tulip still lifes, it is little surprise that his painting, Tulips, of 1923, was acquired for the British national collection in 1927 (Tate, acc.no. NO4224), the year in which Peploe attained the rank of full Member of the Royal Scottish Academy. His appointment was announced in the Glasgow Herald, which described him as ‘an artist of the new movement, Mr Peploe is outstanding in Scotland, and his work has received recognition in London and abroad as well as at home.’ (10 February 1927) Indeed, Peploe’s legacy is primarily based on his mastery of the still life genre, of which Still Life with Tulips is an exceptional example.
A gilt-metal mounted Meissen porcelain rectangular snuff-box and cover, c.1755-60, the exterior painted with figures in landscape gardens next to monuments and sheep, within rococo scroll-moulded cartouches, the interior of the cover stippled with a portrait of a finely dressed lady seated by a table and holding a saucer of steaming coffee up to her mouth, a Meissen coffee pot beside her, within an elaborate gilt floral cartouche, 9cm wideFootnotes: Note: For a scalloped-shaped Meissen snuff-box stippled on the interior of the cover with a lady within a similar gilt cartouche, see Sarah-Katharina Acevedo et al., Meissen Snuff Boxes of the Eighteenth Century, Munich, 2013, pp. 328-329, Cat. no. 100, where it is noted that the interior scene is derived from an engraving by Johann Esaias Nilson, Zeit-vertreib der Frauenzimmer (The Amusements of the Fair Sex). The painting style of the lady on the interior of the cover is the same as the lady on the interior of the present box, suggesting that the same painter was the author of both interior scenes. Condition Report: The lid has been broken and professionally restored, examination under UV light reveals two repaired cracks across the left and middle. Possible further restoration to the box interior. A chip to the reverse bottom edge of the box.
A group of Victorian Derbyshire slate and inlaid specimen marble objects, late 19th century, comprising: a table thermometer with resin scale, 15.5cm high; a framed plaque depicting flowers, 14 x 9.5cm; and two paperweights, 8.8 x 12.8cm and 6.7 x 10cm; together with six Indian inlaid marble items, including two dishes, the largest dish – 39.5cm diameter (10)
In the manner of Benjamin Zobel, German-British, 1762-1830, a sand picture of a recumbent tiger, early 19th century, with inset glass eyes, framed and glazed, the picture - 34.5 x 43.5cm, the frame - 41 x 50cm Footnotes: Note: The ancient Japanese art of creating bon-kei or 'tray pictures' was already known, but it is Benjamin Zobel (1762-1831) who is credited with introducing the technique of sand painting in England. A native of Memmingen in Bavaria (Swabia), Zobel was employed by the Prince Regent's chef Louis Weltje, as a 'Table Decker' at Windsor Castle. The custom of 'Table Decking' had been introduced into England by George III and it involved the cloth at dinner being elaborately decorated with ephemeral designs of coloured sands, marble dust and powdered glass or bread crumbs. Zobel also became a skilled confectioner and was entrusted to create pictures in coloured sugars to decorate huge tarts served at Royal banquets. The method he employed for making sugar patterns was apparently identical to that which he used to make his sand pictures.
An English elm cricket table, second quarter 18th century, the oval top on three octagonal legs, joined by stretchers, 58cm high, 51cm wide, 46cm deepCondition Report: repair to one stretcher at the joint, minor signs of old woodworm, scratches, stains and old gouges throughout, small splits to edge of top, structurally sound, overall good condition.
A pair of George III mahogany demi-lune card and tea tables, last quarter 18th century, the crossbanded tops, inlaid with a boxwood line, the card table baize lined, the panelled friezes with a central drawer, the tea table fitted with three zinc caddies, on square tapering legs and block feet, card table with key, 75cm high, 100cm wide, 49cm deep (2)Condition Report: both with scratches, and knocks to wood, minor old gouges, some minor lifting to veneer on both, both structurally sound, overall very good condition
A George III mahogany silver table, in the manner of Thomas Chippendale, last quarter 18th century, the pierced gallery top above fret work frieze, on fret work chamfered legs and castors, joined by X-frame stretcher, 72cm high, 82cm wide, 56cm deepProvenance: Purchased from William Cook, Hungerford, April 2006.
A George III mahogany bow front serving table, last quarter 18th century, the crossbanded top above plain frieze, on reeded tapering legs, 90cm high, 198cm wide, 71cm deepCondition Report: scratches, stains and old gouges throughout, splits to veneer on top, some beading and veneer missing, some lifting to veneer, top slightly warped, structurally sound
A very large English mahogany triple pedestal D-end dining table, by Arthur Brett, of George III style, second half 20th century, the crossbanded top above turned columns, on reeded splayed legs to brass paw caps and castors, with two extra leaves, 76cm high, 696cm long, 196cm deep
An English mahogany circular concentric extending dining table, in the manner of Jupe, probably by Arthur Brett, 20th century, the moulded edge top with five additional leaves, the open base on turned columns and downswept supports to brass lion's paw sabots and castors, the leaves housed in a baize lined cabinet, 73cm high, 215cm diameter (extended)Condition Report: scratches, stains and old gouges throughout, chips to corners of some of the leaves, structurally sound
A George III mahogany octagonal library table, last quarter 18th century, the tooled lather top above four drawers and four dummy drawers, on chamfered tapering legs to castors, 76cm high, 108cm wide, 108cm deepCondition Report: leather with stains and scars, scratches, stains and old gouges throughout legs and sides, some beading missing from edges of top and drawers, structurally sound, overall very good condition
A George III mahogany library drum table, first quarter 19th century, stamped From John Watson, Oxford street, W O, line and ebony inlaid, the tooled leather top above four drawers and four dummy drawers, on turned column to four splayed legs, brass caps and castors, with key, 77cm high, 106cm diameter Condition Report: leather heavily stained and scarred, some veneer missing, some lifting to veneer, splits to all dummy drawers, one drawer has seized and will not come out, five handles loose but present, small split to column, structurally sound
A George III mahogany library drum table, first quarter 19th century, tooled leather top above four drawers and four dummy drawers, on turned column to four reeded splayed legs, brass paw caps and castors, 76cm high, 120cm diameter Condition Report: leather with many stains and scars, scratches, stains and old gouges throughout on the wood, some veneer missing, split to one dummy drawer, two handles loose but present, one handle missing, structurally sound,
A George IV mahogany inlaid library table, first quarter 19th century, the top with inset leather writing surface, above two drawers and two dummy drawers, on shaped supports, joined by turned and reeded stretcher, to bun feet and castors, 72cm high, 97cm wide, 60cm deepCondition Report: leather is badly stained, scratched and scarred, some lifting to veneer, some veneer missing, scratches, stains and old gouges throughout, structurally sound
Amendment: please note that the width is 135cm. An English mahogany library table, by Arthur Brett of Norwich, of Regency style, 20th century, the top with rounded edges and leather writing surface above three drawers, on splayed legs to brass caps and castors, joined by ring turned stretcher, 76cm high, 135cm wide, 76cm deepCondition Report: light scratches throughout, stains and dents to writing surface, structurally sound, overall very good condition
An English mahogany writing table, by Arthur Brett and Sons, of George III style, 20th century, tooled leather writing surface above five drawers, locks stamped AB&S, on square tapering legs to spade feet, 77cm high, 125cm wide, 70cm deepCondition Report: scratches and stains to leather, scratches and knocks throughout, small piece of moulding missing from the bottom right side on the centre and a piece repaired on the left side, structurally sound, overall very good condition
An English mahogany writing table, by Arthur Brett and Sons, of George III style, 20th century, tooled leather writing surface above three drawers, lock stamped AB&S, on square tapering legs to spade feet, 78cm high, 127cm wide, 66cm deepCondition Report: light scratches and scars to leather, light scratches and knocks throughout, structurally sound, overall very good condition
A Regency brass-inlaid rosewood sofa table, first quarter 19th century, the top with two D-shaped drop leaves with inlaid brass banding, above a front frieze with two drawers with gilt-brass beading and star-shaped handles, the opposing frieze with dummy drawers, above lyre form supports with a shaped gilt-brass beaded stretcher, on downswept sabot feet and castors, 72cm high, 150cm wide, 66cm deepCondition Report: scratches, stains and old gouges throughout, some lifting to brass inlay, two feet have been repaired but need more attention, some brass inlay missing, some splits to veneer on base, overall good condition
A Regency painted faux bamboo side table, first quarter 19th century, with two drawers, on tapering legs, 75cm high, 51cm wide, 37cm deepCondition Report: scratches and knocks throughout, some loss of paint, split to top, back and left side panel, split to top of back right leg, structurally sound
A Regency painted faux bamboo dressing table, first quarter 19th century, the gallery top above two drawers, on turned legs, 95cm high, 88cm wide, 50cm deepCondition Report: scratches and knocks throughout, some loss of paint, split to left side of top, signs of old woodworm, structurally sound
An Edwardian inlaid satinwood bijouterie table, early 20th century, the shaped hinged top with bevelled glass, enclosing a cream baize lining, on ring turned and carved tapering legs to castors, joined by entwined X-frame stretcher, with key, 78cm high, 62cm wide, 43cm deepCondition Report: scratches to glass top, minor splits to veneer on stretcher, structurally sound, overall very clean and good condition
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