There are 68904 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeOf golfing interest. A George VI silver trophy cup. Mappin & Webb, Sheffield, 1937. The urn-shaped body to bifurcated twin handles and a cover with ovoid finial, engraved 'Hadley Wood Gold Club, Replica of the Lord Essendon Challenge Cup. Winners 1937 C.M. Gold & A. Henderson' On a wooden plinth, 18.5cm high (inc. plinth), 14.5cm high (exc. plinth), weighable silver approx. 6.5ozt
A Japanese silver and mixed metal Aesthetic Movement bowl. Import marks for Cornelius Brabrook Pare, Birmingham, 1878. Of shaped, circular form, the textured foliate sides applied with mixed metal animals including butterflies and a crab, the interior lightly gilded, some gilding to exterior also, 5.5cm high, 11.9cm wide, gross weight approx. 6.2ozt Footnotes: Christopher Dresser was a leading figure in the Japonisme movement in the West, and his efforts to promote Japanese art and design led him to set sail for Japan in 1876-1877. This was the first visit to Japan by a European Designer, and Dresser was commissioned to form two collections of 'reliable tutorial value': one for the London based importer of Japanese wares, Londos & Co., and the other for Tiffany & Co. of New York. Charles and Louis Tiffany commissioned him to bring back some 8000 objects from Japan, from which their own craftsmen could take inspiration and obtain technical knowledge. These were delivered by Dresser on his return journey from Japan in 1877.Dresser is known to have worked as an advisor to the firm of Londos and Co. (a partnership between Cornelius Brabrook Pare (whose sponsor’s mark is on this bowl), Peter Charles and John Reynolds). The partnership was dissolved in 1879. The hallmarks on this bowl (Birmingham, 1878, Cornelius Brabrook Pare) suggest that it was one of the items brought back by Dresser for Londos & Co. in 1877.Based on the design of an interesting Tiffany & Co. chocolate pot made in New York in 1979, it seems reasonable to conclude that a similar bowl may have included in the collection that Dresser amassed for Tiffany. The chocolate pot features similar applied mixed metal animals including a crab (see pg. Fig. 8.13, pg. 262 In Pursuit of Beauty. Americans and the Aesthetic Movement, The Metropolitan Museum of Art, New York, 1987, and https://www.metmuseum.org/art/collection/search/20121).The book describes this chocolate pot in the following words: The dramatic and difficult combination of copper and silver is seen in a graceful Tiffany & Company chocolate pot made in 1879. The form of this piece is Western, yet it is covered with a reddish patina and decorated with sea-life motifs, suggesting Japanese print sources. Crabs and lobsters cast in silver are affixed to the copper surface, which has been soldered and hammered to the silver body of the pot. (Pg. 262) In providing Tiffany with such a wealth of examples, David Hanks asserts that Dresser ‘acted as a catalyst for the influence of Japanese art on American manufacturers and designers (Gorham and Tiffany, for example, both produced items of silverware applied with mixed metals). Dresser marvelled at the way in which Japanese craftsmen combined beauty and utility in the goods they made for everyday use, and he incorporated a number of Japanese themes into his own creations, including butterflies, frogs, cherry, reeds and insects. His motto ‘In Pursuit of Beauty’ became virtually synonymous with Japonisme.Dresser devoted several pages of his book Japan: Its Architecture, Art, and Art Manufactures to descriptions of the virtues of Japanese metalwork, of which a few are included below.Our first acquaintance with Japanese (metal) manufacturers revealed their skill in the casting of metals...The great peculiarity which I noticed in the Japanese method consisted in a fresh model being made for every work produced...It will be seen that this process, although laborious, gives variety and interest to the works produced ; and while all such methods must seem to us to involve an unnecessary expenditure of labour, I yet think that the Japanese gain as much as they lose by their processes. The Japanese method of casting gives a certain amount of variety in the work produced, for no two objects are precisely alike (pp. 417-420)Pg 428 The Japanese have more nearly achieved the production of colour harmony in metals than any other people; and in many of their works we see gold, silver, copper, zinc, black-metal, tea-urn bronze, green bronze, and other metals and alloys brought together; and not only brought together, but so arranged that their colours are brightened by reflected lights, and brought into harmony by skilful juxtaposition.Pg 429: One other point connected with Japanese metalwork is worthy of most careful consideration, namely, the various textures given to metals. We are too fond of bright surfaces, and not unfrequently prefer glitter to repose; but to the Japanese, glitter is vulgar.References: Christopher Dresser and Japan, (Catalogue Committee, 2002); Christopher Dresser and the Arts of Japan, Harry Lyons & Chris Morley (RSA Journal, Vol. 148, No. 5496 (2001), pp. 90-91); Japan: Its Architecture, Art, and Art Manufactures, Christopher Dresser, London, 1882; Old Bailey Record “t18841020-998”,1884; In Pursuit of Beauty. Americans and the Aesthetic Movement, The Metropolitan Museum of Art, New York, 1987; The Metropolitan Museum of Art: https://www.metmuseum.org/art/collection/search/20121, New York).Condition Report: Some minor surface scratching, pitting and nicking commensurate with age. Some small holes noted around the rim which look as though they may have occurred during the manufacturing process. A very small split noted under 10x magnification where one of these holes meets the rim. A small patch of solder nearby. Some remains of gilding to exterior and faded gilding to interior. In our opinion, it looks as though some of the applied motifs (possibly foliage) may have been removed as there are raised areas visible to the interior where these may have been and dark impressions in these same places visible to the exterior. Some wear to the decoration and applied metal motifs commensurate with age and some small splits/bruising noted to the body of the crab under 10x magnification. Hallmarks to underside clear. Overall an attractive and characterful bowl. Further images available to download via this link: https://we.tl/t-GVzYYzzmNA
A Regency painted pine corner stand, the top with cutouts for washbowl etc. (now with glass top) above a frieze painted with a neoclassical urn and raised on downsplay legs, the whole painted in cream and green (decoration refreshed)100 x 42 x 42cmStructurally soundDecoration refreshed in recent years and showing some light wear to the edges and a small dent in the frieze
A George V silver ring tree, Henry Matthews, Chester 1915, the five branch ‘tree’ upon circular florally detailed base, 7.5cm high (weighted) with pair of silver candlesticks, Sanders and Mackenzie, Birmingham 1968, the urn shaped sconce leading to shaped tapered stem and spreading stepped circular base (weighted) 13.5cm high (3)
A French Japy Freres gilt metal and bleu celeste porcelain clock garniture, late 19th century, the scrolling acanthus case surmounted with an urn over the 9cm bleu celeste dial applied with Roman numerals and enclosing the eight day movement stamped with the makers name and striking on a saucer bell, the case inset with further conforming porcelain panels, 36cm high, along with a pair of vase garnitures, each adorned with a pastoral landscape, 28cm high, with pendulum (at fault)
A brass three branch ceiling light fitting, early 20th century, the central baluster column with petal collars over the three scrolled branches applied with urn finials, 68cm H x 38cm D Lighting lots are sold as decorative items only, prospective buyers must consult with a qualified electrician before use or installation of these items.
An Adam style six branch chandelier, 20th century, the urn shaped column applied with rope swags extending to a dish shaped boss and six reeded 'S' shaped arms, 50cm H x 54cm D, along with a brass three branch chandelier, the baluster shaped column and dish shaped boss supporting scrolled arms with frosted glass domed shades, 45cm H x 50cm D (2) Lighting lots are sold as decorative items only, prospective buyers must consult with a qualified electrician before use or installation of these items.
An iron clockwork roasting jack, copper coal scuttle, copper bed warmer, two iron trivets, two anodised single candle wall sconces, a flat iron, a gophering iron stand, two baskets and a pair of leather and iron shackles and a gilt bronze and alabaster table lamp as a putto holding aloft an urn of foliage
A pair of early 20th century Persian silver candlesticks, each urn shaped sconce above a tapering cylindrical stem on a circular foot, typically decorated with flowers and palm leaves, weight 369.2g, and a small group of other silver, including a salt and matching pepper caster, Birmingham 1922, weighable items 128.5g.
A SALTGLAZE STONEWARE CACHE-POT AND STAND, early 19th century, of baluster form with two scroll handles, sprigged with putti below swags of fruit and flowers, the base with fruiting vine, 7" high, together with a similar cache-pot and stand of flared cylindrical form with two mask lug handles and sprigged with urns of flowers and large flower heads, 6" high overall (2) (Illustrated) (Est. plus 24% premium inc. VAT)Condition Report: Urn has chips to rim ,base to 2nd has chips to footrim
A Regency mahogany balloon clock, 19th century, the enamel dial with Arabic and Roman chapter rings, subsidiary seconds and calendar dials, and a twin fusee movement striking on a bell, cased in a marquetry case with urn finial and twin side handles, on scroll feet,34.5cm wide23cm deep61cm highCondition ReportMovement not tested. The case in degraded condition with losses to veneers throughout. Enamel dial worn and degraded.
EDWARDIAN INLAID ROSEWOOD FURNITURE two items comprising a side cabinet base, bow fronted centre, galleried open shelf, twin upper drawers, twin cupboard doors, inlaid leaf swag detail, turned and block supports, conjoining under tier shelf, 104 (h) x 138 (w) x 46cms (d) and a drop-down front fireside log box, 3/4 rail back top, brass side and front handles, inlaid urn and swag detail, plinth base, 58 (h) x 38 (w) x 38cms (d)Provenance: private collection Conwy
REPRODUCTION DUTCH-STYLE OAK MARQUETRY INLAID STANDING CORNER CUPBOARD, profuse inlaid decoration, urn and floral detail top, bird, urn and floral detail doors, cornucopia and floral detail outer panels, interior shelf, swept front supports, 78.5cms (h), 66cms (w), 37cms (d)provenance: private collection Conwy
A mixed lot: a small late Victorian silver tea caddy with reeded borders, a domed cover and an urn finial, by George M Jackson, London 1896, a French silver wine taster, initialled on the thumbpiece, c.1900, a small plated-mounted glass spirit flask and a Victorian plated mustard pot (blue glass liner) engraved with the cypher and coronet of a viscount, the latter 7.5cm high, 6.1 oz weighable silver. (4)
A collection of 18th and 19th century memorial lockets, comprising three 18th century silver mounted heart shaped lockets with marcasite borders, the first with rock crystal panels, the second with glazed panels, the third with coloured glazed panels, possibly later; three 18th century gold mounted urn shaped lockets, all with rock crystal panels, two decorated with flat cut garnets and half pearls, the third with green paste and half pearls; an 18th century portrait miniature with flat cut garnet border; an 18th century polychrome and en grisaille enamel casket locket; and a 19th century diamond set blue enamel heart locket, later converted from a slide; all suspended on a 19th century Brazilian snake link chain, in fitted caseIvory submission reference 3HLK89RX
A pair of classical garden pedestal urns. Of pedestal cup shape with egg and dart rim, relief moulded classical figures to exterior, reeded handles, moulded and fluted trumpet shaped pedestal, terminating in a square base. one urn marked for the 19th century Scottish firm of ' Garnkirk' Fireclay Company, both H66cm x Diam 52cm
A pair of Royal Crown Derby urn-shaped pedestal vases, painted with a floral bouquet against a pale green ground, signed AF Wood, within an oval gilt beaded frame, against a cobalt blue and white striped ground, gilt scroll handles, red-printed factory mark and date cypher, red script pattern number 6047 and shape 1262, 9cm high.One with a flat chip to the front, below the rim. Lacking covers.
A Collection of Various Ceramics to Comprise Late 19th Century Blue and White Transfer Printed Twin Handled Pot 'Beauties of England and Wales' Pot of Urn Form Having Stylised Mask Head Handles and Acanthus Moulded Belly (missing Lid), Enoch Woods Jug, Face Plaque etc (Some Condition Issues)
A late Victorian Adam Revival silver gilt sucrier and cover with ruby glass liner, with foliate finial and urn-shaped body supported by three angel caryatids on paw feet and triform platform base, John Aldwinckle & Thomas Slater, London 1894,the matching ladle with pine-cone finial and shell bowl 1893, 18.2oz (net of liner), 18cm high Small chip to the bottom rim of the lid, several small chips to the rim of the glass, some wear to the gilt on the main body; spoon slightly bent in middle
A QUANTITY OF TABLE LAMPS, twenty two table lamps in different styles, to include a small gilt figural lamp on a marble base, a table lamp in the form of a classical urn, a faux onyx lamp base, several column style examples, a studio pottery covered table lamp, etc (22) (Condition Report: most lamps appear in good condition, sd, all are untested)
Loading...
