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1262544 Los(e)/Seite
Small silver Guernsey jug with loop handle H9cm Birmingham 1902, pear shape glass scent flask with engine turned cover, unmarked but tests as silver, miniature silver backed hand mirror and a small glass dressing table jar with silver cover (4) Condition Report:Approx silver weight 2.1ozt (66 grams)
Edwardian embossed silver rectangular bo with hinged lid decorated with flowers W12.5cm Sheffield 1902 Maker Walker & Hall and a glass rectangular dressing table box with silver cover Birmingham 1904 Maker Charles Green (2)Condition Report:Approx silver weight 8.9ozt (278 grams)
Silver rectangular inkstand with gadrooned border, pen tray and claw and ball feet fitted with two square cut glass inkwells with silver hinged covers and collars 27cm x 17cm Sheffield 1992 Maker C J Vander LtdCondition Report:Approx silver weight 27.3ozt (851 grams)
Rectangular silver cigarette box W13cm, set of six George III silver teaspoons London 1798, glass dressing table jar with silver cover, pair of silver sweetmeat dishes and other items Condition Report:Approx silver weight excluding cigarette box, brush and button hook 9.5ozt (296 grams)
Silver double condiment set of ribbed cylindrical form comprising pair of salts with blue glass liners, pair of pepperettes and mustard pot with three spoons, cased Birmingham 1940 Maker William Suckling LtdCondition Report:Approx silver weight 3.5ozt (111 grams)
18ct gold oval cut glass-filled ruby and six stone round brilliant cut diamond ring, stamped, total diamond weight approx 1.00 caratCondition Report:Approx 10.35gm, size X, very good condition, diamonds bright, well matched, ruby measurements = 12.25mm x 9.9mm x depth 5.5mm
English School (19th century) Portraits of two gentlemen, bust length, in blue and red coats Both unsigned, oval, watercolour on paper, miniatures, both set in gilt frames with velvet reverses (2).4 x 3cmQty: 2The miniatures are in very good, original condition. There appears to be a small area of surface mould across the red coat. The paintings are both ornately framed and glazed. The glass and frames have some minor scuffs and scratches commensurate with age.
Herbert St. John Jones (British 1872-1939) "Radium" Signed, titled and dated 1938, annotated on verso - "Favourite hunter of T. Staley Pidduck. Esq., painted at Corbrook Court near Audlem", oil on board. 43.5 x 58.5cm (framed 52 x 67cm) The painting is in very good, original condition. The varnish has yellowed in areas across the painting and there is some minor craquelure and cracking. The painting is reframed and glazed. There is mildew on the underside of the glass in areas. The frame has some minor scuffs and knocks commensurate with age.
Jane Read (British 1773-1857) Silhouette monochrome portrait profile of a seated lady Unsigned, with the artist's printed label on verso, oval, painted on glass, in an ebonised rectangular frame with gilt metal mounts.8.5 x 7cm (framed 14.5 x 12.5cm)The painting is in good, original condition. There is some hairline cracking, craquelure and one or two other minor surface marks and flecks of paint loss on the underside of the glass. There are some hairline scuffs and scratches across the surface of the glass. The paper label has fragmented on verso and a portion has become detached in the upper right-hand corner. The painting is ornately framed and glazed. The frame has some scuffs, knocks and tarnishing with verdigris on the gilt metal surrounds.
A 19th Century French Siena Marble and Bronze Mounted Mantel Clock A 19th Century French Siena Marble and Bronze Mounted Mantel Clock, bearing horse surmount modelled after Mene, the engine-turned silvered dial set with Roman numerals with eight-day movement striking on a bell, no. 1380, raised on cast foliate scroll supports.28cm wide, 40cm highNot tested and no guarantee of working order, chip to rear lower right corner and that support has been off, currently quite loosely glued, otherwise some further nibbles and natural fissures to the marble, the surmount quite loose in its fitting to the top, circular glass pane enclosing movement cracked.
Richard Schofield, Rochdale Mid 18th Century Longcase Clock Striking on a single bell, square brass dial with cast brass spandrels and a silvered chapter ring, Roman and Arabic numerals for hours and minutes, a subsidiary seconds dial, date aperture and engraved nameplate. All contained in an oak case, the hood with a moulded cornice and square glass door flanked by turned columns, trunk with a long door, on a box base.200cm highTwo weight and a pendulum are present, the pendulum rod is misshapen.
A Late 19th Century J.W. Benson Triple Fusee Quarter-Striking Table Clock A Late 19th Century J.W. Benson Triple Fusee Quarter-Striking Table Clock, the eight-day movement striking with a Westminster chime every quarter on four gongs, repeater to the right side, the silvered dial with Roman numerals behind a circular door with bevelled glass and a brass bezel, the mahogany and gilt brass Regency styled case surmounted by a finial with two ring handles to each side held by cornucopia mounts, the sides and back with pierced fret panels, raised on bun feet, with brass pendulum and metal key.47cm highClock ticks and strikes on the quarter and hour. Repeater function is operational however the string has come loose so will need reattaching. Strike is operational however two gongs have a dampened chime. Some scratching to the dial and wear to the brass and areas of the mahogany case. See all images.
A COLLECTION OF ENGLISH GLASS including two similar 18th century wine glasses with conical bowls, one with a tear drop stem, 16cm high, one with a solid stem, 16cm high, two similar rummers, 13cm high, and three further 18th/early 19th century drinking glasses (7)Provenance: The Old Vicarage, Chideock.
FOUR COLOURED GLASS BOTTLES 19th century, including a blue glass decanter with a 'Rum' stopper, 26cm high, and three green glass bottles, one with a handle, 20cm high; together with three 19th century coloured glass eye baths, the tallest 7.5cm high (7)Provenance: The Old Vicarage, Chideock.
A GROUP OF FOUR CHINESE PORCELAIN TEABOWLS later converted to oil lamps with gilt metal mounts and conical glass vases (one missing), 10cm high; together with two English porcelain vase lamps, decorated with scenes of castles, on gilt metal bases with ball feet, 15cm high to the bottom of the electrical fitments (6)Provenance: The Old Vicarage, Chideock.
AN ENGLISH COMMEMORATIVE WINE GLASS 18th century, the everted bowl engraved with the Duke on horseback and worded 'The Duke of Marlborough at Ramillies', on shaped air twist stem and circular foot, 19cm highNote: The Battle of Ramillies (May 23, 1706) was a victory won by Allied (Anglo-Dutch) forces led by the Duke of Marlborough over the French during the War of the Spanish Succession. The victory led to the Allied capture of the whole north and east of the Spanish Netherlands.
A FRENCH EMPIRE STYLE GILT METAL CANDELABRA 19th/early 20th century, the cut glass ball finial over a ten branch canopy of cut glass drops, the two scrolling branches issuing from a central pillar held by an eagle with a laurel wreath, on a stepped plinth base, 47.5cm high x 27cm wideProvenance: The Old Vicarage, Chideock.
A GILT METAL AND PORCELAIN MANTEL CLOCK AND GARNITURE the backplate inscribed 'JC', the two train movement striking on a bell, the enamel dial with Roman numerals, the clock and garniture decorated with sprays of porcelain flowers heads mounted amidst scrolling foliage, the clock 32cm high, the three-branch candelabra, 34cm high, together with an associated glass dome, 33cm high (4)Provenance: The Old Vicarage, Chideock.
CLEMENT MEADMORE (AUSTRALIAN 1929-2005) UNTITLED Cor-ten steel 156 x 156cm (61¼ x 61¼ in.) Executed in 1966. Provenance: Ahmet Ertegun (Turkish/American 1923-2006), record producer and philanthropist,co-founder and president of Atlantic Records Private Collection, Robert Stigwood (Australian 1934-2016), music and film producer, acquired from the above Clement Meadmore was an Australian born American sculptor renowned for his monumental pieces of sculpture that embodied the exploration of modernism. Born in Melbourne, Meadmore studied engineering at the Royal Melbourne Institute of Technology. Shortly after enrolling on the course Meadmore converted to industrial design. Meadmore's skills in both engineering and design facilitated his artistic output aiding the successful production of monumental pieces in steel, full of balance and energy. After visiting an outdoor sculpture exhibition at Middelheim Park in Antwerp, Meadmore started experimenting with metalwork and welding. His works during the 1950s represented interlocking vertical and horizontal rods creating textured, jagged grids with a tactile nature. In 1963, frustrated by the contemporary art scene in Australia, Meadmore moved to New York. The present work was executed in 1966 after Meadmore developed a sculpture titled Bent Column, which is now held by the Newport Harbor Art Museum on Newport Beach in California. A contact sheet of twelve black-and-white images, held in the collection of the Estate of Clement Meadmore, illustrates five different sculptures that were produced as he explored new ideas in the aftermath of Bent Column. The fourth row shows the present lot, a c-shaped sculpture, with both loops straightened and twisted at ninety degrees to the broad front of the form. The simplistic, paired back nature of the work which occupies a square-section volume encourages the viewer to explore the relationship between mass and space created by the single geometric form. 'It is important to me that the entire form of a sculpture can be deduced from any single angle, otherwise one is only seeing half a sculpture at any given moment.' Clement Meadmore The present lot was acquired by Ahmet Ertegun, the co-founder and president of Atlantic Records. The independent record label was launched to support gospel, R&B and jazz music in New York. The company went on to record hit records with major artists including The Drifters and Ray Charles. Under the pseudonym of 'nuggy' Ertegun was also a successful song-writer, he famously wrote 'Mess Around' for Ray Charles amongst many other hits. Ertegun was a renowned art collector and in 2000, the art collection of Ahmet Ertegun was acquired by The Baker Museum in Naples, Florida. The collection of modern art included important pieces by American abstract artist Irene Rice Pereira, politically driven Gertrude Glass, American modernist Oscar Bluemner and Russian-American abstract painter Illya Bolotowsky amongst others. In 2006, Ertegun tragically died after falling at a Rolling Stones concert at the Beacon Theatre, New York. A year following his death Led Zeppelin performed at the O2 Arena in London as a one-off tribute concert in memory of Ertegun. The concert raised funds for the Ahmet Ertegun Education Fund which supported University scholarships throughout the UK, US and Turkey. The present work was originally installed in the grounds of Ahmet Ertegun's Russian dacha style house in Southampton, New York where he lived with his wife Mica Ertegun. It was noted in Vanity Fair that during the renovations Ertegun had the living room enlarged to accommodate an orchestra. It was most likely during the 1970s that music producer, Robert Stigwood saw the work whilst visiting his friend Ertegun at his Southampton estate. A sale was agreed and Stigwood purchased the work direct from Ertegun. Robert Stigwood was born in Port Pirie, Southern Australia in 1934. By the mid-1950s Stigwood moved to the United Kingdom and went on to become one of the most important music entrepreneurs and film producers of the 20th century. By 1970 Stigwood had achieved great success in managing Cream, Eric Clapton and the Bee Gees. Stigwood then turned his attention to film production launching with Saturday Night Fever (1977) and Grease in 1978. Condition Report: Please contact the department on pictures@dreweatts.com for the recommended treatment and condition report. Condition Report Disclaimer
λ LUCY KEMP WELCH (BRITISH 1869-1958) GETTING IN THE HARVEST Oil on board Signed with initials (lower left); further signed, titled and dated July 1938 (to artist's label verso) 59 x 42.5cm (23 x 16½ in.)Provenance: Sale, Christie's, London, 7 November 1991, lot 70 Condition Report: Framed under glass. No evidence of retouching visible under ultraviolet light. The work appears to be in good original condition.Condition Report Disclaimer
λ JACOB KRAMER (BRITISH 1892-1962) STUDY FOR 'THE MESSENGER' Pen, ink and wash Signed (lower right) and inscribed (to upper edge) 23 x 15.5cm (9 x 6 in.)Drawn circa 1939-40. This is the original artwork design for the front cover of 'The Messenger' (Vol 1, no. 3, February 1940), the publication of the Leeds Air Raid Precautions (A.R.P) Messenger Corps. An original copy of The Messenger is included with the art work. Condition Report: The drawing executed on one sheet which has then been laid down to another with the text, as originally intended. Slight staining to the upper left hand corner. Otherwise, the work appears to be in good original condition. Under glass and unexamined out of glazed frame.Condition Report Disclaimer
λ JOHN NASH (BRITISH 1893-1977) FARMYARD SCENE Pencil and watercolour Signed (lower left) 31 x 38.5cm (12 x 15 in.)Provenance: Sale, Christie's, 19 December 1972, lot 47 Acquired from the above by the present owner From a Private Collection Condition Report: Some very light foxing throughout the sheet, but otherwise, the sheet appears to be in good original condition. Under glass and unexamined out of frame.Condition Report Disclaimer
ANGELA CONNER (BRITISH B. 1935) TOUCHSTONE (DOUBLE OR NOTHING) Mirror, stone and glass 43 x 123cm (16¾ x 48¼ in.)Provenance: Direct from the artist's studio collection Due to Conner's father's job at the BBC and her step-father's job at the UN her childhood was quite disruptive. Between the ages of 8 and 16 she attended 14 different schools across the world. Conner felt a draw and nostalgia to the family holiday home at Studland in Dorset a rare constant in her childhood. Conner played in the rock pools, splashing in the water and exploring the beaches, which she believes ignited her closeness with nature and inspired her work later in life. Condition Report: Overall surface dirt from being placed outdoors. Crazing to the glass pebbles, consistent with artist's intention. Some tarnishing to the extreme edges of the mirrored base. Condition Report Disclaimer

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