Castillian School. Circa 1500."Saint Quiteria and Saint Barbara"Oil or tempera with gold background on panel. Fragment of an altarpiece, possibly belonging to a predella.37,5 x 40,5 cm.Even though we have not been able to recognise the master behind these two saints, his great artistic skill is evident. The faces of both saints are delightful and of unfathomable sweetness.An exceptional panel that shows the splendour of the Aragonese Renaissance, both in the colour palette, with those shimmering tones on the tunics, as well as in the physiognomy of the models and the flesh tones on their faces and hands in tempera and oil. It is also evident in the perfect gold ground-covered surface for the backdrop, decorated with plant motifs and pointillé, a decorative technique used on gold which consisted of engraving different drawings with small chisel strokes or pricks, thereby pushing down the smooth gilded surface or the stucco mass. There is no doubt as to which saints they are, as they are named on their limbs, Quiteria and Barbara.Quiteria was alive during the 2nd century A.D. The daughter of a pagan Roman governor, her mother gave her up for adoption, along with her eight siblings, to prevent her honesty from being questioned and to preserve her virginity. According to Christian doctrine, this adoption brought her closer to God. Always linked to prayer, as she appears reading a book of hours, she would eventually meet her parents. Tradition has it that her father, as soon as he learned of her profession of faith, had her head cut off.Barbara came from Nicomedia, on the Anatolian Peninsula, in the late 3rd and early 4th centuries AD. Highly intelligent, she was the daughter of Diocorus, a wealthy pagan man. Through her reading and studies she questioned her paganism, and because of her religious concerns, she was instructed in the catechism and converted to the Christian faith. Because of her physical beauty, she had no shortage of suitors, but she kept herself a virgin in order to consecrate herself to God. Her father had a tower built to keep her from the eyes of strangers. On one of her father's journeys, she herself ordered the workmen to build a third window (she only had two) to honour the Holy Trinity. She was tortured for her faith, but she did not die as she received help and care from heaven. As she refused to worship the pagan gods, her father finally cut off her head. After decapitating her, her father was struck by lightning and no trace of his body was left.In the panel, she is shown holding her most characteristic attribute, the tower in which she was imprisoned, at a reduced scale on her hand, as if it were a model. A moulding runs along it and frames it in the manner of the Gothic lines to strengthen a wall or window, in which verticality predominates over horizontality, underlining the mysticism of the figures it contains. This panel would clearly have formed part of the ‘flos sanctorum’ of the lower predellas or side sections of an altarpiece.Finally, it is interesting to note that marks of the gouge can still be seen on the back of the boards which are assembled horizontally and which form the panel, and the remains of rabbit glue dissolved in water as a grout can be seen, erasing imperfections and smoothing out the pine boards, the most advanced material used at that time for this type of work.
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A Miscellaneous Group of Surgical Instruments, including: 18th/19th Century, steel extracting or uterine dressing forceps, with proximal curve to the shank and fenestration to tips of jaws – 28.5cm. long; an unusual 18th Century/early 19th Century chisel/retractor, steel with barley twist pattern horn handle – 24.4cm. long; 19th Century, steel bone scoop with turned ebony handle -- 15.7cm. long; English, 1810-50, Assalini’s artery forceps, by Savigny, steel with cross-hatch ebony handle – 11.7cm. long; an English, late 19th Century, steel surgical clamp (possibly for haemorrhoid), by Mayer & Meltzer London, with fitted jaws and screw adjustment – 15.7cm. long; 19th Century, steel artery forceps with sliding adjusting clamp – 12.7cm. long; an English, 19th Century, steel artery forceps or needle holder – 13.5cm. (long); two English, early/mid 20th Century, scalpel sets (both incomplete), by Allen & Hanburys Lt and Down Bros. and Mayer & Phelps Ltd, in gilt-effect tin cases (both rusted, one in poor condition); 18/19th Century, crude steel scoop possibly a carpenter's chisel – 10.2cm Note: The unusual chisel/retractor was previously bought at Christie's, South Kensington on 2nd March, 1995 (Lot 77). The Assalini forceps was previously bought at David Stanley Auctions on 3rd November 2001 (Lot 1723). The chisel was previously bought at Christie’s on 2nd March, 1995, (Lot 77). The clamp and artery forceps were previously bought from Elisabeth Bennion in 1992. The crude scoop/carpenter's chisel was bought at Christie’s, South Kensington on 24th August, 1995 (Lot 102).
Orthopaedic Instruments, an 18th Century, surgical brace and bit-type drill, steel and lacquered-brass frame with steel osteotribe – 30.5cm. long; a French, mid/late 19th Century, Marshall-type osteotribe, by Graillot, steel with turned ebony handle – 17cm. long; and an English, early 20th Century, stainless steel osteotribe, by Down London – 16.7cm. long; and an English, 1870-1901, bone chisel, by S. Maw Son & Thompson, steel with turned ebony handle – 16.3cm. long Note: The drill was previously bought at David Stanley Auctions on 2nd August 2000 (Lot 831). The Marshall-type osteotribe was previously bought on 28th September, 2002. The bone chisel was previously bought at David Stanley Auctions on 24th September, 2005.
Two Dental Chisels, the first, late 18th Century chisel, steel with turned fruitwood handle – 8.7cm. long; the second, possibly English, late 18th Century chisel, by Wilks, steel with mother-of-pearl handle – 10.6cm. long Note: The first previously bought from Simon Kaye Ltd in 1988. The mother-of-pearl chisel was previously bought at David Stanley Auctions on 1st October, 1994 (Lot 1506).
A German Third Reich Rotes Kreuz (Red Cross) hewer dagger, the 27cm fullered blade with saw back and chisel point, unmarked, having a nickel crossguard with DRK emblem with two piece grips one being chequered the other smooth, housed in a black painted steel scabbard with nickel mounts and leather frog, 27cm blade.Due to the nature of these items, we politely remind buyers of the need to satisfy themselves as to the condition / originality of all lots prior to bidding irrespective of any description. Spicers do not post weapons of any kind.
Low Countries, circa 1640 A.D.. Ellipsoid panel with polychrome scene depicting a standing figure in doublet with broad collar, plain hose and wide-brimmed felt hat, holding a surveying staff and pointing towards a stone in preparation; mason to the rear wearing a soft felt cap with turned brim and with an apron on his waist, using a mallet and chisel to finish a stone block on a bench; second mason kneeling working on a fresh dressed stone with a mallet and bolster; chisels, square and other tools in the foreground, all set in a landscape with building under construction; cracked and repaired, in a lead came with loop to the upper edge. 271 grams, 26.7 cm (10 1/2 in.). Collection of Henry L Hotellier (1908-1993), and by descent until 2021. Encheres Cote d'Opal DeBacker Richmond, 22 May 2021, no.263 [Part]. [No Reserve]
16th-18th century A.D.. Comprising: a medieval stone mason's chisel; two post medieval foot pattens (17th-18th century A.D.) for an adult and a child, composed of a ring with extended tongue fitted with iron rivets used to secure the ring to a wooden platform; a 16th-17th century two prong fork with handle replacement; mounted on a backing board. Cf. Bailey, G., Detector finds 2, Witham, 1993, pp.55-57, for similar foot pattens; Bailey, G., Detector finds 7, Witham, 2011, p.37, for a similar fork. Bailey, G., Detector finds 5, Witham, 2002, fig.1, p.6, for the Medieval iron chisel. 563 grams total, 15-18.5 cm (5 7/8 - 7 1/4 in.). Iron pattens first came into use probably in 17th century A.D., and gained popularity by the first half of this century. The original design of the patten was that of one piece of shaped wood, but this evolved into to a wooden platform attached to the underside of an iron ring. The foot pattens were forerunners of the Wellington boot which came into use in 19th century A.D.From the collection of the famous author, writer and speaker, Gordon Bailey, Essex, UK; formed since 1968. [4, No Reserve]
Circa 115-100 BC.. Branched abstract pattern of chisel marks / Horse to left with rider above, lyre below. ABC 10; SCBC 4; LT.8694; DT.90-93; Van Arsdell 33. 7.65gr, 18mm (). Found whilst searching with a metal detector near Sudbury, Suffolk, UK, by Kevin Stimpson in 2017. Very Fine. Extremely rare.
Collection of forty nine various knives, including folding pocket knives, a kukri, a Japanese chisel headed knife, trench art letter opener etc.THIS LOT CANNOT BE SENT THROUGH THE POST. This is due to Parcelforce and other courier regulations which prohibit the postage of bladed items. If you are unable to collect in person, this lot would have to be sent via specialist couriers such as Bradleys. Please contact us for more information.Buyer must be over the age of 18. Age verification ID will be required.
Sumatran pedang, chisel pointed 56cm blade, carved wooden and white metal mounted hilt, with painted wooden scabbard, overall length 78cm (Please note condition does not form part of the catalogue description. We strongly advise viewing to satsify yourself as to condition. If you are unable to view and a condition report is not already available, please ask for one and it will be provided in writing).
Barry De More (Northern British 1948-2023): 'Sculptor with Chisel', monochrome charcoal signed and titled verso 34cm x 27cmProvenance: direct from the family of the artist Notes: a Yorkshire Artist and Associate Member of Dean Clough Studio Artists, De More's works have been exhibited in galleries such as The Stirling Smith Art Gallery and The Whitaker Museum
A late 18th/early 19th century inlaid mahogany wall clockThe frontplate signed Handley & Moore 3261The 21 inch diameter solid mahogany dial with moulded bezel framing the gilt Roman and Arabic numerals, with spade shaped hands (minute counter-balanced) over a long trunk with short door and central inlaid shell within stringing over a chisel foot. The weight driven movement with shouldered and footed plates, the four-wheel train with small diameter barrel terminating in an anchor escapement. 1.2m (47ins) highThis lot is subject to the following lot symbols: TP Y ФTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.Y Subject to CITES regulations when exporting items outside of the UK, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com
From the Gabby King collection, a set of three acrylic Bar and Counter Stools. The Trailblazer in Transitional Design At Gabby, melding traditional and modern design for a beautiful transitional style is at the very heart of what they do. Mixing interesting materials in chic contrast, they begin with hand sketches in-house and honor the creative process from start to finish. They hand chisel ornamentation to make sure their designs shine with precision and beauty that's unique to each products' individual story and origin. Issued: current - 2024Dimensions: 30.25" Seat Height - 45"H x 17.5"WManufacturer: PerigoldCondition: Age related wear.
Bosch tools to include: Bosch power tools and Stanley chisel seat. Bosch 600w grinder PWS 600 with blades. Bosch PSS 28 AE sander. Bosch PSS 200 A low vibration sander Please note this lot has the standard Ewbank's standard buyers premium payable on top of the hammer price and not the reduced rate for cars and motorbikes. To satisfy your knowledge of the vehicles condition please come down to our viewing days as follows before the auction day on the 28th of June. Saturday 15th June: 10am - 2pm, Monday 17th of June: 9am - 5pm, Tuesday 18th of June: 9am-7pm. Wednesday 19th of June: 9am-5pm, Thursday 20th of June: 9am-5pm, Friday 21st of June: 9am-5pm, Monday 24th of June: 9am - 5pm, Tuesday 25th of June: 9am-5pm, Wednesday 26th of June: 9am-5pm and Thursday 27th of June: 9am-5pm. Morning of the Auction on Friday 28th of June.
A set of ten George III parcel-gilt, red and white painted drawing room chairs, circa 1770, in the manner of Ince & Mayhew, each with cartouche-shaped padded backs and stuff-over seats, the channelled frame with floral cresting on slender, tapering cabriole legs, batten-carrying holes and chisel and pencil numbering to underside, four covered in red and gold silk damask and six covered in burgundy damask, the armchairs 67cm wide, 67cm deep, 92.5cm high, the side chairs 62cm wide, 57cm deep, 89cm high, (8+2)Whilst it is generally difficult to conclusively identify items of furniture from the 18th century inventory of the contents of Ombersley due to the brevity of the descriptions, in the case of these chairs it is possible to identify them with certainty because of their distinctive red and white decoration, which they retain today. They were recorded in 'The Drawing Room', which later became known as the 'Rose Boudoir' where the chairs remained until the house was sold in 2017. The fact that they have been so little moved throughout their existence, being almost certainly commissioned for that very room when the Edwin, 2nd Baron Sandys acceded in 1770, means that these chairs have survived, not only with their original painted and varnished decoration but are generally in exceptional unrestored original condition. Whilst a conclusive attribution has not been possible, they do bear comparison with the output of the renowned cabinet makers Ince & Mayhew (see, H. Roberts and C. Cator, Industry and Ingenuity: The Partnership of William Ince and John Mayhew, London, 2022, armchairs pl. 308, p. 358 and pl. 328, p. 365 and stool, pl. 348, p. 371).
A collection of Hard Rock LPs mainly from late 70's and 1980s. Includes artists: UFO, AC/DC, Scorpions Sammy Hagar, Dawn Patrol, Vinnie Moore, Brighton Rock, Thin Lizzy, Kansas, Cold Chisel (Breakfast at Sweethearts Canadian pressing), Q5, Bodine, Verity, GTR, Gary Moore, Def Leppard and others. Also includes a Collector's Box of Def Leppard CD singles. Overall condition: Very Good Plus To Near Mint. (52)
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