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Click here to subscribeA 16th century style Gothic livery cupboard, with a decorative wrought iron lock, flanked by pierced panels, above a drawer, above a cupboard door and pierced panels, 137 cm high x 108 cm wideSome alterations, some losses, variation of colour, due to size and nature will have replaced parts, some timbers possibly 19th century
Novo-Hispanic School. Mexico. Late 17th century. Nicolás Correa Juárez Circle."The Mass of Saint Gregory"Oil on copper. 29,5 x 23,8 cm.An exquisite and very unusual, unique depiction of the well-known Mass of Pope Saint Gregory, as the vision of the Blessed Souls being rescued from Purgatory by angels and taken to heaven also appears in the scene. The composition is designed to save space, as it could have been distributed over two sections of a small diptych. To the right of the scene, as is customary, we see a door with a landscape and figures, and/or members of the papal entourage or donors joining in the main act of the Eucharistic miracle. The ‘pray for the souls, present and absent, and pray for their tribulations’ scene is depicted with a great deal of light in order to attract attention. The painter depicts the apparition of Christ to Pope Saint Gregory the Great while he is celebrating mass on Christmas Day in the Roman Basilica of the Holy Cross in Jerusalem with detail and finesse. His assistants also appear, one carrying the cross to guide them and the other with a halo, who also participate in the miracle. Christ, surrounded by the symbols of his Passion, shows his stigmata to assuage the doubts of some of the people present or the Pope's own doubts about Transubstantiation. In some paintings blood appears to flow from the arma christi and is collected in a chalice, but not in this case.Due to its small format, the painting could have been a devotional copper commissioned by a member of the Church, with the aim of moving his soul to devotion and capturing the essence and depth of the Eucharistic celebration at all times, and, at the same time, the vision of hell/purgatory. With it, following the catholic doctrine, he would not forget the sacrament of forgiveness and mercy and would save all souls from their sins and evils that keep them in a constant purgatory. In short, a small copper that embodies the symbol of the Eucharist as a renewal of Christ's sacrifice to save humanity.
Castilian school. 16th century.‘Temperance’ and “Justice”.Pair of carved, walnut wood reliefs. 47,5 x 42,5 cm. each. This pair of incredible quadrangular white walnut wood reliefs representing Temperance and Justice must have originally belonged to a liturgical piece of furniture which would also have contained the other two Cardinal Virtues, i.e. Fortitude and Prudence. It is most likely that they were part of a set of Renaissance pews - without categorically ruling out their belonging to a cupboard or a door - as representations of the Virtues were quite common in the pews of this period due to their moralising character, as we must bear in mind that the moral conduct of the Human Being rested on them.Given the technical characteristics of both reliefs, the remarkable skill and finesse with which they are carved, and the fact that sculpting in walnut and the making of pews and other ecclesiastical furniture were not commissioned from just any master, it seems clear that their sculptor was a relevant sculptor of the Castilian school and that they were carved around the second third of the 16th century.Both Virtues have been depicted, as is often the case, as women of classical appearance, almost like Roman matrons or noble maidens with sophisticated headdresses. They wear wide, fine garments completely covered with small pleats that make the edges of the garments extremely faceted.The wet cloth technique is simulated in some areas, with which not only the plastic and volumetric values of the reliefs are highlighted but also the voluptuousness of the women, since through these fine garments the rounded forms of their bodies are suggested. As a general rule, they are worked in bas-relief, but in the most relevant areas, such as the heads, hands and attributes, the relief acquires greater volume, close to being in the round, but never quite reaching it.The heads are small, round and have expressive faces, serious in the case of Justice and more serene in that of Temperance. They have slanting eyes, carved with great detail both in the iris and the eyelids, and above them, sharp curved eyebrows that give them personality, as well as a chiaroscuro in the area of the eye sockets that enhances their volume. The facial features comprise smooth foreheads, broad, elongated noses, marked nasolabial folds, small open mouths with thick lips and bulging cheekbones. The ears are not visible due to the elaborate headdresses that almost completely obscure their hair. In the case of Justice, we can see a scarf that leaves free a couple of snaky locks that slide down her temples, and a ribbon that the anonymous sculptor models with great skill, creating a series of curves and counter-curves while displaying it from different profiles with multiple folds. For her part, Temperance also wears a kind of veil that leaves free a pair of locks of similar characteristics to those of Justice. Above the veil, the end of which seems to be moved by the wind, is a winged head of a putti, one of the most characteristic elements of Renaissance vocabulary. This same putti is found on Justice's neckline, almost like a brooch. Finally, Temperance wears a kind of cloth hanging from the ends of the buckles that cover her ears.Both women are perfectly identified both by the Latin signs carved on the upper part of the panels - ‘TEMPERATIA’ and ‘IVSTICIA’- and by the attributes they hold in their hands. Thus Justice elegantly holds a scale in her right hand - the allegory of the equality with which she must act - while in her left hand she wields a sword - the symbol of the strength with which she imposes herself - whose long blade occupies the entire height of the panel. Temperance, on the other hand, is seen pouring water from a jug over a wide goblet filled with wine in order to temper what is too stimulating.The conception of the two figures differs from each other, for while Temperance presents a closed composition, withdrawn in on itself, as well as having a calmer character as it embodies the Virtue it is representing, Justice is conceived with an open composition -see the arms- and shows a more decisive and dynamic spirit. Both differences in state, tranquillity and impetuosity, can be seen in another specific detail that they both share: the way in which the wind moves or waves the scarf or ribbon that covers their hair. We would like to thank Dr. Javier Baladrón, doctor in Art History, for the identification and cataloguing of this work.
A Selection of 35mm SLR Cameras, to include a CNON EOS IX, silver, body VG, powers up, appers to work, with a Sigma 28-80 zoom, barrel G, optics F-G, a Canon EOS1000F, appears to power up, battery door does not latch, lens barrel has some rubber grip missing, a second Canon EOS1000F, powers up, autofocusses, takes a shot, has a Sigma zoom lens,
A Selection of 35mm Film Cameras, comprising an Asahi Pentax S1a SLR, body F, shutter working, film door slightly stiff, with a Super Takumar f/2 55mm lens, barrel G, optics F-G with light peripheral fungus, an Agfa Super Silette Automatic, body G, shutter cycles but the leaves are stuck closed, and a Canon Sureshot Z115 Compact Camera, body G, with case, not powering up.
A Regency marble topped figured rosewood four-door breakfront chiffonier, with black veined marble top above three frieze drawers with two end cupboards flanking a central crescent recess below, the four doors with inset celadon green pleated watered silk panels and fitted with Bramah type locks, the whole supported by a conforming moulded plinth base. 150 cm wide x 38 cm deep x 95 cm high
R. Taylor, an early 19th-century 8-day oak long-case clock, the painted broken arch dial bearing the portrait of Queen Caroline, the hood with swan neck pediment, 47 cm wide x 25 cm deep x 220 cm overall height.Formerly of Donnington Castle House, near Newbury, Berkshire Formerly of Donnington Castle House, near Newbury, Berkshire The glass of the hood is cracked. There are no weights or pendulum, so not in working order.Updated:The movement looks very clean and looks as if it has been recently restored and re-gutted.The cheeks that support the movement are uneven. It would seem that a packing block is missing from the right-hand side. This causes the dial to sit awkwardly in the hood/mask. It is common for these to be replaced.The hood door has a cracked glass panel, the clock has some patches to the veneers.The trunk door does not have a key.The clock does not have either weights or a pendulum.In short this clock would need some work to make good but it looks as if most of the horological work has been done, but sadly it will require a pendulum and weights.
In the manner of Ambrose Heal, an Arts & Crafts oak linen press the upper section with a pair of deeply panelled doors with elaborate stylized copper hinges, the base with two short over short over two long drawers and box plinth,125 cm wide x 51 cm deep x 206 cm highGood order generally.The left-hand door has a slight twist across it, this is held in check by the lock on the other door The interior has four trays one of which has a clumsy block repair that could be improved upon. The top edge doesn't show signs of a former cornice but could have had a boarded top as some signs of glue blocks remain.The drawers run but the top drawers will need their runners replaced soonThe bottom section has NO keys, the locks are marked HLL Patent The bottom long drawer has the right-hand swan neck is missing but the back plate remainsThe sides are front panels and drawer fronts are intact and without splits or cracks.
A pair of Napoleon III marble-topped mahogany pedestal night cupboards with brass inlaid decoration each fitted with one frieze drawer supported by turned columns above a single panel cupboard door and turned feet, 41 cm wide x 41 cm deep x 89 cm high. A private estate One stand is faded and shows perhaps some old repairs to natural fault lines in the marble top.Some of the brass infills on the fluted columns are a little loose but are all present.The faded cupboard has two veneer bubbles to the door panelGenerally good structural order but may need some cosmetic work to rectify the fading.Please see the extra images taken
A George III satinwood and marquetry demi-lune commode in the manner of Ince & Mayhew, the top inlaid with a sand-shaded half fan tied ribbons and swags of Hare bells within a rosewood crossbanded border with further harebells, fitted three shaped doors with tied laurel wreath and triumphal urn inlay on a quartered ground, supported by inlaid tapering square supports, 126 cm wide x 56 cm deep x 88 cm overall height. The commode has had some later sub-divisions to the interior, the top has had a dark watermark (pan ring) removed locally that has caused the outline to have sunken slightly.,Update, the feet look to have been cut off at some point, you can see where the saw has stalled in its kerf on one foot perhaps the commode had small block feet, the detail continues from the pilasters to the feet suggesting that the legs are correct but cut downThe shelves are later additions with signs of Vandyk crystals staining to the shelves and shelf supports, maybe this carcass interior was not partitioned for shelves or perhaps one long shelf.The top of the commode has had a dark cup ring taken out but this has left a slightly depressed ring to the surface. the top is free from cracks or splits.The two end cupboards are free from splits but do have some slightly lifting sections of marquetry, the central door shows some transmission of the boarded ground in the form of a subtle undulation to the surface, but it remains intact without splits.The commode has had some restoration over the years using outdated processes and has also had something done to the interior, possibly to make three compartments from a large single space with a single shelf but is basically period.Please see the extra images supplied .
A good quality George IV mahogany cupboard bookcase the upper section with triple reed Lancet glazing, above a pair of figured cupboard doors. on shaped bracket feet. 123 cm wide x 58 cm deep x 237 cm height.The bookcase is in good order, all glazed panels are intact without cracks or breaks.The only thing I would mention is that the lower carcass right hand door springs open, this could be remedied with a new lock or key.
Two Victorian chenille table covers or hangings in burgundy with flowers, tasselled, an Art Nouveau red wool cover, two heavy tapestry style curtains, or door curtains, each woven with foliate design (5)Condition Reportthe brown /green curtain measures 234 x 230 cms approx, and the all green durtain 231 x 226 cms approx.
"Bob Dylan Mondoscripto" set of 10 limited edition lithographs, Hors Commerce 4/30, all signed by the artist, published by Washington Green Fine Art after handwritten original drawings with lyrics, four within black frames, mounts and glazed "All Along the Watchtower", "Blowin' in the Wind", "Mr Tambourine Man", "Lay, Lady, Lay" and six unframed "It's All Over Now Baby Blue", "The Times They Are A'Changin", "Forever Young", "Knockin' on Heaven's Door", "Like a Rolling Stone" and "Maggie's Farm", each 44.5cm x 73cm, the unframed prints each within black folder, all with certificate, box and booklet
A marquetry inlaid gilt metal mounted pier cabinet 19th century, the single panelled door inlaid with foliate scrolls, flanked by two corinthian columns, the interior fitted with two shelves, 93 wide39cm deep109cm highCondition ReportLosses in veneer in areas. Knocks, scuffs present - associated with usual wear. Lock in working order. Beading around panelled door slightly loose.
A Victorian brass inlaid mahogany bracket clock, with an arched case, with a twin fusee movement, striking the hour, with a glazed back door, and cast ring handles, on ball feet, 42cm highthe dial 16.5cmCondition ReportCase damaged, no glass in front. Knocks and wear. Movement strikes when wound. crazing and chips to dial.
1966 Vanden Plas Princess 4 litre RBest bid to be submittedRegistration number CHC 474DGrey with a new light cream leather interiorAutomatic, burr walnut dashboard, door cappings and pic-nic tablesNew headlining and new rear leaf springsMuch work carried out by the current ownerStarted and ran well on inspectionVarious MOT certificates, a small group of tax discs and a Driver's Handbook1 of 6,555 Vanden Plas Princess 4 litre R's produced ***Driven to Haynes from Bridgwater, moved this morning, brakes no longer working, there is no bluid in the brake master cylinder*** All lots in this sale are sold as is and bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding. Please read our terms and conditions With V5C, with keys View video This lot must be collected by 12.30pm on Friday 25th October. If the buyer has not collected by this time it will automatically be removed and placed into storage, incurring a removal charge of £100 + VAT, to include the first week of storage, unless otherwise noted. Storage will then be charged at £10 + VAT per day or part thereof. If collecting from storage, please provide 24 hours notice
A pair of Art Deco style mahogany bedsides, each of oval form with brushing slide, single drawer and cupboard below71.5 x 60.5 x 46cmWith a few scuffs and marks from use, two deeper scratches to one - one to door, the other to right side. Sticky residue where there had once been pads for a glass top.
A pair of Art Deco style birds eye maple side cabinets, each with a pair of cupboard doors opening to reveal shelves within and raised on plinth bases74 x 76 x 45cmBoth with cut-outs to backs, one with a large veneer chip to top of one door, general scuffs, stains and scratches from use, veneer blistering in places.
§ Mary Potter OBE (1900-1981) The Mountain Zermatt ink and watercolour 16 x 11.5cm; together with Boatyard Door pencil and watercolour 16 x 15cm (2) Provenance: With Thompson's Gallery, Aldeburgh (Boatyard Door)Exhibited: London, The New Art Centre, Watercolours from Abroad, cat. no.2 (The Mountain Zermatt)
A selection of brass and copper door furniture including a pair of copper finger plates with raised stork decoration, three pairs of matching brass 12" finger plates with scroll decoration, three pairs of matching 9" finger plates together with a selection of various door handles and furniture
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