9 items found
Page 1 of 1
-
Large Victorian Cherub and lion brass door porter,
£750Large Victorian Cherub and lion brass door porter,
stamped 'WTS' to the rear, along with diamond registration mark.£750 -
Victorian HMS Victory brass door porter,
£650Victorian HMS Victory brass door porter,
with medallion depicting Lord Horatio Nelson to the handle, the flagship set on stepped plinth, with lead weighting to the reverse.£650 -
Early Victorian brass door porter
£450 -
A late Victorian cast brass door porter
£285A late Victorian cast brass door porter
modelled as a winged cupid picking grspes with a foliate backdrop - flat-backed for the securing of an open door,£285 -
Shoe shine chair
£280Shoe shine chair
The mahogany chair having a square raised padded back and tapered seat, padded arms, eight stretchers support the square tapered legs. A foot plate with non-slip tape to base. Mid twentieth century.£280 -
Shoe Shine Chair
£280Shoe Shine Chair
The mahogany chair having a square raised padded back and tapered seat, padded arms, eight stretchers support the square tapered legs. A foot plate to base. Mid twentieth century.£280 -
Shoe Shine Chair
£250Shoe Shine Chair
The hard wood frame made up of the shaped and padded concave back, leading to padded shaped arms and stuff over seat, supported on square legs, stretchers and foot plate. Mid twentieth century.£250 -
A Victorian cast iron door porter
£185A Victorian cast iron door porter
modelled as the Field Marshall mounted on horseback wearing a pith helmet, the regimental colours below, flat-backed for the securing of an open door,£185 -
A late Victorian polished cast iron door porter, modelled as Judy and Baby
£145A late Victorian polished cast iron door porter, modelled as Judy and Baby
flat-backed for the securing of an open door,£145
Featured Items
-
The Dance, by Henri Matisse, Jan – March 1939 / No. 4.
£1,200The Dance, by Henri Matisse, Jan – March 1939 / No. 4.
The Verve Review was a purposefully luxurious. It ran from 1937 to 1960, but with only 38 editions available, due to the high degree of design and editorial work dedicated to each issue. Each edition contained unique lithographic prints, commissioned by the editor, and each cover a double-page lithograph elaborated by one of the artists contained within. It was the brainchild of its editor Stratis Eleftheriades, a Greek National who moved to Paris in the early thirties to take part in the growing Modernist movement, writing under the name of Teriade.£1,200 -
Autumn by Abraham Rattner, Verve Vol. 1 / No. 3.
£600Autumn by Abraham Rattner, Verve Vol. 1 / No. 3.
The Verve Review was a purposefully luxurious. It ran from 1937 to 1960, but with only 38 editions available, due to the high degree of design and editorial work dedicated to each issue. Each edition contained unique lithographic prints, commissioned by the editor, and each cover a double-page lithograph elaborated by one of the artists contained within. It was the brainchild of its editor Stratis Eleftheriades, a Greek National who moved to Paris in the early thirties to take part in the growing Modernist movement, writing under the name of Teriade.£600 -
Portraits Part II by Constantin Guys, Verve Vol 2 / No. 5-6.
£500Portraits Part II by Constantin Guys, Verve Vol 2 / No. 5-6.
The Verve Review was a purposefully luxurious. It ran from 1937 to 1960, but with only 38 editions available, due to the high degree of design and editorial work dedicated to each issue. Each edition contained unique lithographic prints, commissioned by the editor, and each cover a double-page lithograph elaborated by one of the artists contained within. It was the brainchild of its editor Stratis Eleftheriades, a Greek National who moved to Paris in the early thirties to take part in the growing Modernist movement, writing under the name of Teriade.£500 -
Portrait Fragment by Pierre Bonnard, Verve Vol 2 / No. 5-6.
£600Portrait Fragment by Pierre Bonnard, Verve Vol 2 / No. 5-6.
The Verve Review was a purposefully luxurious. It ran from 1937 to 1960, but with only 38 editions available, due to the high degree of design and editorial work dedicated to each issue. Each edition contained unique lithographic prints, commissioned by the editor, and each cover a double-page lithograph elaborated by one of the artists contained within. It was the brainchild of its editor Stratis Eleftheriades, a Greek National who moved to Paris in the early thirties to take part in the growing Modernist movement, writing under the name of Teriade.£600