We found 5767 price guide item(s) matching your search

An oak vitrine, 20th century, glazed, with a hinged top, containing a collection of shells, 64cm wide 43.5cm deep84.5cm highCondition ReportUsed, colour lightening.

A small Edwardian mahogany and satinwood inlaid vitrine table, circa 1910, with a hinged glazed top, set on four tapered legs with brass caps and castors, 72cm high, 69cm wide, 46cm deep Condition report There are a few bumps, scratches and minor losses. I will add some further images to the online catalogue to highlight these. The only possible issue is that the base may be a replacement. There are some gaps at the legs and appears to be a more modern piece of wood. 

A French ormolu and mahogany bow fronted two door vitrine (one door unglazed).

An 18th Century style French simulated Linwood vitrine with brass mounts. 78x34x178cm.

19th Century giltwood and ormolu mounted vitrine, the rouge marble top above a serpentine shaped glazed door and bombe shaped base painted with panels of landscapes in Vernis Martin style, 164cm high

Late 19th early 20th Century French kingwood gilt brass mounted vitrine, having single serpentine glazed door, enclosing two shelves on cabriole front supports 90cm wide x 44cm deep x 154cm highThe door is glass and all glass is sound. In good condition. Needs polishing and does have old woodworm holes (see photos)

Late 19th Century French kingwood, ormolu mounted vitrine in Vernis Martin style, the serpentine front with single door above three panels, painted with figures and landscapes, raised on cabriole supports, 88 x 42 x 178cm

A Louis XV style marquetry and gilt-metal mounted vitrine, with marble top, serpentine glazed front and sides, fitted with glass shelves, 83cm wide, 44cm deep, 161cm highMarble top in good condition with small chips to back. Overall slightly scratches, wear and light fading commensurate with age and use. metal mounts a little tarnished. lock original but keya later replacement. Lock functional. marquetry side panels with horizontal linear panel crack to both sides.

A Victorian rosewood and gilt metal mounted vitrine, of serpentine outline with glass sides enclosed by a glazed door and on wavy legs, 61cm wide, 43cm deep, 107cm highGood overall condition, sunfaded, gilt metal a little tarnished in part. Velvet interior dusty and with some marks, lock functional and key present, one shelf with chip to one side.

A reproduction French Vitrine display cabinet, the body with applied metal decoration raised on short swept legs, the interior with adjustable glass shelves and a fabric lined back, 159cm high

* CHARLES OAKLEY (BRITISH 1925 - 2008), DARDANELLES pencil on card, signed, titled and dated '85mounted, framed and under glassProvenance: Pyms Gallery, London (label attached to the reverse of the frame) Exhibited: Pyms Gallery, London, 'Lost Illusions: Works with Romantic and Historic Associations by Charles Oakley', 24th June-19th July 1986, cat. no.2Literature: Charles Oakley and Mary Hobart, 'Lost Illusions: Works with Romantic and Historic Associations by Charles Oakley', Arts Council of Northern Ireland, Belfast, 1986, cat.31 (unpag.) (illus.)image size 19cm x 35cm, overall size 26cm x 41cm Note: Obituary published in The Independent by Prof Kenneth McConkey 8 April 2008: Charles Oakley was one of an important generation of British painters who, in the late Forties, arrived at the Slade School of Fine Art wearing "demob" suits. He had neither portfolio nor sketchbooks to show, but a single watercolour, depicting a momentous occasion in his youth. Oakley grew up in Urmston, Manchester, the son of an engineer; two previous generations of Oakleys had been naval captains. Family holidays spent in Falmouth provided an ideal playground for the young Charles – rusting old U-boats from the Great War were berthed in the harbour. Then, in the early years of the Second World War, while youth hostelling in the Lake District, he came upon the crash site of two Hurricane fighters. A dead pilot lay by the wreckage of one of the planes. The scene burned itself into his mind and was only exorcised when he sketched it out on paper and coloured it. This single work became a talisman and after his three years' military service with the Royal Artillery in the Himalayas, it was this that he took to his successful Slade interview with Randolph Schwabe in 1947. His tutors, William Townsend and William Coldstream, being well-connected, brought artists and critics such as Francis Bacon, Wyndham Lewis and David Sylvester into the Slade to look at students' work. Oakley's diligent studies in the Antique Room won him the Taylor and Melvill Nettleship awards, as well as the Wilson Steer medal for Northern Landscape, a "summer composition" painting of coal trucks in a railway yard produced in 1950. He remained at the Slade for a postgraduate year and in 1951 married Ann, his life-long partner. In those days, the path from the Slade and the Royal College to the New English Art Club was still in use and Oakley showed industrial scenes at two of its exhibitions before moving north to become an art master at Eden School in Carlisle. A splendid watercolour of the old city bus station remains a popular reproduction sold by Tullie House museum in Carlisle. In 1957 his first solo exhibition was held at the Crane Kalman Gallery, Manchester, and was opened by L.S. Lowry. Oakley recalled Lowry's enthusiasm when he purchased a picture from the show. At this stage, living on a fabric designer's salary, and with a growing family, the Oakleys could not reciprocate – much to their chagrin in later years. Thereafter he showed regularly in Manchester exhibitions, being praised for his "poetry in paint". In 1962 he obtained the post of Senior Lecturer at Belfast College of Art, and it was after this that true poetry arrived, with paintings of ships' engine rooms at Harland and Wolff, recalling the submarines of childhood – one of which was acquired for the Ulster Museum, Belfast. In shows at the Caldwell Gallery in Bradbury Place, Belfast, these intense, claustrophobic interiors were juxtaposed with the wide expanses of Donegal where the Oakley family had a summer cottage. Oakley rhapsodised on the windswept beaches where occasionally he would come across the rotting remains of old fishing boats. When these paintings were exhibited in 1965 at the Bondgate Gallery, Alnwick, along with works by Lord Haig and J.H. Themal, Oakley, according to The Guardian, "stole the show". A few years later, as Seamus Heaney and Michael Longley were emerging as the poetic voices of Ulster, the critic William Feaver praised the "mortuary effect" of the painter's "leaky skies" and "peat trenches". Oakley might easily have been typecast as an Irish landscapist of a conventional kind. However, hints of Edward Hopper and "magic realism" had begun to creep into his painting and around the time of his return to England in 1974, he became interested in working in three dimensions – "dabbling in construction work" and experimenting with trompe l'oeil was how it was described. Repeated visits to the Dutch museums instilled a respect for the measured space of Vermeer, Terborch and Metsu, and took him back to his Slade School exercises in mathematical perspective. In 1982, on a student trip, he visited the massive 360-degree Mesdag Panorama in The Hague which was re-examined in a series of works – as indeed were the methodical approaches of painters such as Thomas Eakins and George Stubbs whose deep visual research led to periods of physical and spiritual isolation. These and the Dutch masters became his new subject matter in what were described as "works with romantic and historical associations", in the first of three exhibitions staged at Pyms Gallery, London in 1984 – perhaps the most fruitful collaboration of Oakley's career since it led to touring shows, in galleries in Hull, York, Kendal and Belfast. What we see in The Eakins Studio (1986), for instance, is a box/vitrine, similar to a stage designer's model. The life room impedimenta, sculpture stands and a "donkey", are recreated in miniature – tiny hand-crafted objects in which experience is locked. And on the back wall are pinned the famous studies of male and female nudes which contain them. Oakley's own experiences had come back to haunt him. A connection between these austere academic rituals and lost heroes such as Scott and Oates of the Antarctic, or Mallory and Irvine on Everest, fused in his mind and led him to produce the evocative Antarctic Triptych (1984) and the Quarter Rupee Triptych (1986) in which the intrepid teams of explorers and mountaineers pose for famous photographs. In the former the image is pinned to the remnants of one of their packing cases, along with other memorabilia, including a postcard of Caspar David Friedrich's The Wreck of the 'Hoffnung', inspired by an attempt on the North Pole in 1823. Embedded in the foreground fragments of cracked ice are remnants of a Union Jack. By the early Nineties, other themes, equally austere, suggested themselves. The discovery of a monument to Roger Casement, the death of Richthoven and new interpretations of Balthus, Winslow Homer and Magritte were added to the repertoire in these later years when two further solo shows were staged at Castleside Gallery, Cockermouth, in 1996 and 2000. In 1999 he won the Singer Friedlander/Sunday Times watercolour prize with The Thomas Eakins Gallery. In a genial, self-deprecating way, Charles Oakley used to claim that he was having fun and that these "tableaux" were just a way of filling time. But it was much more than that. Serious research would take him off to find the Mallory ice axe at the Alpine Club, or in 1996, back to Rajasthan. And with collectors waiting for paintings that might take months of detailed work to complete, he carried on until his late seventies when his eyes began to fail. Thereafter, he still spent his mornings in the studio, listening to Radio 3 and reading, surrounded by the work of a lifetime. Note: Kenneth McConkey is Emeritus Professor of Art History at the University of Northumbria. He is an expert on British, Irish and French painting of the late nineteenth and early twentieth centuries, especially Sir John Lavery, British Impressionism and the New English Art Club, and has published extensively on the art of the period, including on George Clausen.

Late 19th century Continental pine vitrine, shaped and moulded arched cornice over a single glazed door enclosing adjustable shelves, flanked by carved pilasters with foliate and geometric motifs, fitted with single moulded drawer, raised on compressed bun feetDimensions: Height: 181cm  Length/Width: 108cm  Depth/Diameter: 54cm

A Late Victorian/Edwardian Vitrine or Music/Curio Cabinet on Cabriole Supports with Swan Neck Gallery, 57cms Wide

A GOOD 19TH CENTURY LOUIS XVI DESIGN VITRINE with three-quarter long drawer and shaped sides, ormolu panels with silk interior enclosing two shelves, supported on turned legs. 5ft high x 2ft 11ins wide x 1ft 2ins deep.

A late 19th century mahogany display table vitrine having a rectangular crossbanded case glazed on all sides and raised on four square tapering satinwood inlaid supports on brass end cap castors. H.74.5 W.60 D.42cm

Exquisite French Louis XV-style marquetry vitrine cabinet, crafted in a refined bombe form with elaborate ormolu mounts. This elegant display cabinet features a serpentine glass door and side panels, allowing for an unobstructed view of its mirrored interior and glass shelves, enhanced by an interior light for optimal illumination. The marquetry inlay showcases a striking contrast of exotic woods, complemented by gilt bronze appliques, including floral garlands, acanthus motifs, and cherubic figures. The top is adorned with a decorative gallery, while the lower section includes a single drawer with brass pulls and a lattice-patterned veneer. Standing on cabriole legs with ormolu sabots, this stunning cabinet seamlessly blends classical French design with Rococo-inspired opulence. Dimensions: 63 inches high, 24 inches long, and 16 inches wide.Issued: 20th centuryDimensions: See DescriptionCondition: Age related wear.

A French Louis XV-style walnut tabletop vitrine or display case from the late 20th century, featuring an elegantly shaped top inset with a glass panel. The shaped front apron is adorned with giltwood scrollwork and border details, enhancing its refined aesthetic. The table is further embellished with ormolu mounts—gilded bronze elements that highlight the intricate floral motifs and classical details—along its frame, legs, and apron. Additionally, brass-applied embellishments and garland swags add to its luxurious appeal. The vitrine is fitted with a fall-front door, providing access to the interior display space. Dimensions: 43"L x 26"W x 20"H.Dimensions: See DescriptionCondition: Age related wear.

A French Louis XV style inlaid walnut and gilt metal mounted vitrine

An early 20th century mahogany glazed vitrine on slender turned legs, 52 x 40 x 74 cm high

A French reproduction bowfront vitrine, with glazed door enclosing two glass shelves, above Vernis Martin style panels, on scroll legs, height 164cm.

Edwardian mahogany line inlaid display cabinet vitrine. Raised on cabriole legs with pad feet, astragal glazed door with shelved interior. Measures approx: 158x76x32cm

An early 20th century Edwardian mahogany and glazed china display cabinet vitrine. Raised on cabriole legs having twin astragal glazed doors with shelved interior. Measures approx: 125x94x26cm

A French serpentine brass mounted and painted giltwood vitrine, early 20th c, with bevelled glass top and glazed on all four sides, 95cm h; 52 x 52cm Glass to one of the sides damaged, decoration slightly dirty/faded and worn

Edwardian mahogany, chequer inlaid and painted two door vitrine on cabriole legs, 177cm by 122cm by 40cm.

Edwardian inlaid mahogany vitrine having two glazed panel doors above two cupboard doors on cabriole legs, 181cm by 125cm by 43cm.

A 19th century satinwood banded brass mounted vitrine, width 110cm, depth 36cm, height 182cm. Condition - good

A decorative mahogany ormolu and painted two door standing vitrine cabinet (lacking one glazed section).

An unusual faux malachite and ormolu mounted narrow vitrine cabinet.

A mahogany and burr walnut veneered vitrine table, with fluted tapered legs and undertier. Width 58cm, height 77cm, depth 41cm.

20th century collectors vitrine floor standing and locking collectors display cabinet with glass panels, on four straight supports with cross stretchers, with key, 72 x 48 x 76 cm H. Not available for in-house P&P

A small Edwardian inlaid mahogany vitrine, 46 cm high, 60 x 39 cm containing a telescopic cheroot holder, steel button hooks, etc

An inlaid Edwardian mahogany vitrine with rising lid on quare taper legs with under gallery 69H x 67L x 43D

A French gilt metal mounted mahogany marble top vitrine, width 68cm, depth 32cm, height 142cm. Condition - fair

A 19th century Anglo Indian teak vitrine, width 91cm, depth 44cm, height 174cm. Condition - good

Still Louis XV Vitrine, Frankreich, vergoldete Bronzebeschläge, 3-seitig Glaseinsätze, 1-türig, Blumen Marketerie, Furnierschäden an einer Stelle, Maße: 85 x 37 x 193 cm, guter, altersbedingter Zustand.

Vitrine, Frankreich, im Jugendstil, Anfang 20. Jhd., Florale Marqueterie, Maße: 77 x 187 x 40 cm, Guter, altersbedingter Zustand.

Mottled cream painted and gilded fleur de lys decoration table vitrine. Standing on outswept legs. Height 89 cm, width 65 cm, depth 46 cm Condition good

A French Louis XV style beech and gilt metal mounted Vernis Martin demi lune vitrine, with decorative Watteauesque scenes

An Edwardian mahogany inlaid table vitrine with glazed insert top and plain wood frieze on square tapered supports: h. x 76cm l. x 82cm w. x 46cm

VICTORIAN EBONISED AND WALNUT CROSSBANDED VITRINE, the shelved interior enclosed by a single glazed door, flanked by outset Corinthian columns, on turned feet90cm wide

FRENCH KINGWOOD AND GILTMETAL MOUNTED DEMI-LUNE VITRINE, OF VERNIS MARTIN DESIGN the shelved intereior enclosed by a central glazed door with painted panel of sweethearts below, flanked by two landscape panels, on cabriole legs93cm wideThe cabinet has a few minor scuffs and abrasions. Two light surface scratches to central image panel. Small section of veneer missing to top surface. See added images.47cm deep, 93cm wide, 171cm high

An Edwardian figured satinwood and ebony strung oval vitrine, with a bevelled and shaped top panel above a single shelf and shaped door on turned tapering supports united by a double crescent stretcher. 67 cm wide x 46 cm x 74 cm overall height

Andrea Domenico Remps, um 1620 – um 1699, zug.Tätig in Florenz in der zweiten Hälfte des 17. Jahrhunderts.WUNDERKAMMER-KABINETT (SCARABATTOLO) IN TROMPE L‘OEIL-MALEREI, UM 1690Öl auf Leinwand.99 x 134,5 cm.Das Gemälde ist als Trompe l‘oeil-Werk geschaffen, womit ein geöffneter Kabinettwandkasten mit verglasten Innentüren und geöffneten hölzernen Außentüren zur Darstellung kommt. Der Begriff des Stilllebens wird hier zu einer erweiterten Bedeutung gebracht. Die Gemäldedarstellung kann insgesamt über den Begriff der Wunderkammer zudem auch als Weltenkabinett verstanden werden, durch dessen Sammlungsobjekte der damalige Begriff von Weltkenntnis oder vom Weltwissen im Bild anschaulich geworden ist. Schon allein die Außenbegrenzung ist so gestaltet, dass durch das Querformat des Bildes ein in die Wand vertiefter Schaukasten vorgetäuscht wird, dessen geöffnete seitliche Türen nicht nur perspektivisch gemalt, sondern auch durch obere und untere schräge Einschnitte der Bildfläche so abgeändert wurden, dass ein perspektivischer Eindruck entsteht. So tragen auch die schmalen Schatten des rahmenlosen Gemäldes an einer Wand selbst zur Täuschung bei.Der viergliedrige kompositionelle Aufbau entspricht dem einer Wandvitrine, mit äußerer Holzrahmung, die seitlich durch die scheinbar geöffneten Holzflügel verdeckt ist. Bei den beiden Glastüren scheint eine geschlossen, eine andere halb geöffnet. Dahinter zeigt sich ein Einbau von zwei Einlagebrettern und damit drei Etagen, in denen eine Vielzahl an Kunst- und Wunderkammerobjekten präsentiert werden. Dies in einer Fülle und in unterschiedlichsten Gattungen, wie Korallenbäume, Elfenbein-Wunderkugeln, präparierte Käfer, Mineralien, geschliffene Kristalle, Dosen, Reliefs, Kleinplastik, eine Steinschlosspistole, aber auch kleine Gemälde und Konvexspiegel – nur um das Wenigste zu nennen.Auch die Vitrine selbst ist perspektivisch-tiefenräumlich angelegt, durch kleine Gemälde, die scheinbar an den inneren Seitenwänden hängen. Selbstverständlich sind auch die geöffneten Holztüren in der Manier der Augentäuschung gemalt: Über Holzmaserung an roten Schleifen hängende Landschaftsgemälde und Seestücke sowie Reliefmedaillons. Rechts zudem ein großer Papierbogen mit einer Landschaftsradierung, angeheftet durch einen Federkiel. Dabei ist höchst bemerkenswert, dass die Gemälde von düsterer Memento mori-Thematik sind: Denn die Landschaften zeigen Vulkanausbrüche, im Seestück kämpft ein Schiff gegen den Sturm.Und natürlich fehlen auch die für Wunderkammern markantesten Objekte nicht, die auf die Vanitas-Idee anspielen. Dazu zählen der Totenschädel und die Taschenuhr auf der unteren Querleiste. Ein Tintenfass mit zwei Schreibfedern deuten auf das wissenschaftliche Interesse des Gelehrtenstandes, der sich der Welterklärung und dem Vanitas-Phänomen widmet.Von zusätzlichem Interesse ist der in eine Metallstrebe der Glastüre eingesteckte beschriebene Zettel mit rotem Lacksiegel. Die Entzifferung lässt den Bezug zum Herrscherhaus der Medici erkennen „Al Ill(ustrissi)mo Sig(nore) et P(ad)rone mio Il Sig. G. F. Coster, Firenze. Also „An den hochwürdigsten Herrn und meinen Gönner, den Herrn G. F. Coster“ Dabei ist „Cos-ter“ als „Cosimo terzio“ zu verstehen, womit Großherzog Cosimo III (1642-1723) gemeint ist. Diese Beobachtung ist umso interessanter, da sich auf einer weiteren Version dieses Gemäldes ein gleicher Zettel findet, nämlich an den Marchese Francesco di Cosimo Ricciardi, seinen Hofbeamten.Eine in vielen Einzelheiten identische Version befindet sich in Florenz, Opificio delle Pietre Dure.(AKG 3802051). A.R.Provenienz:Privatsammlung Großbritannien.Literatur:Marie-Louise D‘Otrange-Mastai, Illusion in art: Trompe l‘oil, a history of pictorial illusionism, New York 1975.Annamaria Giusti, in: A. Giusti, P Mazzoni, A. Pampaloni Martelli, Guida al museo: Il museo dell‘Opificio dell Pietre Dure di Firenze, Mailand 1978, S. 335f, Tafel 510.Jan Muylle in: Inganni ad arte, meraviglie del Trompe-l‘oil dall´antichitá al contemporaneo, Katalog der Ausstellung (a cura) Annamaria Giusti, Firenze, Palazzo Strozzi, 2009-2010, Florenz 2009, S. 75ff.Marco Betti, Carlotta Brovadan, Per il Gran Principe Ferdinando: tre opere del museo dell´Opificio delle Pietre Dure e alcuni cenni sul suo gusto per le „arti minori“ in OPD restauro, 24, 2012, S. 263-272.M. Scalini, Oggetti rari e curiosi nelle collezioni medicee: esotica e naturalia, in: Antichitá viva, 1996, 35, S. 59ff.Ausstellung:Eine Zeitreise durch die Kunst des Ausstellens und Sehens, Wallraf-Richartz-Museum & Fondation Corboud, Köln, 11. Oktober 2024 – 9. Februar 2025.Dazugehöriger Ausstellungskatalog: Anne Buschhoff, Wulf Herzogenrath und Ricarda Hüpel, S. 96/97., Nr. 2.5 (1250148) (11) (†)Andrea Domenico Remps,ca. 1620 – ca. 1699, attributedActive in Florence in the second half of the 17th century.CABINET OF CURIOSITIES (SCARABATTOLO) IN TROMPE L’OeIL PAINTING, CA. 1690Oil on canvas.99 x 134.5 cm.The painting is designed as a trompe l’oeil work depicting a wide-open wall cabinet with glazed internal doors and opened wooden outer doors. Adding interest is an inscribed note with red lacquer seal stuck to a metal strut on the glass door. The deciphering suggests a connection to the Medici dynasty: “Al Ill (ustrissi)mo Sig(nore) et P(ad)rone mio Il Sig. G. F. Coster, Firenze.” It means “to the most dignified master and my benefactor, Mr G. F. Coster, Florence”. In this context “Cos-ter” is to be understood as an abbreviation of “Cosimo terzio”, i.e. Grand Duke Cosimo III (1642 – 1723). A version which is similar in many details is held at the Opificio delle Pietre Dure, Florence (AKG 3802051).Provenance:Private collection, United Kingdom.Literature:M. L. D’Otrange Mastai, Illusion in art: Trompe l’oil, a history of pictorial illusionism, New York 1975.A. Giusti, in: A. Giusti, P Mazzoni, A. Pampaloni Martelli, Il museo dell´Opificio dell Pietre Dure di Firenze, Milano 1978, pp. 335, plate 510.J. Muylle in: Inganni ad arte, meraviglie del Trompe-l’oil dall´antichitá al contemporaneo, exhibition catalogue, A. Giusti (ed.), Florence, Palazzo Strozzi, 2009- 2010, Florence 2009, pp. 75.M. Betti, C. Brovadan, Per il Gran Principe Ferdinando: tre opere del museo dell´Opificio delle Pietre Dure e alcuni cenni sul suo gusto per le “arti minori”, in OPD restauro, 24, 2012, pp. 263-272.M. Scalini, Oggetti rari e curiosi nelle collezioni medicee, esotica e naturalia, in: Antichitá viva, 1996, 35, pp. 59.Exhibition:The painting on offer for sale only recentlyexhibited in the Wallraf-Richartz-Museum & Corboud, Cologne: A journey through the art of exhibition and seeing, 11 October 2024 – 9 February 2025.According exhibition catalogue: Anne Buschhoff, Wulf Herzogenrath and Ricarda Hüpel, p. 96/97, no. 2.5.

A French kingwood and painted vitrine, circa 1900, of arched shape with gilt metal mounts and moulded glass panels, incorporating painted pastoral scenes featuring musicians, on cabriole legs197 x 125 x 45cm

Louis Majorelle (French, 1859-1926), a French Art Nouveau marquetry inlaid oak 'Chicoree' pattern vitrine, with floral carved crest and single glazed door over a recess drawer and panelled door inlaid with thistles, 100cm wide, 43cm deep, 224cm high Honest condition, of an even golden to treacle brown tone, upper door has original lock but apparently no key and encloses two adjustable glass shelves, understage has extensive wear and ring marks etc., drawer has lost moulding from each end, base cupboard with some splash marks, plinth a little more rubbed and worn from use.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

A French brass mounted kingwood vitrine table, the bevel edge panelled hinged top over all-round glazed in sides, raised on slender cabriole legs with sabot toes, 62 cm w x 42 cm x 78.5 cm h, no key

An Edwardian mahogany and line inlaid china / bookcase display cabinet vitrine. Raised on cabriole legs with pad feet having twin drawers under display cabinet above. Flared pediment atop. AF. Measures approx: 145x110x35cm

A LOUIS XVI STYLE BOWFRONTED VITRINE with three-quarter glass door and sides, over painted landscape panels, velvet interior, supported on curving legs. 5ft 8ins high x 2ft 2ins wide x 1ft 1ins deep.

An Edwardian marquetry inlaid satinwood vitrine, bears Maple & Co. trade label, width 73cm, depth 36cm, height 148cm. Condition - good, locked, no key Locked, no key. Damage to door panel (lower right) but minor chips to feet. Glass original, no worm.

A 19th century satinwood banded brass mounted vitrine, width 110cm, depth 36cm, height 182cm. Condition - good

Vitrine. Nussbaumfurnier. 2-türig verglaster Korpus. Geschnitzter Aufsatz (erg.). Schloss mit Schlüssel vorhanden. Alters- und Gebrauchsspuren. 19. Jh. 192x 120x 48 cm.

Kleine Vitrine. 4 senkrechte, matte Aluminiumstreben, Seiten, Rückwand, Boden, Deckplatte und Tür aus Plexiglas. 2 Plexiglaseinlegeböden. Schloss mit 2 Schlüsseln. L. Gebrauchsspuren. 20./21. Jh. 51x 26x 26 cm.

Vitrine. Holz. Eintüriger, 3-seitig verglaster Korpus auf geschweiften Beinen. 3-Glas-Einlegeböden. 20. Jh. Ca. 190x 90x 45 cm.

19th century French rosewood vitrine display cabinet, stepped caddy top decorated with foliate egg and dart gilt metal beading, the fabric lined interior fitted with three shelves, enclosed by two glazed doors with cast gilt metal mounts, shaped apron on splayed feet with cast hoof capsDimensions: Height: 178cm  Length/Width: 149cm  Depth/Diameter: 50cm

Biedermeier-Vitrine. Deutsch 19. Jh. Kirschbaum furniert, teilw. massiv und ebonisiert; vier Vierkantfüße, Schub, dreiseitig verglast, frontal flankiert von Säulen, H=167 cm, B=106 cm, T=50 cm.

Halbrunde Biedermeier-Vitrine. Süddeutschland 19. Jh. Weichholzkorpus, furniert mit Vogelaugenahorn und Nussbaum, Adereinlagen; eintürige, gebogte Front, dreiseitig verglast, in Felder unterteilt, H=181 cm, B=116 cm, T=58 cm.

Puppenstube „Schlaf- und Wohnzimmer“. Deutsch um 1900. Massivholz, gefasst und teilw. tapeziert; mit Zubehör u.a. Bett, Kommode, Nachttisch, Ofen, Sofa, Stühle, Tisch und Vitrine, Puppenstube: H=31 cm, B=74 cm, T=29 cm.

A German Secessionist Sycamore Maple Salon Suite, circa 1900, comprising a vitrine, stepped breakfront with applied gilded motifs and wave borders, bevel edge glass door and side panels, silk lined back, three adjustable glass shelves, fall front cupboard, on four front feet, 112.5cm wide, 40cm deep, 160.5cm high, lamp table, with inset circular marble top, on four tapering square section legs, mounted with gilded repeating motifs, 56.5cm diameter, 78cm high, two armchairs, upholstered seat, back splat and arms, on tapering square section front legs, 92cm high and two chairs, pierced splats, upholstered seats, on tapering square section front legs, 90cm high (damages) (6)Display cabinet - key bent but functioning, cornice with veneer chips and small losses, some further minor scuffs and chips to veneer around the cabinet, one shelf chipped.Table - marble broken, all pieces present and sit together inside the frame, polish heavily faded, some scuffs and chips to legs, some wax repairs to chipped veneer.Side chairs - movement to joints, one with loss to splat, polish faded and scuffed.Armchairs - one arm broken, joint movement, polish faded and scuffed, upholstery tired.

An early 20th century French kingwood and ormolu mounted vitrine, the glazed door inset with a vernis Martin panel, height 159cm, width 68cm, depth 38cm.

Biedermeier-Vitrine. Birke, auf Nadelholz furniert. Schlichter, zweitüriger Korpus (teilverglast) mit Halbsäulen, auf kurzen Füßen. Bänder, Manschetten und Schlüsselblenden aus Messing mit Reliefdekor. Schloss mit Schlüssel. Rest., Alters- und Gerauchsspuren. Um 1830. 185x 120x 39 cm.