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THOMAS BRADBURY & SONS LTD A SILVER REPRODUCTION OF CHARLES II 17TH CENTURY BEAKER, of flared form with floral repousse decoration, Sheffield, pin punch inscription to the rim "IS.1676.SH" (usually a marriage combination of initials and wedding year ) 9.2cm high, weight; 160g
Approximately fifty Nintendo Entertainment System (NES) Game Pak video game cartridges, to include a Gold 'The Legend of Zelda' cartridge with sleeve, RoboCop, Mega Man 2, Gremlins 2, Paperboy, Teenage Mutant Ninja Turtles, Home Alone 2, HOOK, Tom & Jerry, Tetris, Bubble Bobble, Super Mario Bros./Duck Hunt 2-in-1 and others (qty).
Matchbox - seven boxed die-cast 'Models of Yesteryear', to include Y-1 Alchin Traction Engine, Y-4 Shand Mason Horse Drawn Fire Engine, Y-4 1909 Opel Coupe, Y-6 Supercharged Bugatti Type 35, Y-8 1914 Sunbeam Motor Cycle, Y-9 Fowler "Big Lion" Showman's Engine and Y-11 Aveling & Porter Steam Roller (7).
An extensive collection of approximately two thousand assorted luggage labels, to include G.W.R.; Bristol (Temple Meads), Hereford, LMS; Glasgow, L.&.Y.R.; Wyke, G.S.&.W.R.; Clondalkin, Midland Railways, Gt. North of Scotland Railways and London and South Western Railway (qty).
Three boxes of assorted cameras, lenses and accessories, to include a cased Goldech Vario, boxed Kodak Automatic 8 Movie Camera, boxed Halina Viewer, Pentax MV, Pentax ME F, ME Super, RICOH KR-10M, Canon EOS 5000, Hoya HMC Zoom & Macro 80-205mm 1:3.8 and a Pentax 28-210mm f4-5.6 Macro (3)
Three boxes of assorted cameras, lenses and accessories, to include a Canon EOS 700, Praktica B100, Minolta SR T 303, Praktica L2, Movexoom 10 Sound cine camera, ENNA Munchen Tele-Zoom 1:4/85-250mm, TAMRON 85-210mm f4.5 and a Bell & Howell 80-205mm f/4.5 Macro Lens (3).
* Rathbone (John, 1750-1807, & George Morland 1763-1804). Landscape, oil on wood panel, depicting a pastoral scene with sheep before a large thatched barn near trees, two bucolic figures and a dog in the foreground, some craquelure, 24.9 x 34.1 cm (9.75 x 13.5 ins), framed, verso with remains of old label inscribed in an early hand 'Landscape by George Morland and John Rathbone, signed by both' and with part of old red wax seal monogrammed 'J P D'Qty: (1)NOTESWe have not been able to discern signatures of either artist on this work. George Morland and Julius Caesar Ibbetson both frequently collaborated with John Rathbone, painting the figures in his landscapes.
* Cantagallina (Remigio, circa 1582-1656). View of Pesaro, pen and brown ink on laid paper, with watermark of crossed arrows surmounted by a six-pointed star (similar to Briquet 6299, according to whom this paper was known to be in use in Rome between 1527 and 1566), double-rule outer border in matching brown ink, tipped onto later laid paper, with additional double framing lines in brown ink, sheet size 146 x 218 mm (5.75 x 8.6 ins), window-mountedQty: (1)NOTESProvenance: Probably from an album of 105 drawings of Tuscan views, mostly by Cantagallina, inscribed ‘Vedute di Toscana d’Jacopo Ligozzi’, and with provenance as follows: The Rev. Dr. Henry Wellesley, Oxford; his posthumous sale, London, Sotheby’s, 25 June 1866 onwards, lot 954 (‘A Portfolio with leaves, containing 105 drawings in Pen and Sepia, Views in Tuscany, by Jacopo Ligozzi’); Sir David Kelly, London; his sale, London, Hodgson’s, 26 November 1954, lot 596 (‘Original Sepia and Wash Drawings of Scenery, Antiquities, Buildings etc. of Tuscany by Jacopo Ligozzi, Remigio Cantagallina and others’); Hans M. Calmann (1899-1982), London; Private Collection, Herefordshire, UK. The present work is accompanied by a card sheet (used to protect the drawing) with a presentation inscription in pencil to the present owner 'With all good wishes for Christmas and a Happy New Year from Hans & Gerta Calmann. I hear you have a liking for Pesaro'. Hans Calmann, a stockbroker by profession was born in Hamburg, but forced to flee Nazi Germany for England in March 1937. In 1941 he opened a gallery in Davies Street, London, later moving to Bruton Place in 1963, where he remained until his retirement in 1973. Calmann presented drawings by Parmigianino, Mola and Cantagallina to the Ashmolean Museum, amongst other works. Ramigio Cantagallina was born in Borgo San Sepolcro, near Arezzo in 1575, and spent the majority of his career in Florence. Influenced by Northern artists such as Paul Bril, Cantagallina himself influenced landscape artists working in Florence in the first half of the 17th century, including Jacques Callot. According to Filippo Baldinucci, Cantagallina was 'celebre in disegnar paesi a penna' (famous for his landscape drawings in pen). Finished landscaped drawings such as the present work are typical of his output, and were most likely intended as autonomous works in their own right. The landscape drawings are characterised by "an intimate feeling for contemporary life and trees with lively, twisting trunks and tightly defined clusters of leaves" (Italian Drawings from the Bick Collection, Dartmouth College, New Hampshire, 1971, catalogue no. 24. Given the provenance of the dealer Hans Calmann, this drawing is likely to have come from an album of landscape drawings formerly in the collection of the scholar and antiquary Dr. Henry Wellesley (1791-1866), nephew of the Duke of Wellington, that appeared in auction in London in 1954. Although titled 'Vedute di Toscana d' Jacopo Ligozzi', the album was in fact largely made up of highly finished drawings by Cantagallina, several of which were signed. The album was acquired by Hans Calmann, and the drawings were dispersed over the next few years. Examples are today in the Fondation Custodia (Frits Lugt Collection), Paris, the Ashmolean Museum, Oxford, Pierpont Morgan Library, New York, Princeton University Art Museum, Detroit Institute of Arts, National Gallery of Art in Washington, D.C., and elsewhere. See stephenongpin.com, Remigio Cantagallina, A Tuscan Landscape with Figures by a River (accessed 22 April 2020), from which the information on provenance has been sourced.
* After Annibale Carracci (1560-1609). The Drunken Silenus, circa 1595-1602, 17th century pen and brown ink over a counter-proof printed in pale red, on heavy laid paper, after the engraving by Annibale Carracci of his own design for the Tazza Farnese, the engraved silver dish made for Cardinal Odoardo Farnese, light additions in pencil suggesting some vine leaves as a covering for the genitals of the main serving satyr, inscribed in pencil to verso at head R. 1796, in an early hand (probably 18th or early 19th century), framed and glazed, with section of white card to verso to which is attached an old Sotheby's catalogue entry '154. Italian School, 17th Century. The Drunken Silenus, pen & ink, over red contre-épreuve', above which is attached another printed note 'Bought at Sotheby's date 20.7.67 lot no. 154'Qty: (1)NOTESSee Bohlin Prints and Related Drawings by the Carracci Family (1979) 19. Carracci's original design for the standing dish, engraved on a silver plaque, is now in the Museo Nazionale, Naples, and was used for taking prints. The biographer Bellori gave the work the highest praise, saying it equalled Raphael and the 'idea piu perfetta' of classical antiquity.
* French School. Courting couple, 17th century, sepia watercolour on paper, showing a young lady and gentleman in an interior, with another lady looking through a window to the left, and a vista of a large house beyond on the right, tiny chip to right-hand edge, 15.8 x 13.4 cm (6.25 x 4.25 ins), sometime laid down on card with border of black pen & ink lines and gold paper, attributed in pencil to lower margin 'Beaubrun', mountedQty: (1)NOTESProvenance: Collection of Michael Jaffé CBE (1923-1997), English art historian and director of the Fitzwilliam Museum, Cambridge.
* Italian School. Saint Sebastian, circa 1600-1650, sepia pen & ink drawing on laid paper, with crossed keys watermark, depicting a man tied to a tree, with shield, helmet, and spear beside, sheet size 22.9 x 17.7 cm (9 x 7 ins), together with: Male nude with putti, circa 1600, sepia pen & ink drawing, depicting a muscular bearded man with cavorting putti behind, circular collector's black ink stamp of Richard Cosway with monogram 'RC' to right-hand edge (Lugt 628), toned and soiled, with minor edge-fraying, laid down on a piece of contemporary Italian letterpress, 12 x 24 cm (4.75 x 9.5 ins), and an 18th century reproduction print on laid paper of an old master drawing of Mary anointing Jesus' feet, verso with collector's monogram stamp 'BW' in black ink (Lugt 4451: unknown mark, early 20th century, found on drawings in a number of museum collections, e.g. V&A, J. Paul Getty Museum)Qty: (3)NOTESProvenance: Collection of Michael Jaffé CBE (1923-1997), English art historian and director of the Fitzwilliam Museum, Cambridge. Provenance (second item): Collection of the portrait miniaturist Richard Cosway (1742-1821). Cosway was an important collector of old master paintings, drawings and prints, sculpture and objets d'art. A sale of Cosway's old master paintings, organised by Messrs. Hammersley and Co., Bankers, Pall Mall, was held in 1791, with a catalogue entitled: A catalogue of the entire collection of pictures of Richard Cosway, Esq. R.A. principal painter to His Royal Highness the Prince of Wales, in the great saloon, and eight other apartments, of his house in Pall Mall, containing the undoubted works of the great masters of the Florentine, Roman, Venetian, Lombard, Flemish, and Dutch Schools. There was another auction of Cosway's art collections by James Christie in March 1792, and further sales after the artist's death, in 1821, 1822 and 1828.
* Picart (Bernard, 1673-1733). Jesus with the Samaritan Woman at Jacob's Well, brown and grey wash and pencil with black ink, on pale cream laid paper, inscribed in pencil to verso in a later hand 'Jesus & la Samaritaine', sheet size 323 x 215 mm (12.75 x 8.5 ins), tipped-on to old laid paper backing sheet, with ruled wash border, watermarked D&C BLAUW IV [circa 1750 or later], inscribed in another later18th century or early 19th century hand to lower right corner 'B. Picart'Qty: (1)NOTESProvenance: Possibly Collection of Alfred Beurdeley (1847-1919), French cabinet maker, whose collections were sold in over twenty auction sales between 1920 and 1921 (later pencil inscription to lower left corner of backing sheet); Friedrich Winkler (1888-1965), German art historian, director of the Kunstbibliothek Berlin, later curator of the Kupferstichkabinett Berlin, and author of Die Zeichnungen Albrecht Durers (1936-39); Eva Winkler Dencker (1923-2017), Los Gatos, San Jose, California (information on the Winkler ownership supplied in the catalogue entry for this work by Swann Galleries, Old Master Drawings, November 5, 2019, lot 98). This accomplished wash drawing depicts the crucial moment in this famous bible story (St. John's Gospel, Chapter 4, Verses 1-40), when Jesus reveals himself to the Samaritan woman as the messiah, with her dawning realisation of his message as the disciples return with food from the nearby village of Sychar. The present drawing is likely to have been intended for engraving and subsequent publication, possibly in one of Picart's many folio historical publications, such as the Ceremonies et Coutumes Religieuses , published in Amsterdam between 1723 and 1743.
* Dutch School. Tobias and the Angel, first half 17th century, sepia pen & ink sketch on laid paper, some soiling and marks, further pen & ink sketches to verso (5 figure studies), 2 nicks in upper edge, sheet size 16.4 x 20.9 cm (6.5 x 8.25 ins), tipped onto early-mid 19th century laid paper watermarked 'JW', with contemporary pencil attribution 'Eckhout' to lower margin, together with: Hermit and dog, mid 17th century, sepia pen & ink drawing on laid paper (laid down on paper), of a man seated beside a tent with a dog, and a church in the background, toned and a little rubbed, sheet size 9 x 13.3 cm (3.5 x 5.25 ins), mounted, plus a late 16th/early 17th-century pen & ink sketch on laid paper, head & shoulders portrait half-profile to right of a bearded man in a hat, indistinctly inscribed in a contemporary hand to left-hand margin ' ? bouroy', sheet size 6.7 x 4.4 cm (2.5 x 1.75 ins), tipped onto laid paper and mounted on board, and a 17th-century pen & ink drawing on laid paper (laid down on paper) of a church procession, dust-soiled, 16.3 x 25.2 cm (6.5 x 10 ins), mountedQty: (4)NOTESProvenance: Collection of Michael Jaffé CBE (1923-1997), English art historian and director of the Fitzwilliam Museum, Cambridge.
* Venetian School. Bacchanalian wooded scene with sleeping Venus, Cupid and Satyr blowing horn, surrounded by putti leading a tiger & elephant, with satyrs attending, later 17th century, pen & ink, black chalk, and brown wash on laid paper, heightened with white, ink inscription 'Cyro Ferri' to lower edge, laid on 18th century paper/card with line border, inscribed in pencil to verso in a 20th century hand 'Luca Giordano/ Coll A.P. Oppé', 380 x 522 mm (15 x 20.5 ins), framed and glazedQty: (1)NOTESProvenance: Adolph Paul Oppe (1878-1957) (according to pencil inscription to verso of mount.
* Beilby (William, c.1740-1819). View of Banks Fee House in Gloucestershire the Seat of John Scott Esq., pen, ink & monochrome watercolour on wove, watermark J. Whatman, lower blank margin with caption and armorial (slight cropping at foot), signed lower left, few horizontal creases, image size 365 x 325 mm, sheet size 430 x 370 mmQty: (1)NOTESThe renowned glass decorator William Beilby of Newcastle was also a recognised drawing master and topographical artist. Banks Fee House, at Longborough, near Stow-on-the-Wold, Gloucestershire was constructed for John Scott around 1760. A portrait of John Scott by the fashionable portraitist Pompeo Batoni, dated 1774 is held at the National Gallery, London.
* Bolswert (Boetius Adamsz, 1580-1633). Four Landscapes, after Abraham Bloemaert (1566-1651), circa 1630, the set of 4 rustic landscapes with thatched cottages after Bloemaert (Landscape with Ganymede, Landscape with the Temptation of Saint Anthony, Landscape with Tobit and The Angel, & Landscape with Two Figures by a Pond), on laid paper, trimmed to plate margins, sheet size 198 x 262 mm (7.8 x 10.25 ins), each window-mounted, with Christopher Mendez printed label to the first in the seriesQty: (4)
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1485930 item(s)/page