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SIX STONE JARS COMPRISING 144 HENRY BRAINE, WELLINTON HOTEL, GLOUCESTER - EDWARD LE COUTEUR, GROCER, BERESFORD STREET, JERSEY - 6071 PRICE, BRISTOL - THOMAS & BAYLEY, GREYFRIARS, GLOUCESTER - DOULTON & CO LTD, LAMBETH AND TWO OTHERS TOGETHER WITH THREE ANTIQUE BROWN LIQUEUR FLAGONS AND AN OLD BOTTLE ( 10 )
A Chinese Jade Carving of a Dancing Boy, Qing Dynasty, 18th/19th century, in contra-posto pose with his left leg raised, holding a shoe in his right hand, and holding a large fly whisk over his shoulder, of pale celadon-white colour, 6.4cm, with S Marchant & Son, Jade Exhibition 2000 label See illustration
A George V Four Piece Teaset, maker`s mark HTH&Co, Birmingham 1920, each piece with bracket rim and engraved with cursive initial C, comprising teapot with ebonised handle and vase knop, two-handled sugar basin, milk jug, and conical hot water jug, 49oz gross all in, in the original stained wood carrying case
A George V Silver Gilt Pedestal Cup, Mappin & Webb, London 1910, the boat shape vessel with inscrolling floral and leaf enriched handles, with cornflower pierced fretted panels, upon a baluster stem and foliate enriched oval base, on three anthemion feet, 19cm high, 19oz See illustration
A George V Three Piece Teaset, CS Harris & Sons Ltd, London 1912, each of Regency compressed cushion form, the broad flanges with gadrooned edges, each with a girdle band of ribbon tied reeds enriched with fruiting vine, comprising teapot, milk jug and two-handled sugar basin, the teapot 12.8cm high, gross weight 50oz
An Edward VII Canteen of Old English Pattern Flatware, John Thomas Heath & John Hartshorn Middleton, Sheffield 1907, 1909 and 1913, each piece crested on the bowl or below the tines with phoenix head erased crests, comprising twelve table forks, twelve dessert forks, two pickle forks, six table spoons, twelve dessert spoons, twelve soup spoons, ten teaspoons, a serving spoon, a pair of sauce ladles and a soup ladle; together with Twelve Dessert Knives (with Sheffield stainless blades and silver filled handles); and Twelve Table Knives, Sheffield 1959, en suite, weighable silver 130oz
A Set of Three Graduated Victorian Table Centrepiece Baskets, William Gibson & John Langman, London 1898, each piece of neo-classical boat form with fruiting husk cast border and shell and acanthus leaf pierced end handles, the body fretted with grille work and in relief with swags on paterae, on a conforming swept oval foot, the largest 41.5cm wide, 22cm high, the two smaller baskets 24.3cm wide, 13.4cm high, 56 1/2oz all in, in the original fitted case See illustration
A Victorian Scottish Teapot, Mackay, Cunningham & Co, Edinburgh 1871, the tapering oval body on a skirted base with a filleted leaf capped scroll handle and flat cover with button finial, bright cut engraved swags and borders throughout, crested and initialled, presentation inscription to base, 14cm high, 18oz 19dwt all in
Punch & Judy Interest: A Set of Three Figural Fruit Serving Spoons, Edgar Finley & Hugh Taylor, London 1892, comprising a pair of serving spoons with fig bowls and knopped wrythen fluted stems surmounted by Mr and Mrs Punch respectively, 23cm high, and a sifter spoon surmounted by dog Toby, 14cm (stamped with indistinct registration number), combined weight 7 1/4oz (3)
A Victorian Cornucopia Pepperette, Deakin & Francis, Birmingham 1890, with S scroll handle and dolphin terminal, on two front scroll feet, 7cm high; and A Victorian Baluster Pepperette, maker`s mark indistinct, Chester 1892, repousse in high relief with scrolls, shell and flowers, on a plain circular pedestal foot, 7.7cm high, 3oz combined weight (2)
A Victorian Claret Jug, Henry Welfare & Co, Birmingham 1881, the clear glass body of flat sided ovoid form intaglio engraved with a song bird perched on a blossoming plum branch about to take a bee, above a broad band of repeat diamond motifs, slice cut neck, lozenge and anthemion engraved mounts (and monogram), S scroll handle, 22cm high See illustration
A Victorian Presentation Wine Tray, Richard Martin & Ebenezer Hall, London 1873, neo-classical design, circular with beaded edge, the borders in relief with swags of husks from ribbon tied shields against pierced grille-work, the field richly chased with a band of fruiting acorn leaves around an inscription Presented to Miss Ada Elizabeth Paget on the occasion of her marriage with Robert Stanley Scholfield Esqre by his tenantry on the North Duffield Estate, December 21st 1875, raised on three outswept pierced feet, 37.4cm diameter, 43oz
A Pair of George III Candlesticks, John Parsons & Co, Sheffield 1791, the circular bases rising to flared octagonal stems with vase shaped sconces and detachable circular pans, crested and engraved with an armorial, inset turned wooden bases, 30.5cm high, loaded See illustration
A George III Pedestal Coffee Pot, John Langlands I & John Robertson I, Newcastle 1782, of pedestal baluster shape, the tall domed cover with vase finial and beaded edge, ebonised wood C scroll handle, engraved with cursive initial D, on a beaded circular foot, 30cm high, gross weight 27 1/4oz
A Pair of George III Table Candlesticks, Nathaniel Smith & Co, Sheffield 1800, with campana shape wrythen fluted nozzles and tapered stems, the weighted gadrooned bases engraved with small Prince of Wales feather and crown crests, 31cm high; with Later Associated Sheffield Plate Two-Branch Three-Light Candelabra Fittings, with swept beaded branches, 53cm high overall See illustration
A 9ct Gold Wristwatch, signed Zenith, 1961, 17-jewel lever movement with dust cover, silvered dial with applied Arabic numerals, subsidiary seconds, case with screw back and engraved inscription, maker`s mark ALD, Birmingham 1961 and numbered 12894 180303, 33mm wide, together with a Garrard & Co retailing case see illustration
An 18ct Gold Wristwatch, signed Vacheron & Constantin, Geneve, circa 1970, (calibre K1014) 17-jewel lever movement numbered 636709, adjusted to heat, cold, isochronism and five positions, gilt coloured dial with applied baton markers, case with a snap-on back numbered 7811 455925, 33mm wide, together with V&C case and guarantee booklet
A Lady`s 18ct Gold Wristwatch, signed Vacheron & Constantin, Geneve, circa 1970, (calibre 1003) 17-jewel lever movement numbered 616936, adjusted to heat, cold, isochronism and five positions, movement stamped with Geneva seal, gilt coloured dial with applied baton markers, 18ct gold integral bracelet, 25mm wide, together with V&C case and guarantee booklet see illustration
A 14ct Two Colour Gold Rectangular Wristwatch, signed Alpina, retailed by Tiffany & Co, circa 1945, (calibre 490) 15-jewel lever movement with dust cover, gilt coloured dial with baton and Roman numerals, subsidiary seconds, white and pink gold rectangular case with snap-on back numbered 121122, 24mm by 38mm
An 18ct Gold Open Faced Chronograph Lever Pocket Watch, retailed by J Harris & Sons, Manchester, No.3416, 1883, frosted gilt finished lever movement, bimetallic balance, white enamel dial with Roman numerals, outer fifths of seconds track, case with ribbed band and slide to operate chronograph hand, case back with vacant cartouche, maker`s mark AW FT, London 1883, 55mm wide see illustration
An 18ct Gold Half Hunting Cased Keyless Lever Pocket Watch, retailed by Wm Wray & Son, 38 New St, Birmingham, 1882, frosted gilt finished lever movement with bimetallic balance and blued overcoil hairspring, white enamel dial with Roman numerals, subsidiary seconds, plain polished case, London 1882, 51mm wide
An Open Faced Keyless Lever Pocket Watch, signed Patek Philippe & Co, Geneve, No.75481, circa 1885, nickel finished moustache lever movement signed, bimetallic balance, wolf`s tooth winding, white enamel dial with outer Arabic and Roman numerals, subsidiary seconds, case decorated throughout and gold coloured monogram to the back, cuvette numbered and signed, case, dial and movement signed and numbered, 51mm wide see illustration
An Art Nouveau Enamel Necklace, by Murrle Bennet & Co., a green and blue enamelled pendant surmounts a freshwater pearl and is suspended from two figaro link chains, to two smaller blue and green enamelled panels on the figaro link necklet, chain length 45.5cm, pendant drop measures 9cm. See illustration
An Art Nouveau Amethyst Pendant on Chain, by Murrle Bennet & Co., the wirework and granulation pendant set with an oval cut amethyst centrally, and an oval cut amethyst drop suspended, on a fancy link chain, pendant measures 1.9cm by 4.1cm, chain length 41cm. See illustration
A Diamond Set Enamelled Pendant Watch on Matching Chain, frosted gilt finished movement with bimetallic balance, white enamel dial with blue Arabic numerals and a red 12, outer gold coloured dot minute markers, seed pearl set bezel, the reverse guilloche enamelled in blue, with gold inner border, seed pearl outer border, and a diamond collet set centrally, on a blue and white enamelled suspension link to a blue and white enamelled four-sided tube link necklace, each link spaced by a seed pearl, watch measures 2.7cm by 3.7cm, chain length 54.5cm, cased by Franklin, Hare & Goodland, Ltd, Jewellers, Taunton. See illustration
Sir Edward Coley Burne-Jones Bt, A.R.A. (1833-1898), Portrait Study of a Young Girl, Inscribed with a personal inscription To Sir Henry Austen Layard from EBJ, also dated July 1893, pencil drawing, 22cm by 17.5cm. Born in Birmingham, went to Exeter College, Oxford and friended William Morris. He intended to enter the church, but was impressed by the work of Dante Gabriel Rossetti and in 1856 left Oxford, to become a painter. He later met Rossetti and in 1857 they worked together on the Morte d`Arthur wall paintings in the Union Debating Society`s room at Oxford. As a partner in the firm of Morris & Co, he produced many designs for stained glass and tapestries. He became a member of the Old Watercolour Society in 1868, but resigned in 1870 following criticism. Exhibiting only once at the Royal Academy in 1886, resigning his Associateship in 1893. He exhibited five works at the opening exhibition of the Grosvenor Gallery 1877, which quickly established his reputation as England`s most influential artist. Thereafter he exhibited mainly at the Grosvenor and New Galleries, and occasionally at the Old Watercolour Society. He was created a Baronet in 1894. In the 1880s and 1890s became an international figure, awarded the Legion of Honour amongst other European honours. His was a consciously aesthetic and unworldly style, which combined the romanticism of Rossetti with the medievalism of William Morris-most of his subjects are taken from the Arthurian legends. He rarely painted in oils or watercolours, preferring to experiment with mixed media. He had many pupils and imitators including Stillman, Sandys, Soloman, Strudwick, Rooke, Stanhope, Murray and de Morgan. The sale of his studio was held at Christie`s on 16-18 July 1898. See illustration
Colonel Robert Charles Goff (1837-1922), "Lenten Sermon, Duomo, Florence", Signed with the artist`s initials, inscribed and dated 1916 verso, pencil and watercolour with wiping out, 12.5cm by 8.5cm. The work is sold with a book entitled Florence painted by Colonel RC Goff and described by Mrs Goff, published by A & C Black, London
Harold Riley (b.1934), "Salford Snow Storm", Signed and dated (19)79, inscribed on an exhibition label verso, charcoal, watercolour and pastel heightened with white, 41cm by 31.5cm. Exhibited at the Harold Riley & the LS Lowry RA Exhibition, held at the Harrogate Festival. See illustration
Sir Terry Frost R.A. (1915-2003), "R B & W & Black Sun", Signed and dated (19)94, also inscribed, signed and dated verso, gouache, 19.5cm by 13.5cm. Born in Leamington Spa, Warwickshire, started painting whilst a prisoner of war. Attended Camberwell School of Art 1947-1950, taught at Bath Academy of Art, Corsham Court from 1952, and was the Gregory Fellow at Leeds University 1954-1956, teaching at Leeds School of Art 1956-1957. Appointed Artist in Residence at the Fine Art Department, Newcastle University in 1964, a lecturer at the Department of Fine Art, Reading University 1965, and Professor of Painting 1977-1981. Frost`s first one-man show was held at the Leicester Galleries in 1952. See illustration
Henry John Yeend King R.B.A., V.P.R.I., R.O.I. (1855-1924), "April Sunshine, Carteret, Normandy", Signed, also inscribed on the original frame and extensively inscribed verso and dated 1908, oil on canvas, 110cm by 178cm. The work was exhibited at the RA in 1908, catalogue no. 866. Also bears a Salon stamp for the Paris Salon, possibly 1908/09, and also possibly being handled by Dicksee & Co. A London landscape and rustic genre painter, he studied with Bonnat and Cormon in Paris and worked for three years in a glass works, but became a highly successful artist. His painting entitled "Milking Time" was purchased by the Tate Gallery. He had a robust plein air technique, using bright bold colours which stem from his French training. His pictures were highly prized by the Victorian industrialists of the day and consequently a great many of them have been donated by these collectors to their local art galleries and museums, resulting in Rochdale, Oldham, Burnley and Sheffield having examples by him in their collections. He was elected a member of the Royal Society of British Artists in 1879 and a member of the Royal Institute in 1886, later becoming its Vice President. See illustration
James Webb (1825-1895), "At Dinant, Belgium", Signed and dated (18)80-1, also extensively inscribed verso, oil on canvas, 77cm by 127.5cm. See illustration. Specialised in marine and landscape scenes. Works by Webb are held by The Tate, V&A Museum, and provincial galleries. Sales of his works and collection were held at Christie`s 1868
Marcel Dyf (1899-1985) French, "Pont sur la Sarthe", Signed, inscribed on an exhibition label verso, oil on canvas, 38cm by 46.5cm. Provenance: Frost & Reed Ltd, London, Bristol and Worthing. Born in Paris. During World War II he joined the Resistance and was based in Correze. In 1950 he acquired a studio in Cannes, met his wife, Claudine, in 1954 and married in 1965. She was 36 years his junior. He was a member of L`Ecole Francais, and had exhibitions in the USA and Great Britain. See illustration
Carlos Nadal (1917-1998) Spanish, "Armenonville (Arrabai Paris)", Signed, inscribed verso together with a further signature and date (19)69, oil on canvas, 81cm by 100cm. The work is accompanied by two books on the artist by Alain Barthelemy, with personal inscriptions. Born in Paris to Catalan parents, studied art in Barcelona and Paris. In 1930 enrolled at the School of Arts & Crafts in Barcelona and in 1932 he moved to the Senior School for Fine Arts of St George Barcelona. In 1935 won the Conde de Lavan for Watercolour, the Mastiera for Oil Landscape and the Fortuny for Commercial Posters. Nadal fought with the Republican Forces on the Arogonese Front, crossed the French Frontier and was interned in the Concentration Camp St Cyprien for five months. He escaped and was arrested by the Civil Guard. He returned to Barcelona, on probation, returning to his studies with the aid of a grant from the Barcelona Town Council. In 1946 Nadal was granted a scholarship by the French Government to study in Paris where he became a Fauvist painter. Although offered a Scholarship by the USA Carnegie Foundation, he married the Belgian painter Floris Joris in 1949 and settled in Brussels. The artist exhibited 1951-1983 throughout the world. Exhibited at the Harrogate Festival Exhibition 1984, number 59. See illustration
Jacob Kramer L.G. (1892-1962), Portrait of a Young Lady, head and shoulders, wearing a red dress, Signed "Kramer", oil on canvas, 60.5cm by 51cm. Born in the Ukraine, the son of a painter. His parents settled in Leeds in 1900 where he began his art studies. He was later sent to the Slade School by the Education Aid Society and began to exhibit at the New English Art Club from 1914 onwards. He also attended evening classes at Manchester School of Art. Sir Michael Sadler became his patron, and he had a solo show with Matthews & Brooke in Bradford. He was invited to show with the Vorticists in London and was elected a member of the London Group. He began to create a name as a Yorkshire-based artist, showing with Fred Lawson at Leeds School of Art in 1916, and having a solo show at the Bradford Arts Club. In 1959 he was elected President of Leeds Fine Arts Club, and in 1960 had a retrospective exhibition at Leeds City Art Gallery. Six years after his death the City of Leeds Branch College of Art was renamed The Jacob Kramer College of Art. His later shows were at the Parkin Gallery (1973), Belgrave Gallery (1990), and a centenary show at Leeds University Arts Gallery. A Jacob Epstein sculpture of him is in the Tate Gallery, which holds his work, as do the V&A Museum and the British Museum. See illustration
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1431916 item(s)/page