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Lot 1231

An unmarked yellow metal nine stone Diamond Ring in art deco taste

Lot 1243

A packet containing a yellow metal Seed Pearl and blue stone set Spray Brooch; an early 20th Century yellow metal centre Aquamarine Brooch and an art nouveau white stone Pendant on trace chain, (3)

Lot 674

Two Border Fine Art horse groups and a Melba ware horse, a/f

Lot 936

A 9ct gold Art Deco style ring, 4.9gms

Lot 955

An Art Deco clock garniture

Lot 960

An Art Deco chrome sailing boat table lamp, height 49cms, some scratches to the chrome

Lot 79

A 1914-1918 British war medal awarded to 79732 BMBR.J.Myers R.A., a trench art spirit level and selection of miscellaneous

Lot 339

A pair of WWI trench art brass shell cases, having Somme decoration

Lot 375

A late 19th century pewter continental fruit bowl in the Art Nouveau style, having clear glass liner and pierced scroll frame, stamped O.B.E

Lot 402

A pair of French Spelter and onyx candelabrum in the Art Nouveau style having naturalistic decoration

Lot 441

Two silver and enamel Art Nouveau style pendants, one stamped CH probably Charles Horner, Chester

Lot 445

A white metal brooch in the Art Nouveau style stamped 900

Lot 451

An Art Nouveau 15ct gold brooch of stylised foliate design with diamond, seed pearl and ruby, Chester 1906

Lot 567

A 1960's Art glass vase, a similar period ashtray, a Wedgwood paperweight modelled as an apple, a Caithness paperweight and a 1920's style dressing table bottle etc

Lot 570

A Devon ware Art pottery blue vase, a Limoges miniature jardinière, a Copeland Spode prunus blossom spill vase, a Dutch style tile, and an anchor glass bottle

Lot 688

An early 20th century Belgium Art pottery vase in the Linthorpe Art Nouveau style

Lot 698

A late 20th century Art glass bowl in the Monart style having mottled green and orange decoration

Lot 737

Two early/mid 20th century stained frame French Art Deco style armchairs, having later yellow upholstery

Lot 762

A late Victorian oak washstand having Art Nouveau floral tile back with marble and cupboard under, having extensive chequered line inlay decoration to frame W 39"

Lot 808

A selection of occasional furniture including Lloyd Loom linen box, oak occasional table, Art Deco part nest of tables etc

Lot 1168B

Ten books on oriental art, including Whitlock and Ehrmann 'The Story of Jade', Stanley Nott 'Chinese Jade' two copies, 1936 and 1962, catalogues etc. Visit www.sworder.co.uk for larger image and condition reports.

Lot 1250

An Art Deco single stone diamond ring. Visit www.sworder.co.uk for larger image and condition reports.

Lot 1306

A diamond set Art Deco ring. Visit www.sworder.co.uk for larger image and condition reports.

Lot 1318

A silver amethyst and freshwater pearl brooch, a paste Art Deco clip brooch, and a paste spray brooch (3). Visit www.sworder.co.uk for larger image and condition reports.

Lot 1437

An Art Nouveau WMF electroplated trinket box. Visit www.sworder.co.uk for larger image and condition reports.

Lot 72

A Ruskin ovoid Vase with mottled turquoise glaze, 10 in, chipped , a Pilkington double gourd Vase with green glaze, 5 1/2 in and four other Art Pottery Vases with blue/green glazes.

Lot 101

An Art Pottery four handled Vase with red mottled glaze, 11 1/4 in, chipped, two Wedgwood Saucers and a small Dish with sponged bird, A/F.

Lot 210

An 18th Century Account book relating to Land at Cannon Frome with money receipts received from tenants, also details of wages paid, leather bound and a Manuscript book on Italian History by 1492 lectures, by A.L. Smith, MA, Balliol College, a list of Monumental Brasses in the Midland Counties and Notes on the Art and Artists of Holland in the 19th Century (4).

Lot 333

A Dumore Art Nouveau Biscuit Box with poppy design, a Devon Cream Toffee Tin and a Huntley & Palmer Spanish Tin.

Lot 338

A Crawfords Biscuit Tin of lozenge shape simulating Art Deco bakelite and another in the form of a satinwood Tea Caddy (2).

Lot 343

A Tea Tin in the form of a shell inlaid tea caddy, a Cadbury Art Nouveau Tin in the form of a leather embossed casket and a Cobra Boot Polish Tin (3).

Lot 35

A Venice 'a berettino' ground maiolica albarello, second half of the 16th century, of double gourd form, decorated in berettino with dark blue leaves and berries on a light blue ground, inscribed with a drug label ELo.LENITIVO (lenitivo elettuario) above a polychrome armorial. 18.5cm high. Literature: See Wendy Watson, 'Italian Renaissance Ceramics - the Howard I. Janet H. Stein Collectin and the Philadelphia Museum of Art', (Philadelphia Museum, 2001), p.162, cat. 77A and B and page 208 for reverse, for a similar pair of albarelli with similar decoration but in this case also painted in white. For information about contents see Rudolph E.A Drey, 'Apothecary Jars', p210 (London 1978)

Lot 37

A 17th century Italian maiolica armorial albarello, dated 1638. Possibly from Pesaro or Castel Durante, of double gourd form, painted in blue, orange, yellow and green, with central inscription 'V.Madre Selva' (honeysuckle ointment) on a scroll with an escutcheon and an unidentified coat of arms above on a panel with the initials G. P. , dated 1638 above scroll, 18cm high. Note: a matching bottle also dated 1638 is in the V & A no. 1018. Literature: See Bernard Rackham, 'Catalogue of Italian Maiolica with emendations and additional bibliography' by J.V.G. Mallet, (London, 1977), cat. 1018, pl. 164, p.343, for a pair of drug bottles with a similar shield of arms and initials but in reverse (P.G) also dated 1638. See Wendy Watson, Italian Renaissance Ceramics - The Howard I. and Janet H. Stein Collection and the Philadelphia Museum of Art, (Philadelphia, 2001), p.164, cats 80 A and B and p.209, cats. 880 A & B, for a pair of albarelli of similar shape and ground decoration. See Rudolph E.A Drey, Apothecary Jars, (London 1978) p212 for contents

Lot 84

A LATE 18TH CENTURY LUCKNOW SCHOOL PAINTING. PALACE SCENE WITH HIGH WIRE WALKERS. Gouache heightened with gold on card. 26cm x 28cm. Note: The painting is a slightly later version of a well known composition that first occurs in the albums compiled in Lucknow for Colonel Antoine Polier, a Swiss adventurer in the service of the East India Company and subsequently in that of the Nawab Vizier of Oudh. Polier had three versions done for him. The prime version of circa1780 is in one of his sumptuous albums, which passed into the collection of William Beckford and then that of the Dukes of Hamilton, and is now in the Museum fur Indische Kunst, Berlin, Album I 5005, f. 14. This is coloured and heavily gilded in the late Mughal manner, as are the two other versions in albums given by Polier to Ozias Humphry in 1784 (now in the British Museum) and Lady Coote (now in the Aschenbach Foundation, San Francisco), published in the Ehrenfeld catalogue [Cat.No.63] Alexandria Virginia 1998. This version dates from about 1790 and shows the influence of British art on the development of the Lucknow school in its more subdued colouring and lack of gilding. All versions show a grasp of single-point perspective rare in Indian painting before the Agra-Delhi school of the early 19th century. The prime version lacks the latticed arch of the three subsequent versions through which the action is seen.

Lot 547

PIETER TILLEMANS (FLEMISH 1684-1734). A GREY MARE AND A FOAL IN AN EXTENSIVE HILLY LANDSCAPE. Signed, oil on canvas. 172.7cm x 151.2cm (68in x 59.5in). Provenance:John Sheppard Esq, Campsey Ash High House. Note: Along with John Wootton and James Seymour, Peter Tillemans is one of the founding artists of the British Equestrian Painting School. Born in Antwerp and the son of a diamond cutter Tillemans studied under various artists but was chiefly influenced by the Flemish school of painting of Brueghel and David Teniers the Younger as opposed to the voluptuous Baroque style of Peter Paul Rubens. Tillemans moved to England in 1708, quickly becoming a prominent figure in the art and sporting circles. In 1711 he was among the group who met in Great Queen Street, in London, to form the first Academy of Art in the country. He was extensively patronised by the British aristocracy, including the Dukes of Bolton, Devonshire, Rutland and Somerset and the Earls of Derby and Portmore; he also acted as the drawing-master to Lord Byron's family. As exemplified in the present painting, Tillemans painted a series of very large and impressive horse 'portraits', which proved so popular that a series of engravings and mezzotints were created from them. These were an important step in the development of horse portraiture in England as little work had been done on Equine anatomy until then. Tillemans in particular insisted on depicting the subjects in these series of portraits in 'different actions and postures', as noted on the inscription for the first of these series. He treats his subject with much sensitivity and attention to detail. As one of England's foremost equine artists Tillemans worked at Newmarket, producing impressive compositions such as his 1722 large panoramic view of 'George I and his court on Newmarket Heath', 'Starting point of the Beacon Course at Newmarket' and 'End of the Beacon Course'. With Wootton and Seymour he led developments in English art which "show the first marriage of the topographical tradition of landscape with a sporting element"(Ellis Waterhouse, Painting in Britain, 1530 to 1790, Baltimore, MD: Penguin, 1953, p. 215.)

Lot 92

A silver four division Toastrack of angular Art Deco design, maker William Neale & Son Ltd, Birmingham 1938

Lot 110

An Edwardian cased set of four silver napkin rings each with flattened backs and applied Art Nouveau decoration with turquoise enamel, Birmingham 1905 maker "DGC" the case named H L Brown & Son Doncaster

Lot 238

AUGUSTUS EDWIN JOHN, OM, RA (1878 - 1961) - Portrait of Alick Schepeler, pencil, signed "John" bottom left and titled "Alick Schepeler" 18cms x 14cms Augustus John met Alexandra (Alick) Schepeler whilst she was a secretary at The Illustrated London News in 1906, he made many fine drawings of her in 1906-7, next to Dorelia, she became his favourite model. She fascinated him and she became his mistress. He mentions his feelings for her in his autobiography Chiaroscuro "I was at this time principally occupied in drawing and painting a subject, Alick Schepeler, to whose strange charm I had bowed. I made many drawings of Miss Schepeler…..". Dorelia was jealous of this relationship and after John’s wife Ida died in 1907; she insisted that John give her up. Alick continued her rather Bohemian life and became the mistress of W B Yeates for a time.There are portraits of Alick Schepeler in the Fitzwilliam Museum, Cambridge and Manchester City Art Gallery.PROVENANCEAlick Schepeler was friendly with a Sylvia Mason, they met at the Illustrated London News and remained good friends until Alick died. . Sylvia Mason married into the Beaufort Palmer family, she and her husband mixed with many artists from the New English Art Club this included John and also George Percy Jacomb-Hood and Robert Charles Goff. Towards the end of her life, Alick gave Sylvia a number of drawings and personal letters by John, the following two drawings have come by descent through the family.

Lot 239

AUGUSTUS EDWIN JOHN, OM, RA (1878 - 1961) - Portrait of a Woman wearing a hat (Alick Schepeler), pencil, unsigned, 34cms x 25cms together with a print again of Alick wearing a wide brimmed hat (2) Augustus John met Alexandra (Alick) Schepeler whilst she was a secretary at The Illustrated London News in 1906, he made many fine drawings of her in 1906-7, next to Dorelia, she became his favourite model. She fascinated him and she became his mistress. He mentions his feelings for her in his autobiography Chiaroscuro "I was at this time principally occupied in drawing and painting a subject, Alick Schepeler, to whose strange charm I had bowed. I made many drawings of Miss Schepeler…..". Dorelia was jealous of this relationship and after John’s wife Ida died in 1907; she insisted that John give her up. Alick continued her rather Bohemian life and became the mistress of W B Yeates for a time.There are portraits of Alick Schepeler in the Fitzwilliam Museum, Cambridge and Manchester City Art Gallery.PROVENANCEAlick Schepeler was friendly with a Sylvia Mason, they met at the Illustrated London News and remained good friends until Alick died. . Sylvia Mason married into the Beaufort Palmer family, she and her husband mixed with many artists from the New English Art Club this included John and also George Percy Jacomb-Hood and Robert Charles Goff. Towards the end of her life, Alick gave Sylvia a number of drawings and personal letters by John, the following two drawings have come by descent through the family.

Lot 261

SIR GEORGE CLAUSEN - Study of young Boy's head, oil on panel, signed, 17cms x 10cms This painting was a study for the larger painting "Bird Scaring" which was purchased by the Corporation of Preston, Lancs for the Harris Art Gallery in 1896 where it is still on public display.

Lot 405

AN 0.800 STANDARD ART DECO SILVER & GOLD PLATED KEYLESS WIND CYLINDER WATCH, Swiss, with Arabic numerals, gold moon hands, subsidiary seconds, 10 jewel half plate movement with monometallic balance, the case with polished cuvette and border cast with scrolling foliage, 45mm dia

Lot 12

Thomas Collier (1840-1891). In Hampshire. Watercolour. Signed lower left. 23.5cm x 34cm. Provenance: with The Fine Art Society. Visit www.dnfa.com for condition reports.

Lot 48

Morgan Rendle (20th century). Teston Bridge, on the Medway. Watercolour. Signed lower left. 31cm x 44cm. Exhibited: Brighton Fine Art Galleries, Sussex Exhibition 1941. Visit www.dnfa.com for condition reports.

Lot 75

Bernard Fleetwood-Walker (1893-1965). Mother and child. Pastel. 75cm x 54cm. Provenance: Dr. Peggy Fleetwood-Walker with John Lindsey Fine Art Ltd. Visit www.dnfa.com for condition reports.

Lot 79

Bernard Fleetwood-Walker (1893-1965). Study for the maidens. Pastel. 44cm x 30cm. Provenance: Dr. Peggy Fleetwood-Walker with John Lindsey Fine Art Ltd. Visit www.dnfa.com for condition reports.

Lot 82

Bernard Fleetwood-Walker (1893-1965). Nude on chair. Pastel. 48cm x 30cm. Provenance: Dr. Peggy Fleetwood -Walker with John Lindsey Fine Art Ltd. Visit www.dnfa.com for condition reports.

Lot 84

John Piper (1903-1992). Nude with high boots. Mixed Media. Signed lower left. Dated '8 vi 71' lower right. 36cm x 53cm. Provenance: The Artists Studio with Fosse Gallery, John Lindsey Fine Art Ltd. Visit www.dnfa.com for condition reports.

Lot 164

Mary Kessel (b. 1914). Bison in a forest fire. Oil on canvas. 63cm x 75cm. Exhibited: Exhibition of works by Mary Kessel, The Leicester Galleries, February 1957, No. 24, bought by Miss M. Daunt. The Wilfrid Evill Memorial Exhibition 1965, Brighton Art Gallery, No. 81, Lent by Miss Honor Frost. Provenance: with Ernest Brown & Phillips, Ltd (The Leicester Galleries), Miss M. Daunt, Miss Honor Frost. Visit www.dnfa.com for condition reports.

Lot 202

Bernard Fleetwood-Walker (1893-1965). Isobel. Oil on board. 36cm x 30cm. Provenance: Dr. Peggy Fleetwood- Walker with John Lindsey Fine Art Ltd. Visit www.dnfa.com for condition reports.

Lot 305

Sir Alfred East (1849-1913). The Medway. Oil on canvas. Signed lower left. 147cm x 182cm. Provenance: 20th Century British Art, Christie's South Kensington, 14th May 1998, Lot 62. Visit www.dnfa.com for condition reports.

Lot 389

A quantity of assorted ethnographica and tribal art, 20th century, including carved wood figures; cast metal figures; a carved soapstone mask; two pairs of later carved wood pulley blocks; a small quantity of seashells, etc. Visit www.dnfa.com for condition reports.

Lot 460

'Cafe au Lait' a Clarice Cliff Bizarre stepped bowl painted in colours, a selection of Art in Industry ware by Milner Gray, Dod Proctor and William Robbins and five other items printed factory marks, restored bowl 17 cm. diam.

Lot 544

'Chevaux' a Clarice Cliff Bizarre plate designed by John Armstrong for the 1934 Art in Industry exhibition printed factory mark 25.5 cm. diam.

Lot 554

A Poole Pottery Art Deco wall charger made for W T Lamb & Sons, painted with a spray of flowers in shades of blue, yellow and ochre, on a white ground impressed and printed marks 33cm. diam.

Lot 628

Four ink wash fashion designs by Dodo Burgner comprising women in evening wear, women in beach wear and a woman in an Art Deco interior annotated in pencil, three signed Dodo Art Deco interior 40 x 28.5 cm. (sheet)

Lot 641

Four ink and white body colour fashion designs for Ulk magazine by Dodo Burgner, depicting young women in Art Deco fashions, variously annotated three signed Dodo, illustrated design 39 x 27cm. (sheet)

Lot 642

Nine watercolour and pencil designs by Dodo Burgner, female figure designs and stylised portraits, one a stylised portrait with a poodle variously annotated, one signed Wolff, one signed Dodo illustrated image 26.5 x 20cm (sheet). The signature of Wolff refers to her maiden name of Dodo Wolff, she appears to be the daughter of Theodore Wolff, the art critic and editor of Ulk magazine.

Lot 668

An Art Deco perspex and metal uplighter the metal body lacquered green and copper unmarked 170cm. high

Lot 693

A large Art Deco style Verdi Gris plaster figure of a reclining woman on rectangular base unsigned, minor chips 55.5cm. wide

Lot 720

An H.G.Murphy silver pepper pot the bayonet top with foliate decoration, hammered finish stamped marks, London 1935 10.5 cm. high. Literature: Paul Atterbury and John Benjamin Arts and Crafts to Art Deco the Jewellery and Silver of H.G.Murphy, ACC page 101a similar example illustrated in an original advert for A.E.Gray Pottery.

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