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A white metal manual wind cocktail watch set with ten small diamonds, sun burst silvered marquise shaped dial and black numerals, fitted to an associated white metal mesh thong style bracelet with fold over clasp and safety chain and Swiss made 16 jewels movement. Total length measures 6 1/4ins, case width 13.7mm. Together with a further manual wind white metal cocktail watch, the small rectangular head set with twelve small diamonds, and engraved detail to the edge, the dial with black numerals and missing glass. Fitted to an associated black thong with fold over clasp and 17 jewels movement marked Art Watch Co. Total length measures approximately 6ins, case width 10.3mm. (2).
An Art Deco style stainless steel and gold plate manual wind CORT watch head with red and white paste set dial and fitted with a later brown leather strap. The watch is in working order. There are some surface scratches and areas of wear to the head and the plastic glass. The face is slightly discoloured in places, and a couple of the paste stones have gone yellow. The strap is in good condition. We cannot guarantee the working order or accuracy of any watch sold.
A pair of early 20th Century Continental Art Nouveau drinking glass by Theresienthal, the plain circular foot rising to a tall slender baluster stem with shallow bowl decorated to the exterior with a stylised enamel crocus in blue with gilded highlights, height 16 cms.
A mid 20th Century American scent bottle of faceted form cased within a cast gilt metal mounts after designs by George Jensen with stylised sparrows on ears of corn rising to a conforming stopper, height 18 cms, together with a 1930's Art Deco scent bottle of square section with a frosted and silvered chequer board design, height 15.5 cms S/D.
An Art Nouveau oak fretwork folding table screen, decorated cranes and floral motifs, a hammered brass circular tray top table with folding wooden base, a rectangular wall mirror in scrolled gilt frame, and a 1920s Japanese lacquered hexagonal top occasional table, on bamboo splay supports
BYRON (John) The Narrative of the Honourable... an Account of the Great Distress... on the Coast of Patagonia, 2nd edition 1768, 8vo, calf; Voltaire, La Henriade, 2nd edition London 1728, 8vo, plates, worn calf; The Government of the Tongue, 3rd impression, Oxford 1675, 8vo, panel calf, bound with The Art of Contentment (3)
Silver. HERNMARCK (C) The Art of the European Silversmiths 1430-1830, 2 vols in slip case; EMERY, European Spoons before 1700 (1976); Irwin Untermyer Collection catalogue; Jacksons English Goldsmiths and their Marks, 2nd edition 1921, half morocco; Indian Colonial Silver (1000) 1973; few others (20)
Illustrated. Various including Copper Plate Magazine (No.XXIV) with views of Whitton Place, Middlesex and Oatlands, Surrey (stained); Eight Views of Dudley Castle, Birmingham, published 1831; Charm of the Etchers Art, The Studio 1920; English Watercolours, C Holme, The Studio 1902; William Hogarth, A Dobson and Sir W Armstrong, Heinemann 1902 (latter three with Tate Library stamps)
WALTER ELMER SCHOFIELD Rock Close Wood, Godolphin. Oil on panel. Inscribed to the reverse. 8 1/2 x 9 1/2ins. (See illustration) NOTE. This work was exhibited at Penlee, "A Century of Art in West Cornwall 1840-1939". It is sold together with an American exhibition catalogue featuring the artist.
An Italian bronze model of a fisher boy, late 19th century, cast after Gabriele Parente, portrayed standing, wearing straw hat and loin cloth, his right hand raised holding a small fish aloft, a rod in his left hand, the base cast as a rocky outcrop inscribed G. Parente, and further stamped FOND. ART. LAGANA NAPOLI, on a rectangular section white marble plinth, 46cm high overall, (plinth possibly associated)
Paul Sandby, R.A., 1730-1809 Castle by a River watercolour over pencil 13x21.5cm.; 5.5x8.5in. (2) To be sold together with Landscape with a Large Tree and a Castle in the Distance, a watercolour by John Varley (1778-1842). Exhibited London, The Fine Art Society, April 1960, No. 54
Arthur Wardle, R.I., R.B.C., 1864-1949 Two Setters on a Grouse Moor signed and dated 1903 oil on canvas 56x76cm.; 22x30in. Arthur Wardle a self-taught London artist with no academic training, painted domestic and sporting animal subjects, along with wild animals painted from sketches done on the spot during his visits to London Zoo. He is, however, mainly known for his paintings of dogs and it is thought that he probably painted every breed of purebred dog that existed in his day. He began exibiting at the R.A. in 1880 at the young age of sixteen, was elected to the Pastel Society in 1911 and became a member of the Royal Institute of Painters in Watercolours in 1922. His first one man exhibition was held at the Fine Art Society in 1931. This painting depicts two Llewellin English Setters. This strain of English Setter was bred as a working or hunting dog, as opposed to the Laverack Setter, which was bred as a show dog. Both types of setter still exist today and can be traced back to two well known breeders in the late 1800s, Mr R. L. Purcell Llewellin and Mr Edward Laverack.
Simon Coombes, 1940-2004 beware the intruder signed and dated May 89 oil on canvas 51x76cm.; 20x30in. Simon Coombes, born in Shaftesbury, Dorset in 1940, moved to an 800 acre farm in Kenya's Great Rift Valley with his family when he was 6 years old. At the age of 18 he began serving in the Kenya Regiment and received a commission in the King's African Riffles. His military career included action during the guerrilla war in Somalia, the foundation and leadership of Kenya's airborne unit and a promotion to Major by the age of 24. Coombes initially began to draw as a means of occupying his time during periods of military inactivity and took nomadic tribesmen, wildlife and the surrounding landscape as a natural and immediate source of inspiration. His passion for African wildlife and the beauty of this dramatic landscape, coupled with his exceptional technical ability as a painter, led him to devote most of his life to his art as well as to the conservation of his beloved subject matter. Beware the Intruder, executed at the height of his carreer, encapsulates Coombes' precise handling and observation of the majestic beasts he paints with remarkable sensitivity and skill. provenance Acquired directly from the artist by the present owner Literature Simon Coombes, An African Experience, 1989, p. 15
Hilda Goldwag, Austrian/Scottish b.1912- Flowers in a vase; oil on board, signed, 61x80.3cm., (unframed). (may be subject to Droit de Suite) Note: Painter born in Vienna. Fleeing from the Nazis she arrived in Scotland in 1939 and continued her art education at Edinburgh School of Art. By 1940 she was employed with fellow refugee and sculptor Paul Zunterstein as a textile designer. She has exhibited on many occasions at the R.S.A., R.G.I., S.S.W.A. and at the Third Eye Gallery. She has held a solo exhibition at the Lillie Gallery, Milngavie and her work is in the collection of the Scottish Arts Council.
Beeching mid 20th century- Abstract landscape; oil on board, signed, 61x92cm, bears label for the Brandler Galleries Essex, verso: Caroline Thomson late 20th century- Portrait of a Red Setter in a landscape; oil on board, signed and dated 95, Terry Kirkman late 20th century- 'Haworth Art Gallery'; watercolour, signed, dated 83 verso: British School late 20th Century- Cottages in a valley; oil on board, (4) (may be subject to Droit De Suite)
John Berry b.1920- Sketchbook page with animal and portrait studies; pencil, signed in coloured crayon, 29.5x42cm., (unframed). Provenance: with St James's Art Books, London according to Certificate of Authenticity which accompanies this lot. See department (may be subject to Droit de Suite)

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