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An Art Deco silver coffee pot and matching hot water jug, with a domed top and heart shaped thumb piece above a tapering cylindrical body on a geometric base with ivory handles, London, 1932, marked to the base Dimmer & Sons Ltd, 44 Palmerston Road, Southsea, approximately 645 grams
An Art Deco sapphire and diamond cocktail watch, circa 1920The rectangular dial with Arabic numerals, within a pierced surround of brilliant and single-cut diamonds, accented by step-cut sapphire lugs, to a fancy-link strap of pierced geometric and scroll design, millegrain-set throughout with brilliant and rose-cut diamonds, accented by calibré-cut sapphire links, mounted in white gold, brilliant and single-cut diamonds approx. 0.75ct total, several sapphires deficient, Swiss import mark, length 16.1cm
PAIR OF ART DECO STYLE SAPPHIRE AND DIAMOND EARRINGS each set with a central round brilliant cut diamond within alternating sapphire and diamond teardrop shaped halos, suspended from a sapphire and diamond set drop, the diamonds totalling approximately 0.69 carats to each earring, the sapphires totalling approximately 1.47 carats to each earring, 58mm long, unmarked, 14g gross
ART DECO STYLE SAPPHIRE AND DIAMOND BRACELET, the central panel set with round brilliant cut diamonds flanked by calibre and trilliant cut sapphires, with round brilliant cut diamonds to the bracelet, the diamonds totalling approximately 3.50 carats overall, 18cm long, unmarked, 18.6g
A Regency pollard oak and brass marquetry circular table, by George Bullock, circa 1815, the top decorated with brass marquetry depicting repeating foliate designs, the turned stem with ebonised detail, above a shaped triangular plinth decorated with further foliate brass marquetry, and three downswept legs surmounted by ebonised roundel terminals and on ball feet, 73cm high, the top 75cm diameter For a table by George Bullock that is almost identical in overall design and scale to the current table being offered (but adopts alternate marquetry also based on the Wilkinson Tracings) see Christie’s Important English Furniture, 27th November 2003, Lot 160 (£65,725). The table sold by Christie’s also had firm provenance to Great Tew Park. Bullock had supplied the table with various other items of furniture to M. R. Boulton (d. 1842) and by descent to Major Eustace Robb, Tew Park, Great Tew, Oxfordshire (sold Christie's house sale, 27-29 May 1987, lot 33) The remarkably similar table supplied for Tew Park was made for the Drawing Room and invoiced in 1817 as '1 Circular Oak Loo Table richly inlaid with Holly & white mouldings £28'. George Bullock's 'sketch' for the centre table for Matthew Robinson Boulton's Drawing Room is likely to have been the pattern sent in January 1816 following his December visit to Tew 'with the view to the preparations of the furniture'. Named a 'Loo table' after a card-game, its circular 'altar' form on Grecian-scrolled 'claw' evolved from the monopodium table illustrated in Thomas Hope's Household Furniture and Interior Decoration, 1807 (pl. XXXIX). The inlay patterns survive in the 'Bullock' tracings executed by Thomas Wilkinson from George Bullocks designs in 1820 (preserved in the Birmingham City Art Gallery) as they do also for the main marquetry elements of the current table. Another remarkably similar centre or ‘Loo’ table is illustrated in George Bullock: Cabinet-Maker. London: John Murray Ltd., 1988, page 100. The illustrated example has identical marquetry to the example currently being offered at the centre of its top, however the illustrated example lacks the outer border of ‘etruscan laurel’ marquetry that the current example is decorated with. A sofa table attributed to George Bullock, decorated with Etruscan laurel marquetry banding closely relating that which decorates the current table was offered at Christie’s, London, Important English Furniture, 6th April 2000, Lot 123 (£44,650). Other pieces firmly attributed to or known to be by George Bullock also feature the same or very closely related design of marquetry. This includes a tripod table (also incorporating brass inlay) supplied in 1814 by Bullock to John, 4th Duke of Atholl for Blair Castle, Perthshire (illustrated in C. Wainwright, George Bullock, Cabinet-maker, 1988, p.67, fig.8.).
λ Phyllida Meacham (b. 1938), a patinated bronze group of a polo player and pony, the male rider portrayed with mallet raised, a whip in his left hand; the naturalistically cast rectangular base signed, dated 1990 and numbered 4/9 in the maquette 53cm high overall, 48cm long Phyllida Meacham is a member of the American Academy of Equine Art, the British Society of Equestrian Artists and the British Sporting Art Trust since 2001, having previously won a first prize. She has exhibited at the RSA as well as Tryon and Ackermann Galleries and has many International patrons λ indicates that this lot may be subject to Droit de Suite royalty charges. Please see our Terms & Conditions for more information.
A 19th century style portrait miniature pendant necklace, circular central panel of a young girl with floral head scarf and blue cloak a child cradled in her arms, possible indistinct signature, within square open cast gilt metal Art Nouveau floral frame, 77mm across, suspended from a rolled gold chain link necklace
An Auto Art Gulf Porsche 917 from the Steve Mcqueen Collection, boxed; a Kyosho BMW V12 LMR, boxed; a Carousel 1 Brumos Racing Porsche 935, boxed; a Minichamps 1:12 scale Yamaha YZR-M1 MotoGP 2003, boxed; an IXO Gulf Mirage; a framed print of Steve Mcqueen from the film Le Mans; etc.
Four books re. textiles. Metropolitan Museum of Art, Painted and Printed Fabrics by Henri Clouzot and Frances Morris, New York, 1927; The History & Romance of the Paisley Shawl by A. M. Stewart, no date; The Official Illustrated History of the Paisley Pattern by Valerie Reilly, published Richard Drew, Glasgow, 1987 and Antique Oriental Rugs & Carpets by Philip Bamborough, published 1983, Peerage Books, London.
Arthur Steward Michael Cummings 1919-1997 - We're In Luck! He Can't Get Used To The Idea That For Once He's Not The Target!, ink and watercolour signed on a section of paper and stuck lower left corner, 11 1/2" x 16 3/4", framed and glazed with the extract from a newspaper and label, reproduced D/E P.4. 19.8.65, in ink on back of art work, verso

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641361 item(s)/page