Architectural: A pair of Art Deco pierced cast iron rectangular panels 95cm by 30cm wide together with a pair of late Victorian cast iron rectangular panels, 101cm by 28cm, a pair of gothic style cast iron gates, circa 1870, 71cm high by 126cm wide, a pair of Victorian wrought iron rectangular panels, 110cm by 40cm wide, a wrought iron panel, 93cm high, a wrought iron panel rectangular, 85cm high by 60cm wide and a cast iron panel in wooden frame, 90cm by 53cm wide see our website for extra images
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Shepherds Hut: A bowtop Gypsy caravan 20th century the painted wooden frame with canvas top, hinged hayrack and double stable doors, the similarly painted interior, fitted with bed, cupboards, seats and stove aperture 285cm high by 340cm long Included in the lot are the shafts, canvas overcover and 4 steel wheels with rubber tyres for ease of moving. Provenance: Reputedly, this caravan was bought at Appleby Fair and made by the gypsy legend Fred Walker and painted by the renowned gypsy artist Tom Stephenson. The gypsy caravan or vardo is a traditional horse-drawn wagon used by British Romani people as their home. Often with a fitted interior containing a stove for cooking and heating it is commonly thought of as being highly decorated, intricately carved, brightly painted, and even gilded as in this example. The British Romani tradition of the vardo is seen as a high cultural point of both artistic design and a masterpiece of woodcrafters art. The heyday of the living wagon lasted for roughly 70 years, from the mid-1800s through the first two decades of the twentieth century. The advent of the motor car, combined with the rise in popularity of the cinema, heralded the decline of the fairs and circuses which Gypsy showmen regularly travelled to in their brightly decorated wagons.
[§] SAMUEL JOHN LAMORNA BIRCH (BRITISH 1869-1955)BEN NEVIS FROM NEAR CORPACH, NEAR FORT WILLIAM Signed and dated 1938, ink and watercolour38cm x 56cm (15in x 22in)Provenance: Spink, London, No.K3 9196,Anon. sale, Sotheby's, Olympia, 8 June 2005, lot 3,Private collection UK,British & European Art, Bonhams Knightsbridge, 20 March 2018.
[§] PAUL LUCIEN MAZE (BRITISH/FRENCH 1887-1979)EIGHT PIPERS Signed, watercolour46.5cm x 59cm (18.25in x 23.25in)Note: Paul Lucien Maze was an Anglo-French painter and has been referred to as 'The Last Post-Impressionist'. His father was an art collector and his circle of artistic frineds included Monet, Renoir, Dufy, and Pissarro. Maze learned the fundamentals of painting from Pissarro and, as a young boy, sketched on the beach with Dufy.During the First World War, Maze served in the army and met Sir WInston Churchill in the trenches. Their shared love of painting led to a lifelong friendship. For his bravery in the front line, Maze was awarded the Distinguished Conduct Medal and Military Medal by the British and the Croix de Guerre and Legion D'honneur by the French.After World War 1, Maze immersed himself in the Parisian art scene and became friends with Derain, de Segonzac, Bonnard and, in particular, Vuillard.Maze became one of Churchill's artistic mentors, encouraging him to develop his drawing and painting techniques. Maze's work is held in many galleries, including Tate, and in private collections worldwide.
* LIONEL TOWNSEND CRAWSHAW (BRITISH 1864 - 1949), A WINTER SUNSET, EDINBURGH CASTLE oil on canvas board, signed 40cm x 33cm Framed Labels verso: Wakefield City Art Gallery exhibition label inscribed with title and artist's name; together with Malcolm Innes Gallery, 4 Dundas Street, Edinburgh; and artist's label inscribed with title, artist's name and address
EDWARD ATKINSON HORNEL (SCOTTISH 1864 - 1933), A BUTTERFLY AT BRIGHOUSE BAY oil on canvas, signed and dated 1918 51cm x 61cm Framed Label verso: Robert McIndoe, Carver, Gilder & Picture Frame Maker, 145, 149, 151 West Regent Street, Glasgow; together with handwritten label bearing title. Note: Brighouse Bay is near Kirkcudbright and was the backdrop to many of Hornel's paintings.He was born in Bacchus Marsh, Victoria Australia, on 17 July 1864 of Scottish parents, and he was brought up and lived practically all his life in Scotland after his family moved back to Kirkcudbright in 1866. He studied for three years at the art school at Edinburgh, and for two years at Antwerp under Professor Verlat. Returning from Antwerp in 1885, he met George Henry and associated himself with the Glasgow Boys. Hornel and Henry collaborated upon The Druids Bringing in the Mistletoe (1890), a procession of druidic priests bringing in the sacred mistletoe, gorgeous with polychrome and gold. The two worked side by side to achieve decorative splendor of color, Hornel boldly and freely employing texture effects produced by loading and scraping, roughening, smoothing, and staining. In 1893-94 the two artists spent a year and a half in Japan, where Hornel learned much about decorative design and spacing. Towards the close of the nineties his colors, while preserving their glow and richness, became more refined and more atmospheric, and his drawing more naturalistic, combining sensuous appeal with emotional and poetic significance. In 1901 he declined election to the Royal Scottish Academy. A member of Glasgow Art Club, Hornel exhibited in the club's annual exhibitions. In 1901 he acquired Broughton House, a townhouse and garden in Kirkcudbright, which was his main residence for the rest of his life with his sister Elizabeth. There he made several modifications to the house and designed a garden taking inspiration from his travels in Japan. he also made an addition of a gallery for his paintings. On his death the house and library were donated for the benefit of the citizens of Kirkcudbright and Broughton House is now administered by the National Trust for Scotland. There are examples of his works in the museums of Aberdeen, Buffalo, Bradford, St. Louis, Toronto, Montreal, Glasgow, Edinburgh, Leeds, Manchester, Hull, Bath, and Liverpool.
Montblanc, Patron of Art, Alexander The Great, 4810, a limited edition lacquer and gold plated fountain pen, no. 1806/4810, circa 1998, the cap with a clip, the fine two tone nib stamped 18K 750, piston filling system, uninked, with a Montblanc box, international service certificate/service guide booklet, outer card packaging and white card sleeve
Montblanc, Patron of Art, JP Morgan, 4810, a limited edition silver coloured fountain pen, no. 51/4810, circa 2004, stamped 925 with common control mark, the cap with a clip and carbon decoration, the fine two tone nib stamped 18K 750, piston filling system, uninked, with a Montblanc box, international service certificate/service guide booklet, outer card packaging and white card sleeve
Ï’Montblanc, Patron of Art, Alexander Von Humboldt, 4810, a limited edition grenadilla wood fountain pen, no. 21/4810, circa 2007, with silver coloured overlay, stamped 925 with common control mark, the cap with silver coloured clip and cap band, the medium two tone nib stamped 18K 750, piston filling system, uninked, with a Montblanc box, international service certificate/service guide booklet, outer card packaging and white card sleeve Ï’ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.
Ï’ An early 20th century French Art Nouveau mother of pearl and gold daisy hair pin, the shaped mother of pearl petals to the central textured gold disk florets, stamped with French poinçon, and numbered 8050, with a screw detachable hair pin fitting, 7.2cm diameter, in a fitted box signed G. Fouquet, 6. Rue Royale Paris George Fouquet (1862-1957), a master designer and manufacturer of Art Nouveau, and later Art Deco jewellery, selling exquisite pieces to the rich and famous of the day including Sarah Bernhardt. After partnering with the Czech painter, illustrator and graphic artist, Alphos Mucha, the Bijouterie Fouquet, at 6 Rue Royale, was opened in 1901, designed in the Art Nouveau style by Mucha, and stood until it was dismantled in 1923, when the Art Nouveau style ceased to be fashionable. A very similar hair pin by Georges Fouquet was used in a 1912 advert in Ornements De Coiffure Ï’ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.
Montblanc, Patron of Art, Sir Henry Tate, 4810, a limited edition platinum plated fountain pen, no. 21/4810, circa 2006, with red lacquer guilloche decoration, the cap with a clip, the retractable nib stamped 18K 750, cartridge filling system, uninked, with a Montblanc box, international service certificate/service guide booklet, outer card packaging and white card sleeve
Montblanc, Patron of Art, Catherine The Great, 4810, a limited edition fountain pen, no. 360/4810, circa 1997, with gold plated overlay decoration, the cap with a clip, the fine gold coloured nib stamped 18K 750, cartridge filling system, uninked, with a Montblanc box, international service certificate/service guide booklet, outer card packaging and white card sleeve
Montblanc, Patron of Art, Andrew Carnegie, 4810, a limited edition fountain pen, no. 21/4810, circa 2002, with silver coloured overlay, stamped 925, the cap with silver coloured female figure clip, the medium two tone nib stamped 18K 750, piston filling system, uninked, with a Montblanc box, international service certificate/service guide booklet, outer card packaging and white card sleeve
Montblanc, Patron of Art, Pope Julius II, 4810, a limited edition fountain pen, no. 21/4810, circa 2005, with gold plated overlay, the cap with a clip, the medium gold coloured nib stamped 18K 750, piston filling system, uninked, with a Montblanc box, international service certificate/service guide booklet, outer card packaging and white card sleeve
Pair of Art Nouveau green glass vases of globular wreathen twist form with lobed rims, on patinated bronze pierced foliate stands, each 31cm high. (Both bowls drilled).Condition report:Both bowls are drilled, one has slight knock and a couple of air bubbles to rim. Stands in good condition, one stamped with indistinct four digit number on each foot.
Arts and Crafts mahogany display cabinet with Art Nouveau motifs the raised mirror back over central bevelled glass cabinet with central opaline glass flowerhead and tendrils flanked by drawers and mirrored shelves with pierced galleries raised on splay supports. 120cm
Count Gleichen (1833 - 1891). A Victorian marble bust of a gentleman, possibly Sir Andrew Barclay Walker. Monogram G & dated 1886. 62cms. high. Admiral Prince Victor of Hohenlohe Langenburg, otherwise known as Count Gleichen, was latterly a professional sculptor, patronised by Queen Victoria & with a studio in St. James` Palace. In 1886 he exhibited a bust of Sir Andrew Barclay Walker at the R.A. Walker was a distinguished and successful brewer and patron of the Walker Art Gallery, Liverpool.
Boxes & objects - an early 20th century leather folding photo frame; a silver spoon pendant and belcher necklace by Sarah Watson Jewellery; costume jewellery; a vintage gold plated LED watch; a set of eight ceramic Art Nouveau buttons decorated with irises; four Nacre buttons with silver coloured metal symbols; various watches including a gentleman's Roamer 17 jewel manual watch; etc.
Books - Jewellery, Art and World interest including Art Nouveau Jewellery; The Art Of Rene Lalique; Fabergé; Liberty Design; The Art Of Louis Comfort Tiffany; Larousse Dictionary of Painters; Cities of The World; The Greek World; The Atlas Of Natural Wonders etc. (two boxes)

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640875 item(s)/page