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Collection of Pens, comprising a boxed Parker fountain pen in black and gold, with 18ct nib, with paperwork. Together with a gold Sheaffer fountain pen in original box with paperwork, and a boxed set of Waterman fountain pen and ballpoint pen with refills, in pewter and gold, with paperwork.
Vertreter- und Verkaufsschatullen mit 35 Füllern und 79 Kugelschreibern bzw. Bleistiften. Waterman Paris. Alle Schatullen gemarkt, Schreibgeräte zumeist gemarkt. Verschiedene Materialien, teils mit Goldfedern, teils vergoldet. Schatulle maximal 5 x 35 x 17 cm. Zumeist gemarkte Schreibgeräte verschiedenster Art von Waterman, teils mit Preisetikett. Darunter 1 Parker-Kugelschreiber. 3 große Sammelschatullen und zahlreiche zumeist leere, je gemarkte Schatullen, häufig mit Gebrauchsanleitung, teils mit Patronen. Teims minimale Alters-/Gebrauchsspuren. Agent and sales boxes with 35 fountain pens and 79 pens or pencils. Waterman Paris. All caskets marked, writing instruments mostly marked. Various materials, some with gold nibs, some gilt. Casket maximum 5 x 35 x 17 cm. Mostly marked writing instruments of various kinds of Waterman, some with price label. Among them 1 Parker ballpoint pen. 3 large collection caskets and numerous mostly empty, each marked caskets, often with instructions for use, some with cartridges. Teims minimal signs of age / use. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
5 Schreibgeräte. Mont Blanc. Je Firmensignet, Edelstahlgeräte je "Mont Blank Germany" gemarkt. Edelstahl gebürstet, schwarzer Kunststoff, Messing vergoldet, 2 Goldfedern je 585 gepunzt. L maximal 14,5 cm. Edelstahlfüller mit Namensgravur "Irene Sponner" und schwarzer Kolbenfüller, 3 Kugelschreiber. 5 writing instruments. Mont Blanc. Each company signet, stainless steel devices each "Mont Blank Germany" marked. Brushed stainless steel, black plastic, brass gold plated, 2 gold nibs each hallmarked 585. L maximum 14.5 cm. Stainless steel fountain pen with name engraving "Irene Sponner" and black piston fountain pen, 3 ballpoint pens. .*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Umfangreiche Stiftsammlung mit Schatulle. Häufig gemarkt, teils mit Namen bzw. Werbung graviert. 20. Jh. Zumeist Edelstahl und Kunststoff, teils vergoldet, 1x 585-Goldfeder (an Geha rolled Gold), 1 Silber-Minenhalter (800 gepunzt), teils in Etuis. Schatulle 10 x 34 x 20 cm. Ca. 70 Schreibgeräte (Kugelschreiber, Minenhalter, Patronen- und Kolbenfüller). Ca. 8x Parker, 2x Pelikan, 2x Cross mit 2 Minen im Etui, sowie Geha, Lamy, Diplomat, Senator usw.. Teils in 2-schübiger Schatulle in Holzoptik und mit Sichtfenster. Teils Alters-/Gebrauchsspuren. Comprehensive pen collection with casket. Frequently marked, partly engraved with names or advertising. 20th c. Mostly stainless steel and plastic, some gilt, 1x 585 gold nib (to Geha rolled gold), 1 silver refill holder (hallmarked 800), some in cases. Casket 10 x 34 x 20 cm. Approx. 70 writing instruments (ballpoint pens, refill holders, cartridge and piston pens). Approx. 8x Parker, 2x Pelikan, 2x Cross with 2 refills in case, as well as Geha, Lamy, Diplomat, Senator etc.. Partly in 2-shoulders casket in wood look and with viewing window. Partly age / use traces. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
BOFINGER, Manfred(1941 Berlin - 2006 Berlin) Unikat: Flüchtige Papageien-ZeichnungKugelschreiber. Kugelschreibersignatur. Blatt: 29,5 x 21 cm. Blatt knickspurig. Deutscher Grafiker, Illustrator, Karikaturist und Cartoonist; er zählte zu den bedeutendsten Grafikern der DDR und illustrierte zahlreiche Kinderbücher. BOFINGER, Manfred(1941 Berlin - 2006 Berlin) Unique: Fugitive Parrot DrawingBallpoint pen. Ballpoint signature. Sheet: 29.5 x 21 cm. Sheet creased. German graphic artist, illustrator, caricaturist and cartoonist; he was one of the most important graphic artists of the GDR and illustrated numerous children's books. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
HÄHNER-SPRINGMÜHL, Klaus(1950 Zwickau - 2006 Leipzig) Ohne TitelGouache, Kugelschreiber. Verso Bleistiftsignatur. Verso datiert: [19]86. Blatt: 59 x 42 cm. Randbereich etwas griffspurig. Deutscher Maler, Grafiker und Performancekünstler, gehörte zur oppositionellen Kunstszene der DDR und war eine der einflussreichsten Künstlerpersönlichkeiten der 1980er Jahre. "Sein zentrales Thema war die existenzielle Bedeutung der Kunst. Vor allem war ihm Kunst die Möglichkeit zur Selbstbefragung des Ichs und zur Selbstbefreiung aus den Zwängen einer gesellschaftlich und künstlerisch reglementierten Existenz. Durch seine kompromisslose Art, der eigenen Inszenierung Bequemlichkeit und Sicherheit zu opfern, wurde Hähner-Springmühl schnell zu einem Anreger vieler junger Künstler." (aus dem Begleittext zur Sonderausstellung "Kandidat", 2018/19 MdbK Leipzig). HÄHNER-SPRINGMÜHL, Klaus(1950 Zwickau - 2006 Leipzig) Without titleGouache, ballpoint pen. Verso pencil signature. Verso dated: [19]86. Sheet: 59 x 42 cm. Marginal area somewhat traces of grip. German painter, graphic artist and performance artist, belonged to the opposition art scene of the GDR and was one of the most influential artistic personalities of the 1980s. "His central theme was the existential significance of art. Above all, art was for him the possibility of self-questioning of the ego and of self-liberation from the constraints of a socially and artistically regimented existence. Through his uncompromising way of sacrificing comfort and security to his own staging, Hähner-Springmühl quickly became a stimulus for many young artists." (from the accompanying text to the special exhibition "Candidate", 2018/19 MdbK Leipzig). *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Modern pine roll top desk, serpentine tambour enclosing a fitted interior, twin pedestals fitted with drawers, ogee bracket feet, widrth 134cm, depth 63cm, height 114cm, and an elm hoop back chair.Qty: 2Condition report:General condition is good, but some fading toward the right hand side top section. The tambour slide does still work but is a little sticky. The top surface with multiple scratch marks/ faint indents (as if someone has repeated used a ballpoint pen on the top). The interior has some old tape to the drawer fronts that will probably leave a mark when removed. Some kick marks surrounding the kneehole. No worm. The chair has one damaged spindel that has snapped from the seat at the base, the back is wobbling and loose, otherwise light use to edges and corners.
A cased Sheaffer Targa 1003 fountain pen, in matt black with gold trim, 14k Medium nib; together with another example in navy blue with gold bands and 14k nib, and a ballpoint pen case (lacking workings); and a cased Cross ballpoint pen and mechanical pencil set, in blue with coat of arms disc applied to the clips (5)
Irma Stern (South African, 1894-1966)Siesta signed and dated 'Irma Stern 1961' (lower left)oil on canvas92 x 73cm (36 1/4 x 28 3/4in).(framed)Footnotes:ProvenanceA private collection.LiteratureMarion Arnold, Irma Stern: A Feast for the Eye (Vlaeberg: Fernwood Press, 1995), p. 93 (illustrated)Irma Stern and her companion Dudley Welch spent around six months in Alicante on Spain's Costa Blanca between December 1960 and June 1961. Stern stayed in a suite in the Hotel Carlton in which she converted the sitting room into a studio for the duration. It was probably the extravagance of this accommodation that prompted the local Spanish press to describe her as a millionairess, as she reported in a letter to her Johannesburg friends, Richard and Freda Feldman, in February 1961 (Klopper, 2017: p. 207). More to her liking was their description of her as 'La Picasso', explicitly comparing her to the greatest artist of her generation.In the same letter, she wrote that 'we drive out all the days and I come back and paint in the studio'. A large number of drawings of hill-top villages and agricultural workers from 1961 preserved in the Irma Stern Museum and elsewhere attest to this pattern. Amongst them is the drawing in ballpoint and crayon (Irma Stern Trust #1253) that surely served as a model for the present painting. The composition represents women labourers enjoying a siesta during a harvest. Works from this time feature harvests of olives, apples, grapes, and pimentos, and the little red dots in the baskets in the painting presumably represent tomatoes.Neville Dubow described Stern's Harvest series of 1962 – to which the present work may be related – as 'lyrical figures-in-landscape compositions, loosely knit, yet held together by sweeping rhythms that bind earth, workers and sky' (Dubow, 1974: p. 21). Marion Arnold, in the caption to her reproduction of this work, wrote that '[t]he relationship of the peasant harvesters to the earth is emphasized in this late painting. Not only are the figures recumbent, but the earth plane dominates the composition' (Arnold, 1995: p. 93). In turn, Andrea Lewis described such late harvest scenes as 'spontaneously rendered hedonistic images symbolizing fertility and fecundity' (Lewis, 2015: p. 41). There may be such allegorical meaning in these works, but Arnold is undoubtedly right when she added that Stern 'sees the European peasant as she saw Africans, as people detached from an historical context and devoid of sociological meaning' (Arnold, 1995: p. 76). Despite the fact that the political economy of the Costa Blanca was changing at this time, Stern insisted on describing the peasants she represented as 'happy, friendly people. They're always singing' (The Cape Times, 7 July 1961). In effect, Spanish peasants constituted a Georgic idyll for Stern in a career that featured several natural paradise subjects.On her return to Cape Town, Stern showed her Alicante work in the exhibition Paintings from Spain at the South African Association of Arts Gallery in Cape Town from 31 August to 9 September 1961. A Paris customs stamp (Douane Paris Crapells) on the reverse of the painting suggests that Stern may have shipped her Spanish canvasses through France on their way to Cape Town. Siesta was listed as no. 8 in the exhibition catalogue and stated to be loaned by S.T. Schach, Esq. (who also loaned no. 20 Girl with Jug). Photographs of these two works in Stern's scrapbooks are annotated 'sold Mr Schach, Sea Point'. In turn, Stern's Cashbook records that 'Mr Schach paid by cheque L320/R640', presumably from Stern's studio in the short interval between her return from Alicante and the opening of the exhibition. Stern showed the residue of this exhibition, including no. 39 Siesta, still on loan from S.T. Schach, at the new Adler-Fielding Gallery in Johannesburg in November of that year. Siesta appears to have been acquired by the present owner's family soon after this time. So successful were these exhibitions that Stern, with Dudley Welch, returned to Alicante in October 1962 at the end of another extended European tour.In terms of style, Arnold's reading of the earth plane dominating the composition of Siesta is realised by the extreme height of the horizon in the format. Instead of the earth plane appearing more or less recessive, the absence of sky and the bright white of the building – which is not represented in the original drawing – tend to relate to the vertical plane of the picture surface. This impression is reinforced by the prostrate form of the labourers who, if standing, would be perpendicular to the ground and so reinforce a regular horizontal reading of that plane, but appear now to be part of the same steep plane as the ground: in fact, perspective in this painting depends primarily on the diminishing scale of the figures which, obviously, provides a very uncertain measurement. Through this negation of pictorial space, Stern creates an almost flat picture surface for the description of her subjects. As Dubow noted of Stern at this time, compared with her work of the forties 'her paint was applied less densely. The brush strokes became more gestural, more calligraphic, with a quick luxuriant scrawl establishing the line of a profile, the gesture of a hand or a foot' (Dubow, 1974, p. 21). Undoubtedly, the 'sweeping rhythms' and freedom of Stern's treatment of her Spanish peasant subjects relate to her understanding of them as paradoxically liberated in the agricultural labour they perform and the idyllic sense of community they express.BibliographyNeville Dubow, Irma Stern (Cape Town: C. Struik Publishers, 1974)Marion Arnold, Irma Stern: A Feast for the Eye (Vlaeberg: Fernwood Press, 1995)Andrea Lewis, 'The Life of Irma Stern', in Brushing up on Stern, Featuring Works from the Permanent Collection of the Iziko South African National Gallery (Cape Town: Iziko Museums of South Africa, 2015), pp. 30-41Sandra Klopper, Irma Stern: Are You Still Alive? Stern's life and art seen through her letters to Richard and Freda Feldman, 1934-1966 (Cape Town: Orisha Publishing, 2017).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
ALFRED DUNHILL, TORPEDO, A SILVER PENCIL AND BALLPOINT PEN Cap and Barrel: Polished silver cap and barrel, stamped 925 with common control marks, the pencils cap removes to reveal a letter opener, the ballpoint pens cap opens to reveal a miniature pair of scissors Accessories: A lacquered box and outer card box with instruction manual, polishing cloth and ballpoint refills Condition Report: Some light wear from occasional use Condition Report Disclaimer
ALFRED DUNHILL, AD 2000 BRUSHED METAL CIGAR BALLPOINT PEN Cap and Barrel: Brushed metal cap and barrel, with gilt clip Accessories: A card box with instruction booklet ALFRED DUNHILL, SIDECAR, A BALLPOINT PEN Cap and Barrel: Black resin cap and barrel, with chromed clip Accessories: None Condition Report: The pens both have some signs of use, light scuffs, the black Sidecar has some deeper scratches/scuff to the metal casing near the tip. Condition Report Disclaimer
MONTBLANC, WRITERS EDITION, ERNEST HEMINGWAY A LIMITED EDITION FOUNTAIN PEN, CIRCA 1992 Cap and Barrel: the orange resin barrel with a black cap, facsimile signature, gilt clip and cap bands, ink viewing window Nib and Filling System: yellow and white gold coloured nib stamped 18K and 750, piston filling system, inked Accessories: original Montblanc Hemingway box, Hemingway International Service Certificate and outer card box Condition Report: Outer card packaging for a ballpoint pen Condition Report Disclaimer
MONTBLANC, MEISTERSTÜCK 116, SPECIAL ANNIVERSARY EDITION, PLÁCIDO DOMINGO'S OPERALIA '98 A LIMITED EDITION SMALL SIZE BALLPOINT PEN, MV1020606, CIRCA 1999 Cap and Barrel: black resin with gold plated bands and clip, with brilliant cut diamond accent to end piece Accessories: original Montblanc box, Plácido Domingo's Operalia '98 CD, Service guide and outer white card sleeve Condition Report: As new condition, some signs of storage to the outer card case Condition Report Disclaimer
Modern pine roll top desk, serpentine tambour enclosing a fitted interior, twin pedestals fitted with drawers, ogee bracket feet, widrth 134cm, depth 63cm, height 114cm, and an elm hoop back chair.Qty: 2Condition report:General condition is good, but some fading toward the right hand side top section. The tambour slide does still work but is a little sticky. The top surface with multiple scratch marks/ faint indents (as if someone has repeated used a ballpoint pen on the top). The interior has some old tape to the drawer fronts that will probably leave a mark when removed. Some kick marks surrounding the kneehole. No worm. The chair has one damaged spindel that has snapped from the seat at the base, the back is wobbling and loose, otherwise light use to edges and corners.
VINTAGE Schreibgeräte Konvolut. Bestehend aus: 1x MONTBLANC Druckbleisitft "PIX" (starke Altersspuren), 1x MONTBLANC Füller "22", 1x WATERMANN Füller, 2x WATERMANN Kugelschreiber, 2x CROSS Drehkugelschreiber (mit Prägungen). Alters- und Gebrauchsspuren vorhanden.| VINTAGE writing utensils set. Consisting of: 1x MONTBLANC mechanical pencil "PIX" (strong signs of age), 1x MONTBLANC fountain pen "22", 1x WATERMANN fountain pen, 2x WATERMANN ballpoint pens, 2x CROSS twist ballpoint pens (with embossing). Signs of age and use present.
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7770 item(s)/page