We found 44913 price guide item(s) matching your search

A small Worcester 'Blind Earl' blue and white sweetmeat dish: with scalloped edge and applied stalk handle, moulded and painted with four insects, rose buds and leaves, crescent mark, circa 1765, 15.5 cm wide [firing flaw to base of handle].

A Chinese carved ebonised hardwood open display cabinet:, with pierced and blind fret carving throughout of scrolling foliage and flowerheads, having a three quarter ledge superstructure and fitted with an arrangement of shelves with pierced galleries, on block feet, 77cm (2ft 6 1/4in) wide 157cm (5ft 1 3/4in) high.

A Worcester 'Blind Earl' two-handled spoon tray: with stalk handles and moulded with rose buds and leaves, painted with an exotic bird perched amongst foliage and sprigs of fruit, circa 1770, 16 cm wide.

An Edwardian mahogany standing corner display cabinet:, in two parts, the upper part with a moulded cornice and blind fret carved frieze, fitted with serpentine fronted shelves and enclosed by a pair of astragal glazed panel doors above and below, flanked by canted angles, on bracket feet, 97cm (3ft 2 1/4in) across, 206cm (6ft 9in) high.

A Victorian satin birch chest of six drawers, with recessed fronts and blind gallery, 82cm wide, 113cm high, 42cm deep

William Lee-HankeyST IVESwith artists blind stamp12.5 x 35.5cm;Frank ShortTHE STREET WHITSTABLEEtching, signed in pencil24.5 x 34.5cm

Kasimir Severinovitch Malevich (Russian 1878-1935), Peasant in a Field, published by Mourlot Paris, lithograph numbered 250/2000 with blind stamp, 70 x 44cm.

KEVIN O'ROURKE, THE BLIND MAN oil on canvas, signed 76cm x 61cm Framed

A George V mahogany four part bedroom suite comprising bow front triple mirror wardrobe, dressing table, side table and bed ends, ornamented with blind fret carving and raised on square tapering supports.

1915 (8 May). After Fortunino Matania. The Last General Absolution of the Munsters at Rue du Bois. Signed. A colour lithograph magazine centrefold, originally published in The Sphere 27 November 1916, inscribed, 'Sincerely yours - Francis A. Gleeson.' Father Francis Gleeson (28 May 1884 – 26 June 1959) was an Irish Roman Catholic priest who served as a British Army chaplain in the First World War. Educated at seminaries near Dublin, Gleeson was ordained in 1910 and worked at a home for the blind before volunteering for service upon the outbreak of war. Commissioned into the Army Chaplains' Department and attached to the 2nd Battalion, Royal Munster Fusiliers he served with them at the First Battle of Ypres. During this battle Gleeson is said to have taken command of the battalion after all the officers were incapacitated by the enemy. On 8 May 1915, on the eve of the Battle of Aubers Ridge, Gleeson addressed the assembled battalion at a roadside shrine and gave the general absolution. The battalion suffered heavily in the battle and when paraded again afterwards only 200 men were assembled. The painting by Fortunino Matania was made at the request of the widow of the battalion's commanding officer. At the end of his year's service in 1915 Gleeson returned to Dublin and became a curate but rejoined the army as a Chaplain in 1917 and remained for a further two years. After the outbreak of the Civil War in Ireland, he became a chaplain with the Irish Free State army in February 1923. In August 1944, he became parish priest of St Catherine’s, Meath St, Dublin. He was made canon in May 1956 and died three years later. He is buried in Glasnevin Cemetery. Born in Naples, the son of artist Eduoardo Matania, Chevalier Fortunino Matania (16 April 1881 – 8 February 1963) studied at his father's studio, exhibiting his first work at Naples Academy at 11. By the age of 14 he was helping his father produce illustrations for books and magazines. His talent was recognised by the editor of the Italian periodical L'Illustrazione Italiania and Matania produced weekly illustrations for the magazine between 1895 and 1902. At the age of 20, Matania began working in Paris for Illustration Francaise and, in 1902, was invited to London to cover the Coronation of Edward VII for The Graphic. Matania would subsequently cover every major event – marriage, christening, funeral and Coronation – of British royalty up to the coronation of Queen Elizabeth in 1953. In 1904, Matania joined the staff of The Sphere where some of his most famous work was to appear, including his illustrations of the sinking of the Titanic in 1912. At the outbreak of the First World War, Matania became a war artist and was acclaimed for his graphic and realistic images of trench warfare.

ANGLO-INDIAN CABINET ON STAND, Ceylon, the pair of panelled doors on a base with three frieze drawers above a further pair of doors, the whole with ebonised blind fret work, moulding and edging, height including stand not shown in image 210cm, width 130cm depth 52cm

19TH CENTURY EBONISED AND GILT METAL MOUNTED BRACKET CLOCK, the 7" enamelled dial surrounded by chinoiserie gilt metal blind fretwork on a brass movement inscribed Josephson, London and numbered 3765, quarterly striking to two bells, housed in a stepped, reverse breakfront case, height 87cm

An Early George III Chippendale Period Mahogany Chest, the hinged top with a blind fret work border and fluted rail spaced by rosettes terminating in blind fret trellis panelled bracket feet with brass side handles and brass brackets to the carcass, 123 x 61 cms, 87 cms high (there is reputed to have been a sales invoice from the workshops of Chippendale in the possession of the previous owner), see Sotheby's, London, English Furniture, 6th October 1989 Lot 43

An Edwardian Mahogany Serpentine Side Cabinet by Maple & Co., the pierced carved pediment above a blind fret work frieze and two astragal glazed doors enclosing shelves, the lower section with two similar lined fret work drawers raised upon square tapering legs with under tier, 76 cms wide

A late Victorian mahogany desk, the superstructure above a leather inset top and an arrangement of seven drawers below, all with blind fret carved decoration, and on cluster legs, 122 cm wide See illustration

A George III mahogany card table, with blind fret carved decoration, 80 cm wide See illustration Condition report Report by GHLarge veneer chip to the rear right of the top. The blind fret carving on the front right leg has several losses and a half broken off piece. Other blind fret carved areas seem to have fared better with no major areas of damage. Open and close mechanism to table works well. Evidence of old worm at the back of the table. Some small old repairs to veneer around the edge of the green baize section. No obvious damage to the rear legs. The back of the piece is not fret carved or decorated. Patination colour generally reasonably good with a little light patch towards the front of the top, but has not suffered badly from sun-fading.

OAK SERVING TABLE, 17th century style, the four plank top above blind fretwork frieze, on barrel legs and stretchers, height 79cm, width 150cm, depth 69cm

GORDON KING (b.1939); a limited edition coloured print "Symphony in Blue", four studies of a naked lady, signed in pencil lower right, titled centre and Washington Green blind stamp lower left, and numbered 293/850, 45 x 59cm, mounted but unframed. (D) CONDITION REPORT: This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk.

'Fishers Drawing Room Scrap Book' with poetical illustrations by L.E.L & Mary Howitt, Fisher & Son 1840, original blind-stamped gilt cloth boards, 36 engraved plates, two Rupert Annuals, 1970 & 1971 , Arthur Ransome 'Winter Holiday', first edition paperback, 1968 Ursula Moray Williams 'Dumpling', 1938 Beatrix Potter 'The Tale of Mr Tod' and 'The Tale of Squirrel Nutkin' early copies (7)

Michael D. Barnfather (British, 1934), The water Nymph, signed lower right, blind stamp lower left, colour print, 32cm by 45cm, gilt frameNote: Artist Resale Rights apply

Wilkie (Sir David) Sketches Spanish & Oriental, tinted lithographed title and 25 plates, scattered foxing, library blind-stamp to plate margins, gutta percha perished and plates loose, original morocco-backed cloth, spine rubbed and scuffed, [Abbery Travel 39], folio, 1846.

An Edwardian ebonised aesthetic movement display cabinet chiffonier raised on cabriole legs with rococo carved wide body comprising a series of 3 velvet lined display cabinets with single drawers above. The drawers with blind fret decoration and lattice worked facia's to the glass doors. Measures 110cm high x 137cm wide x 45cm deep.

THE POOL OF THE BLACK WITCH; WATKINS PITCHFORD DENYS - BB. Published by Methuen, London (1974). Rare First Edition, with dust cover. Red cloth with black titles with blind stamped illustration of fish to front board. Beautifully illustrated. 118pp.

A good Danish inspired mid century solid teak wood chest of drawers. Raised on shaped legs with a series of blind front drawers having upper recessed handles. Unmarked, believed to be Danish. Together with a similar bedside cabinet / locker. Measures 90cm high x 107cm wide x 46cm deep.

Tibet, late 19th to early 20th c. CE. An embroidered silk thangka painstakingly created with a very fine "Dazi" stitch (also called "Forbidden Stitch" or "Blind Stitch") depicting Avalokiteshvara, the Bodhisattva of Compassion and principle patron deity of Tibet, in the center, Manjushri, the God of Supreme Wisdom on the lower left, and Vajrapani, protector and guide to Gautama Buddha on the lower right. A breathtaking composition mounted on a golden silk mat. Size: 34.5" L x 24.75" W (87.6 cm x 62.9 cm); 38" L x 28" W (96.5 cm x 71.1 cm) on silk matThe Dazi (Forbidden Stitch or Blind Stitch) refers to the knotted stitches used in conjunction with satin stitches that were reserved for the most exquisite, finely crafted silk costumes, robes, and rank badges. One romantic legend offers that the alternative term Blind Stitch arose because embroidering with this stitch gave young girls eye strain due to its fineness and intricacy. Whether called the Dazi stitch, the Forbidden Stitch, or the Blind Stitch, these all involve making small knots on the fabric surface by wrapping a heavy embroidery thread, typically silk floss, around a needle and then stitching it down. Embroiderers have done this with varying numbers of wrappings and a wide range of complexity. According to expert Wang Yarong, more than twenty varieties of knot stitch can be found throughout history, in East Asia alone. Apparently, early relics of this stitch have been found in an Eastern Han tomb at Nuoyinwula, Outer Mongolia, and even earlier examples on a pair of silk shoes were discovered in a tomb of the Warring States period in the Linzi, Shandong Province. More about the rich iconography of this thangka: Avalokiteshvara is depicted as a four-armed Bodhisattva of Compassion. The upper hands hold prayer beads and a lotus blossom; the lower hands are presented in a gesture of prayer, clasping a wish-fulfilling jewel to his heart. This jewel symbolizes what is known as bodhicitta, an altruistic penchant to save all beings from suffering. He also holds a deer. This particular deer whose skin Avalokiteshvara eventually wore, symbolized a bodhisattva manifesting as a deer who sacrificed his life for the benefit of all living beings. Vajrapani, a wrathful deity who embodies the power of the Buddhas, is deep blue in color and puts forth a frightening countenance with bulging eyes, sharp fangs, and fiery hair that actually stands on end. In one hand he holds a vajra, the attribute that gives him his name which means "vajra in hand." Vajrapani's threatening ferocity provides believers with comfort, as he is the supreme protector of Buddhism. At the same time it terrifies demons who pursue evil ways and seek to harm living creatures and obstruct their paths to salvation. Manjushri, the God of Supreme Wisdom, holds the Book of Wisdom and the flaming sword that severs the roots of ignorance and misery. Manjushri is a semi-peaceful deity and sits upon a lunar disc on a lotus throne. Together this revered trio of deities - Avalokiteshvara, Vajrapani, and Manjushri - are the great protectors (in Tibetan: rig sum gonpo) who represent Compassion, Sacred power, and Wisdom, respectively. An important example, replete with rich iconography, stunning design, brilliant color, and a rare masterful command of the refined Dazi Stitch. Provenance: Ex-Bricker Collection Condition: Minor fraying to peripheries of silk mat. Otherwise remarkably excellent. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #119254

Japan, late Edo to Meiji Period, ca. 1800 to 1912 CE. This is a beautiful dark boxwood netsuke with heavily detailed, realistic carving on all sides and a red signature done in red on white on the underside. This one is signed by Wang Si. Wang is a rare name in Japan and often denotes someone of Chinese descent. The shape of the netsuke is of a blind, old man struggling to lift a heavy stone, a common netsuke theme. The realism of the piece speaks to the 19th century Japanese interest in naturalism. Size: 1.15" L x 1.55" W x 1.5" H (2.9 cm x 3.9 cm x 3.8 cm)The netsuke is an example of the art of everyday objects. They are small sculptures designed to be worn so that objects could be suspended from the traditional sash (obi) that wraps around the kimono. They were used to carry purses, smoking accoutrement, and inro, "seal baskets", which held seals and medicines. The netsuke, made with two holes through it, was used as a toggle to stop the cord on which those items were suspended. Netsuke have a quality, aji in Japanese, that means they have a smooth surface that is pleasing to touch; patina, through extensive handling and age, enhances aji, and this piece has a very fine aji. The story that is told by it is a common one in netsuke art: a blind man, probably a masseur, flexes his arms to lift a heavy stone. Being blind was considered a karmic retribution for errors in a past life, but the blind were welcomed into the guild of masseurs and lifted heavy stones to build up their arm muscles for the job. Many carvers took pleasure in emphasizing the facial expression and body shape of the figure, as the carver of this one has. Provenance: ex-private Santa Fe, NM collection Condition: Excellent All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #115791

Helen Bradley: Punch & Judy, Blackpool Beach, artist signed print with FA blind stamp

Postcard, Raphael Kirchner, Demi Bierge, Della Aquila, D3-5, with blind embossed stamp to edge for Bignel, Royal Arcarde, W1, ub, (vg) (1)

Postcards, RP's, Shopfront selection on six cards, Leeds Industrial Co-op Society Ltd, Knighton's Corner Regents Street (Shanklin blind stamp), Kings Bread and Cake Shop (possibly Watlington), Alf Kent Teas (unidentified), Jones Boots & Shoes, Chiswick High Road, Johnson Milliner, Oxford Road, Reading (gen gd)

Sir William Russell Flint New model inspecting a drawing of her predecessor Lithograph Signed in pencil and with blind stamp, Frost & Reed label verso, 33cm x 54cm

A late Victorian carved wood display cabinet, the raised mirror panelled back over cabriole supports and glazed scroll carved door, with fret and blind fret carving 60cm wide, 133cm high

A BOXED BLIND

A collection of 8 Horror genre Original British Quad film posters in folded condition. British Quad 30" x 40" titles include: Black Christmas (1974) Shadow of the Werewolf / Tombs of the Blind Dead, Shivers (1975), Flesh for Frankenstein (1973), Suspiria (1977), Circus of Horrors / Pit and the Pendulum (re-release), Blood for Dracula (1974) plus a lobby card 11" x 14" for The Haunted Palace (1963). Various Conditions. (8)

A 19th. century gilt green enamelled circular pot, the lid with enamelled scene of two young ladies playing blind man’s bluff with a blindfolded cupid in a garden, a mandolin on the ground. 8cm. diameter.

Alexander Hermann, 20th century, a limited edition print 4/10 of Tibetan Monks, signed lover right and blind stamped, on artists stamped and embossed paper, glazed and framed, 76cm x 93cm

John Brundon, British (1933-2013), 'Chesil Beach at Portland', Dorset bay scene, limited edition print, 81/150, signed and blind stamp.

KEVIN O'ROURKE,THE BLIND MANoil on canvas, signed76cm x 61cmFramed

CONSOLE TABLE, early 19th century French Empire flame mahogany and gilt metal of small proportions with blind frieze drawer and fossil marble top, 78cm W x 40cm D x 81cm H.

A pair of early 19th century embroidered table screens with applied paper faces on black silk with gold metal wire fringe, each 21 by 25cm, mounted on two (incomplete) adjustable brass stands, with spiral engraved columns, finials, and blind engraved circular bases, 24 by 9 by 50.5cm, together with an Edwardian mahogany oval tray with central shell paterae inlay and twin brass handles, 31 by 45cm. (3)

A Victorian coromandel book-slide, the hinge ends having blind carved mother of pearl convex panels in the Japanese style depicting birds upon flowering branches, within engraved and pierced brass mounts, w.39cm (closed)

'The Wooden Pier', limited edition etching signed in pencil Bernard Carr 16.5cm x 30cm with blind stamp on mount titled label verso Condition Report Click here for further images, condition, auction times & delivery costs

John McLean (Scottish 1939-): Abstract Forms from the Mountjoy Suite, screen print signed dated '95 and numbered 11/40 in pencil with blind stamp 76cm x 56cmDDS - Artist's resale rights may apply to this lot Condition Report Click here for further images, condition, auction times & delivery costs

Greylags in Flight, limited edition colour photolithograph after Peter Scott(1909-89) pub. Arthur Ackermann & Son Ltd 1943 signed in pencil with blind stamp 'Fine Art Trade Guild' 48cm x 65cm Condition Report Click here for further images, condition, auction times & delivery costs

'Rosalba', limited edition print after Sir William Russell Flint (Scottish 1880-1969) with blind stamp pub. 1960 signed in pencil 47cm x 58cm, 'The Garden of Romance' and Courtyard Scene, pair of colour prints after same hand 32cm x 42cm (3) Condition Report Click here for further images, condition, auction times & delivery costs

Three various Hong Kong Amateur Athletic Association medals; together with a Guide Dogs for The Blind Association pendant (4)

Brighton Pier, limited edition colour print after Tom Dodson signed in pencil with blind stamp 37.5cm x 46.5cm Condition Report Click here for further images, condition, auction times & delivery costs

Late 19th century brass Carriage timepiece, blind fret case with columns, W8cm, D6.5cm, H15cm Condition Report Click here for further images, condition, auction times & delivery costs

Traffic 'Last Exit' Stereo LLPS-9097, pink label with black circle logo, 'Blind Faith' Polydor, Dave Mason 'It's like you never left', Steve Winwood 'Arc of a Diver', Rolling Stones 'Exile on Main Street' (one LP present).

After Terence Cuneo (20th century) - 'The Running Sheds of the Great Caerphilly and Vole-Tail Central Railway', signed artist's proof, numbered 410/850, also bearing the blind stamp for the Fine Art Trade Guild, coloured print, 22" x 30.75"; together with various other decorative prints and pictures, including a print of K.M. Bismarck after Robert Taylor's original painting, a small oil painting of a three masted Barque off a coastline, a modern oil signed T**Moreau - Swans beside a water mill (painted in a pointillist style), another modern oil painting signed Marle, depicting a Dutch street scene with figures, other reproductions depicting Persian, Indian and Egyptian art and an oil painting by A**Charllon - 'Winter in a Durham Birch Wood', various sizes (a collection)

W.H. Mason after G. B. Campion (19th century) - 'Her Majesty Queen Victoria's Visit to the City', inscribed and bearing the date 9th Nov 1837, coloured stone lithograph, 13.75" x 20"; together with another print of the coronation of Queen Victoria, possibly by George Baxter (mounted over the blind stamp), also a collection of various other decorative prints and pictures, including a small oil painting of poppies by Rosaltsa Mostosi, a watercolour of a hen, several pictures of birds after the antique, each framed and glazed, an oval silkwork picture of an Oriental pheasant, two circular prints of cherubs amongst flowers, prints of Venice after Canaletto, a later oval print after Francesco Bartolozzi's original design, another print after Sir Joshua Reynolds 'Lady Smyth and Her Children', in a vere eglomise mount, other works various sizes (a collection)

After Beryl Cook (1926-2008), group of ladies, 'The Card Players', limited edition colour print 263/650, published by Alexander Gallery Publications Ltd, blind stamped, signed and numbered in pencil, 43cm by 47.5cm

After Sir William Russell Flint R.A (1880-1969), nude reading a large book amongst drapery, limited edition colour print, marked 98/850 in pencil, blind stamped, 39cm by 53.5cm

A Mayall's black and white photograph of a lady in Victorian dress blind stamped, label verso and a tinted photograph of a gentleman in uniform, both in oval mounts and glazed frames, largest 21cm by 16cm

A mahogany glazed corner cabinet with blind fret carved frieze and single glazed panel door, 54cm

A Victorian mahogany sideboard, the superstructure with bold shell cresting, the projecting base with three short blind drawers above arched fielded panel doors, plinth base, 169 cm x 134 cm x 49 cm

An early-20th century mahogany serpentine front sideboard, one long drawer above one blind drawer, flanked by circular inlaid cupboard doors, tapering feet, 142 cm x 93 cm x 52 cm

After Thomas Sidney Cooper. Our Flocks no. 2 - Highland Sheep, lithographic print, E Ganbert blind stamp, published London 1851, 49cm x 63.5cm

A 19th century 'Chinese Chippendale' style mahogany silver table, the rectangular top with a pierced gallery above a blind fret carved frieze and conforming legs with pierced corner brackets, on leather roller castors, 75.5cm high, 87cm wide, 56.8cm deep.

A George III and later 'Chinese Chippendale style' mahogany stool, the later covered top decorated with an oriental lady a pagoda and flowers, on blind fret carved and chamfered legs, with pierced corner brackets and conforming peripheral stretchers, on block feet, possibly Irish, 46cm high, 46.5cm square.

Beryl Cook signed print "Dirty Dancing" with blind stamp lower left (55cm x 31cm)