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Sir Antonio More (1512-c.1582). A Fine Oil on Board: A Portrait of Mary Queen of Scots, depicted wearing a white headdress and a black robe with a bow topped crest in the right hand corner. 22½ ins x 17 ins (57 cms x 43 cms). In a carved and moulded oak & ebonised frame with inscribed plaque 30 ½ ins x 24½ ins (78 cms x 63 cms).
An 18th Century Comback High Wycombe Armchair. The shaped top rail with lobed ends above a baluster form splat flanked by three long spindles piercing the arm bow, raised by three further spindles and reversed baluster supports. The thick plank D-shaped seat morticed through with ring turned column legs joined by a H-form stretcher.
A GEORGE III SILVER PAIR-CASED VERGE WATCH by Jno. Brumhead, Stamford, (unrecorded in Bailley), the case hallmarked London, 1807, maker IB (incuse), the white enamelled dial having Arabic hour numerals, , bull`s eye glass, 8.5cm including bow, and A GILT WATCH KEY of trumpet form with vacant chalcedony seal matrix, 5cm (2)
A fine two-tone blue silk faille visiting gown, circa 1870, the bodice with high neck, basque front, short tails to the back with bow, the sleeves gathered and held by contrasting piped and buttoned tabs, the skirt with elaborate tri-angular piped bands each with flounce of pleated silk, pointed, apron-like side panels over trained skirt with internal polonaise ties, coin or watch pouch to the waist, another deep pocket to side seam, (2). This is a superb example of the use of elaborate, exuberant trimmings in two shades of the same colour which was so popular in the early 1870s. cf English Women`s Clothing in the 19th Century by C. Willett-Cunnington, 1948, p.256, "Thus with two colours one should predominate; the secondary colour must harmonise with the first. Two contrasting colours in contiguity must not be equal in intensity"
A Bohan for Dior couture black organza cocktail gown and matching coat, `Nightclub`, Spring-Summer 1962, labelled and numbered 114125, the boned inner bodice with sweet-heart neckline, the over-dress with flounced tiers and bow to front, with diaphanous organza coat, bust 86cm, 34in, waist 66cm, 26in. (2). Provenance: the late SAR Princess Lilian of Belgium
A Roberto Capucci couture steel grey suit, mid 1980s, labelled, the short, boxy jacket with huge obi-style bow to the back, the borders and tails entirely edged in a chequer of silver-black long bugle beads, over slim pencil skirt, broad beaded belt, bust approx 86cm, 34in, waist 66cm, 26in, (3)
A George III English provincial silver three-bottle decanter frame by Dorothy Langlands (1804-1814), Newcastle (no date), with a central reeded bow handle, a wirework frame, a triform base with an ovolo apron and three ball feet, 23cm (9in) high, 492g (15.75 oz), with three cut glass canted-rectangular decanters (one stopper a replacement). Visit www.dnfa.com for condition reports.
An early 20th century Dutch rose cut diamond brooch, set along the centre with a graduated line of rose cut diamonds within a scrolled rose cut diamond surmount, the pin with Dutch domestic revenue mark 1906 - 1953, 6.7cm long; and a late 19th century rose cut diamond and onyx pendant, the onyx disc applied with a rose cut diamond flower, 3.5cm diamater, attached to an associated silver bow fob fitting. Visit www.dnfa.com for condition reports.
A late Victorian pearl and diamond brooch/pendant, circa 1890, the 9.8mm pearl drop (untested) suspended in a rose cut diamond cap to a tied bow top, wreath and heart shaped surmount, set throughout with old brilliant cut and rose cut diamonds, mounted in gold backed silver, 3.7cm long. Visit www.dnfa.com for condition reports.
A late 19th century Russian emerald and diamond ring, circa 1900, the central step cut emerald claw set in a cut down collet with 4 old brilliant cut diamonds to either side, above bow style shoulders set with rose cut diamonds on a double hoop shank, 56 zolotniks mark for Moscow, assaymaster Ivan Lebedkin, partial maker`s mark Cyrillic F, finger size L. Visit www.dnfa.com for condition reports.
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117861 item(s)/page