We found 117845 price guide item(s) matching your search
There are 117845 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
117845 item(s)/page
Lot 1263
Waschgeschirr, um 1900Keramik, weiß. Große Waschschüssel und Kanne mit umlaufenden Blumen-Schleifen-Dekor. Unterhalb "J" gestempelt. Glasurkrakelee. D. 31,5 cm, H. 29. cm Washing Tableware, c. 1900 Ceramic, white. Large wash bowl and jug with surrounding floral bow decoration. Stamped "J" below. Glaze craquelure.
Lot 1225
Henkelschale, Karlsruhe, Staatl. Majolika-Manufaktur, 1. Dritte 20. Jh.Entwurf Max Henze 1911, hergestellt bis 1930. Steingut, weißer Scherben, Blüten blau. Doppelwandiger Gefäßkörper an den Seiten Einziehungen, Bügelhenkel. Vergissmeinnichtrelief. Manufakturzeichen in Blau, Seriennr. "1255" blindgeprägt, Zusatz "Made in Germany". H. 19 cm Lit.: Kat. Karlsruher Majolika 1979, Kat. 38. Handle bowl, Karlsruhe, Staatl. Majolika-Manufaktur Designed by Max Henze in 1911, produced until 1930. Earthenware, white body, blue flowers. Double-walled vessel with recesses on the sides, bow handle. Forget-me-not relief. Manufacture mark in blue, serial no. "1255" blind stamped, addition "Made in Germany".
Lot 1200
Geige, Wehen-Taunusstein, Hopf-Werkstätten, 1956Decke Fichte, zweiteiliger Boden Ahorn, geflammt, jeweils Randeinlage. Goldbrauner Lack. Leichter Riss in der Decke unter dem Kinnhalter. Label auf dem Innenboden: "Wehener-Hopf Geige gefertigt 1956". Spielbereiter Zustand. L. Korpus 36 cm, L. gesamt 59 cm. Dazu Bogen des Hersteller Franz Sandner. Im schwarzen Kasten. Violin with bow in case. Hopf-workshop, Wehen-Taunusstein, Germany. Labeld 1956 (year of production). Good condition.
Lot 668
A 19th Century mahogany single drawer bow fronted side table on turned legs 92 cm wide x 51.5 cm deep x 77 cm high together with a modern mahogany serpentine fronted bureau of four drawers, a beech and elm stick back kitchen chair, a re-constituted marble and painted iron based glass top coffee table, a Victorian mahogany pot cupboard and a modern mahogany two drawer side table with pull out writing surface
Lot 705
An early 19th Century mahogany bow fronted corner cupboard, the top with blind fretwork decoration, the two doors opening to reveal to shelves, 75 cm wide x 52 cm deep x 107 cm high, together with a Victorian mahogany corner cupboard with broken swan neck pediment over an astragal glazed door opening to reveal three shelves, 56 cm wide x 41 cm deep x 109 cm high and a 19th Century mahogany drop-leaf Pembroke table on turned legs, 91 cm wide x 53 cm deep x 70 cm high, together with another similar, 86 cm wide x 47 cm deep x 70 cm high and a Victorian mahogany washstand with three quarter galleried top over an undertier, raised on slender turned and reeded legs, 63.5 cm wide x 43 cm deep x 96 cm high including galleried top
Lot 99
A box containing a pair of Emporio Armani shoes with black pony skin and black patent bow highlights, size 38½, unworn, together with a Missoni cotton and viscose pink, brown and cream scarf, a plum silk scarf with tassel decoration and bearing label "Jamin Puech", an Agnona lilac scarf and an Armani Collezioni silk and viscose mix scarf with stylised grey spot decoration
Lot 568
A 9ct gold bangle, claw set with an oval cut garnet, inside width 5.7cm, a colourless paste brooch, designed as a bow, a silver, blue and colourless gem set cluster ring, a pair of 9ct gold and sapphire pendant earrings with post and butterfly fittings, weight excluding butterflies 1.8g, and two further pairs of earrings.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 557
A small group of jewellery, including a North American Indian silver and turquoise bangle, unmarked, weight 67.8g, a turquoise clip, designed as a bow, two pairs of sterling silver turquoise earrings with screw fittings, a sterling silver turquoise pendant with a silver neckchain, total weight 16.5g, a freshwater cultured pearl necklace on a boltring clasp, detailed '14K', a Mexican silver and blue glass bracelet, detailed 'Mexico 925', with a matching pair of earrings, total weight 45.8g and a brooch, designed as a bird.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 307
A large collection of yellow metal rings. The lot to include; back enamel, white stones, etched design, prill deign, faux amethyst, purple stones, cluster ring, black stone, pink stone, band rings, twisted design, hearts, faux pearls, eternity ring, red stones, two tones, hinged ring, green stone, bow, Greek key, floral design, leaf design, stars, mood ring, chevron ring & bamboo design. Sizes range from approx L - Y. Approx 50.
Lot 303
An assortment of vintage brooches & hair clips. The lot to include; yellow metal, white metal, simulated jade, bamboo effect, 12ct filled gold, wreath, fox, white stones, fused glass, black stones, filigree, clay sheep brooch, feather, key, Pegasus, dolphins, abalone, broken pins, tie clip, bow, butterfly, flower, hat, roses, Disney Goofy badge, enamelled air balloon pin, Essex crystal style lucite orchid, cloisonné stick pin, cat, Eiffel tower & more. Approx 51.
Lot 313
A hallmarked silver pin cushion & white metal stick pins. The pin cushion hallmarked for London 1927 (marks rubbed). The stick / hat pins to include; simulated pearl, white metal, yellow metal, sequin, beads, purple stone, wood, green stone, white stone, bow, amber, floral design, enamelled butterfly & hallmarked silver welsh hat pin (marked for Birmingham 1909, makers marks for James Fenton & Co). Pin cushion measures approx 11.5cm. Longest pin measures approx 26cm.
Lot 294
A large collection of white metal rings. The lot to include; white stones, solitaire rings, ring fragments, cluster ring, crossover ring, etched designs, punched design, eternity rings, faux moonstone, beige stone, blue stones, braided ring, floral design, black stones, green stone, brown stone, bow design, clear plastic ring, multi coloured stone ring, skull ring, band rings, feather design, pink stone. Sizes range from approx C - Z. Approximately 53.
Lot 138
Christian Dior Couture: a Black Tulle DressAutumn/Winter 1955Strapless design with ankle length layered tulle skirt and large silk bow from waist, black slip skirt, dated and numbered labelCondition Grade B-22'/56cm bust, 26'/66cm waist, 108cm longFootnotes:The W-Shaped underwire (to the bust area) is specific to Dior creations from this period. The tailoring shows darting which runs between the bust apexes, to give shaping that holds the bodice against the sternum.For further information on this lot please visit Bonhams.com
Lot 112
Valentino Couture: an Ivory Floral Jacquard Silk Skirt SuitSpring/Summer 2005The jacket with peplum waist and large silk bow belt, the skirt knee-length (2)Condition Grade A-Jacket 34'/86cm chest, 26'/66cm waist, Skirt 26'/66cm waist, 36'/91cm hips, 63cm long, includes copy of original fashion sketchFor further information on this lot please visit Bonhams.com
Lot 224
Valentino Couture: a Coral Pink Wool Skirt SuitThe jacket with ruched bow design, zip down fastening, the skirt knee-length with splits (2)Condition Grade A-Jacket 30'/76cm chest, 26'/66cm waist, Skirt 26'/66cm waist, 30'/74cm hips, 58cm longFor further information on this lot please visit Bonhams.com
Lot 22
STATUETTE D'USHNISHAVIJAYA EN ALLIAGE DE CUIVRE DORÉTIBET CENTRAL, XVE/XVIE SIÈCLEHimalayan Art Resources item no. 4601 23.8 cm (9 3/8 in.) highFootnotes:A GILT COPPER ALLOY FIGURE OF USHNISHAVIJAYACENTRAL TIBET, 15TH/16TH CENTURY藏中 十五/十六世紀 銅鎏金尊勝佛母像Provenance:With Claude de Marteau, Brussels, by 1970sUshnishavijaya, whose name translates as 'the Victorious Crown Ornament', is a peaceful deity who bestows long life. Depicted with three distinctive faces and eight arms, the deity is crowned, jeweled and ornamented seated atop a double lotus throne. Each implement and gesture signify the giving of boons. The primary right hand holds the visvavajra, the symbol of indestructability. The second right hand holds an effigy of the Buddha Amitabha, whose name means 'Infinite Light', and whose emanation is Amitayus, represented by the vase containing the elixir of long life held in Ushnishavijaya's fourth left hand. The third arm at right holds an arrow signifying wisdom with the bow mirrored in the second left hand symbolizing compassion. The lower right hand is held in varada mudra and the third left arm is raised in abhaya mudra expressing gestures of generosity and assurance respectively. The multi-faced, many armed deity offers enduring protection and favorable rebirth to those who have devoted faith. Adhering to a 15th-century style, Ushnishavijaya shows a syncretic blend of Indo-Nepalese, Central Asian, and Chinese artistic traditions. While these stylistic exchanges were occurring earlier during the Yuan dynasty, their integration matured in the 15th century with a distinctive Tibetan style at its art historical peak. Political and economic support for these artistic developments partly came from the Early Ming emperors' patronage with Tibetan monasteries. The sending and receiving of gifts between the Early Ming court and Tibetan lamas which included texts, commentaries, silks and Buddhist imagery inspired a process of elaboration and refinement in Tibetan art, yielding casts like this delicate gilded sculpture of Ushnishavijaya. The qualities that harken back to earlier influences from India and Nepal include the lithe proportions of the body, the foliate triangular leaf crown, and the cabochon of turquoise and inlaid stones with heavy gilding which was popular in Nepalese artistic traditions. Skilled Nepalese metalworkers coming from the Kathmandu Valley had long been involved in workshops relating to specific monasteries throughout Tibet. These stylistic choices, especially in consideration of the overall layout of ornamentation can be compared to another Ushnishavijaya in the Rubin Museum of Art (C2005.16.22). While the garments and ornamentation are predominantly of Indian and Nepalese style, the modeled face, with its demure expression, is more definitively Chinese and can closely be compared to another tantric deity of Ratnasambhava in this sale (see lot 21) along with a Vairocana Buddha on Himalayan Art Resources (HAR 15711).For further information on this lot please visit Bonhams.com
Lot 42
TANGKA REPRÉSENTANT KURUKULLADYNASTIE QING, STYLE DE YONGHEGONG, XVIIIE SIÈCLEHimalayan Art Resources item no. 4651 Image: 57 x 42 cm (22 1/2 x 16 1/2 in.)Footnotes:A THANGKA OF KURUKULLAQING DYNASTY, YONGHEGONG STYLE, 18TH CENTURY清 雍和宮風格 十八世紀 智行佛母唐卡Provenance:With Claude de Marteau, Brussels, by 1970sThe goddess Kurukulla belongs to a set known as the, 'mar chen kor sum' or the Three Great Red Deities, including Takkiraja from the Guhyasamaja Tantra and Maharakta Ganapati from the Chakrasamvara Tantra (see a thangka of Maharakta from the Claude de Marteau Collection, Part 1, sold at Bonhams, Paris, 14 June 2022, lot 57). Dancing atop a pale white corpse, the crimson goddess draws a bow and arrow composed of flowers, symbolic of her power to bewitch the hearts of kings and men through the recitation of her mantras.Floating above the upper recesses of the painting are two monks wearing yellow hats, associating this work with the Gelugpa order and other 18th-century examples from the Yonghegong monastery. Located in Beijing, this lamasery was formerly the monastic residence of Prince Yinzhen prior to his enthronement as the Yongzheng emperor (1723-35) as well as the birthplace of the Qianlong emperor (1736-95). Stylistically, the dense, hilly landscape with earthen-hued clouds bear a striking resemblance to a Chakrasamvara painting in the Yonghegong Collection (HAR 100116) and two other examples published in, Bai Ming (ed.), Beautiful Tangka Paintings in Yonghegong vol.1, 2002, pp. 36 & 81. Also compare a series of paintings commissioned by the Qianlong emperor between 1779 and 1780 for the Xumifushou Temple with similar color schemes to the present lot, published in Singer & Denwood (eds.), Tibetan Art: Towards a Definition of Style, 1997, pp. 110 & 115, nos. 91, 99 & 100.For further information on this lot please visit Bonhams.com
Lot 74
A PAIR OF BOW PORCELAIN BIRDS IN BRANCHES CANDLESTICK GROUPS, CIRCA 1762 each designed as boughs, one encrusted with flowers, the other fruit, and each featuring a bird upon a nest of chicks and another holding a berry in its beak, to naturalistic bases and each with metal leafy branches supporting decorative nozzles, each with impressed 'To' mark to base, attributed to John Toulouse or the repairer Tebo or Thiebaud. (2) 22cm highPurchased by the vendor in 1997 from David J. Thorn Antiques, Ceramics & Works of Art, Devon.Both with some losses to flowers and leaves, the fruiting example with one whole flower head deficient to the back of the base. The bird with berry to the floral encrusted example restored to tail and wings with later break and repair, possible other repairs to both.
Lot 234
A GROUP OF MEDALS including AN ORDER OF ST JOHN OFFICER'S MEDAL, on a shoulder ribbon; AN ORDER OF ST JOHN SERVING MEMBER'S MEDAL, TOGETHER WITH A MINIATURE, both in original cases of issue; and A SECOND MINIATURE, on bow ribbon, presented to 'L/D SUPT. M.A. Prince, July 23rd 1937, cased; A GR V TERRITORIAL DECORATION, hallmarked Garrard & Co Ltd, London 1932, TOGETHER WITH A MINIATURE, both in original cases of issue; and A MINIATURE MEMBER OF THE BRITISH EMPIRE (M.B.E) MEDAL, cased. (7)
Loading...-
117845 item(s)/page