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 2936
A GEORGE III 18CT POCKET WATCH a yellow metal dial with three colour gold details, Roman numerals and blued steel hands. The case with ridged bezel and case edge, crown & bow all with detailed floral and shell design. Diameter 4.8cm, with London hallmarks for 1819-20, the movement signed John Cutmore, London. The flywheel capped with a diamond and the wheel cover engraved with a grotesque. Weight without the mechanism 45.8gms Condition Report:Lovely & clean the back panel has a screw missing, winds and is ticking. Has plexiglass 'Glass'. Very clean, has been looked after. Movement hinge pin snapped, movement loose in the case. Impossible to tell you if any thing has been replaced, but as a watch of its age it will almost certainly have had a main spring replaced at least. It has been serviced and looked after, as i say it is very clean, all watches are sold as seen.
Lot 2995
** FRANCIS CAMPBELL BOILEAU CADELL RSA RSW (SCOTTISH 1883-1937) DAHLIAS (c1929) Oil on panel, signed lower left, signed, inscribed with title and 'Absorbent ground NEVER varnish' verso, 44 x 36cm (17.3 x 14.17") Provenance: Dr Arthur H H Sinclair, 6 Charlotte Square, Edinburgh (now Bute House) c1930. Sinclair (1868-1962) had a fine art collection and was President of the Royal College of Surgeons, Edinburgh, and the Hon Surgeon Oculist to the King in Scotland. His brother, Alexander Garden Sinclair ARSA, was an artist and member of the Society of Eight with FCB Cadell. Thence by family descent. Sale; Bonhams London, 9.6.99 (lot 23) Private Collection Jersey Private Collection Jersey Note: FCB Cadell, the youngest of the Scottish Colourists, came into his own as an artist in Venice in 1910. The salon paintings he composed before the War were his most original contribution to date, featuring elegant 'fashion plate' women as motifs within his meticulously-arranged studio, but the style remained post-impressionist and his palette largely subdued. However the works from the 1920s, as with the present picture, perhaps reveal the true nature of the artist and the man. Particularly in the still life genre, we see his adherence to 'rigid line' and delight in pure colour. Many still lifes feature favoured studio props/motifs, such as the blue jug, small green Chinese bowl and silhouette, composed against the lilac wall he had first used c1915. Here we see his interest in pattern, geometry, simplified form and interior design, with his paintings reflecting the age of Art Deco and Jazz. The dahlia blooms themselves seem almost stylised, such is their visual impact.Buyer's Premium 24% + VAT. Also subject to Import VAT @ 5% on hammer.PLEASE NOTE THAT THIS LOT CAN ONLY BE VIEWED BY APPOINTMENT OUTWITH ADVERTISED SALE VIEWING TIMES. Condition Report:Presents in good condition. Very slight bow to panel. Minor abrasions/chips/rubbing to edges of panel. There appears to have been some sort of coating applied to the rear of the panel, rendering it slightly yellowed and shiny. However there is no apparent evidence that it has had any effect on painting itself. PLEASE NOTE that this report has been prepared by an experienced picture specialist. If you wish to have the picture examined by a restorer you are welcome to do so strictly by appointment
Lot 2193
A COLLECTION OF CZECHOSLOVAKIAN ART DECO WALL MASKS all of girls' heads, including two terracotta examples, a Royal Dux example of a girl smelling a flower, some with incised and printed marks, others unmarked, ranging in size from 15.5cm high to 20cm high (6) Condition Report:girl and dog - no number, some glaze losses to hair and bow, 15.5cm highgirl red rose - 19.5cm high, large chip to back of mask at top of head, crazed, chips to rose, no numberblack beret - bloom to black, no number, 15cm high,partially glazed head - chip to end of neck bow, no cm highwhite beret - paint flake to scarf, no 153**, firing crack art back, cm highgirl and flower - no 15516, restored
Lot 1146
A Swiss 18 ct gold open-faced pocket, watch having a crown-wound and pin-set 19-ruby remontoir movement, its white enamel face having fancy gilt hands, Arabic numerals, outer 24-hour chapter with red numerals, and subsidiary seconds dial, case marked "K 18", 52 mm excluding stem, crown and bow, 90.6 g overall (running when catalogued, accuracy and reliability untested)
Lot 1143
A Vacheron and Constantin 18 K yellow metal pocket watch, having a Swiss 18 jewel crown wound movement numbered 579455, the brushed gold face having pencil hands and baton markers, in a slim brushed 18 ct yellow metal case, marked 483010 verso and '18K 0.750' internally, late 1960s, 44 g, 41 x 7.5 mm excluding stem and bow, [running when catalogued, accuracy and reliability un-tested]
Lot 1303
George III Mahogany Twin Pillar Dining Table, with one additional leaf, with clips, raised on turned supports to three splayed outswept legs, claw castors, 177cm long, 75cm high, 107cm wide, together with a George III bow-fronted sideboard, central drawer flanked by twin cellarette drawers, raised on turned legs, 138cm wide, by 88cm high by 59 deep (2)
Lot 14
dating: Period (1603-1867) provenance: Japan, Menhari-gata type (opening fan). Frame with two outer staves made of iron, the inner ones of wood. The membrane made of two layers of paper. One face decorated with Tomoe-mon within Sakura (cherry blossom) all surmounted by a crossed bow and arrow; the opposite face with ideograms. Stains, signs of time and a broken part in the membrane. Period: probably late Edo, mid-19th century. The tessen were used to parry sword blows. length 30,3 cm.
Lot 13
dating: Period (1603-1867) provenance: Japan, Bow with counter-curved wooden frame, of parallelepiped section. Dyed red, provided with bundles of gilded ropes and with a brown rope grip. The cusp of a fukuro-yari is mounted at both ends and held by a mekugi. Both cusps provided with saya. Period: probably late Edo period, mid-19th century. height circa 150 cm.
Lot 3
dating: 18th/19th Century provenance: Japan, Iron, 24-plate suji bachi kabuto in black lacquer with Tehen Kanamono consisting of embossed and finished copper sectors. Mabezashi covered in light leather with embossed vine-shoots, beautiful, disc-shaped, gilded Maedate engraved with the Mon of the Tokugawa clan. Five-plate Shikoro in rippled black lacquer, laced with partly faded ribbons, smooth Fukigaeshi. Menpo of beautiful shape with removable nose-piece and mustachios only partly preserved, four-plate Yodarekake. Conspicuous red Do with riveted sides and back-piece consisting of vertical plates finished in black lacquer, gilded Agemaki no Kan and Gyoyo with Mon. Large, five-plate Sode with gilded and chiselled copper Kanamono decorations. Kote with mail and black lacquered iron plates with red cloth support. Kusazuri with five black-lacquered plate featuring Kon ito Sugake odoshi lacing like all the other parts of the armour. Haidate with plates, inside a small pocket which usually contained a spare string for the yumi (bow), black-lacquered iron Tsubo Suneate. Stand non included. A visually striking and captivating armor. height as shown circa 155 cm.
Lot 66
dating: provenance: Japan, Shinogi-zukuri blade, Iori-mune. Nagasa: 76.6 cm. Clearly visible hamon and hada. Minimal kizu of non-serious type. Nakago-jiri: Kurijiri. With inscription: Mitsutada. Two Mekugi-ana. Habaki in gilded metal. In Koshirae with Tsuba Maru-gata of Edo period decorated with fretwork. Fuchi and Kashira in silver finely worked in waves. Menuki depicting bow and quiver. Same and Tsuka-ito probably later. Restored, brown laquer Saya decorated with a gilded band. length 102 cm.
Lot 355
dating: 1666 provenance: Germany, Octagonal, rifled, 14 mm cal. barrel, signed and dated 'Balthas Rentsch 1666', the base engraved with a flower, the ends framed with geometric motifs, with rear sight at the center featuring a carved and pierced flower, brass foresight, nozzle engraved with a flower; short tang decorated en suite. Beautiful, long lock with internal wheel, flat lock plate marked 'C. W. ', finely engraved with two hunters, deer, hound and flower motifs. Pan with sliding pan cover worked with a stylised whale, large cock carved and engraved with Diana holding a bow and arrow, the two ring openings formed by snakes. Engravings also on the inside. Walnut wood full stock richly inlaid with bone and mother-of-pearl plates, partially carved with small bas-relief scenes, the counterplate with a dragon fighting with an octopus, the right side with a hunter offering a boar's head to a woman, on the left side two deer, below a hunter with hound and boar spit, most of the other inlays engraved with floral motifs. Small restorations in the wood, some replacement inlays, small missing parts. Patchbox. Iron, anatomical trigger guard. Trigger and set trigger. Bone-tipped wooden ramrod. For Balthasar Rentsch see 'Der Neue Stöckel', vol. II, page 1030. It is presumed that the gunsmith worked in Stuttgart, south-west Germany. length 112 cm.
Lot 15
A Masonic ball charm, A Masonic ball charm, suspended from a bow brooch stamped 9ct, gross weight 17.8g.Overall condition good to fairScratches, discolouration and tarnishing in keeping with age and wearCloses to and flush, hinges in good working order, areas of wear and patches of discolouration to interior gilt finish, visible with the unaided eye, dark tarnishing around the edges of some panels, engravings crisp and clearBow brooch - later addition, pin in working order, with safety chain, marks clearSolder marks to hoop surmount attaching fob to bow brooch
Lot 332
Collection of 11 dolls to include 4 x Norah Wellings cloth doll examples featuring a native American, girl with green bow tie, doll with waist sash and brown coat and a sailor doll, doll in red dress with lace dress on top and moving eyes, girl with green and pink stripey shirt and chequered trousers, cloth doll with chequered dress, etc, all showing signs of wear, but overall in gd condition
Lot 55
An Edwardian diamond and pearl set brooch/pendant, comprising a rose gold diamond set tiered circular frame, set to the centre with an old European diamond, diamond weight approx 0.80ct, assessed clarity I1, assessed colour L/M, within a diamond set border or small collet set rose cut diamonds and further border of claw set old cut diamonds and rose cut diamonds, outer border of alternate pearls (assumed to be natural) and fleur de lis diamond set motifs, width approx 37mm, later hinged scroll clasp and pin fittings, with bow shaped bale to top set with a central old European diamond weighing approx 0.40ct, assessed clarity SI, assessed colour H, the brooch with detachable diamond and pearl set drop, suspending graduated diamond and pearl set swag bars, remaining old European cut and rose cut diamond weight approx 3.2carats, total brooch length approx 90mm, unmarked possibly 15ct gold, total gross weight approx 34gms Further details: good- some abrasions to stone commensurate with age, minor wear and tear
Lot 39
Bedeutende Roentgen-Coiffeuse77 x 91 x 63,5 cm.Neuwied, 1770/75.Beigegeben eine ausführliche Dokumentation von Christine Cornet, Sachverständige für antikes Mobiliar, München.Auf Eichen- und Nadelholz furniert in gefärbtem Ahornholz, sog. bois de tabac und andere helle Furnierhölzer, Zedernholz und Kirschbaumholz mit Montierungen in Messing, Eisen, vergoldeten Bronzen und Silber. Die Sichtflächen mit Blumen- und Schleifenmotiven marketiert. Über vier leicht geschweiften gekanteten Beinen der bewegte Korpus. Der einzige Schub mit innenliegendem aufklappbarem Pult. Das Zentrum der Deckplatte aufklappbar mit inwendigem Spiegel. Die Seiten der Deckplatte nach links und nach rechts mittels Scharnier aufklappbar. Darunter jeweils gestreift marketierte Jalousien, die jeweils nach hinten herabzurollen sind. Darunter ein großes Schubfach bzw. ein vierfach geteiltes quadratisches herausnehmbares Kompartiment mit darunter- wie auch dahinter liegendem tapeziertem Kompartiment. Das Möbel birgt neben den von oben zugänglichen Fächern drei Schubladen: Zwei schmale Laden unterhalb der Seitenfächer, die mechanisch zu öffnen sind und der zentrale eingangs erwähnte Schub. Seitlich zu öffnende schwenkbare kleine Schublade, der ein Tintenfass, Sandstreuer und ein Federfach – jeweils in Silber ausgeführt – eingegliedert ist.Literatur:Vgl. Georg Himmelheber, Ein Roentgen-Möbel von 1772, in: Weltkunst, 15. November 1974, S. 2043.Vgl. Georg Himmelheber, Schlossmuseum Gotha. Ein Kommodenensemble der Roentgenmanufaktur. Kulturstiftung der Länder, in: Patrimonia Nr. 159, Berlin und Gotha 1999.Vgl. Hans Huth, Abraham und David Roentgen und ihre Neuwieder Möbelwerkstatt, Berlin 1928.Vgl. Hans Huth, Abraham und David Roentgen und ihre Neuwieder Möbelwerkstatt, München 1974.Vgl. Irene Markowitz, Die Poudreuse. Ein Möbeltyp des 18. Jahrhunderts, in: Kunst und Antiquitäten, Heft 5, 1989, S. 64-72.Vgl. Hans Michaelsen, Rekonstruierungsversuche und Untersuchungen zur Intarsientechnik der Roentgenmanufaktur, in: Staatliche Museen zu Berlin, Forschungen und Berichte 23, Berlin 1972.Vgl. Hans Michaelsen, Ein frühes Möbelensemble aus der Werkstatt David Roentgens, in: Restauro, Nr. 2, April 1989, S. 101-124.Vgl. Wolfgang Thillmann und Bernd Willscheid, Ausstellungskatalog, Möbel Design Roentgen, Thonet und die Moderne, Neuwied 2011.Vgl. Wolfgang Wiese, Hofschreiner und Möbellieferanten in den Residenzen Mannheim und Schwetzingen, in: Ein Jahrhundert Möbel für den Fürstenhof, Sigmaringen 1994.Anmerkung:Der Typus des table de toilette entstand um die Mitte des 18. Jahrhunderts und diente der sogenannten seconde toilette, also der Körper- und Gesichtspflege sowie der Verschönerung nach der Körperreinigung, also nach der première toilette. Der Begriff leitet sich von dem feinen Tüchlein (toilette) ab, das ursprünglich auf dem Tisch während des Frisierens lag, um nötige Utensilien darauf auszubreiten und Puderreste oder anfallendes Haar aufzunehmen. Zunächst erscheint uns das hier angebotene Möbel als äußerst spezialisiert, doch ist es in Wahrheit multifunktional, ist doch auch eine Schreibvorrichtung integriert.Anmerkung 2:622 Roentgenmöbel sind heute in Museen und Privatbesitz bekannt. Im Jahre 1750 begann der Aufstieg der Manufaktur. Anspruchsvolle Kunden wie das Grafenhaus in Neuwied, der Kurfürst und Erzbischof Johann Philipp von Walderdorff. Eine quittierte Rechnung von Abraham Roentgen an Johann Caspar Goethe zeugt vom Bestand von Möbeln im Goethehaus. Auch Johann Wolfgang von Goethe gehörte zu den Kunden von Roentgen. Es wurden zunehmend Königshäuser in Europa beliefert, so auch Katharina die Große von Rußland, Roentgens wichtigste Kundin. Weitere Kunden waren: Kurfürst von Mainz, Friedrich der Große von Preußen, Friedrich Wilhelm II, Graf zu Ysenburg, Graf zu Solms-Laubach, Fürst Friedrich Alexander zu Wied, Kurfürst Franz Georg von Schönburn, Fürstbischof Adam Friedrich von Seinshaim, Markgräfin Caroline Louise von Baden-Durlach, Reichsgraf Florimond Mercy d´Argenteau, Friedrich II von Hessen, Prinz von Lothringen, Marie Antoinette, König Louis XVI, Graf Alexander Stroganoff und viele andere. Museen und Sammlungen: In vielen Museen der Welt befinden sich die wenigen erhaltenen Möbel der Manufaktur Roentgen: Musée des Arts Decoratives, Paris; Victoria & Albert-Museum, London; Metropolitan Museum, New York; Bayerisches Nationalmuseum, München, Louvre, Paris; Eremitage St. Petersburg, Samuel H. Kress-Collection - London; Wallace-Collection, London. Schloß Wörlitz; Schloss Charlottenburg, Sammlung Stavros Niarchos u. v. a. (1390084) (13)Important Roentgen coiffeuse77 x 91 x 63.5 cm.Neuwied, 1770 / 1775.Accompanied by a detailed report by Christine Cornet, expert for antique furniture, Munich.Oak and softwood structure veneered in stained maple wood, so-called “bois de tabac” and other light veneers, rosewood, cedar, and cherry wood with mountings in brass, iron, gilt-bronze and silver. The visible surfaces are decorated with flower and bow motif marquetry. The dynamic shape of the body is surmounted on four slightly curved, edged legs. The only drawer features an internal fold-out desk. The centre of the tabletop can be opened featuring an internal mirror, its sides can be opened to the left and right with a hinge. There are striped marquetry blinds below that can be rolled down to the back. Below this is a large drawer, or more precisely a removable four-fold square compartment with a wallpapered compartment underneath and behind it. In addition to the compartments accessible from above, the coiffeuse features three drawers: two narrow drawers below the side compartments that can be opened mechanically, and the central drawer mentioned above. A small drawer opening from the side is set with an inkwell, sand shaker and a pen compartment – each made of silver.Notes:This type of “table de toilette” came into being in the mid-18th century and was used for the “seconde toilette”, that is body and facial care and beautification after the “première toilette”, the purpose of which was simply washing. The term derives from a fine cloth (toile) that was originally placed on the table while dressing the hair to lay out the necessary utensils and to pick up any waste powder or hair. At first, the table on offer for sale in this lot appears to be very specialized, but it is multifunctional as it features integrated writing utensils.Notes 2:Today, 622 pieces of Roentgen furniture are known to be held in museums and private collections. The manufactory rose to fame from 1750. Demanding clients, such as the princely House of Neuwied, the Prince-Elector and Archbishop Johann Philipp von Walderdorff. A receipted invoice from Abraham Roentgen to Johann Caspar Goethe testifies to the inventory of furniture in the Goethe House. Johann Wolfgang von Goethe was also one of Roentgen´s clients. Increasingly European royal families were being supplied including Catherine the Great of Russia, Roentgen´s most important client. Other clients included: the Prince-Elector of Mainz, Frederick the Great of Prussia, Frederick William II, Count of Ysenburg, Count of Solms-Laubach, Count Friedrich Alexander of Wied, Prince-Elector Franz Georg of Schönburn, Prince-Bishop Adam Friedrich of Seinshaim, Caroline Louise Marchioness of Baden-Durlach, Imperial Count Florimond Mercy d´Argenteau, Frederick II of Hesse, Prince of Lorraine, Marie Antoinette, King Louis XVI, Count Alexander Stroganoff and many more.Museums and collections: The few surviving pieces of furniture from the Roentgen manufactory are held in many museums around the world: Musée des Arts Deécoratifs, Paris. Victoria & Albert Museum, London. Metropolitan Museum, N....
Lot 3
Part of the Cheerful Times theme, and originally a member of the When we were young collection. Created from clear and satin crystal with Rosaline crystal bow in her hair. Swarovski backstamp. 7550 000 007. This item has its original box: 4.75"L x 4.75"W x 3"H. Artist: Edith MairIssued: 2000 - 2009Dimensions: 3"L x 1.5"W x 2.25"HManufacturer: SwarovskiCountry of Origin: AustriaCondition: Age related wear.
Lot 276
• DAVID GENTLEMAN (BRITISH B.1930) COVENT GARDEN PROSPECT SERIES 'VIEW WEST FROM BOW STREET WITH OPERA HOUSE AND THE FOREIGN FRUIT MARKET'signed and numbered in pencil 26/120 David Gentleman lower marginlithograph printed in colours44.5 x 66cm; 17 1/2 x 26in65.5 x 85.5cm; 25 3/4 x 33 3/4in (framed)Property from a London Collectionoffered for sale without reserve
Lot 220
STUDIO OF HENRY RAEBURN (SCOTTISH 1756-1823) PORTRAIT OF THE FIDDLER NEIL GOWoil on canvas72 x 61cm; 28 1/4 x 24in88 x 78cm; 34 3/4 x 30 3/4 in (framed)Property from a Gentleman, LondonGow (1727-1807) was arguably the most famous Scottish fiddler of the eighteenth century. He came to public attention when he was awarded first prize in a competition judged by John McCraw, a blind musician, who stated that he 'would ken his bow hand amoung a hunder(d) players.' Gow's success brought his music making to the attention of the Duke of Atholl, through whose patronage Gow secured performances for balls and dance parties put on by the nobility which made his reputation as a musician and composer. Raeburn's portrait of Gow, upon which the present work is based, is in the Scottish National Portrait Gallery, Edinburghoffered for sale without reserve
Lot 81
A quantity of costume jewellery and other items, mainly late 20th Century brooches, earrings, necklaces, bracelets and pendants to include a Kaiser porcelain pendant, simulated pearl necklaces, a Royal Worcester porcelain pendant in gold tone mount, a glass 'sweetie' pendant, a Sphinx bow brooch, a Dyrberg Kern silver tone charm, dress rings, a thimble, a Sphinx gold tone and blue stone tablet bracelet, a small Stratton pill box and a Monet silver tone and mother of pearl tablet bracelet. Location:R1.3
Lot 448
A George III gilt-brass etui and chatelain, third quarter 18th century, the etui decorated to one side with Athena holding an olive branch and the other with Artemis holding a bow and arrow, within rococo scrolling foliate decoration, the hinged lid enclosing a fitted interior lacking implements, the associated chatelaine with cherubs amongst scrolling foliage, with two hooks and clip back, the etui - 9cm, the chatelain - 6.5cm; together with a gilt-brass scent bottle case, third quarter 18th century, decorated with a lady seated on a throne with a soldier kneeling before her, within scrolling foliate decoration, the hinged lid with floral decoration containing a glass scent bottle, 10.3cm high (2)
Lot 306
An Italian marble model of Cupid, in the manner of Jean-Baptiste Carpeaux, late 19th Century, depicted drawing an arrow from his quiver, his legs entwined with roses, on waisted circular base, 126.3cm high; together with a reconstituted pedestal, 93cm high (2)Provenance: Property from the estate of the late David Cornwell, best known as the author John le Carré.Condition Report: The sculpture is heavily weathered and with surface wear and pitting as well as lichen throughout. The weathering has caused a softening of definition overall consistent with exposure to the elements over a long period of time. There are old losses to edges, including to tips of both wings, his hair, his bow starting from the top of his left hand, the tip of his left index finger, and his large toe on his left foot is missing. There are newer chips and abrasions showing white, including two chips on his left wing, the hair on the left side of his head, a scratch to his left little finger, chips to edges of some of the flowers and leaves, a chip to the tip of his second toe on his right foot, and knocks to the edges of the base. There is a drilled hole to each side of the base.
Lot 604
A Charles X gilt and patinated bronze mantel clock, second quarter 19th century, the case surmounted with a young scribe in Classical attire, seated on a rocky outcrop while holding a quill and scroll inscribed mon-a-mi, a bow and sheath of arrows leant nearby, on a plinth base with applied palm leaf, wreath, lyre and scroll mount above a still leaf rim on foliate feet, the white enamel dial with Roman numerals, outer minute track and spade hands, the twin train movement striking a bell, with associated pendulum and winder, 38cm high, 27.5cm wide, 12cm deepPlease note that Roseberys do not guarantee the working order or time keeping of any timepiece.
Loading...-
117845 item(s)/page