We found 117418 price guide item(s) matching your search
There are 117418 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
117418 item(s)/page
Lot 217
Judith Leiber Couture, United States. Gold-tone metal sleeping cat minaudiere clutch bag, ca. 1970s. With applied Swarovski crystals in white and black. The interior with gold leather, label, and gold-tone metal comb.Height: 3 in x width: 6 in x depth: 4 in. />Condition: Approximately 1 crystal loss. Dust accumulation at the cats neck and near bow and in bow and near the leg. Light wear to the metal including minor scratches and scuffs. Light wear including scuffs and scratches and loss of color to the leather at the bottom. Small dislocation to the field of crystals at lower back above hinges. Red mark on the gold tone metal near cat's right front paw. Faint pink mark near the metal label in the interior. Discoloration to the gold leather lining at the upper center back.
Lot 218
Judith Leiber Couture, United States. Gold-tone metal sleeping cat minaudiere clutch bag, ca. 1970s. The body with applied Swarovski crystals in multi-colored clear with black spots. The bow with black, yellow, red, and green crystals. The interior with gold leather, label, and gold-tone metal comb.Height: 2 in x width: 6 in x depth: 3 3/4 in. />Condition: Dust accumulation at the cat's neck, near the bow, in the bow, and near the leg Light wear to the metal including minor scratches and scuffs. Slight discoloration to the metal at the center of the cat's ears. Light wear including scuffs and scratches and loss of color to the leather at the bottom. Discoloration to the inside leather lining at the upper left quadrant. Approximately 5 crystal losses.
Lot 2550
A late Victorian yellow and white metal, turquoise and moonstone bow brooch, having five moonstone cabochons measuring between approx 3.1 and 4.3 x 3.4mm, and 36 turquoise cabochons measuring between approx 1.6 and 3.5mm, brooch length 40mm, gross weight 8.6g, peg style clasp, not marked but tested as 9ct and silverSeveral turquoise are chipped and worn.Some have been replaced with simulants.Closed back settings prevent accurate testing of stones.
Lot 91
Importante tapisserie de Bruxelles figurant 'Le Colosse de Rhodes', fin XVIe siècleAn important Brussels tapestry depicting 'The Colossus of Rhodos', late 16th centuryWoven in wools and silk, after designs by Maarten van HeemskerkDepicting the Colossus of Rhodes -the monumental semi-clad statue of the sun god Helios -one of the wonders of the ancient world, with his quiver of arrows on his left shoulder and his bow grasped in his left hand, set against an extensive and bustling landscape with numerous boats, the central field flanked by large scale figures admiring the Colossus dressed in elaborate costume and gesturing to the ancient monument, to the right of the large female figures on the left is the seated sculptor (Chares of Lyndus?) dressed in a red tunic, designing a sculpture on paper while his assistants polish pieces of sculpture including a large head to the centre of the main field, the rich border with standing draped figures, flowering vases and vignettes with scenes featuring couples on boats, pastoral scenes and extensive foliate and floral surround with birds and fruited elements, with blue outer slip, 391cm wide350 cm high, (153 1/2in wide x NaNin deep x 137 1/2in high)Footnotes:Provenance:By repute, Contini Bonacossi Collection, Florence;Private Collection, AthensThe present lot forms part of a series called 'The Wonders of the World.' For a similar examples see the 'Colosseum' tapestry at the Metropolitan Museum of Art -although this has an 'Elements' border (specifically designed by Philip II) which differs from the figurative border in the present lot.The designer for the Wonders of the World series was Maarten van Heemskerck (Netherlandish, Heemskerck 1498-1574 Haarlem). These designs are thought to have been based on Pedro Mexia of Seville's Silva de varia Leccion, published in 1540. When it comes to attribution of a weaver for the series, Standen suggests that the following could be possible candidates: Willem Segers, Francis Sweerts, Niclaes de Canter, Isaac van Asperen or Nikolaus Le Coustre. The set was made up of eight panels although the Colosseum usually does not form part of the seven wonders. Standen argues that the Colosseum attained the status of one of the Ancient Wonders of the World partly because the colossal statue of Nero that once stood within the building was confused with the Colossus of Rhodes. The ancient monument was built, circa 280 BC, to commemorate the triumphant defence of Rhodes against an attack by Demetrius I of Macedon. It was believed to stand at 33m (108ft) high and collapsed in the earthquake of 226BC. What is considered to be the original dedication for the Colossus reads as follows:Αὐτῷ σοὶ πρὸς Ὄλυμπον ἐμακύναντο κολοσσὸντόνδε Ῥόδου ναέται Δωρίδος, Ἀέλιε,χάλκεον ἁνίκα κῦμα κατευνάσαντες Ἐνυοῦςἔστεψαν πάτραν δυσμενέων ἐνάροις.οὐ γὰρ ὑπὲρ πελάγους μόνον κάτθεσαν, ἀλλὰ καὶ ἐν γᾷ,ἁβρὸν ἀδουλώτου φέγγος ἐλευθερίας·τοῖς γὰρ ἀφ' Ἡρακλῆος ἀεξηθεῖσι γενέθλαςπάτριος ἐν πόντῳ κἠν χθονὶ κοιρανίαTo you, O Sun, the people of Dorian Rhodes set up tis bronze statue reaching upto Olympus, when they had made peace with the waves of war and crowned their city with the spoils taken from their enemy. Not only over the seas but equally on land did they kindly the lovely torch of freedom. For the descendants of Herakles, theirs in dominion over land and sea. Two panels which are not thought to have survived from the series are Pharos of Alexandria and the Walls of Babylon. The known survivals from the series include Zeus at Olympia, The temple of Diana at Ephesus, The Colossus of Rhodes, The Mausoleum of Halicarnassus and the Pyramids of Egypt. A set of six pieces were sold by Francis Swerts, the Antwerp weaver and dealer to the archduke Ernst in 1594/95 and in inventory of the Hotel de Conde, Paris, made in 1719 includes 'Huit pieces de tapisserie representant les Sept Marveilles.'A set of four were sold in 1920 at Georges Petit in Paris on June 18, lots 55-58. Other sets are known to form the collections of Palazzo Venezia, Rome and the William Rockhill Nelson Gallery, Kansas City. See the following for further reading:E. Cleland, Grand Design Pieter Coeke van Aelst and Renaissance Tapestry, Yale University Press, 2015;E.A Standen, Romans and Sabines: A Sixteenth Century set of Flemish Tapestries;E.A. Standen, European Post-Medieval Tapestries and Related Hangings in The Metropolitan Museum of Art, New York, 1985, cat, 19, vol. I, pp. 154 - 161;M.F Viale, Tapisseries Flamande inédites en Italie, illustrated fig 4This lot is subject to the following lot symbols: WW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com
Lot 415
A good George IV style mahogany Whatnot, by Callaghan & Connolly, Kilkenny, with three-quarter pierced brass gallery above three rectangular shelves, the lower shelf with a drawer raised on turned supports and legs, 106cms h x 49cms w (41 1/2" x 19"); together with a matching bow fronted three tier Corner Whatnot, also on turned supports and legs with brass gallery. (2)
Lot 453
A 19th Century pine Fire Surround, the bead moulded shelf above a frieze with an oval relief with cherubs on lion back and garlands of bell flowers to either side hanging from ribbon bows, the two jambs each headed with an anthemion and a ribbon bow supporting tapering bell flowers within bell flower moulded frame, 144cms x 153cms (56 1/2" x 60"). (1)
Lot 710
George William Russell (“AE”) (1867-1935) 'Portrait of a Young Girl in a white Dress holding Flowers,' O.O.C., 62 cms x 51cms (24.5" x 20" ). (1) The term ‘Celtic Twilight’ accurately describes the art of George Russell, with many of his paintings depicting scenes of childhood. He delighted in creating a fantasy world, peopled with mythological beings. In such paintings, suffused with the glow of wistful nostalgia, his figures, generalized rather than specific portraits, are enveloped in a haze. This portrait of a young girl however is more formal, and depicts an actual rather than an imagined person. Dressed in a white muslin pinafore dress over a blue blouse, her dark hair tied with a bow, the girl sits in a chair looking out at the observer with a curiously determined expression. In her hands she holds a small spray of flowers. The background is a uniform brown deepening to a dark shadow behind the girl, and the initials of the painter ‘AE’ are painted the top right corner. The identity of the sitter is not known; it may be an early portrait of Kitsy Franklin, whose mother Victoria Franklin was the sister of the writer Susan Mitchell, who edited the Irish Statesman and was a close friend of Russell. Adopting the initials ‘AE’ as his signature or monogram, Russell is remembered today as one of the leading cultural figures of the Irish Literary Revival. In addition to being a painter, he was also an influential economist, editor, and promoter of rural development. Practical, and well versed in politics and economics, Russell nonetheless also believed in the existence of a spiritual world, inhabited by ethereal beings. Influenced by Symbolist artists such as Gustave Moreau and Puvis de Chavannes, he espoused Theosophy and esoteric religions, giving expression to this vision through a prolific output of paintings, novels, plays and poetry. Born in Lurgan, Co. Armagh, as a child Russell moved to Dublin with his family. After studying at the Metropolitan School of Art, in 1887 he began working for the Irish Agricultural Organisation Society, and edited the IAOS newspaper, the Irish Homestead. Alongside these practical concerns, he found time to study esoteric religions, joining the Dublin Theosophical Society in 1888, and later forming the ‘Hermetic Society’. He was also involved with drama, in 1902 becoming vice-president of the Irish National Theatre Society (later the Abbey Theatre Company). His plays include Deirdre, (1902), while his first book of poetry, Homeward: Songs by the Way, published in 1894, was followed by his 1913 Collected Poems. In addition to painting, plays and poetry, Russell wrote on agricultural policy and political theory, in The Building up of a Rural Civilisation (1910), and The National Being (1916). He was highly regarded as an artist, and, in 1913, with the support and encouragement of the lawyer John Quinn, his paintings were shown at the Armory Show in New York. Encouraged also by William Butler Yeats, Russell painted murals depicting his mystical visions, at 3 Upper Ely Place, headquarters of the Theosophical Society. He also painted portraits, of Yeats, Lady Gregory and others. Dr. Peter Murray, February 2022
Lot 743
A pair of attractive 19th Century gilt and gesso three tier mirror back Wall Brackets, in the Adams style each with a ribbon bow crest above three serpentine shaped shelves over a ribbon bow crest above three serpentine shaped shelves over a cartouche and leaf moulded apron, 94ms x 46cms (37" x 18"). (2)
Lot 984
A George IV period inlaid mahogany Sideboard, with three-quarter gallery, the bow fronted centre with a frieze drawer inlaid with a shell and with satinwood banding over two fan inlaid satinwood spandrels, a conforming frieze drawer and cupboard door to either side on square tapering legs, 203ms (80''). (1)
Lot 122
A FINE, RARE AND LARGE CHARLES II YEW AND BEADWORK MIRROR CIRCA 1665/1675 The beadwork depicting flowers, a lion and a lioness, the bevelled rectangular plate flanked by a depiction of King Charles II to the right and Catherine of Braganza to the left, the upper border also centred by a roundel with depiction of the King and beneath by an alternate depiction of Catherine of Braganza, within borders of yew wood cross grain moulding throughout 110cm high, 85.5cm wide Whilst it is not uncommon to find embroidery framed mirrors of this period- beadwork mirrors are altogether rarer- especially of this scale and retaining such good colour. Unlike fabric embroideries the beads tend to retain most if not all of their original colour. The beads themselves it is believed were often sourced from national and international makers- including Murano in Italy. The depictions of King Charles II and Catherine of Braganza, together with the inclusion of the heraldic lion and leopard, suggest a Royalist supporting family and may be a commemoration of the Royal marriage of 1662. The overall scale of the piece, the size of the mirror plate, further suggests a very wealthy family. For similar please see: A related but smaller Restoration period mirror with provenance possibly to the Horton Fawkes family of Farnley Hall was purchased by the Art Fund in 2014 for the Leeds Museums and Galleries and is now housed in Temple Newsam. A mixed raised work embroidery framed mirror with similar iconography and lobed corners from the Irwin Untermyer collection in the Met Museum (accession Number: 64.101.1332). A Charles II beadwork and faux tortoiseshell dressing mirror circa 1670, illustrated in Graham Child, World Mirrors 1650-1900, Sotheby's Publications, 1990, page 60, plate 2 and subsequently sold Sotheby's New York, Important European Decorative Arts, 9th June 2014, lot 167 $20,000.SALEROOM NOTICE: Please note that the beadwork mirror actually depicts Queen Henrietta Maria on the left, in full-length, opposite King Charles I, in full-length on the right and Charles II is depicted at the top of the mirror on the roundel, and the bottom of the mirror, in the roundel, is depicted, the ever so beautiful, Catherine of Braganza. Condition Report: Marks, scratches and abrasions commensurate with age and useSome old chips and splits. Some small losses including a section of moulding the the outermost lower right corner of the frame. Some old repairs and replacements as expected for age. Some areas of the beadwork replaced. Some movement, warping the frame overall creating an overall 'bow' as expected for age. (see additional images)The mirror plate has significant age and the hand bevelled edge is true to its current size and placement, however it is not possible to guarantee that this plate is entirely original to the frame. It is possibly original. Textile was previously glued to the side edges of the frame and apparently the same material to the reverse of the frame throughout. To the reverse there is various old staining to the textile. To the side edges a high percentage of the textile is lost and mainly only very small fragments remain. The reverse of the frame looks generally good and original. There are later fixtures screwed to the reverse in order that the mirror can be hung. We cannot guarantee the originality or condition of the timber immediately underlying the glued down textile to the reverse. Very good original surface, depth of colour and patina to the yew mouldingsThere is no further specific provenance regarding this lot.Please refer to the additional images available via email for visual reference to condition in addition to the images available on our website. Condition Report Disclaimer
Lot 1
PIEFF OF WORCESTER ELEGANZA ROSEWOOD & CHROME DINING TABLE AND SIX (4+2) LEATHER & CHROME DINING CHAIRS DESIGNED BY TIM BATES, CIRCA 1970s, the slightly bow form rectangular dining table on substantial T-shape chrome supports, 74cms H, 200.5cms L, 100cms W, the honey colour leather and tubular chrome chairs with soft feel leather upholstery, 109cms H, 56cms W, 45cms seat D the carvers, 109cms H, 54cms W, 45cms seat D the othersATTENTION; SALE SUBJECT TO PENDING CITES ARTICLE 10 CERTIFICATE (PROTECTED SPECIES-ROSEWOOD), SUCCESSFUL BIDDER WILL NOT BE REQUIRED TO PAY FOR THIS LOT UNTIL CERTIFICATE HAS BEEN GRANTEDProvenance: private collection Denbighshire
Lot 7075
A collection of Punk, New Wave and Indie 7" singles including The Only Ones, The Fall, The Jesus and Mary Chain, The Jolt, Roogalator, The Carpettes, Berlin, Wayne County, Eddie & The Hot Rods, The Vibrators, Cyclone, The Tourists, Snatch, The Dancing Did, The Primitives, Ian Dury & The Blockheads, Bow Wow Wow and Ten Pole Tudor (20, vinyl mostly VG+)
Lot 47
101cm double fullered blade, double edged towards the tip, stamped GENOA both fullers on either side, incised arsenal marks, the broad reinforcing straps with trefoil terminals, characteristic steel hilt with sharply upturned shaped guard, chiselled knuckle bow, deep dished pommel with faceted spike finial, slender waisted grip, contained in its scarce leather wrapped wooden scabbard with white metal chape.
Lot 632
75.75cm flattened diamond section blade by Prater, London, etched with scrolling foliage, regimental motifs and HAC, regulation copper gilt hilt with D-shaped knuckle bow, the upturned shell guard pierced and applied with a white metal flaming grenade, contained in its copper gilt mounted leather scabbard. Scabbard leather repaired.
Lot 667
79cm clean blade by POOLE & CO., etched with scrolling foliage, crowned VR cypher and crossed lances, characteristic gilt hilt, the down turned guard applied with a crowned VR cypher within a oak leaf wreath, D-shaped knuckle bow, crown pommel, silver wire bound grip, contained in its gilt mounted leather scabbard decorated with oak leaves, complete with bullion knot, transit bag and attached label suggesting it had been the property of F. Stapleton Bretherton, a Colonel who was killed in the Crimea.
Lot 104A
A 1:48 SCALE MODEL OF THE LNG (LIQUID NATURAL GAS) CARRIER T.T. KHANNUR, BUILT BY MOSS ROSENBERG, NORWAY, FOR GOLAR GAS TPT INC, 1977, the 56in. hull with gilt propeller, bilge keels and bulbous bow, red pained decks complete with fittings as appropriate, gas holders and stern superstructure with twin liveried funnels and covered lifeboats in davits, mounted on two metal columns within glazed case – 17½ x 67½ x 15in. (44.5 x 171.5 x 38cm.) on table stand – 30 x 71 x 18½in. (76 x 180.5 x 47cm.)
![AN RNLI PRESENTATION MODEL FOR THE HASBOROUGH [HAPPISBURGH] LIFEBOAT HUDDERSFIELD II, 1888the 20in. carved and painted hull w](https://cdn.globalauctionplatform.com/449d2ef8-c20a-449b-a6d6-b0a000f40b25/66c41df6-3977-42fd-9c98-b0a000f9cba8/468x382.jpg)
Lot 13
AN RNLI PRESENTATION MODEL FOR THE HASBOROUGH [HAPPISBURGH] LIFEBOAT HUDDERSFIELD II, 1888the 20in. carved and painted hull with grab ropes, RNLI logo to bow and rudder, with detailed fittings including slatted bench side-seats, footplates, thwarts, brass scuppers, blue and white painted oars, and folded mast and boom with furled sail and other details, mounted on turned brass columns on a display base with silver presentation plate inscribed to J. Thomas Kilner Esq., in original glazed wooden cover -- 10½ x 32 x 12in. (26.5 x 81 x 30.5cm.); historical notes(2)J. Thomas Kilner and thence by descent.fine overall condition.
Lot 15
19TH CENTURY SAILOR-TYPE MODEL FOR A CORNISH PILOT GIG with 11in. hull carved from the solid and containing fittings including grating, coiled rope, seats, thwarts, rollocks, four carved oars with leather cuffs, finished in white with ebonised boot top and burgee applied behind bow, mounted on display base with two oars rigged behind -- 7 x 13in. (18 x 33cm.) good overall condition
Lot 36
A 19TH CENTURY HALF MODEL OF THE FAMOUS YACHT AMERICA the 36in. hull carved from the solid with inlay stringing contours, ebonised top sides with foliate carving to bow and half American eagle to stern and rudder, mounted on a display board with raised frame -- 12½ x 45½in. (32 x 115.5cm.)old wear overall, paint chips and marks
Lot 89
A collection of studio pottery,comprising a salt glazed mug, in the style of Walter Keeler, impressed marks, 9cm high, three A & J Young Gresham Norfolk pieces, comprising a footed bow, jug, and colander, and another jug, 32cm wide (5)Condition ReportMinor wear to the spout of the larger jug. The remainder in a good condition. Only two examples with impressed marks - please see the additional images.
Loading...-
117418 item(s)/page