We found 51252 price guide item(s) matching your search

2 Plated crumb trays, silver backed clothes brush, bright metal miniature hunting boot, plated marrow scoop

An early 20th century Chinese porcelain brush pot of hexagonal form, decorated with two birds on a blossom branch on yellow ground, H.34cm

A mid 19th century Belgian cavalry trooper's helmet, white metal skull and peaks with brass edging, brass comb with ornamental panelled sides and grenade finial in front, rayed ear rosettes bearing a grenade and imitation graduated chinscales, lion?s head helmet plate, black "shaving brush" plume in socket to the front, falling black hair plume at the back and 11" light blue feather plume in socket on left side, leather liner. VGC

HM silver trinket box and brush

A heavy duty brush cutter

Chinese blue and white brush pot of square form, decorated with figures in a garden, 13cm.

Chinese polychrome cylindrical brush pot decorated with figures in a garden, insciption, 12cm.

Chinese bamboo brush pot, 12cm.

A tortoiseshell and silver mounted dressing table set, by William Comyns & Sons, assayed London 1911, to include; two matching oval tortoiseshell and silver fitted jewellery boxes, having domed tortoiseshell lids inlaid with silver garlands, plain polished sides and ribbed border, raised upon quadruple supports, the larger width 13.7cm, the smaller width 11.9cm, together with a rectangular tray, with ribbed border and silver garland inlay (silver side lacking), 28.6cm x 20.9cm, a rectangular vanity box, having sloped lid with silver garland inlay, the felt fitted interior with tortoiseshell mounted manicure set (lacking scissors), height 3.8cm x width 4.6cm x depth 12.3cm, pair of clothes brushes, a hair brush, a hand mirror with bevelled shield shape glass, and a powder jar lid, (some damage, condition varies). Also four unrelated silver and white metal backed combs. (12)

Two Clarice Cliff crocus pattern jugs and a Clarice Cliff brush pot tallest piece 21cm

Enamel, silver mirror & brush set possibly military, some enamel damage (See photograph) 1930's?

A collection of early 20th porcelain half-dolls, most in the form of "pin cushion table brush dolls", and a miniature metal shoe pin cushion with a collection of similar period hat pins.

Collection of 19th century Tunbridge ware to include three boxes, a circular box and cover, a clothes brush etc., (6)

Mixed lot to include a Chester silver napkin ring, two others, an Epns toast rack, mother of pearl and chrome opera glasses and a clothes brush, etc (a lot)

Royal Doulton Thelwell Collection: to include Body brush NT7, Detecting ailments NT8, Ideal pony for a nervous child NT10, So treat him like a friend NT11 and He'll find you NT12 ( ear broke) (5)

Collection of silver to include dressing table tray (af), clothes brush, part photograph frame (af) and a pair of Edwardian silver topped cut glass rectangular dressing table jars, repousse foliate scroll and floral decoration, makers Alfred George Griffiths, Birmingham 1904

Unusual Hardwood Dressing Table with Barrel Top which folds completely back to reveal seven compartments and inset marble stands over a faux drawer and a brush slide raised on a stand with X cross-stretchers, 109cms high x 64cms wide x 65cms deep

A quantity of miscellanea including crumb tray and brush, shell belt, miscellaneous pedicure equipment, beaded cushion cover, etc.

A quantity of miscellanea to include gramophone horn, tin plate tortoise, boxes, oriental paint pallet, crumb tray and brush, novelty stoppers, etc.

A Border Fine Arts Studio "Wash and Brush up" A6128 Collie collection and Border Fine Arts "All things wise and wonderful" and "Collie pups for sale".

A silver embossed table brush and a silver clothes brush

A quantity of brass ware including a counter top bell, crumb tray and brush and a letter rack etc

Antique brassware including a chamber stick, basket, three measures, a bell, a crumb tray and a brush etc

A collection of Chinese late 19th Century Canton famille rose items, to include a bottle vase, lidded brush box and a group of three various dishes, all detailed with polychrome enamels before a celadon ground, vase height 37cm, A/F. (5)

A hallmarked silver rectangular dressing table tray with engine turned decoration within plain raised borders, length 30cm, weight 14.5oz, Birmingham 1924, with other items including a silver back hair brush, a comb and a similar hand mirror, various styles and dates. (7)

Oriental Turkish Study of Kanuni Sultan, colour print 35.5 x 25cm, Kit Nicol, Japanese garden scene, brush painting, 41.5 x 26.5cm, details verso, Middle Eastern offering scene, fabric, 29 x 18.5cm, two others. (5)

VÁCLAV ŠPÁLA 1885 - 1946: THE BEROUNKA RIVER AND HILLS 1925 Oil on canvas 54 x 73 cm Signed lower left: "V Špála 25"; numbered on back: 116.C. As PhDr. Rea Michalová, PhD explains in her expert assessment, “The painting under assessment, The Berounka River and Hills, is an original, exceedingly typical, melodic landscape painting by Václav Špála, one of the foremost exponents of the Czech avant-garde movement and a member of the Group of Fine Artists, the Tvrdošíjní (“Stubborn Ones”) art group, and Mánes Union of Fine Artists. His painting was direct and vibrant, expressing sensual urgency. … From the very outset his Fauvist inclinations set him apart from his colleagues in the Osma group, whose work was oriented more towards Expressionism.Špála’s paintings always uniquely reflected a sense of immediacy and unrestrained joy from the painting process, as well as an essential sense for order, a feeling for pure color tone, and emancipation from agonizing existential questions. Through his new interpretation of the landscape and still lifes with flowers or fruits, Václav Špála became the main exponent of Bohemian painters’ affinity for the sensual hedonism of the ‘Golden’ Twenties. In his search for a striking, immediately potent expression, Špála did not hesitate to apply the principles of Post-Cubist deformation of form and to reduce the colors to two or three contrasting tones without denying his elementary relationship to the real natural world. His 'green period' lasted from 1923 to 1926, followed by his blue period in 1927–1930, when he painted in shades of aquamarine and Prussian blue, although this color retained its heraldic significance in his work until the end of his life. Špála’s hymn to nature is exemplarily reflected in his landscape paintings, which he approached with a sense of monumentality. One such painting is The Berounka River and Hills, an enchanting specimen from Špála’s famed 'green period'that, in line with the period movements of the 1920s, marked a peak in his renewed contact with the reality of the seen world. Karel Teige aptly called Václav Špála a 'lyricist of nature … a broadcaster of the sun and life' intoxicated from the colors of joy. The most characteristic and most coherent group from this vitalist direction in terms of expression are his paintings from the area around Srbsko, a village on the Berounka River that the artist painted in 1925–1926. The painting was executed face-to-face with nature, en plein air. The Berounka River and Hills is an unusually pure and generous painting in which Špála masterfully captured the majesty of the cliffs, the smoothly flowing river, and the lush vegetation surrounding the meander under an azure summer sky. It is the fascinating visual rhythm of land, sky, and water, transformed in the natural order of the painting. (…)"In the painting under assessment, the artist achieved an entirely original modification of the principles of Fauvist painting. The style uses the compelling rhythm of aggregate forms, defined by pure color which Špála treats as an element, interacting through its intrinsic, immanent light qualities; it is not the medium of light seen in Impressionism, where objects dissolve and vaporize.In this colorful arche he intentionally leaves traces of his masterful brushwork. The precise, succinct yet curt expression with the brush is the thread connecting the deep harmony of his senses with the power of natural phenomena."The Berounka River and Hills gives beautiful voice to Špála’s distinctive creative testimony, which rests in the inimitable synthesis of 'high'avant-garde expression with the 'humble', but all the more so passionate world of Home." Provinence: originally owned by Hugo Rottenberga (1896-1944), a Jewish art and rug dealer who moved from Krakow to Prague in around 1915.

KONSTANTIN KOROVIN 1861 - 1939: PARISIAN BOULEVARD AT NIGHT 1927 Oil on canvas 54 x 65 cm Signed lower left: "Konst Korovin Paris 1927" This painting of a Parisian boulevard at night is a prestigious example from the height of the career of Konstantin Korovin, an artist considered to be the most important exponent of Russian Impressionism. He first encountered this new, modern style through his professor at the Academy in Saint Petersburg, Vasily Polenov. In 1885 he traveled to Spain and France, where he was captivated by the local Impressionists, and he fully mastered elements of their style. He exhibited with the Peredvizhniki (The Wanderers) art group andin 1909–1913 he taught at the Moscow School of Painting, Sculpture and Architecture. He made many visits to Paris, whose nightlife filled with lights and strange contrasts inspired him to create a number of canvases featuring Parisian boulevards at night. His paintings are remarkable for their vivid color, which he mastered with absolutely natural virtuosity, allowing the impasto paints to emerge from the surface of the painting with impressive precision. This painting also features accentuated bold color contrasts achieved through relaxed short strokes. The nervous impasto blows of the brush impart the effect of tense vibration to the painted surface while limiting descriptive details, solely using the painter’s skill and color as modes of expression.Korovin was also an excellent stage designer and the principal artist for the Bolshoi Theater. In his work for the theater he also strove to convey the emotional mood of the play, creating decorations and costumes in his Impressionist style. In 1900 he curated the arts section of the Russian exhibit at the Exposition Universelle in Paris. A regular traveler to France, he settled there permanently in 1923 and was decorated with the Legion of Honor for his contributions to the arts.

MILOSLAV HOLÝ 1897 - 1974: BOUQUET IN A VASE 1932 Oil on canvas 100 x 74 cm Signed lower left: "M. Holý 32". Bouquet in a Vase presents Holý’s favorite theme. He particularly focused on floral compositions in the 1920s, when his palette brightened and gained vitality under the influence of his study trips to Paris and Brittany. This bouquet is an exemplary piece from Holý’s work during the First Czechoslovak Republic, which shines with the celebration of life and democracy. The impasto flowers are executed with energetic strokes of the brush, bringing together the painter’s lifelong interest in expression and colorism.Holý studied at the Academy of Fine Arts in Prague under Jan Preisler, Vlaho Bukovac and Jakub Obrovský, and he also attended printmaking courses led by Max Švabinský. He played an important role in the Ho Ho Ko Ko Social Group, which he co-founded with Karel Holan, Pravoslav Kotík and Karel Kotrba in 1924. He exhibited extensively in Czechoslovakia and abroad (France, United States, Italy), and later became a professor at the Academy of Fine Arts in Prague. He still drew on French exmplars in the 1940s, with the open landscapes and vivid colors he saw during his study residences in France in the late 1920s. Later (from the 1950s) the colors darken, dominated by green and again a certain trend towards Neo-impressionism. Miloslav Holý’s oeuvre is represented in all major Czech galleries. He is also the author of several articles and memoirs.

NO RESERVE English School (probably late 18th century) Rest on the flight into Egypt, point of the brush, watercolour and bodycolour over black chalk on J. Whatman laid paper with watermark of fleur-de-lis and text-based countermark, image 375 x 520 mm. (14 3/4 x 20 1/2 in) on one half of folded sheet, total sheet 535 x 750 mm. (21 x 29 1/2 in), some cockling, minor surface dirt, unframed.

Marriage.- Dolce (Lodovico) Paraphrasi nella Sesta Satira di Givvenale: nellaque si ragiona delle miserie de gli huomini maritali...Lo Epithalamio di CA-Catullo nelle nozze di Peleo & di Theti, italic type, initial spaces with guide letters, stamp erased from lower corner of title, causing some thinning of paper, lower corners of C1 repaired, affecting a few letters, foxed, occasional staining, 18th century vellum, red morocco label to spine, 8vo, [Venice], [Curtio Navo & brothers], 1538.⁂ Rare first edition of one of Dolce's earliest books, which contains three works on marriage. The third work is a paraphrase of Catullus 64, his longest poem, which concerns the marriage of Peleus and Thetis. It is one of the earliest translations of Catullus into the vernacular. The first work is by Juvenal and the second an original by Dolce. In his dedication to the painter Titian the author talks about how the artist depicts the spirit and soul of his subject with brush and paint in the same excellent way that Juvenal does with his pen. Provenance: shelf-mark 'B IIII 52' to foot of title.

Glazed pottery brush pot probably Devon pottery, circa 1930, with metal rim inscribed The Encounter, The Defeat, 16cm

A silver backed clothes brush, monogrammed JEPC; together with one other; three plated Eton Fives trophy cups for 1910, 1911, and 1914; and three bottles stoppers

A lady's vanity case containing cut glass dressing table items, a silver chased and repousse clothes brush, mirror, etc

A Dark Green Leather Ladies Travelling Case, part fitted with pale green enamel backed brush, hand mirror, bottle and lidded pots.

Hallmarked Silver and Pique Work Dressing Table Items, including tidy jar and hand mirror, a hallmarked silver lid (lacking jar), brush, etc.

A Hallmarked Silver Mounted Blue Enamel Part Dressing Table Set, H Matthews, Birmingham 1926, including two lidded pots, hair brush and hand mirror; together with a similar button hook a lid (lacking bottle) etc.

Limited edition Warwickshire County Cricket Club wristwatch, maker Klaus-Kobec, together with two cups and saucers and a silver backed hair brush Condition reports are not available for this auction

AN UNUSUAL CHINESE WHITE METAL BRUSH / COMB, LENGTH 17.5CM

A COLLECTION OF MISCELLANEOUS SILVER ITEMS INCLUDING A CIGARETTE CASE comprising; a concave cigarette case engraved with script initials 'BT', London 1916; a napkin ring pierced and engraved with flowers and leaves, Birmingham 1908; a silver mounted small oval engine turned hair brush and comb, 1926; a replica 'anointing' dessert spoon, London 1936; a George III old English tea spoon, marks rubbed; a silver mounted cut glass specimen vase; a Ronson pocket lighter with an applied Indian niello panel depicting Mekala goddess of the seas; a Sheaffer pen with foliate engraved silver covers, import marks for London 1977; and a post 2000 small square pill box with a floral engraved hinged cover; 162g of weighable silver (5 ¼ oz)

A COLLECTION OF SILVER INCLUDING A PAIR OF LOZENGE-SHAPED PEPPER POTS Birmingham 1911 by J B Chatterley & Sons Ltd, 11cm high (4 ¼ in); a set of six 'apostle' end tea spoons and a tongs, Sheffield 1901; a set of six Old English shell tea spoons, London 1899, these both in fitted cases; two pairs of sugar tongs, a silver mounted clothes brush, and a silver capped square clear glass scent bottle, various dates and makers; approx. 315g of weighable silver

A GREEN HARDSTONE AND BONE HANDLED BRUSH 40cm long overall

* WILLIAM BINNIE (SCOTTISH b 1941), A VIEW TO THE RIVER TAY oil on canvas, signed 55cm x 65cm Framed. Note: William Binnie trained under James McIntosh Patrick (1907 - 1998) and A View To The River Tay is very clearly in the style of McIntosh Patrick in subject matter, composition and brush technique.

JILALI GHARBAOUI (MOROCCAN 1930 - 1971), ABSTRACT mixed media on paper, signed 65cm x 45cm Framed and under glass. Note: Jilali Gharbaoui was a sculptor and painter born in Jorf El Melh, Sidi Kacem region in Morocco. Along with Ahmed Cherkaoui, Jilali Gharbaoui is considered one of the founders of modernism in Morocco. He played a major role in furthering the debates around Moroccan modernism, and his work focuses on the gesture of painting itself. Although Gharbaoui worked with both sculpture and painting, he is best known for the striking colors and violent brush strokes of his gestural abstractions on canvas, paper, and wood. Very early works by Gharbaoui are relatively representational or focus on geometric abstraction, but later works are identified by a consistent style of loose abstract work that emphasizes the movement of the brush itself. The paintings deliberately highlight the hand of the artist and often build up texture through thick layers of paint, showcasing both the interplay of colours and lines as well as the materiality of the paint itself. He was introduced as part of the groupe des informels at the Salon Comparaison in Paris in 1959 by art critic Pierre Restany. Gharbaoui suffered from severe mental illness, and was hosted on multiple occasions by Father Denis Martin at the monastery of Toumliline in the Middle Atlas mountains. He committed suicide and his body was found on a public bench in the Champ de Mars. His body was repatriated to Morocco by André Malraux, and he is buried in Fes.

‡Cecil Beaton CBE (1904-1980)10 Costume studies for the play Quadrille by Noel Coward and an ink sketch of 3 ladies11, 3 signed, titled and inscribed with the artist~s address verso, 8 Pelham Place, London SW7 (his home from 1940-1980) 7 titled (one with a design verso) three inscribed Quadrille versoAll pen and ink with one brush and ink, all unframed3 - 43 x 36cm; 8 - 50 x 37cm (11)

KOROVIN, KONSTANTIN (1861–1939) Spring in the Village, signed and dated 1920.Oil on canvas, 66 by 88 cm.Provenance: Russian Paintings, Sotheby’s London, 10 June 2008, lot 237.Acquired at the above sale by the present owner.Private collection, UK.Authenticity of the work has been confirmed by the expert V. Petrov.Exhibited: Possibly, Konstantin Korovin, Khudozhestvennyi salon K. Mikhailovoi, Moscow, December 1921–January 1922.Literature: Possibly, exhibition catalogue, Konstantin Korovin, Moscow, 1921, No. 53, listed as Vesna.Possibly, A. Kiselev (ed.), Konstantin Korovin. K 150-letiiu so dnia rozhdeniia, St Petersburg, Zolotoi vek, 2011, p. 92, No. 53, included in the list of works from the 1921–1922 exhibition under 1920.Konstantin Korovin painted Spring in the Village during his stay at the Ushakovs’ estate, in Ostrovno village of Vyshnevolotsky district of the Tver Governorate. The picturesque landscape and the warm welcome Korovin was given by the philosopher and religious thinker Boris Vysheslavtsev and his wife Natalia (who was to become the subject of a whole series of the master’s canvasses) marked a new and very special chapter in Korovin’s artistic life.The wooden terrace depicted in the painting offered here for auction often featured in the artist’s work and served as the background for numerous landscapes and portraits. The earth, barely free of snow and drenched in sunshine, the radiant blue of the sky and the general upbeat mood evident in the painting are all a reflection of Korovin’s exuberant nature; the joie de vivre that was so much a part of him, and his love for people and for his natural surroundings. The artist’s ebullient brush and the passion with which he records views of his native landscape resonate with the lines from his memoirs: “How lovely Russia is, what music there is in her image ... where there seems to be happiness”.It is safe to assume that this work was exhibited at the artist’s solo exhibition (catalogue No. 53, Spring) in the art salon of Klavdiia Mikhailova, in Bolshaia Dmitrovka, Moscow, which ran from December 1921 until January 1922.

Snooker Table Electric Iron and Brush

A harlequin silver four piece dressing table set, with bright cut neo-classical garlands, to include hand mirror, 37cm H, clothes brush, hairbrush, etc. some items filled. (a quantity, various dates)

A late 19thC Thomason type cork screw, with bone handle, vacant space for dusting brush with metal turned end and ring top, partial coat of arms, 16cm H, when fully extended 19cm H. (AF)

A pair of bamboo brush pots with shallow relief scenes of bats at harbour and figures in a bamboo forest, height of each 38.5cm and a pair of ebony elephant bookends (4).

A metal Georgian-style fire screen with metal lattice work to the front, ornate acanthus leaves, laurel wreath decoration to the front to paw supports, 59 x 72cm and an elegant brass companion set, column support with acanthus leaf decoration top, to trefoil outswept support, holding small shovel, poker and brush (2).

A hallmarked silver dressing table set comprising four gentlemen's brushes, a ladies' hair brush and a hand-held mirror (marks rubbed) and a matching cut glass trinket pot with hallmarked silver top (7).

A George V hallmarked silver part manicure set to include tweezers, jars, brush etc, unboxed, Barker Brothers, Birmingham 1926 (6).

A silver mounted hand mirror together with a silver mounted clothes brush, a silver topped glass dressing table jar, a white meta model of a horse, a silver plated hip flask, a large two handled silver plated tray and a collection of further silver plated wares (a lot)

Three items of Chinese blue and white porcelain to include; lidded box of flowerhead form with prunus and cracked ice decoration, stamped four character Qianlong mark to base. A blue and white arrow vase decorated with ox and rider etc, Kangxi six character mark to base. A repaired blue and white cylindrical brush pot. All 19th/20th Century. (3)(B.P. 24% incl. VAT) CONDITION REPORT: Box and cover appearing good. Arrow vase appearing good, probably lacking a cover. Minor chip to top rim.Cylindrical brush pot has been heavily repaired/restored.

19th century mahogany straight front chest with four long drawers, with brush slide and on bracket feet.(B.P. 24% incl. VAT)

An Oriental jade brush washer, length 3.5"

A Chinese glazed brush pot, 2.25" diameter

Cased 2-piece dressing table brush and comb set, silver cigarette box, and a silver-mounted comb

A silver and tortoiseshell mounted 5-piece dressing table brush and mirror set