We found 51326 price guide item(s) matching your search

Silver brush set comprising hand mirror with 2 silver backed brushes and Art Nouveau silver hand mirror with brush (5).

Large Job lot jewellery and unusual items including silver & guilloche brush, Ciro pearls with 9ct clasp, 2 x Wedgwood and silver pendants / chains, silver bracelets, jade & coral pendants / charms, silver charm bracelet, bangle, brooches, rings, charms, propelling pencil, and many other silver & silver coloured metal items.

A silver and enamelled dressing table tray The scalloped tray, painted and enamelled to the central well with rose sprays, makers marks rubbed, Birmingham 1971, approx 26oz, together with three silver plated and enamelled dressing table items, to include mirror, clothes brush and hair brush. (4)

A silver three piece dressing table set Comprising silver back hand mirror, hairbrush, and clothes brush, with engine turned decoration. (3)

A mid 20th Century silver backed seven-piece dressing table set Comprising two silver topped glass perfume bottles, clothes brush, comb, hand mirror, hairbrush, silver topped glass powder puff, stamped T.P, London, 1949. (7)

An early 20th Century gentleman's faux tortoiseshell travelling brush setTo include hand held mirror, two clothes brushes and two hair brushes with initials AJ inlaid to the backs,inset within leather travel case.

A quantity of silver and plated waresTo include a silver backed and yellowed enamelled five piece dressing table brush set, together with a quantity of table wares to include spoons, hot water jugs, pedestal bowls, cased set of fish knives and forks, ladles, etc.

A Chinese blue and white porcelain brush washer, probably 18th century Of squat form, the milky white ground, detailed in blue enamels, depicting fishermen on bridge before mountainous landscape, four-character mark to base, 5.5cm high. CONDITION REPORT: Scuffing and wear to footrim. Fritting to well. Small chip to upper rim, less than 0.5cm in size.

A perspex tray, crumb tray and brush.

A wooden brush pot possibly made from bamboo with oriental carvings, 23 cms tall

Corgi Toys 109 Pennyburn workmen's trailer, with brush and tools inside the blue trailer, boxed

Perfume and aftershave to include Christian Dior Hypnotic Poison, Comores, James Bond 007 Ocean Royale, Echoes L'arome, Marjolaine Jean Couturier (unopened) Sunset Boulevard, Cerruti Image Woman (unopened) Rumeur Lanvin (unopened) etc a dressing table brush set and glass scent bottles and dressing table jars

J B C Grundy: 'The Second Brush Up Your German'.

A mixed lot, to include: a silver backed brush; a letter knife; and a cast brass mask door knocker.

JAPANESE WOODEN BOX WITH SAMURAI WARRIORalong with Chinese brush washer

A pair of silver serviette rings, brush plus other items

A box of Chinese and other ceramics including brush pot etc

Pink enamelled hand mirror & brush Birm 1924

*Riding Crops. A collection of Edwardian riding crops, including Swaine & Adeney plus a taxidermic fox head and brush (8)

Joseph Crawhall, RSW (British, 1861-1913) Girl with a plait and a boy charcoal 18 x 18cm (7 x 7in) Provenance: From the Figure Drawing Collection of K A T Davey, CB Born in 1861 in Morpeth, England, Joseph Crawhall worked largely in Scotland, except for the period 1884-93 when he frequently travelled to Morocco and Spain. He became closely associated with the Glasgow Boys in the 1880s and 1890s; and is traditionally grouped with these artists who emphasised the importance of light, colour and composition over minute finish and anecdotal subject matter fashionable at the time. He studied at King's College, London, before training under the French painter and sculptor, Aimé Nicolas Morot, in Paris in 1882. He specialised in painting animals - birds in particular - and is known for his inventive use and mastery of the watercolour medium. He excelled at capturing both appearance and character of his subject with such economy of line that Sir John Lavery once commented that no other artist "could say more with fewer brush strokes." Girl with a plait - a little discolouration to the background. No. 39.

Giovanni Francesco Barbieri il Guercino (Italian, 1591-1666) Portrait of an Italian Cane Corso seated within a stone window opening, a mountainous landscape beyond oil on canvas 55.50 x 76.20 cmProvenance: Acquired by the vendor's great great grandfather in Rome in 1850; and thence by family descentOther Notes: This previously unrecorded painting is an exceptionally rare example of Guercino’s paintings of an individual animal and survives in excellent condition.In a valuation of the picture from the last century, it was given a generic attribution to Guercino. Guercino’s authorship was recently proposed by John Somerville and subsequently fully endorsed by Nicholas Turner on first-hand inspection of the painting, both before and after its recent cleaning by the Hamilton Kerr Institute (report available and also online). The attribution to Guercino has also been endorsed by Francesco Petrucci who has described it as “un vero capolavoro, molto impressionante, di grande potere inventivo e di qualità pittorica, incontestabilmente del Guercino, come giustamente riconosciuto da Nicholas Turner”.The style points to a date towards the beginning of the painter’s transitional period (circa 1625-1630) when his work began to show an increasingly classical influence, following his return to Cento in 1623 after a short stay in Rome (1621-1623).Though the painter included dogs in portraits and other compositions, Guercino’s only surviving animal painting hitherto was his famous portrait of the Aldrovandi Dog (Fig. 1) in the Norton Simon Museum, Pasadena, California, which is generally dated circa 1625.The present picture was probably executed at about the same time. Neither painting is recorded in Guercino’s Account Book (which was only started in January 1629).The robust physique and head of the dog has indicated to both the Kennel Club of Great Britain and its Italian counterpart, the Ente Nazionale della Cinofilia Italiana, that this dog is a Cane Corso, the progenitor of the present day Italian Mastiff. This was, and still is, a breed traditionally used as guard dogs and for hunting. The Italian name, Cane Corso, derives from the Italian word corso meaning ‘street’ or ‘way’. The ancient forebear of the Cane Corso was praised by the Romans for its courage, nobility and strength. When the Romans invaded Britain they found a mastiff-type dog already here and were so impressed, they took some back to fight in the Roman arenas. Over the centuries and certainly since Guercino’s own time, the breed has been bred - both in Italy and elsewhere - to have much longer legs and an even larger head. Today its overall greater size is reflected in its name ‘Mastiff’, rather than that of Cane Corso. In this painting, the dog is silhouetted against the sky and seems to be watching over a walled patch of ground, with flat open country beyond. Its owner must have held it in some affection, presumably commissioning Guercino to paint this dramatic close-up likeness of it. The animal’s body fills the foreground space and further emphasis is given to its commanding physical presence by the breath-taking description of the subtly changing colour and texture of its coat, its glistening eyes and the heavy jaws from which lolls its slightly moist, pink tongue.In the great Norton Simon picture, the dog is a brindle mastiff and though the Aldrovandi family coat-of-arms decorates its large collar, we do not, as here, know the animal’s name. The sweeping landscape in the Aldrovandi painting, against which the dog stands so majestically, competes with it for the viewer’s attention. To the right, the flat countryside may represent the Aldrovandi’s estates of Castello della Giovannina outside Cento, the distant tower perhaps that of the old castle. Guercino may have painted the Aldrovandi Dog as a gift for his friend and patron, Conte Filippo Aldrovandi, to whom he was much indebted. Whatever the circumstances, the Aldrovandi Dog is, in effect, two paintings - a portrait of a dog belonging to Guercino’s friend and a landscape that may allude to one of his estates.The combination of the two seems exceptional and had the picture been painted for one of Guercino’s regular clients (and after he began an account book in 1629), we can speculate that probably he would have been charged a double-price - for the animal and the landscape.The present painting, however, is a portrait of a dog without ‘extras’ and does not belong to the same category as the more deluxe Aldrovandi Dog in Guercino’s product range. The canvas is smaller and there is no extensive landscape background - only a glimpse of a distant countryside with trees and hills appearing between the animal’s left foreleg and the line of the wall to the right, giving a sense of context to the animal. Both pictures, however, share the life-like treatment of the dog, seen from a low viewpoint against a sinking horizon.The brushwork of the dog in the present picture is rapid, intuitive and brilliant. An idea of how the painter freely improvised the handling of the dog’s honey-coloured coat may be observed in the zig-zagging line running parallel to the lowest of the rolls of flesh at the creature’s neck - indicated with the pointed wooden end of the brush in the wet paint. The brio with which the dog is painted, with a heavily laden brush, contrasts in texture to the smooth, thinly-painted compositional framework - such as the parapet on which the dog sits and the wall to either side. These neutral areas serve as a foil to the picture’s dominating central motif. Contrasting thickly-painted key figures in a composition with thinly-painted backgrounds is a consistent feature of Guercino’s working method.Midway between these two types of paint application is the fluffy white cloud that billows out from behind the dog in the Cheffins picture. The cloud bridges foreground and background space. At the base of the cloud - where it is seen against the animal’s body and the wall - the white paint is thickly applied and creates a strong contrast with these two areas. The white paint also hides rejected trials for the contour of the animal’s back and rump. As the cloud ascends in the sky, it becomes wispy and the paint texture lightens as the form mingles with the adjacent open sky. The spontaneous brushwork with which this floating mass of moisture is represented is an extraordinary performance, showing Guercino’s handling at its very best and at the same time it plays a practical role in holding compositional space together.In the Aldrovandi Dog and the Cheffins Cane Corso, Guercino painted the soft fur of the different dogs with wonderful command of his means, as well as summarising with great understanding their physical traits. In the present picture, the impasto in the painting of the dog is set against a mostly neutral background. Yet the personality of each animal is strikingly different; the Cheffins dog has an alert but biddable and affectionate countenance, so well understood by the artist. The Norton Simon dog is depicted as if akin to his owner’s social status, a great, grand and elegant hunting hound.Dottore Francesco Petrucci has requested the loan of the painting for his forthcoming exhibition, ‘Cani in Posa’, to be held at La Veneria Reale, Turin, from 18 October 2018 to 29 January 2019.We are grateful to Dr Nicholas Turner for his help in compiling this catalogue entry.Fig. 1 Giovanni Francesco Barbieri, il Guercino - Aldrovandi Dog - oil on canvas - © The Norton Simon Foundation, California, USA Condition report: Hamilton Kerr report and high resolution images available on request

Plated Ware and Objects - an EPNS toast rack; plated spoons; a barometer and brush set; a set of six low grade silver novelty cake forks; etc

A 19thC Japanese carved bone okimono figure, of an artist with his brush and overhanging stomach painted with a face, 9.5cm high.

Various corkscrews, to include a brush top wooden example 12cm high, others, brass, etc. and a sporran type leather pouch. (a quantity)

Various copper and brassware, to include a peacock articulated firescreen 59cm high, kettle, part spirit kettle, chestnut roaster, copper crumb scoop and brush, etc. (a quantity)

RACK AND PINION CORKSCREW, TURNED WOODEN HANDLE, BRUSH

19th CENTURY IRON CORKSCREW WITH TURNED WOODEN HANDLE AND BRUSH

A CHINESE CARVED BAMBOO BRUSH POT, 20TH C with a seated man and another figure at a table beneath a venerable pine, 11cm h++Good condition

A CARVED BAMBOO BRUSH WASHER, 19/20TH C in the form of a man hand standing on a toad, 19cm h++Dusty, good condition, not cracked or chipped

ATTRIBUTED TO GIOVANNI BENEDETTO CASTIGLIONE, IL GRECHETTO (1609-1664) SHEPHERDS AND CATTLE FORDING A STREAM brush and brown and blue wash watermark, a fleur de lys within a double circle, 19.4 x 30cm, unframedProvenance: unidentified collector's stamp, anon sale, Christie's, 11 December 1990, lot 37 (9,350) as Giovanni Benedetto Castiglione.Comparative Literature: Blunt (A) The Drawings of G B Castiglione & Stafano della Bella, 1954, p 120, plt 9, a similar composition of circa 1640, - in the Royal Collection.++Old black lined, taped frame - mount; old flattened creases

CORKSCREW. AN ENGLISH WIDE BACK KING'S SCREW, EARLY 19TH C the barrel turned with reeded bands, two turned bone handles, bristle brush, wire helix, 19cm ++A very good example, the bone handles not cracked or chipped, attractively yellowed with age, the barrel with minor dents and scratches, the helix with sharp point

Two mid 18th century silver Hanoverian pattern spoons, together with a cased silver backed brush and comb, a silver mounted cigarette box, a silver bon bon dish and glassware

A white metal mounted horn snuff box, together with a metal model of a sacrificial ox, a silver mounted brush and mirror, a white metal necklace, a plated hip flask etc

A late Victorian silver backed hand mirror and matching brush, decorated with profuse foliate scrolls and monogram cartouche, Birmingham 1900/1901; two similar brushes; various nominal silver items; white metal foliate embossed hat pin stand; Eastern white metal egg cup; various teaspoons, butter knife etc.

A hallmarked silver mounted four piece dressing table set comprising hand mirror, two brushes and a comb, further silver mounted hand brush, a silver mounted ebony dressing table pot, a hallmarked silver buckle, a white metal multi tool, scent bottle etc

A hallmarked silver mounted hand mirror and similar brush, four piece silver plated dressing table set, dolls or child's dressing table brushes and a comb mount

A mixed lot to include a silver backed brush, buttonhook and shoehorn, perfume flasks, LFC paperweight, ephemera etc.

Silver lady's vanity mirror together with similar silver brush. (2)(B.P. 24% incl. VAT)

2 carved Eastern bamboo brush pots.

A cased set of 6 silver teaspoons, an embossed silver backed dressing table brush, mother of pearl and silver book mark and corkscrew.

A hammered silver 3-piece dressing table brush and mirror set, 2 silver napkin rings and a silver topped rouge pot.

A BOX OF MISCELLANEOUS, to include silver picture frame, hair brush, spoon, etc

FOUR PIECE MATCHING SILVER AND TORTOISE BRUSH SET, Birmingham 1925

A SIX PIECE CASED SILVER BRUSH SET, c1928

A FOUR PIECE SILVER BRUSH SET

AN EARLY 20TH CENTURY SILVER THREE PIECE DRESSING TABLE OF HAND MIRROR, hair brush and clothes brush, Birmingham 1924/25

LADY'S SILVER DRESSING TABLE SET OF THREE PIECES, viz a hand mirror with engraved border and monogrammed, a hair brush and a clothes brush, Birmingham 1924 (3)

VICTORIAN CRUMB BRUSH with silver domed circular top and loop handle repousse with rococo flowers and scrolls and a SILVER MOUNTED HAIR COMB repousse with fruiting vines, Birmingham 1895 and 1911 respectively (2)

CASES SIX PIECE EDWARD VIII SILVER MOUNTED GUILLOCHE ENAMELLED HAND MIRROR AND BRUSH SET, decorated with floral sprays of small white flowers on radiating mother of pearl enamel, Birmingham 1936, in a gilt lined morocco case, enamel on comb and one brush a/f

STEEL BUTTON HOOK AND MATCHING SHOE HORN with silver scroll handles, silver back hair brush (very worn) ornate EPNS ditto and three other items all with faults (7)

PAIR VICTORIAN GLOVE STRETCHERS AND MATCHING STEEL BUTTON HOOK AND SHOE HORN with unmarked probably silver embossed handles and an EDWARDIAN HEAVILY EMBOSSED SILVER BACKED HAIR BRUSH, Birmingham 1902 (as found) (4)

GEO V SILVER AND TORTOISE SHELL PIGUET WORK DRESSING TABLE SET OF THREE PIECES with shield hand mirror, brush and clothes brush in Adam style decoration, the pendants incorporating musical trophy, Sheffield 1904, TWO SIMILAR PIECES viz brush and lidded toilet jar and A PLAIN BACKED HAIR BRUSH, six pieces in total (6)

EDWARDIAN SILVER DRESSING TABLE set of six pieces with engine turned decoration and circular reserve with initials MWP viz mirror, brush, clothes brush, comb, button hook and shoe horn, London 1911

An early twentieth century six piece silver backed dressing table brush set, cased. CONDITION REPORT: Birmingham mark, dates vary but a match in every way.

A LEATHER TOP HAT BOX, the interior pink satin lining with 'Army, Navy Cooperative Society' label, the lid initialled 'H.W.D.' including a top hat stamped 'Herbert Johnson, New Bond Street, London', a bowler hat, a hat brush and a silk scarf (4)

Edwardian glass claret jug, tapering body, silver plated mounts, 20cm, together with a silver backed hand mirror brush and plated cruet and cream jug.

Six teaspoons in a fitted case; other silver teaspoons; tongs; silver mounted accessories; set of six silver-plated fish knives and forks, cased; silver-plated fish servers, cased; two silver-plated bottle coasters; silver-plate mounted hand brush and mirror; silver-plated tray; silver-plated sugar bowl.

Quantity of artist's oil paints, brushes, pastels, etc, a Crimson & Blake oriental brush set in presentation case x 4, Louis F Day "Alphabets Old and New...", Batsford, 3rd edition, oriental paper books and a quantity of assorted ceramics and collectables (2 boxes)

A Chinese blue & white porcelain brush pot with dragon decoration, c1900.

Georgian gentleman's travelling shaving case retailed by Bayley & Blew 5 Cockspur Street, London with silver shaving brush & pots (with dates 1814 to 1820) & glass ointment bottles (3 with silver plate numbered tops) (Condition AF)