We found 110041 price guide item(s) matching your search
There are 110041 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
110041 item(s)/page
Lot 336
An Edwardian silver mounted three-piece dressing table set, decorated in relief with crowned maiden bust portraits, irises and scrolling leaves, comprising a hand mirror (lacking mirrored glass) and two hairbrushes, Chester 1902, 1903 and 1906 by William Neale, together with a group of other silver mounted dressing table items.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 544
An early 19th century gold mounted honey coloured agate fob seal, engraved with a profile bust portrait of a classical maiden, weight 7g, height 2.7cm.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 788
A gold mounted sardonyx brooch of circular form, carved with a profile head and shoulders bust portrait of a lady within a beaded and half pearl border, weight 8.7g, diameter 3.5cm.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 34
Manner of Jean Baptiste-Greuze (French, 1725-1805), portrait of a girl, bust length, in a cream dress. 47cm x 39cm unframed; another English School, late 19th century, portrait of a young girl, bust length in a green dress and white shirt, oil on canvas 46cm H x 46cm; small portrait of an infant, full length, in a white bonnet. 30cm x 23cm (3)
Lot 33
English School, 19th century, portrait of a young gentleman, half length, in a black coat in a striped waistcoat, oil on metal with gilt boarder 45cm x 36cm unframed; another, after Gainsborough portrait of a gentleman, bust length, in a black coat, oil on canvas board 48cm x 30cm unframed (2)
Lot 254
Anglo-Saxon - Æthelred II 'the Unready' King of the English 978-1013, silver penny minted London circa 980Obverse: Diademed and draped bust facing right with surviving Latin legend reading '+ Æ*LRED RE' (A hole has been made on the legend at the *)Reverse: Depicting the 'Hand of providence' flanked by Alpha and Omega. A section of the outer ring has been cut off
Lot 940
Various items of gentlemen's costume jewellery to include Wedgwood black basalt cufflinks with bust of a gentleman, a pair of gilt musical themed cufflinks, a pair of Masonic cufflinks, a gold plated Elgin full hunter pocket watch, the white dial set with Roman numerals and lower subsidiary seconds dial (missing glass), in presentation case, a gentlemen's gold plated fashion watch, the white dial set with Roman numerals, date window at 6 o'clock, with a brushed gold-coloured bracelet watch and a 1914-18 silver medal awarded to GNR F. Farnworth RA 161206.
Lot 111
A group of royal and commemorative paperweights, comprising a millefiori Crown Caithness paperweight limited edition number 3/200, two paperweights depicting King Edward VII & Queen Alexandra, a Caithness Crown Prestige limited edition 19/100, a Victorian sulphide paperweight, bust portrait of the young Queen, and a Caithness 80th birthday of HM Queen Elizabeth The Queen Mother cameo glass paperweight, limited edition 220/500. (6)
Lot 35
Spanish School of XVII century "Portrait of Admiral Christopher Columbus". Oil on canvas, glued to cardboard. Frame of the XVIII century. Measurements: 58 x 48 cm; 69 x 59 cm (frame). Portrait of gentleman of long bust, of great sobriety, with a neutral background plunged in the half-light on which the face stands out, directly illuminated by a warm light, that molds the soft features of the young face. The portrait is accompanied by a Latin caption at the top: "COLOMBVS LICVR NOVI ORBIS REPTOR". In the 16th century the birth of the modern portrait took place; the genre became autonomous in Spain during the reign of the Catholic Monarchs, through Italian and Flemish influence, but it was under the governments of Charles V and Philip II when the modern court portrait was established. A portrait based on formal austerity and the symbolic weight of objects, attire and expressions, which should reflect the nobility, status and importance of the sitter, was then developed. In the formative years of court portraiture, Titian and Antonio Moro were of special importance. The latter, Flemish by origin, contributed the meticulous execution and attention to detail, as well as the effective lighting, which enhances the physical presence of the character. Titian contributed not only a modern style of Venetian origin, but also a new iconography of power. Already with Philip II, this work of construction of the genre and, with it, of the official image of the ruler, will remain in the hands of Alonso Sanchez Coello and Juan Pantoja de la Cruz, his disciple.
Lot 20
Spanish school; second half of the 19th century."Saint in prayer".Oil on canvas.Presents restorations and has a period frame.Measurements: 64 x 51 cm; 80 x 67 cm (frame).Devotional canvas that presents the bust of a saint holding the crucifix with the figure of Christ. The woman approaches her face to the figure of Jesus, with her mouth half open and tears in her eyes, a sign of her great devotion, and even a kind of mystical ecstasy. It is a composition that avoids excessive frontality, using the position of the figure to introduce three-dimensionality in the space, which otherwise remains undefined, only a neutral background on which the figure of the saint stands out. It is a clearly baroque image, framed within classicism, starring a static and monumental figure, whose dignity is enhanced by the monolithic character of her clothes, although her face and hands are delicate, elegant and well drawn.The clarity of the representation, as well as the large size of the figures, the easy identification of the subject represented and the absence of anecdotal elements that distract the viewer are elements introduced in art in the rules imposed by the Council of Trent (1545-1563) to defend the beliefs of Roman Catholicism against the attacks of Protestantism. The notoriety achieved by saints and figures previously less common is due to the criticism of the abundance of saints and their relics that Luther's ideas and their defense unleashed in Europe. For this reason, whenever the institutional solidity of the church was threatened, this type of devotional images with protagonists close to the people and the faithful proliferated.
Lot 51
English school of the XVI century. Circle of ROBERT PEAKE (1551-1619).Portrait of a lady.Oil on panel.Measurements: 39 x 29 cm; 65 x 55 cm (frame).Robert Peake, called "the old man" was an important English painter active throughout the end of the reign of Elizabeth I and the first years of the reign of his successor, James I. He trained with the painter Laurence Woodham, beginning in 1565, and with the miniaturist Nicholas Hilliard a few years later. It seems that by the late 1580s he was well established in London, and had a large clientele composed of the upper class and the court. He enjoyed royal favor and devoted himself to the creation of works for Prince Henry Stuart and for King James I, eventually obtaining the position of royal painter, which he shared with John De Critz. In fact, Peake worked in collaboration with De Critz and with another painter, Marcus Gheeraerts the Younger, and with the miniaturist Isaac Oliver, so that sometimes the final authorship of the works attributed to this circle is controversial.The portrait of shows a style, both in terms of composition and pictorial workmanship, closely linked to that of Robert Peake. The woman is depicted bust-length, looking directly at the viewer but with her face slightly tilted. She is dressed in black, although her face is haloed by a splendid white lace ruff characteristic of the Elizabethan period. The red-haired hair, pulled back and covered by a hood richly adorned with pearls, underlines the oval of a heart-shaped face. The attitude is serene, somewhat blasé, as befits. The Virgin Queen, Gloriana or Good Queen Bess (Greenwich, 1533 - Richmond, 1603) was queen of England and Ireland from 1558 until her death. Elizabeth was the fifth and last monarch of the Tudor Dynasty. Daughter of Henry VIII, she was born a princess, but her mother, Anne Boleyn, was executed when she was three years old, so Elizabeth was declared an illegitimate child. However, after the death of her siblings Edward VI and Mary I, Elizabeth assumed the throne. One of the first measurements she took was to establish a Protestant church independent of Rome, which would later evolve into the present Church of England, of which she became the highest authority. Elizabeth was expected to marry, but despite several requests from Parliament, she never did. As Elizabeth grew older, her virginity made her famous and a cult grew up around her, celebrated in portraits, pageants and literature of the time. The queen took charge of a country divided over religious issues in the second half of the 16th century. During her reign, England enjoyed great cultural splendor, with figures such as William Shakespeare and Christopher Marlowe; also important figures such as Francis Drake and John Hawkins. He maintained frosty relations with Philip II, with whom he waged a war that ruined both countries economically. His 44-year reign was the fifth longest in English history, behind those of Elizabeth II, Victoria I, George III and Edward III.
Lot 7
A Victorian W.H. Goss parian porcelain bust of a lady, 27cm, in fine veil with floral hair dress, on socle base minor chips to the floral splay in her hair, very minor knocks to the edges of the bust on either sie just below the shoulders, slightly loose from the base, light surface scratches, otherwise generally good condition, no obvious signs of significant damage or repair
Lot 36
Ø A 19TH CENTURY AMERICAN SAILORWORK WHALEBONE WALKING STICK the whalebone tapering shaft with spiral and crosshatch carving to scrimshaw decorated walrus tusk handle monogrammed WO and 1866 LDN, the top with bust-length portrait inscribed Liberty, the sides with eagle’s head profile -- 35in. (89cm.) long
Lot 244
ARCTIC DISCOVERIES MEDAL, 1818-55 octagonal silver medal, bust of Queen Victoria left, rev. sledging party with ship beyond, with ‘Pole Star’ suspension as issued (In Memoriam, Sir W.E. Parry, Arctic Expeditions, 1818-1823), engraved in plain capitals, a curious and interesting pieceFootnote: 1,486 of these medals were awarded for the various Arctic voyages of exploration from 1818 to 1855, including many to men involved in the ongoing search for the ill-fated Franklin Expedition of 1845-48. Issued unnamed, these medals were sometimes named by their recipients although the inscription on the medal offered here is enigmatic, to say the least. A named medal to Sir William Parry, one of the earliest and most well-known Arctic explorers, is known to exist and the medal in this catalogue may have been engraved as a posthumous tribute to Parry who died in 1855, the year it was issued.
Lot 189
A FINE ‘BUGBEAR’ COCONUT CARVED SHELL POSSIBLY COMMEMORATING THE LOUISIANA PURCHASE OF 1803 carved in relief with bust-length portraits of Napoleon and a native American with feathered headdress, and a warrior on horseback, black glass ‘eyes’ and stoppered ‘mouth’ flanked with lugs for securing chains – 6in. (15cm.) high
Lot 534
19TH AND 20TH CENTURY DECORATIVE CERAMICS to include two Staffordshire flatback figure groups, two reproduction Staffordshire figure groups, Capodimonte knife sharpener sculpture, German bust of Junot, Wade Mama Bear, Beswick Beatrix Potter's Aunt Pettitoes, Wedgwood Raffery Dormouse, Royal Doulton 'Top O'Hill' HN1849 and 'The Kiss Girl' HN4065 etc
Loading...-
110041 item(s)/page