An interesting Georgian naval officer’s hanger of the Nile Club, curved blade 18½” etched with flowers, wreaths and helmeted bust holding a curved dagger within medallion, and retaining traces of blued and gilt finish, the copper gilt hilt having crocodile on the pierced guard, which has recurved finials, chequered ivory grip, chain knuckle guard. In its leather sheath with brass mounts retaining traces of gilt. Generally Good Condition, (some wear to blade and sheath). Plate. £400-500
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NELSON CENTENARY. Various souvenir fobs etc., for the Nelson Centenary 1905. Also, an 1862 Shipwrecked Mariners Society souvenir, showing a bust of Nelson etc. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase
HMS ASSOCIATION WRECK COIN. Silver William III shilling, 3rd bust, dated 1698 with a certificate of origin by Roland Morris stating that it was salvaged from the wreck of H.M.S. Association wrecked in 1707 on the Western Rocks off the Isles of Scilly. Ex-Roland Morris collection. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase
BARTOLOZZI, Francesco.- [Album de gravuras].- S.l.: s.n., s.d. [ca. 1760-1790].- [57] gravuras; 54 cm.- E., Large volume comprising 57 engravings mounted on 48 sheets, of which at least 43 are by Francesco Bartolozzi, both as an original artist and as an engraver, two as a supervisor (nine prints do not have an engraver subscription ). Bartolozzi (1725-1815) was born in Florence, but it was in London that he became known, having developed the technique of stitching at the highest level. In 1802, at the invitation of D. Rodrigo de Sousa Coutinho, he settled in Portugal where he directed an engraving class. The list of engravings, with titles, themes and (simplified) subscriptions is as follows: 1 - [Female figure reading]. Barbierin inv. — Bartolozzi scu.; 2 - [Angel]. Guercino inv. — Vitalda sculp.; 3 - [Male figure near source]. Guercino inv. — Bartolozzi sculp.; 4 - [Group of four people and a child]. Guercino inv. — AG fecit 1760; 5 - [Two femaçle figures]. Guercino del. — s.n.; 6 - [The Virgin and seven female figures]. S.n. — s.n.; 7 - [female figure with hat]. S.n. — s.n.; 8 - [Female figure to read]. S.n. — s.n.; 9 - [Male figure and child]. Guercino inv. — Bartolozzi sculp.; 10 - S. Nilus. Zampieri pinx. N. Vanni del. — Bartolozzi sc.; 11 - Magnus Basilus. Zampieri pinx. — Bartolozzi sc.; 12 - S. Gregorius Nazianzenus. Nicolas Vanni del. — Bartolozzi sc.; 13 - S. Athanasius. Zampieri pinx. — Bartolozzi sc.; 14 - S. Gregorius Nyssenus. Zampieri pinx. N. Vanni del. — Bartolozzi sc.; 15 - S. Cyrillus. Zampieri pinx. N. Vanni del. — Bartolozzi sc.; 16 - S. Nicolaus. Zampieri pinx. N. Vanni del. — Bartolozzi sc.; 17 - S. Io. Damascenus. Zampieri pinx. N. Vanni del. — Bartolozzi sc.; 18 e 19 - [two greek friezes]. Cipriani inv. — Bartolozzi inc.; 20 e 21 - [Dois frisos gregos]. Cipriani inv. — Bartolozzi inc. 22 - [Figura de Bispo]. Guercino inv. — Bartolozzi sculp.; 23 - A Sacrifice to Diana. P. de Cortona auqf. — Bartolozzi sculp.; 24 e 25 - [two engravings]. Bartolozzi del. et sculp.; Cipriani inv. — Bartolozzi sculp.; 26 - [Appearance of Jesus to a group of three apostles?]. Domenichino inv. — Bartolozzi sculp. In Londra 1765; 27 - [Sleeping boy]. Bartolozzi del. et sculp.; 28 - [Our Lady of the Rosary with the Child Jesus]. Guercino inv. — Bartolozzi sculp.; 29 - The Judggment of Solomon. Paolos Galiery inv. — Bartolozzi sculp.; 30 - Th Infant Toilet. Bartolozzi inv. et sculp.; 31 - [Four putti [Bacchus?)]. Guercino inv. — Bartolozzi sculp.; 32 - [Female figure (Spring?) and four putti]. S.n. — s.n.; 33 - [Chilkd Jesus]. S.n. — s.n. 34, 35 e 36 - [Judgment of Paris]. Cipriani inv. — Bartolozzi inc.; Bacchanals. Lady Diana Beauclerk — Engr. by Bartolozzi; Virtue directed by Prudence to Honour. Cipriani del. — Bartolozzi sculp.; 37 - [Murder (group of four men)]. Guercino inv. — Bartolozzi sculp.; 38 - [Man in armour]. S.n. — s.n.; 39 - [Sacrifice of a sheep [Abraham?)]. Guercino invent. — Bartolozzi sculp.; 40 - [Virgin Mary with the Child Jesus and an angel playing the violin]. Guercino inv. — Bartolozzi sculp.; 41 - [Boy (Moses?) and three female figures]. Guercino invent. — Bartolozzi sculp. In Londra 1764; 42 - [Two troubadours]. S.n. — s.n.; 43 - [Three female figures, one painting]. Guercino inv. — Bartolozzi sculp.; 44 - [Bust of youngster]. S.n. — s.n.; 45 e 46 - Sculpture. Guercino inv. — Bartolozzi sculp.; History. Guercino inv. — Bartolozzi sculp.; 47 e 48 - [Two female figures (Diana?)]. A. Kaufman pinx. — Bartolozzi sculp.; Love and Fortune. Drawn by Cipriano — Engraved by Bartolozzi; 49 e 50 - [Three female figures, one on the throne]. W. Hamilton — Bartolozzi Etchd; A Sacrifice to Cupid. Cipriani inv. — Bartolozzi sculp.; 51 e 52 - The Three Fine Arts. A. Kaufman inv. — Bartolozzi sculp.; Earth. Cipriani inv. — Bartolozzi sculp.; 53 - La Panserosa. A. Kaufman del. —B. Pastorini sculp. Bartolozzi direct.; 54 - L’Allegra.. A. Kaufman del. —B. Pastorini sculp. Bartolozzi direct. 55 - The Birth of Shakespeare. A. Kaufman pinx. — Bartolozzi sculp. 1782; 56 - [Circumcision in the Temple (trimmed proof). Drawn and engraved by Bartolozzi; 57 - [Jesus at the Temple?(Trimmed proof)]. Drawn by Hussey — Bartolozzi sculp.. Some etchings were published from originals by great masters, by Bartolozzi himself, namely by Guercino (15 prints) and Domenico Zampieri (7 prints). Other artists were students and/or worked with Bartolozzi, such as Angelica Kaufman, William Hamilton or Cipriani. All plates will have been engraved before the engraver's arrival in Portugal. Smaller plates are mounted (glued) on heavyweight sheets of paper, generally clean and with good margins. Label with handwritten ownership on the back: "Este livro é de Maria Christina Maldonado Passanha, Belém, 28/6/1863". Set gathered in a volume covered with a contemporary full red sheepskin binding, a little worn and disjointed, with ornamental borders and the coat of arms of Portugal (poorly printed and with faults) in the centre of both; a loose and damaged flyleaf.
LA GUERINIÈRE, François Robichon de.- Ecole de cavalerie, contenant la connoissance, l'instruction, et la conservation du cheval.- A Paris: Jacques Collombat, 1733.- [8], 276, [8] p.: 1 portada gravada, il.; 44 cm.- E., First folio edition of a monument to equestrian art, unanimously regarded as one of the most beautiful French editions of the 18th century (the first two, with a small in-16th format, were published between 1729 and 1731, this being the third). The edition is illustrated with an engraved frontispiece representing the education of Achilles, with the bust of Louis XV in a medallion, 24 icopperplate prints and three large allusive vignettes (140x235 mm), one at the beginning of each of the three parts of the work. , opened on copper plate by the best engravers of the time (Cars, Aveline, Cocart, Audran, Lebas, Beauvais et Desplaces), according to originals by Charles Parrocel and Antoine Coquart. François Robichon de la Guérinière (1688-1751), recognized as the founder of the French equitation school, began his activity as a squire to the Count d'Armagnac who, in 1715, commissioned him to found an equestrian academy in Paris. From 1730 until his death, with his brother Pierre as a partner, he directed the Académie des Tuilleries, having as patron Prince Charles of Lorraine, chief squire to King Louis XV. We can consider the set of 24 prints in five groups. I - Double prints: 1 - Le nom et la situation des parties extérieures du cheval (at the beginning of the text); 2 - The course des têtes et de la bague (p. 166); 3 - Maladies du cheval (p. 184); II - Technical prints (A. Coquart — Border): 4 - La bride (p. 32); 5 - Les différentes especes de fers (p. 40); 6 - La selle (p. 48); III - Teaching Schemes (printed next to the text, full page): 7 - Plan d'une académie régulière (p. 58); 8 - Plan de terre de l'épaule en dedans (p. 106); 9 - Plan de terre de la croupe au mur (p. 111); 10 - Le doubler (p. 122); 11 - Plan de terre des changements by main (p. 123); 12 - Les voltas" (p. 130); 13 - Demi-voltes, passades et pirouettes (p. 135); IV - Prints by Parrocel et Audran (allures): 14 and 15 - Les allures naturelles" (p. 74 et 74 bis); 16 and 17 - Les allures artificielles (p. 78 et 81); 18 - Le squelette du cheval" (p. 172); V - Figures of knights (originals by Parrocel): 19 - L'épaule en dedans (p. 104); 20 - Le marquis de Beauvilliers (p. 109); 21 - Monsieur de Kraut (p. 114); 22 - Mr. le Comte de St Aignan (p. 117); 23 - M. le Marquis de La Ferté (p. 125); 24 - SAS Charles prince of Nassau" (p. .143). Copy slightly handled, with occasional minor stains, but complete and solid, generally clean, with all prints well placed. Old handwaritten ownership on title page: "ex libris" G. Ducros, med. Stamp [22] (p. 177) added from another copy (shorter). Full sheepskin contemporary binding, a little worn, keeping the original endpapersin marbled paper. Cohen, 588. Graesse, IV, p. 79. Brunet, III, 769. Mennessier de La Lance (Bibliographie hippique), II, p. 27
1723 SIXPENCE SILVER COIN GEORGE IOBVERSELAUREATE AND DRAPED BUST OF KING GEORGE I RIGHT, LEGEND AROUND.LETTERING: GEORGIVS·D·G·M·BR·FR·ET·HIB·REX·F·D· TRANSLATION: GEORGE BY THE GRACE OF GOD KING OF GREAT BRITAIN FRANCE AND IRELAND DEFENDER OF THE FAITH ENGRAVER: JOHN CROKER REVERSECROWNED CRUCIFORM SHIELDS AROUND CENTRAL GARTER STAR, DIVIDED DATE ABOVE, LEGEND AROUND.LETTERING: BRVN ET·L·DUX S·R·I·A TH ET·EL·17 23·C SS C SS TRANSLATION: DUKE OF BRUNSWICK AND LUENEBURG, ARCH TREASURER AND PRINCE ELECTOR OF THE HOLY ROMAN EMPIRE (BRUNSWICK ET LÜNENBURG DUX, SACRI ROMANI IMPERII ARCHI THESAURARIUS ET ELECTOR)ENGRAVER: JOHANN OCHS
ENGLAND HAMMERED COIN 1 SHILLING JAMES I (1603-1625) OBVERSE CROWNED BUST OF KING JAMES I RIGHT LETTERING: IACOBUS D G MAG BRI FRA ET HIB REX TRANSLATION: JAMES BY THE GRACE OF GOD KING OF GREAT BRITAIN, FRANCE, AND IRELAND REVERSE QUARTERED SHIELD OF ARMS WITHIN CIRCLE, LEGEND AROUND LETTERING: QVAE DEVS CONIVNXIT NEMO SEPARET TRANSLATION: WHAT GOD HATH JOINED LET NO MAN PUT ASUNDER
A lovely Valdivia "Venus" bust from Ecuador, ca. 3500 - 1500 BC. This lovely Phase III example is 2 inches high and depicts her with arms held under the breasts. She has a nicely incised coif encircling her head and falling down her back. Mounted on stand. Cf. "Valdivia - Cultura Madre de America", page 10. (H607)
EMILIO SANTARELLI (1801-1886) A CARVED MARBLE BUST OF RAFFAELLO D'URBINO (the high Renaissance painter and architect) signed to the reverse base 'E.Santorelli F.1861', Fecit (made) 1861, (Santarelli was born in Florence remained active there, his st atue of Michelangelo is in the Logiato of the Uffizi Gallery, 57cm high (Garden discovery; with losses, bearing lichen & moss)
Samuel Tonkiss (British 1909-1992) A portrait bust of Laurence Stephen Lowry, signed and numbered 19/36 from a limited edition produced in 1975, with Morris Singer Foundry stamp, bronze sculpture on marble base.overall height 33cm.Footnote:* Samuel Tonkiss was born in Shropshire and moved to Todmorden in West Yorkshire, where he worked as a journalist. In 1959 he began to sculpt a series of portrait busts, some of which were cast in small editions. An earlier head of Lowry sculpted in 1971 is in the National Portrait Gallery, London.Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report:The bronze is in very good, original condition with no obvious faults to report. The marble base has some minor knocks and losses.
Antoine Vechte (1799-1868) - circular bronze plaque, repousse decorated with the bust of The Queen Victoria within border of classical Greek god figures, mounted upon a wooden plaque, 6.5" diameter; together with an Elkington Mason & Co. Publishers Art Nouveau repousse bronze oval tray, 10.5" x 3" (2)
A cased set of six silver coffee bean spoons, Sheffield 1921 and 1922 by Mappin and Webb; A Silver Hackney Horse Society medal, depicting a blinkered horse to one side and a bust portrait of George V to obverse. Birmingham 1932 also by Mappin and Webb, together with two cased 9carat gold mounted amber cheroot holders. (4)2.45 ozt weighable
Dubuffet, Jean (France, 1901-1985)"Le Verre d'Eau III"Felt tip pen drawing on paperInitialed and dated 1966 along the lower right. Inscribed "M 250 17/11 3" and "Le Monde Gallery" along the verso. Sight;Provenance: Galerie Beyeler, Basel; Le Monde Gallery, New York, New York; Private collection, MinnesotaLiterature: "Catalogue des Travaux de Jean Dubuffet," fascicule XXII, no. 192, p. 67.Jean Dubuffet was one of the most consistently innovative artists of the 20th century. His constant desire to push the boundaries of what was understood as beauty and art led to a widely varied and often provocative oeuvre. Dubuffet was born into a family of successful wine merchants in Le Havre, France. After a stint of painting in Paris, during which he briefly attended the Academie Julian and became friends with Fernand Leger, Juan Gris, and Raoul Dufy, he gave up on art. He served in the army for a short while, then settled down to sell wine and start a family, living an affluent suburban life. However, he found himself unsatisfied with his life, and in the early 1940s, he made a return to painting for good. Dubuffet found early success with his paintings of the people around him in the streets of Paris, but continued to shift and experiment throughout his career, moving sequentially through various discrete cycles and styles.Dubuffet was strongly opposed to the mainstream art establishment, describing himself as “anticultural,†and strove to move away from standard definitions of beauty and quality in his art. He founded the Art Brut movement, championing outsider art and untrained artists, and incorporating some of the rough elements of these artists’ work into his own style. He also rejected the traditional art establishment through his continuous experimentation with textures and media, using materials as unorthodox as gravel, tapioca, glass, tar, and fruit to create visceral and tactile compositions.Dubuffet found the inspiration for his Hourloupe cycle, which consumed his attention for much of his later career, while talking on the telephone. Doodling on his message pad, he found himself enthralled by the smooth, continuous lines of his ballpoint pen. He soon began to experiment with what he could do with lines of this sort, creating mesmerizing compositions in the colors of pens: red, blue, and black. The lines enfold and encircle themselves, bending in hypnotic, amoebic squiggles. The works in this series range from representational to entirely abstract. They include works in a wide variety of media, moving far past the original pen and paper and eventually evolving into the Practicables series of sculptures.Dubuffet’s Verre d’Eau series was executed in the midst of the Hourloupe cycle. Literally translating to “glass of water,†the Verre d’Eau drawings utilize the artistic vocabulary of the Hourloupe cycle to create a tongue-in-cheek take on still life, depicting glasses of water with the sort of distortions a viewer would expect when looking through a glass of water. The forms walk the line between representational and abstract, providing a graphic representation of how Dubuffet felt the object looked in the mind, something he strove for in his Hourloupe works.This drawing, Verre d’Eau III, is a striking example of work from the Verre d’Eau series. The gentle colors and parallel blue lines evoke the notebook paper that initially inspired the Hourloupe cycle, suggesting a casual doodle, although this is clearly a careful and precise piece of work. There is a clear focus on form--the silhouette is beautifully shaped, bearing a striking resemblance to the famous ancient Egyptian bust of Nefretiti. It is up to the viewer to sort through layers of meaning, attributions of loftiness and lowliness, contained in this drawing. It is part of the honored tradition of still life, but on such a pedestrian subject as a glass of water. Deceptively simple, this bold and striking image illustrates Dubuffet’s philosophies about celebrating beauty in mundane and unexpected spaces. He wrote, “Look at what lies at your feet! A crack in the ground, sparkling gravel, a tuft of grass, some crushed debris offer equally worthy subjects for your applause and admiration.†Why not, then, a glass of water or doodles on a telephone message pad?height: 19 in x width: 9 3/4 in. Framed; height: 24 1/2 in x width: 15 1/4 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.height: 19 in x width: 9 3/4 in. Framed; height: 24 1/2 in x width: 15 1/4 in.
Elizabeth Grant (American, 20th century). Oil on canvas board painting depicting a still life composition of a plaster cast male bust sculpture, fruit, a pitcher, and wine on a table.Height: 22 in x width: 28 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Height: 22 in x width: 28 in.
Jan Matulka (Czechoslovakian/American, 1890-1972). Oil on canvas titled "Still Life with Conch Shell and Portrait Bust of Voltaire," depicting a Modernist still life with dramatic shadows. Signed along the lower left. Inscribed with artist's name along the verso of the frame. Label from Mrs. E. Ives Bartholet, Art Consultant, affixed along the verso. Skinner Auctioneers label and lot sticker affixed along the verso.Provenance: Skinner Auctioneers, "American & European Paintings," Sale 2507, Lot 556, Boston, Massachusetts; Private collection, Minnesota.Unframed; height: 20 in x width: 23 1/2 in. Framed; height: 48 1/4 in x width: 27 3/4 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Unframed; height: 20 in x width: 23 1/2 in. Framed; height: 48 1/4 in x width: 27 3/4 in.
After Rembrandt Harmenszoon Van Rijn (Dutch, 1606-1669). Etching on paper titled "Bust of Man Wearing a High Cap," depicting a seated man looking off to the right. Initialed and dated 1630 in the plate along the upper left. With Certificate of Authenticity from Park West Gallery. A 20th Century impression printed by Marjorie Van Dyke for the Millennium edition.Sight; height: 5 in x width: 4 1/4 in. Framed; height: 22 5/8 in x width: 21 7/8 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Sight; height: 5 in x width: 4 1/4 in. Framed; height: 22 5/8 in x width: 21 7/8 in.
John William Godward, RBA (British, 1861-1922)Stesicrate signed and dated 'J.W.GODWARD./1914.' (upper right); signed, inscribed and dated ''STESICRATE'/J.W.GODWARD./ROME. 1914.' (on the reverse)oil on canvas50 x 40.5cm (19 11/16 x 15 15/16in).Footnotes:ProvenanceAnon. sale, Christie's, London, 9 December 1998, lot 235.Anon. sale, Christie's, London, 4 November 1999, lot 153.Private collection, UK.LiteratureV.G. Swanson, Ph.D., John William Godward 1861-1922, The Eclipse of Classicism, Suffolk, 2018, p. 312 (illustrated). One of the most sensitive of Godward's bust-length portraits of classical women, Stesicrate radiates a quiet beauty. The background marble is tenderly coloured and veined, with a band of carved fretwork across it. The muted complimentary hues of her turquoise tunic and deep maroon toga tightly drawn around her, gives ample contrast to the setting. The black-haired beauty's down-cast eyes give subtle emotional thrust to the composition. In all, the present lot is a faultless example of Godward's perfect pitch in value, colour and sentiment.We are grateful to Dr. Vern Swanson for his assistance in cataloguing this lot.For further information on this lot please visit Bonhams.com
Jean Joseph Weerts (French, 1847-1927)Portrait of Monsieur Dominique Jean-Baptiste Hugues in his studio signed and dated 'J. J. WEERTS. 1890' (lower right) oil on panel72.5 x 58.5cm (28 9/16 x 23 1/16in).Footnotes:ProvenancePrivate collection, UK.ExhibitedParis, Palais des Champs-Élysées, Salon, 1890, no. 2423, as Portrait de M. J. Hugues.LiteratureFirmin Javel, 'Salon de 1890', in L'Art français: revue illustrée hebdomadaire, 1890, p. 21.P. Kjellberg, Les Bronzes du XIXe Siecle, (Dictionnaire des sculpteurs) c.1980.Catalogue sommaire illustré des sculpteurs du Musée d'Orsay, Paris, RMN, 1986 (illustrated; no. 175, Jean-Baptiste Hugues: Oedipe Ó Colone).Dominique Lobstein, Défense et illustration de l'impressionisme: Ernest Hoschedé et son 'Brelan de salons', 1890, Dijon, 2008, p. 47 (illustrated).Jean Joseph Weerts, a native of Roubaix in northern France, made his Salon debut in 1872 and was a successful portrait and history painter. Noted for their verisimilitude, his portraits included leading political and society figures. Among Weerts' most famous works is his 1880 depiction of L'assassinat de Marat, now in the collection of the Musée d'Art et d'Industrie, Roubaix.The present lot, depicting the sculptor Hugues, was clearly painted in response to a bronze bust made by Hughes of Weerts, and exhibited at the Salon six years before. Dominique Jean-Baptiste Hugues (French 1849- 1930) was a pupil of Dumont and Bonassieux, and first exhibited his sculptural work at the Salon in Paris in 1878, and thereafter won numerous national awards.In the present work, Hugues leans against a marble sculpture entitled Oedipe à Colone which he completed in 1885 and was later exhibited at the Musées nationaux, 1888; Musée du Luxembourg, 1890; and Musée du Louvre in 1931. Today, this fine piece can be found at the Musée d'Orsay, Paris. (inv. no. RF 842, LUX 128).The work was praised by the critics at the Salon in 1890.For further information on this lot please visit Bonhams.com
A 19TH CENTURY ADAMS & CO PARIAN BUST OF GLADSTONE after EW Wyon, raised on socle base, the reverse impressed Adams & Co, published by John Stark Etruria, 42cm high Condition Report: Has a hairline crack to the neck. A few small chips to the back of the bust, just above the socle base. A few small black speckles and a bit grimy .
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