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"It's automatic, it's systematic, it's hydra-matic" - it's Cadillac cool!Cadillac’s 1960 range was an elegant reinterpretation of the previous year’s offering, with subtle modifications including lower rear fins, reshaped front bumpers, vertical stacked tail lamps and a fresh grille designThe overall appearance was slightly more restrained than the flamboyantly over-the-top 1959 models, but only justAll 1960 Cadillacs were powered by a 390ci V8 delivering 325bhp and mated to a 3-speed Hydra-Matic transmissionThis dramatic 6200 Convertible is finished in Platinum Grey Iridescent with a classic 1960s Caddy interior in Bright RedNaturally, as the top of the range, it features power everything - steering, brakes, roof, windows and two-way seatsIt's supplied with a history file which includes its service records and two workshop manualsThis sixth-generation Series 62 Cadillac is a piece of classic Americana and we think that this is a seriously tempting proposition given the realistic guide price and sheer scale of this impressive American icon SpecificationMake: CADILLACModel: SERIES 62Year: 1960Chassis Number: 60F019285Registration Number: 660 XUATransmission: AutomaticEngine Number: 60F019285 Drive Side: Left-hand DriveOdometer Reading: 9188 MilesMake: LHDInterior Colour: LeatherClick here for more details, condition report and images
Samuel Pitts of London - an early 18th century and later walnut and marquetry inlaid longcase clock, the caddy top above a pierced double frieze over a 12" square brass dial, signed to the silvered chapter ring, having matted centre, subsidiary seconds dial, date aperture, twin ringed winding holes for a brass eight-day five-pillar weight driven movement striking on a bell, the case with floral marquetry inlaid trunk, the door with glass lenticle to a further boxbase, h.238cmNote: Samuel Pitts was apprenticed in London in 1689, but he moved to Bristol where he married and was active there from 1694-1750.Stands well.Clock runs.Case and hood good, no splits but faded all over and has a slightly cleaned-back finish.Veneers/inlays all good, no lifting.Some mouldings around door replaced.Some sections around dial door replacement.Fretwork good.Movement, dial and seatboard all appear to belong.No unexplained holes.
A collection of 18th century Chinese export porcelain, to include a blue and white teapot, of bullet form, enamel decorated with figures, h.14cm, a famille rose teapot, h.15cm, a famille rose tea caddy, h.12cm, a sparrowbeak jug, h.8.5cm, a blue and white sauce boat, h.8cm, and a tankard, enamel decorated with figures, h.13cm (6)Sparrowbeak jug – chipped/cracked where the base of the handle meets the body, gilt is rubbed, otherwise good.Blue and white jug/boat – two small chips to the spout, glaze a little rubbed to the handle, otherwise good.Caddy – hairline to the neck, chips to the shoulders, otherwise good.Blue and white teapot – crack to the handle, tiny nibble to the spout.Tankard – cracked to the interior, possibly restored to the underside.Red teapot – two small chips to the finial on the lid, some small nibbles to the spout, restored to the handle (done very well).
A William IV silver caddy spoon in the Kings pattern, having a fluted waisted rectangular bowl, maker Thomas Millington, Birmingham, 1834, 9.5cm, together with a Victorian silver caddy spoon, having a shaped bowl and fiddle pattern stem monogrammed C, maker William Welch, Exeter, 1937, 9.3cm. (2)
An early Victorian burr walnut and rosewood crossbanded tea caddy, the hinged cover opening to reveal a fitted interior of two hinged caddies flanking centre associated glass mixing bowl, w.30cm; together with a Victorian walnut and mother of pearl inlaid tea caddy, w.22cm (2)Bowl - dia.11cm, h.9cm, no apparent faults.
An Edwardian silver caddy spoon, having a lute shaped bowl with C-scroll decoration, maker James Deakin & Sons (John & William F Deakin) Sheffield, 1910, 8cm, together with a George V silver caddy spoon, having a hammered shovel shaped bowl with further hammered stem and Celtic cross terminal, markers marks rubbed, Chester, 1945, 10cm (2)
A George III silver caddy spoon, having an oval shell shaped bowl, the terminal with oval vacant cartouche, maker Thomas Lambourn, Sheffield, 1807, 8.5cm, together with one other George III silver caddy spoon, having a spade shaped bowl and interwoven bright cut decorated stem, maker Joseph Taylor, Birmingham, 1810, 8cm. (2)
A GEORGE III SILVER TEA CADDY maker JS (Grimwade 3687), London 1791, oval, the hinged domed cover with urn-form finial, engraved with leafy borders and a crest within a cartouche. 14.5cm wide, 13 troy ouncesThe marks on the underside are clear and well-spaced. The lion passant and maker's mark on the cover is clear. A lock is in place, but the catch on the cover is bent to one side. The cover closes ok. The hinge is in good condition. Some wear, including some bruising.
A SMALL QUANTITY OF MIXED SILVER, GEORGIAN AND LATER including five George III teaspoons by Peter & William Bateman, London 1805, Old English pattern, engraved with initials; a set of six Victorian teaspoons and a pair of sugar tongs by John Walton, Newcastle 1850 (tongs) and 1851 (spoons), Fiddle pattern, engraved with initial; a Victorian shell-back caddy spoon by Thomas Sewell I, Newcastle 1866, with shell-cast terminal; etc. (Qty) Tongs 14.8cm long, 11.9 troy ounces gross (excl. glass liner and knives)
AN ELIZABETH II SILVER CADDY by John Alistair Donald, London 1986, the cylindrical box with hinged domed cover, the top inset with a textured abstract panel, the underside of the cover with presentation inscription dated 1986. 8.3cm high, 6.3 troy ouncesA lovely set of crisp and clear marks on the base. One small dint. The lid closes well, and the hinge is in good order. In generally good condition.
An Arts & Crafts copper tea caddy, of sarcophagus form, the hinged cover enclosing twin division interior, the front embossed 'TEA', with further roundel embossed side and rear panel, stamped monogram 'EP' to underside, 21 x 11 x 11cm; together with an Arts & Crafts copper caddy spoon, of shaped and stylised form, length 8.5cm (2)Stands well.Hinged cover good.Age and surface throughout, but mostly to cover.Dent to one end profile at lower right hand corner.Caddy spoon with general handling wear only.
MASAHARU: A LACQUER NATSUME (TEA CADDY) DEPICTING A LANDSCAPEBy the Arai Masaharu studio, signed on the tomoboka Masaharu with seal MasaharuJapan, Showa period (1926-1989)Of cylindrical form, bearing a richly gold-sprinkled black-lacquered ground decorated in gold hiramaki-e and takamaki-e with kirikane to depict a continuous scene with a bridge over a river amid craggy rockwork and a willow, the top of the cover with a thatched cottage below hazy mountains in the background. The countersunk base and the interior of rich nashiji, the interior further with gold fundame edges.HEIGHT 7 cmCondition: Excellent condition with minor wear.With a wood storage box (tomobako) signed MASAHARU with seal Masaharu.
TAKESHI: A LACQUER NATSUME (TEA CADDY) WITH CHRYSANTHEMUMBy Wakashima Takeshi, the tomobako signed Takeshi with seal TakeshiJapan, second half of 20th century, Showa period (1926-1989)Of typical form with a flush-fitting cover, bearing a lustrous silvery purple-lacquered ground, finely decorated in gold takamaki-e with stylized chrysanthemum flowerheads. The countersunk base and interior of rich nashiji, the interior further with gold fundame edges.HEIGHT 7.2 cmCondition: Excellent condition with minor wear.The wood storage box (tomobako) inscribed and signed Murasaki kin shiragiku, natsume, TAKESHI saku ('Natsume tea caddy, in purple and gold colours, with the design of white chrysanthemums, made by Takeshi') with the seal TAKESHI.Wakashima Takeshi (b. 1940), art name Sosai (Munenari), is a Japanese lacquer artist and the Vice-President of the Shin Nihon Bijutsuin (New Japan Art Institute).
ASSORTED COSTUME & DRESS JEWELLERY including assorted beads, earrings and watches, boxed Avon jewellery, marcasite jewellery, two Oriental lacquered jewellery boxes, bar brooches, Wedgwood black jasperware pendant, earring caddy, Elizabeth Duke boxed jewellery including small amount of 9ct gold, loose specimen stones ETCProvenance: deceased estate Pembrokeshire
A silver tea caddy of classical form, Sheffield 1922, inscribed to Mr R Pickthall from Roedean School 1940-1945. 13 cm high. NOTE: In 1940 with the threat of invasion on the south coast part of the school relocated to Keswick and stayed in three hotels in the town. The silver tea caddy is sold with The Roedean School magazine from 1940, 1946 and 1944.
A Chinese enamel tea caddy, decorated with birds and flowers against a green quatrelobed ground, height 15cm, together with a South-east Asian gilt metal and cloisonné censer of three-piece construction, height 17cm.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.
An early Victorian rosewood and mother-of-pearl inlaid tea caddy of sarcophagus form, width 33cm, another Regency rosewood tea caddy and a 19th century pollarded casket, width 21cm.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.
An assortment of silver and silver plate to include:a six-division hallmarked silver toast rack;a hallmarked silver tea-caddy of oval form;a silver-mounted cut-glass flask;a cut-glass dressing-table requisite jar with embossed silver cherubic head lid;a silver-plated glass flask;a silver-plated dome-topped double inkwell.
A late Regency period rosewood teapoy: the angular top with canted corners, hinged and opening to reveal a fitted interior with two original removable caddy boxes and the original pair of cut-glass mixing bowls; turned angular stem above a platform base terminating in French-style scrolls and brass castors (LWH 43 x 36 x 75.5 cm)Condition Report: Teapoy is in generally good order and bowls (height 11.5cms and diameter 10 cms), and caddy boxes original. There is a large shrinkage crack to the top surface (image), the top has watermarks and surface scratches, commensurate with age and use. The top lock has been remixed.

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81455 item(s)/page