There are 228098 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeA yellow gold marked 14k opal and diamond dress ring, ring size P, approx. weight 9gms. On line viewing and bidding only. No in person collections, an additional charge of £15 (incl. VAT) applies to this lot to cover postage to registered address. Online viewing and bidding only. No in person collections, an additional charge of £15 (inc. VAT) applies to this lot to cover postage to registered address.
Follower of Anna Joan Carlile, Portrait of a girl in a blue dress, oil on canvas, 69 x 36cm Condition Report Hard to say age of work because of retouching but we suspect early 18th century.Relined. Craquelure visible. Ingrained dirt. Large vertical line visible upper left quarter from old repair to canvas. Two very faint diagonal lines visible to lower left quarter.Inspection under UV reveals various areas of retouching including to face, body, dress and background. Also retouching to old repair in upper left quarter.Frame: various knocks, scratches, cracks, wear and tear and some old repair. But generally sound.
Attributed to Pierre Mignard (Troyes 1612-1695 Paris), Portrait of a lady wearing a blue dress, oil on canvas, 100 x 80cm Condition Report Canvas relined and restretched. The original oval stretcher mark is clear, within that there is extensive craquelure, particularly to the flesh tones, some of which is unstable; as a result flecks of paint loss to the sitter's face, chest, dress and background. Ultraviolet light reveals retouching to sitter's face and chest, to oval stretcher marks as well as an abrasion, lower left.
An early 20th century bronze figure of a seated female, wearing a long dress sat on a plinth with an open jewellery casket at her feet, her hands raised to her ear to take out an earring, her head and arms in carved ivory, mounted to a marble plinth base, signed to the cast Schlietstein, height 23cm.
Studio of Sir Peter Lely (Soest 1618-1680 London), Portrait of Sir John Rivers 3rd Baronet, (died circa 1679), and his wife Lady Anne, oil on canvas, 144 x 183cm (unframed)Provenance:By descent through the Rivers familySouthampton Museum and Art Gallery circa 1960 - 1988Private UK collection Condition Report Canvas relined and restretched. Scattered craquelure to paint surface, particularly to flesh tones and to darker pigments in the background, consistent with a work of this age. Other than a few minor, scattered surface abrasions the surface is generally sound. Ultraviolet light reveals an even varnish and a few lines of infilling to the lady's face, to her dress, and a scattered areas to background.
Gerard Soest (Westphalia circa 1600-1680/81 London), Portrait of Dame Ann Robinson, half length, in a silver dress, inscribed with sitter's name (centre left), oil on canvas, 74.5 x 62cm Condition Report Canvas relined. The paint surface is sound, with areas of craquelure, particularly to the flesh tones, consistent with a work of this age. Ultraviolet light reveals extensive retouching to background, upper left, infilling to craquelure throughout, in particular to folds of dress, lower right, to flesh tones, the sitter's forehead, nose, along with evidence of a repair to the sitter's right cheek.
Follower of Sir Peter Lely, Three quarter length portrait of Melusine von der Schulenburg, Countess of Feversham (1667-1743), oil on canvas, 120 x 98cm Condition Report Relined canvas. There is an extensive craquelure pattern to the paint surface, consistent with a work of this age, which is stable. The paint to the shawl seems thin, possibly due to overcleaning. Ultraviolet light reveals retouching to surface abrasions/repairs, upper left and upper right; infilling to craquelure to the flesh tones, along with an area to the sitter's chin; further retouching to abrasions/repairs to dress, lower right and lower left. Further scattered retouching to background and frame abrasions. Held in a modern frame in sound condition but with a few chips missing.
Three swords, comprising; a Victorian British Royal Naval officers sword, having an etched Henry Wilkinson blade, naval fouled anchor and family crest and motto 'sic donec', with a leather and gilt metal mounted Wilkinson scabbard, length 92cm, another similar (lacking scabbard) also an Edward VII court dress sword, with etched Hawkes & Co blade and leather scabbard (end lacking), length 95cm. (3). Footnote:, The family crest (with its motto) on the first of the naval officer's swords catalogued is that of Egerton. Given the date range of the three swords they will almost certainly have belonged to George Le Clerc Egerton R.N. (1852-1940, served R.N. 1866-1916). He ultimately became Admiral Sir George Le Clerc Egerton, K.C.B., serving as Aide-de-Camp to Edward VII (this ties in with the EVII court dress sword in the group) and as Second Sea Lord. Naturally his R.N. service also involved a number of other interesting appointments and prestigious commands.Of greater historical significance though was his membership (when a lowly Sub-Lieutenant) of the Arctic Expedition of 1875-6. This was an extremely arduous naval geographic expedition and Egerton was in charge of one of the overland sleds from H.M.S. Alert in the bid to reach North Pole. In this they failed, but not for any lack of effort or courage; they instead set the record for the farthest longitude north travelled. The details of the expedition and fascinating extracts from Egerton's expedition diaries are given in Parliamentary Papers, published in 1877. Condition Report There is no serial number.
Studio of Sir Godfrey Kneller (Lubeck 1646-1723 London), Portrait of a lady in a yellow dress with a basket of flowers, bears signature (lower left), oil on canvas, 90 x 70cm Condition Report Canvas relined. The paint surface is generally sound with scattered craquelure consistent with a work of this age. There is an abrasion to the sitter's forehead, to the background, upper left and one further to the sky, upper right, to the cuff, lower centre, to the table, lower left and frame abrasions to the extreme lower right corner. An opaque varnish prevents further examination.
Theodore Russell (London 1614-1689), Head and shoulder portrait of the Countess of Devonshire, oil on canvas, 38 x 30cm Condition Report Relined. Craquelure visible throughout. Some stretcher marks visible. Some very small white and dark spots.Inspection under UV reveals some small areas of retouching, including to old stretcher mark in upper left quarter. Some further flecks of retouching to chest and dress. Opaque varnish prevents further examination. Some later retouching to right shoulder and lower neckline of dress. Please see additional photos on website.Frame: some losses to gilding, various knocks and scratches, general wear and tear.
A large group of silver and diamond dress rings, comprising a baguette cut and brilliant heart shaped ring, size P, a blue diamond and white stone ring of Art Deco style square design, size Q, a further blue diamond ring of quatrafoil design, size N, a yellow diamond ring of Art Deco style circular design, size M, a further yellow diamond ring set with five bands of brilliants, size P and a black diamond ring with four point starburst setting, size J, together with a pair of black diamond ear-studs, each set with a single stone of approximately 0.125ct, and a silver and Mandarin Garnet set ring, size N, total weight 25.9g. (8)
An 18ct gold and diamond solitaire ring, the central diamond of approximately 0.3ct, approximately 4.3mm diameter, with three diamond chips to either shoulder, size S, with 9ct gold ring sizer fixed, 2.1g, together with a diamond and sapphire dress ring set with a row of seven diamond brilliants with seven sapphires either side, size O, 2.5g. (2)
LATE 19TH CENTURY FRENCH FIGURAL MANTEL CLOCK, the two train movement by Japy Freres et Cie., with blue enamel Roman numeral chapter markers, the cast brass case surmounted by a group of two gentlemen in 15th century dress playing a game of chess, the dial flanked by two ceramic portrait panels, on a shaped rectangular base on four bun feet, 47cm high
An Unusual French Revolutionary Period Riddle Fan, the monture of bone, with some light carving and painting to the upper guards. The double paper leaf, hand coloured, shows two couples in extravagant 18th century dress, the ladies appearing to be beseeching the gentleman to share their affections. Cupid floats on a cloud between them, holding both a flaming torch and his bow and arrow, tokens of Love. To each side the leaf features a vignette containing symbols, enclosed in green and pink draperies. The left section contains the word ''DE'' in capitals, with a yellow pitcher, a spray of flowers, and, possibly, a heart. To the right, the word ''VOEUX'' (wishes), a standard bush, and a yellow crown. Both sections contain what could be a letter ''L''. Thus, this is an example of a riddle fan, the sounds when the symbols are spoken aloud giving the meanings. From the left, ''Elle possède mon Coeur'' from L (elle) po (dessin d'un pot) + ssè (dessin d'un ''cep'' - de vigne) + de + mon (dessin d'un mont) + cœur (dessin d'un cœur), and to the right, ''elle couronne mes vœux '' from L + couronne + mes (dessin d'un arbre de mai) + vœux. The leaf is bordered with gold and a subtle ruby. The verso is plain. Guard length 10.75 inches or 27.5cm. Infinite thanks to Ondine P-P and Georgina L-B of the Circle de l'Eventail, Paris, for their invaluable assistance with this puzzle.. In generally good order and strong. When closed, the sticks in the gorge centre are seen to be bowed. Both guards have a crack near the top but there is no obvious repair. The leaf has light foxing to the verso and one or two folds may have been re-secured.
Three Mid-18th Century Ivory Fans, the first French, the monture quite simply decorated with a linear design to the upper guards and silvering on the gorge. The silk leaf features a lady in 18th century dress, tall hairstyle, watering her plants in the garden. From this central focus more flowers weave towards the sides of the fan, painted in pastels, their stems of gold thread, and additionally adorned with tiny coloured sequins. The verso is plain cream gauze. Contained in a period card fan tube in pink. Guard length approx. 10.75 inches or 27cm. Together with a similar French fan, the central cartouche showing a musical gathering, two side vignettes painted with rural landscapes, all bordered with tiny gold sequins. The reserves, painted with parrot tulips in red and orange, pink roses, cornflowers and carnations, also feature small flowers and leaves made from applied straw. Guard length approx. 10.75 inches or 27cm; and a third ivory fan, the monture decorated with a regular design of black dots, complementing the double paper leaf, divided into two sections but effectively en grisaille in shades of black through to grey. One scene shows an older lady in white bonnet taking a walk with a small boy, stopping to talk to a passer-by. To the right, a hunting scene, two men on horseback chasing a stag, with two dogs in pursuit. Simple grey flowers painted on the verso. Guard length approx. 10 and 5/8 inches or 27cm (3). The deep pink leaf has faded to soft pink and cream. Most folds are split at some point and one is missing to the far right. The second fan has spits to most folds, sewn at the seams to retain the leaf, other folds having been supported from behind. Silvering to the monture is dull and worn away in places. The third fan has damage to both guards, hard to determine quite how much as they are covered in very yellowed clear tape. The upper section of the lower guard may well be completely missing.
A Late 18th Century Ivory Brisé Fan, painted to the recto with a colourful depiction of Moses, having been hidden in the bulrushes by his mother, being discovered and adopted by the Pharaoh's daughter when she and her attendants were taking a leisurely stroll, their grand residence in the background. Born a Hebrew, and thus condemned by the Pharaoh, Moses escapes death and is raised as an Egyptian. Taken from Exodus 2:1-10. The gorge is painted with an image of a wealthy lady. The silk ribbon is decorated. On the verso, on the banks of a river where one maiden is seen fishing, a pair of lovers in 18th century dress rush to their assignation. Guard length approx. 8.5 inches or 21.5cm.. Some rubbing to the paint. The ribbon is sound.
Mars and Venus: An 18th Century Ivory Fan with ornate gilded and silvered gorge, a central cartouche and two side vignettes all carved with figures, the remaining sticks carved with profiles, cherubs, tokens of love, and, centrally, a sun. The double vellum leaf, mounted à l'Anglaise, depicts Mars and Venus in a clearing surrounded by cherubs, playing with flowers, climbing stone pedestals, one trying on the helmet discarded by Mars along with his shield. At each side, a vignette painted with still life, the remaining reserves painted with ornate scrolling and small floral sprays. The verso is painted with floral sprays, mainly in gold. Guard length approx. 10.5 inches or 27cm. Together with A Similar Period Mother-of-Pearl Fan, the monture gilded and silvered, the gorge with three definite depictions, figures, some wearing helmets, some ladies in elaborate 18th century dress. Another depiction of Mars and a lady, cherubs cavorting, playing with flowers and discarded armour, and in the sky above, an image that would normally relate to Venus. The verso is plain. Guard length approx. 11.5 inches or 29.5cm (2). First fan, some rubbing to some folds. The gilding and silvering are generally dull, the gilding having survived with some colour. The second fan has a damaged monture, most pieces present, Rubbing to the folds,
An 18th Century Painted Ivory Brisé Fan, the monture pierced quite simply to the gorge but elaborately to the upper section. The central cartouche is painted with two ladies in fine 18th century dress being entertained by a musician in a garden, one reaching up into a tree from which hangs a small birdcage. An oval vignette to the left shows a lady collecting flowers, and to the right a male figure in armour with his hand reaching out to attract her attention. The reserves are densely filled with detail, to include musical instruments, classical urns, panels in Wedgwood style, some highlighted in gold, and a vignette at each side, one with a woman, the other with a soldier. The verso is plain. Guard length approx. 9.75 inches or 23.5cm.. Good colour. A stick is missing to the left side, the remnants seen adhered to the lower guard. The upper part of the lower guard is plain ivory.
Three 19th and 20th Century Fans, to include: A large fan with fabric leaf mounted on plain stained wood sticks, the recto showing a rural outdoor musical gathering and picnic, with a young man playing the fiddle accompanied by a small monkey playing miniature cymbals, watched by young family members, accompanied by a dog. Possibly Dutch, with traditional rural head dress and clogs? The verso is a plain deep plum glazed cotton. Together with a large white gauze fan painted with blue forget- me- nots and white petalled blossom, attractively edged and filled with white machine lace in a floral design (in the style of Brussels Point de Gaze), the leaf mounted onto shaped and pierced wood sticks, painted white and lightly gilded; and The Huntsman and the Shepherdess, a large fabric fan printed in vibrant colour and featuring a shepherdess and her goat encountering a huntsman and his dog on a bridge over a stream. Some details are highlighted with minute chain stitch n metallic thread. Mounted in sturdy wood sticks painted in black, the double leaf verso in dark glazed cotton. Fitted with a metal chain with metal loop to hold the fan in place when closed (3). The gauze fan has some splits to the leaf.
A Vibrant Circa 1870-1880's Fan, featuring an early autumn outdoor musical gathering within a grand garden, stone urns resplendent with cascading flowers, lush reeds indicating nearby water, leaves turning brown, and a Herm, perhaps of Pan, in the bushes beside the clearing wherein a beautifully dressed lady, sheet music on her lap, listens to music provided by a dandified gentleman wearing doublet and ruff. Accompanied by a young lady seated on the ground, holding a fan. The verso is plain cream, the monture, of unadorned green/pink mother-of-pearl /Burgau. Together with A Bone Fan, the monture plain, the double cream silk leaf painted on the recto in pink with a young lady in early 19th century dress feeding two white doves from crumbs she has carried in her skirt; and A 19th Century Horn Brisé, the stick tips forming a gentle point, all sticks intricately pierced, alternate sticks painted vertically with flowers in colours of orange and blue, or pastel pink roses with green leaves, the verso being similar. Twenty-one inner sticks and, two guards. Barrel head (3). Light wear to folds on the first fan. Small silver metal plate repair to the upper guard. Fan 2 has leaf splits recto/verso. Fan 3 requires a new ribbon.
A Very Pretty Early 19th Century Fan, the monture of white mother-of-pearl, silvered, gilded, with coloured floral designs to the guards, a cartouche to the central gorge filled with colourful flowers. Green stone to the rivet ends. The double leaf portrays a pensive maiden standing by the riverbank, perhaps waiting for her beau, certainly a young man with white plume in his cap hesitates amongst the trees to her left. The reserves, with detailed swags and flowers, are painted in gold, blue and black. The verso, in cream with light gold floral sprays to the reserves and borders, shows a maiden and a lady at a fountain, the lady in regency dress, the maiden with her dog and a sheep. Guard length 8 inches or 20cm.. A few short splits to the tops of folds. Counting gorge sticks, there is one less to the left side, but the painted flowers are present to each side.
A Scarce 19th Century French Four-Way Bone Brisé Fan with classically pierced sticks, the first engraved and hand-coloured scene showing Zeus and Hera, a peacock to their right, an eagle with outspread wings at their feet, bordered with blue, green and gold, flowers to the exterior of this central cartouche. The verso shows a young mother in a simple white Regency dress, and yellow spencer, wrapping her cloak around a baby wearing a frilled bonnet, laid on a red chaise longue. The tender scene is surrounded by painted red roses and green leaves. Turning to the remaining faces of the brisé, one side is painted with a central wreath of pink roses, and leaves, within which a gold star and brown leaves sits, and outside which each corner features bright blue flowers with yellow stamens. The final side is painted in gold with a classical tall jardinière on elaborate stand, filled with vibrant flowers, and more pink roses and gold border complete the design. Barrel head. Twenty-six inner sticks and two guards, all with gently pointed and serrated tips. Purchased at Phillips, Sevenoaks, 9/12/1992, lot 445. These fans were also known as ''surprise'' fans, in fashion from 1819, see page 98 of ''European Fans'' by Maryse Volet.. Note one guard is a replacement. It may also have a crack. One tip lacks one tiny sliver.
An Unusual Pale Pink Mother-of-Pearl Fan, dated 21.8.1911, mounted with a mixed Brussels lace leaf, the needle lace of particular complexity. The monture has interesting features: the upper guard is shaped, gilded, and dated just below a monogram. A gold shell decorates the very tip. The lower guard features a small bird. The leaf, with reserves of Brussels bobbin lace, incorporates a panel of cream silk gauze, which has been painted in soft pale blue to show sky and water, two couples in 18th century dress seen taking a stroll towards steps leading to a stone bridge and elaborate building or pergola, this section of the leaf being worked in Brussels Point de Gaze needle lace, forming the stones and urns and decoration to the balustrade, the pointed roof and the window at the top. Contained in a wood fan box with duck egg blue exterior and metal catches, the interior lined and padded with ruched cream silk. Guard length 9.5 inches or 24cm.. The upper guard has a repair at the shoulder. The lower guard has a replacement panel of white MOP to the outside which does not match the original. One bone rib has been reinforced at the shoulder. No splitting noted to the painted panel.
Fine 18th Century Dress Flounces and Fragments, to include a fine white cotton flounce with scalloped bottom, worked with silver metal thread in tiny tambour stitch, with white thread to edge the scalloped border and to form delicate filling designs within flowers. Selvedges to both sides. Probably embroidered in India, approx. 26 inches or 66cm by 11.25 inches by 28.5cm; a fragment of cream embroidery on cotton gauze, featuring a spray of spiky leaves, and buds, two leaves hosting beetles. Appears hand worked; and two more fragments of 18th century embroidery from India, one worked in strong colours and featuring flowers and leaves, the other worked in pastel silks in different stiches (4). First item, a few pinpricks to the cotton near the top but no indication that it has been removed from anything. Second item has been cut from a larger piece; the final two both show signs of being previously part of something. The last item has some scattered holes.
Four 18th Century Embroidered Panels, deconstructed from larger items of dress or furnishing. Comprising a Chinese cream silk panel, slightly shaped and with many loose threads and one seam outlining where it has been connected to a larger item. Embroidered with carnations and other meandering floral sprays, the silk is backed with fine cream lining. An attached note, handwritten in ink, in German, notes it to be 18th century. Approx. full size of panel 13.5 inches or 34cm by 19 inches or 48cm; a cream silk panel finely embroidered in coloured silks and gold couched threads, some of the flowers extremely small. The long straight side has a selvedge. The curved side has two inner fold lines and the narrow bottom edge is raw. Approx. 32 inches or 81cm by 12 inches or 31 cm at the widest point; the third panel, a traditional woven silk used for fine robes, features swags and flowers in blue, yellow and shades of pink. Again, traces of fold lines and three edges had been hemmed. Approx. 22 inches or 56 cm by 15 inches or 38cm; and a panel of embroidered linen, perhaps for furnishing, the embroidery on a larger scale. Silk threads in mainly greens, cream and yellow, featuring carnations and other flowers in sprays contained in formal urns. Four such features but not duplicated. Shaped at one end. Three edges have been attached to something else. Approx. 41 inches or 104cm, by10.5 inches or 27cm.. Panels 1 and 2 are in good used condition, panel 2 having a small mark near the narrow section. Panel 3 has light age discoloration but no consequential rot. The last item has a brown stain near the centre left but no rot to the fabric.
A Decorative Embroidered Box, French, the circular lid embroidered with a lady walking through a formal garden, wearing dress of crinoline form, a bonnet and carrying a parasol. The background is painted on silk, the dress is embroidered in male lemon, cream and pale blue. The painter's initials of ''SG'' show to the left. A band of silk ribbon incorporating gold metal threads cover the side panel. The inner side panel is painted in a vibrant green, and the underneath of the hard card structure is black. Diameter approx. 24cm. Containing a group of embroideries showing different techniques in progress, mainly 19th century: To include a three sample booklet of gold embroidery on wool, using coiled metal motifs for relief, possibly examples for designs for the 18th century traditional gold embroidered caps and bonnets; a panel of examples of ecclesiastical embroidery with a flower, a leaf spray, four shields and a star working in couched gold metal thread; two more examples using metal threads; ten small examples of floral embroidery; and fourteen beaded examples, probably used to show designs for early 20th century beaded bags (30). Mostly in very good condition, unused.
Loading...
