We found 228098 price guide item(s) matching your search
There are 228098 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
228098 item(s)/page
Lot 300
Three traditional painted wooden Indonesian Wayang Golek rod puppets, with fabric dress, onstands, the tallest 51.5cm high, and a carved and painted figural wall decoration CONDITION REPORT: Condition reports have not been included in the description. If you require further images of this lot or a condition report please contact us with your request
Lot 194
A group of four interesting 19th century prints of coach designs, comprising one titled ?Dress Coach Built for His Majesty the King of Prussia?, after C. J. Galliford, engraved by J. Gilby, hand-coloured and heightened with gum-arabic, and another untitled, facsimile signature, Lewis Becker sc., both from ?The Carriage Builders' and Harness Makers' Art Journal?, a/f both slipped in mounts, each 15 by 23cm, mounted, glazed and framed, 34 by 42.5cm, one titled ?Single Brougham?, from ?Containing Imitations of Drawings of Fashionable Carriages?, published by R. Ackermann & I. G. Beygangs, 16 by 25cm, mounted, glazed and framed, 34 by 42.5cm, and one titled 'Mail Phaeton', 16 by 25cm, mounted, glazed and framed, 33.5 by 42.5cm. (4)
Lot 370
ER II British Naval officers dress sword, the blade is etched with crowned anchor amidst scrolls. Retailed by Gieves, gilt metal hilt with folding side guard etched B.E Clarke. Lions head pommel with wire bound fish skin grip and dress knot with gilt metal mounted leather scabbard and transit bag. Blade 79cm longSword is in very good condition. One minor mark to the grip. Blade is secure. Some light surface scratches to the end of the blade, the direction of them suggests its as a result of cleaning. 2 tiny nicks towards the tip, noticed only by touch. Slight rough spot to the edge beside the royal crest (see additional images). Leather scabbard is in great condition. Transit bag in good condition.
Lot 1046
Three historical portraits in Hogarth frames of naval officers, Admiral, Full Dress, 1795-1812 Lord Rodney after Jean Laurent Mosnier; Vice Admiral, Undress Uniform, 1795-1812 uniform worn by Nelson at the Battle of Trafalgar; Admiral full dress, 1812-1825, Sir George Cockburn after Sir William Beechey, RA, ovals each 6¾" x 4¾" (3)
Lot 235
A collection of four Chinese gouache paintings,19th century, of ladies in elaborate dress, one walking in a garden, one looking at herself in a mirror, another standing on clouds, ink and colour on silk, bound in an album,approximately 19 x 11cm eachProvenance: The Contents of an East Anglian Estate.十九世纪 佚名 仕女图 设色绢本Condition report: All with stains, splits, folding marks and creases.
Lot 267
A large Chinese ancestor portrait painting,19th century, of an official and two ladies wearing traditional court robes, seated in armchairs with horseshoe-shaped back rails covered in red or green cloth, in front of a screen, their rank badges embroidered with a paradise flycatcher from the ninth civil rank, ink and colour on paper,175 x 120cm, framed and glazedProvenance: The property of a European gentleman.清十九世纪 佚名 宗祠画 设色纸本Condition report: Creases and folding marks throughout. Some pigment losses. Foxing throughout. Small tears to edges. Tears with losses and restoration to the dress of the lady to the left. Water stains, losses and restoration to upper left corner. Restoration and water stains to upper right corner.Not seen outside of frame.
Lot 58
Y An ivory circular box and cover, the cover with a beaded border and inset with an early 19th century French portrait miniature of a young lady, wearing white Empire dress embellished at the shoulders with two gold buttons, pendant pearl drop earring and double strand pearl necklace with a chateau by a lake in the background, signed Holmes, 8.5cm diameter Property from the estate of the late Betty, Lady Grantchester. Condition Report: Ivory border with splits and comes loose. Fits tightly when placed. Slight gap to the cover Portrait appears fine Condition Report Disclaimer
Lot 101
A very rare large court painting of ladies playing chessYongzheng/QianlongInk and pigment on silk depicting two Court ladies playing weiqi within a bamboo grove, each of the ladies with finely arched eyebrows and delicately painted strands of hair under ornate headdresses, clad in elegant loose flowing robes with exquisitely detailed hems, the black and gilt weiqi boxes and covers decorated with dense foliate scroll, the top right with a large apocryphal seal 'Jing ji shan zhuang' seal, glazed and framed. Including the frame: 155cm (61in) wide x 99cm (39in) high.Footnotes:清雍正/乾隆 宮廷繪畫 仕女對弈圖 絹本設色 鏡框裝裱Provenance: a distinguished Italian private collection formed circa 1930s-1940s, and thence by descentThe important Italian collector lived and worked in Shanghai between 1932 and 1936, as representative of his Italian company and in 1937, following the Sino-Japanese war, he was transferred to Dalian in Southern Manchuria. After a brief period spent in Italy in 1938, he returned to Shanghai where he lived between 1941 and 1946 and formed the vast majority of his collection of Chinese Art.來源：意大利顯赫私人收藏，約二十世紀三十至四十年代入藏，並由後人保存迄今該重要意大利收藏家曾於1932至1936年作為某意大利公司代表在上海工作生活，1937年日本侵華戰爭爆發後遷往大連，1938年在意大利短暫停留後又回到上海，此番在上海居住的1941至1946年間，他獲得了其絕大部分中國藝術品收藏。The most notable feature of the present lot is the remarkable similarity of the faces of the ladies with those in Yongzheng's famous Screen of Twelve Beauties in the Palace Museum, Beijing. Compare the faces and hems of the ladies with those in the Twelve Beauties at Leisure Painted for Prince Yinzhen, the Future Yongzheng Emperor (hereafter abbreviated as Screen of Twelve Beauties), by anonymous court artists in the Late Kangxi period, illustrated in China: the Three Emperors 1662-1795, London, 2005, pp.258-259, no.173. The uncanny similarity of the faces painted in realistic style with neat outlines and generous colour, follows the custom of depicting ladies of the Court as women of elegance and natural grace, and strongly points to the courtly origin of this painting. The present lot closely follows the composition of another Imperial painted album, the Yue man qing you tu (月曼清遊圖) by Chen Mei 陳枚 (active in the early Qianlong reign), in the Palace Museum, Beijing. Painted in 1738, the album depicts the life of concubines over twelve months. One of the album leaves shows ladies playing chess in the exact same posture and position as the present lot, but within an interior. Therefore, one can see that the depiction of court ladies followed set models and precedents by court masters, which the present lot also follows. By examining further the Screen of Twelve Beauties, we may understand too the background of the present lot. While the Yongzheng emperor was still a prince, he commissioned the set of paintings of twelve beauties for the purpose of decorating a screen in the Deep Willows Reading Hall, a study within his private quarters at the Summer Palace. An Imperial garden to the northwest of Beijing, the Summer Palace, was presented to the young prince in 1709 by his father, the Kangxi emperor. However, an item found in the archives of the Imperial Household Department notes that in the eighth lunar month of 1732, ten years into Yongzheng's reign as emperor, the twelve paintings were removed from the screen and individually stored.Like the Screen of the Twelve Beauties, the present painting was also probably part of a larger screen or wall painting meant to decorate a palace. The apocryphal seal in the top right of the painting Jing ji shan zhuang (靜寄山莊), refers to an Imperial retreat in Panshan near Tianjin. Although the seal is apocryphal, it could refer to the original location where the present lot was from. Furthermore, like the Screen of the Twelve Beauties, the present lot was also at some point detached from a wall or screen and later cut into a more convenient and smaller section and re-mounted onto a different background. The format of the present lot is in keeping with 19th century practices of display; see for example J.Cahill, Pictures for Use and Pleasure: Vernacular Painting in High Qing China, 2010. The artist of this painting as well as the Screen of Twelve Beauties portrayed the imagined beauties enjoying traditional Han Chinese leisure activities such as playing chess or weiqi, sampling tea, watching butterflies, and reading, as well as showing them in quiet reflection. This view reflects the late Imperial Chinese model of femininity, where women could engage in the traditionally male 'Four Arts of the Scholar' (playing the guqin, calligraphy, painting, and chess) whilst still being refined, delicate and attractively feminine. See S.McCausland and Lizhong Ling, Telling Images of China: Narrative and Figure Paintings 15th-20th Century from the Shanghai Museum, London, 2010, pp.65-7. The Manchu rulers, seeking to define themselves as the proper heirs to the throne of China, could not have missed the support of female intellectuality that many found even within the conservative Confucian tradition. It would be tempting to suggest that the artist of the present lot also showcased the most popular costumes and hairstyles of Qing court women. However, it interesting to note that these ladies are dressed in the styles of the flourishing Chinese cultural centre of the Yangzi delta region, at a time when there were repeated Imperial efforts to block the growing Manchu tendency to take on Han Chinese folkways. The Qianlong emperor, like his predecessors an author of repeated prohibitions against Manchu adoption of Han dress - wrote that its appearance in one rendition of women attending the emperor was not to be taken seriously, dismissing it as 'painterly playfulness' (丹青遊戲); see J.Larsen, 'Women of the Imperial Household: Views of the Emperor's Consorts and their Female Attendants' in Proceedings of the Denver Museum of Natural History, no.15, November 1, 1998, p.24. One can surmise that the present lot and paintings like it, such as the Screen of Twelve Beauties and Yue man qing you tu, were following artistic conventions of the court rather than depicting the actual leisure garments of palace women. Indeed, one can argue that the present lot encapsulates a fantasy. Wu Hung presents evidence associating these paintings of imagined court ladies in Han dress with the feminised and sexualised landscape of China, now intimately known by the Manchu conquerors; see Wu Hung, 'Beyond Stereotypes: The Twelve Beauties in Qing Court Art and the Dream of the Red Chamber' in Ming and Qing Women and Literature, Stanf... This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
Lot 115
A rare Imperial embroidered yellow-ground Twelve-Symbol dragon robe, jifu19th centuryThe robe worked in satin stitch in shades of blue, green, red and pale violet and couched gold threads on the front and back panels, with nine five-clawed dragons pursuing 'flaming pearls' amidst clusters of clouds interspersed with bats, auspicious motifs and the Twelve Symbols of Imperial authority, all reserved on a rich Imperial yellow ground above the terrestrial diagram with lishui stripe at the hem, with dark blue-ground cuffs, collar and sleeve bands decorated with further dragons and clouds. 149cm (58 5/8in) long. Footnotes:十九世紀 明黃緞繡五彩金龍十二章紋吉服袍Provenance: Anne Moen Bullitt (1924-2007)Christie's London, 15 May 2009, lot 317 Anne Moen Bullitt was an American socialite, philanthropist, and horsebreeder. Her father, William Christian Bullitt, was the first American ambassador to the Soviet Union and later became his country's ambassador to France under President Franklin D. Roosevelt. In her youth she was regarded as a great beauty, and was known for assembling a wardrobe of rare and valuable classic haute couture items. She bought a 700-acre estate in County Kildare, where she enjoyed much success and fame in Ireland as a horse owner, breeder and trainer, and became the first woman in Ireland to be granted a racehorse trainer's licence.來源：Anne Moen Bullitt（1924-2007）舊藏 倫敦佳士得，2009年5月15日，拍品編號317Anne Moen Bullitt，美國名媛、慈善家及賽馬培育者。其父William Christian Bullitt曾任首位美國駐蘇聯大使，後在美國總統羅斯福任內任美國駐法大使。 Bullitt女士天生麗質，並以其品味獨到的經典高級女裝收藏而聞名。她在愛爾蘭基爾代爾郡購置了佔地700英畝的莊園，進行賽馬的培育和訓練，並成為了愛爾蘭首位獲得賽馬訓練師執照的女性，在育馬界獲得了巨大成功和聲望。Delicately embroidered with nine five-clawed dragons riding the heavens and worked in metallic gold and silver threads amidst a profusion of trailing clouds interspersed with the Twelve Symbols of Imperial Sovereignty, the present robe is a rare example of festive garments worn by the highest-ranking female members of the Qing society. Unlike robes worn by men, female garments lacked the two vents at the front and back.Robes decorated with designs drawn from the repertoire of court symbols, such as the dragons, reinforced the privilege of an educated and sophisticated elite focused on the power of textiles to convey social status to the viewers. The quintessential symbol of Imperial power, five-clawed dragons embodied royalty and dominion and expressed the visual metaphor of the good ruler who behaved wisely for the well being of his subjects. The Twelve Symbols of Imperial Authority further reinforce the emperor's essence over eloquence, articulation, forcefulness and vigour. According to the 'Book of History' (Shujing 書經), the legendary Emperor Shun, believed to have ruled during the third millennium BC, referred to these symbols as suitable decoration for Imperial formal attire and in 1766, the Qianlong emperor restricted the use of these motifs to imperial robes. See G.Dickinson and L.Wrigglesworth, Imperial Wardrobe, Berkeley, 2002, pp.14-30.A rigid scheme defined the position of the Twelve Symbols on the robes. The sun, moon, stars, and mountain, symbolised the four main ceremonies at which the emperor presided throughout the year at the Altars of Heaven, Earth, Sun and Moon. They were placed in pairs at the shoulders, chest and mid-back area. The paired dragons, the golden pheasant, the confronted ji character and the hatchet, represented all things on earth and the ruler's ability to make decisions. They decorated the chest area, while the sacrificial vessels, the aquatic grass, the grains of millet and the flames, representing ancestor worship and four of the Five Elements, were placed at the mid-calf level of the coat.The seven-shaded lishui bands are flawlessly woven and include the aniline purple tone, which was imported into China from Europe circa 1863 and was highly favoured by the Dowager empress Cixi. See R. Silberstein, Vicious Purple or a 'First Class Dye'?: Finding a Place for the Foreign in Nineteenth-Century Chinese Dress Culture, Paper presented at College Art Association Annual Conference, New York, 2013.Compare with a similar yellow-ground Twelve-Symbol robe, 19th century, a slightly later example, also a woman's robe, illustrated in Secret Splendors of the Chinese Court: Qing Dynasty Costume from the Charlotte Hill Grant Collection, Denver 1982, pp.60-61. A similar yellow-ground robe embroidered with the Twelve Symbols, 19th century, was sold at Christie's Hong Kong, 30 November 2011, lot 3143.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 10
AN AMETHYST SINGLE STONE SET 9 CARAT GOLD DRESS RING the oval mixed cut amethyst approx. 10mm x 8mm, claw set hallmarked 9 carat gold shank, ring size S, gross weight 5.5 grams Condition Report : Condition: good, no obvious damage or repair Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Lot 19
A GARNET ROUND CLUSTER 9 CARAT GOLD DRESS RING central round mixed cut red garnet 6mm diameter, shank marked 9CT, ring size M, gross weight 2.7 grams Condition Report : Condition: good, no obvious damage or repair, wear and tear only Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Lot 20
AN AMETHYST SINGLE STONE 9 CARAT GOLD DRESS RING the rectangular mixed cut amethyst approx. 16mm x 13mm, four claw set to plain polished yellow shank, unmarked, assessed as 9 carat gold, ring size O, gross weight approx. 6.0 grams Condition Report : Condition: twisted shank Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Lot 21
A GREEN SINGLE STONE SET ROSE GOLD DRESS RING the oval cabochon cut stone approx. 13mm x 12mm, bezel set plain polished rose gold shank, assessed as 9ct gold, ring size T, gross weight approx. 4.1 grams Condition Report : Condition: good overall, thinning to shank Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Loading...-
228098 item(s)/page