We found 227115 price guide item(s) matching your search
There are 227115 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
227115 item(s)/page
Lot 238
A Collection Of Contemporary Sterling Silver, Metal And Silver Vermeil Jewellery Eighteen items in total to include three gold tone woven bracelets, two wide woven glitter bracelets, three pairs of stud earrings, gold and rose gold tone cz set hoop earrings etc. Also two fine cz set disc pendants, planished gold tone cuff, smoky topaz dress ring with matching earrings etc. All in very good, unworn condition. Very low estimate, please see accompanying image.
Lot 358
Stardust Glass 'Seashell' and Crystal Statement Necklace, comprising five graduated, jewellery grade glass seashells with pastel coloured stardust effects and white crystal highlights; the largest, to the centre, a silver grey, 2 inches high x 1.5 wide, with medium sized blush coloured to either side and the small being silver to one side and light champagne to the other, all being linked and articulated, held on a chain with a lobster claw clasp; 20 inches long with 3 inch extender chain; would add a unique touch of subtle colour to a wedding dress or suit a 'mother of the bride' ensemble
Lot 361
White Crystal Butterfly Omega Necklace and Drop Earrings, an omega collar, fully set with a single row of crystals, flexible and fastening with a lobster claw clasp, embellished to the front by a crystal butterfly with waterfall fringe, 2 inches deep; would suit a bridal halter neck, shift or strapless dress or similar event wear; omega 18 inches with 2 inch chain extender, earrings 1.5 inch drop
Lot 40
Ladies - Ltd Edition and Exclusive Excellent Quality African Ruby and White Topaz Sterling Silver Set Dress Ring. The Central Oval Shaped Faceted Ruby of Excellent Colour. Size 4.80 cts. Surrounded by White Topaz From Brazil. Weight 1.96 cts. This Piece Is One of Only 100 Pieces Made. Ring Size N - O. As Brand New Condition, Comes with Certificate of Authenticity and Grading Papers. Dated 20-8-2013.
Lot 422
Beswick Beatrix Potter Figures ( 6 ) Figures In Total. Comprises 1/ Timmy Tiptoes - First Variation, Brown / Grey Squirrel - Red Jacket. Back stamp BP 1A. 2/ Ribby White Dress - Blue Ring. Back stamp BP 2A. 3/ Mrs Rabbit - Second Version - Small Size. BP 3B. 4/ Simpkin Green Coat - Rare Figure In Mint Condition. BP 3B, Issued 1975 - 1983. Height 4 Inches. 5/ Benjamin Bunny - Small Size, Shoes In Light Tan Colour way. BP 6A. 6/ Squirrel Nutkin - Green Apple. BP 3B. All Figures are In 1st Quality & Mint Condition.
Lot 466
Capodimonte Fine Quality Signed Pair of Hand Painted Porcelain Figures - Dressed In 18th Century Dress, Little Girl with Basket of Flowers, Seated with Young Boy Seated Holding a Small Dove Bird, Capodimonte Stamp to Base, Signed Galle. Height 4.5 Inches - 11.25 cm. Both In Top Quality Condition. Please See Photo.
Lot 523
Austrian Painted Chalkware Figure In The Form Of A Maiden Art Nouveau figure depicted standing on rocky outcrop. Her dress and chignon typical of the aesthetic style, her outstretched arms proffering a dish formed of lily pads; the whole painted in bronzed tertiary tones. Height, 28 inches, some issues with condition, lily pad has been cracked and glued/restored, some small chips exposing raw chalk ware to base and throughout figure.
Lot 365
A SELECTION OF NINE 18TH AND 19TH CENTURY PORTRAIT MINIATURES comprising of a lady putting on stockings, on metal panel. A gentleman in a blue coat. A lady in a blue dress. An oval of a lady in a gilt metal frame. A circular miniature of a gentleman with a blue back ground. An oval of a gentleman with grey hair. A gentleman with a ruff. A gentleman possibly Shakespeare. A Madonna and child - images from 5cm to 10cm
Lot 815
A MID 19th CENTURY FRENCH ORMOLU FIGURAL MANTEL CLOCK modelled as a lady in Eastern dress seated on cushioned ottoman enclosing a 3" silvered dial with Roman numerals surrounding an engine turned centre fronting an eight day spring driven movement striking the hours/half hours on a bell 40cm high
Lot 126
Hinton Gibbs (British, fl. late 1790s to 1822) Portrait of a lady, profile to the right, wearing a coral necklace and dress with a lace trim around bust, with hair in a Grecian hairstyle, circa 1804/1806, backed with ivory, 6.1 x 5.2cm (2.5 x 2in); Portrait of a young child, profile to the right, 7.1 x 5.7cm (3 x 2in); and Portrait of a gentleman, profile to the left, wearing a black coat with button and collar detailing, circa 1810, 6.6 x 5cm (2.5 x 2in) reverse painting on glass (3) Lady - some paint deterioration and chips to the head and neck. Child - Some cracks due to age, diagonal crack and a missing piece of wax support/backing approximately 3/4inch below sitter, a few blemishes above the sitter's head, some paint deterioration to the neck of sitter. Frame loose. Gentleman - visible cracks and discoloration around perimeter. Some paint deterioration to sitter's jacket.
Lot 305
After Sir Joshua Reynolds, PRA (British, 1723-1792), Portrait of Georgiana, Duchess of Devonshire, 20 x 15 cm (8 x 6in); After Jean Baptiste Greuze (French, 1725–1805), Portrait of a lady in a cream dress with blue ribbons, at a casement, holding a letter, 18 x 12 cm (7 x 5in), oil on panel (a pair) in pierced and gilded Florentine frames; together with an English School (19th Century) watercolour of a young man, 12 x 10cm (5 x 4in) (3) There is a vertical crack in Georgiana's panel. Both loose in their frames and with some scuffing to the edges.
Lot 309
Indian Company School, 19th Century, Four watercolours of Indian men, including a gentleman standing full-length, in a lilac coat, carrying a case, 11 x 7 cm (4.5 x 3in); A musician playing a small stringed instrument, 13.5 x 9.5 cm (5.5 x 4in); A nobleman in a white turban, carrying a sword, seated on a carpet, 14.5 x 9.5 cm (6 x 4in); A man with a stick, 13 x 8 cm (5 x 3in); together with a representation of the God Ganesh, seated and resting against a pillow, holding a white water lily, 13 x 9.5 x (5.5 x 4in) watercolour and Indian ink on paper (5); together with Three paintings on mica, two depicting Indian noblemen carried in palanquins, both 9 x 15 cm (3.5 x 6in); and another of a nobleman riding a camel, 9 x 13cm (3.5 x 5in), Indian ink on mica, framed (3); also two Mughal miniature paintings, Tiger and deer hunt with hunters riding in on a horse and on top of an elephant, with script above, 22 x 13 cm (8.5 x 5in); Portrait of a Prince, in a red dress and a turban, inscribed below the sitter, 15 x 10 cm (6 x 4in), gouache on paper (2); French School, 19th Century, A Fallen Napoleonic soldier with his horse beside him, a trumpet on the ground, watercolour, 7 x 10cm; and Charlton Nesbit (British, 1775–1838), A Pastoral scene with a peasant watching a flock of birds, etching, 6 x 8cm (12 watercolours in total)
Lot 56
Frederick E. McWilliam HRUA RA (1909-1992)Woman of Belfast No.7 (1972)Bronze, 32.5cm high x 30cm long x 20.5cm wide (12¾ x 11¾ x 8'')Signed with initials and numbered 5/5 This edition was included as part of the exhibition ‘Women of Belfast. New Bronzes by F.E. McWilliam’, the Dawson Gallery, Dublin 4 -20 October 1973 “The things you start a theme with are usually the very best at the beginning. After a while a sort of repetition seems to set it… and they make it more sophisticated, they make it perhaps more complicated.” - F.E McWiliam interview with Louisa Buck for the Irish Art Series, 1983, p.5 Tate Gallery Archive. Working in series is not unique to McWilliam, artists often fixed upon one theme for a number of years, producing a range of work based around the same subject matter. This method of creation often acted as a way of working through an idea, by making repeated works of a single form, in McWilliam’s case the female body. His Women of Belfast series (1972 - 1975) of which this present example is Woman No 7, changed over the course of the three years, his initial figures were unclothed, he later added the drapery for a more realistic effect. As a response to the sectarian violence of The Troubles, McWilliam’s figure of a woman thrown to the ground in the aftermath of an explosion represents the scores of civilian casualties in Northern Ireland. His inspiration for the work came from images in the media following the bombing of Abercorn restaurant in Belfast in March 1972. Of the two fatalities, both were women, which may indicate why McWilliam decided to depict the female casualties rather than male. Equally, the series was an expression of how often in times of conflict, it is women and children who become victims of these senseless atrocities. The female figures act as a representation of the private domestic world which has been forcefully intruded upon by these public acts of violence. As sensitive as the subject matter is it always difficult to reflect on the aesthetic qualities of the work. The sculptures are in many ways profoundly tragic, yet art at its most powerful should be emotive and it raises the difficult question of how, as an artist, to respond to this suffering. In the work McWilliam is bearing witness to these victims. In this present example, the figure is caught in mid-fall, her body thrown backwards, one leg extending out before her the other bent at the knee, bracing herself against the blast. The base for the figure is delineated in such a way as to create an almost a two dimensional impression of the body above, a sense of depth below her into which she will inevitably fall. The texture of the bronze captures the force of the explosion, her dress flattened against her body, hands raised instinctively to protect her face, which remains anonymous. The indecency and complete violation of her body is expressed by her dress lifted almost beyond her waist. McWilliam had never before used his sculpture to directly comment on political or social issues of his country of birth, but moved by the tragedy he felt compelled to create the series, which after nearly fifty years since its inception, holds an undeniable power.Niamh Corcoran, August 2018
Lot 91
Mary Swanzy HRHA (1882-1978)The Lute PlayerOil on canvas, 45 x 36cm (17¾ x 14¼'')Mary Swanzy began her career as a portrait artist, before adopting an increasingly abstract approach to her subject matter. In this present example, her handling of the paint reflects her later interest in cubist techniques, particularly evident in the figure’s dress, where she has broken up the contours of the surface, using colour instead line to suggest the folds of the drapery. However, at the same time she is following more traditional lines of composition and figural representation. The Lute Player incorporates many elements of style and pictorial arrangements similar to old master paintings. The female figure, is placed in the centre of the composition, as the focal point around which the scenes rotates. She is given a sense of importance, raised up on a rock, out of proportion to the landscape surrounding her. This amplification of her features, particularly her head and hands, and deliberate eschewing of perspective by Swanzy reflects the work of Renaissance painters. Women playing lutes reoccur time and again in these old master paintings, with the instrument serving as a symbol of harmony and grace, appropriate qualities for a woman in the 16th century. In Swanzy’s work, she is presented to us as a Venus figure, with a dress draped loosely over her body, slipping off her shoulders to expose the pearly white flesh of her skin underneath. She is a sensual figure, a symbol of beauty, the epitome of femininity, sitting in this arcadian landscape. Yet, Swanzy held strong views about the role of women in art and she rejected the notion that only certain types of subject matter were appropriate to her because of her gender, remarking “Ladies have to paint pussy-wussies and doggy-woggies...If I had been born a Henry instead of Mary, my life would have been very different”. (Brown, Karen. E, The Yeats Circle, Verbal and Visual Relations in Ireland, 1880- 1939, Routledge 2011). While she could never escape this prejudice in her own lifetime, by taking on the role traditionally adopted by male painters of representing a female subject for purely visual pleasure, she is manages to subvert this stereotype. Niamh Corcoran, August 2018
Loading...-
227115 item(s)/page