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 107
Circle of Johannes Kerseboom (British, circa 1679-circa 1707)Portrait of Miss Coningsby, half-length, wearing a gold coloured dress, blue shawl and white lace collarOil on canvas, oval 45.8 x 35.7cm (18 1/16 x 14 1/16in).Footnotes:This and the following Lot 108 are portraits of the daughters of Thomas, first Earl Coningsby, Margaret (d.1761) and Frances (d.1781) by his second wife, Frances Jones (1674-1714) daughter of Richard Jones, first Earl of Ranelagh. Lord Coningsby ensured that after his death each was a Countess in her own right, hence they are usually portrayed in red. With thanks to Catherine Beale for her historical guidance and research on this lot.For further information on this lot please visit Bonhams.com
Lot 108
Circle of Johannes Kerseboom (British, circa 1679-circa 1707 London)Portrait of Miss Coningsby, half-length, in a red dress and white lace collarOil on canvas, oval 45.8 x 35.6cm (18 1/16 x 14in).Footnotes:This and the previous Lot 107 are portraits of the daughters of Thomas, first Earl Coningsby, Margaret (d.1761) and Frances (d.1781) by his second wife, Frances Jones (1674-1714) daughter of Richard Jones, first Earl of Ranelagh. Lord Coningsby ensured that after his death each was a Countess in her own right, hence they are usually portrayed in red. With thanks to Catherine Beale for her historical guidance and research on this lot.For further information on this lot please visit Bonhams.com
Lot 57
Attributed to Sir William Beechey (British, 1753-1839)Portrait of a lady, half-length, in a black dress with a ruby brooch and pearls in her hairOil on canvas laid down on board 75.2 x 63.6cm (29 5/8 x 25 1/16in).Footnotes:The present Lot is likely to be a portrait of Catherine Stephens, who married George, fifth Earl of Essex in 1786 (see Lot 56). George, Viscount Malden inherited Hampton Court Castle from his grandmother in 1781. Between 1786 and inheriting the earldom in 1799, the couple lived at Hampton Court Castle, remodelling the south front including the addition of a large glasshouse to the south-west corner, and calling in Repton to redesign the gardens.With thanks to Catherine Beale for her historical guidance and research on this lot.For further information on this lot please visit Bonhams.com
Lot 66
An Italian 19th century carved white statuary marble bust, believed to be of Sarah Hoskins, wife of John ArkwrightFacing to sinister, her hair in ringlets, wearing a pleated dress, 38cm wide, 20cm deep, 49cm high (14.5in wide, 7.5in deep, 19in high) Footnotes:Sarah Hoskyns married John Arkwright in 1830. Sarah was twenty-three years younger than John which, wrote the wife of the vicar of Bodenham, some thought 'unfortunate; persons who know her say her manners are artificial & that she has a very high spirit... but love is blind they say, & Miss H is young & pretty looking.' Sarah died in 1869.With thanks to Catherine Beale for her historical guidance and research with this lot.For further information on this lot please visit Bonhams.com
Lot 248
ANN MACBETH (1875-1948) GLASGOW SCHOOL COLLAR, CIRCA 1900 padded silk ground, with appliqué of silk, embroidered in silk threads in satin stitch and couchingDimensions:54cm wide, 45cm high, approximate depth 19.5cmNote: Exhibited: The Crafts Exhibition, Old Bluecoat School, Liverpool, 1912Literature: The Studio Yearbook, 1908, p. 291, where illustratedNote: An inspiring artist, teacher and women’s rights activist, Ann Macbeth’s embroideries continue to charm and captivate those who set their eyes upon them. Skilfully executed, her work typically features young female figures encased within an array of stylised roundels and openwork banding. However, as a teacher at the School of Art, she continued to uphold Jessie Newbery’s views and encouraged students to explore women’s fashion and artistic dress. This rare surviving example of a collar, very likely worn by her for a portrait taken in 1900, captures the organic essence and vibrancy of the Glasgow style.In an age of rapid change and industrialisation, Glasgow was transforming into a prosperous city; a model of pioneering design and manufacturing, especially within the shipbuilding and textile industries. Whilst the School of Art’s main focus was to foster fresh young designers to strengthen city’s key trades, the director Fra Newbery equally believed in the importance of nurturing individuality amongst his students. A hub of exciting creative experimentation, Ann Macbeth enrolled at the School in 1897 and immersed herself in this stimulating and progressive environment; a space in which women could actively pursue an artistic career and financial independence.By the late nineteenth century, embroidery was enjoying somewhat of a revival, however, the country’s contribution to the medium was largely machine-made. Handcrafted embroideries were limited to Berlin wool work: sold as ready-made printed designs for the consumer to stitch onto with coloured wools. Unimaginative, laborious and completely lacking in originality, embroidery was reduced to a stereotypical domestic craft of no real artistic merit. With Jessie Newbery at the helm of the School’s Embroidery department, she sought to transform such ideas and teach embroidery as a design subject in a variety of forms, including artistic dress.Arguably Jessie Newbery’s most talented student, Ann Macbeth’s striking embroideries were a regular feature in The Studio and the present lot was no exception. Well-received and much admired, it was illustrated in the Magazine’s 1908 edition on page 291. The design of this collar illustrates both Newbery and Macbeth’s interest in producing non-restrictive womenswear of an artistic aesthetic. Far removed from the tight-corseted dresses which shaped bodies into the desired aesthetic under a male gaze, Macbeth advocated designs for free-flowing garments that gave way to a natural waistline. Belts, collars and cuffs were a particular focus for the pair since they offered women several options to accessorise a variety of outfits; a highly economical approach to emerging fashions of the day.As a teacher, taking inspiration from William Morris’ Arts & Crafts ideals, Macbeth encouraged students to be inspired by nature as a source of ideas, a view which is clearly demonstrated in the design of this collar. Filled with friezes of intertwined leaves, petals and stylised rosebuds, Macbeth looks to traditional stitching methods of the past in a bid to achieve an expressive, yet elegant garment; the design of which is entirely original. Whilst Newbery’s earlier pieces take inspiration from the simple and delicate designs of the Renaissance, Macbeth tended to embellish her pieces with elaborate metal clasps and other decorative fastenings. Richly embroidered in brightly coloured threads, her pieces became popular for their practicality as well as their beautiful designs.In 1908, Macbeth succeeded Newbery as Head of the Needlework and Embroidery Department at the School; she also taught bookbinding and ceramic decoration in the years that followed. Both women designers held strong views that art embroidery should be accessible to all classes and often encouraged the use of cheaper materials in their designs, such as hessian and less expensive silk threads. A champion of honest and original designs, executed with a good level of craftsmanship, her students’ work was both stylistically distinctive and of very high quality.It must be said that whilst this design of this collar may appear simple to the eye it is deceptively so, as it demands a remarkable level of skill and creativity from the embroiderer. The arrangement of abstracted plant forms and expressive linear patterns come together in perfect symmetry and sit in harmony with the pastel-coloured silk threads chosen. The complexity of the stitching techniques employed also speak to the unique skills and knowledge of the embroiderer. Each component in the design has been worked with a great deal of silk threads and yet every rose bud and petal appears entirely uniform: the expressive stitching no doubt helps the design achieve a certain feeling of weight and energy which brings the piece to life. A careful balance of practicality and beautiful decoration, this rare collar showcases the enchanting designs of Ann Macbeth which were a significant contribution in the evolution of the iconic Glasgow style.
Lot 222
WW2 & post war Uniform belonging to Captain John Mantell M.B.E of the Warwickshire Regiment (son of Henry Mantell & Ivy Mantell of a previous WW1 Tunic lot) of his full No’ 2 uniform & cross belts, great coat, battle dress tunic & trousers, swagger stick, hot weather uniform, non issue cold weather coats, Socks & Scarf with other items of clothing all inside his metal trunk.He was awarded his MBE for saving the lives of his section when on exercise in Wales a live hand grenade was dropped and he picked it up running with it to a safe point to throw as it went off injuring his hand, so he missed the rest of WW2 but went on to Palestine.
Lot 173
Vacheron Constantin: A 1970s dress watch model. 6038, automatic movement, 18ct gold case, round white dial with applied gold 12, 3, 6 and 9 and baton hour markers, outer seconds track in black, gold pencil hands, gold centre seconds hand, Swiss assay mark, on a generic strap, no box and papersDimensions:Case: 36mm excluding crown
Lot 129
UK NORTHERN/ SOUL - 7" ORIGINALS. A fantastic pack of 7 northern/ soul 7" singles, mostly original UK pressings. Artists/ titles include Chuck Jackson - Chains Of Love/ I Keep Forgettin' (7N.25384, record is stunning Ex+), James Carr - The Dark End Of The Street/ Lovable Girl (SS 2001, Stateside demo. Ex+), Laura Lee - To Win Your Heart/ So Will I (TMG 831, Ex), Sugar Pie Desanto - Soulful Dress/ Use What You Got (7N.25249, Ex+), Little Anthony - Gonna Fix You Good/ You Better Take It Easy Baby (UP 1151, Ex+), The Esquires - Get On Up/ Listen To Me (SS 2048, VG+) & Gloria Taylor - You Gotta Pay The Price/ Loving You And Being Loved By You (56788, Ex+).
Lot 233
ATTRIBUTED TO JOHN HOSKINS (BRITISH, 1589-1664)Portrait miniature of a lady called Mrs Mary Davies, in a blue dress and wearing a large drop pearl broochon vellumoval, 90mmin a gilt-metal frame with spiral surmount engraved ‘Mrs. Davis’ (to the reverse)ProvenanceJohn Pierpont Morgan (1837-1913);Sotheby’s, 9 November1944, lot 99;John Tapp (possibly acquired from the JP Morgan Collectionsale);Private collection, UKCondition ReportPaint flaking/scuffed in chest area.There appears to be some retouchingin the background.Under glass and unexamined out of frame.
Lot 234
THOMAS FLATMAN (BRITISH, 1635-1688) AFTER JACOB HUYSMANSPortrait miniature of Catherine of Braganza, Queen Consort of King Charles II, dressed as a shepherdesssigned with initials (centre left)on vellumrectangular, 107mm highin a black wood frameProvenanceTomkinson and Propert Collections, no. 75;John Pierpont Morgan (1837-1913);Christie’s, 24 June 1935, lot96 (35 gns to John Tapp);Sotheby’s, London, 9 November 1944, lot 102;Mikel Papier Collection, thence by descent.FootnoteThe original large-scale portrait by Jacob Huysmans is in the Royal Collection, inv. no. 405665.Condition reportSmall diagonal line visible lower right to background, possible old repair.Horizontal creases/marks centre and centre left and far centre right.Under glass and unexamined out of frame.Under uv light fluoroses on her strap and a little where her dress meets her skin.
Lot 241
PETER PAUL LENS (BRITISH, CIRCA 1714-CIRCA 1754)Portrait miniature of a lady in a white dress with lace collar and white mob capsigned and dated in gold ‘P. Lens / 1743’ (lower right)on ivory (ref XAGLU2GC)oval, 50 mm highset into the interior cover of a tortoiseshell gold-mounted bonbonnièreProvenanceChristie’s, London 25 November 1987, lot 299;Private collection, UKCondition ReportMould damage to the surface of the miniature.Possibly a little discoloured.Under glass and unexamined out of frame.
Lot 242
ANDREW BENJAMIN LENS (BRITISH FL. 1713-1779)Portrait miniature of a lady called Miss During, in a white dress and green hatsigned in gold with monogram ‘ABL’ (lower left)on ivory (ref N29AYCFQ)oval, 76 mm highin a stained frameCondition reportSome small abrasions to far centre left and far centre right.A few pale brown spots to her face and chest.Two small spots to centre right in background.Other very small marks in places.Under glass and unexamined out of frame.Some small flecks on her dress fluorescing on her dress under uv lights.
Lot 243
ANDREW BENJAMIN LENS (BRITISH FL. 1713-1779)Portrait miniature of a lady in a blue dress and white ruffsigned with monogram ‘ABL’ (lower left)on ivory (ref P56ZABA7)oval, 42 mm highin a gilt-metal frameCondition reportA little bowed.Some surface dirt, including a small pale mark on her chin to right, looks to be on surface, and to left in background.Very small dark spots to upper right in background.A small hair on the surface on her chest trapped under glass.Very small mark or possibly very small of paint loss to far lower right, in background.Under glass and unexamined out of frame.
Lot 244
ANDREW BENJAMIN LENS (BRITISH FL. 1713-1779)Portrait miniature of Sophia Carteret, nee Fermor, Countess of Granville, wearing a pale lilac dresssigned in gold with monogram ‘ABL’ (lower left)on ivory (ref ELJFV194)oval, 85 mm highin a gilt-metal frame, elaborately engraved with the family coat-of-arms and ‘Sophia Countess of Granville, / mother to the Rt. Honble The Lady / Sophia Carteret’ (to the reverse)ProvenanceH. Gordon Bois;Sotheby’s, London, 27 March 1947, acquired by Mikel Papier;Mikel Papier Collection; thence by descent via his granddaughterLiz FieldCondition reportA few very small, minor spots in places including a very small black mark on her nose which may be surface dirt.Appears in generally good condition.Inspection under uv light reveals a few flecks fluorescing on her dress, to the edge of her hair on the right and a little in the background.
Lot 245
THOMAS WORLIDGE (BRITISH, 1700-1766)Portrait miniature of a lady in a blue and white dress, wearing a mob capon cardoval, 63 mm highin a gilt-metal frameProvenanceSir Leonard Twiston Davies (1894-1953);Mr & Mrs Twiston Davies;Sotheby’s, London, 20 July 1981, lot19The Gordon Collection of Portrait Miniatures;Christie’s, London,20 November 2007, lot 40;Private collection, UK
Lot 246
WILLIAM SINGLETON (BRITISH, D. 1793)Portrait miniature of a child in a white dress with a green sashsigned with initials ‘W.S’ (lower right)on ivory (ref 7Q5TKULH)oval, 48 mm highin a gilt-metal frameCondition reportAppears generally good.Under glass and unexamined out of frame.Inspection under uv light reveals a trapped hair under the chin. Also flecks fluorescing to clothes.
Lot 254
JOHN BOGLE (BRITISH, 1746-1803)Portrait miniature of a lady in a white dress, wearing a pendant around her necksigned with monogram and dated ‘IB / 1802’ (mid-right)on ivory (ref JDGFNKRP)oval, 55 mm highin a gilt-metal frameProvenancePhillips, London, 7 November 2001, lot 410;Private collection, UKCondition ReportMinor abrasions to left and lower border but generally in good condition. No fluorescence under ultraviolet; unexamined out of frame.
Lot 261
THOMAS HARGREAVES (BRITISH, 1774-1846)Portrait miniature of a lady, possibly a member of the Leigh family, in a white dress and coral necklacesigned and dated ‘Hargreaves / March 1808’ (on the backing card)on ivory (ref 3ZU4NAXM)oval, 79mm highin a gilt-metal mount within rectangular black wood frame, within leather presentation caseProvenanceThe Albion Collection;Bonhams, London, 22 April 2004, lot 139Private collection, UKExhibitedBath, The Holburne Museum of Art and Edinburgh, PhillipsAuction House, Secret Passion to Noble Fashion, 1999.Edinburgh, Scottish National Portrait Gallery, The AlbionCollection Loan, 2000-2003.
Loading...-
228098 item(s)/page