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 351
A figurine featuring a young woman in a serene blue prairie dress and white bonnet, seated as her beloved cat and dog curiously observe each other. Lladro backstamp. Artist: Juan HuertaIssued: 1980-1997Dimensions: 5.25"L x 3.5"W x 7.25"HManufacturer: LladroCountry of Origin: SpainCondition: Age related wear.
Lot 332
Gres finished intricate design of Thai couple dancing in traditional dress. Colored in soft greys, blue and rose standing on oval base. Lladro backstamp. Artist: Vincente MartinezIssued: 1974 - 2019Dimensions: 8.5"L x 7.5"W x 21"HManufacturer: LladroCountry of Origin: SpainCondition: Age related wear. Missing fingers.
Lot 333
Glossy figural in dance pose, man in grey blue suit and women in traditional ruffled tiered dress in white and pink with shawl in blue grey. Lladro backstamp. This item has its original box: 17"L x 12"W x 22"H. Artist: Regino TorrijosIssued: 1997Dimensions: 9"L x 9"W x 17"HManufacturer: LladroCountry of Origin: SpainCondition: Age related wear.
Lot 1
Large original bronze sculpture with a dark green marble base after French Art Deco sculptor Louis Icart who has depicted a semi nude dancer who holds the folds of her dress with her raised hands. Her body is heavily patinated in a golden tone to contrast with the green patinated dress. Carved in a front fold: Louis Icart. On lower right of the bronze base: Paris France. Artist: Louis Justin Laurent Icart (France 1888-1950)Issued: c. 1970Dimensions: 12.50"L x 7"W x 21"HCountry of Origin: FranceCondition: Age related wear.
Lot 285
Collection of ladies costume jewellery to include Swarovski crystal set brooch and matching earrings, simulated pearl necklaces, tigers eye beaded necklace, amber style plastic beaded necklace, Ciro pink stone flower brooch, Rotary pocket watch, silver locket, two silver bangle bracelets, white metal gem set pendants, stone set jaguar brooch, dress earrings including some silver, beaded necklaces etc.
Lot 1304
A 14ct yellow gold emerald and diamond dress ring, featuring a centre pear cut emerald in a bezel setting within three rows of 11, 8 and 11 round brilliant cut diamonds, in channel settings, emerald dimensions approx 7.8 x 5.4 x 3.9mm, weight estimated as 0.88 carats, diamond diameters approx 1.9 to 2mm, total weight estimated as 0.90 carats,. assessed mounted collectively colour H to I and clarity SI1 to SI2, ring w.5.1 to 15.7mm, size M½, gross weight 10.6g, stamped and tested as 14ct
Lot 1279
An 18ct yellow gold ruby and diamond dress ring comprising an oval ruby in a bezel setting with a baguette and single cut diamond to either side. Ruby dimensions 8.6x6.9x4.9mm approx. Weight estimated as 2.64 carats. Baguette diamond dimensions 3.4x2.1x2.1mm. Single cut diamond dimensions 2.2x1.38mm each approx. Total diamond weight estimated as 0.34 carats. Assessed mounted collectively colour H to I, clarity VS2 to SI1. Finger size M. Gross weight 4.4g. Hallmarked 18ct Birmingham 1995. Sponsor CPMSmall fracture on underside of ruby
Lot 1300
An 18ct yellow gold, sapphire and diamond dress ring, featuring an oval sapphire claw set within a ridged surround set with four round brilliant cut diamonds, sapphire dimensions approx 6.12 x 4.6 x 3.1mm, weight estimated as 0.81 carats, diamond diameters each approx 1.8mm, total weight estimated as 0.08 carats, size M, gross weight 6.2g, hallmarked 18ct, London import 1990, sponsor YVFacets slightly chipped on sapphire.
Lot 1149
Follower of Sir Anthony Van Dyck (1599-1641) Flemish Family portraitOil on canvas, 147.5cm by 206cmUnlined canvas, stretcher missing keys. Slack tension. A small 1.25 inch split to canvas at the top edge to the right of the curtain. Partially repaired (?) and surrounded by a swathe of restoration (see images). The canvas and stretcher are slighly distorted and bend away from the frame rebate at the two top corners. The slack canvas is distorted and undulating in places, most prominently at the top right corner (see image) and bottom right edge. Further small bulges from blows from face and reverse for example the top left corner, through the dress of the right hand girl and to bottom right of lute.Stretcher bar marks on all sides and associated with cross-members, and a network of brittle age craquelure throughout, and impact cracks. Paint and ground secure, but the cracks have elevated slighly. There are also passages of drying cracks (unretouched), most prominently in the red of the curtain and in the darker passages of drapery of the father. There is a more noticeable impact crack to the hand of the little girl, where the varnish has powdered and is now white, and there further minor white cracks to the right hand side of this. Two further scuffs to the varnish to left hand edge and scattered minor spots to top left.There are scattered small retouched losses and retouched cracks throughout, the restoration now discoloured. There has been a further campaign of retouching to the flesh tones of the mother/girls, baby, and hand of the father, and to the hair of the mother. This is opaque and is apparent in bright light (see images in torchlight). It appears that the painting has been selectively and partially cleaned in these areas leaving an uneven appearance. The same varnish has been partially removed from the paler passages of drapery too, which has caused some abrasion particularly evident in the green of the mother's skirt. It has been left on in most of the painting. It is difficult to see through the discoloured varnish layers if there is further wear in the dark areas.There are thick surface layers of discoloured varnish and ingrained dirt, but a fairly even glossy upper varnish layer.Not examined in UV, examined in frame.
Lot 1159
Follower of Sir Thomas Gainsborough RA, FRSA (1727-1788) Portrait of a lady, three-quarter length seated, wearing a brimmed hat, a pink dress and a fur stole and muff, a veiw of a landscape at sunset beyond Oil on canvas, 110cm by 85.5cm Lined, original tacking margins removed as can be seen where exposed at the top, right and bottom edge from the face. One key missing, lacking in tension, minor splits to corners of lining canvas. Some slight pressing of impasto from lining process.A finescale brittle age craquelure throughout, all stable and no elevation. Most apparent in the paler passages, flesh, drapery, hair. Some passages of cracking slighly opened, possibly drying cracks. One minor unrestored loss to the original edge a the upper right edge, an approx. 3inch scuff to the bottom of the fur stole, a small white loss to the bottom edge, a 1cm loss to the back of the neck and a tiny loss in the hair (all unrestored).There ia very thick old very discoloured varnish layer, which has degraded and broken up. It has flaked off in small patches throughout, and scatters the light making it very difficult to see what condition the original paint is in underneath, particularly in the darkest passages. The flaking yellowed varnish has left the paler passages with a mottled appearance, and the darks fairly obscured. It is likely that there are some further minor losses and possibly some abrasion in the dark areas. There has been some abrasion in the lighter passages, particularly to the curls of the hair, and the hand. There is no restoration visible on top of the thick old varnish, and it is not possible to see if it lies over an older campaign of restoration. However, the surface doesn't suggest that there has been a history of flaking or loss. Possibly some minor reinforcing in the hair.The surface has an fairly uneven surface gloss, and there might be an upper varnish layer on top of the broken up one, and a layer of dirt, dust and cobwebs.
Lot 1052
Christian Meyer-Ross (1843-1904) Norwegian Portrait of an elegant lady, three-quarter length standing, wearing a fine pink evening dress, an ermine stole, and holding an ostrich feather fan Signed, inscribed "Roma" and dated (19)03, pastel, 134cm by 75.5cm A good flat even picture plane, one very small bump in the top right corner visible in raking light. An approx 1cm band of disturbed/smudged pastel along the bottom edge likely from movement in the slip (see images). Scattered lumps of dust and fibres, with larger ones towards the bottom of the picture, with futher scattered fibres. An incised squiggle to fur sleeve - part of artist's technique? A futher scratch like mark below the highlight on the neck near the jaw line.A dark stain to the top edge emerging from under the slip (see images), and a possible patch of timestaining to top left corner where the pastel is slighly disturbed in places?There is a slighly bumpy surface to the pastel in places, appearing to be under the pastel layers (see images).
Lot 1154
Circle of Sir Peter Lely (1618-1680) Portrait of a lady, three-quarter length seated, before a draped velvet curtain, wearing a blue velvet dress with white chemise and holding a posy of flowers in her lap, a landscape beyond Oil on canvas, 124cm by 100.5cm With Christie's stencil FM494 to reverse The picture is lined, with all keys present and good tension. Some small splits to the corners of the linign canvas. There is fresh worm damage to the frame. Original tacking margins have been removed. Small old and fresher losses visible to the left and top edges where the picture has moved in the frame slightly. Some retouched. There is an old brittle age craquelure throughout, with some very slight elevation in passages of thicker paint for example the face, but barely noticable and appears secure with no real history of flaking and loss. There are numerous minor old filled and retouched losses mostly to the background. There is a passage of cracks to the left top edge in the trees that have been opened up slighly by cleaning in the past. The picture has been partially cleaned, removing the thick old yellowed and opaque varnish from the face, neck, sky and some of the drapery. It is difficult to see exactly what is happening in the background due to the obscuring varnish which is slightly broken up in places. Possibly further old restoration. However, there are scattered old losses including one patch of fresher cracking paint 1.5 inches right of the head, a small lifting filling to the hair to the left of the pearls, in the red curtain top right corner, and a possible retouching in a horizontal line above the head. The old varnish has left greeny yellow patches in places, for example in the darker glazes of the blue boddice, and to the right of the elbow. Some of the old varnish has been left on to the left of the sitter's face which is visible pooled in the troughs of the canvas/brushstrokes. There are passages of more recent retouching to the bottom left of the dress, and further patches of dark overpaint to the bottom of the dress. There has also been some possible loss of glazes or pigment degredation in this area as the blue has a greyish hue. There is slight abrasion to the ringlet over the shoulder and in the right hand proper, but the sitter is in generally nice condition. There is a fairly patchy and uneven surface gloss, and surface dirt and debris. Examined in frame
Lot 1053
John Atkinson (1863-1924)The Artist’s DaughterSigned, watercolour, 45cm by 59cmThere are two small horizontal convex distortions to the paper, an approx 3-inch one above left of the hat, and a smaller 1.5inch above the horse's hind quarters (see images in raking light). There is some tiny microflaking to one brushstroke of thicker paint in the lead rein over the pink dress, and some very minor cracking of thicker bodied paint strokes in the sky. There is one small loss, retouched, to the highlight at the top of the horse's hind quarters (see image). Possibly some light time staining and light surface debris. Colours appear fairly vivid.
Lot 1088
Adolphe Valette (1861-1942) French A lively beach scene, possibly Wales Signed, dated 1916 to label verso, oil on canvas, 38cm by 53.5cm Provenance: The Perera collection Purchased from Mr. Lamming in Jersey (who was the executor of Andre Valette's Estate.) The canvas tacking margins all present with some minor rips and damages to the turnovers. Canvas slightly lacking in tension, all keys loose in stretcher. There is a network of cracks throughout the central portion of the canvas possibly from movement/damage where it has not been protected by the stretcher bars; these cracks are lifting slightly pulling the canvas. In places they have lifted to create sharp lifting points not adhered to the canvas (most visible in raking light) although there have not been any losses of paint yet, for example below right of the two left most swimmers, below the feet of the little girl in pink (see images), and top left corner. There are futher stable drying cracks in places, such as the arm of the little girl in white and the mother's pink dress. Small cracked bumps to each corner, presumably from the stretcher. There is one minor unretouched loss below the top right swimmer in black, a tiny loss to the sand bottom left, and a further small loss to the foot of the gent in top hat - all stable and unretouched. An even surface layer with light surface dirt and minor dust/accretions. No apparent restoration, in fair condition. Examined in frame
Lot 1156
British School (18th century) Portrait of a lady, half length, wearing a white satin dress, in a feigned oval Oil on canvas, 74.5cm by 62.5cmA lining from the second half of the 20th century, with stretcher dating from the same time with all keys present. The canvas visible at the back of the painting is loose, and does not appear to have been impregnated with adhesive. A possible secondary / half lining? The original tacking margins present on all sides, and the canvas is fairly rigid but undulating and not taught/supported.There is a widespread large scale brittle age craquelure and impact craquelure throughout, along with linear cracking associated with the stretcher bar. Much of this is slightly raised, especially in the face and left background. A few scattered lifting corners but the vast majority appears secure. A few tiny pinpoint losses associated with the cracking.There is a campaign of slighly matt, murky retouching to the top edge where the original ground is exposed, to minor looses along the edges and scattered minor losses across the painting. Some retouching, too, to gold paint/leaf on the surface. There is the same matt retouching in long brushstrokes to the hair and long curls.There has been some abrasion to the mid-tones and glazes to the face and hair.Old ingrained dirt and varnish is visible in the troughs of the brushstrokes apparent in the lighter passages, and remnants of old varnish has been left on in the background which obscures enough to not be able to see if there is an older campaign of retouching here.There is a thick layer of surface dirt and debris over a fairly glossy varnish, with some more recent abrasions to the varnish from movement in the frame at the edgesExamined in frame
Lot 1163
Follower of Allan Ramsay (1713-1784) Portrait of Mrs Salisbury, three-quarter length seated before a landscape, wearing a black dress and white accompaniments Oil on canvas, 90.5cm by 75.5cm Christie's stencil to stretcher 219C "The sitter, Mary, wife of Thomas Salisbury of Marshfield, * Yorks. She was born 1734, daughter of John Lister and Great Granddaughter of Rev. Anthony Lister of Giggleswick, Yorks... her son, Richard Salisbury born 1765, was father of Ellen who married Lloyd Salisbury Baxendale and died at Wellington Maidstone, March 10th 1869, aged 77" (according to old inscription to stretcher)
Loading...-
228098 item(s)/page