We found 71174 price guide item(s) matching your search
There are 71174 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
71174 item(s)/page
Lot 639
Jessie Constance Alicia Traill (Australian, 1881-1967) and W.K. Johnson, "Their Time Has Come, Northumberland", signed WK Johnson 1946 and JCA Traill 1938, titled and numbered 24/25 in pencil, etching, framed. 12cm by 23cm Note: Traill was born in Brighton, Victoria. She studied etching in London with Frank Brangwyn. Her preferred subjects, the trees and moods of the landscape, were influenced by Japanese woodcuts and Art Nouveau.
Lot 96
**AN ETCHED GLAIVE OF THE GUARD OF MAXIMILIAN II, HOLY ROMAN EMPEROR (1527-76), DATED 1564 with etched knife-like blade, decorated on one face with the crowned Imperial double Eagle enclosed by the collar of the Order of the Golden Fleece and charged with the Arms of the Empire, the mirror monogram `M`, the motto `Deus Providebit` and a small panel including a cornucopia at the base, the reverse face with the date, the ragged staves of Burgundy dividing the fire steels of the Empire, the mirrored monogram, `M`, the motto and a small panel involving a marine monster at the base, (the etching extensively worn, areas ground, socket missing), on a wooden haft 24 cm; 61 in head Provenance Dr Bashford Dean, New York, purchased from his estate, 28 September 1929, his no. 151 JWHA Inv. No. 967 Another example from this group is preserved in the Kienbusch Collection, the Philadelphia Museum of Art, no. 561.
Lot 136
**A COMPOSITE NORTH ITALIAN CAP-A-PIE FIELD ARMOUR WITH ETCHED DECORATION, PROBABLY MILANESE, CIRCA 1570-80 comprising composite close helmet with one-piece skull rising to a high roped medial comb and fitted at the nape with a later plume-holder of brass, upper bevor and lower bevor attached to the skull at each side by common pivots (replaced), the visor with a stepped, centrally divided vision-slit fitted at its right with a lifting-peg (replaced), the upper bevor with a near-vertical profile, pierced at its right side with five ventilation-holes in dice-formation, the lower bevor secured to it at the right by a swivel-hook and pierced stud (restored), and two gorget-plates front and rear, collar of two lames front and rear (the lowest in each case originally decorated with recessed bands), breastplate formed of a main plate of deep `peascod` fashion, fitted at its arm-openings with moveable gussets (the right patched) and flanged outwards at its lower edge to receive a restored fauld of one lame and a pair of pendent tassets of trapezoidal form, each of thirteen lames (extensively patched at their articulating points), one-piece backplate flanged outwards at its lower edge, large asymmetrical pauldrons each of six lames of which the lowest three extend inwards only to the armpit, and of which the third is fitted at its the front in the case of the right with an upstanding modern haute-piece mounted on a mushroom-headed studs and turning-pins, and in the case of the left with a large modern reinforcing-plate extending upwards as an integral haute-piece and attached by a screw, pair of fully articulated tubular vambraces, each fitted at its upper end with a turner of one lame (the left associated) and at its elbow with a bracelet couter of three lames, pair of modern gauntlets, each formed of a flared and obtusely pointed tubular cuff, five metacarpal-plates, a shaped knuckle-plate decorated with a roped transverse rib, scaled finger and thumb-defences (those of the left incomplete), pair of modern cuisses each formed of a short gutter-shaped main plate rising to a convex upper edge and fitted at its lower edge with a poleyn of five lames formed at the outside of the third with a small medially-puckered oval side-wing, and a pair of modern greaves each of full-length tubular form fitted at its lower end with a round-toed sabaton of eight lames, the main edges of the armour formed with roped inward turns and its surface etched in bands and borders on a stippled and blackened ground with trophies, winged cherub`s heads, masks and fabulous beasts, enclosed by narrower band of cabling or, in the case of the pauldrons and vambraces, by engrailing repeated at their subsidiary edges, except on the gauntlets which are etched in their main bands with strapwork interlace (the etching modern throughout except on the breastplate and pauldrons) See note at front of catalogue for information concerning stands Provenance Duke of Osuna, Beauraing, Belgium Victor Bachereau, Paris Edmund C. Converse, sold American Art Association, New York, 26th November 1927, lot 291, $2,100 JWHA Inv. No. 403 Literature Stephen V. Grancsay, Catalogue of Armor: The John Woodman Higgins Armory, Worcester 1961, p. 88, illustrated
Lot 138
**A COMPOSITE NORTH ITALIAN CORSLET WITH ETCHED DECORATION, PARTLY BY THE `MASTER OF THE CASTLE` OF MILAN, LATE 16TH CENTURY comprising morion with rounded one-piece crown rising to a high roped medial comb (perforated near the front), and `swept` integral brim rising to an acute point front and rear (the rear with a small welded repair, collar of two lames front and rear (the upper one in each case restored), breastplate formed of a main plate of deep `peascod` fashion, fitted at its arm-openings with moveable gussets (the right restored) and flanged outwards at its lower edge to receive an associated fauld of one lame and a pair of pendent tassets each of four lames (restored, the right damaged at its inner end), pair of large symmetrical pauldrons, each formed of six lames of which the lowest three extend inwards only to the armpit (both with patched repairs), two fully articulated tubular vambraces (not a pair), each fitted at its upper end with a turner of one lame (the left originally surmounted by at least one more), and at its elbow with a winged bracelet couter of three lames, and two gauntlets (not a pair) each formed of a flared and round-ended tubular cuff, four metacarpal-plates, a shaped knuckle and finger-plate, the main plate of a laterally hinged thumb-defence (restored) and a detached scaled defence for the second finger of the right gauntlet, the main edges of the armour formed almost throughout with file-roped inward turns, and its surfaces, except on the fauld and top of the collar, decorated with etching on a stippled and blackened ground (in part worn), that of the morion consisting of strapwork interlace occupied by trophies of arms, birds, fabulous beasts and human figures in both classical and contemporary dress, and that of the remainder consisting of bands and borders of trophies of arms generally enclosed by narrow bands of cabling and enclosing in the interspaces and volutes of the fronts and rears of the pauldrons, busts and full-length figures of classical warriors, and involving at the neck-opening of the breastplate the device of a two-towered castle; together with a pair of modern scaled chin-straps, each etched on a stippled and blackened ground with running foliage in the German fashion of the 16th century, and a pair of modern cuisses each of four lames, fitted at their lower ends with winged poleyns of four lames and etched with bands and borders of etching in the Italian fashion of the second half of the 16th century See note at front of catalogue for information concerning stands Provenance Victor A. Bachereau, Paris, Dr Bashford Dean, Riverdale, New York Edmund C. Converse, sold American Art Association, New York, 26 November 1927, lot 294, $4,300 (with horse armour) JWHA Inv. No. 406 Literature Stephen V. Grancsay, Catalogue of Armor: The John Woodman Higgins Armory, Worcester, 1961, p. 83, illustrated The device of a castle etched at the neck-opening of the breastplate represents the signature of one of the most important Milanese armourers of the late 16th century, know to scholars today as the `Master of the Castle`. It is possible that he, like his contemporary, Pompeo della Chiesa, was privileged to work in the Castello Sforzesco, residence of the Dukes of Milan. Other extant works bearing his signature include the fine garniture made for Wolf Dietrich von Raitenau, Prince Bishjop of Salzburg, probably after 1587, and now divided between the Bayerisches Nationalmuseum, Munich, the Wallace Collection, London, and the Hermitage Museum, St Petersburg, as well as various armours preserved in the Museo Civico L. Marzoli, Brescia, the Real Armeria, Turin, the Real Armeria, Madrid, the Musée de l`Armée, Paris, and the Wallace Collection, London (C. R. Beard, The Barberini and Some Allied Armours, pp. 1924, 11-12; K. Maurice, `Armour for an Archbishop`, Apollo, Vol. CXII, pp. 474-5; Norman, 1986, pp. 29, 32-3 & 36-7; and D. J. LaRocca, `A Notable Group of Late Sixteenth-Century Etched Italian Armour`, Journal of the Arms and Armour Society, Vol. XVI, no. 4, March 2000, pp. 181-97).
Lot 143
**A COMPOSITE CAP-A-PIE TOURNAMENT ARMOUR WITH LATER ETCHED AND GILT DECORATION, ITALIAN AND GERMAN, EARLY TO LATE 16TH CENTURY WITH 19TH CENTURY ADDITIONS comprising close helmet with rounded one-piece skull rising at its apex to a prominent point from which radiate, alternately, four panels of scales and four ridges, visor and decorative `wings` attached to the skull at each side by common pivots with pierced and chased brass washers, the visor embossed in high relief as a grotesque mask, its eyebrows pierced with vision-slits, and the wings embossed in each case with radiating ribs separating pierced decoration, and a pair of cheek-pieces hinged to the skull at each side and fastened to one another at the chin by a turning-pin and keyhole-slot, the right cheek-piece fitted with a swivel-hook to secure the visor, and the skull and cheek-pieces each formed with internally hollowed rims designed to lock over and rotate on the turned upper edge of the collar, the latter formed of three lames front and rear, breastplate formed of a heavy rounded main plate with a shallow neck-opening, fixed gussets at the arm-openings, sturdy hasps at the shoulders and sides for the attachment of a backplate, a folding-lance-rest , several large holes, some with threaded inserts, for the attachment of an earlier lance-rest and tournament reinforces, its lower edge fitted with a shallow waist-lame to receive a fauld of three lames with applied turns at their outer edges, the centre of the lower edge of the third cut with a shallow arch separating a pair of long, tapering, pendent one-piece tassets decorated with slightly diverging flutes, backplate formed of a main plate with nearly straight upper edge, a pair of fixed side-plates (each patched), and a deep waist-lame flanged outwards at it lower edge to receive a culet of one lame, two large near-symmetrical pauldrons each formed of seven lames of which the lowest four extend inwards only to the armpit, two fully articulated tubular vambraces each surmounted by a turner and furnished with a winged bracelet couter of three lames, the central one in each case of bracelet construction and originally forming part of a three-piece vambrace, the front of the left one fitted with a turning-pin to attach a pasguard shaped to the elbow and the underlying wing of the couter, two gauntlets (the right holed and repaired at several points) each formed of a long flared and pointed cuff with a short hinged inner plate, six metacarpal-plates, a shaped knuckle-plate and the main plate of a laterally-hinged thumb-defence, pair of cuisses each formed of a long gutter-shaped main plate fitted at its convex upper end with a short extension lame and at its lower end with a winged poleyn of four lames (the main plate in each case patched at the point of the knee), and a pair of greaves each of full-length tubular form cut at the rear with a slit to receive a spur and fitted at the front with an integral broad-toed sabaton of nine lames, each decorated on its upper surface with a spray of flutes of shallow V-shaped section, the main edges of the armour decorated with roped inward turns except at the neck-opening and gussets of the breastplate which have plain angular outward turns, the borders of the armour etched and gilt on a stippled and blackened ground with running foliage, and the remainder of the surface etched and gilt overall on a similar ground with a diaper pattern of lozenges enclosing fleurs-de-lis, except on the mask of the visor which is gilt but devoid of etching (the helmet, waist-lame of the breastplate, tassets, culet, lower cannons of the vambraces and legharness restored) See note at front of catalogue for information concerning stands Provenance The Prussian Royal Collections (probably those formed by Prince Carl of Prussia) Duque del Infantado, Vineulas Castle, Madrid, Spain, 1924 - May 1931 JWHA Inv. No. 1646 Literature Hans Schedelmann, `Der Waffensammler`, Waffen- und Kostümkunde, 3rd series, vol. 6, 1964, p. 55, fig. 15. The breastplate represents a rare early 16th century Italian form for use in the jousts. The helmet is closely comparable with examples in the Royal Armouries Museum, Leeds, Inv. No. IV. 33, (Dufty & Reid 1968, pl. XCII), and the Musée de l`Armée, Paris, inv. no. H.123 (Reverseau 1982, pp. 14 & 77, fig. 1 & 20)
Lot 148
**AN ITALIAN CLOSE HELMET WITH ETCHED DECORATION, CIRCA 1560 with one-piece skull rising to a high boldly roped comb fitted at its apex with a small loop, perhaps for tying up a plume (patched and holed around and beneath the latter) and pierced to either side of the nape with a pair of holes for the attachment of a plume-holder, visor, upper bevor and lower bevor attached to the skull by modern pivots fitted beneath their small round heads with large rosette washers, the restored visor formed with a stepped and centrally-divided vision-slit and the restored upper bevor of blunt prow-shaped form pierced at each side with nine circular ventilation-holes in rosette-formation, and two short articulated gorget-plates front and rear (the front ones restored), the main edges of the helmet formed with roped inwards turns generally accompanied by recessed borders, and the subsidiary edges of the gorget-plates decorated with pairs of incised lines, each side of the comb and the main borders etched with running foliage enclosed to the inside by delicate interlacing filigree-like vine-leaves, the etching bearing traces of later gilding and the intervening spaces later painted black (the whole showing extensive wear throughout) 32 cm; 12 1/2 in high Provenance Sumner Healey, New York, 21 May 1937 JWHA Inv. No. 2364 For similarly decorated Italian armours of the same period as the helmet, see Karen Watts, `The Armour of the Knights of St John, Malta`, Royal Armouries Year Book, Vol. 3, 1998, pp. 29-36, figs 1-11
Lot 155
**A NORTH ITALIAN MORION IN THE SPANISH FASHION, CIRCA 1570-80, WITH ETCHED DECORATION OF THE 19TH CENTURY with one-piece almond-shaped crown rising at its apex to a backward directed `stalk`, and an integral brim turned down at each side and rising slightly to an acute point front and rear, its edges formed with file-roped inward turns accompanied by narrow grooves, the base of the crown fitted at the nape with a later plume-tube of brass and encircled by fourteen round-headed lining-rivets with accompanying rosette-washers also of brass (restored), two of them at each side retaining modern chin-straps, the crown later decorated with four radiating bands of etching on a stippled and blackened ground, the lateral ones including classical warriors, masks and trophies of arms, and the medial ones stylised acanthus foliage repeated around the brim, and the interspaces between the bands occupied cartouches enclosing subjects similar to those of the lateral bands 26.5 cm; 10 1/2 in high Provenance Dr Bashford Dean, New York, sold American Art Association, New York, 24 November 1928, lot 200 JWHA Inv. No. 619 Exhibited Worcester Art Museum, Worcester, Massachusetts, 1928-30 Berkshire Museum, Pittsfield, Massachusetts, 6 January 1965 - 21 February 1966 Worcester Polytechnic Institute, Worcester, Massachusetts, 12 -15 May 1967 Oneida County Jr. Museum, Utica, New York, 11 September 1967 - 8 January 1968 Museum of our National Heritage, Lexington, Massachusetts, 20 January - 20 May 1979
Lot 156
**A NORTH ITALIAN MORION IN THE SPANISH FASHION, CIRCA 1590 with one-piece almond-shaped crown rising at its apex to a vestigial backward-directed `stalk`, and slightly down-turned narrow integral brim projecting to an obtuse point front and rear (the front one patched), its edge formed with a file-roped inward turns accompanied by a narrow groove pieced all round with later small holes probably for attaching a lining or decorative trim, the base of the crown fitted at the nape with a later plume-tube of fretted brass and encircled by fourteen vacant holes for lining-rivets, small rivets at the junction of the crown and brim occupy holes similar to those bordering the edge of the latter, the crown etched with four radiating bands of trophies of arms separated by diagonal bands of guilloche enclosed in each case by trios of lines, and the brim, with stylised acanthus foliage also on a stippled and blackened ground (the etching much worn) 24 cm; 9 1/2 in high Provenance Berghard Steiner, Riverdale-on-Hudson, New York, sold Walpole Galleries, New York, 26 January 1927, lot 64 JWHA Inv. No. 65 Exhibited Worcester Art Museum, Worcester, Massachusetts, 1928-1930
Lot 222
**AN ITALIAN BUCKLER OF IRON, SECOND HALF OF THE 16TH CENTURY of slightly convex circular form, covered over at the front with faded crimson silk (replaced, perhaps in early working like), fitted peripherally with a reinforcing-ring, over a circular aperture at its centre with a low rounded boss having a flanged and scalloped edge (perhaps an early working life association), at its lower end with a hook, and at each side with a smaller boss concealing beneath it an iron rivet (replaced) that retains the tapered end of an internal wooden hand-grip, the inside and outside of the buckler finely etched in line in two concentric circles with alternating floral scolls involving on the outside of the boss a representation of Hercules fighting the Nemean lion, and in circular cartouches above and below the hand-grip, mounted warriors on a hatch ground (the etching extensively worn and the iron rivets replaced throughout) 41 cm; 16 1/4 in diameter Provenance S.J. Whawell, London, 1926 Theodore Offerman, New York, sold American Art Association, Anderson Galleries, New York, 13 November 1937, lot 96 JWHA Inv. No. 2467 Literature Walter J. Karcheski Jr, Arms and Armor of the Conquistador, Florida Museum of Natural History, Gainsville, Cat. No. 8 (Ill.) Susan Milbrath and Jerald T. Milanich, First Encounters: An Exhibit Guide, Florida Museum of Natural History, Gainsville, p. 31 (Ill.) Exhibited `First Encounters`, Florida Museum of Natural History, Gainsville, Florida, 23 August - 15 January 1933 `The Pen and the Sword: Martial Arts Manuals in Medieval and Renaissance Europe` J. W. Higgins Museum, Worcester, Massachusetts, 26 October - 27 May 2007 `Now Thrive the Armourers: Arms and Armor in Shakespeare`, Folger Shakespeare Library, Washington, D.C., 5 June - 9 September 2008 What appears to be this buckler is shown in a photograph taken about 1921-4 of the S. J. Whawell Collection, and now forming part of the Carl Otto von Kienbusch archive in the Philadelphia Museum of Art. The inner edge of the reinforcing-ring of the buckler appears originally to have been flanged upwards, presumably to catch the point of an opponent`s weapon. See Norman 1986, A317, p. 95, for a discussion of this type of buckler. As he notes, the Italian writer Giacomo di Grassi, Ragione di Adoprar Sicuramente l`Arme, Venice, 1570, p. 59, called it il brochiero. A buckler of this fashion appears in `The Painter with Death`, a self-portrait by Gaspard Masery, dated 1559 (Musée des Beaux-Arts, Cat. No. 379)
Lot 547
A Caughley blue and white coffee cup, c.1780-85, printed with the Travellers pattern after an etching by Paul Sandby, with a small dog running alongside figures on and beside a donkey, printed S mark, 6.5cm. Paper label for Klaber & Klaber. Exhibited: the Caughley Bicentenary Exhibition, Ironbridge, 1999, no. 443.
Lot 978
†COINS, AUSTRALASIAN TERRITORIES, FIJI Elizabeth II (1952- ), Cupro-nickel Proof 6-Pence, 1953 (KM 19). Uncirculated Proof, nicely frosted bust but a few light marks. The nicely frosted bust here showing what a real proof should look like after the die polishing and the acid etching took place.
Loading...-
71174 item(s)/page