There are 596780 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeTWO FOB WATCHES, the first a hunter fob watch by Elgin, the signed white enamel dial with Roman numerals and subsidiary seconds dial, to a signed keyless wind movement and profusely engraved case, stamped '14k', monogrammed to cover, (glass deficient), and a white metal open face fob watch, inscribed to interior, first watch case diameter 3.85cm (2)
TWO SAPPHIRE SET DRESS RINGS, the first a half hoop ring, alternately set with cushion-shaped sapphires and old-cut diamonds, 18ct gold mounted, the second a cluster ring, set with cushion-shaped sapphires and half pearls, (one pearl deficient, pearls untested for origin), hallmarks rubbed, ring sizes N and P½ respectively (2)
A COLLECTION OF ANTIQUE AND LATER JEWELLERY, comprising an Art Nouveau horn dragonfly brooch by Georges Pierre, signed GIP, with later fitting, a similar floral spray panel, unsigned, (fitting deficient), a blue zircon line bracelet, stamped '14k', a scarab brooch, an Irish bog oak panel bracelet, carved with shamrock motifs, (some panels deficient/damaged), a simulated pearl and stone set bracelet, (a/f), a coral corallium rubrum branch necklace, and a piqué work hoop-shaped panel, first brooch width 9.5cm (8)
POSTAGE STAMPS. A GREAT BRITAIN EMPIRE AND FOREIGN COLLECTION IN BUTLER BROS ALBUM AND S G SIMPLEX BINDER, THE FIRST WITH EARLIER RANGES, THE SECOND TO GVI INCLUDING GREAT BRITAIN FROM 1841, CANADA QV CENTS, INDIA, CHINA, RUSSIA, AUSTRALIAN STATES AND CARIBBEAN, THE BINDER WITH WELL LAID OUT RANGES OF LEAVES, THE MOST POPULAR TERRITORIES REPRESENTED IN PARTICULAR BELGIUM AND LATER FIRST DAY COVERS, ETC
A Rare Albert Marque bisque head Art- Character doll, French circa 1916, the highly sculptured head with beautiful fixed blue glass paper-weight eyes, finely painted lashes and feathered eyes-brows, closed mouth with protruding upper lip, moulded pierced ears, plump rounded cheeks and elongated sloping nose with shaded nostrils, original light brown wig with card pate and on a uniquely modelled fully jointed composition body with elongated torso, wide hips and bisque lower arms with attached ball-joints at elbows and finely sculptured fingers, the shaped legs with elongated narrow feet, wearing Russian style black velvet trouser suit with gold silk lining, fine black bead trim to jacket and decorative mirrored metal buttons, with a cream silk blouse decorated with sequins and metallic beads, thick red sash, floppy black beret, underclothes, white socks and brown leather shoes with ‘Au Bon Marche Layettes’ label, incised A. Marque to back of head and with pencil mark to sole of right foot, reading ’32, P??miela’ , indecipherable, 22” (56cm) tall. (professional restoration to head and left hand). Albert Marque was a sculptor at the Ecole Francaise and from the end of the 19th century regularly exhibited at many prestigious Paris salons, in around 1915 there was a deliberate movement in Paris away from the traditional pretty Bebe dolls so famously made there. A group of well- known artists, including sculptors, porcelain manufacturers and fashion designers, became involved in creating a more realistic doll, reflecting a more expressive character. The artist doll by A. Marque was first presented at an exhibition by Margaine Lacroix, it is thought that no more than 100 of these dolls where made, most being inscribed by a number, this doll has number 32 in pencil to foot. A rare and important opportunity to acquire one of the world’s rarest dolls that seldom come up for sale at auction.
Two doll trunks, the first with black leatherette exterior and carry handles, with inner tray holding many useful beads and necklaces for dolls, together with a number of brooches, including R.A.F, Mother in enamel, Dutch girl, ribbons and more, trunk 8” (20cm) tall, 15” (38cm) long, together with another in black leather with cream interior and tray and ‘Fisher, 188 Strand, London’ label, 11 ½” (29cm) tall, 15” (38cm) long.
A pair of wax over composition shoulder head dolls, English circa 1860, the first with fixed brown glass pupil-less eyes, painted mouth and slit-head with blonde hair, on a cloth body with kid leather arms and turned in feet, wearing original pink silk striped dress with black lace bodice, underclothes and lace bonnet, 18” (46 cm) tall, together with a similar smaller doll with brown hair and wearing original clothes, (some crazing to face), (2 items).
Moritz Gottschalk Dolls House, circa 1907, the decorative lithographed façade with balcony to first floor, with opening door, pitched blue roof and two chimney’s, veranda to side and steps to front opening door, two rooms both with original floor and wall papers, two later fireplaces, rug, table, two chairs and cooker, (generally good condition, some general wear, some restoration to exterior), 24” (61cm) tall x 14” (36cm) wide.
Moritz Gottschalk No.4244 Dolls House, circa 1907, the decorative lithographed façade with balcony to first floor both with opening doors, pitched roof and chimney, front opening to two rooms both with original floor and wall papers, (generally good condition, some general wear and slight loss to veranda roof papers to rear and lacks glazing to main windows), 21” (53cm) tall x 16” (40.5cm) wide.
East Coast African Expedition 1873-74 & Livingstone Exploration interest- a Victorian Royal Engineers Officer's dress sword, formerly the property of Major Cecil William Esmonde Murphy, Royal Engineers:, the straight single edge blade with acid etched decoration, armorial and initials 'CWEM' retailer mark to ricasso for J B Johnstone, London & Dublin,scroll decorated one piece hilt and guard, single quillon, wire bound fish skin grip, in a polished scabbard with double suspension loop, blade length 82cm long, together with copies of family research and documentation.*Biography - Major Murphy was born in India in 1842 and commissioned into the Royal Engineers in 1862. He was acting as Commissary of Ordnance at Aden when he was asked to join a relief search party sponsored by the Royal Geographic Society. The society were concerned about Doctor Livingstone after losing contact since the infamous meeting with Henry Morton Stanley and a relief party was formed under the command of Lieutenant Verney Lovett Cameron. The expedition was beset by tragedy from the outset, as Robert Moffat (a nephew of Livingstone) was struck down by fever and died. The expedition's progress was hindered by the mass desertion of carriers who were scared of being caught in the middle of a war between natives and Arab slave traders. All three men leading the party were struck by illness, Cameron was struck by fever that caused weeks of blindness and Dr William Dillon was delirious and suffering from internal inflammation. Upon meeting some of Livingstone's carriers in Unyanyembe they learned of the death of Livingstone but Cameron decided to press on with the expedition and became the first man to cross Central Africa coast to coast, while Murphy believing the expedition to have finished resigned and decided to escort Livingstone's body back to Bagamoyo. *Provenance. By direct family descent.
A scarce Russian Order of St Anne, Medal of Distinction for Foreigners 1911 pattern awarded to Lieutenant Commander W B Rendle RN:, gold and enamel, suspension eyelet bearing the '56' mark for St Petersburg (1908-1917) with ribbon in case of issue, together with a photograph of the recipient wearing full Royal Naval Uniform and two newspaper cuttings relating to Lieut Cmdr W B Rendle.*Notes- William B Rendle was born 7th October 1875 at East Stonehouse, nr. Plymouth, Devon. He joined the naval service as a trainee seaman at the age of 12 on 8th December 1895 progressing through the ranks to Acting Bosun. Married Edith Ellen Blackmore of Exmouth on 27th April 1905. They had a son, James, born 1907 and a daughter, May, born 1909. Edith Ellen died in 1932 and it is likely that William B Rendle remarried another Edith (Edith Josephine Shiels) in 1939.He served on many ships and was widely travelled, returning to the Devonport area with his wife and daughter from South Africa on the Dunluce Castle having been put on the retired list from active service as of 7th October 1925. Following his return to the UK he resumed general duties at HMS Raleigh Naval Training Centre at Torpoint, where he was promoted to Lieutenant Commander to enable an upgrade in his pension. This appointment was terminated 7 January 1945. He died 4th December 1947 at the age of 71. His estate totalled £134.12s.10d.In 1915 he was serving on HMS Jupiter and on the 5th February 1915 Jupiter was detached from her guard ship duty to serve temporarily as an icebreaker at Arkhangelsk, Russia, while the regular icebreaker there was under refit. Jupiter made history by becoming the first ship ever to get through the ice into Arkhangelsk during the winter, her February arrival was the earliest in history there. Tsar Nicholas II authorised the striking and issue of medals commemorating the feat to all officers, petty officers and seamen (class 1, 2 and 3 respectively).
Schneider Trophy, an Air Ministry issue size 3 leather flying helmet with 'Gosport' tubes worn by Wing Commander George Hedley Stainforth AFC RAF (1899-1942):, the lined leather skull with label for Frank Bryan Limited and dated 1939, signed in pen to lining 'Stainforth', together with spare set of Gosport tubes, a later pair of halycon flying goggles and related research.*Notes- George Stainforth joined the RAF in 1924 and after being promoted to Flight Lieutenant in 1928 was posted to the Marine Aircraft Experimental Establishment for duties involving high speed flight. As a member of the Schneider Trophy team in 1931 he was the first man to travel at over 400mph, an achievement for which he was awarded the Air Force Cross. He was killed in action whilst piloting a Beaufighter at Gharib in September 1942.
Lt. Cmdr Sidney Charles Hutchison , CVO, RNVR, WWII group of six:, CVO neck badge in box of issue, 1939-45 Star, Atlantic Star, Africa Star, Pacific Star and War medal , with matching miniature group, ribbons and rosettes and photograph of the recipient, also a framed grant of the dignitary signed 'Elizabeth R' , two statue books of the Order and related letters etc.*Notes- Sidney Charles Hutchison (1912-2000) was among one of the first detachments to take back Hong Kong at the end of the Second World War. In 1946 he returned to the Royal Academy which he had joined at the age of 17. From 1949 to 1968 he was the RA's librarian becoming the Secretary from 1968 until 1982 when he retired.
A CHINESE GLAZED POTTERY MODEL OF A TWO STOREY WATCHTOWER HAN DYNASTY With a sloping roof with a bird surmount and figures of four archers on the first storey, surrounded by a fenced moat filled with turtles, and all decorated with a green lead glaze over a red biscuit body, possibly produced by Henan or Shaanxi kilns, 51cm. (2) Provenance: a Hong Kong private collection, purchased from R McPherson.
18TH CENTURY ENGLISH SCHOOLTHE OLD CHAIN PIER, BRIGHTON Oil on canvas45cm x 66cm (17.75in x 26in)Note: The Brighton Chain Pier was built between 1822 and 1823. It measured 350 yards long and thirteen feet wide, and acted as a bridge between the cliff wall and four towers, being used as an embarkation point for cross-channel ships. Its position was, however, exposed to the elements and the coming of the railways and the more sheltered aspect of Newhaven port, spelt its demise in use. Neglect weakened the pier and it was declared unsafe in October 1896.On 4 December 1896, a 'terrific storm of wind, with some rain' blew all day. At about 10.30pm, 'suddenly, amid the roaring waves and the howling of the wind, the pier shivered convulsively from end to end; and in a few moments the entire structure had collapsed. Nothing remained standing but the vestiges of the first piles of timbers'. An eye-witness said that 'the light at the pier-head remained until the last'. The next morning, all that remained was the broken first tower and some jagged piles jutting out of the sea. The chains had sunk right down onto the beach and sea bed.
GEORGE IV MAHOGANY BOOKCASE, AFTER A DESIGN BY GEORGE SMITHEARLY 19TH CENTURY the inverted breakfront top above an egg and dart frieze and a central drawer flanked by bow front drawers, over a single shelf, flanked by silk panelled cupboard doors enclosing single drawers, over a foliate moulded apron, raised on scrolling feet188cm wide, 95cm high, 54cm deepNote: George Smith (1786-1826) published three influential books on design in the first quarter of the 19th century. Smith's A Collection of Designs for Household Furniture and Interior Decoration, published in 1808, was itself influenced by the work of Thomas Hope. Smith's goal was to make Hope's designs accessible to the middle classes, so that 'the beauty and elegance displayed in the fittings-up of modern houses may not be confined to the stately mansion of our Nobility'. He adapted classical motifs borrowed from Egyptian, Greek and Roman sources, but was not averse to adopting Gothic and Chinese elements as well. He followed his first book with A Collection of Ornamental Designs, after the Manner of the Antique, in 1812, and was a regular contributor to Ackermann's Repository. His final publication in 1826, The Cabinet-Maker's and Upholsterer's Guide, included a design for a 'Drawing Room Commode', Plate VI, from which the present lot derives.Smith recommended the open-shelved commode for use in the drawing room, although they could be used in 'almost every apartment of a house… for such books are in constant use'. The height of the design was kept deliberately low to allow the wall above to be kept free for paintings or pier mirrors. Although Smith stated he had the patronage of George IV and promoted himself as 'Upholsterer and Drawing Master to His Majesty', no substantive evidence has been found to corroborate these claims. In the introduction to the Guide, Smith mentions his forty years of experience in the theory and practice of cabinet-making, but interestingly no firm evidence of a cabinet-making business carrying his name has come to light. Regardless, he is considered one of the key designers of the Regency period, yet despite his prolificacy, actual pieces that relate directly to his designs are rare.
ELIOTH GRUNER (AUSTRALIAN 1882-1939)THE SILVER LIGHT OF SUMMER MORN Signed, oil on canvas41cm x 46cm (16in x 18in)Provenance: A gift to the current owner from Dr. Patricia Mackay who brought it back to Scotland from Australia c.1934/35. When in Australia Patricia Mackay spent time with her first cousin Angus MacIntyre who acquired, re-built and lived in Fairlight House, Manly from 1910-1939. Although there is no record of MacIntyre's collection, Gruner was a regular visitor to Fairlight House.Note: One of the later figureheads pertaining to the Australian Impressionist movement, New Zealand-born artist Elioth Gruner (1882-1939) is distinguished as one of the country's most innovative and poetic painters of light, whose work captured the imagination of many throughout the early 20th century. We are delighted to offer The Silver Light of Summer Morn, an assertion of Gruner's artistic prominence, and a landmark of his evolving career.Gruner moved to Australia at a young age, and in 1901 began selling paintings to Sydney's Society of Artists, where his work gradually gained traction. It was not until 1923, however, that Gruner garnered much of his inspiration from his travels across Europe, where pioneers of European Modernism conjured a rethinking of his artistic technique. The paintings of Cézanne introduced him to a high-key palette, whilst those of Gauguin revealed the beauty of expressive brushstrokes and simplified forms. Upon his return to Australia, Gruner's repertoire developed in accordance with his European counterparts - a simplification of subject matter, an increased attention to pattern, and a freer, wider sweep of the brush set him apart from his Australian equals.The Silver Light of Summer Morn is a fine example of Gruner's dedication to plein-air painting, in which we're presented with his new, excited and liberal working of the brush. A vast turquoise sky extends across most of the composition, subsuming a mellow swathe of sand, and a delicate slither of seawater disappears into the bright horizon. Rougher topology in the distance smoothly tapers down to a low vanishing point, convening with the lighter tones of the water's surface. We are not, however, the only admirers of this placid view. To the bottom right two women regard the calm waters with their backs to the viewer, one leisurely reclining beneath a pink parasol, the other standing. A deckchair endorses this site as one frequently revered by visitors, accentuated by more distant figures merrily testing the waters of the calm Pacific Ocean. Nonetheless, we're still drawn to the sprawling sky that dwarfs all the participants in this blissful scene - Gruner's affirmation of the landscape as the most important facet of this masterful work. The atmosphere is palpable; long shadows allude to the early time of day - a raw light often favoured by Gruner. The painting evokes a certain ephemerality, as if the tide will soon rise, consuming the lowly swathe of sand; the seated woman will surely raise and fold her parasol, continuing with the nearby figure for an amble along the beach. The solitary deckchair will not remain on the sand forever, and the light will change as the day progresses. It is this refreshing simplicity of elements - an impression of a calm Pacific morning - which marked Elioth Gruner as an artist of distinguished skill, worthy of receiving the Wynne Prize seven times across three decades of painting. The Silver Light of Summer Morn is a demonstration of nostalgia, and a celebration of local beauty. It references the theory of artist Max Meldrum who proposed tone as the most important element of any painting. Most importantly, however, is that Gruner painted the unpaintable: the element of light itself.
TWO PORCELAIN PUNCH BOWLS19TH CENTURY the first, a Samson example decorated with flower sprays with a pink scale border and gilt details, with an associated hardwood stand, 29cm diameter; the second a Chinese Canton example decorated with butterflies, birds and fruit, with gilt details, 29.5cm diameter (2)Provenance: Select Items from Arthur Lodge, Edinburgh
TWO EDWARDIAN UPHOLSTERED ARMCHAIRSEARLY 20TH CENTURY in matching blue stripe upholstery with braid trimming, the first a wing armchair with outscrolled arms and square tapered legs with ceramic castors, 108cm high; the other with a low back and outscrolled arms, on square tapered legs with brass castors, 70cm high (2)Provenance: Select Items from Arthur Lodge, Edinburgh
TWO INDIAN CARVED HARDWOOD TABLE ITEMSLATE 19TH/ EARLY 20TH CENTURY the first a brass dinner gong punch decorated with the Taj Mahal, in a crescent shaped stand carved throughout with flowers, with wood striker, 30.5cm high; and box carved with buildings and tiger attacking an elephant, on foliate filled ground with animals and birds, 32cm wide (2)
A Goss porcelain crested mug decorated with the Arms of Sutton Coldfield, commemorative model of a British tank with Arms of the City of Bristol, and three fairings, comprising (Happy Father) What Two? Yes Sir; Two Little Beauties; Shall We Sleep First or How?; and Twelve Months After Marriage. (5)
HEDLEY FITTON (1857-1929)Rue St. Romain, Rouenoriginal etching, first statepencil signed in the lower margin12 1/2 x 13 1/2 in (31.7 x 34.3cm)Provenance: with Robert Dunthorne, LiverpoolSold with three other etchings comprising 'The Empress' by Robert Houston; St. Giles Cathedral, Edinburgh by Mary Mackay; and The Castle, Edinburgh by Mary Mackay; four (4)
WALTER GREAVES (1846-1930)Duke Street, Chelseaetching, signed in plate 'W.Greaves', with some foxing in margins and on mountPl. 8 x 7 in (20.3 x 17.8cm); together with a further etching by the same artist depicting Old Chelsea Bridge, 1872; two (2) The son of a Chelsea boat builder, Walter Greaves and his brother Henry ferried the artist James Whistler on the Thames. Already an amateur artist when he first met Whistler in 1863, he later became an unpaid studio assistant of the artist. As a topographical draughtman he specialized in recording the Thames and Streets of Old Chelsea before their development in the later Victorian era.
‡JOSEF HERMAN (1911-2000).A Minerpen and wash9 x 7 1/2 inDateable to c. 1944-1955Exhibited : National Museum and Gallery of Wales 30th May-26 July 1992Provenance: with Christopher Powney Mrs D. DixonThe rise to prominence of Josef Herman is closely linked with the eleven years that he spent in South Wales. The mining community became a rich source of atistic inspiration for him. On his first visit in 1944 to Ystradgynlais, the artist had written: 'The image of Miners on the bridge... had mystified me with its mixture of sadness and grandeur and it became the source of my work for years to come. For Herman the miners with their stoical labour, dignity, wit and sheer endurance had become profound symbols of universal labouring Man
‡STANLEY R BADMIN RWS RE FSIA (1906-1989)Henham, Essex; and Wendens Ambo, Essexsigned 'S.R. Badmin' (lower right)pen and ink drawings5 1/4 x 8 1/4 in (13.4 x 20.9cm)Provenance: with The Fine Art Society, London. January 1940Badmin studied at the Camberwell School of Art (1922-24) and then at the RCA. Later he taught at the St Johns Wood Art School from 1936.Badmin's depictions of the British countryside helped inspire a revival of interest in British pastoral landscape in the late 1930's and early 1940's. He illustrated a number of books, his first major project being 'The Highways and Byways of Essex', in which he collaborated with F.L. Griggs (1937)
‡EDWARD HOLROYD PEARCE (1901-1990)Beach at Cannessigned with initials 'E.H.P' (lower right)and with inscription as title and artist's address versooil on canvas9 1/4 x 13 1/4 in (23.5 x 33.6cm) Provenance: Estate of the late Carolyn Lawrence Edward Pearce, though best known as a distinguished Law Lord & Privy Counsellor, was also a talented artist. He first took up painting in 1932 when as a young barrister he was recovering from tuberculosis.He was the son in law of Bertram Priestman, and a friend of Edward Seago. Together they made a number of painting tours to the Continent, travelling in Seago's Austin Seven
RICHARD- KARL KARLOVICH ZOMMER (1866-1939)A Street Market with Figures, near a ruined mosquesigned in cyrillic (lower right)oil on board13 1/2 x 16 1/2 in (34.3 x 41.8cm)The location depicted has traditionally been identified as SamarkandProvenance: Fountain Charles Bolton, Esq, by descent to his daughter Mollie Bolton,Worlingham. Surrey Thence to the present vendor The first known owner of this painting was Fountain Charles Bolton. He was manager for W.J. Bush & Co at their Moscow factory producing oils and essences for the British market At the outbreak of the Russian Revolution in 1917, Fountain sent his wife and four children out of Russia escaping by sledge across the ice to Sweden and then to England. Fountain Bolton remained in Moscow hoping to save the business but soon it became apparent that he had to flee.It was now impossible to take the same route as his wife and children. He and a friend managed to get a place on one of the last trains leaving Moscow and travelled east via Nizhny Novgorod into Siberia.Once in Siberia they had to change trains and make do with places in a goods truck with no windows.The circumstances in which Fountain Bolton is said to have acquired the painting by Zommer shortly thereafter,are outlined in a manuscript text written by his daughter Mollie Bolton in a biographical essay about her early life, titled 'The Early Years'.'Progress was very slow; sometimes they didn't move all day, often being stuck out in no-man's land in between stations.When stopping in village stations sometimes peasants came wanting to barter for any food travellers might have to spare. Father exchanged a loaf of bread for an oil painting of Samarkand (still in my possession) which he brought back home packed flat in the bottom of his suitcase'Fountain travelled on through Siberia and Mongolia to Vladivostock and thence Japan. From there he joined a Danish Red Cross ship (where he had to sign on as medical attendant in order to board) bound for Vancouver. He eventually returned via America to the UK. The painting by Zommer became a prized possession for Bolton and a memento of his extraordinary escape from the Bolsheviks.Richard Zommer, the artist, was a Russian of German origin, now remembered as something of an explorer artist. He studied at the Academy of Arts, St. Petersburg from 1884. Between 1890 and 1900 he travelled widely in central Asia. In the early 1900's he moved to Georgia and worked in the Caucasus Mountains, providing an invaluable record of life in that remote territory at the time. Later he travelled extensively in Kazakhstan, Georgia and Armenia between 1912 and 1917. During some of that time he taught and exhibited paintings at Tbilisi. Another Zommer painting with a colourful history, akin to the Brightwells example, which was acquired by a British army officer stationed in Tbilisi in 1915/6 and brought back rolled in an army map box to England shortly thereafter, was sold at Woolley & Wallis Auctioneers,Salisbury, lot 472 (titled 'Figures by a Mosque'), March 15th 2017. Zommer's paintings of street scenes are often set in the mostly Muslim territories of old Russia.There the artist found rich material in the colourful bazaars, mosques and street processions in towns along the Silk Route. His better known pictures of Samarkand include a view of the Shir-dor Mosque, Samarkand (sold Sotheby's, London lot 39 May 31 2006) and A street Market near the ruins of the Bibi-Khanyan Mosque, Samarkand (sold Christies, London lot 349 November 26 2008).In 1939 the Stalin regime forced Zommer to leave Georgia and no record of him has been found after that time. He is believed to have been interned and later died in a Siberian prison camp as part of Stalin's purge of non ethnic Russians.
A collection of Victorian stamps, presented in a Briefmarken brown stockbook, the first page having two penny blacks, QJ and KD, both with red Maltese cross cancellations, and a good selection of penny reds, page two has penny reds and two penny blues and a further penny black, LE, page three has another good amount of penny reds, the remainder are some good examples from Queen Victoria's reign
Loading...
