We found 48016 price guide item(s) matching your search

A 9ct yellow gold five bar gate link bracelet, with box clasp and safety chain, approx. 11.7g.Additional InformationSlight compression in parts, basically good condition. 

A 9ct gold gate link bracelet, with heart shaped lock, weight 27.5g. 

A yellow metal eleven bar gate link bracelet with 9ct gold heart shaped padlock clasp and safety chain, length 18cm, approx. 36.82g. Additional InformationPlease note thwe main bracelet is not hallmarked. Some compression to the edge pieces and misshapen sections throughout, and also surface wear. 

Five pairs of 9ct yellow gold earrings, a damaged gate link bracelet, a 9ct gold watch head and three further gold earrings, combined approx. 33g. 

CROWN TRIFARI; a vintage 1960s gold tone three strand bead set with matching clip-on drop earrings, a textured twisted gold tone short necklace, three gold tone brooches and a brushed satin gate bracelet, all signed Crown Trifari. Additional InformationAll in very good unused condition. 

INDIAN SCHOOL, EARLY 20TH CENTURY; a set of seven watercolour on ivory miniatures, views of palaces and ruins, framed as three, the largest 10cm x 13cm, the smallest 5cm x 6cm, the back of the framed inscribed 'Lady Fry from Miss D Ross', framed and glazed. CITES submission number CHHCHE5AAdditional InformationThe frames are giltwood and gesso. One of the single frames has a repaired break where the scroll detailing to the top of the frame has been reattached, and also to the base scroll. Frames with general light wear. Images lightly grubby but overall ok. One of the large panels, the one of the palace, is cracked from left to right through the building, gate and wall. 

JOHN ROUND; an Edward VII hallmarked silver vesta case of chased decoration surrounding a scrolling cartouche with engraved initials 'FJR', Birmingham 1903, together with a silver gate link bracelet, a further white metal broken bracelet and an assortment of coins including a George III example.

5 large loose model cars, boxed Gate Mazda NX5, plastic model Museum of Steam Tom Varley and metal Waterloo Boy tractor

14k gold gate bracelet 7”long, w: 14.7 gms

9k rose gold gate bracelet with heart lock, 7” long, w: 13.9 gms

(1) Mutti-Vati Kultur. Till Death do us part. As longs as it lasts. Rotterdam, Witte de With Cahier # 1, 1993. Softcover, 27 x 20.5 cm, 195 pp., cover designed by Weiner. Signed copy. (2) The Society Architect. Ponders The Golden Gate Bridge. Cologne, Walther König, 2000. Softcover, 24 x 17 cm, 87 pp. Signed, dedicated and dated '2001' in pen by Weiner on title-page.(3) Lawrence Weiner: Werken vanaf het begin van de jaren zestig tot aan het einde van de jaren tachtig. Works from the beginning of the sixties towards the end of the eighties. Amsterdam, Stedelijk Museum, 1988. Edited by Marja Bloem. Softcover, 28 x 24 cm, 72 pp. (4) Lawrence Weiner : nach alles / after all. Berlin/New York, Guggenheim Museum Publications, 2000. Edited by Nancy Sector, Lisa Dennison. Hardcover, 25.5 x 25.5 cm, 92 pp. All books in very good condition. (total 4)

All approx. 9 x 13.5 cm. Mounted on both sides of 12 lvs. fold. in leporello between cl.-covered wooden covers, 12 x 18 cm.Without any text. 12 photos on one side of the leporello depict women in traditional costume, the 12 photos on the other side mainly depict buildings (for instance Yomeimon Gate) and landscapes.

METAL GATE MIRROR

A Nice Quality Silver Three Bar Gate Link Charm Bracelet with Heart Safety Clasp, 18cms Long Approx, Sheffield 1980 by AWF

A mahogany cased brass instrument by V Neck & Co. Buckingham Gate London

A BAG OF ASSORTED SILVER AND WHITE METAL JEWELLERY, to include a silver hinged bangle with a floral and foliate design to the one side, push button integrated clasp with additional safety chain, hallmarked 'Georg Jensen' London 1959, approximate internal diameter 57.1mm, a silver openwork bird brooch set with three amethyst cabochons, fitted with a brooch pin with a full silver hallmark, a white metal marcasite RAF brooch fitted with a brooch pin, a silver gate bracelet, hallmarked Sheffield, with heart padlock clasp hallmarked Birmingham, a white metal abalone shell brooch fitted with a brooch pin unmarked, approximate gross weight 76.3 grams, together with a white metal articulated necklace fitted with an integrated box clasp stamped 925, a mother of pearl oval brooch with marcasite detail, fitted with a brooch pin stamped 925, a locket and chain stamped 'Silver', a white metal initial bar brooch unmarked, a white metal openwork brooch set with an amber cabochon and marcasite detail, stamped 925, a rolled gold fringe necklace fitted with a spring clasp, Scottish white metal brooch, a 'Parker 61' fountain pen, a boxed 'Parker Duofold' fountain pen fitted with a 14k nib, a 'Sekonda' quartz watch head, a boxed 'Swarovski' pendant necklace etc

A PINE OVAL GATE LEG TABLE, open length 133cm x closed 45cm x depth 107cm x height 74cm, along with a stained oak dresser base, with two drawers over two cupboard doors (condition - general surface marks) (2)

A G PLAN FRESCO GATE LEG TABLE, open length 138cm x closed 31cm x depth 92cm x height 73cm (condition - surface marks and stains)

A 9CT GOLD GATE BRACELET, designed with a series of five bar links, some textured some plain polished, hallmarked 9ct Birmingham, fitted with a heart padlock clasp hallmarked Sheffield, length 190mm, approximate gross weight 10.3 grams (condition report: the bracelet is missing the additional safety chain, the clasp opens and closes with ease, general light wear, overall condition good)

THIRTY ONE LILLIPUT LANE SCULPTURES FROM THE MIDLANDS COLLECTION AND SOME EMPTY BOXES, mostly boxed and some deeds, comprising two Anne Hathaway 1989, Anne Hathaway (no box), William Shakespeare, Summer Haze (deeds), Little Smithy, St Mary's, two Izaak Walton (one no box), Foxglove Fields, Moreton Manor, Four Seasons (deeds), Waterside Mill (deeds), Lace Lane, Riverview, Little Smith (deeds, chip to eaves), Larkrise (deeds chip to chimney), Granny Smiths (no box), Button Down (no box), two Farthing Lodge (both with deeds), two Pennys Post (one with deeds), Fiveways (no label, box or deeds), two Robins Gate (one no box or deeds) and three Tanners Cottage (two boxed) (31) together with six empty boxes (Condition report: some rubbing and chips)

Jill Squire, The Field Gate, oil on board together with with Jeremy James Stiff, still life study of a vase and fruit, oil on board, both framed

Thomas Koether (New York, Florida, Europe, Australia, b. 1940) Abstract Painting.Titled: "Yellow Menagerie"Dated: '89 / '96Oil on Canvas. Signed and dated verso, twice. Overall Size: 52 x 42 in. (224 - 4265)In 1960, Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Students League. In June of 1966 he graduated with honors from N.Y.U. and was accepted to the N.Y.U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of ’71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces – one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of his own abstractness – landscapes and still-lives of his own psychic and emotional space. This work has a post-psychedelic aspect. In 1974 Koether moved back to New York and worked in N.Y.C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. ONE PERSON SHOWS2001 SRQ ON MAIN, Sarasota, Florida1996 TAMPA ELECTRIC CO., TECO PLAZA, Tampa, July 1 – July 31, Marilyn Mars, Curator1995 KOETHER – NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida1993 MATRIX, Renegade Gallery, East Hampton, New York1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N.S.W., Australia1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY1974 AJANTA GALLERY, New York, New York1973 St. Croix, Virgin Islands1972 St. Croix, Virgin Islands1971 Ars Bar, Ibiza, Spain1970 Ars Bar, Ibiza, Spain1969 Ars Bar, Ibiza, Spain1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin IslandsSELECTED GROUP AND JURIED SHOWS2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida1994 KOETHER, ASHAWAGH ’94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB., Juror: Larry Walker, Prof. of Art at Georgia-State University1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York1986 PLASTO GALLERY, Mullumbimby, N.S.W., Australia1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia1985 N.P.U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N.S.W., Australia1971 LE CENTER AMERICAN, Paris, France

Thomas Koether (New York, Florida, Europe, Australia, b. 1940) Abstract Painting.Titled: "Wind in the Essence" Dated: '71 Oil on Canvas. Signed and dated verso. This item was restretched in 2018.Overall Size: 32 x 25.75 in. (4320)In 1960, Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Students League. In June of 1966 he graduated with honors from N.Y.U. and was accepted to the N.Y.U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of ’71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces – one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of his own abstractness – landscapes and still-lives of his own psychic and emotional space. This work has a post-psychedelic aspect. In 1974 Koether moved back to New York and worked in N.Y.C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. ONE PERSON SHOWS2001 SRQ ON MAIN, Sarasota, Florida1996 TAMPA ELECTRIC CO., TECO PLAZA, Tampa, July 1 – July 31, Marilyn Mars, Curator1995 KOETHER – NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida1993 MATRIX, Renegade Gallery, East Hampton, New York1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N.S.W., Australia1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY1974 AJANTA GALLERY, New York, New York1973 St. Croix, Virgin Islands1972 St. Croix, Virgin Islands1971 Ars Bar, Ibiza, Spain1970 Ars Bar, Ibiza, Spain1969 Ars Bar, Ibiza, Spain1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin IslandsSELECTED GROUP AND JURIED SHOWS2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida1994 KOETHER, ASHAWAGH ’94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB., Juror: Larry Walker, Prof. of Art at Georgia-State University1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York1986 PLASTO GALLERY, Mullumbimby, N.S.W., Australia1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia1985 N.P.U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N.S.W., Australia1971 LE CENTER AMERICAN, Paris, France

Thomas Koether (New York, Florida, Europe, Australia, b. 1940) Abstract Painting. Titled: "Like Dancing" Dated: '87 Oil on Canvas. Signed and dated lower right and verso. Size: 57.5 x 49.5 in. (90 - 4571)In 1960, Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Students League. In June of 1966 he graduated with honors from N.Y.U. and was accepted to the N.Y.U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of ’71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces – one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of his own abstractness – landscapes and still-lives of his own psychic and emotional space. This work has a post-psychedelic aspect. In 1974 Koether moved back to New York and worked in N.Y.C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. ONE PERSON SHOWS2001 SRQ ON MAIN, Sarasota, Florida1996 TAMPA ELECTRIC CO., TECO PLAZA, Tampa, July 1 – July 31, Marilyn Mars, Curator1995 KOETHER – NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida1993 MATRIX, Renegade Gallery, East Hampton, New York1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N.S.W., Australia1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY1974 AJANTA GALLERY, New York, New York1973 St. Croix, Virgin Islands1972 St. Croix, Virgin Islands1971 Ars Bar, Ibiza, Spain1970 Ars Bar, Ibiza, Spain1969 Ars Bar, Ibiza, Spain1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin IslandsSELECTED GROUP AND JURIED SHOWS2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida1994 KOETHER, ASHAWAGH ’94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB., Juror: Larry Walker, Prof. of Art at Georgia-State University1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York1986 PLASTO GALLERY, Mullumbimby, N.S.W., Australia1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia1985 N.P.U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N.S.W., Australia1971 LE CENTER AMERICAN, Paris, France

Thomas Koether (New York, Florida, Europe, Australia, b. 1940) Abstract Painting. Titled: "Red Progression 3" Dated: '89 Oil on Paper. Signed lower right. Image Size: 8.75 x 11.75 in. Overall Size: 13.75 x 16.75 in. Unframed. (255 - 4946)In 1960, Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Students League. In June of 1966 he graduated with honors from N.Y.U. and was accepted to the N.Y.U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of ’71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces – one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of his own abstractness – landscapes and still-lives of his own psychic and emotional space. This work has a post-psychedelic aspect. In 1974 Koether moved back to New York and worked in N.Y.C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. ONE PERSON SHOWS2001 SRQ ON MAIN, Sarasota, Florida1996 TAMPA ELECTRIC CO., TECO PLAZA, Tampa, July 1 – July 31, Marilyn Mars, Curator1995 KOETHER – NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida1993 MATRIX, Renegade Gallery, East Hampton, New York1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N.S.W., Australia1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY1974 AJANTA GALLERY, New York, New York1973 St. Croix, Virgin Islands1972 St. Croix, Virgin Islands1971 Ars Bar, Ibiza, Spain1970 Ars Bar, Ibiza, Spain1969 Ars Bar, Ibiza, Spain1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin IslandsSELECTED GROUP AND JURIED SHOWS2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida1994 KOETHER, ASHAWAGH ’94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB., Juror: Larry Walker, Prof. of Art at Georgia-State University1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York1986 PLASTO GALLERY, Mullumbimby, N.S.W., Australia1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia1985 N.P.U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N.S.W., Australia1971 LE CENTER AMERICAN, Paris, France

Umbo (d.i. Otto Umbehr) (Düsseldorf 1902 – 1980 Hannover). Golden Gate Bridge, San Francisco. 1952Silbergelatineabzug des Nachlasses, 1995. 29,2 × 22,5 cm (30,5 × 24,5 cm) (11 ½ × 8 ⅞ in. (12 × 9 ⅝ in.)). Rückseitig Nachlassstempel und von Phyllis Umbehr mit schwarzem Filzstift signiert, Datum des Abzugs sowie nummeriert.Einer von 50 nummerierten Abzügen. [2032]Literatur und Abbildung: Herbert Molderings: Umbo. Otto Umbehr 1902-1980. Düsseldorf 1995, T. 136 / Ausst.-Kat.: Umbo, Fotograf. Hannover, Sprengel Museum; Berlin, Berlinische Galerie, 2019/20, S. 228 (weitere Aufnahme des Motivs)Zustandsbericht: In sehr gutem Zustand. Glänzendes festes Papier. Weißer Blattrand. An unterer linker Ecke minimale Druckstelle durch rückseitige Handschrift.Wir berechnen auf den Hammerpreis 32% Aufgeld.

Cast iron LNER 'Close the Gate' sign

A 9ct Gold Gate Bracelet, 20th Century, with padlock clasp, 180mm overall, gross weight 14.5g

Seven ring binders of various postcards to include Newmarket examples, St Mary's Church, Duchess Drive, Upper Station Road, St Hopes Church, and Approach to the Heath, also to include The Abbey Gate, Bury St Edmunds, Felton's (Barrow) with part of the rose garden, the Market Place Wisbech, The Abbey of St Edmund etc

A collection of Edwardian and later postcards, all being Bury St Edmunds views to include The Abbeygate, Norman Tower, Abbot's Bridge, The Rose Garden, The Abbey Gardens, Abbey Gardens and Gate, The Borough Offices, Angel Hill, Souvenir Letter Cards and Valentine's Postcards 6 Choice Views of Bury St. Edmunds. (many duplicates.)

A 9 carat gold gate bracelet, with a padlock shaped clasp, 9.1g, together with a 9 carat gold curb link bracelet, with a padlock shaped clasp, 12g (2)

A Georgian oak gate leg drop leaf table. Approximately 106 cm long.

An oak barley twist gate leg drop-leaf table. 76 cm long.

Gate/door hinges largest measures approx 31 inches tall

A 9ct gold gate bracelet, 7.2g

model No. B0485 by Ray Ayres, limited edition 315/750, on wood base, with certificateNo box, shepherd's hand with manufacturing fault (please see images), gate reglued at hinges, otherwise ok

A framed watercolour of a woodland scene with a stream running along side a path leading to a gate, signed lower right 'H. Sell 1950'. Together with a framed and mounted watercolour depicting Wild Flowers, no visible signature, label verso 'Kotsaka Oddie'.

A small framed oil on board of a young girl and dog by a gate, signed 'S. Shaw' lower left, along with an oil on board of a lady sat sewing, signed 'Mallon' lower right.

A 9ct gold pretty gate link bracelet with safety chain, makers mark NK. (17.50g)

Englischer ¨Gate-leg¨ Tisch, um 1800 - Ulmenholz (Vollholz), runde Platte mit 2 abklappbaren Flügeln, besäulter Klappstand, verstrebt, H 81cm, Platte (47cm), Patina

2 silver gate bracelets

Early 20th century novelty letter rack modelled as a gate and picket fence, with brass post finials, on pine base, L43cm

A PAIR OF MONUMENTAL BRONZE NIO GUARDIANS, DATED 1783 BY INSCRIPTIONJapan, dated 1783Each standing atop a naturalistically cast rockwork base raised on a finely carved lacquered wood stand supported on four stout cabriole legs. The open-mouthed Misshaku Kongo holds a vajra in his raised left hand, his other hand lowered with the fingers stretched out, while the close-mouthed Naraen Kongo thrusts his right hand forward with the palm facing forward, in a protective gesture akin to the abhaya mudra, while his left hand is clenched into a fist. Both guardians wearing short skirts and billowing scarves, their muscular bodies with prominent ribs, their faces with wrathful expressions, their hair and brows neatly incised, their topknots with foliate headdresses. Each statue is inscribed to the reverse, 'Tenmei san, mizunoto-u toshi, kichijitsu, kore wo osaku' ('This is donated on an auspicious day, in Tenmei 3 (corresponding to 1783), in the year of mizunoto-u').HEIGHT each 117 cm (excl. base) and 157.5 cm (incl. base) WEIGHT 92 & 96 kgCondition: Very good condition with old, attractive wear; casting flaws, minor nicks, light scratches, small dents. The wood stands with some wear, minor nicks and scratches, expected age cracks.Provenance: US private collection. The inscription on the present nio statues records that they were donated in Tenmei 3 (1783), a fateful year during which the devastating Tenmei eruption on Mount Asama in central Honshu occurred, exacerbating the Great Tenmei famine. It is plausible that an ardent patron commissioned and donated the pair to protect an important temple from further calamity during a particularly difficult time.Nio or Kongorikishi are two wrathful and muscular guardians of the Buddha standing today at the entrance of many Buddhist temples in East Asian Buddhism in the form of frightening wrestler-like statues. They are dharmapala manifestations of the bodhisattva Vajrapani, the oldest and most powerful deity of the Mahayana Buddhist pantheon. According to Japanese tradition, they traveled with Gautama Buddha to protect him. Within the generally pacifist tradition of Buddhism, stories of dharmapalas justified the use of physical force to protect cherished values and beliefs against evil. Nio are also seen as a manifestation of Mahasthamaprapta, the bodhisattva of power that flanks Amitabha in Pure Land Buddhism and as Vajrasattva in Tibetan Buddhism. They are usually a pair of figures that stand under a separate temple entrance gate, usually called Niomon in Japan.Guhyapada (Japanese: Misshaku Kongo) is a symbol of overt violence: he wields a vajra mallet and bares his teeth. His mouth is depicted as being in the shape necessary to form the 'ha' or 'ah' sound, wherefore he is also known as Agyo in Japan. Narayana (Naraen Kongo) is depicted either bare-handed or wielding a sword. He symbolizes latent strength, holding his mouth tightly shut. His mouth is rendered to form the sound 'huṃ', 'heng', or 'un'. He is also referred to as Ungyo in Japanese due to his closed mouth.Literature comparison: The two nio figures closely resemble a pair of wood guardian figures, dated to the late Kamakura period, early 14th century, each 86.4 cm high including the base, in the collection of the Metropolitan Museum of Art, accession numbers 64.292.1 and 64.292.2.13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.

MIYAO: A SUPERB AND IMPRESSIVE PARCEL-GILT CENSER DEPICTING WATANABE NO TSUNA FIGHTING THE ONI IBARAKIBy Miyao Eisuke of Yokohoma, signed Miyao zo Japan, late 19th century, Meiji period (1868-1912) Heavily cast as the Rashomon Gate, the cylindrical vessel with elaborate stylized demon masks and shaped panels enclosing leafy peony sprays against a wood-grain ground, a smaller cylindrical pole beside the vase is similarly decorated with panels showing inome (boar's eye) elements and surmounted by the fierce oni with finely incised curled hair, two gold horns, and a floral garment, the demon being pulled down by the great samurai in the process of drawing his trusty sword. The censer fitted with a metal inset. The reverse of the vase signed in a gold-inlaid rectangular reserve MIYAO zo. HEIGHT 57 cm WEIGHT 18.1 kg Condition: Very good condition with some wear, the sword blade lost. Presents beautifully.Provenance: From a Swedish private collection.Founded by Miyao Eisuke, the Miyao Company of Yokohama specialized in the manufacture of bronze sculptures, embellished with gold and silver as well as patinated copper alloys, that represent generic samurai warriors as well as more precisely identifiable characters from Japanese myth and legend. In addition, the company also made a smaller number of pieces in other formats such as incense-burners, vases, and chargers.According to legend, in the late 10th century of Heian Period Japan, Ibaraki-doji, a notorious oni, resided at Rashomon Gate in Kyoto. Ibaraki-doji harassed people who tried to pass through the gate until a heroic samurai named Watanabe no Tsuna, a loyal retainer of Minamoto no Raiko, went to subdue the creature. When Tsuna arrived at Rashomon Gate he was attacked by Ibaraki-doji. However, Tsuna was a strong and valiant swordsman who was able to defend himself against the ferocious attack. The battle raged on until Tsuna drew his katana and severed the arm of the demon. Screaming in pain, Ibaraki-doji ran away from Tsuna, leaving the severed arm behind. Tsuna swept up Ibaraki-doji's arm as a trophy. When he arrived home at his mansion, he wrapped up the severed arm and locked it away in a chest. A few days later, an elderly woman claiming to be Tsuna's aunt, Mashiba, came to visit him. During the conversation, the aunt asked her nephew to recount how he fought with the oni, and when Tsuna mentioned that he had the severed arm in his possession, his aunt was curious and asked to see it. The unsuspecting Tsuna brought out the chest with Ibaraki-doji's arm inside and when he removed the arm, his aunt revealed herself as being Ibaraki-doji in disguise. She grabbed the arm and escaped from Tsuna's mansion. Tsuna was astonished that Ibaraki-doji had posed as his elderly aunt and did not give chase. However, even after retrieving the arm, Ibaraki-doji never returned to dwell at Rashomon Gate again.Auction comparison:Compare a related bronze by the workshop of Miyao Eisuke, 67.3 cm high, at Christie's, 24 June 2014, New York, lot 28 (sold for 37,500 USD).

SWANSEA POTTERY & CONTINENTAL PORCELAIN PLATES, comprising BB&I Castle Gate House plate, 26cm d., Dillwyn Cambrian Willow plate, 21cm d., Cambrian Fence & Peony plate 23cm d, and three German Onion pattern plates with pierced rims, 21cm d (6)Comments: four with pasted plate hangers

18TH CENTURY ENGLISH DELFT POLYCHROME DISH, probably Bristol c. 1750, naively painted with bird on a gate, within Chinese style diaper border, 33cms diam.Comments: repaired and with chips to rim

A 9ct gold gate bracelet, weight 7.1g

A collection of three boxed Hornby Skaledale OO gauge scale model buildings including St James Parish Church (R8516), The Vicarage (R8513) & Church Gate (R8554)

9ct yellow gold four bar gate bracelet with heart padlock clasp and safety chain, stamped 375, 13.6g

Ladies Avia 9ct gold cased hand wound wristwatch, two-piece case on matching gate style bracelet, hallmarked 375, not running, gross 9.4g

9ct yellow gold bar gate identity bracelet, stamped 375, L20cm, 24.5g

9ct yellow gold stylised gate link bracelet with textured hearts to the centre of each panel, padlock clasp with safety chain

18ct yellow gold gate-link style bracelet, width approx 8mm, lobster clasp, length approx 20cm

9ct yellow gold gate link bracelet with padlock clasp, width approx 10mm

Late Victorian/ Edwardian 9ct gold gate link bracelet with padlock clasp, the bracelet with plain polished and textured links, each link hallmarked, the clasp with engraved foliate scroll decoration, width of bracelet approx 2cm, length approx 19cm

Hornby Dublo 00 - A die cast train station with platform, a level crossing with two gates, another with one gate, a signal box, a signal, a miniature railway station with clock tower and the front of a signal box.

9ct gold gate bracelet weight 7g

OAK GATE LEG DINING TABLE,75cm high, 158cm wide, 117cm deep

A heavy duty wrought iron gate, 31'' wide x 46'' high.

A wrought iron Gate with arched top, 28'' wide x 6' high.