We found 41226 price guide item(s) matching your search
There are 41226 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
41226 item(s)/page
Lot 1326
After David Shepherd OBE (Contemporary) "Winter Foxes", a vibrant, abstract study of two foxes relaxing in the undergrowth, limited edition print, 590/1500, signed in pencil, 1991, in pen lined card mount and moulded frame under glass, 60 cm x 48 cm overall [Shepherd is renowned for his wildlife paintings although he also painted aircraft, portraits and landscapes. He dedicated 60 years of his life to protecting endangered wildlife using his paintings to raise funds and awareness for various conservation projects around the globe.]
Lot 280
A WWII Second World War Third Reich Nazi German Luftwaffe officers parade dagger. The hilt having a Swastika globe pommel, wire wrapped celluloid handle, cross guard in the form of an Imperial Eagle clutching the Swastika and a double edged stiletto blade. The blade unmarked. Housed in a steel scabbard with oak leaf mounts, fabric straps (buckles marked D.R.G.M) and Portepee. Measures approx 42cm.
Lot 210
A Meissen figure of Astronomy modelled on two cherubs, one looking through a telescope and the other kneeling alongside a globe and holding dividers. Date is circa late 19th century, incised noC46 impressed number 140. Blue crossed swords scored through centre, indicating outside decorated. Size 14cm high, 13cm diameter. Condition: Right forefinger and section of divider missing.
Lot 108
BANKSY (B. 1974)Congestion Charge 2004 tagged; signed and dated Dec 2004 on the overlap oil on canvas, in the artist's frame 68.5 by 78.7 cm. 26 15/16 by 31 in.Footnotes:This work is accompanied by a certificate of authenticity issued by Pest Control Office and will be issued with an updated certificate to the buyer. ProvenanceLondon, Santa's GhettoAcquired directly from the above by the present owner in 2004ExhibitedLondon, Santa's Ghetto, 2004 Tokyo, Warehouse TERRADA, WHO IS BANKSY?, 2021Congestion Charge from 2004 is a unique and rare example of Banksy's Vandalized Oil series also referred to as Crude Oils. Bought from Santa's Ghetto by Sir Paul Smith in 2004, the work has remained in the British fashion icon's distinguished private collection ever since and comes to auction for the very first time. Made famous through a now iconic show in 2005 with the same title, the Crude Oils consist of reimagined old master paintings such as such as Show Me The Monet and Sunflowers From Petrol Station alongside modified traditional oils on canvas like the present work. Bought at flea markets around London, Banksy would add his own subversive touches to classical canvas paintings, a congestion charge sign in an otherwise idyllic traditional landscape, injecting new paradoxical meaning into the outdated artwork. This act of subversion serves as a commentary on the commercialisation of art and the collective memory of historical and present events. Banksy's modifications challenge the original context and narrative of the paintings, highlighting the power of art to disrupt and provoke critical thought about societal issues and the role of art in shaping collective consciousness. As one of the most acclaimed and sensationalist contemporary artists in the world, Banksy's career has garnered a following unlike any other. Firmly written into the art history books, alongside the likes of Jean-Michel Basquiat, Keith Haring and Richard Hambleton, Banksy belongs to a rarified group of artist-outcasts whose inimitable styles took seed in their early years as rogue street artists; styles and stories that were hotly embraced by their local contemporary art scene. His political statements and subversive mise-en-scène have adorned cities across the globe at vital junctures in recent history, provoking alternative perspectives and fomenting spectacle and theatre in the art world. With his distinct, cool, disarming wit and charm, Banksy's anti-establishment panache earned him a cult following and unparalleled acclaim. His iconic and universally recognisable works are fiercely sought after by collectors globally.From his emergent years, Banksy associated with the graffiti subcultures that were abundant across European towns and cities in the 1990s, turning to freehand graffiti as a teenager having been inspired by the thriving graffiti community of his hometown. Turning his hand to stencilling after a close encounter with the police, the new technique enabled him to work quickly and avoid apprehension by the authorities. Unlike many of his graffiti counterparts, whose exaggerated script and cartoon characters had become practically conventional in the modern city, Banksy's bold and iconic stencils combined an astute sense of current affairs, transcendent ideas and a stylised technique that has captured audiences and launched him from outsider street artist to one of the most important political and cultural voices of the twenty-first century.First introduced in 2003, the year before the present work was executed, congestion charge is a fee imposed on vehicles entering certain areas of London during peak hours to reduce traffic and promote public transportation. Banksy's artwork ridicules the policy, suggesting an absurd placement of the charge sign in a remote farm path that is unusable due to flooding. As with many of Banksy's works, Congestion Charge has a playful and thought-provoking nature. It captures attention and prompts viewers to question the effectiveness and consequences of urban policies. Around the same time, Banksy famously placed some of his Vandalized Oils in prominent galleries, where they would hang unnoticed amongst the institutions permanent collection, at times for days. At the British Museum for example, he secretly placed a modified version of a prehistoric cave painting, adding a figure pushing a shopping cart and a barcode. The act drew attention to the commercialisation of art and the consumer-driven society we live in with the modified artwork remaining on display for several days before being discovered and removed by museum officials. The act allowed Banksy to circumvent the traditional art world and its gatekeepers, making a direct impact on the public sphere and challenging the notions of ownership, authenticity, and the commercialization of art. His disruptive tactics challenged viewers to re-evaluate their perceptions of art and the institutions that house it.As Banksy's profile and collectability has developed, unique works of exceptional history and quality become still more prized. Presented here for sale is such a painting that demonstrates the British artist's indisputable and enduring currency as social commentator and contemporary artist that has remained in the highly distinguished art collection of Sir Paul Smith for nearly two decades. In common with many of Banksy's most successful works, Congestion Charge intends to amuse the viewer, yet it also aims to engender thought provoking discourse within a broader socio-political context. Graffiti Art has long been the leading means of expression for the visual counterculture. The irrepressible spontaneity of protest art and then early street art was mirrored in the music of Hip-Hop and dynamism of breakdance. These three pillars dominated much of urban culture in America from the 1970s and had a keen influence on Banksy as it came to impact corresponding areas in Britain in the 1980s. Today Banksy has solidified his position as one of the most well recognised and sought after street artists of the century having completely transformed graffiti culture. His identity, even after more than twenty years, still remains delightedly anonymous and the present auction represents an opportunity to acquire one of the finest examples from the Crude Oils of Banksy's career to date.This lot is subject to the following lot symbols: AR ○AR Goods subject to Artists Resale Right Additional Premium.○ The 'Seller' has been guaranteed a minimum price for the 'Lot', either by 'Bonhams' or a third party. This may take the form of an irrevocable bid by a third party, who may make a financial gain on a successful 'Sale' or a financial loss if unsuccessful.For further information on this lot please visit Bonhams.com
Lot 117
TOM WESSELMANN (1931-2004)Monica Nude with Matisse (Black variation #3) 1987/91 signed twice and dated twice 91 on the reverse enamel on cut-out steel129.5 by 218.4 cm. 51 by 86 in. Footnotes:This work is registered in The Estate of Tom Wesselmann, New York, under no. 19S-3. ProvenanceThe Estate of the artist, New YorkGalerie Thomas, Munich Private Collection, Germany Thence by descent to the present ownerExhibitedMunich, Galerie Thomas, Tom Wesselmann, 2006, p. 29, illustrated in colourWidely considered to be one of the most prominent figures of the American Pop Art movement, Tom Wesselmann devoted his career to transforming broadly recognisable popular imagery into vivid pop artworks of different scales and mediums. During a time when artists were moving towards Abstract Expressionism and straying away from figurative painting, Wesselmann took a contrastive approach, opting instead for his now famous representations of nudes, still lives, landscapes, and everyday objects. Profoundly influenced by images in advertising, Wesselmann's distinctive style is characterised by flat colours, clean lines, and highly stylised presentations of the female figure - an effort to make figurative art as exciting as abstract art. Majestic in scale, Monica Nude with Matisse portrays the sitter in an alluring pose with her robe nearly fully opened, her sensual lips and exposed breasts intensifying the erotic intimacy and her body language conveys a sense of quiet confidence and relaxation. The distinct minimalist outlines that define the work are one of Wesselmann's signature styles, while the use of black enamel initiates a sense of energy and dynamism. Wesselmann often omits the eyes of the model, lending a sense of anonymity and letting the viewer's imagination complete the work. The interplay of Monica's nearly faceless nude figure in the foreground and Matisse's elaborate painting as a backdrop creates a sense of depth and complexity that is both visually striking and intellectually stimulating.Wesselmann's female nudes are arguably the most renowned and recognisable subject in his oeuvre. Finished in 1991, Monica Nude with Matisse is an iconic and inventive work that celebrates Wesselmann's experimentation with painted steel-cut outs. This unique piece is an enamel on cut-out steel that combines a portrait of Monica with a reproduction of Henri Matisse's Purple Robe and Anemones from 1937 that is part of the Cone Collection at the Baltimore Museum of Art. The model – Monica Serra, is one of Wesselmann's favourite and most widely used models since the early 1980s. She had a close working relationship and friendship with Wesselmann, working first as his studio assistant and later his studio manager. Steel cut-outs depicting her are amongst the most sought after on the market, and the present work is a particularly beautiful and complex example.Within his extensive body of work, Wesselmann regularly referenced the distinguished French artist Henri Matisse, particularly in his renowned Great American Nude series that was launched in 1961. He said that 'I can't talk about Matisse without talking about myself. He is the painter I most idolized and I still do' (the artist in: 13 Quotes from Artist Tom Wesselmann, www.denverartmuseum.org, 19 June 2014). His preoccupation with the artist visible throughout the Great American Nude series showcases Wesselmann's deep appreciation for Matisse's artistry and his desire to engage in a creative dialogue with the master. Wesselmann's fascination with Matisse was not limited to the female form; it also extended to the exploration of colour, shape, and composition. By citing one of the most celebrated artworks in art history in the present work, Wesselmann invites the viewer to consider the ways in which the female form has been portrayed throughout history; a visual conversation between him and his predecessor is formed, which transcends time and bridges artistic generations. In the early 1980s, Wesselmann ventured into the third dimension using shaped canvases and cut metal that nevertheless retained a sense of his signature gesture - as though he is drawing with the metal itself. He enlarged his base drawings and then worked with the fabricator to cut them out of steel and aluminium before painting them in black or colour. The double date in the present work refers to the date of conception on paper and the finished object in steel. Wesselmann's works have been widely exhibited across the globe. He had retrospective exhibitions in many major museums, including the Denver Art Museum, Cincinnati Art Museum, the Virginia Museum of Fine Arts, and The Montreal Museum of Fine Arts and his works are a staple in some of the biggest institutional collections in the world. Today, Wesselmann's steel cut series is seen as a quintessential part of his oeuvre and a medium that is closest associated with his practice. Monica Nude with Matisse is a iconic example that showcases the artist's commitment to pushing the boundaries of what a new medium could offer in a new and dynamic way. The work represents a lifetime's dedication to the study of the female nude and the search to push beyond the classic flat painting surface. Coming fresh to the market, the work offers the opportunity to acquire an extraordinary example of the artist's oeuvre, a must-see piece and a wonderful addition to any distinguished collection.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 121
MARKUS LÜPERTZ (B. 1941)Pierrot lunaire 1984 incised with the artist's initials and GMW, stamped with the foundry mark SCHMÄKE DÜSSELDORF and numbered 2/6painted bronze150 by 72 by 60 cm.59 1/16 by 28 3/8 by 23 5/8 in.This work was executed in 1984 and is number 2 from an edition of 6. Footnotes:ProvenanceGalerie Thomas, MunichAcquired directly from the above by the present owner in 2000LiteraturePrestel Lexicon, Kunst und Künstler im 20. Jahrhundert, Munich, London and New York 1999, p. 20, another example illustrated in colourSiegfried Gohr, Markus Lüpertz, Barcelona 2001, p. 152, no. 128, illustrated in colourMarkus Lüpertz is one of Germany's best known contemporary artists; his expressive work is imbued with mythology, historical references, classical and biblical themes and has been exhibited and collected widely around the globe. The Pierrot Lunaire sits down, instead of lively jumping as one might expect; despite all the compactness of the material he seems fragile, almost delicate. With his hands crossed on his lap, he conveys a moment of calmness, thought and melancholy. The painting of the bronze emphasizes the vitality of the theatrical figure, the colourfulness of his costume and especially the mask-like appearance of the painted face. The Pierrot Lunaire is a figure from the Italian 'Commedia dell'arte', which has become a classic motif in the history of art since Antoine Watteau's famous Gilles, to which artists from all periods have paid homage. Since the 19th century he is seen as a model of melancholy and the artistic mask. Lüpertz has dealt with this theme in detail in a cycle of paintings from 1984 alongside the present sculpture and here, he beautifully illustrates the ambivalence of the figure between lightness of being and introversion. The figure of the moon loving Pierrot thus describes the boundary between the face we put on during the day and the dark side hidden within us that surfaces mostly at night. Lüpertz also cites Pierrot as a metaphor for the artist, who is all too often assigned the role of the clown by society. When working in sculpture, the artist does not build his figures from plaster, he cuts them out of solid wooden blocks with a hatchet, leaving clear traces of the working process in the bronze cast. The raw surface is thus shaped by facets of offset cuts, indentations and lines that beautifully link the sheer process of creation and the work's materiality to the final viewing experience. Reminiscent of cubism, the syntax of planes related to each other loosens the volumes around a compact core and gives the shapes energetic impulses that are heightened by painting the work.This lot is subject to the following lot symbols: * AR TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 132
ANTONIO SAURA (1930-1998)Don 2 1989 signedoil on canvas130 by 96.9 cm.51 3/16 by 38 1/8 in.This work was executed in 1989.Footnotes:This work is registered in the Archives Antonio Saura Foundation, Geneva, under no. RIMT@1989@DON.2.This work will be included in the forthcoming Catalogue Raisonné being prepared by the Archives Antonio Saura Foundation, Geneva.ProvenanceGalerie Pierre Huber, GenevaGaleria Sarda, BarcelonaAcquired directly from the above by the present owner in 1990ExhibitedZaragoza, Palacio de Sástago, Saura Decenario; 1980-1990, 1991, p. 12, no. 28, illustrated in colourA beautiful and striking work that was conceived in a key phase of Antonio Saura's career, Don 2 from 1989 contains a sublime confidence in gestural technique. An intense presence emerges from the vivid brushstrokes, heightened by an intentionally flat background that allows the energies, associations, and characteristics of the artist's superbly represented figure to come alive on the picture plane. Don 2 is a supreme example of Saura's iconic abstracted biomorphic forms. The distorted portrait is imbued with the artist's personal style that developed independent from the artistic trends of his peers, granting him recognition as one of the most important avant-garde painters of his time. Inspired by Diego Velazquez and Francisco de Goya, Saura was self-taught, yet it is the striking fusion of these influences and context of his time that have shaped his unique style.Throughout Saura's oeuvre there is a highly visceral quality which pervades the composition of his portraits. The art historian Siegfried Gohr writes, 'Saura's portraits are dissolved into wild shapes and violently convulsive movements. It is as though the inner life of the facial traits had been brought to melting point by some volcanic force. Saura concentrates the destructive energies by leaving the background of the picture flat and untouched...Light and dark patches collide with each other seem to discharge their contradictory energy in an explosion.' (Siegfried Gohr in: Antonio Saura, Lugano, Museo d'Arte Moderna, 1994, pp. 56-58). Don 2 distils the quintessential elements of Antonio Saura's career as one of the most celebrated Spanish artists of the 20th century into one work. Saura's subject matters were often sourced from portraits of famous European aristocrats such as the Infanta Margarita or King Philippe II of Spain. The present work portrays an esteemed gentleman; his expressive visage executed in a palette reminiscent of Francisco Goya's Black Paintings is framed by the distorted white ruffles of his collar and the stark, ink-like background. Much like his inspirators, Saura's astute ability to imbue his canvases with a dramatic and cerebral ambience using his technical mastery of painting cements him within the canon of Spanish art.Antonio Saura is internationally recognised as one of the most influential Spanish painters of the post-war period and his works reside in the prestigious permanent collections of museums around the globe, such as the National Gallery in London, the Solomon R. Guggenheim Museum in New York and Fundació Joan Miró in Barcelona. Over the decades of his career, Saura had major retrospective exhibitions at the Stedelijk Van Abbemuseum, Eindhoven, Netherlands in 1963, the Institute of contemporary Arts, London in 1966 and the Museo de arte contemporáneo, Madrid in 1982 and by the time the present work was executed, he was a confident master of his craft.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 12
A HONGMU ALTAR COFFER, 1900sChina, late Qing Dynasty (1644-1912). The rectangular-panel top supported on recessed square corner posts, the single drawer above the pair of doors fitted flush around a removable center stile, with reticulated spandrels below the projecting top on either side of the drawer, the coffer fitted with brass mountings.Condition: Commensurate with age, natural age cracks, minor splits and gaps as expected, few small losses, the spandrels reattached, old wear and traces of use, few shallow surface scratches. Provenance: From the private collection of Michael B. Weisbrod, New York, USA. Michael B. Weisbrod is a noted scholar of Chinese art, who has published extensively on the subject over a time span of more than 50 years. In 1972, Michael joined his father Dr. Gerald Weisbrod's Asian art gallery in Toronto, Canada. The father-and-son team opened their New York location on Madison Avenue in 1977, and during the next 45 years the gallery held a significant number of exhibitions, selling to museums and private collectors across the globe, eventually adding further locations in Shanghai and Hong Kong.Dimensions: Size 84.5 x 78.6 x 59.8 cm13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.
Lot 738
Victorian silver mounted cut glass globe scent bottle, the repousse decorated hinged cover enclosing an inner faceted stopper, maker William Hutton Sons Ltd, Birmingham 1900, 5.25" high; together with a silver mounted glass tray by John Charles Grinsell and a B M & Co. silver mounted glass powder pot (3)
Lot 1208
STAR TREK: GENERATIONS (1994) - Engineering I LCARS Panel - An Engineering I LCARS panel from David Carson's sci-fi sequel Star Trek: Generations. The LCARS (Library Computer Access and Retrieval System) panels of the Engineering station on the bridge of the Enterprise D allowed Chief Engineer Geordi La Forge (LeVar Burton) to monitor and control certain operations without needing to go down to Main Engineering.This lot consists of an acrylic panel with a black surface featuring orange, yellow, and purple graphics simulating numbered touch screen buttons with a globe-like diagram and the words "Engineering I." It exhibits some wear from use and age, including scratching in the acrylic. Dimensions: 28" x 45" x 0.25" (71.25 cm x 114.5 cm x 0.75 cm)Estimate: $3,000 - 6,000Bidding for this lot will end on Friday, June 30th. The auction will begin at 8:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Wednesday, June 28th or Thursday, June 29th.
Lot 321
PROMETHEUS (2012) - Light-Up Spacesuit with Fifield's (Sean Harris) Photo-Matched Chestpack - A light-up spacesuit with Fifield's (Sean Harris photo-matched chestpack from Ridley Scott's sci-fi prequel Prometheus. Uncomfortable with the team's discovery, Millburn (Rafe Spall) and Fifield (Sean Harris) attempted to return to Prometheus on their own, but wound up lost inside the structure and were attacked by a snake-like creature. The helmet and chest armor of this spacesuit photo-match specifically to Sean Fifield's while he was in the structure. Designed by Janty Yates, this costume consists of a clear globe-shaped acrylic helmet with five video screens, LED lights, two interior fans, an external light with a camera; a rubber skull cap with a "Millburn" patch attached to the front; a cowl neck for the helmet to attach to with four video screens on the interior; a combination resin chest armor and backpack; a gray-blue stretch canvas jumpsuit over a layer of neoprene with rubber foam armor attached by metal rivets; a black nylon belt with metal hardware; leather and neoprene stunt gloves with elastic joints on the resin armor; and resin-armored boots. The suit's helmet and neck rig incorporate video screens with custom animations created for the costume. The chest pack also features a light-up front panel and a backpack that houses the battery pack as well as the flipswitch that activates the lights and video screens. Of the nine total video screens, one does not work in the helmet, and three of the four in the cowl neck have corrupted data and while they turn on, do not play the video. Production lightly distressed this spacesuit to appear used, and the bodysuit exhibits white residue from the attack-scene. This spacesuit exhibits mild scuffing on the armor and discoloration.Contains electronics; see electronics notice in the Buyer's Guide.Estimate: $25,000 - 50,000Bidding for this lot will end on Wednesday, June 28th. The auction will begin at 8:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Thursday, June 29th or Friday, June 30th.
Lot 683
CHARLIE AND THE CHOCOLATE FACTORY (2005) - Set of Four Wonka Bars - Four Wonka bars from Tim Burton's musical fantasy Charlie and the Chocolate Factory. Stacks of Wonka bars appeared in various locations around the globe as the world hunted for five elusive Golden Tickets.The injection-molded brown plastic bars feature a "Wonka" logo imprinted on each segment. Each is covered in silver-color foil and a colorful wrapper indicating its flavor. The front of each bar features a printed seal reading, "Win a trip to Wonka's Chocolate Factory," and nutritional information presented on the back. Some bars exhibit glue residue and minor staining. Dimensions: (each) 3.75" x 7.25" x 0.5" (9.5 cm x 18.5 cm x 1 cm)Estimate: $1,000 - 2,000Bidding for this lot will end on Thursday, June 29th. The auction will begin at 8:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Wednesday, June 28th or Friday, June 30th.
Lot 865
THE GOLDEN GIRLS (T.V. SERIES, 1985 - 1992) - Estelle Getty's Hand-Painted Disney Animation Cel and Disney Ephemera - Estelle Getty's hand-painted Disney animation cel and additional ephemera from Walt Disney Studios. Disney sent Getty a personalized cel to congratulate her for receiving a Golden Globe® for Best Actress for her performance in The Golden Girls.This lot comes from the collection of Estelle Getty's personal assistant and friend, Rich Weaver. It consists of a hand-painted cel of Getty and Mickey Mouse in a black-painted wooden frame; a folder labeled "Estelle Getty" featuring Mickey with Getty's award signed by Rich Frank and Jeffrey Katzenberg; a Walt Disney Studios letter; three photos of Getty; and "The Wonderful World of Disney Television A Complete History" autographed by Bill Cotter. This lot exhibits chipping and page creasing. Dimensions: 23" x 21.5" x 0.5" (58.5 cm x 54.75 cm x 1.25 cm)Sold without copyright; see copyright notice in the Buyer's Guide.Estimate: $1,500 - 3,000Bidding for this lot will end on Thursday, June 29th. The auction will begin at 8:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Wednesday, June 28th or Friday, June 30th.
Lot 206
Oak globe wernicke style bookcase divided into three sections on a plinth base, 88cm wide x 106cm high x 26cm deepProvenance: The property of a Gentleman, from a period Winchcombe Town House.Some scratches, marks, scuffs. Signs of display wear and use. Most notably to the top, shelves and base as expected. Otherwise seems ok.
Lot 144
Color stamped circles on vellum. 3 sheets with white circles, 3 sheets with yellow circles, 3 sheets with light blue circles and 3 sheets with dark blue circles. Decorative pieces used for the 2001 Bass Museum of Art Globe >Miami Dimensions: 110"L x 36"W, eachProvenance: The Bass Museum of Art Condition: Good condition.
Lot 829
FREE JAZZ / IMPROVISATION LP RARITIES. A pack of 17 x LPs. Artists/ Titles include Richard Abrams - Levels And Degrees Of Light (DS-413, UK press), Spontaneous Music Ensemble - For You To Share, Evan Parker / Anthony Braxton / Derek Bailey - Company 2, Joseph Jarman - Song For, Lol Coxhill - Ear Of Beholder, John Stevens / Evan Parker - The Longest Night Vol 1, Derek Bailey / Tristan Honsinger - Duo, Evan Parker - Saxophone Solos, Globe Unity 73, Manfred Schoof - European Echoes (RE) and Chris McGregor's Brotherhood Of Breath. The records are generally Ex to Ex+ and the sleeves are generally VG+ to Ex+.
Lot 2087
SARSAPARILLA DECO DESIGNS: TWO BLUE MOULDED GLASS AIRPLANE LAMPS AND TWO OTHERS (4)The pair of blue glass shades stamped to the underside ‘SARSAPARILLA DECO DESIGNS C 1978’, mounted on half globe wall brackets wired for electricity, 35cm high, together with two further airplane lamps without shadesCondition Report: Old marks and scratches on metalware, two blue shades ok
Lot 2470
A FRENCH PERRINA GLOBE TABLE LAMP (2)Mid-20th Century On a chrome plated stand, label to the 10in globe ‘PERRINA FABRICANT PARIS’, 34cm high; Together with a constellation globe on ebonised base, 33cm highPerrina globe has multiple small chips to the globe and some restoration. see additional photos, the celestial globe is in good overall condition, both have marks and scratches to the bases,
Lot 141
THE WILLIS WORLD CLOCK - 34 CMS (H) APPROX The movement is inaccessible, we have added pictures showing the front and back. We've corrected our correction, there were no hands to go missing! According to the Science Museum; This clock was designed to easily show the time across the globe. The central wheel was used to show the hour. Rather than a moving hand, the dial itself rotated. The dial was also divided by radial lines, which could be used to track the hour in another country: one found the country on the out dial and traced the line connecting it to the inner dial. A second small dial was used to show the minutes of each hour (which remain the same in each time zone). Names in red were used to indicate those countries which changed their clocks for summertime. An asterisk was used to mark when a new day began in each zone.
Lot 597
A blue Super Shell glass petrol pump globe, circa 1960's, in good condition, stamped inside 'Property of Shellmex & BP Ltd Returnable on Demand', approx. 43 x 43cm and 18cm diameter at base Good condition with no obvious chips or cracks to main body, but chips present to base rim (see images). Approx. 3cm rubber seal missing at neck. For postage on this lot we recommend using Mailboxes Plymouth or Postit4me, both will provide quotes before you bid.
Loading...-
41226 item(s)/page