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Lot 473

A large collection of mid-century to vintage 20th century, franked first day covers. The lot to include multiple Melbourne 1956 Olympic Games, Christmas's throughout the 1970's and 1980's, Famous Australians, Explorers of Australia, Australian Folklore, Gold Rush Era, together with a collection of early to vintage 20th century postcards to include Dorchester, Chipping Campden, Ashby De La Zouch, Brussels, Holland, Germany, Ireland. 

Lot 50

A 19th century Victorian afternoon tea set / service. Consisting of 2 x serving plates, 10 x cups & saucers, sugar bowl, each decorated with pink roses and gold gilding. 

Lot 544

A collection of Oriental / Hong Kong related coins and stamps comprising; x2 1997 Hong Kong handover presentation packs, 199 Postage Stamps of China album, Chinese New Year (Tiger) 2000, Welcoming Macau to The Motherland commemorative silver and gold gilded coins and more.

Lot 62

A pair of 20th century German porcelain lamp bases to include a Carl Schneiders Erben and Dresden Porcelain lamp bases in the form of ladies in dresses with the Dresden figure having lace crinoline skirts. Both marked to base and accompanied by cream pleated shades with gold brocade. Measures approx 30cm tall.

Lot 177

Blyton, Enid. The Red-Spotted Handkerchief, illustrated by Kathleen Gell, 1st edition in poor/torn dustwrapper, slim 4to; Plays for Older Children, illustrated by Alfred E Bestall, dustwrapper, 1st edition, 1940; Silver and Gold, illustrated by Ethel Everett, published by T Nelson, c. 1933, heavily foxed; Round the Year Nature Book, in linen soft covers, and others, in 2 boxes (qty)

Lot 283

Blyton, Enid. SIGNED COPY. Silver and Gold, illustrated by Ethel Everett, published by Thos Nelson & Son, 1927. Lovely clean copy in remains of original dustwrapper, uncut edges, small 4to. Signed & inscribed, “Ina and Margaret with much love from the author”, with later added owner inscription of Cherry Calvert

Lot 223

Diamond boat shaped cluster ring set in 18ct gold. Ring size S. Approx weight 2.9 grams.(B.P. 21% + VAT)

Lot 226

9ct gold red stone ring, size I, 3.7g approx. (B.P. 21% + VAT)

Lot 227

9ct gold opal ring, size J, 3.5g approx. (B.P. 21% + VAT)  Some scratches, but no cracks or splits.

Lot 228

18ct gold Sapphire and diamond cluster ring. (B.P. 21% + VAT)  Ring size H, no obvious damage, but grubby.

Lot 229

9ct white gold ruby and diamond ring. Size I 1/2, 3.1g approx. (B.P. 21% + VAT)

Lot 230

18ct gold amethyst ring, size N 1/2, 2.2g approx. (B.P. 21% + VAT)

Lot 231

9ct gold sapphire and cubic zirconia ring, size K, 2.7g approx. (B.P. 21% + VAT)

Lot 232

18ct gold opal and diamond ring, size M 1/2, 5.2g approx. (B.P. 21% + VAT)

Lot 234

18ct gold ring, size L, 3.7g approx. (B.P. 21% + VAT)

Lot 237

14ct gold figural ring, size L, 4.7g approx. (B.P. 21% + VAT)

Lot 238

14ct gold diamond solitaire ring, size H 1/2, 1.2g approx. (B.P. 21% + VAT)

Lot 239

9ct gold sapphire and diamond ring, size K, 3.3g approx. (B.P. 21% + VAT)

Lot 240

14ct gold abstract design ring, 8g approx. (B.P. 21% + VAT)

Lot 242

Two 9ct gold dress rings. Ring size H and M. Approx weight in total 4.8 grams.(B.P. 21% + VAT)

Lot 244

Diamond solitaire ring set in 18ct white gold with three diamonds set to either side. Ring size P 1/2. Weight approx 3.1 grams.(B.P. 21% + VAT)

Lot 245

9ct gold diamond pair of stud earrings. 1g approx. (B.P. 21% + VAT)

Lot 246

Pair of 9ct white gold diamond stud earrings. (B.P. 21% + VAT)

Lot 248

Pair of 9ct gold oval cufflinks. 6.2g approx. (B.P. 21% + VAT)

Lot 250

9ct gold collection of charms, to include: cross, heart and anchor, 1.6g approx. together with a small collection of silver charms and a yellow metal ring. (B.P. 21% + VAT)

Lot 251

Two pairs of 9ct gold earrings, 3.4g approx. (B.P. 21% + VAT)

Lot 252

Collection of yellow metal and 9ct gold jewellery. 17.7g approx. (B.P. 21% + VAT)

Lot 253

Pair of 9ct gold hoop earrings, 4.7g approx. (B.P. 21% + VAT)

Lot 254

14ct gold entwined pendent on chain. 13g approx. (B.P. 21% + VAT)  No obvious damage.

Lot 255

Diamond set necklace encrusted with diamonds in 14ct gold. Approx weight 16.2 grams.(B.P. 21% + VAT)

Lot 257

Late Victorian gold half sovereign dated 1893. (B.P. 21% + VAT)

Lot 258

Pair of 18ct gold oval cufflinks, 9g approx. (B.P. 21% + VAT)

Lot 259

Two shell cameo brooches together with a 9ct gold signet ring, 9ct gold chain and a 22ct gold ring. 25.7g approx. (B.P. 21% + VAT)

Lot 260

9ct gold shell cameo portrait brooch. (B.P. 21% + VAT)

Lot 263

Emerald set gold pendant on 9ct gold belcher chain. Overall 4.9g approx. (B.P. 21% + VAT)

Lot 265

Three 9ct gold late Victorian bar brooches, leather case. (B.P. 21% + VAT)

Lot 266

1908 gold full sovereign.(B.P. 21% + VAT)

Lot 267

19th century 9ct gold outer cased fancy keyless fob watch with engine turned Roman face and foliate engraved back. (B.P. 21% + VAT) This watch is not ticking.

Lot 268

Rotary 9ct gold small head ladies bracelet watch, having satin face with baton numerals and articulated bracelet strap. 10 g approx. (B.P. 21% + VAT)

Lot 269

Omega gold plated gentleman's wristwatch with black face having double baton numerals, 'Omega , Geneve'. Associated gilt metal bracelet strap. (B.P. 21% + VAT)  Only ticking when shaken, then stops after a few seconds.

Lot 270

Two 9ct gold watches and a plated gilt metal hunter pocket watch, gilt chain etc.

Lot 274

Black Parker 51 fountain pen with rolled gold cap, in original card box. Bearing initial G H. (B.P. 21% + VAT)

Lot 284

Small box of assorted silver and costume jewellery including; rolled gold pencil, dress rings etc. (B.P. 21% + VAT)

Lot 395

Three trays of Aynsley 'Orchard Gold' design items, various to include: table lamp, trinket boxes, jugs, vases, pin dishes etc. (3) (B.P. 21% + VAT)

Lot 53

A good Japanese sword Katana, with green and black gilded lacquer Saya (scabbard), the blade 76cm long (from notch to point), having straight 'Hamon' and being signed to the tang (Nakago) 'Echizen No Kami Fujiwara Sukehiro'. Suke Hiro was an Edo period 17th century swordsmith, but such a signature does not guarantee the age of the sword. Double handed silk bound shark skin grip with iron Tsuba and gilded dragon Menuki. Overall 1.06M long including saya. Provenance: local private vendor who's relative acquired the sword at the end of WWII. THIS ITEM REOFFERED FROM RECENT FINE SALE DUE TO THE UNEXPECTED DEMISE OF THE ORIGINAL PURCHASER. (B.P. 21% + VAT) Overall appearing in fair to good condition, silk binding is grubby, tiny loss to blade point under magnification, small area of rust to the iron tsuba. We are not able to warrant the age of this item.----Detailed Report of the Japanese Samurai Katana. Fine Art Sale – March 2023This ‘Katana’ is identified by the two handed grip or handle (Tsuka), the shallow curvature of the blade, the position and manner in which the sword is worn and, also, the positioning of the maker’s signature, which here appears on the side of the Tang (Nakago) which would traditionally face to the front, away from the body, where the sword is worn on the left side, blade curve up and held in place by the Kimono Sash. The ‘Nakago’ is signed – ‘Echizen No Kami Fujiwara Suke Hiro’. Suke Hiro was a renowned Edo period seventeenth century swordsmith. Because of his fame, there are many fakes and copies of his work, so the signature alone is not a guarantee of authenticity. However, there are many interesting features on this sword and its scabbard (Saya) which would fit with the period that the signature suggests. The Scabbard (Saya) – Ornately decorated in a dark green toned lacquer with black lacquer mottling and all highlighted with extensive gilding. The black lacquered cord loop (Kurigata), is a further indicator that this sword is a Katana. The earlier ‘Tachi’ curved sword, from which the ‘Katana’ was ultimately developed, was essentially a cavalry weapon and wielded from horseback, whereas the Katana became the favoured weapon for hand to hand combat, on foot. The ‘Tachi’ scabbard would have two cord loops and was mounted suspended, unlike the Katana which has one loop and is worn through the belt sash. The finely chisel-engraved metal binding around the scabbard has been tested and proves to be Silver. The configuration of the metalwork around the bottom of the ‘Saya’ appears to be in keeping with some Edo examples observed.The Silver banding was worn by second rank Samurai aristocrats. On this sword, the metal work on both the ‘Saya’ and the ‘Tsuka’ is beautifully enhanced by very finely hand engraved leaf scroll-work. The highest ranks wore gold bound swords. The Katana Blade – This sword has a 76 centimetre blade length, measured from the notch on which the blade collar (Habaki) seats, to the point of the blade. The blade is quite long for a ‘Katana’, which usually has a blade length in the low sixty centimetre range, though ‘Katana’ blades up to 80cm. have been recorded. This blade has a ‘Straight Hamon’ which is the line of a somewhat cloudy appearance immediately above the cutting edge and is an indicator that the blade has been ‘differentially tempered’ in the traditional manner. ‘Differential tempering’ is achieved by applying a layer of clay to the blade, of ever decreasing thickness from the spine of the blade to the cutting edge, the last few millimetres having little or no clay at all, applied to it. The blade is differentially tempered by a process of forge-firing and quenching which produces the required hard edged but flexible sword blade. It is worth mentioning that Suke Hiro achieved some fame in his later career when he developed a technique that produced the elaborately decorative ‘Toran Midare Hamon’ which, in appearance, resembled large high-rising ocean waves and was highly prized by the seventeenth century Edo Samurai. There are, however, extant blades attributed to Suke Hiro, which show a Straight ‘Hamon’. Microscopic investigation of the ‘Hamon’ on this blade, appears to reveal the ‘Martensite Crystals’ at the tempered edge, reducing in density from the cutting edge towards the back of the ‘Hamon’ (nearest to the spine), all in all suggesting that this ‘Hamon’ is correct. A ‘Hamon’ can be contrived and faked by acid etching, but this does not appear to be the case with this sword. The naked blade and Nakago of this sword appear to compare visually to the 17th. century Edo blades of the period, illustrated in ‘Facts and Fundamentals of Japanese Swords – a Collector’s Guide’ by Nobuo Nakahara (translated by Paul Martin). The cross section shape of the blade (Mune), appears to conform with the ‘gyo-no-mune’ shape seen on page 60 fig. 70 of Nobuo Nakahara’s guide. The patina on the ‘Nakago’ is of a brownish hue and the finishing hand filing marks are clearly visible.The Sword Handle (Tsuka) – The ‘Tsuka’ is the double-handed grip which is separated from the sword blade by the blade collar (Habaki) and two sword guard spacers (Seppa) which sit either side of the sword guard, itself (Tsuba). On this sword there appears to be a ‘Tsuba’ maker’s signature, in the Kanji flanking the ‘Nakago’ aperture. We think that part of the inscription on the ‘Tsuba’ makes reference to Yamashiro no Kuni province and the Kanji to the left of the ‘Nakago’ aperture, though somewhat obscured by rust, can be the name ‘Tadatsugu’. Further research has revealed that there were at least three swordsmiths of that name working in Yamashiro province, between 1644 and 1673. The ‘Tsuka’ is held in place on the ‘Nakago by a Bamboo tapered peg (Mekugi) which passes through a single hole in the ‘Nakago’ and secures the whole assembly in place. The ‘Tsuba’ is plain iron with no adornment other than the Kanji characters mentioned above. The body of the ‘Tsuka’ is made from wood, before being traditionally wrapped in a layer of Ray skin (Samegawa). There are two gilded white metal, in this case, ‘Dragon’ talismans (Menuki) , one on each side of the hilt where the sword is held and these are secured in place by a two-colour silk ‘wrap’ (Ito). The ‘Ito’ is secured at the ‘Tsuba’ end of the handle with the ‘Tsuka’ collar (Fuchi) and at the opposite end, by the ornate pommel (Kashira) which, on this sword is fashioned as two arms with hands folded, one on top of the other and embracing the top of the hilt. Both the ‘Fuchi’ and the ‘Kashira’ are emblazoned with the Family Crest (Mon) of the ‘Minokuni branch of the Ikeda family’, two of which are raised and gilded and two which are raised, but with no gilding. The circular ‘Mon’ is in the form of a stylised Butterfly.Condition – There is some degradation of the Lacquer-work on the Saya and very minor fraying of the silk in the ‘Ito’, which is also grubby in places. There is a small loss to the point of the blade which becomes apparent under magnification. There is a small area of rust visible on the signed surface of the ‘Tsuba’. There is a minor distortion of the ‘Mekugi’ peg. Otherwise, the ‘Katana’ is in very good condition.We have described this Katana to the best of our ability and knowledge but, ultimately, it must rest with the buyer regarding decisions as to authenticity and age.

Lot 79

Modern Murano glass Millefiori pedestal bowl with gold highlights, signed to the base, with COA. 41cm diameter x 31cm high approx.(B.P. 21% + VAT)

Lot 667

A jewellery box with costume jewellery, a 9ct gold bracelet, a 9ct gold and pearl necklace and two gold part brooches, a/f, 5.2g

Lot 837

A silver vesta case with gold cartouche, Birmingham 1901, Samuel M. Levi, 37g

Lot 854

A rare Victorian 1859 gold full sovereign

Lot 857

A 1914 gold half sovereign

Lot 860

A 2015 gold full sovereign

Lot 872

A 2015 gold full sovereign

Lot 875

A 1901 gold half sovereign

Lot 878

A 2015 gold full sovereign

Lot 884

A 1982 gold half sovereign

Lot 887

A rare 1853 gold full sovereign

Lot 890

A 1982 gold half sovereign

Lot 893

A 2015 gold sovereign

Lot 899

A 1900 gold half sovereign

Lot 901

A 2000 gold proof full sovereign coin cover, Queen Mother's 100th Birthday, limited edition

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