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An Accurist lady's 9ct gold cased wristwatch, circular silver dial bearing Arabic numerals, subsidiary seconds dial, on a plated bracelet strap, together with an Avia gentleman's gold plated cased wristwatch, circular dial with engine turned decoration, bearing Arabic numerals at quarters, centre seconds, on a plated elasticated strap. (2)
A collection of Indian coins to include 2 x Coorg Rajas gold fanam ca1820 Mercara mint, 41 x silver fanams c1840, 21 x 1/2-3/4 coins, 2 x square coins c500 B.C, 1 x Shahjahan 1628-1638 siver rupee: the Taj-mahal builder, 6 x rupees various dates 1840 to 1906 (1888 Calcutta mint), 2 x half annas 1835, 1 x Straits settlements one cent 1845, 1 x two annas 1841, etc.
A collection of world coins to include 1 x Aman Singh 1765-1788 A.D gold fanam Tanjore mint, 1 x Zengids of Mosul tb at din mawdud 1149-1170 A.D 557H dirham 2 winged figures, 1 x Zengids of Sanjar qutb al din muhammad 1197-1219 dirham of sinjar: male bust with spear, 1 x Straits 1 cent 1919, 1 x Abbasids Al Mansur 136-158 A.H = 759-775 A.D dirham of Basra 138 A.H, 1 x Abbasids Al Mansur 136-158 A.H = 754-775 A.D dirham of Qasra 148 A.H, Ayyubids in Al-Jazira Al-A Shraf Musa 1210-1220 pe 28m.m seated prince with orb 612 A.H, 1 x Bohemia Leopold I 1657-1705 3 kreuzer of Prague 1702, 1 x Holy Roman Empire Otto III 983-1002 A.D silver denier of Lucca Italy: used in the 1st crusade, 2 x Kushano-Sasanian Hormizd c272 of Bactria (1x obv king in lion headed crown: rev 'exhaulted god' on altar, 1 x obv king in lion headed crown: rev Shiva + bull), 3 x Bohemund III 1163-1201 Antioch crusader denier, 1 x Parthian kingdom Khusrau II 590-628 A.D silver drachm fire altar: Yazd mint year 4, 1 Parthian kingdom Hormizd IV 579-590 A.D silver drachm fire altar: Maisan mint year 2, 1 x Iran Sasanid dynasty Khosrow II 590-627 A.D drachm fire altar, 1 x Iran Sasanid dynasty Hormizd IV 579-590 A.D drachm fire altar, etc.
To include: a gilt metal mounted bracelet; a gilt metal buckle; a silver-gilt presentation key; livery buttons; a and three pairs of gold cufflinks and an odd one; various shields and badges; gilt lighter; small silver golfing medal and a part cased set of silver mounted hunting buttons with painted decoration; and a small silver-gilt presentation key (quantity)
Polychrome pigment and gilding over cartonnage, the tripartite wig elaborately decorated with the upper section a gold and blue checked pattern, the lower section with dual depictions of Isis in bird form, horizontal panels of lotus leaves and a scene of Isis worshipping the resurrected Osiris, with a red headband knotted in back and central wadjet eye in relief at the front, the hair falling in linked spirals over the forehead, the face gilt and framed by umber pigment, the white eyes with black irises and eyebrows, presented in a bespoke casecase: 36cm wide, 49cm high, 35cm deep; mask: 22cm wide, 39cm high, 22.5cm deepFootnote: Note: The ancient Egyptians believed that the first to achieve eternal life following death was the god Osiris. Following his murder by his brother Set, Osiris’ body was scattered throughout Egypt. It was Osiris’ devoted wife Isis who travelled across the country, collecting body parts with the aid of the other gods, to restore her husband. Thus, Osiris became the first mummy and the mythological basis for Egyptian embalming practices.The present cartonnage mask shows two scenes from this story; at the base of the wig is the mummified Osiris, being worshipped by Isis. We also see Isis in the form of a kite or kestrel as this was the shape she took when fanning magical breath back into Osiris’ mummified body with her wings. Yet interestingly, Osiris does not appear in this depiction, suggesting that Isis is in fact shown fanning life into the wearer of this mask.It is through painted scenes such as this we can understand how the deceased wished to be transfigured, achieving eternal life in the same way as Osiris himself. This is further emphasised by the use of gilding to the face; the ancient Egyptians believed that the skin of Osiris (and all gods) was formed of gold; its eternal, unchanging nature and solar glow reflecting the divine. As such, a mask such as this was intended to equate its wearer with the divine in the hope of eternal life.
The scene is set within a landscape with classical buildings and a distant hill; the image picked out in gold and red lustre, the reverse decorated with scrolling foliage and a central fleur-de-lis within a border in red and gold lustre, on a small foot rim; the use of this particular scene is unusual.26.5cm diam, 3.8cm highFootnote: Note: The image is after an engraving of 1516 by Giovanni Antonio da Brescia [see figure 1] of four titled scenes from Virgil’s Aeneid.[1] This engraving,[2] in turn, is a reversed copy, on a single plate, of the two side panels of Marcantonio Raimondi’s engraving 'Quos Ego!' (after Raphael), a composition inspired by classical relief sculpture.[3] Various panels from this engraving were frequently used by maiolica decorators in Urbino and Gubbio but the use of this particular scene is unusual.This dish relates to pieces that are part of a lustred and un-lustred maiolica group linked by Mallet and Wilson to the workshop of Maestro Giorgio.[4] In particular, the dish shares similarities to one decorated with an unidentified subject and dated 1524,[5] and to another un-lustred dish now in the Museo Civico Medievale, Bologna,[6] decorated as we have here with a scene from Virgil’s Aeneid, using another panel from the Raimondi “Quos Ego!” engraving. This group of maiolica attributed to the workshop of Giorgio Andreoli is inscribed with dates between 1524 and 1527.The dating of this dish is not, however, straightforward. The lustred decoration in yellow and ruby on the reverse and its overall shape indicate that the dish is later in date and of the early 1530s.[7][1] Aeneid, Lib.1, 312[2] Hind, Early Italian Engraving, G.A. da Brescia, no35, p550a[3] Bartsch, vol XIV, p264-8, n.352, BM Reg. 1870,0625.1065[4] Summarized by Wilson 2017, p251-253[5] Wilson, 2018, Cat 174, p394[6] Ravanelli Guidotti, 1985, p138, cat 104[7] It is comparable, for example, to the reverse of a dated plate of 1534 decorated with the Birth of Aesculapius now in the Museum Boymans-van Beuningen and attributed to Francesco “Urbini”. (See Wilson 2005, p15, fig. 7 and 8)Literature :Bartsch, Adam. Le peintre graveur, Vienna, 1808-21Hind, Arthur M. Early Italian Engraving, part 2, vol 6, B.Quaritch Ltd, London, 1948Ravanelli Giudotti, Carmen. Ceramiche occidentali del Museo Civico Medievale di Bologna, Bologna, 1985Wilson, Timothy. ’Iconografia sessuale nella ceramica rinascimentale. Un intricamento tra Leonardo e Arcimboldo’, Ceramica Antica, anno 15, no2, 2005, p10-44Wilson, Timothy. Italian Maiolica and Europe, Oxford, 2017Wilson, Timothy. The Golden Age of Italian Maiolica, Turin, 2018 With thanks to Celia Curnow for the extensive research and footnote on this lot.
An early 19th century oak longcase clock, broken swan neck pediment with brass decoration to the centre, carved frieze above a brass and gilded dial set with Roman and Arabic numerals, and subsidiary dial, single raised panel door to curved panel base, approx height 216 cm. CONDITION REPORT Overall good condition, appears to have been recently refinished. The base plinth panel has a vertical split to the left hand portion and the lower right hand corner is missing. Otherwise the case appears to be in fairly good order, with only slight signs of surface wear commensurate with age. The hood pillar caps are gold painted and the surface is not very good. The square dial is 31cm, the dial appears to be sat ever so slightly off-centre in the hood. On the upper section of the door, the body to the left hand side, there is a hole where there has been a previous fixing of some sort.
A ladies' 18ct gold fob watch, the dial set with Arabic numerals on an engine turned ground, the case with engraved scrolls surrounding a blank cartouche, the interior stamped '18K', diameter 3.5cm, approx 31.6g, on a 9ct gold watch chain, rope twist with balls and T-Bar and with fancy ball finial with six plaited tassels, stamped 9ct, length 23cm, approx 7.3g, also a watch key. CONDITION REPORT Ticks when wound, but this is no guarantee of working order. The movement appears to be very basic. The inner cover appears to be base metal rather than a precious metal, it is heavily tarnished. The back case is ill-fitting to one side, it appears very thin and from the inside edge you can see distortions to the metal. The 18K mark is rather large, is perfectly legible but does not look like a standard format hallmark. When closed, the misshapen back case is visible from the right hand side, but the left hand side sits flush as it should. None of the minor imperfections to the surface of the metal are visible from the outside on the back of the case. There appears to be a white metal band around the edge of the dial, which is tarnished and further tarnishing leeching in from the outer edge of the dial towards the centre. The chain is in fairly good order, with the tassels pommel T-Bar, etc all sitting correctly.
Various items of gold jewellery to include a 9ct gold rope twist bracelet, length 20cm, a 9ct gold locket in the form of a shield and T-bar, a 9ct gold small sapphire and white stone ring, size M, and a 9ct gold ruby and white stone open heart necklace pendant on 9ct gold dainty necklace chain, length approx 46cm, combined approx 12.3g (4).
WESTMINSTER MINT; eleven struck to proof finish 24ct gold plated commemorative $2 coins, 'Boudicca 1st Century', Bernard Law Montgomery, Duke of Marlborough, Robert the Bruce, Edward I, King Alfred the Great, Robert Clive, General Gordon, Henry II, Henry IV, Earl of Cardigan, T E Lawrence and Sir Francis Drake, 2003 and 2004 (14).
A gold plated crown wind full hunter pocket watch by Waltham, and a key wind two-tone pocket watch with white enamel painted dial (af) (2). CONDITION REPORT The Waltham watch is heavily worn to the case, the movement is not working at all, free spinning, there are cracks to the dial and overall in rather poor condition, the second watch; the glass is broken and only part is there, surface scratches to the dial, not in working order, case is slightly loose with some small dents.
WESTMINSTER MINT; 'The Great Britain Hand Painted Millennium Gold Coin Cover', limited edition no.050/100, a £5 gold proof coin dual dated 1999 and 2000, showing the British Isles positioned on a symbolic clock face, the hand set at the crucial 12 o'clock position between the dates 1999 and 2000, with watercolour 'Millennium Tribute' by Christine Ellingham, with certificate.
A quantity of good cut and plain crystal glassware to include two modern clear crystal decanters of cylindrical form with polished thick base and squashed stopper, height 32cm, a pair of good quality square cut glass crystal decanters with polished cut star cut square base with gold ball style stoppers, 27 x 9 x 9cm, one of onion shape with multi-facet cut neck, to lens cut body with cross cut lower border, polished base with multi-star cut base and globular star cut stopper, a club shaped decanter with lens cut neck to a star, wheel and sheaf pattern to body, star cut base, pointed stopper, together with various cut glass crystal drinking glasses to include Brierley wine glasses, five 9.5cm high, six 10cm high, six 12cm high, six 16cm high, all with star and cross design and other quality glassware to include six brandy glasses, twelve goblets, six small goblet and six tumblers.
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1854489 item(s)/page