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dating: 19th Century provenance: Mexico, In iron, external part covered with silver foil, engraved with a horse's head, human's head with a helmet and floral motifs in bass-relief, short '8' neck, pierced and engraved rowel with tips shaped as horseshoe. Complete with leather straps sewn with floral motifs and with silver-decorated buttons. In patina, the straps with signs of use. length 15 cm.
A Great War Imperial German model 1917 steel helmet, painted in three colour camouflage, with original liner, and draw string, chin strap probably later, maker and size stamped ET 64, stamped heat code number to inner crown; together with a WW2 British Zuckerman 'Civilian Protective Helmet', light grey, size stamped large, liner ink stamped JRS, 1940, size 71/4 (2) Imperial helmet-general loss around the crown area two inner pads deficient
A Collection of British and American police badges, comprising: sixty metal and enamel British police metal helmet badges of various branches and constabularies, examples include, Royal Parks, Dyfed-Powys, Greater Manchester, Hampshire, Sussex and Devon and Cornwall constabulary, in three glazed frames; Twelve British Police cap badges in glazed frame; and twenty U.S.A various metal and enamel State Police, Sheriffs Office and Security badges mounted on a framed card; and a further six U.S.A Police, metal and enamel, security, medical services, fire fighter and detective badges, in glazed metal frame, all late 20th or Early 21st century (6)
CIRCLE OF WILLEM WISSING (1656-1687)Portrait of William III,standing three-quarter length, wearing a white lace cravat and armour, and gilt sword belt, his hand resting on a helmetoil on canvas50 x 40 in (127.1 x 101.6cm)Within an eighteenth century painted and ebonised carved wood frameProvenance: Christie's King Street. London 3rd February 1961, lot 108 (as Wissing. Portrait of a man in armour) The Estate of the late Gerald Taylor, Esq.The source for this painting are various military portraits of William, Prince of Orange by Sir Peter Lely and studio. William III, was keen to portray himself as a military leader. He was depicted as such by a number of artists of the time including Godfrey Kneller, Jan de Baen and Caspar NetscherThe pose in the portrait at Brightwells is based on a prototype by Sir Peter Lely and studio c.1677. The original prototype is presumed to have been painted during William III's visit to England in Oct/Nov 1677. The prime version is at Syon House, Middlesex (Collection of the Duke of Northumberland) and a copy is at the National Portrait Gallery, London. Other versions and variants are known, as well as various engravings based on the portrait. David Piper (Catalogue of seventeenth century portraits in the National Gallery, University Press, Cambridge, 1963) noted that 'a very considerable number of repetitions of this pattern exist both in England and Holland', the pattern itself is certainly Lely's, but must also have been used by copyists after his death, by Sonnius for example or possibly by Wissing' Willem Wissing, as a studio assistant in Lely's studio in the 1670's may have contributed in part to some of those versions. Later, after Lely's death, Willem Wissing himself travelled to the Netherlands in 1685, to undertook a specific commission portraying William III dressed in armour. The original of that work is in the Mauritshuis, The Hague, and other versions are known.
A Derby figure of Athena, circa 1770/80, her left hand resting on a shield bearing the face mask of the gorgon, her owl perched on a stack of books beside her, all on a Rococo scrolling base, with patch marks to the underside, incised "No. 298, 3 Size" and with incised triangle. Height 6 cm (see illustration). CONDITION REPORT: There is a loss to the rear of the helmet and rubbing to the gilding around the helmet rim. The top finger of the raised head is half missing. There are numerous losses to the floral encrustations both left and right. There is also one branch missing at the rear behind the shield. There are several chips and nibbles to the Rococo base.
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