We found 137173 price guide item(s) matching your search
There are 137173 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
137173 item(s)/page
Lot 742
Irish Poetry: Campbell (Joseph) Irishry, D. & L. 1913; Ingram (John K.) Sonnets and other Poems, Lond. 1900; Ledwidge (Francis) Songs of Peace, Lond. 1917; Wilson (Florence M.) The Coming of the Earls and other Poems, Dublin 1918; Tynan (Katherine) Ballads & Lyrics, Lond. 1891; Kettle (T.M.) Poems and Paradies, Dublin 1916; All First Edns., & 8 others sim. poetry. (14)
![Signed by the Contributors Davison (June K.)ed. A Treatise to Kevin Sullivan, 8vo, N.. [Privately Printed] 1991, Limited Edn](https://cdn.globalauctionplatform.com/549da13f-ed0e-4f30-b9f1-b22d00cc78d4/89f88a36-94f7-409c-8533-b23001010a74/468x382.jpg)
Lot 664
Signed by the Contributors Davison (June K.)ed. A Treatise to Kevin Sullivan, 8vo, N.. [Privately Printed] 1991, Limited Edn., No. 24 (25 copies only) Signed by Seamus Heaney, Benedict Kiely, Thomas Flanagan, Sean White and June K. Davison, printed wrappers. Scarce. (1) [Brandes and Durkan B108]
Lot 13
CERTIFICATED RUBY AND DIAMOND CLUSTER RING. Complete with IDRC (Independent Diamond Report Centre) dated 23/11/2021. The report states: ''Round brilliant ruby estimated carat weight: 2.20ct, estimated colour grade: vivid orange and red. Estimated clarity grade: PK.''. Surrounded with ten round brilliant cut diamonds TDW approx. 1.60ct. Estimated colour approx. K-L. Estimated clarity approx. SI1-2. White metal mounted. Head diameter measures Finger size U. Weight 4.1g. *CR Good condition. The modern mounting appears unworn with very light surface wear. The inside shank has a stamp of 750 which is just legible. The stones are secure in the settings. The diamonds have no signs of damage. The ruby has multiple surface reaching inclusions visible under magnification.
Lot 59
ANTIQUE 18CT GOLD DIAMOND GYPSY RING. Set with one old cut diamond approx. 0.44ct. estimated colour approx. J-K. Estimated clarity approx. I1-2. Scalloped claw setting. Yellow gold mounted, hallmarked '18, London, 1918'. Finger size X. Weight 4.6g. *CR The diamond has a surface reaching inclusion. The claws are worn but diamond appears secure. A fracture in the shank/shoulder area.The inside of the shank has pitting, deep scratches etc.
Lot 50
A VINTAGE AMETHYST AND DIAMOND COCKTAIL RING. One rectangular step cut amethyst approx. 10.80ct. Flanked with one rose cut diamond on each shoulder, each measuring approx. 2.5mm. White metal mounted, stamped '585 EP' also with Austrian horse head hallmark. Finger size K.5. Weight 6.3g. *CR Amethyst has facet abrasion, and abraded corners. Diamonds have cracks/ cavities. The mount has noobvious damage.
Lot 17
SAPPHIRE AND DIAMOND FIVE STONE RING. Set with oval mixed cut sapphire approx. 0.44ct, measuring 5 x 4mm. Flanked with two round brilliants on each side, TDW approx. 0.06ct. Yellow metal mounted, stamped '18k'. Hallmark illegible. Finger size K. Weight 2.5g. *CR Good condition.Very minor facet abrasion on sapphire facets, only visible under magnification. Diamond have no obvious damage.The mount has general surface wear, no obvious signs of damage/repairs.
Lot 69
18CT GOLD DIAMOND ETERNITY RING. Set with seven round brilliant cut diamonds, TDW approx. 0.455ct. Estimated colour approx. H-I. Estimated clarity approx. I1-I2. Bar set, head width 3.mm. Yellow gold mounted, hallmarked 'CJ, 750, Birmingham, 2005'. Finger size K.5. Weight 3.1g. *CR Good condition. The mount has light surface wear with no signs of damage/repairs. The diamonds have no signs of damage. Although diamonds appear secure in the settings with no signs of wear to settings. Some diamonds are spinning/have moment.
Lot 33
LATE VICTORIAN DIAMOND GYPSY RING. Set with one old mine cushion cut diamond approx. 0.62ct. Estimated colour approx. K-L. Estimated clarity approx. I1-2. Yellow gold mounted, hallmarked '18, London, 1880'. Finger size R.5. Weight 6.1g. *CR There is two distinct internal crack inclusions which are surface reaching, under table/crown area. The mount is in good condition with no obvious signs of damage/repairs. Some thinning in shank area.
Lot 112
Cigarette cards, Phillips, Footballers (Pinnace back), 'K' size, comprehensive collection of approx. 2400 cards contained in five albums with slips cases, all cards with 'Pinnace' backs, many variation cards included, also some duplicates, with printed slips identifying missing cards (approx. 90 missing from being a complete collection). (condition very missed, poor/vg).
Lot 942
Cigarette & Trade cards, Interesting mixture, approx. 500 cards in plastic sleeves, many different series including near set BAT Flags Pennons & Signals, Wills Australia Horses of Today (37), Kwong Sang Hong G sized plain back adverts (21), DC Thomson K sized Motor cars (40), several Chinese & other type cards, including Murai, BCC Co, and many many more
Lot 117
Cigarette cards, Germany, Monopol, Sports Photos, special album containing a set of 720 laid down sepia pictures inc. Football, Tennis, Boxing, Athletics etc (cover with some minor faults, contents vg), sold with an album of Garbaty Sports Badges (Football) 'K' size, approx. 570 cards in sleeves (gd)
Lot 627
King & Country and Britains - Figures & Accessories. Comprising: K&C CW56 'Officer Tent'; Britains set 00294 'Scots Guards...' & others. Conditions generally appear Excellent to Near Mint overall (some of the cannons may have loose barrels), contained in generally Excellent boxes, where applicable. See photo.
Lot 93
Style Seven, Christmas parcels handle. Red and white coloration. Featuring different well-known Christmas themes, the handle has changed several times since 1981. Commissioned by Seaway China Marine City MI U.S.A. Issued in a special edition of 2,500. Series: Tinies. Royal Doulton and Seaway China backstamp. Artist: William K. HarperIssued: 1996Dimensions: 2"L x 1.25"W x 1.5"HManufacturer: Royal DoultonCountry of Origin: EnglandCondition: Age related wear.
Lot 95
Glossy porcelain. Depicting Santa Claus in his classic vibrant red suit, black belt and boots, alongside his iconic sack of toys. Royal Doulton backstamp. Artist: William K HarperIssued: 1982-1993Dimensions: 6''L x 4.5''W x 10''HManufacturer: Royal DoultonCountry of Origin: EnglandCondition: Age related wear.
Lot 92
Commissioned by Seaway China Marine City in a special edition of 2,500. Red and white figural jug of Kris Kringle. Red and white candy cane handle. Royal Doulton backstamp. Artist: William K. HarperIssued: Late 20th centuryDimensions: 1.5"L x 1.25"W x 1.5"HEdition Number: Special edition of 2,500Manufacturer: Royal DoultonCountry of Origin: EnglandCondition: Age related wear.
Lot 94
Style Eight, teddy bear handle. Red and white coloration. Featuring different well-known Christmas themes, the handle has changed several times since 1981. Commissioned by Seaway China Marine City MI U.S.A. Issued in a special edition of 2,500. Series: Tinies. Royal Doulton and Seaway China backstamp. Artist: William K. HarperIssued: 1997Dimensions: 2"L x 1.5"W x 1.5"HManufacturer: Royal DoultonCountry of Origin: EnglandCondition: Age related wear.
Lot 41
Sadanand K. Bakre (1920-2007)Untitled (Cityscape) signed in English and Devanagiri and dated in Devanagiri 'Bakre 1964' lower right; signed, dated, telephone number and address versooil on board, framed59.9 x 75.1cm (23 9/16 x 29 9/16in).Footnotes:ProvenanceProperty from a private collection, UK;Acquired from Nicholas Treadwell Gallery, London, 1968.Grounded in academic realism, Bakre, like many of his contemporaries, embraced the transformative principles of abstraction, which allowed him to transcend traditional representation and explore innovative artistic expressions. By the late 1940s, Bakre had developed a distinctive style characterized by 'free-flowing forms and unconventional shapes' (Yashodhara Dalmia, The Making of Modern Indian Art, p. 190). This shift was indicative of the larger modernist movement in India during the 1950s and 1960s, a time marked by experimentation across various artistic disciplines.Bakre's move to London in 1950 played a pivotal role in this artistic evolution, offering him a fertile ground for further experimentation. During his time in Great Britain, he encountered a wealth of modern art that deeply influenced his work, including a strong connection with Vorticism. This early 20th-century literary and artistic movement, which flourished in England between 1912 and 1915, sought to relate art to the rapid industrialisation of society. The Vorticists, known for their dynamic and linear visual language, explored the fragmented nature of modern life through spiky, rhythmic forms, emphasising sharp angles over curves and hard edges over soft, capturing the energy of the industrial age.In Bakre's work, the sharp, structured shapes and geometric forms resonate with the Vorticist ethos, reflecting the artist's raw, pulsating quality and his movement toward abstraction. The present lot is a fine example of this. In Untitled (Cityscape) there are bold, angular lines and complex layering, evoking the vitality of urban life. This particular work presents a richly textured scene of architectural elements, including arches, columns, and geometric patterns that recall both medieval and Gothic structures. While Vorticism critiques the sentimentalism of 19th-century art, Untitled (Cityscape) moves away from the harsh, rugged depictions of Vorticism that verge on abstraction and instead leans more towards expressionism. Its dreamlike quality and ethereal light introduce a softer, more contemplative atmosphere, creating a contrast to the dynamic, industrial themes typically associated with Vorticism.In this work, the straight, geometric lines are softened by the inclusion of a radiant yellow sun at the top centre, casting an otherworldly glow over the city's structures. This element introduces an expressionist quality to the cityscape, as the composition's layered depth and rhythmic arches create a sense of harmony between the architectural forms. This dynamic interplay contributes to the piece's contemplative and almost mystical atmosphere. Bakre's own words offer further insight into his artistic approach, 'I saw everything mathematically. Everything depended on three parts, not four, so it became a spike. Originally it was a tricone (triangle), and then it went on to other things. The number three struck me so, and when I painted another one, it did not give me satisfaction. It was a geometrical, mathematical phase. I felt the need to do this from some unknown experience of balance' (Sadanand K. Bakre, The Making of Modern Indian Art: The Progressives, p. 194). This statement reflects Bakre's deeply personal engagement with geometry, balance, and abstraction, which helped shape his singular, modernist vision.For further information on this lot please visit Bonhams.com
Lot 2
Krishna Hawlaji Ara (1914-1985)Untitled (Still Life) signed 'Ara' lower leftgouache on paper, framed53.6 x 73.5cm (21 1/8 x 28 15/16in).Footnotes:ProvenanceProperty from a private collection, Geneva.Acquired in India;Thence by descent.K. H. Ara's 'Still Life' paintings stand as compelling examples of his mastery over form, colour, and composition. One of the founding members of the Progressive Artists' Group (PAG), Ara was known for his unpretentious depictions of everyday subjects, infusing them with a sense of vitality and immediacy. The two Untitled (Still Life) works on offer in this auction showcase Ara's ability to transform ordinary objects, a bowl of fruits and flowers in a vase, into vibrant compositions that transcend the mundane.In these works, Ara's use of bold, expressive brushstrokes and rich, earthy tones lends a tactile quality to the depicted objects, highlighting their texture and volume. The careful arrangement of items within the frame exemplifies his keen understanding of spatial relationships and balance. While his 'Still Lifes' appear deceptively simple, there is a subtle play of light and shadow that adds depth and character to the compositions, imbuing the inanimate with a lively presence.Moreover, the works in this series are distinguished by their focus on domesticity and the overlooked beauty of ordinary things. These paintings are not merely depictions of objects but are also reflective of the artist's sensitivity to his surroundings and his ability to find aesthetic value in everyday life. Through these works, Ara celebrates the essence of the humble and the familiar, making the 'Still Life' series a significant part of his artistic legacy and a testament to his nuanced approach to modern Indian art.To see a similar work sold in these rooms see Bonhams, Modern & Contemporary South Asian Art, 6th June 2023, lot 2.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 25
Krishna Hawlaji Ara (1914-1985)Untitled (Still life) signed 'Ara' lower rightgouache on paper, framed75.7 x 55cm (29 13/16 x 21 5/8in).Footnotes:ProvenanceProperty from a private collection, UK.Thence by descent.K. H. Ara's 'Still Life' paintings stand as compelling examples of his mastery over form, colour, and composition. One of the founding members of the Progressive Artists' Group (PAG), Ara was known for his unpretentious depictions of everyday subjects, infusing them with a sense of vitality and immediacy. The two Untitled (Still Life) works on offer in this auction showcase Ara's ability to transform ordinary objects, a bowl of fruits and flowers in a vase, into vibrant compositions that transcend the mundane.In these works, Ara's use of bold, expressive brushstrokes and rich, earthy tones lends a tactile quality to the depicted objects, highlighting their texture and volume. The careful arrangement of items within the frame exemplifies his keen understanding of spatial relationships and balance. While his 'Still Lifes' appear deceptively simple, there is a subtle play of light and shadow that adds depth and character to the compositions, imbuing the inanimate with a lively presence.Moreover, the works in this series are distinguished by their focus on domesticity and the overlooked beauty of ordinary things. These paintings are not merely depictions of objects but are also reflective of the artist's sensitivity to his surroundings and his ability to find aesthetic value in everyday life. Through these works, Ara celebrates the essence of the humble and the familiar, making the 'Still Life' series a significant part of his artistic legacy and a testament to his nuanced approach to modern Indian art.To see a similar work sold in these rooms see Bonhams, Modern & Contemporary South Asian Art, 6th June 2023, lot 2.For further information on this lot please visit Bonhams.com
Lot 9
Sadanand K. Bakre (1920-2007)Untitled (Townscape) signed in English and Devanagiri and dated '1964' lower right; signed and dated S.K.Bakre 1964 verso oil on board, framed45 x 90.4cm (17 11/16 x 35 9/16in).Footnotes:ProvenanceProperty from a private collection, UK.Acquired in the 1960s;Thence by descent.Bakre, one of the founders of modern art in India, was born in Vadodara in 1920. At the age of 19, he moved to Bombay and enrolled in the Sir J.J. School of Art, where he earned a diploma in modelling and stone carving. Here, he was exposed to European and American Modernism, which profoundly shaped his artistic journey. Alongside notable artists like Francis Newton Souza, Maqbool Fida Husain, K.H. Ara, H.A. Gade, and Syed Haider Raza, Bakre co-founded the Progressive Artists' Group (PAG) in 1947, aiming to break away from the revivalist nationalism of the Bengal School of Art and promote an Indian avant-garde movement.Unhappy with the contemporary art scene of the 1960s, Bakre relocated to London to further explore his artistic interests. His time in Great Britain from 1951 to 1975 opened a variety of new possibilities, allowing him to focus exclusively on painting. This period refined his skills through the execution of canvases in a sculptural manner, deepening his understanding of line, form, and colour, as well as his exploration of two-dimensional patterns. The 1960s are widely regarded as the most significant period of his work, showcasing a clear connection between his paintings and sculptures through bold geometric lines.'There is nothing ancient or modern, round, square, or oblong in art, except for art historians.' (S. K. Bakre)'I paint as I like. It is a compelling passion with me to keep alive and I cannot help painting or sculpting. I am traditionally trained and perfectly capable of accomplishing completely realistic work. But my interest in forms has gone far beyond the dull imitations of subject matter, which to me is almost unimportant.' (S. Bakre, All Art Is Either Good or Bad, Free Press Bulletin, March 24, 1965).Bakre's artistic focus on abstraction was influenced by the lyrical style of Paul Klee and the breakdown of form by Picasso. Celebrated for both his pictorial and sculptural work, Bakre redefined the forms 'by transforming it into a novel puzzle with distortion, fragmentation and partial elimination' (New Delhi: Delhi Art Gallery Pvt Ltd., Indian Modern: Narratives from 20th Century Indian Art, Ed. Kishore Singh, New Delhi, 2015, p.92). The present lot, painted in 1964, exemplifies the artistic breakthroughs Bakre achieved during this prolific period. This painting depicts a stylised cityscape where bold, vivid colours dance among abstract forms and geometric shapes, evoking a dreamlike atmosphere. Rendered in muted tones of brown, red, and grey, the composition creates a fragmented portrayal of a surreal urban landscape. This ethereal depiction highlights the tension between straight and curved lines, emphasising Bakre's unique perspective on the urban experience.For further information on this lot please visit Bonhams.com
Lot 11
Maqbool Fida Husain (1915-2011)Ganesh Darbar signed and dated 'Husain '92' lower rightacrylic on canvas, framed90.7 x 151cm (35 11/16 x 59 7/16in).Footnotes:ProvenanceProperty from a private collection, London. Acquired from the artist.'...another favourite animal figure of Husain is the elephant with its myriad associations for the pre-globalised ordinary Indian. In the Indian mythology Airavat, the four-tusked white elephant that emerged from the churning of the ocean, is the mount of the Rain God Indra. The elephant is also a symbol of prosperity because of its association with goddess Laxmi. There are other mythological associations of the elephant, such as with Ashwatthama of Mahabharata and with Ganesha. In the Indian classical literature the elephant also stands for sensuous grace. That is why in the Sanskrit literature, a beautiful woman is described as gajagamini, the one who walks with the sensuous gait of an elephant. Finally, right from the ancient times up to the end of the twentieth century, the elephant was a ceremonial mount for the Royals of India...'The elephant's association with Ganesha is a part of the religious belief of the Hindus.' (K. Bikram Singh, Maqbool Fida Husain, Rahul & Art, 2008, pg. 192)Untitled (Ganesh Darbar) is a vivid and striking painting that seamlessly weaves together the artist's distinctive modernist aesthetic with deeply rooted Indian cultural and religious symbolism. In this piece, Husain places Lord Ganesha, the beloved elephant-headed god, at the centre of the composition, surrounded by two additional representations of Ganesha and three elephants. This arrangement reflects the multi-dimensional nature of the deity, who is revered not only as the remover of obstacles but also as a symbol of wisdom, prosperity, and new beginnings. The painting is a vibrant celebration of Indian spirituality and tradition, seen through the lens of Husain's dynamic, abstract style.At the heart of Untitled (Ganesh Darbar) is Ganesha, whose iconic figure dominates the composition. Husain portrays the deity with a fluid, almost gestural quality, using broad, sweeping brushstrokes to evoke Ganesha's elephantine features. The central Ganesha appears powerful yet approachable, an embodiment of divine energy and wisdom. His posture and placement exude a sense of calm authority, while the vibrant colours—deep reds and oranges surround him, radiating a sense of life and celebration. The two other Ganesha figures, slightly smaller in scale, mirror the central figure but add to the painting's sense of repetition and rhythm. Their presence suggests the multiplicity of Ganesha's aspects and roles in Hindu mythology, where he is often depicted in various forms and manifestations.The inclusion of three elephants around the central figures further amplifies the symbolism of strength, wisdom, and power. In Hindu tradition, elephants are revered for their association with majesty and calm strength, qualities that Ganesha, as the elephant-headed god, embodies. Husain's depiction of the elephants is characteristically bold and abstract, with their forms reduced to essential shapes and lines, yet still recognisable. These elephants, placed towards the bottom on either side of Ganesha, reinforce the sense of balance and stability within the composition, grounding the painting in an almost sacred symmetry. They also echo the central deity's own elephantine form, creating a visual dialogue between the divine and the earthly, the mythological and the real.Husain's use of colour and form in Untitled (Ganesh Darbar) is key to the painting's emotional and spiritual impact. The halo that surrounds Ganesha—in gold, conveys a sense of reverence. The oranges and reds that feature heavily on the canvas, are often associated with Hindu rituals and festivals, and create a festive atmosphere, suggesting that this is not just a static portrayal of Ganesha but a dynamic darbar, or court, where divine presence is celebrated and honoured. The rich, textured layers of paint reflect Husain's modernist approach, where the interplay between abstraction and figurative elements becomes a vital part of the visual narrative. The painting is not constrained by realism but instead allows for a more expressive, emotional portrayal of its subject.Untitled (Ganesh Darbar) also reflects Husain's broader approach to religious and mythological subjects throughout his career. Known for his deep engagement with Indian culture, Husain often turned to themes from Hindu mythology, despite his own Muslim background, demonstrating his belief in the universal nature of spiritual and cultural symbols. In this painting, Husain does not simply depict Ganesha as a religious icon; rather, he reinterprets the deity through his modernist vision, blending traditional iconography with his unique artistic style. The result is a work that feels both ancient and contemporary, deeply rooted in Indian tradition yet open to global, modernist interpretations.To see a similar work sold in these rooms see Bonhams, Modern & Contemporary South Asian Art, 14th November 2023, lot 6.For further information on this lot please visit Bonhams.com
Lot 628
A lady's yellow metal dress ring set with central old cut diamond, approx. 0.5ct surrounded by 10 smaller diamonds in flowerhead design with 2 further diamonds to each shoulder, size K, 2.7gm, tests as app. 14 + carats The diamonds are old cut with the smaller stones somewhat irregular but no chips noticed and quite clean and bright.
Loading...-
137173 item(s)/page