We found 534325 price guide item(s) matching your search
There are 534325 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
534325 item(s)/page
Lot 2116
A stripped pine washstand with shallow raised three quarter shaped back, raised on turned supports united by an under tier/platform together with a stained beechwood floorstanding towel rail/horse and a contemporary light wood pedestal side cabinet and a Windsor wheelback elbow chair (AF) (4)
Lot 624
A 19th century tempera on panel icon, probably Russian, depicting Christ Pantocrator, inscribed and dated 1859 22.5 x 16.25in.CONDITION: Some light wear to the paint, a split across the top of the panel most notably from the right side but also coming in from the left, small dent in the top left angel's face, similar split to the top running across the bottom of the piece, minor chipping around the edges, back has been painted blue at some time but is now worn and scuffed.
Lot 184
An early 20th century French Louis XVI style parquetry semanier, with marble top and seven ormolu mounted drawers, on scroll feet, width 80cm, depth 44cm, height 135cmCONDITION: Pinkish marble top in good order, overall colour a good rich mid to light toffee tone, a number of small losses of veneer particularly to the interspaces between the drawers, the drawers have original handles and never hand locks, mounts dulled down to a flat bronze tone.
Lot 193
A Svensson and Sandstrom Swedish moulded plastic chair, upholstered in buttoned brown fabric with light tan coloured frame, circa 1960, width 74cm, depth 80cm, height 94cmCONDITION: Overall in fair original condition, original upholstery has very light wear and looks a little scruffy but will clean up to good effect, bucket seat and underframe in good order with a few small scuffs at the back and one or two slightly discoloured patches, the cross shaped foot is lighter in colour than the seat and has a little scuffing showing the aluminium bleeding through at the tips.
Lot 4003
A TURQUOISE BEAKER, CIRCA 1750, the body cylindrical with a glass bead around the lower section and set on a slightly raised foot surrounded with a glass ribbon and with a pontil mark. 11cm highThe absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.Light surface wear. Small bubble inclusion. Rough pontil mark.
Lot 4039
A GEORGIAN WINE GLASS, the drawn trumpet bowl on a multi-spiral stem, raised on a slightly domed conical foot. 16.5cm highThe absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.Some bubble inclusions, light surface wear
Lot 4040
A GEORGE V SILVER-MOUNTED CUT-GLASS SCENT BOTTLE, Birmingham 1923, the body with hobnail cutting within diamonds and surmounted by six vertical panel cuts. 11cm highThe absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.Significant chipping to the top of stopper, some chipping to the hobnail decoration, light wear to the mount.
Lot 4041
A HEAVY CUT-GLASS DECANTER, POSSIBLY BACCARAT, the body with vertical panel cutting through the shoulder into the neck, with pourer spout and applied swan neck handle, the base heavily star cut, the stopper cut to match the body. 32cm high including stopperThe absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.Minor bubble inclusions, some light fogging near base
Lot 4089
A SMALL CUT-GLASS LIQUEUR DECANTER, MID-19TH CENTURY, of shaft and mallet form. 20.5cm high Provenance: The Chris Crabtree Collection, North Yorkshire.The absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.Stopper with chip to tip/top and further chip to the bottom of the foot rim, light general wear and flea bites.
Lot 4138
A LATE VICTORIAN EWER, with pear shaped body and domed foot. 23cm highThe absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.Chip to footrim, fogging noted to neck - possibly caused by use of a stopper, light loss to the decoration and usual rubbing and losses to gilding.
Lot 4140
A GEORGE V SILVER-MOUNTED CUT-GLASS SCENT BOTTLE, Birmingham 1927, the body with a wide flat base and rising conically to the silver neck and collar, the stopper lozenge shaped with cutting. 15cm highThe absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.Some deep scratches/dents to the silver mount, light general wear noted to glass
Lot 4148
A MOSER GLASS BOWL, CIRCA 1860, oval with pedestal foot, with a gilt band of tooled decoration to the rim and very fine hobnail cutting, signed. 13.5cm high, 22.5cm wideThe absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.Area of damage and repair to the rim (see image), general light surface wear.
Lot 47
Coins & Banknotes, Great Britain, a collection comprising pre-1947 Halfcrowns, Florins, Shillings, Sixpences, Threepences, brass Threepences and assorted copper coins and commemorative Crowns etc., together with a Gill Twenty Pounds, serial number 12T 128917, NEF with very light creases and a slightly heavier crease to top edge, a Gill Twenty Pounds, serial number A42 638472, VF with creases to Queens head, a Bank of Scotland Ten Pounds, serial number AC373487, NEF with creases to watermark, a Gill Five Pounds, serial number SE21 285574 and assorted Bank of England, Bank of Scotland and Clydesdale Bank One Pound notes and Ten Shilling notes
Lot 48
Coins, Great Britain, a collection of coins and banknotes to include a Victorian 1889 Crown, NF, an 1887 Double Florin, VF but with solder marks to the reverse, an assortment of pre-1947 Halfcrowns, Florins, Shillings and Sixpences, 27 x London 2012 Olympics Fifty Pences (including the football 'offside rule'), assorted commemorative Crowns, pre-decimal Threepences, Pennies, commemorative Two Pounds, all coins have been in circulation some rubbed but mostly F or better, together with a small selection of bank notes comprising 3 x Page One Pounds, DY25 705462, AO1 542627 and K79 493796, all NVF or better, 1 x Fforde One Pound, S23C 528206, NF with creases and some light stains, a Hollom Five Pounds, L82 123827, VF, 1 x One Pound, A29U 619944, NF with creases and stains and a Ten Shillings, W10 050502, F, 3 x O'Brien One Pounds, H91K 309933, R95K 222031 and 42U 438808, all NF and a Ten Shillings, C90 493696, F, together with assorted Scottish notes etc.
Lot 59
Banknotes, Great Britain, George V (1910-1936), Bank ofEngland white Fifty (50) Pounds, dated 14 Oct. 1925, serial number 43X 27138, Chief Cashier Patrick Mahon, Leeds branch, NVF with a stamped ink number '9028' lower right, a handwritten in ink '4829' lower left, a light stain and spot to the top right corner, a grubby mark to the left hand side, a small spot sitting proud of surface below Britannia and signs of light horizontal creases
Lot 60
Banknotes, Great Britain, George V (1910-1936), Ten Pounds, 18th October 1926, serial number L116 11140, Chief Cashier C.P. Mahon, NVF with creases to edge, light folds and some areas of discolouration, together with another Ten Pound note, 18th Novr 1926, serial number L118 48035, Chief Cashier C.P. Mahon, F with signs of light folding, nibbling to edge, handwritten numbers and ink stamps, 6 x J.S. Fforde Ten Shillings, serial numbers C99N 860807 - 860812, EF, 3 x J.S. Fforde One Pounds, serial numbers R67H 486248 - 486250, EF, a J.S. Fforde Five Pound, serial number Y95 361805, NVF with light creases to edges and 2 x Isle of Man Fifty New Pence notes, serial numbers B426017 & B519263, both F
Lot 11
Jesus Rafael Soto (Venezuelan, 1923 - 2005) Titled: "Multiple III" (from Jai Alai Series), 1969 Signed "Soto" and numbered on base. Numbered: (141/300) Medium: Silkscreen on Plexiglas with metal rods Jesus Rafael Soto was born in Ciudad Bolivar and studied at the School of Visual and Applied Arts in Caracas. During this period he became acquainted with Los Disidentes, a group of artists that included Alejandro Otero and Carlos Cruz-Diez. In addition to his fellow compatriots, Soto's work was influenced by Kazimir Malevich and Piet Mondrian. The main artistic tenets evinced in Soto's works are pure abstraction, vibrations, progressions and geometric rigor. They can be seen through the use of lines and superimposed squares in his sculptures, made with paint and a series of industrial and synthetic materials. He spent much time in Europe, becoming a key member of the Group Zero movement, which included such artists as Lucio Fontana, Gunther Uecker and Yves Klein. As a result, Soto's work also incorporates modernist concepts such as light, time, movement, color manipulation and space. All of these facets place him as an important figure within the Kinetic and Op Art movements. Dimensions: 19.75 x 6 x 6 in.
Lot 12
Jesus Rafael Soto (Venezuelan, 1923 - 2005) Titled: "Multiple II" (from Jai Alai Series), 1969 Signed "Soto" and numbered on base. Numbered: (141/300) Medium: Silkscreen on Plexiglas with metal rods Jesus Rafael Soto was born in Ciudad Bolivar and studied at the School of Visual and Applied Arts in Caracas. During this period he became acquainted with Los Disidentes, a group of artists that included Alejandro Otero and Carlos Cruz-Diez. In addition to his fellow compatriots, Soto's work was influenced by Kazimir Malevich and Piet Mondrian. The main artistic tenets evinced in Soto's works are pure abstraction, vibrations, progressions and geometric rigor. They can be seen through the use of lines and superimposed squares in his sculptures, made with paint and a series of industrial and synthetic materials. He spent much time in Europe, becoming a key member of the Group Zero movement, which included such artists as Lucio Fontana, Gunther Uecker and Yves Klein. As a result, Soto's work also incorporates modernist concepts such as light, time, movement, color manipulation and space. All of these facets place him as an important figure within the Kinetic and Op Art movements. Dimensions: 19.75 x 6 x 6 in.
Lot 172
CHILDREN: ANDREW LANG: 1- The Yellow Fairy book. 1894, 1st. edn. Original gilt pictorial covers & aeg; little faded; light damp stain to bottom margin of first 40 pages; 2- The Red True Story book. 1895, 1st. edn. Original gilt pictorial covers & aeg; Small light stain to upper cover; 3- The Grey Fairy book. 1900, 1st. edn. Original gilt pictorial covers & aeg; Ex-reference Library, with bookplate, blind stamp & number to verso of title page; 4- The Brown Fairy book. 1904, 1st. edn. Original gilt pictorial covers & aeg; G+; 5- The True Story book. 1893, 1st. edn. Original gilt pictorial covers & aeg; G+; 6- The Animal story book. 1896, 1st. edn. Original gilt pictorial covers & aeg; rubbed; 7- The Book of the Princes & Princesses. 1908, 1st. edn. Original gilt pictorial covers & aeg; VG+. (7)
![1- [Pennant, T]: A Tour in Scotland, and Voyage to the Hebrides; MDCCLXXII. Chester: printed by John Monk, 1774, engraved vig](https://cdn.globalauctionplatform.com/65712e03-6cec-479a-ba26-ad03009f83e6/5b4d6edc-aacb-4e70-ba3d-ad050131e85f/468x382.jpg)
Lot 176
1- [Pennant, T]: A Tour in Scotland, and Voyage to the Hebrides; MDCCLXXII. Chester: printed by John Monk, 1774, engraved vignette title, 44 engraved plates (27 folding). Cont half leather; covers detached; light damp staining; 2- [Mackean, W]: Letters Home During A Trip In America, 1869. Paisley, for family friends, 1875. With a frontis. 240pp; 3- Grosart, A B: Poems and literary prose; volume 2, Poems. Paisley, A Gardner, 1876. Half leather; rubbed; 4- The Harp of Renfrewshire. Paisley, A Gardner, 1872. PP: 454+newspaper cuttings, letters to the publisher and replies tipped-in at the end. Leather backed boards; rubbed; Plus 5 others. (9)
Lot 227
ILLUSTRATED: Bartlett & Beattie: Ports, Harbours, Watering-Places, and Coast Scenery of Great Britain. 2 Vols. Virtue, 1842. 1st. Embossed & gilt decorative full leather; rubbed, light damp staining & foxing to some plates; Lacking one plate; Goldsmith: History of Earth & Animated Nature, 2 Vols. Fullarton, no date, c1880. With hand-coloured plates. Half leather; rubbed; Euclid’s Elements of Geometry. 1762, with 18 folding plates; Mrs. Beeton’s book of Household Management. Ward Lock, nd, new edn. Revised; AND: Thompson: Gardener’s Assistant. Blackie, nd, c1859. With only 10 out of 12 colour plates; (7)
Lot 36
FLEMING, Ian: 1- Dr. No. Jonathan Cape, 1958, first edition, dust jacket (13s. 6d.). First state, with silver lettering to spine and Plain black publisher's boards without the silhouette. DW little frayed at edges, former owner’s name in ink and crossed out; light foxing to endpapers; 2- For Your Eyes Only. J Cape, 1960, first edition, first impression; dust jacket (15s.). Gold lettering to spine and silver eye to upper cover; Jacket with The front flap has a blurb about the book and a review for Goldfinger. Rear panel has five reviews. The rear flap has a review for The Diamond Smugglers and Dr. No. (2)
Lot 240
Ed Vebell (American, 1921 - 2018) "Edison Invents Electric Light" Signed lower right. Original Acrylic painting on Hot Press Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original painting which was published on the Fleetwood Commemorative Cover for Epic Events in American History series issued in 1985. From the beginning, circumstances decreed that Americans would address themselves not so much to "Natural" Philosophy, as to the immediate and practical potentialities of Science. They were a new people in a new world. New methods of farming were required, now tools, even new measurements. The American Philosophical Society made this clear in its 1769 Charter: it was to address itself to agriculture, botany, navigation, and similar subjects. Benjamin Franklin -- who had seized the lightning from the skies and toppled tyrants from their thrones -- was one of the Society's first presidents, and a model to its members. Thomas Alva Edison was in many ways Franklin's legitimate successor. Like Franklin, he could not refrain from improving everything he set eyes on. Not a theoretical scientist, he was the most successful of all scientists interested in the well being and convenience, the wealth and health of the ordinary man. Everything he touched, he improved: the telegraph, the telephone, the phonograph, photography, motion pictures, and -- perhaps most important of all -- electric lighting, one of the greatest boons to mankind. When he was 80, Congress awarded Edison a Gold Medal for "inventions that revolutionized civilization." More literally than anyone else of our time, Edison merits the motto: Fiat Lux, let there be light. Image Size: 19.75 x 21 in. Overall Size: 26.5 x 26.75 in. Unframed. (B05695)
Lot 255
Mel Crawford (Canadian, B. 1925) "Carolling in Cathedral at Christmas" Signed lower right. Original Mixed Media painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original painting which was published on the Fleetwood First Day Cover for the U.S. 20c NiccolinCowper Madonna, by Raphael stamp issued October 28, 1983. The magical season of Christmas is a time of merriment; but it is also a time for sincere reverence. On Christmas morning, churches all over the world hold special, joyous services to celebrate, with rich ceremony, the humble birth of the Savior of the World . . . Jesus Christ. Merriment and reverence are united by a special bond during this sacred time of the year. The sincere, yet joyful worship of Jesus Christ as the Babe of Bethlehem . . . born in humility . . . was especially stressed by St. Francis of Assisi. This Holy Saint is associated with Christmas because of his great love of the simple religious songs which were the forerunners of our modern Christmas carols. He once advised a devout Brother to mix light-hearted singing with his preaching -- "for what are the servants of God if not His minstrels, who ought to stir and incite the hearts of men to spiritual joy?" When St. Francis celebrated Christmas in Greccio in 1223 it was humble indeed . . . especially when compared with the Christmases of today, which involve diverse customs developed through two thousand years. But all Christmas customs, whether rooted in pagan festivals, folklore, or church rituals, express that "spiritual joy" of which St. Francis spoke . . . a resplendent joy to the world which we glory in manifesting, both in song and praise, during the magical season of Christmas. Image Size: 13.75 x 12 in. Overall Size: 16.75 x 14.75 in. Unframed. (B08334)
Lot 256
Mel Crawford (Canadian, B. 1925) "Bringing Home the Tree" Signed lower right. Original Mixed Media painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. Imagine a lone cowboy riding the open range a hundred years ago. He's been chasing stray doggies for two weeks. He's tired, cold, and just a little bit lonely. But tonight it's Christmas Eve, so he hurries into town to pick up some gifts the shopkeeper has been holding for him. Then one last stop along the trail to cut down the little spruce tree he's been keeping his eye on for months. He heads home with his pack horse loaded with Christmas spirit. A light snow is falling and he can see through the flakes a familiar puff of smoke curling up from his cabin. Inside, his family is cooking Christmas dinner and eagerly watching out the window for his return. Christmas in the Old West was very different from Christmas today, and yet it some ways it was very much the same. Image Size: 14 x 12 in. Overall Size: 17.25 x 15 in. Unframed. (B07720)
Lot 263
Shannon Stirnweis (American, B. 1931) "Statue of Liberty" Signed center left. Original Oil painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. The Lady, the Goddess, Miss Liberty -- she has been called many names, but she has always been the symbol of freedom. Our grand Lady of the Harbor evokes the hopes and dreams of all those who gaze upon her brilliant face and flock to her open shores. The Statue was a gift from France to the people of the United States -- whose striving for liberty and social justice helped inspire the French in their own search for liberty. To help bring the vision of the statue to reality, the French government enlisted the help of a young sculptor, Frederic Auguste Bartholdi. Initially given the name Liberty Enlightening the World, Bartholdi envisioned the statue to embody the everlasting spirit of Liberty, which would serve as an inspiration for all nations, for all peoples, for all times. After experimenting with several models, Bartholdi revealed the statue in her final form: a serene but forceful woman in classical garb, with an upheld torch of freedom, a crown of radiant light, with chains of bondage broken at her feet, and a sacred tablet inscribed with the date of the Declaration of Independence. Since her dedication in 1886, the Statue of Liberty has stood proudly in New York Harbor, beckoning the thousands of immigrants from faraway lands to her free and prospering shores. The story of over one hundred million Americans literally cannot be told apart from the story of the Statue of Liberty. Image Size: 13.25 x 16 in. Overall Size: 18.25 x 22 in. Unframed. (B10324)
Lot 529
Tom McNeely (Canadian, B. 1935) "Columbus' Ship Approaching Land" Signed lower right. Original Watercolor painting on Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original which was published on the Fleetwood First Day Cover for the U.S. 29c Columbus Voyage; Approaching Land issued April 24, 1992. By the 5th century B.C., Greek astronomers and mathematicians realized the earth was spherical in shape. Several centuries later, a mathematician named Eratosthenes calculated a surprisingly accurate circumference of the earth, but his discoveries were overshadowed by Ptolemy, an Egyptian mathematician of the 2nd century B.C. whose observations of astronomy and geography guided scientific thought until the 16th century. Experienced mariners such as Columbus followed Ptolemy's dictums, but his ancient miscalculations of the earth's circumference made land masses appear much closer by sea than they actually were. Despite some popular legends, few sailors of Columbus's day believed the world was flat. When mutinous rumblings echoed below the decks of his ships, Columbus knew it was not fear of falling off the edge of the world that roused his crews' ire -- it was fear of the wind. The caravels, built to sail into the wind, had never before carried sailors so far from home. Could these sturdy ships carry them safely back to Spain against strong easterly winds? With rousing cries of "Adelante!", Columbus allayed their fears and assured them that land would soon be sighted. Events proved him right, for the Journal of the First Voyage dated October 12 recorded: "At two hours after midnight appeared the land, at a distance of two leagues." Convinced they had reached the rich Indies, Columbus and his men waited to see what manner of land sunrise brought to light. Image Size: 23.25 x 21.25 in. Overall Size: 24 x 21.25 in. Unframed. (B13740)
Loading...-
534325 item(s)/page