Custom Build Tele style electric guitar, comprising a traditional light two-piece solid alder body and C-shaped satin finish neck; Finish: natural Tru-Oil; Fretboard: maple; Frets: jumbo, good; Electrics: working, hand wound (scatter wound) '52 vintage style pickups, Fender USA three-way pickup selector and CTS volume and tone controls; Hardware: good, Fender ashtray bridge, string ferrules, Schaller strap locks and vintage Kluson style tuners; Case: Spider hard case; Overall condition: good
We found 534297 price guide item(s) matching your search
There are 534297 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
534297 item(s)/page
1970s Kimbra 12-string acoustic guitar, made in Korea; Fretboard: rosewood; Frets: generally good, minor dent wear to first position; Back and sides: Indian rosewood, light blemishes; Table: natural spruce, light blemishes; Case: old semi-hard case; Other: action requires attention; Overall condition: good
1941 Epiphone Blackstone archtop guitar, made in USA, ser. no. 1xxx6; Finish: sunburst, restored cracks and re-finishing to the table, lacquer checking and other light wear; Fretboard: Brazilian rosewood; Frets: dent wear and green oxidisation; Hardware: missing pickguard; Case: vintage hard case; Other: damage to binding on bass side in the first position, which will require re-attaching, wear to the back of the neck; Overall condition: fair *Purchased by the vendor from the original owner in Montreal, who purchased the guitar in Chicago
North Borneo. Labuan. 1879-1904 used collection on black leaves with an impressive array of the Queen's portrait stamps and surcharges. We note SG 1 with red grid of dots cancel, but with a tear; SG 9x; SG 14 pen-cancelled, SG 15; SG 17-19, 21; SG 23 unused; SG 24 repaired at base; SG 25 thinned; SG 26; SG 34; SG 49-50; 1894 set, 1895 surcharge set, and SG 80-2; 1896 Jubilee set; 1897 set; SG 98-101; SG 111-6; SG 117-127 plus 25ct greenish blue, light bars cancel but with a shallow thin, and $1 with bars cancel; 1899 and 1904 4ct surcharge sets. Needs careful viewing as regards condition, many stamps stuck down due to poor hingeing
Ascension Postal History. 1940 registered envelope to Manchester with 1d and 6d KG VI, paying 3d for first ounce and 4d registration. Two-line 'Passed/by Censor' handstamp in black, Mayo Type II. Light oval registered cancels of 10 AP 4? - may be assumed to be 1940 since the latest known use of the Censor mark is 10 AP 40. A little damage at top where roughly opened. SG 39, 43
Ascension Postal History. 1942-5 envelope to UK with violet Censor cachet (Mayo Type III) bearing six ½ds, light CDSs with illegible date. On reverse, Censor's sealing label OPENED BY CENSOR ASCENSION ISLANDS. May have been censored by the US Military and then forwarded through the Ascension Mail Office. Some foxing affects cover and stamps, but a rare item
Ascension Postal History. 1867 envelope to Devonport from 'J. Clark Boiler Maker Ascension' and countersigned by 'John Hawkins for Co. Officer', Clark rating as a seaman, with 1d red Plate 97 paying the concessionary rate, cancelled by '250' numeral of Devonport. Light Ascension CDS of DE 2 67 to left of the stamp. A tear through the backflap affects the top of the envelope, affecting the CAPE PACKET/DEVONPORT CDS on the reverse, and there is a little staining. Plate 97 is not recorded in the SG listing. Sismondo Certificate of 2004, misstating the Plate number as 87. SG Z2 (from £3250)
Ireland. 1922-35 used collection on black leaves with SG 1-10 plus 9d black and carmine overprints, Dollard high values exemplary set, Thom set to 1/- and high values SG 44-6, the 10/- with some short perfs, College Green CDSs. Free State overprints with Thom 2/6d and 10/-, narrow date high values but with faults, wide date 2/6d and 5/- with CDSs, 10/- with reasonably light parcel cancel; re-engraved high values, the 5/- with slight staining and the 10/- two short perfs
A Liberty Tudric pewter two handled vase, designed by David Veazey, decorated with trees and with motto For Old Times' Sake, impressed Tudric 010, height 8ins Condition report: Light surface scratching, has been polished so is a brighter pewter colour otherwise in a condition commensurate with age and wear
Nicolas (Sir Harris). History of the Battle of Agincourt, and of the Expedition of Henry the Fifth into France, in 1415; to which is added, the Roll of the Men at Arms, in the English Army, 2nd edition, 1832, half-title, colour lithograph frontispiece, five lithograph plans & maps including 3 folding (3 hand-coloured, 1 printed in colours), wood engraved portrait on thin paper, occasional scattered spotting, all edges gilt, modern green full morocco gilt by Hatchards, spine & upper edge of boards slightly sunned, large 8vo, together with Monstrelet (Enguerran de), The Chronicles of Enguerrand de Monstrelet; containing an account of the cruel Civil Wars between the Houses of Orleans and Burgundy; of the possession of Paris and Normandy by the English..., translated by Thomas Johnes, volume 4 only (of 13), 1810, half-title, scattered spotting throughout, top edge gilt, modern green full morocco gilt by Hatchards, 8vo, with Hardy (Robert), Le Grand Arc, Histoire militaire et sociale des archers, Adaptation francaise de Robert Foehrle, Edit‚ par Edita Deno‰l, Lausanne, 1977, monotone and colour plates and illustrations, all edges gilt, modern green full morocco gilt by Sangorski & Sutcliffe, gilt embossed Hardy crest to centre of upper board, 4to, with Bacquet (G‚rard), Azincourt, G. Bacquet, 1977, colour and monotone plates and illustrations, original pictorial covers bound-in, all edges gilt, modern light brown/tan full morocco gilt by Sangorski & Sutcliffe, gilt embossed Hardy crest to centre of upper board, 4to, plus United States Congress, Sir Winston S. Churchill, Honorary Citizen of the United States of America by Act of Congress April 9, 1963, facsimile edition, Worcester, Massachusetts: Achille J. St. Onge, 1964, monotone portrait frontispiece, all edges gilt, original full red morocco (upper board faded to brown), gilt title & decorative device to upper board, 32mo in 4s (62 x 43mm) (5)
*Buckler (Edward H.). South West View of Rugby School, Published by A.T. Read, Bookseller, Rugby, circa 1850, uncoloured lithograph of a cricket match on the lawns at Rugby School, few light spots, 26 x 33cm (10.25 x 13ins), framed and glazed, together with Pretty (E.), To the Noblemen & Gentlemen Educated at Rugby, this View of the School is respectfully dedicated by their humble servant E. Pretty, Published by E. Pretty, Drawing Master, Rugby, April 1st, 1816, hand-colour aquatint view engraved by J. Hill, toning to lower left corner of border, image 26 x 38.8cm (10.25 x 15.25ins), overall dimensions 33 x 44cm (13 x 17.5ins), framed and glazed, with three other lithographs of Rugby, all framed & glazed, plus six other miscellaneous prints including a county map of Shropshire by Robert Morden, mostly framed and glazed Robert Hardy attended Rugby School. (11)
*Album. An album of watercolour designs for porcelain by Ellen Theophila Simpson, circa 1888, 32 pages of finely executed watercolour designs for china (plus a number of blank leaves), some to rectos only, others to recto and verso, each page covered with numerous motifs, mostly floral, but also including moths, insects, birds, and border designs, some specifying in neat manuscript 'centre of saucer', 'cup', etc., one page with manuscript maker's mark 'KPM' with orb above, several leaves with a fish emblem in blue ink, Whatman paper watermarked 1888, some light finger-soiling and marks, one leaf detached, leaf size 15 x 22.5cm (6 x 9ins), inscribed in pencil on front pastedown 'Designs for China Painting, Ellen Theophila Simpson, my Father's mother, N. Douglas Simpson', original quarter black morocco, spine rubbed, corners showing, elastic closure broken, oblong 8vo, together with another album with a number of leaves of similar watercolour designs, probably by the same hand, as well as other original drawings, including thirty pages with carefully executed silhouettes painted in black, of courting couples, children at play, animals, fairy folk, etc., and twenty-one pencil drawings, for example portraits, studies after Old Master works, animal studies, a design of fairies for a tapestry, etc., toned, stitching partially broken and a number of leaves detached, front free endpaper inscribed in pencil 'M. Simpson, Wiesbaden 1884, Maud Penny [...?] Simpson, my Father's youngest sister, N.D. Simpson', original cloth, lettered on upper cover 'Skizzenbuch', a little rubbed and marked in places, remains of cloth ties, oblong 8vo (2)
*Halfpenny (Joseph, 1748-1811). View of Thorp Arch and the River Wharfe, Yorkshire, 1788, pen and black ink with brown wash on laid paper, watermarked J Whatman, inscribed in ink to verso by the artist 'View of Thorp Arch from a Hill over the Spawe taken Augst. 26th 1788 by Jos Halfpenny', light mountstain to top margin, sheet size 31.5 x 44.5 cm (12.5 x 17.5 ins) Provenance: Sotheby's Paintings & Watercolours, 28 May 1998, lot 536; Private Collection, Worcestershire. (1)
Callot (Jacques, 1592-1635). De Droeve Ellendigheden van den Oorloogh, seer aerdigh en konstigh afgebeeldt door Jacques Callot...en in druck uytgegeven door Gerret van Schagen, [Amsterdam]: Leonard Schenk, circa 1730, eighteen etched plates after Callot (including decorative title), light spotting and few minor dust marks, 19th century morocco backed marbled boards, rubbed, oblong octavo (1)
*Japanese fan prints. A group of ten fan-shaped colour woodblock prints, circa 1840-60, including designs by Ichiyusai Kuniyoshi (1797-1861), Shibata Zeshin (1807-1891), Settei, Kunisada, Toyokuni, and others, some light soiling, 15.5 x 48 cm (6 x 19 ins), contained in contemporary green paper over-wrapper, with Japanese inscription in gold ink to one side, housed in later purpose-made cloth portfolio, titled to upper cover Japanese Fans, 26.5 x 53 cm (10.5 x 20.75 ins) (1)NB. These fans are probably late 19th-century recarvings of the original woodblocks, with the exception of the design by Zeshin.
*De Morgan (Evelyn, 1855-1919). Sketchbook of figure studies, numerous drawings on 24 card leaves, mostly on rectos and versos, all pencil (except for one watercolour), a number heightened with brown wash (mainly drapery), some pages with several small sketches, others with one large carefully worked drawing, including 13 female and two male head studies, 18 small drapery studies, nine small and larger nude studies, 32 drawing of hands and feet in various sizes and degrees of finish, occasional light dust-soiling and marks, leaf size 35.5 x 24.5cm (14 x 9.75ins), stitching almost entirely broken (leaves just holding on a thread), original half Japanese vellum, rubbed and marked, upper cover with 3" split in upper edge, folio Such a large number of drawings by Evelyn De Morgan contained in one album give a wonderful demonstration of the breadth of her preliminary work, and her preoccupation with accurate delineation of the human form. She drew prolifically throughout her life, always endeavouring to achieve the perfect stance of a body, a beautiful fall of drapery, a poetically expressive hand gesture, or a realistic arrangement of feet. Her exploratory drawings are beautiful in their own right, and this album contains some particularly exquisite female head studies. (1)
*De Morgan (Evelyn, 1855-1919). Tonal study of Michaelangelo's Dying Slave, charcoal on paper, depicting a male nude sculpture (with strategically placed fig leaf), sheet lengthened slightly (by artist) with additional piece joined to top edge, some minor dust-soiling and small stains, mainly to frayed top and bottom edges, large pencil annotation '1st' to left margin, signed 'E Pickering' lower right, sheet size 66 x 34cm (26 x 13.5ins), together with Tonal study of one of Michaelangelo's Sistine Chapel Ignudi, charcoal on paper, depicting a seated male nude in profile, some soiling, pin holes at corners, right-hand edge unevenly trimmed and frayed, two 2" tears in top edge, sheet size 61 x 41cm (24 x 16ins), plus Study of Michaelagelo's Adam from the Sistine Ceiling, pencil on paper, heightened with charcoal, laid down on two thicknesses of paper, showing Michaelangelo's reclining male nude with outstretched arm, sheet size 38 x 47.5cm (15 x 18.75ins) These astonishingly confident drawings were executed by Evelyn De Morgan when she was still a young student at the Slade School of Art. She would almost certainly have drawn the 'Dying Slave' from Monsieur Toquiere's plaster cast in the V&A, which was made from Michaelangelo's original in 1863. Evelyn was one of the first three women students at the Slade when she enrolled in 1873 aged just 17. Whilst life study was considered of paramount importance, study from the antique as well as from Old Masters was also considered a vital part of the students' education. The De Morgan Foundation holds several such studies of classical sculpture by Evelyn. These drawings display her technical virtuosity, showing her skilful use of texture and shading to create light, shadow and three-dimensional form. Her assured draughtsmanship was acknowledged by numerous awards from the Slade including first prize for her 'Dying Slave'. These early works foreshadow a lifetime preoccupation with studying the human form, the portrayal of which was such a key aspect of Evelyn De Morgan's idiom. (3)
*De Morgan (Evelyn, 1855-1919). Study of feet, pencil on card, showing a pair of feet in perspective, dust-soiled, sheet size 15 x 25cm (6 x 10ins), together with Study of feet and hand, pencil on card, showing a pair of feet with a hand below, some light dust-soiling and marks, mostly marginal, sheet size 25 x 35.5cm (10 x 14ins) (2)
*@Bawden (Edward, 1903-1989). Cabin in the Forest, 1952, copper engraving, signed, titled, dated, and numbered 20/50, in pencil, additionally inscribed to upper right 'To Frank Kendon Esq.', some light surface soiling and marks, plate size 19.5 x 11.8 cm (7.7 x 4.7 ins), sheet size 29 x 23 cm (11.4 x 9 ins), mounted (1)
*Fantin-Latour (Henri-Theodore, 1836-1904). Le Genie de l'Air, 1877, lithograph from the published edition of 25 proofs, printed by Lemercier et Cie, Paris, signed in pencil lower right, additionally titled by the artist to upper margin 'Manfred (Schumann)', image size 28 x 35.5 cm (11 x 14 ins), with margins, a few light spots, old frame, glazed, with printed label of Alex. Reid, Glasgow to verso Hediard 17. (1)
*Ray-Jones (Raymond, 1886-1942). Self-portrait wearing a hat, 1915-21, etching on laid paper, watermarked F.J. Head & Co., signed in pencil, plate size 33 x 24.7 cm (13 x 9.75 ins), with margins, framed and glazed, together with Lamp-light (E.I.P.), etching on laid paper, signed in pencil, plate size 203 x 182 mm (8 x 7.2 ins), with margins, framed and glazed, with original printed label to verso Considered to be the artist's greatest print, the self-portrait wearing a hat was exhibited at the Seventh Exhibition of Modern Masters of Etching at the Leicester Galleries in 1922, at which all impressions were sold out on the first day. The work was described as "one of the finest etched portraits of contemporary times". (2)
*Strang (William, 1859-1921). A Matter of Fact, 1901, etching with aquatint, the second state, signed in pencil, with annotation regarding the state by David Strang, plate size 14.5 x 20 cm (5.75 x 7.9 ins), with margins, light spotting to edges, framed and glazed, together with The Farmer's Boy, 1902, etching with aquatint, a touched proof of the first state, initialled and annotated by David Strang in pencil to lower margin, plate size 22.5 x 17.5 cm (8.8 x 6.9 ins) with short margins, framed and glazed, plus The Greengrocer's Shop, 1884, etching, signed by William Strang and David Strang in pencil, plate size 17.7 x 22.7 cm (7 x 9 ins), framed and glazed, and three other etchings by William Strang, including one signed of a peasant couple, dated 1911, and a portrait of Thomas Hardy (second and final state), 1893, and another of women fieldworkers, all framed and glazed Strang 492, 535 & 78 for the first three works respectively. (6)
*Picasso (Pablo, 1881-1973). Sala Gaspar, Dibujos de Picasso, Barcelona, Abril 1961, & Sala Gaspar, Pintura-Dibujo-Grabado, Barcelona, Marzo 1968, two offset colour lithograph posters, both printed on wove paper, the second printed in brown and black, and with some light creases, 70 x 50 cm (27.5 x 19.75 ins) (2)
*Colonies. A rare primitive tapestry, early 18th century, tent stitch on hessian, finely worked in silk in shades of brown, green, blue, and yellow, with touches of red (faded), depicting a coastal settlement, with sailing boats, buildings with pointed roofs, stylised trees, two figures (one possibly carrying a bindle), and another figure fishing, shaped as for a stool top with cut-out corners, worn and threadbare, 43 x 72cm (17 x 28.25ins), together with three early 19th century samplers, dated 1811 (by ? Bullen), 1827 (by Emma Pyrchas Brisley), and 1843 (by Elizabeth Jones), first two worn, the other a little spotted, 36 x 30cm (14.25 x 11.75ins), and slightly smaller, plus three other later samplers (late 19th/20th century), and an early 20th century embroidery picture of a Chinese pheasant standing on a branch of lilac by a fence and wall, coloured silks on cotton, some light soiling, tack holes at edges, size of fabric 63.5 x 58.5cm (25 x 23ins) The iconography of the first item is suggestive of European colonies in the West Indies. (8)
*Dress. A damask gown, circa 1840s, hand-sewn dress of damask with woven silver rose sprays on a dusky blue ground, fitted bodice, slim-fitting three-quarter sleeves flaring to wide cuff with fringed edging, bodice and sleeves lined with blue fabric, front with 14 early brass hook and eye closures (one hook missing), and a few later hooks and eyes at top and bottom, one pocket, close-gathered skirt slightly longer at back, a few faint marks and areas of light rubbing (underarms free from staining), one or two tiny holes and some seams splitting in places, short tear to bottom of front opening, length 141cm (55.5ins), bust 84cm (33ins), waist 117cm (23ins), sleeve length 44.5cm (17.5ins) A very pretty gown in good condition. (1)
*Ecclesiastical embroidery. Embroidered altar cloth, English, late 17th/early 18th century, goldwork on silk taffeta, finely worked with all-over decoration, central sheaf of wheat and grape vine motif, repeated in part to left and right-hand sides, with vase, stylised sunflower, and bow motif in between, and connecting leafy stems and tendrils incorporating tulips and other flowers, some light staining, fabric perished and loss of stitching in places, sometime trimmed and backed with waxed linen, and with later gold braid edging to upper edge and sides, 251 x 48cm (99 x 19ins) A very well-preserved early piece of high quality goldwork, probably intended for use as a frontlet. The Christian symbolism is plainly apparent, with ears of wheat and grape vines representing the body and the blood of Christ respectively, as celebrated in Holy Communion. (1)
*Mickey Mouse. A pair of Mickey Mouse nursery curtains, 1930s, two cotton curtains, printed with duotone Disney characters on an off-white ground, including Mickey and Minnie (with pie eyes), Clarabelle, a pig, donkey, ducks, and chickens, occasional light marks, but in good condition, width 77cm (30.25ins), drop 158.5cm (62.5ins), together with Babar the Elephant, A single large nursery curtain, 1930s, lined cotton curtain, patterned with characters and scenes from Jean de Brunhoff's Babar books, printed in grey, white, green, pink, red, and black, on a pale green ground, lined with green cotton, some water-stains to lower portion, faded, especially along right-hand edge (with consequent perishing), drop 216cm (85ins), width 104cm (41ins) These rare pieces of nursery fabric are examples of early merchandising, before the days when spin-offs became an automatic consequence of any story book or children's film. (3)
*Shirt. A brightly patterned shirt, by Hung On You, London, 1960s, cotton and linen shirt, with bold asymmetrical pattern of semi-circles in red and green on a white ground, four-button closure, rounded shirt tails, satin label at nape lettered in purple 'Hung On You a Londres', with size printed in black above '15 1/2', some very light soiling at cuffs and neck, chest 102cm (40ins), length 75cm (29.5ins), sleeve length 60.5cm (23.75ins) Upmarket London fashion boutique Hung On You (1965-1969) was owned by the designer Michael Rainey, and was famous for its avant-garde approach to clothes. Its standard lines consisted of psychedelic shirts, kipper ties, military uniforms, shimmering sharkskin suits, frilly shirts, jackets with velvet cuffs, and other such flamboyant garments. Its avant-garde approach to clothes, and the clients it attracted, such as The Beatles, The Rolling Stones, The Kinks and Terence Stamp, meant that it became part of the culture of the swinging sixties, and the shop is considered now as occupying an important place in fashion history: 'Its customers were the real departure from the routine, for they were almost exclusively the new male dandies invented by the 1960s, a taboo-breaking mixture of social and rock aristocracy as never encountered before.' (Richard Lester, Boutique London: Kings Road to Carnaby Street, 2010) (1)
*Spitalfields. A small collection of Spitalfields silk fragments, mid to late 18th century, fourteen pieces of brocade, various floral patterns in a variety of colours and shapes, some taken from garments, occasional fading and light marks, some perished in places, largest 111 x 26cm (39.75 x 10.25ins), smallest 22 x 8cm (8.5 x 3ins), plus ten other fragments of fabric, including eight pieces of mid 19th century brocade, with a pattern of flowers including roses and sweetpeas, in shades of gold, green, white, and purple on a gold ground, some lined and/or with fringed edging, some wear (largest piece with several joins, and perished and frayed at edges), largest 149 x 139cm (58.75 x 54.75ins), smallest 25 x 15cm (10 x 6ins) ()
A HALLMARKED SILVER AND GUILLOCHE ENAMEL COMPACT FOR THE ROYAL ARMY MEDICAL CORPS BY DEAKIN & FRANCIS - BIRMINGHAM 1939, having white sunburst enamel design with the Medical Corps emblem to the centre, gilt interior with mirror inset to lid, W 7.25 cmCondition Report:Some light surface scratching to the enamel. otherwise no obvious damage or restoration.

-
534297 item(s)/page