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
Lot 554
Moorcroft 'Blue Lilies' Bowl, initialled for John Moorcroft, showing pale blue lilies with light green leaves against a deep blue ground, to the interior, the exterior in solid deep blue; 10 inches in diameter x 3.25 high; green script J.M. and impressed Moorcroft, Made in England to underside
Lot 453
1930 Rolls Royce 20/25 Registration: DXP 567; Originally bodied as a Sedanca de Ville, and latterly used as a hearse, the chassis was found languishing in a barn and brought back to life by the current owner, whose childhood memory of a toy slot car became the inspiration for the car. Some research showed that the slot car he remembered was modelled on the famous 'Sluggard' car built by the Rolls Royce factory for performance testing at Brooklands, which reputedly ran at 101 mph at the track in 1912. The restoration of the car was documented in a series of articles in the Rolls Royce Enthusiasts Magazine, Surrey section from Summer 2011 to Autumn 2012 newsletters, available on their website. The engine was rebuilt by a well known Rolls Royce specialist in Sussex. The work included crankshaft journal re mettaling, reboring and fitting of light weight pistons. The head and block were crack tested and skimmed, and all the oil ways and sludge traps cleaned. The brakes were rebuilt in April this year by Southwestern Coachworks, and the car has done aound 500 miles since. It has had a new custom made stainless steel exhaust system and battery this year. There is an overdrive unit installed which makes the car much more usable for long runs. The car is MOT exempt, and so is not currently MOT'd. It comes with an extensive history file, including buff log books, petrol rationing cards and copies of original sales invoices, as well as several articles about the original 'Sluggard' car. The car is configured to run with the modern headlights seen in the pictures, but it would be a simple job to wire the large period ones to work, and an enthusistic new owner might want to get the telegauge working!
Lot 167
Dinky Toys Military Vehicles: 651 Centurion Tank with added decals, in original box, Light Dragon, painted Leopard Tank, French Dinky Half Track (lacks tracks), two Dinky and one Britains Field Guns, Dinky late issue USJeep, Corgi Russian Tank and Junior range Commando V100 AND Scout Car (both painted poorly), Matchbox Unimog, P-F, some parts missing, a few with camouflage painting (12)
Lot 280
Display Cabinets for Trains Figures and Diecast Toys: two oak cabinets with decorative opening front door and seven shelves, 650mm high, 450mm wide and 60mm deep glass shelves, light wood display cabinet with opening front door and nine glass shelves, 630mm high, 430mm wide and 70mm deep glass shelves, unused in original card box, small wood/glass display case with lift off lid and wooden base, 320mm long, 145mm wide and 150mm high, all VG, (4)
Lot 403
Hornby Dublo 00 Gauge 2-Rail Locomotive and Accessories: unboxed late issue BR black 0-6-2T 69550 with coal in bunker, F, damp damage with whiting and loss of decals and lining, wagons (7, two Export issues) 4050 and 4051 BR WR Coaches, Buffers, Colour Light Signal, Points (3), Level Crossing (painted) and Switches (3), all in original boxes , F-G, boxes P-F, all with damp damage (19) Export issues 4461 Brake Van and 4830 Cattle Truck
Lot 503
Twin Trix 00 Gauge metal bodied Wagons Signal Boxes Derelict Huts and other Accessories: Whistling Signal Boxes (3, one unboxed), Coloured Light Signals (5) all in original boxes, unboxed, Guards Vans with lights (4), Dump Mineral Wagon (14, one boxed), Crane Trucks (2), 4-plank wagon (2), Derelict Huts (3) Weltrol wagon, Cable Drum and bag of Coal, F-VG, boxes G (qty)
Lot 205
A composite Staunton type wooden chess set the light wooden pieces comprising 29 individual pieces comprising King, Queen, two rooks, two Knights (one lacking base stand), two Bishops and seven pawns, the black ebonised pieces comprising King, Queen, two rooks, two Knights (both lacking carved top), two Bishops, together with eight further matched pieces (37).
Lot 108
ENGLISH CIVIL WAR. A Relation of the Actions of the Parliaments Forces, under the command of the Earl of Bedford Generall of the Horse, against those which came from Shirbourn unto Babell-hill. E. Husbands and J. Franck, [1642], later boards. CHARLES I. King Charles the Ist's Defence of the Church of England . . . in several Letters betwixt His Sacred Majesty and Mr. Alexander Hamilton. Sam. And Ch. Browne, Hague, [ca. 1649], calf, worn, blind-stamped with a rose and ‘C.R.' FINCH, H. An Exact and Impartial Accompt of the Indictment, Arraignment, Trial, and Judgment (according to Law) of nine and twenty Regicides. Andrew Crook, 1660, sm. 4to, boards. ANON. Hinc Illae Lachrymae: or, England's Mysteries Set forth in their true light. J. Johnson, 1692, calf. (4)
Lot 353
Chuval face of ikat design by the Ersari Turkmen of Beshir, south west Turkmenistan, late 19th century, 2ft. 8in. x 4ft. 11in. 0.81m. x 1.50m. Overall wear, slightly heavier in some places; small holes. Note the ‘flowering tree’ motifs in the lower elem. Soft handle and rich colour including a light blue and bright yellow.
Lot 426
Karabakh camel field kelleh, south west Caucasus, early 20th century, 10ft. 8in. x 4ft. 9in. 3.25m. x 1.45m. Slight wear in places with some reweaves. Tape sewn to ends verso. A very attractive kelleh with narrow floral borders in typical Karabakh colours of light pink, pale green and pale blue. Trellised floral motifs to the central panel, wide plain camel outer border.
Lot 100
Three north west Persian rugs, about 1930s, comprising Hamadan rug, floral design on a soft red field, 3ft. 10in. x 2ft. 4in. 1.17m. x 0.71m.; Hamadan rug, blue field with floral motifs, 3ft. 7in. x 2ft. 8in. 1.09m. x 0.81m. And another Hamadan rug, diamond shaped dark blue field with light blue spandrels, 3ft. 9in. x 2ft. 7in. 1.14m. x 0.79m. All with varying degrees of wear with losses to ends. Sold as a collection with all faults not subject to return. (3)
Lot 248
Ersari Turkmen 3 x 6 gulli-gul main carpet, south west Turkmenistan, second half 19th century, 9ft. x 7ft. 2in., 2.75m. x 2.18m. Overall wear, heavier in some places with holes; losses to lower end; striped kelim turned under at the top end. Note the occasional use of a pale yellow and ivory; the two colourful minor ornaments of star-like motifs in the field and the shades of blue through including a light bluey-green. See Reuben, David. Gols and Guls, pl. 22 for a very similar carpet.
Lot 337
Good main carpet by the Ersari Turkmen of Beshir, south Turkmenistan, circa 1870s, 10ft. 5in. x 5ft. 9in. 3.17m. x 1.75m. Overall wear; small repairs; ends possibly re-woven/re-fringed. Note the all over latticed design and the inner and outer guards, secondary borders and other details in pale yellow; the colour referred to in Loges, W. Turkoman Tribal Rugs, p.156; pl. 91, as ‘Beshir-yellow’. Other colours include ivory, mid-blue; light blue and light green. A most attractive carpet of good age and glorious colour.
Lot 15
Patrick Collins HRHA, 1911-1984 BEYOND THE BOG (1966) Oil on board, 36" x 48" (91.5cm x 122cm) signed, inscribed verso Provenance: Tom Caldwell Gallery, July 1979 (label verso) The importance of Patrick Collins lies in his successful struggle to be both international and local, embracing a modern approach to painting while at the same time drawing from indigenous sources. 'Beyond the Bog' is one of his earliest attempts to strip away inessentials and move dramatically towards a more minimal abstract approach. The painting is developed boldly with a few strong lines set against empty space. Characteristically, the composition pulls the eye towards to edges, rotating around a central point and electrifying the empty space. The painting works in purely abstract terms but is further enhanced by the electrifying empty space. Collins was always absorbed by the land but during the late '60s he frequently turned to the bog as a subject. It appealed to him because it was closely identified with Ireland and allowed him to experiment with very austere compositions. Here he brings the viewer right into the bog, with not so much as a trace of sky, buildings or trees. But rather than explicitly describing what he sees, Collins has condensed the moisture, mist and diffused grey light of the Irish countryside better than almost any other artist of his generation. Frances Ruane, 2009.
Loading...-
534297 item(s)/page