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WESTLEY RICHARDS A 12-BORE 1897 PATENT 'GOLD NAME' SINGLE-TRIGGER DETACHABLE-LOCK EJECTOR, serial no. 9378, circa 1910, 28in. nitro reproved barrels, rib engraved 'WESTLEY RICHARDS. 178 NEW BOND ST. LONDON. GUN MAKERS. BY APPOINTMENT TO HIS MAJESTY GEORGE V. REX ET IMP.', 2 1/2in. chambers, bored approx. 1/4 and full choke, scroll-backed treble-grip action with Westley Richards patent toplever engraved 'WESTLEY RICHARDS PATENT ONE TRIGGER', automatic safety with gold-inlaid 'SAFE' detail, J. Deeley and L.B. Taylor patent hand-detachable locks, patent no. 17731 of 28th July 1897 with improved 'lighter pull-off' modification, patent no. 10567 of 7th May 1907, use number 1664, L.B. Taylor patent hinged floorplate, patent no. 23088 of 30th October 1908, A.E. Lard single trigger, patent no. 3962 of February 22nd 1899, use number 1317, triggerplate mounted selector switch with gold-inlaid 'L' and 'R' detail, plain action gold-inlaid with the makers name, 13 1/2in. stock (worn at head and hand), weight 6lb. 9oz.. S2 - Sold as a Section 2 Firearm under the 1968 Firearms Act
AN ALL-STEEL FLINTLOCK TINDER-LIGHTER SIGNED KLETT, POTSDAM, last quarter of the 18th century, with square-formed body engraved with borderlines and loose floral decoration, 'KLETT' signed within an oval panel on the left side and 'POTSDAM' within a similar panel on the right, boxlock action with central ring-necked cock and exposed unguarded trigger, candle-holder to right hand side, walnut smooth bag-shaped butt (possible working replacement), moulded iron bipod feet and replacement sliding trapdoor to front face.
My little Pony, Hasbro - 4 pegasus ponies. "Lavender Lace" perfume puff pony, (marked "87". Year 7) comes with a green flower pick. "Braided Beauty" brush'n grow pony (marked "85". Year 6) comes with a purple sunshine pick. "Masquerade" twinkle eyed pegasus (marked "85". Year 4) comes with pink shooting star comb. "Sprinkles" (marked "83") flesh coloured body with a lighter toned head, comes with a green/blue pick.
A BOX OF ASSORTED ITEMS, to include a silver christening cup, fitted with a scrolling handle, hallmarked 'Barker Brothers silver Ltd' Birmingham, a white metal pierced letter opener, with Egyptian control marks, a cased 'Conway Stewart' fountain pen and ball point pen set, various medals and medallions some with ribbons such as a 'George V and Queen Mary' silver jubilee medal, drivers awards, councils etc, a musical 'Stratton' compact, a boxed pair of cufflinks detailing a horse head, a 'Ronson' lighter in a brown pouch, chains, cufflinks etc
TWO BOXES OF BOOKS AND SUNDRIES, to include a boxed Hornby Railway R.015 Milk Wagon U.D, a boxed Hornby Railway R.090 Princess Coal Wagon, a GW 57740 train carriage, a Merit Station Accessories box containing four station workers, John Players Military Uniforms of the British Empire cigarette card collection, two framed pastoral scene prints, width 46cm x height 38cm, nine 1940's novels by Upton Sinclair comprising Wide is the Gate, Presidential Agent, World's End, Dragon Harvest, Dragon's Teeth, A World to Win, etc, a brown Bakelite box containing stainless steel and brass torsion balance weights, four sets of His Master's Voice 33RPM records, Brahms, Schuman, Beethoven, etc, a boxed boatswain's whistle with instructions, seven Anri folk art bottle stoppers, a vintage leather and chrome Ronson lighter (2 boxes)
A good harlequin set of eight late 19th century lathe-back chairs with patinated elm seatsThis a harlequin set. The colour of the elm seats is generally good with some minor water marking; some of the top rails are lighter around the edge through handling. There is minor scratching and scuffing around the top rails. The chairs are solid and sturdy with no 'major' problems. One of the chairs has a slight wobble. Scratches, scuffs, marks commensurate with general usage and age.
A matched set of five (4+1) late 19th century Oxford chairs: each with shaped elm seat of fine colour Quite a nice colour overall with light and dark patches as expected. The elm seats of pleasing grain and colour; generally scratches, scuffs and marks commensurate with age . The front legs on the carver are quite marked and it gets darker towards the top where the legs terminate in the seat. The arm terminals are much lighter as is the inside of the uprights through handling.
A large and comfortable early 18th century style (later) wing-back armchair: raised on carved walnut cabriole front supports carved at the knees with conch-style motifs and terminating with foliate scrolls (85 cm widest x 90 cm deepest x 114 cm highest)The armchair is of extra large size, very comfortable, with a solid frame (approx. 46cm from the floor to the seat). Generally in good overall but not 'perfect' condition with the dusky pink upholstery appearing lighter around the outside and with some darker colour and wear to the arms commensurate with usage. There is approx. 1" slightly darker red square on the seat and also an L-shaped one about 2" x 1". The underneath looks good and the chair has been upholstered professionally. The cabriole front legs look to be in good general overall condition. The earpieces are coming away slightly and slightly lighter than the legs. The front and back legs have possibly been rubbed down and re-polished at some time. Probably made in the early 20th century.
A good refectory table: finely figured and patinated thick two-plank walnut top with cleated ends; four oak gun-barrel-style supports united by an H-form stretcher (212 cm wide x 78 cm deep x 76 cm high)The top of the table is removable and in the Auctioneer's opinion the top has a very nice colour. There is bit of a gap between the two planks and there are some water marks which, in the Auctioneer's opinion, could be remedied by a re-polish. A very heavy item overall, the top is very thick (approx. 2") ; the base is very nice and much darker than the top, scuffs and some marks commensurate with age and usage mostly confined to the bottom of the legs. The item has a moulded H-form stretcher which is lighter in places than others and has some scratches etc. About 1½-2feet in from one of the ends there is a natural crack of about 4-5" around a natural knot in the wood and in Auctioneer's opinion does not detract from the overall look of the table. Overall a stunning looking table for the right location
Circa 1860s Thomson's 'Bijou' No 382 Red Cotton Cage CrinolineW S Thomson & Co of Cheapside, London was the leading manufacturer of crinoline hoops producing approximately 4,000 a day in the 1860s. The cage crinoline appeared in 1857 as a lighter and more practical alternative to wearing several layers of heavy petticoats to achieve a 'wide skirt'. The crinolines were constructed from a flexible spring steel and numerous hoops were used in each, some enabling wearers to sit comfortably, walk gracefully through doors and up stairs by incorporating a 'concertina' action. The Butler Family, previous residence, the Abbey House, Kirkstall, Leeds
Cartier, a gold-plated Must De Cartier pen and lighter, featuring bark-effect textured detailing and the maker's Trinity rings to the pen lid, with maker's fitted boxCondition- Overall good condition- Few very light hairline scratches to the gold-plating- Pen and lighter are currently without ink or gas- Condition reports are a guide only and clients are advised to view items before bidding - For enquiries about this lot please contact Sophie Higgs at sophie@kinghamsauctioneers.com
A Dunhill birds eye maple humidor, modern, the cedar lined box with applied Dunhill Made in France label, 5cm high, 25cm wide, 22cm deep; together with a Dunhill brass table lighter, with blue and black enamel decoration, stamped Dunhill and Made England, 10cm high (2)Please refer to department for condition report
Erle Loran (American, 1905-1999). Liquitex on stretched canvas painting titled "Light Operator," depicting a kinetic, large format industrial-themed modernist painting, 1968. This is signed and dated in the lower right corner, and additionally signed, dated and titled on the verso with an Oakland, California exhibit label from a 1969 Institute of Creative Arts traveling exhibition arranged through The University of California. An exhibition catalogue is included in sale, with the painting shown as a full page color plate. This is a commanding remarkable example housed in the original wood strip frame.Literature: The University of California, Santa Barbara, "The Institute of Create Arts," 1969.Lot Essay:Erle Loran (1905-1999) Erle Loran was born in 1905 in Minneapolis, Minnesota on October 3, 1905. After graduating from the University of Minnesota, Loran studied at the Minneapolis School of Art under direction of Cameron Booth. His talent was recognized early when in 1926, he won the Paris Prize, which provided him the benefit of a traveling scholarship to Europe where he lived in the studio of Paul Cézanne. This exposure provided much influence to Loran’s life, where he saw the works of Picasso and other European modernists.But, it was Cézanne’s work that motivated him. His fascination with Cézanne led him on a three-year odyssey through Cézanne country where Loran painted and photographed the countryside around Aix en Provence. It would be this experience that formed the foundation for Loran’s 1943 book, “Cezannes’ Compositionâ€. After returning from Europe, he exhibited extensively. In 1936, he moved to California where be began his long teaching career in the art department of the University of California, Berkeley. It would also be during this period that Loran would associate himself with modernist Hans Hoffman. Loran served as the department’s chair in the early 1950s, and was awarded a University Citation upon retirement in 1973.His early paintings include lyrical abstractions in primary colors; however, his style has constantly changed with the times. Watercolor was Loran’s medium of choice because it dried fast and was lighter to transport to his often-remote plein air locations, such as the ghost towns of California and Nevada. His landscapes, often to include a building or structure, were clean, fresh, and spontaneous.In the 1940s, as the war in the Pacific intensified along with domestic tensions, Loran’s work transitioned from plein-air painting to studio work. During this period, landscape painters were occasionally seen as suspicious figures and sometimes mistaken for spies. Loran had such an experience when an armed soldier detained him. Shortly thereafter he decided to focus his painting on abstraction.In the late 1960s, his work became a fusing of Op, Pop, and Hard Edge. From this he moved to figurative painting and later to geometric designs and symbols.In 1960, while in New York City, Loran had further study with Hans Hoffmann who brought European modernist philosophy and techniques to the United States.Among Loran’s many exhibitions were in 1924 at the Minnesota State Fair; the Museum of Modern Art in New York City, 1933; the Rockefeller Center, 1935; Oakland Art Gallery, 1936-1946; the San Francisco Art Museum annuals from 1936; the Golden Gate International Exposition of 1939; California Palace of the Legion of Honor, 1945; California Watercolor Society, 1947, among many others. His works can be seen at the San Francisco Museum of Modern Art, the Denver Museum, the University of Minnesota, the Santa Barbara Museum, and the International Business Machines (IBM) Corporation.Afflicted with a visual impairment, Erle Loran continued to paint until about a year before his death. He died in Berkeley, California on May 13, 1999 at the age of 93.Sight; hight: 47 in x width: 37 in. Framed; height: 48 in x width: 37 1/2 in.
A collection of thirteen items including scent bottles stamped '925', pill bottle stamped '925', a vesta case hallmarked silver, tooth pic box stamped 925, a Dunhill lighter, an electroplated belt, a base metal purse, a small purse stamped '800' and compact and finally, a brooch stamped 'Sterling' (13)
A 1930s silver novelty table lighter, Chester 1933 by E.J. Clewley (Birmingham) in the form of a hunting horn, bearing a presentation inscription, 23 cm high. Together with a heavy silver ladies' hinged card case with a fitted interior, a modern heavy silver tankard, a silver tumbler, and a small hinged sweet cashew box embossed with cherubs. 18.4 ozt gross weight.
Dónal Ó'Conaill - 20th Century Irish School "The Lamp Lighter," gouache / pastel on paper, signed lower right, depicting Street Scene at Night, with Figures and Pram to the foreground and Gentleman lighting the Lamp, approx. 21cms x 25cms (8" x 10"), m/ss label on reverse (faded), oak frame. (1) Provenance: Important Private Collection, West of Ireland
A George V silver backed dressing set, with engine turned decoration, comprising hand mirror, hair brush, and five silver topped glass jars, in fitted dressing case with travel ink and lighter, Birmingham 1918, and two further unrelated silver topped jars.This lot is from the estate of the late Baroness Howe of Idlicote CBE (1932-2022), life peer and crossbench member of the House of Lords (2001-2020), widow of Geoffrey Howe, Baron Howe of Aberavon CH, PC, QC.
A quantity of vintage brooches to include 2 enamelled butterfly brooches, 2 Royal Ascot enclosure badges, a vintage lighter, thimbles, a gate-link bracelet, a gold tone charm bracelet, vintage cufflinks to include silver Concorde examples and other items all contained in a Victorian rosewood jewellery box. Location:R2:4
A SILVER CASED ASPREY LIGHTER AND PLATED DUNHILL LIGHTER (2)The silver cased lighter with reeded decoration, hallmarked for Birmingham 1947, with maker's mark of Bach & Co, the underside detailed Asprey London, 4.6cm high x 3.1cm wide, together with a Dunhill lighter, with engine-turned decoration, possibly circa 1930s, 3.4cm square (2)
A collection of silver and white metal including a silver cigarette case, the body with engraved scrolling foliate decoration, E J Trevitt & Sons, Birmingham, a Ronson lighter shaped atomiser, a white metal heart shaped scent bottle, another example, a white metal topped glass vanity jar etc Condition Report:Available upon request

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44568 item(s)/page