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A large studio pottery shallow bowl decorated with fish, signed to the base Niel and two similar ceramic stands [3].Condition: The large dish appears in excellent condition, no chips, cracks or restoration, visible crazing on the lighter coloured areas, the two stands have slight chips to the corners.
Collection of mixed items, to include a reproduction shoulder stock for a black powder revolver, a .22 pistol case, cannon ball, two cow horns, twin nozzle oil bottle in canvas case, collection of rubber bullets for police riot control, mahogany case, black powder pistol loading rod, leather pouch, a pistol shaped cigarette lighter, two slings and a gun slip.Condition report: ``
Collection of Vintage Dolls in suitcase, includes: Armand Marseille bisque headed baby doll with moveable arms and legs and shutting blue eyes; Boy doll in tweed shorts and jacket with moveable soft arms and legs; and four vintage dolls in traditional dress. Also includes a vintage powder compact; and an autograph book from the 1930s containing photographs, pictures and autographs from the Blackpool Tower Circus. Also includes a boxed vintage Ronson lighter 'Splendide' with instructions and receipt. Please see photographs.
Collection of Assorted Watches, Bags & Costume Jewellery. Includes 12 assorted fashion watches; a boxed bracelet and earring set; two coin bracelets; two dress rings; a paste diamonte necklace; a decorative bead necklace; a collection of brooches to include a vintage oval brooch with paste diamonte stones; a Spanish Ship Brooch Copper Metal Engraved with Red Maltese Cross emblem; a vintage floral brooch; an oval Wedgwood cameo silver brooch depicting cherubs; a boxed bangle; a Moritz vintage double flame pipe and cigar lighter with engraved gilt finish; a vintage Worthington bottle opener in case Reg No 745335; a vintage Bass opener/knife; two beaded bags and one vinyl bag. Please see photographs.
Railway Interest - Vintage Metal Railway Sign. White sign with red lettering reads: 'The Railway Executive - Danger Don't Touch Conductor Rails'. Measures 20" x 12.5". Some ageing to sign as appropriate. Also includes vintage Flexolite Lighter Fluid Capsules Tin in white with red lid. Please see photographs.
An Edward VII Sterling Silver Gentleman's Personal Grooming Case. The green leather and silk-lined case opens to reveal a fitted interior of accessories including two clothes brushes, one hair brush, one comb, an easel mirror, a boot hook, lighter, ink well, sewing kit, pen holder, wallet, manicure set (incomplete), ivory letter opener, five hammered silver-topped cut glass jars. The box and accessories stamped A. Davis & Co, sterling silver marks for Birmingham dated 1906, mm A J Zimmerman.
A Silver Cigarette Case, Birmingham hallmark, dated 1904, mm BTC together with a silver lighter, engine turned with the monogram AG together with a silver case perfume bottle (no stopper) Birmingham hallmark F & Co, Victorian silver beaker dated 1860 mm CT, silver topped scent bottle (damaged lid) Birmingham hallmark and a silver plated bachelor coffee pot.
A QUANTITY OF VINTAGE JEWELLERY AND COLLECTABLES TO INCLUDE AN 18ct GOLD DIAMOND CLUSTER RING (FINGER SIZE O),A PAIR OF 9ct AQUAMARINE AND SEED PEAL CRESCENT DROP EARRIINGS A 9ct GOLD AND PEARL BROOCH, A 9ct FULL STONE SET ETERNITY RING, TWO 9ct GOLD CHARMS, A SILVER HALLMARKED TASTEVIN AND CASED CUTLERY SET, VARIOUS COSTUME JEWELLERY, COINS, A DAGGER, LIGHTER ETC.
Tony O'Malley HRHA (1913-2003)Orpheus, AutumnOil on board, 92 x 122cm (36 x 48)Signed with initials and dated 1984; Also signed and inscribed versoProvenance: The Shelbourne Hotel, DublinThe 1980s are generally regarded as being Tony O’Malley’s finest sustained period as a painter; he had developed a personal artistic language and was entirely comfortable with it, without for a moment becoming complacent or lazy. His lively, intense engagement is fully evident in this fine, supremely good-natured, lyrical composition from 1984. That year, a landmark survey exhibition, Tony O’Malley - Painter in Exile, with a catalogue by Brian Fallon, toured to Dublin, Cork and Belfast, consolidating his reputation in Ireland.At the time, he and his wife Jane (née Harris) were still based in St Ives in Cornwall, though they had bought a cottage in Callan, Co Kilkenny, with the intention of moving there at some point (they did so at the end of the decade). In the meantime, from 1974 they had been making annual, six-week winter visits to the Bahamas to visit Jane’s father. To his surprise, the Bahamas proved to be enormously stimulating for O’Malley’s painting, encouraging him to explore a lighter tonal range and a brighter palette. As Peter Murray succinctly put it in a Gandon profile in 2000: “Muted dark colours related to Cornwall and Ireland, warmer colours to the Bahamas or Lanzarote (their winter destination when they no longer visited the Bahamas).”The division is not quite as stark as that. The warm Bahamian influence is felt in paintings of Cornwall and Ireland, and earlier on a stay on St Martin’s in the Scilly Isles had provided a stimulating taste of subtropical light and vegetation. O’Malley borrowed Gerard Manley Hopkins’ term “inscape” to describe his approach to landscape. That is, he rarely makes a straightforward representational image. Instead he gathers a number of features of the landscape, together with small, detailed elements within it, including such related things as birdcalls and bird plumage, the darting movement of fish in water and much more, knitting everything into one multi-layered composition.Born in Callan in 1913 and regarded as one of the leading Irish painters of the 20th century, O’Malley was a modest, self-taught artist. He was 19 when he began to work in branches of the Munster & Leinster Bank. Diagnosed with TB around 1945, he began to paint in earnest during his long convalescence. A painting holiday in St Ives, Cornwall in 1955 introduced the idea of living and painting there and, after retiring prematurely on health grounds, he did so in the early 1960s, living and working in the thriving artists’ colony there until settling back in in Callan in 1990.Aidan Dunne
A First/Second World War Group of Six Medals, awarded to S.S.6100, C.(Charles) McCABE, ORD. (later A.B.), R.N., comprising 1914-15 Star, British War Medal, Victory Medal, 1939-45 Star, Atlantic Star with FRANCE AND GERMANY clasp, and War Medal, bar mounted and set on a wood plinth with portrait photograph, together with a quantity of postcards addressed to him; also, militaria, including an autograph album filled with facsimile autographs, a REME plaque, a Sudanese dagger, various buttons mounted on an oak baton, badges, Trench Art ashtray and lighter etc
Henry VI, King of England and France (1422-53), gold Salut d'Or, St Lô Mint, second issue from 6th September 1423, standing figures of Virgin Mary and Angel Gabriel behind shields of France and England, sun rays above, AVE on scroll downwards between, Latin legend and beaded borders surrounding, initial mark fleur de lis, hENRICVS: DEI: GRA: FRACORVm: Z: AGLIE: REX, rev. Latin cross, lis to left, lion to right facing left, h below, tressure of ten arcs surrounding, lis on each cusp, Latin legend and beaded border surrounding, initial mark fleur de lis, mullet stops, XPC'*VINCIT* XPC'* REGNAT* XPC'* ImPERAT, weight 3.49g (Elias 271; Schneider 121; AGC 387A dies 2/a; S.8164). Light tone, extremely fine. The gold Salut d’Or was struck through two issues under King Henry VI as King of England and France, the first from February to September of 1423 which is heavier and has a hand of Benediction above the scroll on the obverse. The much more prolific and common lighter second issue has the divine radiance above the scroll and is what is usually encountered like we have here. Issued from 6th September 1423 it was issued at 70 pieces to the mark. It was issued from the Mints of Amiens, Auxerre, Châlons-sur-Marne, Dijon, Le Mans, Paris, Rouen, St Lô, St Quentin and Troyes. Provenance: Ex A. H. Baldwin and Sons Ltd, purchased circa 2006.
Henry VI, King of England and France (1422-53), gold Salut d'Or, St Lô Mint, second issue from 6th September 1423, standing figures of Virgin Mary and Angel Gabriel behind shields of France and England, sun rays above, AVE on scroll downwards between, Latin legend and beaded borders surrounding, initial mark fleur de lis, hENRICVS: DEI: GRA: FRACORVm: Z: AGLIE: REX, rev. Latin cross, lis to left, lion to right facing left, h below, tressure of ten arcs surrounding, lis on each cusp, Latin legend and beaded border surrounding, initial mark fleur de lis, mullet stops, XPC'*VINCIT* XPC'* REGNAT* XPC'* ImPERAT, weight 3.48g (Elias 271; Schneider 121; AGC 387A dies 2/a; S.8164). Light tone, extremely fine. The gold Salut d’Or was struck through two issues under King Henry VI as King of England and France, the first from February to September of 1423 which is heavier and has a hand of Benediction above the scroll on the obverse. The much more prolific and common lighter second issue has the divine radiance above the scroll and is what is usually encountered like we have here. Issued from 6th September 1423 it was issued at 70 pieces to the mark. It was issued from the Mints of Amiens, Auxerre, Châlons-sur-Marne, Dijon, Le Mans, Paris, Rouen, St Lô, St Quentin and Troyes. Provenance: Ex A. H. Baldwin and Sons Ltd, purchased circa 2007.
g Elizabeth II (1952 -), gold three-coin proof Set, 1989, gold Two Pounds, Sovereign, Half-Sovereign, for the 500th Anniversary of the Sovereign, designed by Bernard Sindall, Queen enthroned facing, seated in King Edward's Chair, holding Sceptre and Rod, all within beaded circle, legend in Gothic letters with trefoil stops and raised rim surrounding, ELIZABETh. II. DEI. GRA. REG. FID. DEF, rev. crowned Shield of the Royal Arms upon a double Rose, beaded circle surrounding, legend in Gothic letters with trefoil stops and raised rim surrounding, AnnIVERSARY. OF. ThE. GOLD. SOVEREIGn. 1489-1989, the D in legend a retrograde Gothic E, edge milled, weights 15.98g, 7.98g, 3.99g respectively (S.PGS11). Good extremely fine, practically as struck, some clouding and tone spots on Half Sovereign, lighter blemishes on other coins, housed in original Royal Mint box with certificate of authenticity numbered 02343 of 7936 three coin sets issued, gold block lettering on case a little faded. (3) g This item is sold under the investment gold scheme. VAT may be reclaimed on investment gold lots by VAT registered traders.
g George VI (1936-52), gold Proof Two Pounds, 1937, bare head left, initials HP below neck for Humphrey Paget, GEORGIVS VI D:G: BR: OMN: REX F: D: IND: IMP:, rev. St George and dragon right, date in exergue, B.P. to upper right of exergue, edge plain, weight 16.03g (Schneider 671; WR 437; S.4075). Quite hairlined in obverse field, rim nicks on obverse, lighter hairlining on reverse, good extremely fine. Mintage 5,501 pieces. Thomas Humphrey Paget was the engraver and designer of the Coronation gold proof coins of King George VI, hastily prepared in the light of the December 1936 abdication of King Edward VIII. The new gold coins of King George VI were ready for release by the time of the Coronation on 12th May 1937; and were officially gold Patterns as they had a plain edge as opposed to a milled edge like on the currency coins. They were only released as part of the four-coin proof sets of which 5,501 were produced. g This item is sold under the investment gold scheme. VAT may be reclaimed on investment gold lots by VAT registered traders.
Henry VI, King of France (1422-53), gold Salut d'Or, Rouen Mint, initial mark leopard, pellet in annulet under last letter of legend on both sides, outside inner circle on obverse, inside inner circle on reverse, Virgin Mary and Angel stand behind shields of France and England, sunburst above, AVE on scroll downwards between, hENRICVS: DEI: GRA: FRACORV: z: AGLIE: REX, rev. Latin cross with h below, lis to left, lion to right facing left, within tressure of ten arcs, lis on cusps, legend with mullet stops surrounding, XPC'* VINCIT* XPC* REGNAT* XPC'* ImPERAT, weight 3.48g (Elias 270c; Schneider 112; AGC 386F-1/b; S.8164). Toned, almost extremely fine. The gold Salut d’Or was struck through two issues under King Henry VI as King of England and France, the first from February to September of 1423 which is heavier and has a hand of Benediction above the scroll on the obverse. The much more prolific and common lighter second issue has the divine radiance above the scroll and is what is usually encountered like we have here. Issued from 6th September 1423 it was issued at 70 pieces to the mark. It was issued from the Mints of Amiens, Auxerre, Châlons-sur-Marne, Dijon, Le Mans, Paris, Rouen, St Lô, St Quentin and Troyes. Provenance: Ex A. H. Baldwin and Sons Ltd, purchased circa 2007.
Henry VI, King of France (1422-53), gold Salut d'Or, Rouen Mint, initial mark leopard, pellet in annulet under last letter of legend on both sides, outside inner circle on obverse, inside inner circle on reverse, Virgin Mary and Angel stand behind shields of France and England, sunburst above, AVE on scroll downwards between, hENRICVS: DEI: GRA: FRACORV: z: AGLIE: REX, rev. Latin cross with h below, lis to left, lion to right facing left, within tressure of ten arcs, lis on cusps, legend with mullet stops surrounding, XPC'* VINCIT* XPC* REGNAT* XPC'* ImPERAT, 3.47g (Elias 270c; Schneider 112; AGC 386F-1/b; S.8164). Lightly toned, almost extremely fine. The gold Salut d’Or was struck through two issues under King Henry VI as King of England and France, the first from February to September of 1423 which is heavier and has a hand of Benediction above the scroll on the obverse. The much more prolific and common lighter second issue has the divine radiance above the scroll and is what is usually encountered like we have here. Issued from 6th September 1423 it was issued at 70 pieces to the mark. It was issued from the Mints of Amiens, Auxerre, Châlons-sur-Marne, Dijon, Le Mans, Paris, Rouen, St Lô, St Quentin and Troyes. Provenance: Ex A. H. Baldwin and Sons Ltd, purchased circa 2007.
A modernist bronze sculpture of a reclining nude couple signed with initials, possibly EG, with mid-brown patination, 24 3/4in. (63cm.) long; together with a similar black painted terracotta sculpture by the same artist, unsigned, 20in. (51.5cm.) long. (2) Condition: Bronze: Good condition. Dusty, slight lighter rubbing to patination on edges. Terracotta: Good condition, with just a few tiny rubs to paint to the female figure's face.
A PAIR OF GEORGE III SILVER BRIGHT CUT SUGAR TONGS, repaired at bow, maker Tl, Sheffield 1798, a silver cased 'The Howitt Lighter', a Victorian silver caster spoon, makers Josiah Williams & Co Exeter 1855, other silver items boxed, cased and loose, gross weight of weighable silver 7.6ozt, 237 grams, together with a small quantity of other items (Parcel)
LARGE BRASS PRESERVE PAN with a fixed iron handles, 36.8cm diameter and a similar preserve pan, 33.5cm diameter; together with including a turned wood smoking companion with a circular oak ashtray above a circular shelf, 67.5cm high, a green marble table lighter, cigarette box and shaped ashtray (6)

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44570 item(s)/page