We found 44568 price guide item(s) matching your search
There are 44568 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
44568 item(s)/page
Large tray Hornby items including 1937-9 No. 4E station 'Ripon' with round top arch over booking hall, missing lamps, paint loss on fencing, scratches overall, body only for E220 tank loco 1931-6 LNER black 5154, Plain No. 2 timber wagon 1936-9 missing four stanchions, 1957-69 No. 50 BR hopper wagon, total repaint 1931-41 No. 1E lamp standard as a lighter blue base and finial, as found (A-F)
Hornby 1931-5 No 1 special tank loco LNER No 8123 lighter green, eight boiler bands, corrosion spotting to roof, boiler handrails and coupling rods. Complete with lamps, key and shunters pole. Will benefit from cleaning (F) (BVG) with LNER sticker, LNER corrugated wrapper and guarantee dated Oct 7th 1933 - Henshaws of Bury St Edmunds
A late 19th century Louis Vuitton travelling trunk, covered in the Damier pattern canvas with two painted yellow stripes, embossed leather plaque to front inscribed 'PARIS LOUIS VUITTON MADE IN FRANCE LONDON', with wooden slats, brass corner mounts, catches, locks and side handles, embossed leather bound edges, the hinged top enclosing an interior with ivory glazed calico lining and purple ribbon quilted calico inside the lid, lacks tray, on iron roller castors, metal baseplate, large Louis Vuitton label to the interior, no. 45849, with Vuitton key, numbered to match lock plate, the catches stamped 'L.V.', 31½ x 18¼in. (80 x 46.5cm.), 12¾in. (32.25cm.) high, exterior with some old luggage labels.* Condition: Front panel has old worm to the left hand side and there is some lighter worm to right side of front panel and to the slats on the base. Heavy wear/holes to canvas across the surface, mainly to the lower half. Some surface wear to leather edge binding and two holes to leather edging /strapping to front left. Wear to lower edge of canvas to all sides. Wear to wooden slats to underside and also denting to metal base plate. Interior lacks tray.
A Chinese silk embroidered wedding skirt, early 20th century, the yellow damask and black bordered pleats with silk embroidered flowers and black and bright blue floral borders, the front and back with large panels embroidered with butterflies amidst flowers and foliage, 39½in. (100cm.) long; together with a similar skirt panel with lighter blue floral borders, 38in. (96.5cm.) long. (2)* Condition: - 100cm skirt: The damask to the centre of one of the pleats has dulled to gold from yellow and there are two other smaller patches similar nearby - we are not sure of the cause but it is old staining. Otherwise in very good condition, with bright, strong colours and no damage apart from one or two isolated pulled threads.- 96.5cm. skirt: Very good overall - clean and bright, strong colours. Purple tape edging has a few small nibbles to the edges. No other damage.
A Chinese Canton carved ivory chess set, late 19th / early 20th century, stained red and natural, carved as the Imperial family and their court, the rooks as caparisoned elephants, on waisted pedestal bases, the white king standing 4¾in. (12cm) high. (complete, 32)* Condition: The white pieces are slightly lighter to the front than the back - very slight sun fading. White king has a filled chip or crack in the ivory to the left side of his hair and the blade from weapon is detached (snapped off). Hairline to one turret on one white rook. The turret on the other white rook has been off and glued back at an angle. Six of the white pawns are missing their sword blades.The red king has a few tiny chips to the base edges. The red queen has a large chip to the lower right hem of her robe. One bishop has a tiny frit to the hat brim and the other has a chip to the base at front left. On one rook, the rider has been glued back in place, and the other turret is glued in place at an angle. One red knight has a tiny chip to the top of the left hand. Red pawns - two are missing part of the handle from their weapon and one is missing the blade from the weapon.
A Chinese Canton carved ivory card case, 19th century, carved with figures, birds and pagodas amidst trees and flowering shrubs, the sides with four dragons, pull-off cover, 3½ x 1 7/8in. (8.8 x 4.7cm.), repair to cover.* Condition: Cover has two cracks to opposing corners and a metal mount has been pinned to the lower edge to secure. This is an old repair and there is no damage to the carving. One side of the case is a little lighter due to sun fading.
A quantity of military related collectables, comprising British War & Victory medals (38823 PTE. V Rimeur. Hamps. R); Special Constabulary long service medal, awarded to Frank Hedges; Royal Army Medical Corps badge; Dieu et Mon Droit cap badge; Princess Mary Christmas tin; trench art bullets; lighter with broad arrow mark; bosun's whistle; Irish Police Garda drivers badge etc.
SILVER MESS 'GRENADE' LIGHTER etc. The larger of the two just over 4" high, with HM for Birmingham 1914. Engraved on the front with, R G R T from L C M-S. 6th July 1932. Some usage knocks and dink's evident, with a weighted base. The smaller of the two in plated form, some 3.1/4" height with usage knocks evident.
ELIOTH GRUNER (AUSTRALIAN 1882-1939)THE SILVER LIGHT OF SUMMER MORN Signed, oil on canvas41cm x 46cm (16in x 18in)Provenance: A gift to the current owner from Dr. Patricia Mackay who brought it back to Scotland from Australia c.1934/35. When in Australia Patricia Mackay spent time with her first cousin Angus MacIntyre who acquired, re-built and lived in Fairlight House, Manly from 1910-1939. Although there is no record of MacIntyre's collection, Gruner was a regular visitor to Fairlight House.Note: One of the later figureheads pertaining to the Australian Impressionist movement, New Zealand-born artist Elioth Gruner (1882-1939) is distinguished as one of the country's most innovative and poetic painters of light, whose work captured the imagination of many throughout the early 20th century. We are delighted to offer The Silver Light of Summer Morn, an assertion of Gruner's artistic prominence, and a landmark of his evolving career.Gruner moved to Australia at a young age, and in 1901 began selling paintings to Sydney's Society of Artists, where his work gradually gained traction. It was not until 1923, however, that Gruner garnered much of his inspiration from his travels across Europe, where pioneers of European Modernism conjured a rethinking of his artistic technique. The paintings of Cézanne introduced him to a high-key palette, whilst those of Gauguin revealed the beauty of expressive brushstrokes and simplified forms. Upon his return to Australia, Gruner's repertoire developed in accordance with his European counterparts - a simplification of subject matter, an increased attention to pattern, and a freer, wider sweep of the brush set him apart from his Australian equals.The Silver Light of Summer Morn is a fine example of Gruner's dedication to plein-air painting, in which we're presented with his new, excited and liberal working of the brush. A vast turquoise sky extends across most of the composition, subsuming a mellow swathe of sand, and a delicate slither of seawater disappears into the bright horizon. Rougher topology in the distance smoothly tapers down to a low vanishing point, convening with the lighter tones of the water's surface. We are not, however, the only admirers of this placid view. To the bottom right two women regard the calm waters with their backs to the viewer, one leisurely reclining beneath a pink parasol, the other standing. A deckchair endorses this site as one frequently revered by visitors, accentuated by more distant figures merrily testing the waters of the calm Pacific Ocean. Nonetheless, we're still drawn to the sprawling sky that dwarfs all the participants in this blissful scene - Gruner's affirmation of the landscape as the most important facet of this masterful work. The atmosphere is palpable; long shadows allude to the early time of day - a raw light often favoured by Gruner. The painting evokes a certain ephemerality, as if the tide will soon rise, consuming the lowly swathe of sand; the seated woman will surely raise and fold her parasol, continuing with the nearby figure for an amble along the beach. The solitary deckchair will not remain on the sand forever, and the light will change as the day progresses. It is this refreshing simplicity of elements - an impression of a calm Pacific morning - which marked Elioth Gruner as an artist of distinguished skill, worthy of receiving the Wynne Prize seven times across three decades of painting. The Silver Light of Summer Morn is a demonstration of nostalgia, and a celebration of local beauty. It references the theory of artist Max Meldrum who proposed tone as the most important element of any painting. Most importantly, however, is that Gruner painted the unpaintable: the element of light itself.
A pair of Chinese peach blossom-glazed bottle vases, formed with a compressed ovoid body supporting a cylindrical neck, the exterior covered with a grey-tinged crimson-red glaze characteristically suffused with shades of lighter pink and greenish-beige spots, the base inscribed in underglaze blue with a apocryphal six-character Kangxi mark, carved wood bases, the vases 18.8cm high (2) 康熙款霁红瓶一对
Movie Original Vintage Poster James Bond 007 The Man with The Golden Gun. Ian Fleming's The Man with the Golden Gun, the 1974 Guy Hamilton English James Bond 007 secret agent spy espionage fantasy action adventure thriller ("The world's greatest villains tried to kill James Bond"; "Now it's Scaramanga's turn to try"; "Dr. No. He couldn't kill Bond with a cyanide cigarette and the world's largest tarantula"; "Rosa Kleb. She couldn't kill Bond with an assassin trained from birth."; "Goldfinger and Odd Job. They couldn't split Bond in half with a laser beam or with the world's deadliest hat."; "Blofeld. He tried to kill Bond with a deadly virus and ten of the most beautiful women in the world."; "A solid gold fountain pen that screws into the body of a gold cigarette lighter. A gold cigarette that is snapped into place form a handle. A solid gold cuff link that becomes the trigger. A single gold bullet that is placed in the chamber."; "The barrel of the gun a solid gold fountain pen"; "The hammer and bullet chamber: a solid gold cigarette lighter"; "The magazine hand grip: A solid gold cigarette case"; "The trigger: A solid gold cuff link"; "The man with the golden gun is ready to assassinate James Bond"; based on the novels by Ian Fleming) starring Roger Moore (in the title role "as James Bond 007"), Christopher Lee (in the title role as Francisco Scaramanga, The Man With the Golden Gun), Britt Ekland (as Mary Goodnight), Herve Villechaize, and Maud Adams. Poster printed for Western Hemisphere. Two producers (Saltzman and Broccoli) were unable to agree which name goes first. They resolved this by having posters for half of the world having one of their names first, and on the other half of the world, they reversed it! Country: USA. Year: 1974. Artist: Robert McGinnis. Size (cm): 104x69. Good condition, restored folds, tape marks in corners, backed on linen.

-
44568 item(s)/page