Horst Antes, "Bildnis des Aesop", "Figur Beautiful" & "Das Ei des Piero della Francesca", 3 Farblithographien von 1967/74Horst Antes, *1936 Heppenheim, "Bildnis des Aesop", 1967, Farblithographie, 53,5 x 42 cm, signiert, nummeriert 32/150, Rand sehr leicht fleckig und knickfaltig sowie "Figur Beautiful", 1971, Farblithographie, 95 x 66 cm, signiert, nummeriert 336/999; "Das Ei des Piero della Francesca", Farblithographie, 58 x 90 cm, signiert, nummeriert 21/218, Rand gebräunt, kleiner Einriss am unteren Rand, o. Rahmen
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5 x KA-Majolika: Hummel-König, Pferd von 1935, Heinze, Affengruppe und Kinder singend von 1949-78/ 1939-63 und Glatzle, Vase von 1956-64, Friedrich-Gronau, Hängemadonna von 1960-64 sowie Aquarell mit Karlsruher Marktplatz mit Marke der KA-Majolika ManufakturTrabendes Pferd, Entw. Lilly Hummel König, auf ovalem Sockel, rotbrauner Scherben mit grauer krakelierter Glasur, H 28 cm, L 46 cm, am Boden gemarkt, Modellnummer 4348; "3 Affen", Entw. Max Heinze, rotbrauner Scherben, türkisblau glasiert, Modellnummer 5672, H 12 cm, am Boden gemarkt; "Kinder singend", Wandrelief, Entw. Max Heinze, rotbrauner Scherben, farbig glasiert, Modellnummer 5114, H 15 cm, gemarkt; Friedegart Glatzle, Vase, ovoide Form, rot glasiert mit Goldsprengseln, H 16 cm, Modellnummer 5999, am Boden gemarkt; Lore Friedrich-Gronau, Madonna, Wandrelief, dunkelbrauner Scherben, teilglasiert, H 37 cm, Modellnummer 6770, dazu Karlsruher Marktplatz, Aquarell, 14 x 21,5 cm, monogrammiert MO, mit Marke der KA-Majolika Manufaktur, o. Rahmen
Salvador Dali, "Naphtali" aus der Serie "The Twelve Tribes of Israel", Kaltnadelradierung mit Pochoir von 1973Salvador Dalí, 1904 - Figueras - 1989, "Naphtali", aus der Serie "Die zwölf Stämme Israels", Kaltnadelradierung mit Pochoir/Arches, 49,7 x 36,5 cm, signiert, nummeriert G 44/195, WVZ Michler/Löspinger Nr. 628, minimaler Lichtrand, o. Rahmen
Paul Delvaux, Ohne Titel, signierte Lithographie von 1976Paul Delvaux, 1987 Wanze - 1994 Veurne, belgischer Maler des Surrealismus, Sitzende Frauenrunde an einer langen Tafel mit einem Halbakt im Vordergrund, surreal-realistische Szenerie, 30,5 x 60 cm, signiert, datiert 1976, o. Rahmenpaul Delvaux studierte ab 1918 Malerei an der Akademie der schönen Künste in Brüssel bei Constant Montald. Nachdem er die Werke von René Magritte und Giorgio de Chirico gesehen hatte und mit Magritte 1936 im Brüsseler Palais des Beaux-Arts ausgestellt hatte, schloss er sich 1937 der surrealistischen Bewegung an. Seine charakteristischen Werke fallen auf durch realistisch gehaltene Hintergrund-Landschaften, vor denen unbekleidete Frauen das Bild dominieren.
Eine Goldmünze, zwei Goldmedaillen & eine Silbermedaille: 20 Franken Vreneli Schweiz 1935, Gedenkmedaille Kennedy 1963, Medaille Maria Theresia, modern u. Silbermedaille Mozart, Österreich20 Franken Vreneli Schweiz 1935, 900er Gold, Av: Wappenschild der Schweiz vor einem Eichenzweig über der Jahreszahl und dem Kürzel der Prägestätte, "20 FR"; Rs: Kopf der Helvetia n. l., bez. "HELVETIA" u. "F. LANDRY" vor Bergen, 6,44 g; Gedenkmedaille John F. Kennedy, 35. Präsidenten der Vereinigten Staaten von Amerika, 900er Gold, 3,45 g, Vs. Kopf n.l. "John-F. Kennedy" u. "Präsident U.S.A.", Vs. "Wir alle haben ihn verloren" u. "22. Nov. 1963"; Moderne Goldmedaille, 14kt Gelbgold, 3,90 g, o. J. vermutlich aus Jahre 1967 auf den 250. Geburtstag der Kaiserin, Av. stehende, gekrönte Kaiserin mit Zepter, Reichsapfel und Schwert. MARIA THERESIA D G REG HUNG ET BOH ARCHID AUSTR. Rv. Madonna mit Christusknaben über ungarischem Wappen. NATA 13 V MDCCXVII MORT 29 XI MDCCLXXX VINDOB; Österreich Silber-Medaille W. A. Mozart, Meister unsterblicher Musik, Salzburg, 900er Silber, vergoldet, W. A. Mozart Av. Büste n. l., darüber 'MEISTER UNSTERBLICHER MUSIK', darunter Signatur Rv. Stadtansicht Salzburg, am Rand 'WOLFGANG A. MOZART * 1756 SALZBURG - 1791 WIEN - HOHENSALZBURG'
Piero Dorazio, Abstrakte Kompositionen, 3 signierte FarblithographienPiero Dorazio, 1927 Rom - 2005 Perugia, Kreisförmige Komposition, Farblithographie, 48 x 47,5 cm, signiert und datiert (19)81, nummeriert 48/100 sowie Grüne Kompositionen, 2 Farblithographien, 33 x 25 cm, je signiert, datiert 1990, bez. e.a., o. Rahmen
Werner Drewes, 2 Holzschnitte und 3 Radierungen von 1926-1982, 4 x signiertWerner Drewes, 1899 Canig - 1985 Reston, Mark Hopkins Hotel, San Francisco, 1926, dt.-amerikanischer Maler, Radierung, 31 x 21,5 cm; "Bay At San Francisco", 1926, Radierung, 15,3 x 22,5 cm; "At The Waterfront", 1956, Holzschnitt, 23 x 30,5 cm; "Man and Woman", 1955, Farbholzschnitt, 19 x 40,5 cm; "Spaltung", 1982, Radierung, 12,5 x 18 cm, 4 x signiert, datiert und nummeriert, o. Rahmen.Seit seinem Tod im Jahr 1985 findet Werner Drewes bei Sammlern und Kuratoren ständig wachsende Anerkennung seiner wichtigen Rolle und deren Auswirkungen auf die amerikanische Kunst des zwanzigsten Jahrhunderts. Als Student lernte er während der 1920er Jahre bei Lyonel Feininger und László Moholy-Nagy am Weimarer Bauhaus. Er war einer der ersten Künstler, der die bahnbrechenden Konzepte der Bauhausschule in den Vereinigten Staaten über seine Malerei, Druckgrafik und Lehre bekannt machte.
3 Kupferstichkarten zur Ostsee: Joh. Meier / Matth. & Nic. Peters, 1649/52Johannes Meier von 1652 "Eigentlicher Abriss des Schleistroms mit denen darin belegenen Heringzeunen", 42 x 64 cm, o. mittig Titelkartusche, o.li eine weitere Kartusche, u .r. Erklärungen zu den Heringsfangzonen. Zeigt die Schlei von Arnis bis zur Mündung. Ober- und unterhalb der Schlei 21 kleine und größere Karten zu den Fischfanggebieten, Mittelfalz, rechter und linker Rand professionell das Papier restauriert // Johannes Meier von 1649 "Landcarte Uon des Ambtern Rendsborg, Kiel und Borfesholm", 41 x 61,5 cm, mit drei Kartuschen, o. li. Grundriss von Rendsburg, hinterlegter Mittelfalz, 2 kleiner Rest. u. r. // Mathhias & Nicolaus Peters aus Danckwerth von 1652 "Die Ambter Trittow, Rembbeck, Tremsbüttel und Steinhorst", 40,5 x 57 cm, am re. Rand mittig Titelkartusche, li. o. Stadtplan von Bad Oldesloe, darunter Erklärungen. Mittig Trittau, hinterlegter Mittelfalz, oberer und unterer Rand professionell angesetzt
Otto Wilhelm Eglau, Meerlandschaften, 3 signierte Farbradierungen von 1971/72Otto Wilhelm Eglau, 1917 Berlin-Karlshorst - 1988 Kampen, "Meer und Strand V", Aquatinta-Farbradierung, 39 x 49 cm, signiert, datiert (19)72, nummeriert 6/100, bez. 706 K, betitelt; "Strandfigur V", Aquatinta-Farbradierung, 39 x 49 cm, signiert, datiert (19)72, nummeriert 13/100, bez. 705 K, betitelt; "Niemandsland II - Nordsee", Aquatinta-Farbradierung, 39 x 20 cm, signiert, datiert (19)71, nummeriert 117/120, bez. 659 K, betitelt, o. RahmenZum Künstler:1947-1953 Studium an der Hochschule für Bildende Künste Berlin; daraufhin arbeitete er als Dozent für Freies Malen und Zeichnen an der TU Berlin; ab 1951 folgten zahlreiche Studienreisen u.a. nach Spanien, Griechenland, Skandinavien, Japan, Hongkong, New York; Mitglied der Künstlergruppen Junger Westen und Der Ring; In seinen Arbeiten hielt er das fest, was ihn fesselte; 1951 kam er auf Empfehlung seines Lehrers Kaus erstmals nach Sylt, wo er sich intensiv mit Darstellungen von Masten, Taue, Fischernetze und Seezeichen befasste.
HAKUIN EKAKU (1685-1768)The Poet Hitomaro Edo period (1615-1868), mid-18th century Kakejiku (hanging scroll), ink on paper in silk mounts, depicting the poet Hitomaro, the image (except the detail of his face) made up of script elements from one of his poems, with another poem to the left (see below); with three seals: one Rinzai Shoshu, two unread; with a fitted wood tomobako storage box inscribed outside Hakuin Osho bokuseki Hitomaru zu (An Ink Painting of Hitomaru by Priest Hakuin) and inscribed inside Higashiyama Sahen daiga (Inscribed by Higashiyama Sahen). Overall: 109cm x 69.6cm (43in x 27 3/8in); image: 32.5cm x 54.5cm (12¾in x 21½in) (2).Footnotes:Kakinomoto no Hitomaro (also Hitomaru, circa 662-709), the most famous Japanese poet of the earliest period, has been depicted in art since the Heian period (794-1185) and his basic posture, seated in court robes and holding a brush, was established in 1118 by a portrait (no longer extant) that has served as the model for all subsequent depictions. Hakuin always painted the poet as amoji-e (picture made of writing) using both Chinese characters and the more flexible Japanese hiragana syllables from one of Hitomaro's most famous poems: Honobono to / Akashi no ura / no asagiri ni / shimagakureyuku / fune o shi zo omou that was memorably translated in 1919 by Arthur Waley whose English version exactly reverses the line-order of the original: My thoughts are with a boat / Which travels island-hid / In the morning-mist / Of the shore of Akashi— / Dim, dim!. The punning poem to the left, also seen in most if not all of Hakuin's Hitomaro paintings, reads: Shobo wa / kaki no moto made / kitaredomo / Akashi to ieba / koko ni hi tomaru, translated by Addiss and Seo (cited below): The destructive fire / reached / Kakinomoto— / but when we called out 'Akashi' / it stopped there. For a discussion of Hakuin's Hitomaro images, see Audrey Yoshiko Seo and Stephen Addiss, The Sound of One Hand: Paintings and Calligraphy by Zen Master Hakuin, Boston, Shambhala Publications, 2010, pp.193-197.Hakuin painted this image many times with only slight variations but there is an especially similar example in the collections of Hanazono University Historical Museum, Kyoto, see iriz.hanazono.ac.jp/k_room/k_room01e2.htmlThe storage box was inscribed by Higashiyama Sahen, better known as Takeda Mokurai (1854-1930), a highly influential Zen master who emphasized, like Hakuin, that Zen enlightenment cannot be rushed and requires years of diligent patience and discipline before the final breakthrough is achieved.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
SAKAI DOITSU (1845-1913) AND AFTER OGATA KORIN (1658-1716)Mount Horai Meiji era (1868-1912), late 19th/early 20th centuryTwo outsize kakejiku (hanging scrolls), ink, colours, gold, and gofun (calcified crushed shell gesso) on silk in silk mounts, each with an almost identical view of Mount Horai (the legendary realm of the immortals supposedly located off the coast of China), with cranes, moon, pines, and crashing waves, each with signature at lower left Hokkyo Korin and seals Hoshuku and Korin, one also signed in gold paint to the left of the Korin signature Uge-an Doitsu kore o mosu (Copied by Uge-an Doitsu); with an outer lacquered box containing two fitted wood tomobako storage boxes, one inscribed outside Horai no zu Ogata Korin hitsu ippuku (A Scroll of Horai by Ogata Korin), the reverse with signature Seisei Kiitsu shi, and with a spurious certificate by Sakai Hoshuku attributing one of the scrolls to Ogata Korin, dated spring 1931, the other wood box without inscriptions. Each overall: 216cm x 90.5cm (85in x 35 5/8in); image: 133cm x 71.5cm (52 3/8in x 28 1/8in) (6).Footnotes:The background to this attractive and elaborate forgery—clearly drawing its inspiration from classic mages by Ogata Korin such as the celebrated Waves at Matsushima screen in the Museum of Fine Arts, Boston or images in woodblock-printed publications such as Korin hyakuzu (100 Designs by Korin, 1815-1826)—seems to be that someone, perhaps Sakai Dōitsu himself, prepared the 'original' painting and then did a copy in order to make the original seem more authentic. To cap things off, Sakai Hoshuku prepared a spurious certificate in 1931 that perhaps reflects the fragile, even desperate, art market conditions that obtained in Japan especially after the Wall Street crash. Whatever their precise origins, the two scrolls are splendid examples of the second revival of the Rinpa style that took place in the mid-Meiji era.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
MIYAO EISUKE COMPANY OF YOKOHAMAA Gilt-Bronze Figure of a Warrior Meiji era (1868-1912), late 19th/early 20th centuryPossibly representing one of the 47 Ronin, the warrior standing, holding the pommel of his detachable tachi (slung sword) in one hand, the other hand grasping a flag (partially detachable) decorated with clouds and a sasarindo mon (Japanese gentian crest), a tanto tucked in his sash, bedecked in armour and brocade robes and wearing a jingasa with a hanabishi mon (diamond-shaped floral crest), fixed to a typical Miyao-style wood stand decorated in gold takamaki-e with a ho-o bird and karakusa ('Chinese grasses'); signed in a gilt rectangular reserve Miyao with seal Ei. 47cm (18½in) high including stand. (3).For further information on this lot please visit Bonhams.com
INOUE OF KYOTOA Pair of Inlaid Bronze Vases, Meiji era (1868-1912), late 19th/early 20th centuryEach vase decorated in high relief of gilt, silver and bronze with a matching design comprising seasonal flowers and plants including rose mallow, camellia, chrysanthemum, peony, plum, and wisteria, each neck encircled with a band enclosing a ho-o bird in flight beneath repeated lappets of tasselled foliate patterns, each foot with chrysanthemum flowers and tendrils, signed on the foot of one vase with seal Inoue sei. Each vase: 24.8cm (9¾in) high. (2).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
SADAHARU AND TADAYOSHIA Pair of Imperial Silver Handled Matching Presentation Vases Meiji (1868-1912) or Taisho (1912-1926) era, early 20th centuryEach of baluster form with a trumpet neck and finely worked in low relief with two ho-o birds in flight among densely clustered paulownia, foliage and clouds, the neck and shoulder decorated in low relief with sixteen-petalled kiku-mon (chrysanthemum crest) on the neck and shoulder, scattered among clumps of kiri-mon (paulownia crests), the neck with repeated chrysanthemum heads within hexagonal reserves, the foot with more stylised chrysanthemums interwoven among karakusa ('Chinese grasses') beneath a band of repeated hanabishi (flowery-diamond) patterns, each signed on the base with chiselled characters Tsuiko Sadaharu, Tadayoshi kizamu (Hammered by Sadaharu and chiselled by Tadayoshi); with a wood storage box inscribed Ginsei kabin ittsui (A pair of silver vases). Each vase: 30.5cm (12in) high. (3).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
ATTRIBUTED TO THE FUKUOKA ICHIMONJI SCHOOLA Juyo-ranked Wakizashi (Companion Sword) Kamakura period (1185-1333), circa 1270-80Sugata (configuration): shinogi-zukuri, iori-mune, narrow parallel mihaba, small sori, chu-gissakiKitae (forging pattern): itame-hada slightly mixed with mokume-hada, distinct midare-utsuri in the jiHamon (tempering pattern): choji-midare in nioi-deki with some gunome, ashi and yo with gyaku-yakibaBoshi (tip): midare-komi on the omote, sugu on the ura, both sides with ko-maruHorimono (carving): soe-hi on both sidesNakago (tang): o-suriage, kiri-jiri with kiri-yarisume file marks and one holeHabaki (collar): two-piece, goldNagasa (length from tip to beginning of tang): 59.8cm (23 9/16in)Motohaba (width at start of tempered edge): 2.7cm (1 1/16in)Sakihaba (width before tip): 2cm (13/16in)In shirasaya (wood storage scabbard) with two silk brocade storage bagsWith certificate designating this sword as a Juyo token (Important Sword) no.8464 as issued by the Nihon Bijutsu Token Hozon Kyokai (Society for the Preservation of the Japanese Art Sword) on 14 April 1989. (4).Footnotes:Exhibited and Published:Nippon Bijutsu Token Hozon Kyokai European Branch, Selected Fine Japanese Swords from European N.B.T.H.K. Collections, Solingen, Deutsches Klingenmuseum, 2002, pp.128-29.The present lot was included in a pioneering Heritage Science neutron imaging study of Japanese blades, using the Diamond Light Source at Harwell, to establish the age and composition of the blade.Martensite, the hardest state of sword steel, is not represented in nature, but is produced only by the craft of the swordsmith. Its distribution along the ha of this blade validates the antiquity of the sword, and the scientific study indicates that it was used as a weapon in the past. The distribution of martensite along the cutting edge indicates that the blade was subjected to one or more re-shaping and polishing. A copy of the aforementioned study is available on application to the Japanese Department in London.For further information on this lot please visit Bonhams.com
TSUGUNAOA Juyo-ranked Bitchu-Aoe Wakizashi (Short Sword) Nanbokucho period (1336-1392), circa 1350-60Sugata (configuration): hira-zukuri with mitsu-mune, broad mihaba, sunobi, and shallow soriKitae (forging pattern): itame-hada mixed with mokume-hada and nagare-hada, hada dachi gokoro, chirimen-hada, with fine dense ji-nie, chikei, and utsuri tatsuHamon (tempering pattern): choji-midare with wide upper yakiba, yubashiri, tobiyaki, gyaku-gakari, gyaku-ashi, yo, ko-nie, kinsuji, and sunagashiBoshi (tip): midare-komi and tsukiage with togaru sakitogare, deep kaeri and strong hakikakeNakago (tang): slightly machi-okuri, ha-agari kuri-jiri with o-sujikai yasurime file marks and two holes, signed Bitchu-no-kuni no ju Tsugunao saku, Enbun [...]nen sangatsu hiHabaki (collar): two-piece, goldNagasa (length from tip to beginning of tang): 35.7cm (14 1/16in)Motohaba (width at start of tempered edge): 3cm (1 3/16in)In shirasaya (wood storage scabbard) with sayagaki by Honma Junji (Kunzan, 1904-1991) reading Bitchu-no-kuni Aoe Tsugunao Enbun nenki, hacho isshaku issun hachibu, tsuchinoto-mi shogatsu ni oite Kuga Sanbo, Kunzan shirusu with a kao, with a silk brocade storage bag and a cotton storage bagWith certificate designating this sword as a Juyo token (Important Sword) no.8527 as issued by the Nihon Bijutsu Token Hozon Kyokai (Society for the Preservation of the Japanese Art Sword) on 14 April 1989. (4).Footnotes:Exhibited and Published:Nippon Bijutsu Token Hozon Kyokai European Branch, Selected Fine Japanese Swords from European N.B.T.H.K. Collections, Solingen, Deutsches Klingenmuseum, 2002, pp.166-67.The Juyo citation is unusual in stressing the quality of the deki and hataraki: 'Tsugunao, together with Tsuguyoshi and Moritsugu, is one of the representative Aoe smiths during the Nanbokucho period. This wakizashi is worked with gyaku choji midare which was Tsugunao's most favourite and skilful technique. Nie in the jiba are comparatively strong. The hataraki in the ha above the mono-uchi are especially masterful and the deki is superior.'Tsugunao was an outstanding representative of the later Nanbokucho-period Bitchu-Aoe School. During this period, Aoe smiths tended to produce blades with tight, clear ko-itame-hada, distinct from the chirimen-hada which was associated with earlier Aoe work. The hamon which until now had been confined mostly to saka-choji-midare gradually became more flamboyant and diverse in its expression. A masterful smith, Tsugunao excelled at both straight sugu-ha and spectacular choji-midare temper lines exhibited on the present example. A detailed technical and historical discussion of this important blade is available on application to the Japanese Department in London, including details of comparable swords in Japanese collections, an assessment of the possible function of this particular blade type (its use for the decapitation and display of enemy heads), a consideration of the place of Tsugunao in the broader context of the Aoe School, a history of iron technology in the Kibi region, and an account of the work of the Chu-Aoe smiths during the period of the highest refinement of their art.It is likely that this blade structure which sustains this slender mitsu-mune blade is of solid martensite, which enabled it to undergo repeated polishing over time. For more information regarding martensite with Japanese blades, please refer to the scientific study using neutron imaging mentioned in the preceding lot.For further information on this lot please visit Bonhams.com
YOSHIMITSUA Mounted Koto Tanto (Dagger) The blade: Muromachi period (1333-1573), probably late 15th century; the koshira-e: Edo period (1615-1868), 19th centuryThe blade of slender hira-zukuri form with suguha of nioi, tight masame hada, the omote side with a horimono of Fudo Myo-o wielding a sword and surrounded by flames, the ura side with bonji ni gomabashi, the nakago with one mekugi-ana, signed Yoshimitsu; the koshira-e (mounting) with a saya (sheath) of roiro-nuri lacquer, decorated in gold takamaki-e with a pine tree in and an applied crane in silver, gilt and shakudo, the Sendai fuchi-gashira (hilt collar and pommel) with chrysanthemum in gold hirazogan, the Higo tsuba (hand guard) iron of mokko form with trailing paulownia in similar style, the kozuka (knife handle, blade missing) iron inlaid in gold and silver depicting Mount Fuji surrounded by pine trees, the koiguchi (fitting to the mouth) silvered metal depicting pine and connected to the uragawara (fitting to the base of the kozuka slot), the silvered metal kojiri (butt piece) in the form of a snouted turtle; with a silk brocade storage bag. The blade overall: 35cm (13¾in) long; the koshira-e: 41.7cm (16 7/16in) long. (2).Footnotes:Provenance:Purchased in these Rooms, 12 May 2009, lot 6.For further information on this lot please visit Bonhams.com
TWO FUCHI-GASHIRA (MATCHING HILT COLLARS AND POMMELS)Edo period (1615-1868) and Meiji era (1868-1912), 19th centuryThe first shakudo nanako chiselled and inlaid in high relief of gold and shibuichi depicting shishi (mythical lions) and bamboo, signed Yasukiyo (1825-1896, Haynes 11161) with a kao; with a fitted wood storage box, the reverse of the lid inscribed with an attestation by Sato Kanzan dated 1966; the second copper with a shakudo plate, chiselled and inlaid in gold, silver, and shakudo depicting an octopus and seashells, signed Toto Konkan no [zu] o soete Kotogawa Hideoki kore o kizamu (Hideoki of the Kotogawa River chiselled this to supplement a design by Konkan of Edo [Tokyo], Kawarabayashi Hideoki, Haynes 01129, 1788-1851); with a fitted wood storage box, the reverse of the lid inscribed with an attestation dated 1967 and signed Zaiya (a name used by Torigoe Kazutaro). (6).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
HAMANO HARUNORIA Daisho Tsuba (Matching Set of a Large and a Small Hand Guard) Edo period (1615-1868), mid-19th centuryShibuichi ishimeji, eight-lobed, the smaller with one hitsuana, each chiselled in relief and with gold and silver details depicting three of the Seven Gods of Good Fortune: on the larger tsuba Daikoku on an ox led by Ebisu, Daikoku's money bag on the reverse; on the smaller tsuba Hotei with a Chinese boy, Hotei's sack on the reverse; each signed Harunori kore o tsukuru (Haynes 00851); with a wood storage box. The smaller: 6.2cm (2 7/16in) high; the larger: 6.8cm (2 11/6in) high. (3).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A Japanese gusoku (composite armour),Edo period (1603-1868), the o-yoroi with uniform lacing and red lacquer sode (shoulder guards), the twelve-plate kabuto (helmet) with five-tier neck guard, the kote (sleeves) and haidate (thigh armour) with red lacquer plates and iron chain mail, the menpo (face mask) with hair goatee and a four-tiered yodarekake (throat guard)Shipping Disclaimer:Buyers must be aware of their country’s shipping and import policies regarding guns, knives, swords, and other offensive weapons prior to purchase. They are required to ensure that the lot can be delivered by a specialist shipper, whether in the UK, Europe or internationally. No compensation will be given to buyers who fail to organise shipping arrangements for goods and weapons due to the prohibitions, restrictions or import regulations of their country.Condition ReportCracks, chips and losses to the plating throughout. Lacing tired, torn and worn, consumerate with age. Both mask and helmet are magnetic. Please see the additional images.
A Japanese gusoku (composite armour), Edo period (1603-1868), the o-yoroi with blue and purple lacing, the kote (sleeves) with red plating and iron kusari (chain mail)Shipping Disclaimer:Buyers must be aware of their country’s shipping and import policies regarding guns, knives, swords, and other offensive weapons prior to purchase. They are required to ensure that the lot can be delivered by a specialist shipper, whether in the UK, Europe or internationally. No compensation will be given to buyers who fail to organise shipping arrangements for goods and weapons due to the prohibitions, restrictions or import regulations of their country.Condition ReportCracks, chips and losses to lacquer plating and iron kusari. Threads tired with fading, dirt marks, tears and losses.
A Japanese gusoku (composite armour), Edo period (1603-1868), the o-yoroi with uniform lacing; the kabuto (helmet) datemono and four-tier neck guard, the kote (sleeves) and haidate (thigh armour) with black lacquer plates and iron chain mail and a menpo (face mask)Shipping Disclaimer:Buyers must be aware of their country’s shipping and import policies regarding guns, knives, swords, and other offensive weapons prior to purchase. They are required to ensure that the lot can be delivered by a specialist shipper, whether in the UK, Europe or internationally. No compensation will be given to buyers who fail to organise shipping arrangements for goods and weapons due to the prohibitions, restrictions or import regulations of their country.Condition ReportLacquer with chips and losses. Iron chainmail rusting. Buckle broken off. Please see the additional images of the kabuto.
A Japanese gusoku (composite armour), Edo period (1603-1868), the o-yoroi and lacquer sode (shoulder guards) with brown lacquer plates, the thirty-two-plate kabuto (helmet) with four-tier neck guard, the kote (sleeves) with iron chain mail and haidate (thigh armour) with brown lacquer plates and blue lacing, the menpo (face mask) with a four-tiered yodarekake (throat guard)Shipping Disclaimer:Buyers must be aware of their country’s shipping and import policies regarding guns, knives, swords, and other offensive weapons prior to purchase. They are required to ensure that the lot can be delivered by a specialist shipper, whether in the UK, Europe or internationally. No compensation will be given to buyers who fail to organise shipping arrangements for goods and weapons due to the prohibitions, restrictions or import regulations of their country.Condition ReportThigh armour hanging from the chest armour is in fragments, threads loose and tired. Shin guards with an inscription to the textile.Chips and losses to plating. Lining of kote tired.Please see additional photos.
A Japanese gusoku (composite armour), Edo period (1603-1868), the o-yoroi with green lacing, and sode (shoulder guards) with gold lacquer plates and black lacing, the 62-plate kabuto (helmet) with four-tier neck guard, the fukigaeshi, (wing-like or ear-like projections), the menpo (face mask) with hair goatee and a four-tiered yodarekake (throat guard)Shipping Disclaimer:Buyers must be aware of their country’s shipping and import policies regarding guns, knives, swords, and other offensive weapons prior to purchase. They are required to ensure that the lot can be delivered by a specialist shipper, whether in the UK, Europe or internationally. No compensation will be given to buyers who fail to organise shipping arrangements for goods and weapons due to the prohibitions, restrictions or import regulations of their country.Condition ReportBoth mask and helmet are magnetic. Please see the additional images.
ESTATE DIAMOND DRESS RING17.9 x 8.2mm navette shaped silver head with silver grain set with old European and old Swiss cut diamonds, estimated to total 0.75 carats, with quality assessed in the setting as F-G colour, VS clarity (eight are missing). Ring size O. Tests as 9ct gold. Weight 3.4 grams.
[SCIENCE & TECHNOLOGY]. ENGINEERING An[n]o 1771. Society of Civil Engineers [Minute Book 1771-1792], facsimile copy, limited edition for Members and Honourary Members only, Made to the Order of the Society of Civil Engineers (Smeatonian), January, 1893, vellum, four mounted portrait illustrations, including that of Robert Mylne, association bookplate for William John Home Mylne, small quarto. Condition Report : Lightly foxed. Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
18CT SAPPHIRE & DIAMOND ETERNITY 8.8mm wide three row claw set eternity, with central row of of step cut dark violet blue sapphires, estimated to total 1.4 carats, flanked by round brilliant cut diamonds, estimated TDW 0.68 carats. All gemstones of very good quality. Integral 18ct white gold shank, ring size O. Hallmarked 750 London 1975. Weight 5.0 grams.
Vinyl - 13 Limited Edition albums on Wah Wah Records to include: Annexus Quam – Osmose (LPS 049), Heldon – Third (Double Album, LPS 083), André Popp – Le Coeur En Fête (WLP 008), Elektriktus – Electronic Mind Waves (LPS 101), Between – And The Waters Opened (LPS 071), Floh De Cologne – Fließbandbabys Beat-Show (LPS 039), Peter Bursch und Die Bröselmaschine – Peter Bursch Und Die Bröselmaschine (LPS 042), Jarka – Morgue O Berenice (+ Booklet, LPS 074), Anima-Sound – Stürmischer Himmel (LPS 062), Lard Free – Unnamed (+ 7” Single, LPS 090), Hans Edler – Elektron Kukéso (LPS 136), Philippe Besombes – Libra (LPS 081), La - Batiste – Un Gran Dia (+ 7” Single, LPS 019). Condition at least EX overall
Vinyl - Psych / Prog, 11 limited re-issue albums on Akarma Records to include: Tudor Lodge – Tudor Lodge (AK 320), The Human Beast – Volume One (AK 335), Glastonbury Fayre Festival (Triple album AK 367/3), Oberon – A Midsummer's Night Dream (AK 314), The Keith Tippett Group – You Are Here... I Am There (AK 338), Audience – Audience (AK 357), The Keith Tippett Group – Dedicated To You, But You Weren't Listening (AK 227), Quatermass – Quatermass (double album AK 175/2), Carmen – Fandangos In Space (AK 378), Julian's Treatment – A Time Before This (AK 192), The Wooden O – A Handeful Of Pleasant Delites (AK 322). Condition EX overall
Vinyl - Over 300 mainly 1970s & 1980s rock, pop, soul singles featuring some demos / promos to include The Doors, Gene Pitney (promo), Eric Burden, The Animals, Paul McCartney (yellow vinyl), Atomic Rooster, Dave Clark Five, Bob Dylan, Prince, Procul Harum, The Pretenders, Madonna, John Lennon, Faces, Tim Rose, The Tourists, George Harrison, Manfred Mann, Roberta Flack, The Stylistics, O Jays, Pet Shop Boys, Heart (promo), Cher (promo), East Of Eden, Little Richard, The Bar-Kays, Stevie Wonder, Jack Wild (promo), Madeline Bell, Billy Fury, Funkadleic, Third World and many more. Vg+ overall
Vinyl - 40 Heavy Metal / Hard Rock 12” singles by mainly US bands including private pressing and Promos, to include: Anthrax, Sleepy Hollow (Green Vinyl) Still Sealed. Deadly Blessing, Guns N’ Roses, Calhoun Conquer, Great White, Blackfoot x 2, Gama, Fastway, Faith No More (Promo), Dio x 3 (including one Promo), Y&T x 3 (one with Poster), 38 Special, Twisted Sister x 3, Wendy O. Williams, Skid Row, Masters Of Reality, Loudness, Headpins, Heaven, Helix, Warrant, Mother’s Finest, Mammoth, Van Halen, ZZ Top and others. VG+ overall
Vinyl - Sunn O))), 5 albums to include: ØØ Void (US 2012 double album, Southern Lord Records SUNN 150), The GrimmRobe Demos (US 2005 double album, Southern Lord Records SUNN 37), White2 (US 2004 double album with poster, Southern Lord Records SUNN 31), Black One (US 2005 double grey marbled vinyl album, Southern Lord Records SUNN 50), Monoliths & Dimensions (US 2009 double album, heavy-weight cardboard jacket wrapped in vellum jacket, includes folded insert with credits and lyrics, Southern Lord Records SUNN 100). Condition at least EX overall
Vinyl / Autograph - 1 album and 4 12” singles by The Charlatans and Tim Burgess, including Signed example and Promos, to include: Us And Us Only (UK 2019 RSD Limited Transparent Vinyl, Universal Records, 7730935) Still Sealed, Tim Burgess – Oh Men (Remixed) (UK 2014 12" Limited to 500 copies and signed by Tim Burgess on the front, O Genesis Records, OGen 073R) EX / EX. The Charlatans - Jesus Hairdo (UK 1994 Demo Promo, CHAR 10) VG+ (would benefit from a clean). I Never Want An Easy Life If Me And He Were Ever To Get There (UK 1994 Promo 12”, CHAR 9) VG+ (would benefit from a clean). Then (UK 1990 12”, SIT 74T) EX- / VG+
Vinyl - Scott Walker 8 albums to include: Bish Bosch (UK 2012 double album + CD + booklet, 4AD Records CAD 3220), Scott Walker + Sunn O))) – Soused (UK 2014 double album, one is one sided, 4AD CAD 3428), Scott (US 2008, 4 Men With Beards Records 4M149), Scott 2 (US 2008, 4 Men With Beards Records 4M150), Scott 3 (US 2008, 4 Men With Beards Records 4M151), Scott 4 (US 2008, 4 Men With Beards Records 4M152), The Drift (UK 2012 double album, 4AD Records CAD 2603), Tilt (US 1997, Drag City Records DC 134). Condition EX overall
ROYAL DOULTON FIGURE OF TOP O' THE HILL, AND OTHER FIGURES comprising Autumn Breezes, Veronica, Chloe, Sweet Anne and two other figuresTop O The Hill 20cm highQty: 7The flowers held by "Chloe HN1470" some have been damaged and are not presentthe head and right hand of "Top o the hill HN1834" has been broken off and repaired with glue one of the additional figures appear to have been broken in two and repaired with glue
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