We found 176068 price guide item(s) matching your search
There are 176068 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
176068 item(s)/page
Lot 372
Emerald and Diamond Ring. An art deco emerald and diamond cluster ring, set in platinum with square-cut emerald (6mm x 5mm) bordered by 10 small diamonds and a larger diamond to each corner with calibre cut emerald shoulders, size O, gross weight 3.4gQty: (1)Footnote: An insurance valuation dated 1999 accompanies the lot (£6900).
Lot 382
Mixed Jewellery. A 9ct gold dress ring, set with a purple stone surrounded by pearls, stamped '9ct', size L, together with 3 further dress rings including a 9ct gold ring set with a large green stone, stamped '375', size N/O, plus a cultured pearl bracelet with 9ct gold clasp inset with peridot, 22cm long a collection of costume jewellery Qty: (small box )
![[O GAUGE]. A MISCELLANEOUS COLLECTION comprising figures, luggage, hoardings, wagon loads and tarpaulins, and other items, v](https://cdn.globalauctionplatform.com/6c322672-ed38-42ac-b6fb-ae1b00ea4a9f/e58da6e8-59f2-4eaf-865f-ae4c00f4be18/468x382.jpg)
Lot 300
A VERY LARGE GILT AND DRY-LACQUERED SCULPTURE OF BUDDHA SHAKYAMUNI, SHAN STATES, KONBAUNG PERIODBurma, 1752-1885. Seated in dhyanasana with his right hand lowered in bhumisparsa mudra and the left held above his lap, wearing a samghati draped over the left shoulder, the serene face with downcast eyes, gently arched eyebrows, and full lips forming a calm smile, flanked by elongated earlobes, the hair arranged in tight spikes with a high ushnisha surmounted by a jewel.Provenance: Danish trade.Condition: Presents magnificently overall. The flame jewel above the ushnisha is possibly a replacement. Some losses to the hair spikes. Old wear and weathering, nicks, surface scratches, age cracks, losses, flaking to lacquer, minor old repairs, extensive wear to gilt. Nevertheless, dry lacquer sculptures of significant age are usually heavily damaged, hence it must be concluded that this piece is in good condition commensurate with age.Dimensions: Height 122 cmThe founding of Shan States inside the present-day boundaries of Burma began during the Pagan Kingdom in the Shan Hills and accelerated after 1287, when the Pagan Kingdom fell to the Mongols. The Tai people, who came south with the Mongols, stayed, and quickly came to dominate much of the northeastern arc of Burma. The newly founded Shan States were multi-ethnic, and included minorities such as the Chin, the Kachin, the Wa, the Ta'ang, the Lisu, the Lahu, the Pa O, and the Kayah. Although Burmanized Shans founded the Ava Kingdom that ruled central Burma, other Shan States, Mohnyin in particular, constantly raided Ava territories throughout the years. A Mohnyin-led Confederation of Shan States finally conquered Ava in 1527.In 1555, King Bayinnaung dislodged Shan king Sithu Kyawhtin from Ava. By 1557 he went on to conquer all of what would become known as the Burmese Shan States under his rule, from the Assamese border in the northwest to those in Kachin and Shan Hills, including the two most powerful Shan States, Mohnyin and Mogaung. The Shan States were reduced to the status of governorships, but the Saophas (rulers) were permitted to retain their royal regalia and their feudal rights over their own subjects. Bayinnaung introduced Burmese customary law and prohibited all human and animal sacrifices. He also required the sons of Saophas to reside in the Burmese king's palace, essentially hostages, in order to ensure the good conduct of their fathers and to receive training in Burmese court life. Burmese kings continued this policy until 1885 when the kingdom fell to the British. In the mid-18th century, the Burmese Konbaung dynasty's reassertion of the easternmost boundaries of Burmese Shan States led to war with China, following which eight of the Chinese Shan States were briefly occupied by the Kingdom of Burma. The Burmese success in repelling Chinese forces laid the foundation for the present-day boundary between Burma and China.Auction result comparison: Compare a closely related Shan-style lacquer Buddha, 201 cm high, dated to the 18th century, at Bonhams London in Fine Asian Art on 10 July 2006, lot 374, sold for GBP 18,000.
Lot 238
Kenneth Choi signed 10x8 colour photo. Kenneth Choi (born October 20, 1971) is an American actor. He is best known for playing Henry Lin on the television series Sons of Anarchy (2008-2014), Chester Ming in Martin Scorsese's The Wolf of Wall Street (2013), and Judge Lance Ito in The People v. O. J. Simpson: American Crime Story (2016). He is also known for his roles as Jim Morita and Principal Morita in the Marvel Cinematic Universe films Captain America: The First Avenger (2011) and Spider-Man: Homecoming (2017) respectively, and Lewis on the FOX comedy series The Last Man on Earth (2016-2017). Since 2018 he is starring in FOX first responder drama series 9-1-1, playing LAFD firefighter Howie Chimney Han. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Lot 94
Lancaster Bomber WWII Collection 2,10x8 multi signed black and white photos 15 Bomber command veterans includes Flt Sgt Stan Bradford DFM, P/O Don Bridges, Sqd Ldr Alex Cowan, F/O Ray Worrall, Flt Tommy Coles DFC and W/O Joe Musgrove. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Lot 3
Robert Griffiths Hodgins (South African, 1920-2010)Figure signed, titled, and dated 'ROBERT HODGINS/ FIGURE/ O/C 2006/7' (verso)oil on canvas60.3 x 60cm (23 3/4 x 23 5/8in).Footnotes:ProvenanceBonhams, London, 27 October 2010, lot 153;A private collection, UK.The bright yellow and vivid blue of the present work exemplifies Robert Griffiths Hodgins's expressive use of colour. The titular figure is simplified almost to the point of abstraction: gestural brushstrokes articulate the outline of the torso and taper to form an outstretched arm. Passages of hot pink and red highlight the face and cast an aura around the figure which bleeds into the sunny yellow background. Hodgins's fluid handling of paint conveys a deftness of expression synonymous with his approach to figuration. This experimentation with form and colour underpins the artist's tendency towards abstraction and evokes stylistic tropes associated with European modernism, particularly German Expressionism, illustrating the influence of art history on his painterly practice.Born in 1920 in London, Hodgins emigrated to South Africa in 1938, returning to complete his studies in art and education at Goldsmiths College. Due to work commitments and a stint serving in the military, he only settled back in South Africa in the 1950s. While he exhibited his work sporadically during the following decades, it was not until he retired from his career as a painting tutor at the University of Witwatersrand in 1983 that Hodgins came to wider attention. Finally able to dedicate his energy solely to painting, he held a mid-career survey in Grahamstown in 1986. Since then, Hodgins's prolific output has been presented in many solo and group exhibitions, the majority of which have taken place in Johannesburg where the artist lived and worked. His influence on fellow South African artists is evident through the collaborations in print and film he undertook with Deborah Bell (b. 1957) and William Kentridge (b. 1955). Today, Hodgins's work can be found in many galleries and important public collections including the Johannesburg Art Gallery, the Pretoria Art Museum, the South African National Gallery in Cape Town, and the University of Witwatersrand Art Galleries.For further information on this lot please visit Bonhams.com
Lot 4
Uzo Egonu (Nigerian, 1931-1996)Still Life signed and dated 'Uzo Egonu 80' (lower left)oil on linen144.5 x 107cm (56 7/8 x 42 1/8in).Footnotes:ProvenanceA private collection, UK.Born in 1931, Uzo Egonu left Nigeria at the age of 13 to complete his schooling in England where he then studied fine art and design at the Camberwell School of Arts and Crafts, London between 1949 and 1952. Unlike many of his Nigerian contemporaries similarly educated in Britain, Egonu chose to remain in London where, apart from a year spent in Paris in 1953, he lived and worked for the rest of his life. Still Life (1980) was painted at the height of Egonu's mature period when he had adapted his practice to accommodate changes in his visual perception. Following the critical success of his paintings in Britain in the 1950s and 60s, Egonu embarked upon a decade of printmaking. By 1979, his sight had been severely damaged by toxic fumes emitted from the oxidisation of materials employed in the etching process. His vision was so severely compromised that he had to mix colours from memory and used a rolled black tube to focus his sightline in order to assess the arrangement of elements in a painting. He consequently termed this period of artmaking 'Painting in Darkness' (Egonu quoted in O. Oguibe, 1995: p. 40).Despite the pragmatic challenges faced by the artist, works from this period are rich in colour. Egonu produced a number of still life paintings in the early 1980s with dynamic compositions that evidence a continuation of his experiment with line, form, and perspective. As in the present work, the domestic objects typically employed as the subject of the still life are rendered unfamiliar as they are abstracted beyond recognition. Two rounded forms are connected by grey lines which carry the eye across the canvas, while the depth of field is flattened so that subject and background are expressed as unified tessellated geometric forms. Passages of solid colour are juxtaposed with lively patterns, transforming the everyday scene into a formalist expression of pictorial elements. Egonu's treatment of the still life genre evokes Western modes of modernist abstraction encountered by the artist in London. Crucially, however, this body of work also references the Igbo textile design familiar to the artist from his childhood in Nigeria. This dual referential framework demonstrates the artist's ambition to move beyond the confines of a European modernism, finding African cultures to be 'as rich and engaging [a source] as any other' (Egonu quoted in O. Oguibe, 1995: p. 61). Drawing upon the aesthetics of the Cubist movement, Nigerian ornamentation, and 1960s British Pop Art, the present work rejects naturalism to express Egonu's unique artistic vision. His aptitude for printmaking is reflected in the graphic simplification of form which echoes a series of screenprints created contemporaneously to Still Life in the early 1980s. The prints feature female figures undertaking a range of household activities including reading and darning fabric, illustrating the artist's investigation of domestic themes in this period. The juxtaposition of West-African inspired patterns with geometric fields of solid colour in both his painterly and printmaking practices encapsulate the artist's bold approach to representation in this period. Egonu achieved critical acclaim during his lifetime. His work has been included in several landmark exhibitions including The Other Story at the Hayward Gallery in 1989 which explored the work of black artists living and working in twentieth-century Britain. Today, his work is held in important public institutions including the V&A and the Tate Collection, both in London.BibliographyOlu Oguibe, Uzo Egonu: An African Artist in the West (London, 1995).For further information on this lot please visit Bonhams.com
Lot 69
Sidney Richard Percy (British, 1821-1886)'On Wimbledon Common' signed and dated 'SRPercy.1861' (lower left); further signed, titled and inscribed 'No2 On Wimbledon Common/Sidney R Percy/Florence Villa Wimbledon Park' (on artist label affixed to stretcher)oil on canvas 46.6 x 79.4cm (18 3/8 x 31 1/4in).unframedFor further information on this lot please visit Bonhams.com
Lot 127
CORAL BROOCH, RING AND EARCLIP SUITE, CIRCA 1970The brooch set with coral corallium rubrum beads within an abstract openwork mount, the earclips and ring of matching design, maker's mark P.C., lengths: brooch 6.2cm, earrings 2.5cm, ring size approx. O (3)Footnotes:Please note, this lot will be subject to US Fish and Wildlife regulations if imported into the USA.This lot is part of a large private collection of 20th century jewellery that was formed over several decades. The collection represents the breadth of innovation and creativity of jewels made during the second half of the 20th century as well as the collectors' eye for superior design and appreciation of jewellery as an art form.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
Lot 142
TIGER'S EYE AND DIAMOND BROOCH/PENDANT AND TWO RINGS, CIRCA 19701st: The brooch set with an oval tiger's eye plaque, within a polished and textured foliate border set with brilliant and single-cut diamonds, the ring of similar design, 2nd: Set with a square tiger's eye plaque in a polished mount, one ring with London hallmark, lengths: brooch/pendant 5.9cm, ring sizes approx. M-O (leading edge) (3)Footnotes:This lot is part of a large private collection of 20th century jewellery that was formed over several decades. The collection represents the breadth of innovation and creativity of jewels made during the second half of the 20th century as well as the collectors' eye for superior design and appreciation of jewellery as an art form.For further information on this lot please visit Bonhams.com
Lot 288
TIFFANY: DIAMOND SINGLE-STONE RING AND HALF ETERNITY RING, 20091st: Set with a brilliant-cut diamond, between similarly-cut diamond shoulders, 2nd: Channel-set with brilliant-cut diamonds, mounted in platinum, principal diamond approx. 1.00ct, signed Tiffany & Co, maker's marks, London hallmarks, ring sizes approx. O-O½, maker's case and box, (2)For further information on this lot please visit Bonhams.com
Lot 71
SAPPHIRE AND DIAMOND DRESS RINGThe sugarloaf sapphire weighing 7.09 carats, between baguette-cut diamond shoulders, in a bombé mount, pavé-set with brilliant-cut diamonds, diamonds approximately 6.30 carats total, ring size O½Footnotes:Accompanied by a report from Gem & Pearl Laboratory stating that the sapphire is of Sri Lankan origin with evidence of heat treatment observed. Report number 19748, dated 7 April 2021. Please note this lot has VAT at the prevailing rate on both Hammer Price and Buyer's Premium.This lot is subject to the following lot symbols: ΩΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com
Loading...-
176068 item(s)/page