We found 46298 price guide item(s) matching your search
There are 46298 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
46298 item(s)/page
Lot 343
THREE BOXES OF MISCELLANEOUS SUNDRIES, to include a quantity of table linen, picnic basket, vintage handbags, two mid- century Continental dolls, one composite, the other has a cloth body and plastic head, a machine embroidered table/piano cover decorated with pastel coloured flowers on a black ground (s.d) (3 boxes + loose)
Lot 390
19TH CENTURY MUHGAL SCHOOL "Peacock", study of a peacock preening in a landscape with script above and below, gouache on paper, with gilt highlighting, 10 cm wide x 19 cm high together with EARLY 20TH CENTURY ENGLISH SCHOOL "Garden scene with chair" watercolour, indistinctly monogrammed and dated 1908 lower right, 25 cm x 35 cm, together with GEORGINA BLUNT "Terrier" a portrait study, pastel, signed and dated '79, 32 cm x 26.5 cm (3) CONDITION REPORTS The glass is filthy and in need of a clean. There appears to be some dirt/foxing to the picture especially to the top half. There is a hole in the peacock's tail. The picture is slightly askew in the mount. Otherwise general wear and tear conducive with age and use - see images for more details
Lot 510
Property of the late Countess Haig: English School, c. 1900, after Sir Joshua Reynolds, portrait of Elizabeth Anne Linley, Mrs. Richard Brinsley Sheridan, bust length, in profile, pastel, in a gilt-composition frame, inscribed verso "Mrs Sheridan, painting after Sir Joshua Reynolds.....Lady Ducie....", pastel. 48.5cm by 38cm. Note: a copy of a detail of the portrait of Mrs. Sheridan in the collection of the National Trust at Waddesdon Manor.
Lot 182
early 20th Cent. Belgian pastel triptych (on three canvasses) - signed Firmin Baes with on the back a label of the "Dundee Fine Art Exhibition" dd 1920 with price indication of 1600 pounds || BAES FIRMIN (1874 - 1945) triptiek in pastel (op drie doeken) met een glooiend landschap met wandelaar, koeien en dorpszicht, op verso op label getiteld "Le chemineau" - 84 x 187,5 getekend met op verso een label van de "Dundee Fine Art Exhibition" dd 1920 met prijsvermelding van 1600 pond
Lot 546
Bernard Dunstan, female nude, limited edition print numbered 49/50, signed in pencil lower right, 24 x 27.5cm, Janet Molly Duchesne (b. 1930), Angry Redhead, monotype, artist's label verso, 17 x 12cm, Kathy Hohne, Moldovia Ladies I, limited edition print numbered 9/12, titled and signed below, 6 x 6cm and Barbara Palfer, Dawn's Coffee Morning, pastel, titled verso, with artist's name and dated 1983, 11 x 11cm
Lot 132
1931 Rolls-Royce 20 / 25 Sedanca de Ville by Windovers Transmission: manualMileage:57000First registered on 7th May 1931 and finished in pastel blue and black with black leather interior, GNS75 was initially ordered by J.J. Jones of 88 St. James's Street, London however the first owner was actually Hylton Ralph Murray-Philipson (Jnr) of Stobo Castle, Peebles. Stobo Castle had been purchased by Hylton Murray-Philipson Snr in 1905 and in 1924 he conveyed the estate to his son who was a pioneer aviator. Hylton's career consisted of being the C.O. of the City of Edinburgh Auxiliary Air Force Squadron, Conservative MP for Twickenham; Chairman of N.E. Marine Engineering Company and a member of the King's Bodyguard for Scotland and the Royal Company of Archers. Hylton Murray-Philipson suffered from ill health and died in 1934 aged 32 leaving GNS75 to his wife Monica and two young children. In 1939 Monica Murray-Philipson sold Stobo Castle to Wenefryde Agatha Scott, 10th Countess of Dysart and after 10 years of being a widow Monica married Colonel P.H. Lloyd of Stone House in Blaston. The Colonel and Murray-Philipson had business connections as they were both company directors of Manvers Main Collieries Ltd €“ Murray-Philipson in 1923/33 and Lloyd in 1940/47. In 1943 GNS75 is shown as being with her second family, that of John Stanley Coombe Beard of Grayshott Hall, Surrey. John Beard was an architect well known for designing over 100 cinemas in many styles, Baroque, Art Deco, Italian Renaissance, Greek Revival and even Egyptian. Interestingly in 1937 Mrs Beard made call to the police about an attempted burglary which resulted in the first arrest directly attributable to the new 999 service. A rare, possibly unique and very attractively designed car incorporating many appealing features such as stylish wings, separate steps in place of running boards, slim bumpers, external visor and louvred bonnet and scuttle with beautifully proportioned coachwork. With a polished aluminium bonnet top and waistline and P80 'bullseye' headlamps with pillar spot lamp all adds to the overall gorgeous design with the incorporation of various Art Deco touches. This 20/25 allows you to instruct your chauffeur from the privacy of the rear passenger compartment with the interior dividing screen while keeping an eye on progress with your own speedometer which is naturally mounted atop the built-in drink's cabinet. Such unusual original features are what make this Rolls-Royce special, even the delightful Sedanca de Ville coachwork is rare with its split separate steps and Art Deco flourishes. The front compartment provides accommodation for the driver and a passenger with a removable roof section for open-air motoring and wind-up windows. The driver's window also featuring a quick release lower section to allow hand signals to be easily executed. A right hand gear change allows for plenty of legroom and the large steering wheel is surmounted by a collection of hand controls. A large bulb horn lies easily to hand and the windscreen can be opened for ventilation. It is shaded by a glass visor and a spot lamp is within the driver's reach. Gauges are also a feature of the rear passenger compartment, although separated by a dividing screen, the rear passengers can keep an eye on their own speedometer as well as being supplied with a clock, barometer and a circular thermometer. The clock, and possibly the barometer, appear to be later additions. The drinks cabinet has provision for holding several decanters and a few glasses in a Lazy Susan, although the glassware itself is no longer present. The leather upholstery looks to be in lovely condition throughout, exhibiting just the right amount of patina without looking tatty. The carpets, door cards and headlining are similarly well presented as are stylish Art Deco door handles and window winders, which place this Rolls-Royce squarely in the 1930s. To the exterior, the Palladian radiator surround is topped with the Spirit of Ecstasy and the long bonnet is flanked by twin side-mount spare wheels. A pair of large Lucas tripod headlamps illuminate the road ahead and are assisted by a centrally mounted spot lamp, as well as the swivelling spot lamp near the driver. Twin horns complete the scene at the front of the car, along with a polished chrome-plated bumper. The Windovers Sedanca de Ville coachwork suits the car well and is beautifully proportioned. It features the unusual running boards, separate for front and rear passengers, as well as a useful luggage boot to the rear. Polished aluminium discs cover the wire wheels and the car runs on a full set of Paymaster tyres. Lifting the long bonnet reveals the powerful, straight-six, 3.7 litre engine. The engine features coil ignition and is fed by an Autovac fuel pump and, unusually for a car of this period, there is a glass bottle of screen wash mounted on the bulkhead, which is likely to be a later addition coupled to a small modern electric pump which has been added for ease of use. Supplied with a history file which includes historic photographs of restoration, instruction book and the original buff logbook coupled to the V5C registration document and copies of handwritten service records. The vendor informs us that the engine starts up easily every time and runs well. It is said to be a joy to drive and mechanically sound with its overhead valves, four-speed gearbox and powerful engine, this Rolls-Royce is certainly very capable and splendidly opulent. An imposing motorcar, which wears fabulously unusual coachwork and retains many original details.
Lot 567
David Blackburn (1939-2016) "Sunset Edge of the Moors" Signed and dated 2005, pastel, 49.5cm by 38cmExhibited: "David Blackburn, Works from the Studio Estate", 2017, Messum's, London, no.30 Float mounted, the paper has a deckled edge. Slight cockling to the paper. Some light surface dirt and debris trapped under the glass. Slight pastel bleed into the margins. Not examined out of the frame.
Lot 565
David Blackburn (1939-2016) "Trees at the Water - Winter" Signed and dated 2001, pastel, 49cm by 37.5cmExhibited: "David Blackburn, Works from the Studio Estate", 2017, Messum's, London, no.25 Float mounted, the paper has a deckled edge. Slight cockling to the paper. Some light surface dirt and debris trapped under the glass. Slight pastel bleed into the margins. Not examined out of the frame.
Lot 566
David Blackburn (1939-2016)"Across the Viaduct"Signed and dated 2005, pastel, 49.5cm by 37.5cmFloat mounted, the paper has a deckled edge. Slight cockling to the paper. Some light surface dirt and debris trapped under the glass. Slight pastel bleed into the margins. Not examined out of the frame.
Lot 564
David Blackburn (1939-2016)"Summer Walk Marsden"Signed and dated 1999, pastel, 47cm by 38cmExhibited: "David Blackburn, Works from the Studio Estate", 2017, Messum's, London, no.21The piece is float mounted. The paper has a deckled edge. Slight time staining to the margins to the exposed areas of paper. The odd minor sporadic foxing spot in evidence to the margins and areas where the pastel has bled into the margins. Slight cockling to the paper. Some very light surface dirt and debris trapped under the glass. Not examined out of the frame.
Lot 562
David Blackburn (1939-2016) "Desert Orange" Signed and dated 1979, pastel and collage, 37cm by 39cmExhibited: "David Blackburn", Messum's, London, no.10 The work is float mounted. Slight time staining in evidence to the exposed areas of paper, this could be where the pastel has bled slightly. Tiny crease to lower left corner (within the margin) and possible tiny loss to top right corner (within the margin), also slight creasing in this area. Some light surface dirt and debris trapped under the glass. Not examined out of the frame.
Lot 563
David Blackburn (1939-2016)"New York Architectural"Signed and dated 1983, pastel, 39cm by 32cmThe work is float mounted. The slightest of time staining in evidence to the margins, this may also just be where the pastel has bled slightly. Very slight crease upper right hand side through the centre of the pink. Tny crease top left corner to margin. Some light surface dirt and debris trapped under the glass. Some minor areas where the pastel has bled onto the mount (lower edge). Not examined out of the frame.
Lot 284
A ‘QIANJIANG CAI’ ENAMELED ‘LUSH FORESTS AND HIGH BAMBOO’ PLAQUE, BY JIN PINQING (1862-1908) 金品卿(1862-1908) 淺絳彩《茂林脩竹》瓷板Please note this Lot is to be sold at No Reserve. 本拍品不設底價Expert’s note: Qianjiang cai or 'pastel palette' enamels reflected the late Qing potter's increasing inability to produce the more technically demanding vibrant colors of the earlier High Qing or the later Republic period. To borrow a modern aphorism however, the determined late Qing artisans turned this 'bug' into a 'feature' – notably the dreamlike faintness of these colors became popular with the melancholy intelligentsia of the time and led to masterworks by the best, with Cheng Men (1833-1908) and Jin Pinqing (1862-1908), the painter of the present lot, being the most renowned.The rectangular plaque painted in orange, green, and blue tones with thinly applied enamels depicting a forest landscape with hills and mountains, bamboo groves and pine trees in the foreground. Two scholars sit conversing in a field while a third approaches them on foot, two houses with a tranquil river running beside it which disappears into the mountains. The plaque with a lengthy dedication written by Wang Fengchi (1824-1898), a scholar and official who was friends with Jin Pinqing and often collaborated with him on porcelain paintings.Inscriptions: Top center, titled ‘Lush Forests and High Bamboo’, signed ‘written by Jin Pinqing’, two seals. Top left, inscribed ‘Some time ago in the Yijin Studio in the capital, I saw an ink painting by the master Wang Jian from Taicang with a lush forest. The landscape was quite unique. The [present] painting was painted for me by Pinqing in the style of porcelain paintings from Zhushan. The paintings complement each other. The ink style is so gentle and mild like a breath of air. The [original] painting was done in the Spring of the Year of Dingchou [corresponding to 1877] in the third year of the Guangxu era. I am very touched, thus I wrote this dedication. Wang Fenchi.’Provenance: Boston trade. Acquired from a private estate.Condition: Good condition with minor wear and firing irregularities, some of the enamels slightly faded and with minor rubbing and minimal losses, and light surface scratches. Weight: 2,651 gDimensions: Image size 26.3 x 40.7 cm. Size incl. frame 34.1 x 48.6 cm.With an associated gilt wood frame. (2)Qianjiang is a term used to describe a type of over-glaze enameled ware that was very popular during the Late Qing/Early Republican Period. The term Qianjiang cai (enamels) or Qianjiang porcelain was only coined in the 1950s. Prior to that, annals or commentaries in the late Qing and Republican periods did not classify it as a new distinctive type of over-glaze enamel decorative technique on porcelain. The term was initially used to describe a distinct style of landscape painting by the Yuan master Huang Gongwang. It is typified by the use of a particular color scheme: varying ink tones for outlines and reddish-brown for other aspects such as foliage, flowing water, mountain shades etc. The term was subsequently used to describe a porcelain painting style that used similar techniques but with additional colors such as aquamarine, moss green, pale blue, red and light pink.Auction result comparison: Type: RelatedAuction: Christie’s London, 16 May 2014, lot 1254Price: GBP 18,750 or approx. EUR 32,000 converted and adjusted for inflation at the time of writingDescription: A large circular famille rose ‘landscape’ plaque, late 19th/20th century, dated Bingzi year, corresponding to 1874Expert remark: Note the size (47.6 cm diameter).Auction result comparison: Type: RelatedAuction: Bonhams San Francisco, 11 December 2015, lot 2291Price: USD 21,250 or approx. EUR 25,500 converted and adjusted for inflation at the time of writingDescription: A qianjiangcai enameled plaque, dated by inscription to 1894Expert remark: Note the size (55.2 cm).
Lot 32
Tim Steward (British 1975-) Horse racing study Signed, 2008, with certificate of authenticity, pastel and pigment on paper.57.5 x 43cm (framed 73.5 x 58.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The drawing is in very good, original condition with no obvious faults to report. The drawing is ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Lot 381
A quantity of vintage costume jewellery, mainly mid 20th Century, comprising simulated pearl necklaces A/F to include 3 with a 9ct gold clasp, 2 red coral necklaces A/F, vintage brooches to include marcasite examples, a Sphinx gold tone brooch with opal effect cabochon, 3 gold tone bar brooches, Scottish hardstone brooches and a Sarah Coventry gold tone brooch, 2 amber effect necklaces, an amber glass necklace with matching earrings, a Molyneux pastel coloured crustal necklace in original box, a cherry amber effect necklace, a Native American beaded necklace and other items. Location:BWR
Loading...-
46298 item(s)/page