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Lot 630

A small collection of silver coins, comprising: Aethelred II (978-1016), Penny, bare headed bust, R. voided long cross, (S 1151) about fine; Edward I (1272-1307), Penny, new coinage, Edward in full, clipped, fair or better; Edward III (1327-77), Half-Groat, 4th coinage, London, clipped, fair or better; Elizabeth I, Sixpence, 1570, rose and date, clipped, fair; another similar, 1569, clipped, poor; James I, Sixpence, 1603, mm thistle, clipped, fair, reverse better; William III, Sixpence, 1697, Exeter, R. large crowns (S 3541), adjustment marks, good fine or better; another similar, 1696, fair; Anne, Shilling 1707, Edinburgh (S 3608), fair or nearly fine; George IV, Shilling, third reverse, fair. [10]

Lot 517

A 1914-15 Star (DMR. W.J. HAMILTON. HAMPS. R.), three British War Medals 1914-20 (88282 HOBBS R.A.F., 58944 HARVEY NORTH.N R., 2055 HAMMOND R.A.), two Victory Medals (R 2323 COOPER R.N.V.R., 408979 WILLIS R.A.F.); together with a small quantity of other medals.

Lot 528

A Sutlej Medal to Gunner R. Masey, Bengal Horse Artillery, Moodkee to the exuerge, 2 clasps: Ferozeshuhur and Aliwal (GUNNER R: MASEY 1ST BRIGADE H:A:), impressed. Contact marks to the edge, otherwise nearly very fine.

Lot 546

An India General Service Medal 1854-95 to Gunner R. E. Cumberledge, Number 3 Mountain Battery Royal Artillery, clasp: Samana 1891 (688947 Gunr R. E. Cumberledge No 3 Mn By R.A.), engraved. Contact marks and an edge knock, very fine.

Lot 515

A Naval General Service Medal 1915-62 to Able Seaman R.A. Mackney, Royal Navy, Elizabeth II, clasp: Near East (C/ JX. 921871. R. A. MACKNEY A.B. R.N.), toned, nearly extremely fine; together with a miniature Victoria Cross, suspension link lacking, otherwise extremely fine; and a miniature Air Force Cross (ER II), nearly extremely fine. [3]

Lot 658

A quantity of coins and other numismia, including: George II, silver sixpence 1728, roses and plumes (S 3707), very fine or better; Woodbridge, R. Loder, Sekford penny token, 1796, about very fine; other world coins, and coin weights.

Lot 604

Victoria, gold half sovereign, 1885, fifth head, R. cross on crown buried in border (S 3861). Near very fine.

Lot 631

Four hammered coins: Henry VIII (1509-47), silver half-groat, Canterbury, R. CIVITAS CANTOR WA, mm 121 (S 2343); Edward VI (1547-53), silver shilling, mm appears to be TC monogram (Bristol); Elizabeth I, silver sixpence, 1568, small flan, rose and date, mm coronet; Charles I, (1625-49), silver shilling, Briot's bust, mm triangle (1639-40); the second about fair, the others fine, some degree of clipping to each.[4]

Lot 516

A small collection of medals, including: O.B.E. (Military), attributable to Lt-Col William T. Forsdyke, R.A.S.C., cased with transmission slip, toned, extremely fine; a Great War pair and Memorial Plaque to Charles Victor Roy Tuck, Oxford And Bucks Light Infantry (30118 PTE. C.V.R. TUCK. OXF. & BUCKS. L.I.), good very fine; a Great War Pair (110194 GNR. R.V. TRAVERS. R.A.), very fine; a Territorial Force Efficiency Medal, George V (203895 SJT: R.J. HAMBROOK. 4/ ESSEX R.), nearly extremely fine; two mounted miniature groups; and other items.

Lot 518

A British War Medal 1914-20, (CH. M. A. A. E. KNIGHT. R. N.); a mounted miniature 1914-15 Star Trio; and 1939-45 War Medal and Defence Medal, in ATS box of issue addressed to a female recipient. Nearly extremely fine.

Lot 916

A Georgian yew wood tea caddy with boxwood-strung borders and canted lid, mother of pearl shield keyhole escutcheon (interior f/r), to/w a Regency rosewood sarcophagus tea caddy (2)

Lot 735

After James Gillray/Pacific Overtures/Making Decent/T F Flook/R-L Hobby!!!/and two other political cartoons

Lot 805

A group of five Georgian silhouettes, each oval in an ebonised frame, sitters include R Wynne and George Clarke Doughty, one marked verso 'Herve, miniature painter, 145 Strand, London'

Lot 899

After R Ernst/North African Figure/oil on paper, possibly over a printed base, laid to panel, 27cm x 16cm and/19th Century Dutch School/Inn by a River/oil on panel, 36cm x 44cm

Lot 308

A William IV engine-turned silver viniagrette, the gilt interior with floral and foliate pierced grille, maker TS, Birmingham 1831, 4 cm wide Condition Report Grille-hinge pin f/r

Lot 309

A George IV engraved silver vinaigrette, the gilt interior with foliate pierced grille, Taylor & Perry, Birmingham 1829, 4 cm wide Condition Report Grille-hinge pine f/r

Lot 316

A Victorian plain cylindrical glass double-ended scent bottle with cased silver bun covers, George Brace, London 1886, 14.5 cm long to/w six silver 3d 1915-21 and three later 3d 1934-40 Condition Report Hinge pin f/r

Lot 330

A cased manicure set with loaded silver handles, Birmingham 1919 to/w an embossed silver four piece brush set, Birmingham 1918 Condition Report Handle on hairbrush f/r

Lot 219

A 9ct gold gentleman's signet ring, 4.8g, ring size R

Lot 216

An 18ct white and yellow gold diamond and cabochon ruby dragon, ring size R by repute a gift from Iggy-Pop, approx 97g

Lot 669

An early 20th century oil painting on canvas by Reginald Grenville Eves of a bust length portrait of a bearded man in fur collared coat, signed top left R G Eves, 48 x 38 cm approx in swept and pierced gilt frame with gilt slip

Lot 673

A 20th century gouache study of a house beneath a stormy sky, signed bottom right R Constable and dated February 5th 1972, inscribed verso Suffolk Farmhouse by Richard Constable, with Suffolk Exhibition details, 27 x 23 cm approx in distressed frame together with a humorous coloured print of an Edwardian style motoring scene after Chas Crombie, framed

Lot 639

A 20th century oil painting on canvas of a mountainous landscape with two figures sitting on a single arched stone bridge, signed bottom left R Moseley, with label verso Skiddaw From Ashness Bridge, 20 x 30 cm approx in gilt frame

Lot 671

A pair of unframed oil paintings on canvas painted in the Cubist manner showing figure subjects, one signed bottom right V Biel (?), the other signed bottom right R Potter, 68 x 57 cm approx

Lot 453

Robert Griffiths Hodgins (South African 1920-2010) THREE MEN WAITING signed, dated 1998/9 and inscribed with the title on the reverse oil on canvas 91,5 by 122cm Robert Hodgins’ drive to experiment with light and colour is one of the things that make his works so visually enthralling. He was greatly influenced by the works of Bridget Riley and Francis Bacon; however it was his interpretations of Alfred Jarry’s greedy theatrical character of Ubu that led him on a visual expedition of painting that has been rarely observed with such fervour by any South African painter. THREE MEN WAITING is only one of a myriad of works created by Hodgins shortly after he participated in the Ubu 101 exhibition that hosted both South African and international artists at the Gertrude Posel Gallery at the University of the Witwatersrand, Johannesburg in 1997. Atkinson (2002:13) writes: “Ubu’s diverse presence is felt, not only in the physical characteristics of a host of barely human Hodgins figures – most obviously the truculent, at times oddly vulnerable, businessman – but also in the affective cross current that is the source of power in his work.” In THREE MEN WAITING the viewer is confronted by Hodgins’ theatrical use of colour and an odd Meta referential subtext. The figures are looking out in anticipation, but their presence is unclear; Hodgins animates them in a discomforting posture by grouping the three figures together in this outsized composition. Each character dressed in corporate attire as a subtle reference to Ubu. CS References: • Smith, K. 2000. ROBERT HODGINS. Artthrob, Issue no 34. June 2000. [O] ACCESSED on the 27/01/2017 http://artthrob.co.za/00jun/artbio.html • Atkinson, B. Hodgins, R. Becker, R. Powell, I. Geers, K. & Godby, M. 2002. ROBERT HODGINS. Tafelberg Publishers. Cape Town.

Lot 28

Brenthurst Press FIRST SERIES, VOL. 1 - 10 Johannesburg: Brenthurst Press, 1975 - 1984 First edition. One of 25 sets bound in full leather numbered A to Y. This is set 'C' that belonged to the general editor of the First series, Prof. Eric Axelson. Col. & b/w illustrations. Full leather marbled endpapers, gilt edges with leather-spined cloth-covered velvet-lined boxes. Box 1 is parchment-lined. Spines of leather boxes are sunned. ? Vol. 1: The Brenthurst Baines signed by the two authors Marius and Joy Diemont ? Vol. 3: Contains the booklet 'De Meillon's People of Colour' by Shell, R. C-H. with a copy in very good condition of Eric Axelson's book "Portuguese in South-East Africa 1600 - 1700", 1960, first edition, dustjacket ? Vol. 6: Paterson's Cape Travels signed by both author V. S. Forbes and J. Rourke. (11)

Lot 452

Robert Griffiths Hodgins (South African 1920-2010) THE GREEN TABLE signed, dated 2009 and inscribed with the title on the reverse oil on canvas PROVENANCE Acquired directly from the artist. 60 by 60cm Robert Hodgins was born in England in 1920, and died in 2010. From 1954 to 1962 he presided as a Lecturer at the School of Art, Pretoria Technical College, after which he took up a position as reporter for Newscheck magazine. Between 1966 and 1983 Hodgins Lectured at the University of the Witwatersrand in the Fine Art Department, but it was only at the end of 1983 that he retired and took up painting full-time. The title of this painting is reminiscent of another creative production, The Green Table, a popular Ballet by the German choreographer Kurt Jooss - considered by many to be his greatest work. The ballet’s plot centres on the peace negotiations of the 1930s in Europe. Concerned neither with any specific individuals’ struggles and redemption, nor with working out a gallant fate for mankind, Jooss’ moral position is irreproachable and he drives home his message in a series of stark images. Each scene of the Ballet is a variation on the same theme, like the 41 woodcuts in Hans Holbein's The Dance of Death. The premise is that Death eventually becomes everyone's partner, effectively seducing them into his dance on the same terms by which they had lived their lives. No decisive action, change, or resolution is suggested, and in framing the "Dance of Death" as an iconographic attribute, Jooss seems to say none can be expected in the anticipation of imminent death. As it was not unusual for Hodgins to occasionally reference theatre productions based on universal concerns of the time, it could be argued that this was very well what he intended with THE GREEN TABLE painting. The painting was created a year prior to his death and Hodgins illustrates two figures side by side in an ostensibly familiar manner. Perhaps, the artist here, in this work concedes death as an inevitable partner by titling the work in reference to Jooss’ ballet as a process of self-reflection. The painting was acquired directly from the artist by the current owner. CS References: • Wikipedia. 2011. The Green Table Ballet. [O] ACCESSED on the 27/01/2017 https://en.wikipedia.org/wiki/The_Green_Table • Siegel, M. 1989. The Green Table: Sources of a Classic. Dance Research Journal, Vol. 21, No. 1 (Spring, 1989), pp. 15-21. • Atkinson, B. Hodgins, R. Becker, R. Powell, I. Geers, K. & Godby, M. 2002. ROBERT HODGINS. Tafelberg Publishers. Cape Town.

Lot 633

AN UNMOUNTED ROUND BRILLIANT-CUT DIAMOND weighing 0.65cts. Accompanied by a G.I.A. Report, no. 6241174607, stating it to be Q to R range colour and I1 clarity.

Lot 464

An oil on canvas signed J R Mclaughlin, 88cm x 109cm

Lot 243

An Edwardian silver navette-shape dessert basket, by R. F. Mosley & Co., Sheffield 1910, pierced scroll foliate decoration, swing handle, raised on four ball feet, 12oz, width 31cm.

Lot 44

A diamond three row half eternity ring, twenty-seven eight cut diamonds, slightly graduating in size, claw set into three rows of nine, 8.5mm wide yellow and white metal mount, 3.5mm wide shank, approximate weight of mount 7gms, ring size R.

Lot 53

A marquise diamond cluster ring, a single fancy colour marquise cut diamond rubbed-over set to centre and surrounded by an outer scalloped frame of fourteen old cut diamonds, all pip claw set in an 18 carat yellow and white gold mount, plain shank triple shoulders, ring size R.

Lot 131

A STYLISH PAIR OF HYPERION HPS-938 FLOOR STANDING SPEAKERS EACH CONTAINED IN TWO CABINETS, A HYPERION HPS-C3 CENTER SPEAKER AND A REL R-505 SUB BASE SYSTEM, WITH ASSOCIATED WIRING (POSSIBLY INCOMPLETE) HEIGHT OF SPEAKER TOWERS 109CM

Lot 52

An album of foreign Mint and used stamps in album, countries G to R

Lot 53

An album of foreign Mint and used stamps in album, countries R to Z

Lot 1

Ancient Coins, Vespasian (69-79 AD), aureus, IMP CAESAR VESP AVG, laur. head. r., rev. FORTVNA AVGVST, Fortuna stg. l. on a base decorated with rams’ heads and wreaths, holding a rudder in her right and cornucopiae in her left hand, wt. 7.35gms. (RIC.81), extremely fine Vespasian was the first emperor that did not belong to the old Roman aristocracy. Instead, he came from a provincial middle-class family. He had a successful military career, which included commanding a legion during the Roman invasion of Britain in AD43. He emerged as an emperor after the civil war that followed the death of Nero in AD68. Appropriately the reverse of this coin depicts FORTVNA AVGVST(I) - 'The Luck of the Emperor'.

Lot 10

British Coins, Wessex, Aethelstan (924-939), penny, Winchester mint, portrait type, AETHELSTAN REX, crowned bust r. breaking the inner circle, rev. AMELRIC.M.O VVINI around small cross, plain inner circle, wt. 1.43gms. (S.1095; N.675; BMC viii-ix), slight crease, good very fine, of exceptionally fine style and strike, very rare

Lot 101

British Coins, William III, crown, 1696, OCTAVO, first laur. and dr. bust r. rev. crowned cruciform shields (S.3470; ESC.89; Bull 995), good fine

Lot 102

British Coins, William III, halfcrown, 1697E, NONO, first laur. and dr. bust r., rev. crowned cruciform large shields (S.3490; ESC.547; Bull 1077), lightly toned, otherwise extremely fine, rare*ex Lord Grantley ex Willis, Glendinings, 7 October 1991

Lot 103

British Coins, William III, sixpence, 1696, first laur. and dr. bust r., rev. crowned cruciform shields, later harp, large crowns (S.3527; ESC.1543; Bull 1211 [R3]), light grey tone, extremely fine*envelope states ex E. R. Jackson Kent Collection, Glendining Auction, 26 May, 1965

Lot 104

British Coins, William III, sixpence, 1697, third laur. and dr. bust r., rev. crowned cruciform shields (S.3538; ESC.1566; Bull 1233), certified and graded by NGC as Mint State 63

Lot 105

British Coins, William III, sixpence, 1700, third laur. and dr. bust r., rev. crowned cruciform shields (S.3538; ESC.1579; Bull 1250), certified and graded by NGC as Mint State 64

Lot 113

British Coins, George I, guinea, 1725, fifth laur. head r., rev. crowned cruciform shields, sceptres in angles (S.3633), about very fine

Lot 114

British Coins, George I, quarter guinea, 1718, laur. head r., rev. crowned cruciform shields, sceptres in angles (S.3638), certified and graded by PCGS as About Uncirculated 55

Lot 115

British Coins, George I, crown, 1716, SECVNDO, roses and plumes, laur. bust r., rev. crowned cruciform shields, roses and plumes in angles (S.3639; ESC.110; Bull 1540), fine

Lot 116

British Coins, George I, shilling, 1723 SSC, laur. bust r., rev. crowned cruciform shields, SSC in angles (S.3647), certified and graded by NGC as About Uncirculated 58

Lot 117

British Coins, George I, halfpenny, 1719, ornate shoulder straps, laur. bust r., rev. Britannia std. l., with shield and spear (S.3660A), certified and graded by NGC as Mint State 64 Brown No other examples graded this highly by NGC or PCGS.

Lot 125

British Coins, George III, guinea, 1761, two leaves above head, first laur. head r., rev. crowned shield of arms (S.3725), brushed, dig on reverse, good fine

Lot 126

British Coins, George III, guinea, 1792, fifth laur. head r., rev. crowned shield of arms (S.3729), three scratches on obverse, otherwise good fine

Lot 127

British Coins, George III, guinea, 1795, fifth laur. head r., rev. crowned shield of arms (S.3729), almost extremely fine, scarce date

Lot 128

British Coins, George III, guinea, 1797, fifth laur. head r., rev. crowned shield of arms (S.3729), about extremely fine, scarce

Lot 129

British Coins, George III, guinea, 1798, fifth laur. head r., rev. crowned shield of arms (S.3729), a little flecked, otherwise about uncirculated

Lot 130

British Coins, George III, half guinea, 1777, fourth laur. head r., rev. crowned shield of arms (S.3734), very fine or better

Lot 131

British Coins, George III, half guinea, 1794, fifth laur. head r., rev. crowned shield of arms (S.3735), slight edge damage at 4 o’clock on reverse, about fine

Lot 132

G British Coins, George III, third guinea, 1802, laur. head r., rev. crown, date below (S.3739), lis stamped on reverse below date, fine

Lot 133

G British Coins, George III, third guinea, 1804, laur. head r., rev. crown, date below (S.3740), good very fine

Lot 134

G British Coins, George III, third guinea, 1806, laur. head r., rev. crown, date below (S.3740), a couple of metal flaws on reverse, good very fine

Lot 135

G British Coins, George III, third guinea, 1806, laur. head r., rev. crown, date below (S.3740), flecking on both sides, otherwise about extremely fine

Lot 136

G British Coins, George III, third guinea, 1806, laur. head r., rev. crown, date below (S.3740), about very fine

Lot 137

British Coins, George III, shilling, 1787, with hearts in Hanoverian shield, laur. and dr. bust r., rev. cruciform shields, crowns in angles (S.3746; ESC.1225; Bull 2129), good extremely fine

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