We found 9989 price guide item(s) matching your search
There are 9989 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
9989 item(s)/page
Lot 225
A large wax over composition shoulder head doll, German circa 1860, with fixed blue glass eyes, painted eyebrows, mouth and short blonde hair, on a cloth body with composition lower arms and legs with painted socks and black heeled boots, wearing a white cotton dress with purple sash and bonnet, 32” (81cm) tall, (some repair around eyes).
Lot 010
Nicely carved image of a governor with his ruyi. He is standing with his maid, who is holding a carved fan. Dimensions are: 31 5/8" tall,13" wide,10 1/2" deep. All measurements are approximate. Condition: Age split to back of governor. Governor has repaired sash on back. Surface wear. Very Good - Fine. Provenance: From the estate of Eleanor & Rudy Vallee.
Lot 13
James Mahony ARHA (1810-1879)The Official Opening of 'The National Exhibition of the Arts, Manufactures and Products of Ireland' Cork, 1852Watercolour, 74 x 66cm (29 x 26'')This large watercolour by James Mahony depicts the building designed by John Benson for the “National Exhibition of the Arts, Manufactures, and Products of Ireland” held in Cork in 1852. The exhibition took place on the Corn Exchange site on Albert Quay-where City Hall now stands-and was opened by the Lord Lieutenant, Archibald Montgomerie, 13th Earl of Elginton, on June 10th of that year. The watercolour depicts a long line of eminent citizens, waiting to be introduced to the Lord Lieutenant, who stands on a carpeted dais in the foreground. A tipstaff announces the names of those who are to ascend the steps to the dais; they appear to be mainly men, while the audience looking on from both sides is composed mainly of women. First in line is a man, hat in hand, wearing a blue sash and medallion. Galleries on either side of the hall are also packed with spectators. Benson was a brilliant engineer and architect, who used innovative building methods; the roof of the Cork Exhibition hall, with its four transepts, was constructed of laminated wood trusses, bent into semi-circles, and linked together to form a strong but light structure. Large skylights admitted light into the building. The same system was used in his designs for other Cork buildings, including the Butter Market, the Firkin Crane and the English Market. Following on from his success in Cork, Benson was engaged to design the buildings for the Dublin International Exhibition in 1853. Unfortunately, being constructed mainly of wood, over the years all of Benson’s Cork buildings have been destroyed, or have lost their original truss roofs, as a result of fire. When the Cork National Exhibition ended, the building was dismantled and sold to the trustees of the Royal Cork Institution. Three years later it was re-erected, on a site beside the Cork School of Art (now the Crawford Art Gallery). Titled “The Atheneaeum”, it was inaugurated by the Lord Lieutenant, George Frederick Howard, Earl of Carlisle, and over the following decades was used mainly for lectures, exhibitions and performances. Re-named the Cork Opera House in 1877, it hosted many theatrical and opera performances before being destroyed by fire in 1955. Mahony’s watercolour depicts the first inauguration of the building in 1852. He depicts an ornate but functional interior, one that combined conventional architectural elements, including Corinthian columns, with proto-Modernist construction methods. When the building was re-erected as the Athenaeum three years later, it was a simpler structure, and by the time it was remodelled as the Cork Opera House in the later nineteenth century, it had lost most of its original embellishments. A contemporary wood engraving by Mahony, published in The Illustrated London News, shows another transept in the Cork Exhibition complex, the Fine Arts Hall. Born in Cork in or around 1810, James Mahony specialised in views of historical events and paintings with religious themes. He first exhibited in the 1833 exhibition of the “Cork Society for Promoting the Fine Arts” and during the following years travelled extensively on the Continent, mainly in France and Italy. Returning to Ireland, he settled at the home of his father, a carpenter, at 34 Nile Street. The date of his return has not been established precisely; Strickland gives it as 1841, but in 1839 Mahony painted a large watercolour of the blessing of the Church of St. Mary’s on Pope’s Quay, a painting now in the Great Hunger Museum in Quinnipiac, Connecticut. During those years Mahony also set about founding, along with fellow artist Samuel Skillen, a Cork Art Union. The concept of an Art Union, where works of art from an annual exhibition were distributed by lottery amongst a group of subscribers, had already been put into operation in London and in other cities. An Art Union in Dublin had been founded two years previously, and there was also one in Belfast. Each member paid an annual subscription of one pound. This gave the subscriber (and up to three friends) free admission to the exhibition, as well as participation in the lottery of paintings. In the first year of the Union's operation in Cork, it was reckoned that more than £100 would be spent on the purchase of paintings, to be distributed amongst the subscribers. The first exhibition was held in September 1841 at Marsh's Rooms on the South Mall, and in spite of the bad weather was an immediate success, with Mahony and Skillen both amongst the exhibitors.Mahony showed again in 1844, submitting two paintings to the Cork Art Union Exhibition, Strada di son Giardino a Subraio, and Nella Chiesa di San Maria della Fiore a Genzano vicino di Roma, both priced at four pounds and four shillings. In November 1846, his view of the Fr. Matthew Memorial Tower at Glanmire was presented to Queen Victoria. Around this time, he resumed his travels, spending a number of years in Spain, before returning to Ireland. In 1852, as well as depicting the inauguration of the Cork National Exhibition, he showed several watercolours in the Fine Arts section, including The City of Cork from the river near the Custom House and Queens College, Cork, along with views of Venice and Rome. Settling in Dublin four years later, he exhibited at the RHA, and was also made an associate of the Academy. A large panoramic view of Dublin, in the National Gallery of Ireland, shows his talents in rendering architectural detail. Also in the NGI is his watercolour depicting the visit by Queen Victoria and Prince Albert to the 1853 Dublin Exhibition. In 1859 Mahony moved to London, where he worked as an illustrator, until his death in 1879. While he produced paintings of notable building, and civic and cultural events, Mahony is best known nowadays for his graphic images of the effects of famine in Co. Cork, which were published in The Illustrated London News in the 1840’s. These harrowing images influenced public opinion, and helped changed the British government’s official stance of indifference to the Great Famine. James Mahony is not to be confused with a later Cork artist, James Mahoney, who also painted in watercolour. (See Julian Campbell Irish Arts Review Vol 28, No. 2 (2011) p. 98]Peter Murray, April 2018
Lot 6018
A 19th Century British Royal Household full dress uniform. The black cloth coat with stand collar and gauntlet cuffs in scarlet, gold bullion foliate embroidery. The heavy embroidery is featured on the front, pocket flaps, skirts and side edges. The buttons bear "Treu Fest" 11th Hussars buttons. A cocked hat by Robert Heath in black beaver with a gold bullion loop and a white ostrich feather border. The breeches in black cloth with red stripe. A sash with gold coloured tassels (4)
Lot 2008
Sasha Gregor Doll, in denim jeans with blue polo neck jumper; Sasha Brunette Doll, in red cotton shorts and top, tartan jacket, white shoes; Dark Caleb Sash Doll, in original trousers, yellow jumper and trainers; Sexed Blond Baby Sasha Doll, with green eyes, wearing a white cotton dress and blanket (4)
Lot 53
Scottish Piper’s Sword Cross Sash Baldric black polished leather cross strap with lower sword frog fitting. Cast white metal thistle decorated large buckle and end tab with brass thistle decorated slider. Together with a selection of cigarette silks of ship badges, badges and flags. Quantity.
Lot 41
Chinese silk sash , embroidered with figures in garden scenes on a yellow ground, also five silk panels and a framed silk picture of two ladies. The framed silk measures 90cm x 33cm . Condition report: Some small stains and fading throughout. There is the occasional loose thread to the silk sash
Lot 198
3rd century BC-5th century AD. The upper half of a male Nayarit culture ceramic statue, wearing cap with bands of net-pattern; earrings to both ears and multiple nose rings, small eyes and open mouth; hands raised to chest, sash around stomach; body and neck decorated with panels of geometric patterns in pigment; mounted on a custom-made stand. 11 kg total, 75cm including stand (29 1/2"). Property of an American gentleman; acquired 1970s-1990s. [A video of this item is available to view on TimeLine Auctions website.] Fine condition, some restoration.
Lot 406
2nd-4th century AD. A large schist statue of Maitreya, seated cross-legged in meditation; hair pulled up into a top-knot with fillet decorated with rosettes, large nimbus to the back of the head; elongated ears with earrings, eyes half closed in meditation, recess to brow for separate urna, finely engraved moustache; sash over shoulders, bands of necklaces to chest with amulet cases; armlets and bracelets to both arms; robes hanging over edge of rectangular seat; panel to front of seat decorated with Buddha seated in meditation, two devotees to either side; mounted on a custom-made stand. 69 kg total, 76cm including stand (30"). Property of an English collector; previously the property of an Anglo-Indian gentleman; acquired from the Julian Sherrier collection in 1978, supplied with geologic report No. TL004877, by geologic consultant Dr R. L. Bonewitz. [A video of this item is available to view on TimeLine Auctions website.] Very fine condition. A superb display piece.
Lot 407
4th-6th century AD. A schist arched panel with scene to the centre of Buddha with urna, moustache and elongated ears, hair pulled up into a elaborate top-knot; sash over left shoulder, necklace to chest, robes falling to feet; right hand held in blessing, left hand resting on thigh; to either side groups of male and female devotees with children; columns to either side with shaft decorated with scrolling vine leaves, Corinthian columns to the top, each with a kneeling male making an offering; from each column an arch decorated to the centre with Buddha seated in meditation, three praying figures to either side, band of rosettes to the top; sockets to the edge to fit into niche; mounted on a custom-made stand. 91 kg total, 65.5cm (25 3/4"). UK art market, acquired prior to 2000. The scene to the centre is possibly one of the Jataka tales, moralistic stories based on the previous lives of the Buddha, in human and animal forms. The future Buddha may appear as a king, an outcast, a god, an elephant - but, in whatever form, he exhibits some virtue that the tale thereby conveys. Often, Jataka tales include an extensive cast of characters who interact and get into various kinds of trouble - whereupon the Buddha character intervenes to resolve all the problems and bring about a happy ending. Very fine condition.
Lot 413
Pala Period, 10th-11th century AD. A schist panel depicting Vishnu, standing on a lotus flower base, wearing a jewelled conical headdress; elongated ears with earrings, band of necklaces to the chest, armlets, bracelets and anklets, large sash hanging down to the knees; upper right hand holding a large mace, lower right hand holding a open lotus flower; large lotus flower nimbus to the back of the head; to the upper left four armed Shiva seated on the bull Nandi, to the right Brahma, with three heads and four arms seated on a lotus flower; to the lower right the goddess Lakshmi, wearing strings of necklaces, loin cloth with beaded decoration; above, small figure seated on a lotus, hands in prayer; to the left a male figure, possibly Vamana, with hair pulled up into a top-knot, wearing necklace and Brahmin thread; small figure above seated on a lotus flower; two figures to the front, possibly a male and female deity; faces of figures damaged possibly during the Muslim raids of Mahmud of Ghazni in the eleventh century. 100 kg, 85cm (Available to view at our Harwich head office only) (33 1/2"). Property of an American gentleman; acquired 1970s-1990s. [A video of this item is available to view on TimeLine Auctions website.] Fair condition.
Lot 638
An early 20th Century woven Votes for Women sash, the white central band printed with black capital letters with green and purple stripes to the edge, retains original hock and eye fastening stamped Nicklin's with large hook sewn to the pointIt is widely believed that the Votes for Women sash was first seen at the Women's Sunday demonstration held in Hyde Park, London on 21st June 1908. Through the 'Votes for Women' magazine, editor Emmeline Pethick-Lawrence encouraged supporters to attend the demonstration in their best white dress (dressed in white, the sash would have been clearly visible). Pethick-Lawrence encouraged women to look their best - women seen to be walking in procession (much like an army would procession in their finest dress uniform), in their best attire would not only likely attract more women but it would also show the gentle ladylike appearance of the movement and so defuse fears about violent tactics.Created by the Women's Social and Political Union, the design for the sash itself is thought to have come from Sylvia Pankhurst (daughter of Emmeline Pankhurst). The distinctive tri-colours became emblematic of the Suffrage movement - green for hope, white for purity and purple for loyalty and dignity. The Votes for Women magazine would prove vital not only for promoting the cause but also in generating funds. It is known that 'fashionable' department stores such as Dickens and Jones, Lilly and Skinner, Burberry and Selfridges frequently advertised within the magazine, often taking full-page advertisements. Whilst it is not known for certainity, it is likely the sashs would have been retailed through such department stores. Selfridges in particular stocked a range of dresses, brooches, ribbons, hats and drapery in the suffrage colours.
Lot 404
A Princess Louise's Argyll and Sutherland Highlanders officers dress cross belt sword carrier, with white metal and brass regimental button, named on the leather for A. Douglas Campbell, with a smaller sash and buckle for the same regiment, two tan leather belts and various kid leather gloves (Qty)
Lot 297
THE 1914 STAR TRIO & TUNIC OF RSM J CAMPBELL 2 R BERKS REGT. A 1914 Star named to 5629 C Q M S J Campbell. 2 R Berks, on its original ribbon with an MID oakleaf attached. British War & Victory Medals named to 5629 W O Cl 1 J Campbell R Berks. John Cambell the son of Daniel and Sarah Campbell, husband of Louise Campbell was Killed in Action aged 36 years. He landed in France on the 6th November 1914, his MIC details confirm he was awarded a Clasp. He was Mentioned in Despatches on the 13/6/1916 in the L Gazette 29623 (Gen Haig). Born in Belfast he later lived in Southsea, after his marriage he lived in Dagshai, Micawber Avenue, Hillingdon Village, Middlesex. Killed in Action on the 15th October 1917, he is buried in Prowse Point, Military Cemetery, France. CWGC Confirms his rank as Regimental Sergeant Major, 2nd R Berks Regt. A copy of his last letter home from the front, is with the medals. He was waiting to be commissioned, signing his letter with his nickname 'Fred'. An original photograph of RSM Campbell wearing his Dress Tunic, is with the medals. His original Red Dress Tunic and Sash, with rank on the right sleeve is with the medals. In good condition with General Service buttons (two missing) and bullion sleeve badges.
Lot 18
Very finely woven gold coloured metal thread sash fragment(?), possibly Indian, 19th century, 60in. x 13in. 152cm. x 33cm. Completely plain field within a trailing floral border in an olive green/brown palette. Both end borders have been joined on. Hole to centre; other small holes; several fine darned repairs. Each long edge with hand-turned selvedge.
Loading...-
9989 item(s)/page