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 500
Scottish Interest. A miniature ebony and silver tipstaff (?) inscribed " Second Bailie Police Commissioner of Edin'r " (Edinburgh) also bearing the crowned VR cypher.12.7 cm long. Together with a framed Culloden Volunteers Battalion tunic button with a paper label with the inscription "Very rare old button originally the property of one of the followers of Prince Charlie" together with a Liverpool Scottish sash badge and an Mc Duff tartan aide de memoirQty: 4Condition report: The Tipstaff is generally in good order, the top mount has some movement but is well attached. The McDuff tartan ware note pad has some small knocks on the exterior and light scuff marks to the corner of the leather spine, but nothing too detrimental. The inner pad has come away from the board, some staining to the bone pencil terminal. Cap badge in good order. Button mounted behind glass.Please follow the link below for a short video of the wording of the tipstaffhttps://drive.google.com/drive/folders/1eIarJ-mY6_VO4HrpXoyoswHcETBUOdGw?usp=sharing
Lot 305
Quantity of Various Military Belts including Undress Officer's sword belt. Blue webbing belt with gilt faced, red leather hanging straps ... Maroon silk, Officer's waist sash ... QC Royal Logistic Corps stable belt ... REME stable belt ... Foreign made, Sam Browne leather belt ... Police pattern, leather belt with brass snake buckle.
Lot 849
A LARGE TIBETAN GILT-BRONZE FIGURE OF A BODHISATTVA PROBABLY LATE QING DYNASTY Cast standing in tribhanga upon a lotus base, with one hand at her side and the other held before her bare chest in vitarka mudra, her hair piled high and adorned with an elaborate crown, depicted wearing a sash, large earrings and body jewellery, 51cm, 3.3kg.
Lot 104
A German Third Reich silk funeral sash of rectangular form with tasselled ends, with silver leaf wording for 'Obgefr. Karl Emmel' (Ob 'Ewig lebt der toten Helden Ortsgruppe Hennethal' (The Dead Hero Lives Forever), with an embroidered Cross Pattée edged in silver and an applied swastika overall length 234cm including fringe
Lot 248
Three Royal Artillery jackets, including an example with red sash, staybrite buttons, collar badges and six medal ribbons including Iraq War and Golden Jubilee; a 1950s tunic and pair of trousers named to Captain R.N Spafford, tailored by Flights LTD, the jacket with embroidered collar badges and a further jacket named to Captain G, Chanter, Royal Horse Artillery, dated '96.
Lot 405
A JAPANESE SILK EMBROIDERY BY NISHIMURA SOZAEMON (1855-1935) MEIJI PERIOD, 19TH OR 20TH CENTURY Depicting a maiko, the trainee geisha smiling gently whilst folding her obi, the sash embellished with maple leaves and her long robes with cranes and flowers; the figure rendered in muted colours, pinks and purples on the chocolate-brown ground; in its original wood and silk frame with chrysanthemum-shaped rings to the sides, the back with an elaborate paper label reading 'S.Nishimura, Kyoto, Japan, Manufacturer of High Class Embroideries, Fancy Cut-velvets and Silk Goods in General', 51.1cm x 42cm overall.
Lot 5
Coins, Great Britain, George III (1760-1820), Proof Crown, 1821, in copper, spotting to cheek, very minor knocks to the edge otherwise EF or better Provenance - The property of a gentleman collector Condition: ‘This coin is a plain edge example. The illustrations on our website show the spotting to the obverse and revers but there is also a very faint line to George’s cheek and some very light wear to the finish to St George’s helmet and sash. Both of these faults are very minor.’
Lot 319
Ca. 300-100 BC. Hellenistic. A finely rendered matching pair of gold earrings, each formed from a circular wire hoop, which tapers towards one end and features a miniature depiction of Eros (Cupid for the ancient Romans), the Greek and Roman god of love. The figure of the winged child-Eros is crafted with hands on his hips and a sash across his chest. The sash, presumably used so he can carry his quiver, is the usual attribute of Eros on Greek jewellery and artistic production and has been here rendered through a series of gold granules. A small daisy-like flower rests just above Eros' head. Daisy-like ornaments and fillers were a popular decorative motif seen on many examples of fine Hellenistic jewellery. Excellent condition. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. It also comes with gemmological and historical report by an independent specialist Anna Rogers. This analysis will accompany the purchase. For a similar pair of Hellenistic earrings, see https://www.christies.com/en/lot/lot-4266557.Size: L:20mm / W:20mm ; 4.8g. Provenance: Property of a North London gentleman; previously acquired on the UK/European art market in the 1980s.
Lot 91
Ca. 618-907. Tang Dynasty. A finely modelled terracotta figure of a female court lady. She is depicted standing and attentive, wearing a long dress with a light coloured top, a red skirt and a purple waist sash or belt. Her right hand is holding a jug, while the left one is slightly raised. Her facial features consist of thin, slightly arched eyebrows, narrow eyes rimmed with black pigment and a pointed nose. Her small mouth is painted with red pigment. Her hair is neatly combed into a hairstyle consisting of a high topknot. The Tang Dynasty was largely a period of progress and stability in the first half of its reign, until the An Lushan Rebellion and the decline of central authority in the latter half of the dynasty. Funerary offerings were an important status symbol in ancient China. The wealthy were accompanied on their journeys through the afterlife with numerous representations of people, objects and animals. Such terracotta figures were made to serve and entertain the owner, to ensure that their journey to the underworld was a happy one. Terracotta tomb guards appear to have first appeared during the Western Han Dynasty. But it was not until the Tang dynasty that the cultural tradition of displaying wealth in elite tombs reached its peak, with increased production of terracotta statuettes. The Tang Dynasty was an exciting time in Chinese history when trade flourished along the Silk Road and unified China was the richest country on earth. Chang'an (now Xi'an) was the capital of the Tang Dynasty and one of the most cosmopolitan cities in the world, filled with foreigners who had travelled to China to trade. The influence of foreigners and talented native Chinese, combined with the economic prosperity brought by trade and the new religion from India, Buddhism, created a strong cultural milieu in which poetry and other forms of art flourished. To find out more about the Tang dynasty and its art production, see Yang, X. (1999). The golden age of Chinese archaeology: Celebrated archaeological finds from the People's Republic of China. New Haven; London: Yale University Press; Benn, C. (2002). Daily Life in Traditional China: The Tang Dynasty. Westport: Greenwood Press and Watt, J. C. Y., et al. (2004). China: Dawn of a Golden Age, 200-750 A.D. Exhibition catalogue. New York: Metropolitan Museum of Art. Size: L:340mm / W:60mm ; 660g. Provenance: From the private collection of a Somerset gentleman; previously in an old British collection, formed in the 1980s on the UK /European art markets.
Lot 92
Ca. 618-907. Tang Dynasty. A delicate terracotta female dancer figure wearing a long flowing, deep orange gown with short sleeves and a waist sash. Her upper body is slightly bend to the side, with one arm up in the air, indicating motion. The dancer is carefully modelled, with the hair done up in double buns, pink cheeks, red pursed lips, delicate brows and smiling eyes. Dance as an art form reached its peak in China during the Tang Dynasty, which is now known as the golden age of Chinese music and dance. Indeed, during this time the Great Music Bureau was created to train musicians and dancers for the imperial court. Terracotta figures like this one were funerary offerings made for the service and entertainment of the owner, ensuring that their journey in the underworld was a happy one. Terracotta tomb attendants seemed to have first appeared during the Western Han Dynasty. However, it is during Tang China that the cultural tradition of displaying wealth in elite tombs reached its peak, with an increased production of terracotta statuettes. The Tang Dynasty was a thrilling time in Chinese history, when trade flourished along the Silk Route and a unified China was the richest country on earth. Chang'an (now Xi'an) was the Tang capital, and it was one of the most cosmopolitan cities on earth, filled with foreigners who had travelled to China to trade. The influence of foreigners and talented native Chinese, combined with the economic prosperity brought on by trade and the new religion from India, Buddhism, created a powerful cultural milieu where poetry and other forms of art flourished. To find out more about the Tang dynasty and its art production, see Yang, X. (1999). The golden age of Chinese archaeology: Celebrated archaeological finds from the People's Republic of China. New Haven; London: Yale University Press; Benn, C. (2002). Daily Life in Traditional China: The Tang Dynasty. Westport: Greenwood Press and Watt, J. C. Y., et al. (2004). China: Dawn of a Golden Age, 200-750 A.D. Exhibition catalogue. New York: Metropolitan Museum of Art. Size: L:285mm / W:135mm ; 735g. Provenance: From the private collection of a Somerset gentleman; previously in an old British collection, formed in the 1990s on the UK /European art markets.
Lot 94
Ca. 500 AD. Chinese Northern Wei Dynasty. A carefully crafted male attendant figure dressed in a red tunic and cream-coloured trousers; a cream sash or belt runs around his waist; a hat, possibly of the Wu Sha type, perches atop his head. He stands with his left arm by his side, the hand covered by his sleeve, and the other hand resting on his chest. Attendant figures such as this item were important to a variety of cultures with afterlife beliefs that involved trials, travels, or an afterlife similar to that which was lived on earth, as well as acting as representations of the ancestors. Popular iconographic choices included warriors, dancers, male and female courtly figures, and animals. The Northern Wei dynasty ruled northern China from ca. 386 to 534 AD and its most famous achievement was unifying a large empire following a long period of social and political turbulence. Craftsmen working under this dynasty were also responsible for beautiful works of art, as this figure exemplifies. Good condition.Size: L:260mm / W:65mm ; 575g. Provenance: From the private collection of a Somerset gentleman; previously in an old British collection, formed before 2000 on the UK /European art markets.
Lot 1369
A VICTORIAN SILVER 'ANCIENT ORDER OF FORESTERS' SASH STAR, by Hilliard & Thomason, Birmingham 1855, the ten points with scrolling foliate engraving, issuing from a circular repousse scrolling foliate border enclosing a central scene cast as two figures standing either side of an armorial in a forest setting, to the left an archer, to the right a hunter with a seated dog, the motto 'UNITAS BENEVOLENTIA ET CONCORDIA', presentation engraving to reverse. 9.8cm wide, 1.2 troy ouncesThe absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.Marks clear and well struck, maker's mark lightly rubbed but legible. Tips of some of the star points slightly misshapen. Presentation inscription reads: 'Presented to Br George Clark, / as a Tribute of Respect / by the Officers & Brethren / of Court 1647, as an / acknowledgement for his / Services as Secretary / August 6th 1857'. Light surface marks and scratches commensurate with age and use
Lot 324
* Barber (Thomas, 1768-1843). Portrait of Eliza Wilson née Read (1803-1851), circa 1830, oil on canvas, half-length portrait of a dark-haired young woman with rosy cheeks, wearing a white muslin gown with a pale blue sash around her waist and a pearl and ruby brooch at her neck, seated beside a crimson drape, relined, 76.5 x 63.3cm, gilt moulded frame, 84.7 x 71.5cm, with manuscript notes on reverse 'Eliza Wilson (Read) by Barber. painted at Radford shortly after her marriage. Portrait the gift of her uncle John Read', and 'The artist was Thomas Barber R.A. b. in Nottingham 1768 & died there 1843. Exhibited 12 portraits at the Royal Academy between 1810 & 1829. Restored and reframed in Sheffield. Given to R.E.W. by Cecil H. Wilson', together with 2 further manuscript notes in an envelope marked 'History of the Portrait'Qty: (1)NOTESThe additional manuscript notes accompanying the portrait, one in the hand of the sitter's grandchild, give some details of provenance and state that in 1830 Eliza Read married William Wilson (1800-1866), a cotton manufacturer from Radford, Nottingham. Eliza's father, Joseph Read, owned The Sheffield Smelting Company, founded by his ancestors in 1760. In the 1830s, Joseph found himself in great financial difficulties, largely because of his involvement with the failed Smith's Ironworks in Derbyshire. By 1834, his health failing, he turned for help to his son-in-law. William was reluctant to take on the business, so when Joseph died in 1837, his brother, John Read, undertook the responsibility of saving the company from bankruptcy, acting as manager for 9 years. However, in 1846, the threat of bankruptcy loomed again and this time William Wilson agreed to buy the business. The company was gradually turned around, and the business continued to prosper under the management of Eliza and William's two sons. It is still trading from Royd Mills in Sheffield today, as Thessco, part of the Solpro Group.
Lot 334
* Churchyard (Thomas, 1798-1865). Study of a Georgian Doorway; Cul-de-Sac, 2 oils on canvas, the first depicting part of a house façade, with pink roses around an inset door with corbelled porch, and a glimpse of a sash window amongst other climbing foliage, 28.2 x 25cm, the other depicting a woman in blue and a dog in a cobbed lane with large tree between dwellings, 25.6 x 19.5cm, matching frames with attribution plaque on front and Michael Franklin gallery label on back, first item with additional printed framer's label of James Bourlet & Sons, second item with name on back inscribed in brown ink in an early hand 'Laura TC' and with '113 PG' in black paint, 35.8 x 32.3cm and 32.5 x 26.4cm respectivelyQty: (2)NOTESSuffolk artist Thomas Churchyard was born in Melton, and later settled in nearby Woodbridge. Although his profession was that of a lawyer, his passion was painting, and it was to this pastime that he devoted much time and energy, both as an artist and as a collector. He and his wife had two sons and seven daughters, and most of his daughters showed an interest in, and a talent for, art. Churchyard was an early admirer of works by the Norwich School, and was particularly influenced by John Crome, one of the founder members of the society. He was also a great admirer of John Constable, and made skilful copies of his works; indeed his own Suffolk landscapes were often mistakenly thought to be by Constable. In 1831 Churchyard exhibited his first works at the Norfolk and Suffolk Institution in Norwich, which elected him an honorary member, and he subsequently exhibited in London, at the Royal Academy of Arts and the Society of British Artists. However, after trying to establish himself as a full-time artist in the capital in 1832, Churchyard failed to have any of his works accepted by the Royal Academy that year. As a result he returned to the law and didn't exhibit again for another 20 years. However, the artist continued painting in Suffolk, and formed a close circle of artistic and literary friends, including the poets, Bernard Barton and Edward Fitzgerald, and the son of the poet, George Crabbe, a group Fitzgerald described as ‘the wits of Woodbridge’. Both Churchyard and Fitzgerald were members of Ipswich Society of Professional and Amateur Artists, founded in 1832. Churchyard spent a great deal of money building up his art collection, and the result of this, coupled with a large number of offspring to support, and a family inheritance which failed to materialise, was that he died insolvent. However, he did leave behind an impressive collection of works by artists such as John Constable, Thomas Gainsborough, John Crome, and John Sell Cotman. His own work can be seen in a number of public collections, including the Tate, the British Museum, the V&A and the Ashmolean Museum, Oxford.
Lot 280
A 19th century miniature portrait on ivory of the Great Countess of Cumberland, a miniature portrait on ivory of James I, depicted in profile with ruff and red fabric sash, in rich clothing, of oval form within a black painted frame and two 19th century watercolour miniature portraits, both on paper
Lot 1434A
ENGLISH PROVINCIAL SCHOOL, mid-19th CENTURY PORTRAIT OF A GIRL Standing, half length, by a pillar, wearing a white dress with a blue sash, holding a rose, oil on canvas, maple veneered frame 74 x 60cm. ++ Two small patched repairs with associated retouching; some retouching elsewhere; slight stretcher bruises
Lot 1056
A GEORGE III PIERCED WINE LABEL "MADEIRA" in the form of a scroll or sash with a cartouche surmount, crested, and pendant grapes, below the title, London-made, but the maker's mark overstruck by that of Langlands & Robertson of Newcastle, c.1780 (maker's mark & lion passant only); 2" (5 cms) high; 0.45 oz
Lot 5
Vintage Fashion, Laura Ashley circa late 1970s/early 1980s: A pink ground candy-striped print cotton summer dress, with square neckline, short puff-sleeves, gathered waist and matching sash/tie belt, labelled 'Laura Ashley Made in Great Britain', UK size 12, faded, together with two short-sleeved cotton summer frocks, and two sun-dresses, sizes 10, 10, 10 and 12, and winter dress made by 'MABS' size 12, the pale pink polka-dot dress is faded and has a slight stain, otherwise all in good used condition (5)
Lot 1092
British School (18th/19th century) Portrait of William, Duke of Cumberland, half length standing wearing a red and ermine trimmed cloak, armoured breastplate and royal blue sash Oil on canvas, 35.5cm by 30cm . relined cleaned and revarnished now covered in a thick layer of dirt and discoloured varnish. surface of the canvas is slightly flattened from the restoratation process. evidence of retouching and overpainitng to all four edges with less consistant retouching to elements of the Dukes hair. shadow and definition along gold edge of curtain on left hand side has been strenghtened with further retouches within the background, between said curtain and his right arm and shoulder. further retouching within the darker shades and shadows of his right hand sleeve and parts of the lower right hand corner. some of this retouching has deteriorated and is evident by eye. varying sized craquelure throughout surface, some of the finer craqueleure is lifting and resulting in some tiny losses within the red of his robe on the right hand side and odd places otherwise minor rubbing and old damages / restoration in evidence to edges.
Lot 4057
4 cotton infants bonnets in a variety of styles and designs, 19th century and later - 2 white cotton child's nightdresses and two day dresses with hand embroidery and stitching and a stole, 2 classic children's overcoats in grey flannel and another in eau de nil, together with a silk tabard and blue velvet sash, Brooks brothers tweed ladies jacket in camel , ladies Schneider's beige mac with removable inner lining and two pairs of trousersCondition Report: This is a mixed group lotItems in vintage condition, more modern items have been dry cleaned but there are faults
Lot 717
CHARLOTTE: (1896-1985) Grand Duchess of Luxembourg 1919-64. Vintage signed postcard photograph of the Grand Duchess seated in a three-quarter length pose wearing her crown and sash. Photograph by Edouard Kutter. Signed ('Charlotte, Grand Duchess of Luxembourg') in blue fountain pen ink to the image. VG
Lot 123
Three officers’ field caps: black with red centre and gold piping (2, one slightly mothed), and black with red centre and black piping; a black cock feather hackle for Scottish bonnet; two white over red feather plumes, one in japanned tin, the other in a card box; a red leather backed shoulder sash with wire embroidered City of London arms; and a small bullion embroidered banner bearing the badge of the Adjutant General’s Corps. Average GC to VGC £40-50.
Lot 139
A quantity of military regalia etc, comprising two sets of gold bullion epaulettes (one as new, the other tarnished), gold bullion waist sash and tassels, red and white lanyard, another lanyard, two chin chains (one gilt, the other chrome), blue webbing belt with gold bullion sword slings, another blue webbing belt, a leather waist belt and flap top revolver holster, and a PL waist belt and cross straps. GC £50-60.
Lot 17
Liberia: Order of African Redemption sash and sash badge, in gilt with 5 pointed white enamelled cross supporting central device of a schooner at sea, sun to side; reverse couple kneeling in prayer at a cross, the star (diam 62mm) suspended from a green enamelled wreath; red, white and blue sash riband. GVF (some small enamel loss to suspender wreath and top points (both sides) of white enamel cross, 1 star ball point bent). £100-120
![Circle of Sir Peter Lely [1618-1680]-Portrait of a gentleman,:- three-quarter length standing,with long dark wig and blue eye](https://cdn.globalauctionplatform.com/167432a5-4ff1-4fd9-844c-ad5000d9529d/f3ace709-ed09-4fa4-9fb1-ad5700c64798/468x382.jpg)
Lot 1069
A Victorian CB group of five to Major-General Charles Vyvyan Cox, CB. (1819-1903): Most Honourable Order of the Bath Companion's neck badge, 18ct gold and enamel, London 1870, Gwalior Star, Punnair 29th Dec, 1843, 'Lt C V Cox 3rd Bde. Bengal Artillery', Sutlej Medal with Sobraon and Ferozeshuhr clasps 'Lt. C V Cox Horse Artillery', Punjab Medal with Chilianwala and Goojert clasps,'Lieut C V Cox Adt 2nd Bde H Arty' and India Service Medal, 'Lt -Major C V Cox 4th Tp 2nd Bde Bengal Arty', in a red leather case, together with a cased set of three miniatures, Punjab, Gwalior and India Service Medals, Victorian officer's dress sword in scabbard, Victorian ivory handled mameluke in scabbard, tin trunk containing No.1 Dress tunic and trousers with gold sash, sword belt, Ostrich plume in tin case, spurs and accessories, also two Carte de Visite Photographs of Major -General Cox in full No.1 uniform with full medal group and mameluke sword, together with a large pastel portrait of Charles Vyvyan Cox by Robert Faulkner circa 1853, half-length standing with brown wavy hair, blue eyes and mutton-chop sideburns and moustache, wearing Captain's uniform with India Campaign medals and dress sword, 99 x 81cm, and a portrait of his wife Charlotte Elizabeth Cox (daughter of J L Farr of North Cove Hall , Suffolk), three-quarter length standing, wearing pearl and jeweled necklace, a long ivory coloured gown with blue fringe and holding a pet dog, signed and dated 'Dickinson 1871', on porcelain, oval 44 x 30cm, in a mahogany and glazed case.*Notes Charles Vyvyan Cox was born in 1819 in Stockland, Devonshire, the second son of the late Rev. John Cox, rector of Cheddington and Vicar of Stockland-cum-Dalwood and of Martha Rowe. He was educated at King's School, Sherborne and Addiscombe Academy before entering the Bengal Artillery in 1838. Serving as a Subaltern he fought in both the Gwalior Campaign 1843-44 and the Sutlej campaign 1845-46 where he was wounded at the battle of Moodkee. During the Punjab Campaign 1848-49 he served as a Brigade Major of Horse Artillery and was mentioned in dispatches. He became Captain in 1853 and took part in operations in Rawalpindi and Peshawar during the Indian Rebellion of 1857. Promoted to Lieutenant Colonel in 1860 and then Colonel in 1863, he married his wife Charlotte Elizabeth Cox (nee Farr) in 1864, before becoming a Companion of the Bath in 1874. He died in 1903, St George, Hanover Square , London and is buried in Kensal Green Cemetery.
Loading...-
9989 item(s)/page