A collection of painted miniatures, 18th-19th Century After Sir Anthony Van Dyck, Portrait of Henrietta Maria, in a blue dress wearing a pearl necklace, painted enamel, 3.2 x 2.5 (1.5 x 1in); French School, Portrait of an officer, watercolour on ivory, laid on card, 5.5 x 4.5 cm (2 x 1.5in), in a gilt metal easel frame with laurel leaf floral cresting; B *** (French, 19th Century), Portrait of a lady in a pink dress with flowers in her hair, wearing large pearl earrings, a lace choker and a blue sash, indistinctly inscribed with the sitter's name to the reverse, watercolour on ivory, circular, 7.5 cm (3in) diam.; After Raphael, Portrait of a young man, oil on copper, 7.5 x 5.6 cm (3 x 2in); English School, 18th Century, Portrait miniature of a lady, head and shoulders, in a lace mob cap and fichu, oil on canvas laid to board, oval, 13 x 10cm (5 x 4in); Thomas Orde-Powlett, Lord Bolton (1746-1807), Portrait of a lady, half-length, signed lower centre "T.O. del July 1770", watercolour on laid paper, 12 x 7.8 cm (5 x 3in); with two others (8)
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
A Chinese bronze candlestick, kneeling figure holding tray. Height 13 cm. CONDITION REPORT: A section of his sash is missing on his right hand side at the rear. The dish he holds has a 3 cm section of the rim missing. The cavities appear to be filled with old metal polish. The brass base has slight casting flaws. Other than those mentioned there appears to be no further obvious faults.
4th-3rd century BC. A gold pendant of Eros, head turned to the left, curly hair to the top and youthful features to face; small wings to back, sash around shoulders; left hand extended holding a patera, right hand held up; suspension loop to the back of the head, possibly from an earring. 0.96 grams, 16mm (1/2"). From the collection of a European gentleman living in South London; acquired 1970-1980. Very fine condition.
Pair of 19th Century verre eglomise silhouette portraits, a sepia and gilt heightened watercolour silhouette profile portrait of a young man, another of a figure wearing a peaked cap, a watercolour portrait miniature of a figure wearing a fur trimmed cape and a printed miniature of a lady wearing a blue sash
Dolls' House with side extension - very large good quality, painted wooden construction, glass sash windows, lead seagulls on roof, three-storey country house, wooden panelling to wall and doors, pictures, fireplaces, etc, house 90cm high x 125cm wide x 48cm deep, plinth 80cm high contains basement ballroom
A red slub taffeta early 1950s dress, three quarter sleeves, calf length, a sash that evolves from the front and is crossed over at the back in a large bow, a coffee coloured lace full length evening dress, early (1950s) with a sweet heart neckline, rushed bodice detail in sequins/beadwork, long sleeves and large bow at the back on a sash (2)
A cream silk christening (Edwardian) cape with a satin tie and lace collar, together with a cream silk christening gown, a childs cream silk dress, (Edwardian) with embroidered yolk, another childs white cotton dress with large collar and blue silk sash, along with two other childrens dresses. A childs Edwardian cotton coat and bonnet, another spotted voile childs dress with pink ribbon and two Victorian small childs dresses, one with petticoat (11)
Circa 1930s Cream Wedding Dress, with slash neck mounted with wax flower heads, long sleeves and bias cut with train, matching sash and cream silk petticoat; Silk Net Veil and Floral Wax Headdress; Circa 1930s Cream Silk Day Dress, with long sleeves, V-neck with gathered skirt and buttons to the back; Pale Pink/Cream Evening Dress, with a net skirt of gathered tiers of silk, similar trim to the neck, similar belt and bow to the reverse (4). Wedding dress - couple of small light marks. Day dress - good condition, with name tape 'Marget Mackenzie'. Evening dress - slight wear.
Chinese Northern Wei Dynasty Tomb Figure of a Female, 386-534 AD A glazed ceramic figure of a female, hair pulled up into a a pair of buns to the top. Wearing a long robe with sash to the left hand side, hands to chest holding a small vase. Size: 25cm. Excellent condition. Provenance: Ex. Private Hong Kong collection 1970-2000. Declaration of provenance: All provenance details are supplied by the vendor (consignor) – Hansons Auctioneers and Valuers supply a Certificate of Authenticity with all antiquities sold showing authenticity. Provenance and known details recorded on this.
A SCARCE STAFFORDSHIRE JACOBITE COMMEMORATIVE PLATE 18TH CENTURY of shaped circular outline, moulded rim and low relief lattice and basket weave panels with scrolls between, the centre with finely enamelled portrait of Prince Charles Edward Stuart in armour wearing Garter sash, laurel wreath above, suspending two pennants for battle of Preston Pans and Falkirk, scroll cartouches between with initials C S, the ribbon below the bust inscribed 'Success to Bonnie Prince Charlie' 24.5cm diameter
AN EIGHTEENTH CENTURY JACOBITE PORTRAIT RING unmarked, the oval head with portrait behind glass after Alexis-Simon Belle, in a scalloped silver mount with yellow gold shank, in later leather box head 1cm Note: Portrait rings and other jewellery have been recorded as used and gifted by the Stuart Royal family from as early as King Charles I, to commemorate his execution, to the restoration of King Charles II. This medium, however, was seldom used by the Jacobite court, although some very rare portrait rings of Prince Charles from the mid-18th century and later are known. Much Jacobite jewellery consists of later supporters' jewellery, rather than period pieces, and are not as closely connected to the Court, such as this. This ring is a very rare and early example, depicting the Old Pretender and likely dating to the uprising of 1715 when King James was still the figurehead of the Jacobite cause. The portrait appears to be after the Belle portrait while James III was Prince of Wales in c1700 or the portrait of him immediately after taking the title of King in 1702. While there are similarities to both the fact that James appears to be wearing a wig of white hair rather than as in the portraits his natural hair does show some artistic license. The portrait shows James in the finery associated with his position as rightful King and notably even in such a small scale with his sash of the Order of the Garter, making sure this claim to his Royal lineage is prominent. References: Corp, Edward, 'The King Over The Water, portraits of the Stuarts in Exile after 1689', Scottish National Portrait Gallery, 2001

-
9989 item(s)/page