Sign in
Register
notifications_none notifications Alerts

We found 186094 price guide item(s) matching your search

Refine your search

Year

Filter by Price Range
  • List
  • Grid
  • 186094 item(s)
    /page

Dawsons Auctioneers
Lot 452

A fine quality scratch built scale model of a coal powered traction engine, in a wood and glass presentation case, with moving parts, finished in green and red, the boiler plate reading 'The KLJ 1974', the engine 44.5cm long, rear wheel diameter 15.5cm, case measuring 47 cm high x 60 cm x 30 cm.Condition report: The engine appears to be in good order throughout, with no obvious faults visible. The display case will require tightening up to keep the glass in place more securely.

More details

Dawsons Auctioneers
Lot 440

A well constructed kit built model of a 1930 'Blower' Bentley 4.5l Racing Car in 1:12 scale, primarily of plastic construction, mounted to a base and housed in a perspex display case.

More details

Warrington & Northwich Auction
Lot 229

Vintage shop/kitchen scale with some weights. Not available for in-house P&P

More details

Kunsthaus Lempertz
Lot 117

Andy WarholMadonna and Self-Portrait with Skeleton's Arm (After Munch) Farbserigraphie auf Lenox Museum Board 81,5 x 101,6 cm. Unter Glas gerahmt. Rückseitig mit dem Stempel "Andy Warhol Art Authentication Board, Inc. Authentic" und mit einer Archivnummer. Rückseitig mit dem Copyright-Stempel des Künstlers "© ANDY WARHOL 1983". Unikat einer kleinen Serie von unikaten Farbvarianten.Frayda Feldman, Jörg Schellmann, Claudia Defendi, Andy Warhol Prints, A Catalogue Raisonné 1962-1987, New York 2003, WVZ-Nr. III A.62 eProvenienzVom Vorbesitzer direkt beim Drucker Rupert Jason Smith, New York, erworben.“Warhol painted fifteen versions of Munch's printed motifs onto canvas, and he produced upwards of a thirty trial proofs of graphic versions […] The printed versions are vibrant with Day-Glo colors and improbably amplified details. In color, facture, stylization, and scale, they are signature “Warhols,” the products of a long-recognized stylistic and technical branding. Yet more than any of Warhol's other art-historical adaptions, these works remain resolutely “Munchs,” images that had been iconized over the course of a century. They are among Warhol's few appropriations of old masters that leave the overall compositions intact rather than fragmentary, as occurs in his Botticelli, Leonardo, or Raphael paraphrases. In their oscillation, Warhol's After Munch series suggests more points of convergence in the artist's approaches to print media and career building than one may at first suspect. Both artists mined the possibilities of an original copy, or a copied original, explored how an image could be multiplied and transformed through studied repetition, and promoted the circulation of their reproduced images in the marketplace. Warhol, moreover, did not merely appropriate Munch's motifs, but in reproducing them, he cannily scrutinized and in some cases decoded their compositional strategies and in that way, strangely, found affinity with the experimental and exploratory Munch.” (Patricia G.Berman, Multiplication, Addition, Subtraction, Warhol, Munch and the Multiplied, in: Munch Warhol and the Multiple Image, exhib.cat. The American-Scandinavian Foundation, New York 2013, p.11/12) Andy WarholMadonna and Self-Portrait with Skeleton's Arm (After Munch) Colour silkscreen on Lenox Museum Board 81.5 x 101.6 cm. Framed under glass. Stamp "Andy Warhol Art Authentication Board, Inc. Authentic" verso and with archive number. The artist's copyright stamp "© ANDY WARHOL 1983" verso. From a small unpublished edition of unique colour variants.Frayda Feldman, Jörg Schellmann, Claudia Defendi, Andy Warhol Prints, A Catalogue Raisonné 1962-1987, New York 2003, cat.rais.no. III A.62 eProvenanceAcquired directly from the Printer Rupert Jason Smith, New York, by the previous owner."Warhol painted fifteen versions of Munch's printed motifs onto canvas, and he produced upwards of a thirty trial proofs of graphic versions […] The printed versions are vibrant with Day-Glo colors and improbably amplified details. In color, facture, stylization, and scale, they are signature "Warhols," the products of a long-recognized stylistic and technical branding. Yet more than any of Warhol's other art-historical adaptions, these works remain resolutely "Munchs," images that had been iconized over the course of a century. They are among Warhol's few appropriations of old masters that leave the overall compositions intact rather than fragmentary, as occurs in his Botticelli, Leonardo, or Raphael paraphrases. In their oscillation, Warhol's After Munch series suggests more points of convergence in the artist's approaches to print media and career building than one may at first suspect. Both artists mined the possibilities of an original copy, or a copied original, explored how an image could be multiplied and transformed through studied repetition, and promoted the circulation of their reproduced images in the marketplace. Warhol, moreover, did not merely appropriate Munch's motifs, but in reproducing them, he cannily scrutinized and in some cases decoded their compositional strategies and in that way, strangely, found affinity with the experimental and exploratory Munch." (Patricia G.Berman, Multiplication, Addition, Subtraction, Warhol, Munch and the Multiplied, in: Munch Warhol and the Multiple Image, exhib.cat. The American-Scandinavian Foundation, New York 2013, p.11/12)

More details

Kunsthaus Lempertz
Lot 128

Gerhard Richter11. Jan. 2000 (Firenze) Öl auf Farbphotographie 12 x 12 cm. Auf Unterlagenkarton montiert. Unter Glas gerahmt. Auf dem Unterlagenkarton signiert, datiert und betitelt '11. Jan. 2000 Richter'. Auf der Rahmenrückwand signiert, datiert und betitelt '11. Jan. 2000 Richter'.Gerhard Richter Online-Werkverzeichnis, Overpainted Photographs, Florence, 11 Jan 2000 (Florence)ProvenienzGalerie Fred Jahn, München (mit rückseitigem Aufkleber); Privatsammlung, DeutschlandAusstellungenMadrid 2009 (Fundación Telefónica), Photo España 2009, Gerhard Richter, Overpainted PhotographsLeverkusen 2008/2009 (Museum Morsbroich), Genf 2009 (Centre de la photographié Genève), Gerhard Richter, Übermalte Fotografien, Ausst.Kat., o.S. mit Farbabb.LiteraturDietmar Elger (Hg.), Gerhard Richter, Firenze, Ostfildern-Ruit 2001, o.S. mit Farbabb.„Gerhard Richter hat die Photographien übermalt, indem er die Bildflächen über die noch feuchte Farbe auf den breiten Rakel zog, mit denen er zuvor an den großformatigen Bildern gearbeitet hatte. Durch die Übermalung gewinnt die photographische Darstellung an Intensität und eröffnet dem Betrachter erweiterte Möglichkeiten der Wahrnehmung. Dabei legt sich die Farbe als ein Fremdkörper über das Photo und schafft auf diese Weise eine Art von Widerspruch, Distanz und Härte. Während die Übermalung hier die Stimmung des Sujets konterkariert, kann sie diese in anderen Beispielen aber auch verstärken. Dann verschmilzt die illusionistische Darstellung mit der Materialität der Farbe zu einer neuen unauflösbaren Bildeinheit. Allerdings lässt sich der Prozess der Übermalung nicht kontrollieren und nur bedingt vorhersehen. Deshalb kann immer erst das abschließende prüfende Urteil des Künstlers über das Werk entscheiden. Entsprechend viele Ergebnisse hat Gerhard Richter wieder verworfen und die Photos zerrissen.“ (Dietmar Elger, Gerhard Richter, Firenze, Ostfildern-Ruid 2001, o.S.) Gerhard Richter11. Jan. 2000 (Firenze) Oil on colour photograph 12 x 12 cm. Mounted on suppord card. Framed under glass. Signed, dated and titled '11. Jan. 2000 Richter' on suppord card. Signed, dated and titled '11. Jan. 2000 Richter' on the back of the frame.Gerhard Richter online-catalogue raisonné, Overpainted Photographs, Florence, 11 Jan 2000 (Florence)ProvenanceGalerie Fred Jahn, Munich (label verso); private collection, GermanyExhibitionsMadrid 2009 (Fundación Telefónica), Photo España 2009, Gerhard Richter, Overpainted PhotographsLeverkusen 2008/2009 (Museum Morsbroich), Geneva 2009 (Centre de la photographié Genève), Gerhard Richter, Übermalte Fotografien, exhib.cat. n.pag. with colour illus.LiteratureDietmar Elger (ed.), Gerhard Richter, Firenze, Ostfildern-Ruit 2001, n.pag. with colour illus.“Gerhard Richter overpainted the photographs by dragging the picture plane across the not yet dried paint on the wide squeegee with which he had previously worked on the large-scale paintings. Due to the overpainting, the photographic depiction becomes more intense and provides the observer with further possibilities of perception. In this process, the colour stretches over the photograph like a foreign substance and thus creates a sort of contradiction, distance and severity. While the overpainting contradicts the mood of the subject, it can also, in some cases, reinforce it. In this case, the illusionary depiction merges with the materiality of the paint into a new indissoluble picture unit. For this reason, it is the concluding scrutiny of the work by the artist alone which is decisive. A proportionate number of products were discarded and photos were torn up by Gerhard Richter.” (Dietmar Elger, Gerhard Richter Firenze, Ostfildern-Ruid 2001, n.pag.)

More details

Kunsthaus Lempertz
Lot 120

Fernando BoteroDr. Wibke von Bonin and guest (Harald Szeemann) Bleistift auf Papier 50 x 65,2 cm. Unter Glas gerahmt. Signiert, datiert und betitelt '"Dr. Wibke von Bonin and guest" Botero 71'. - Mit leichten Altersspuren.ProvenienzPrivatsammlung, Nordrhein-WestfalenDie Zeichnung entstand nach einer Fotografie von Manfred Tischer, Düsseldorf, und zeigt Wibke von Bonin und Harald Szeemann im Oktober 1970 in Köln. Die Fotografie liegt bei. Fernando Botero porträtiert in dieser Zeichnung zwei maßgebliche Förderer zeitgenössischer Kunst in Deutschland, Wibke von Bonin und Harald Szeemann.Von Bonin ist nach ihrer Promotion zunächst an der Kunsthalle Baden-Baden tätig, wo sie gemeinsam mit Szeemann eine Ausstellung zu kinetischer Kunst konzipiert. 1965 wechselt sie zum WDR nach Köln und ist hier über drei Jahrzehnte hinweg verantwortlich für das Ressort Bildende Kunst. Ihr Hauptaugenmerkt liegt auf der Zeitgenössischen Kunst, in zahlreichen filmischen Porträts und Atelierbesuchen bringt sie deren nationale und internationale Protagonisten einer breiten Öffentlichkeit näher.Der gebürtige Schweizer Szeemann ist 1961-1969 Direktor der Berner Kunsthalle, hier macht er sich mit progressiven kuratorischen Konzepten einen Namen. Wegweisend ist seine Ausstellung „When attitude becomes form“ von 1969, die erstmals Happenings und Installationen in den Museumkontext einbringt. 1972 kuratiert er die documenta 5, deren bisheriges Konzept er aufbricht, um den Künstlern freie Gestaltungsmöglichkeiten zu geben und „außerkünstlerische Bildwelten“ miteinzubeziehen. Szeemann entwickelt zahlreiche erfolgreiche, innovative Ausstellungen, die teils großangelegte Themenkomplexe behandeln, zweimal leitet er die Biennale in Venedig. Fernando BoteroDr. Wibke von Bonin and guest (Harald Szeemann) Pencil on paper 50 x 65.2 cm. Framed under glass. Signed, dated and titled '"Dr. Wibke von Bonin and guest" Botero 71'. - Minor traces of age.ProvenancePrivate collection, North Rhine-WestphaliaThe drawing originates after a photograph by Manfred Tischer, Dusseldorf, and shows Wibke von Bonin and Harald Szeemann Oktober 1970 in Cologne. The photograph is enclosed.In this drawing, Fernando Botero portrays two significant patrons of German contemporary art: Wibke von Bonin and Harald Szeemann.Following her doctorate, von Bonin started working at the Kunsthalle Baden-Baden where she and Szeemann conceptualised an exhibition on kinetic art. In 1965, she switched to the WDR in Cologne and remained in charge of the fine art department for more than 3 decades. She focused mainly on contemporary art and brought its national and international protagonists closer to a broad public through numerous film portraits and studio visits.A native of Switzerland, Szeemann was the director of Berner Kunsthalle from 1961-1969, making a name for himself with progressive curatorial concepts. His 1969 exhibition “When attitude becomes form” was ground-breaking, bringing happenings and installations into the museum context. In 1972, he curated documenta 5, thowing over its previous concept in order to give the artists free creative scope and to include “non-artistic visual worlds”. Szeemann developed numerous successful, innovative exhibitions which in part deal with large-scale thematic complexes. Twice, he has been director of the Venice Biennale.

More details

Adams
Lot 54

A RARE AND MAGNIFICENT SAPPHIRE-SET CUFF, BY MARIO BUCCELLATI, CIRCA 1955 The wide cuff bangle with side hinge, composed of textured gold leaves accented by circular-cut sapphires set in silver, the central flowerhead set with a circular-cut sapphire pistil and petals, mounted in silver and 18K gold, signed M. Buccellati, with maker's case, inner circumference approximately 17cm, inner diameter 5.6cm, width 3.4cm The world-renowned Italian house of Buccellati is famous for its textural gold jewellery and exquisite silver objects. The pieces are bold and instantly recognisable, with a style that references the great goldsmiths of the Renaissance. The family firm was founded by Mario Buccellati (1891-1965). The young jeweller was inspired by the forgotten antique techniques of ancient Greece, the Middle Ages and the Renaissance and he sought to revive them using traditional tools and methods. In 1919 he opened his first jewellery store in Milan, practising these ancient traditions. Buccellati pieces are noted for their rich textural qualities which are achieved through painstaking techniques. The signature rigato engraving effect is completed by a process using tiny hand-applied stripes to give gold surfaces the appearance of silk fabric. Other methods used include telato, obtained by fine cross-hatched lines, and modellato, the most delicate engraving technique, which consists of reproducing several designs chiselled in three dimensions on a minuscule scale, mainly used for the decoration of the borders. Furthermore, segrinato combines engraving in all directions to create a palimpsest of texture and ornato draws on the influence of nature, forming shapes inspired by animals, leaves and flowers. These techniques are used to create pieces which look and feel like silk, damask, tulle, lace, or linen. The juxtaposition of precious stones with texturized metals is distinctly unique and synonymous with the Buccellati house. Mario Buccellati's unique abilities for drawing and his creative mind led him to become one of Italy's most celebrated jewellers. The royal families of Europe, great cardinals of Rome and the Pope were amongst his clientele. Gabriele D'Annunzio, one of Italy's most famous poets and a personal friend of Buccellati, once referred to him as the 'Prince of Goldsmiths'. If the endorsement of his clients was not enough, Buccellati received international recognition when he exhibited at the 1920 Exposition in Madrid, selling his entire collection. The expansion of business internationally began in 1951 with New York. After the passing of Mario Buccellati in 1965, he was succeeded by his sons, among them Gianmaria, who took over the business. Gianmaria had apprenticed under his father at a young age, embracing the antique techniques treasured by him, designing every piece produced in the ateliers. In 1970, under Gianmaria and his brother Luca, Buccellati further expanded the business to Asia, establishing the first Italian Jewellers in Hong Kong. This was swiftly followed by subsequent stores in Tokyo, Osaka and Nagoya in the following years. Buccellati became the first Italian jewellers to launch a boutique in the renowned Place Vendôme of Paris in 1979. In accordance with tradition, Gianmaria, after his passing in 2015, was also succeeded by one of his children, his daughter Andrea, the current present and creative director of the Buccellati group. Over the century, the Buccellati group have widened their creations to silver objects, predominately unique, one-off pieces, marked with the typical characteristics of the house. Recently the group have expanded further, creating a line of luxury watches, both men and women's pieces, and a line of engagement rings.

More details

Adams
Lot 37

A RARE SAPPHIRE AND GOLD COMPACT, BY CHARLES HOLL, CIRCA 1945 The rectangular case composed of a geometric abstract pattern of tri-coloured gold stripes inspired by the ancient Japanese metalworking technique of mokume-gane, decorated with fancy-cut sapphires within gold zig-zag borders to each end, the thumbpiece set with a step-cut sapphire opening to reveal a mirror lid and glazed powder well compartment, in 18K gold, French assay marks, maker's mark for Charles Holl, numbered, width 7.4cm, length 4.9cm, depth 1.1cm, total gross weight: approx. 156.45g Mokume Gane is a 17th century term, originating in Japan, referring to the metalwork process which uses a mixed-metal laminate to create a design of layered patterns. Initially used in the decoration of samurai swords, the word Mokume Gane translates from Japanese as 'Wood Grain Metal' or 'Wood Eye Metal'. The aim of this process is to present the illusion of natural wood grain, referencing eyes, burls, swirls and layers. This distinctive pattern is created by fusing various metals into a 'billet', or stack of metals. The billets are then folded, forged and carved to create the natural grain-like appearance. Mokume Gane uses precious metals that are long lasting and incredibly durable. Traditionally, copper was used to achieve this look, being of particular importance to knifemakers and metalsmiths who work on a larger scale. On account of its more delicate nature, jewellers tend to place a greater emphasis on silver and gold when incorporating the method into their pieces.

More details

Bellmans
Lot 425

Your House is Mine, edited by Andrew Castrucci & Nadia Coen. New York: Bullet Space at "The Lower East Side Printshop," prints executed 1989-91, published 1993. Very large 4to (602 x 520mm). 32 plates or "posters", one printed on both sides and counted as 2, printed in screenprint, lithograph, spraypaint, collage, etc., by various artists including Betzaid Concepcion, Anton van Dalen, Eric Drooker, John Fekner, Sabrina Jones, Miguel Piñera, Juan Sanchez, Will Sales, Seth Tobocman and Martin Wong, many signed and variously numbered by the artist in pencil. Original lead-covered wooden boards, the limitation "9/150" pressed into the lower front lead "turn in". ONE OF 150 COPIES. "This project is a collection of images and texts concerning the broad and essential issue of housing on the Lower East Side. The book is an implicit demonstration that art can function as a means of resistance. 'Your House is Mine' is a reflection of the climate within this neighborhood, but there are similar conflicts occurring on a more global scale. We are presenting works that are critical of the status quo in order to provoke and incite the public ... 'Your House is Mine' took us three years to complete" (from the Preface). Sold not subject to return.

More details

Bellmans
Lot 412

SPEED, John (1552-1629). Cambridgeshire described with the devision of the hundreds, the Townes situation, with the Armes of the Colleges of that famous Universiti: And also the Armes of all such Princes and noble men as have heertofore borne the honorable tytles & dignities of the Earldome of Cambridg. [London:] John Sudbury and G. Humbell[sic],1610 [but 1616]. Fine hand-coloured engraved map of Cambridgeshire, title within baroque cartouche surmounted by Royal coat-of-arms, inset bird's-eye-view of Cambridge, 4 academic figures, one holding the scale, College coats-of-arms in the side borders, family coats-of-arms in lower border, Latin text on verso (engraved frame shaved at sides), 382 x 520mm., framed and glazed. Chubb XXIVa: "The Latin edition of Speed's atlas of Great Britain and Ireland is extremely rare; it was not until 1918 that the British Library obtained a copy." A fine example of one of the most decorative and sought-after of all Speed's county maps.

More details

Bellmans
Lot 407

RAOUL-ROCHETTE, Désiré (1789-1854). Monumens inédits d' Antiquité Figurée, Grecque, Étrusque et Romaine ... Première Partie, Cycle Héroïque. [All published]. Paris: A L' Imprimerie Royale, 1833. Folio (533 x 355mm). Lithographed printer's armorial device on title, armorial on title, 93 engraved and lithographed plates, some folding, a few printed in red, one hand-coloured, illustrations, 2 hand-coloured (one plate detached, variable mainly marginal spotting and staining). Contemporary red morocco-backed marbled boards, spine gilt with 5 raised bands, top edges gilt, others uncut (extremities rubbed). FIRST AND ONLY EDITION of what was to have been a monumental work, impressive in scope and scale even in its unfinished state, on Greek mythology in art, treating of Achilles, Odysseus, and Orestes respectively. Brunet IV, 24: "Le prospectus de ce recueil promettait 200 pl. en 12 livrais., mais il n' a paru que le premier vol. en six livrais., avec 80 planches, dont plusieurs doubles ..."; Lipperheide Bc14.

More details

Bellmans
Lot 373

[GOOS, Pieter (c. 1616-75)]. Pascaerte van Westindien de Vaste Kusten en de Eylanden. [Amsterdam: c. 1666]. Hand-coloured engraved sea chart, title cartouche supported by two native figures, inset chart of the north coast of Cuba, two compass roses (trimmed close to engraved frame at lower edge), 440 x 535mm., unframed. A rare chart of the present Gulf of Mexico, extending from Florida and Virginia in the north (both named) to Venezuela in the south. Burden The Mapping of North America 389: "This chart of the West Indies and south-east North America is one of the derivatives of the Hessel Gerritsz c. 1631 … In some ways it follows more than most the original by Gerritsz, as it is the first to include the inset of the north-west coast of Cuba. However, it emulates the van Loon, 1661 in the Gulf of Mexico, and the Doncker, 1659, in its inclination of the south-east coastline. Here, though, Goos has dramatically improved the scale and depiction of the Outer Banks."

More details

Bellmans
Lot 330

[BLAEU, Joannes (1596-1673)]. Hertfordia Comitatus. Vernacule Hertfordshire. [Amsterdam: c. 1648]. Hand-coloured engraved map of Hertfordshire, figural baroque cartouche and scale, coats-of-arms, Dutch text on verso (lightly spotted and stained), 380 x 500mm., framed and glazed. Chubb LXI. With 4 other maps including one of Surrey and one of Buckinghamshire. (5)

More details

Mallams Ltd. - Oxford
Lot 387

A GENTLEMAN'S STAINLESS STEEL AND YELLOW GOLD AUTOMATIC CALENDAR 'OYSTER PERPETUAL DATEJUST' BRACELET WATCH BY ROLEX, the circular dial with luminous baton markers, luminous insert hands, magnified date display and outer scale 0-60, the stainless steel case with yellow gold fluted bezel, on a stainless steel and yellow gold Oyster link bracelet, model ref. 116333, serial no. 147T2864, in maker's box, case width 4.1cm Condition report: Dial - good, crystal - good, case with light wear marks, movement winds and runs but has not been tested and working order cannot be guaranteed, bracelet - light wear marks. Please note that we have been unable to remove the case back from this watch and therefore the movement and inner case have not been viewed. Originality of the movement and case back cannot be guaranteed.

More details

Mallams Ltd. - Oxford
Lot 386

A GENTLEMAN'S STAINLESS STEEL WRISTWATCH BY LONGINES, the circular dial with arrowhead, bead and baton markers alternating with Arabic numerals, centre seconds hand and outer scale 0-60, to a jewelled manual wind movement numbered 1268N and 7118340, the case back numbered 23197, the case back and shoulder lugs numbered 166, dial, movement and case signed, on an unassociated leather strap, case width 3.55cm Condition report: Dial - patinated, crystal - light scratch marks, case age related wear marks, movement winds and runs but has not been tested and working order cannot be guaranteed.

More details

Duke's Avenue Auctions
Lot 374

A 9CT GOLD MODERNIST SCALE EFFECT RING, two other similar yellow gold rings and another silver ring (4)

More details

C & T Auctioneers and Valuers Ltd
Lot 190

Fascinating "Plaene des Schlachtfeldes von Koniggratz" 15 large coloured folding boards of the battle ground of Koniggratz,(pivotal battle in the war between Prussia and Austria in 1866) possibly used as a tactical or war gaming item. Scale is detailed enough to identify individual buildings and other features. Covers front and rear and title label present. Possible produced by the Prussian General Staff in Berlin (see details of incomplete item in Australian National Library) and date believed c.1870, unclear whether any map boards missing. Generally good condition. very rare.

More details

C & T Auctioneers and Valuers Ltd
Lot 1

Early Aviation Journal Aeronautics, issues for 1912 & 1913, very nice condition. 1912 bound into cloth binding 1913 loose, one with cover missing. c.24 Issues Also Seven volume set of Aircraft of the Fighting Powers with numerous scale plans etc. (9)

More details

C & T Auctioneers and Valuers Ltd
Lot 185

Collection of 19th Century Military Maps, including Map of Egypt & Suez Canal with full descriptive letterpress 1882 (W.H.Smith & Son). Similar of Afghanistan 1878 and Russo Turkish Frontier 1877, Bartholomew's Special large scale War Map of the Soudan.. With enlarged map of Khartoum 1885 & Bacon's War Map of Egypt including The Soudan (folds torn, others good condition) (6)

More details

Rogers Jones & Co
Lot 421

ATLAS EDITIONS 176 scale Eddie Stobart diecast collector's vehicles, 17 approximately

More details

Rogers Jones & Co
Lot 436

MIXED GROUP OF COLLECTABLES including an Apprentice piece bureau, Minichamps 1 18/th scale Ford Escort, vintage playing cards, postcards and other items of interest

More details

Dreweatts 1759
Lot 335

Tag Heuer, Carrera, ref. CV2015, a stainless steel bracelet watch, no. LU111, circa 2007, automatic chronograph movement, 25 jewels, cal. 16, blue dial, applied baton and luminous dot markers, luminous pointed baton hands, orange centre chronograph hand, subsidiary dials for constant seconds, 30 minute and 12 hour recording, date aperture at 3 o'clock, tachymetre scale to the bezel, screw down display case back, on a Tag Heuer stainless steel block link bracelet with fold over clasp, case, dial, movement, crown and clasp signed, diameter 41mm, bracelet 19mmCondition Report: Movement is currently functioning. The chronograph counts one minute, but the hour counter has not been tested due to time constraints. Movement appears to be in a generally good condition with little sign of previous intervention when viewed under a 4x loupe. Dial appears to be in a generally good condition with no marks visible when viewed under a 4x loupe. Hands appear to be in a generally good condition.Glass appears free of significant scratches or marks when viewed under a 4x loupe. Case shows light scratches and marks. Some wear to the bezelCrown has light scratches when viewed under a 4x loupe. Bracelet has light scratches and some signs of light stretching to links. Clasp is currently functioning and shows light scratches and marks. Bracelet measures approximately 19cm including case.This lot does not come with box or papers.Dreweatts 1759 do not guarantee the working order or accuracy of any lots sold. We recommend this watch is tested by a qualified technician to ensure any stated water resistance is achieved.If you should have any further questions regarding this lot, please contact the Watch Department on 01635 553 553 or at watches@dreweatts.com           Condition Report Disclaimer

More details

Lyon & Turnbull
Lot 332

A gentleman's gold and stainless steel wrist watch, Breitling Chronometre Navitimer model D23322, silvered dial with applied gold baton hour markers, champagne subsidiary dials at 3, 6 and 9, tachymeter and KM scale in black, slide rule bezel to the dial edge, lume filled gold hands, centre seconds hand with red arrow terminal and Breitling logo, the bezel gold and milled, with model and serial numbers to the case back, automatic movement, on a gold and stainless steel bracelet strap with Breitling signed fold over clasp, box and warranty papers(Case width: 40mm)

More details

Lyon & Turnbull
Lot 334

A gentleman's 18ct gold chronograph wristwatch, Breitling Chronomat K13352 model, off white dial with applied gold Arabic numerals, date aperture at 3, subsidiary dials at 12, 6 and 9, outer seconds track in black, raised tachymeter scale to the dial edge, rotating bezel with lume plot, automatic movement, on a gold polished link bracelet strap, Breitling signed deployant clasp, in leather travel case within a walnut presentation case, no papers(Case diameter: 39mm)

More details

Auction Antiques
Lot 520

An early 20th Century mahogany Westminster chime long case clock, the arched hood with fluted columns and fish scale apertures. the 10 inch brass break-arch dial, gilt spandrels with silent/strike and chime/silent switches. Weights and pendulum.W:45cm x D:30cm x H:245cm

More details

Auction Antiques
Lot 505

A Georgian inlaid mahogany bracket clock with circular convex 8inch enamel dial inscribed Handley and Moore London with brass fish scale aperture sides below a brass Knop to the top on brass ball feet with double fusee movement. Engraved scrolling back plate 'Handley and Moore, Clerkenwell London' 52cm(h)W:27cm x D:16cm x H:51cm Case glass face and movement in good order with very light signs of wear commensurate with age. Missing key but movement ticks and runs when pendulum is moved.

More details

Auction Antiques
Lot 506

A Georgian ebony and gilt brass domed topped bracket clock. 8inch convex painted dial inscribed Edwd Bird Bristol with Roman numeral markers and brass fish scale frets to front and sides raised on brass bracket feet.Double fusee movement with engraved back plate '[Edwd Bird Bristol' W:32cm x D:20cm x H:40cm. Case glass and movement in good order with light signs of wear commensurate with age. Light chipping around key holes. No key but movement appears to be running well. 

More details

Auction Antiques
Lot 507

An 19th century mahogany bracket clock, James McCabe, Royal Exchange. London with break arched painted dial with strike silent ring to arch over Roman numeral markers and twin fusee movement striking on a bell, signed on the back plate with brass hands fish scale frets and ogee feetCrack to back glass, case with light  signs of wear commensurate with age.  Slight staining to face. Marks around key holesThe movement is clean and although the key is missing the clock ticks nicely and the clock runs when the pendulum is moved. This is a chain fusee movement. The chain is intact and fits well. Overall condition very good.   

More details

Cotswold Auction Company
Lot 462

Hornby 00 gauge scale model 0-4-0 tank, no.101, boxed, an Airfix crane, Hornby Railways 'Flying Scotsman' LNER class A3 locomotive and tender, Hornby Railways LNS Coronation class 7 P-4-6-2 'Duchess of Sunderland' and various track, landscaping, etc (1 box) 

More details

Sworders
Lot 307

A ¾in scale model Burrell-type live steam traction engine, completed by Mr John Burns, Liverpool, from Bassett Lowke brass castings, with water pressure gauge and reverse gear and regulator adjustment, with a display case,40cm wide17cm deep21.5cm highCondition report: The condition is very good and dust free, no signs of steaming.

More details

Sworders
Lot 267

A French fish scale picture, mid-19th century, of a floral display in a gilt frame, the fish scale flower heads amongst fabric foliage, the frame with a plaque inscribed 'Fleurs Ecailles de Poissons, Breyet de l'Exposition 1855',42cm wide61cm highCondition report: glass previously removed and re-glued into place, crest and frame with further evidence of restoration and old damage, some loose scales in the bottom of the frame and some flowerheads with small amounts of loss, overall in reasonable condition given age and materials

More details

Sworders
Lot 20

A silver gilt reproduction replica of the Tudor (Holms) Cup,by George Nathan and Ridley Hayes, Chester 1907,of font shape with a raised, chased and repoussé shallow circular bowl, bearing the Latin inscription 'Benedictus deus im dona suis ame' (Blessed be God for his gifts. Amen) in Lombardic letters around the rim, over fish scale patterned sides and two graduated rows of honeycomb facets on the underbelly, above a pedestal base of fluted shaft and concave base, terminating in oval bosses and a plain circular foot ring,6cm high, 9.8oztThe original Tudor Cup sold at Christie's in 1901 for £4,100, the highest price ever paid for a piece of silver at the time.Condition report: The internal top surface has tarnish specks and possible salt corrosion.

More details

Warrington & Northwich Auction
Lot 2254

Four Dragon 1/72 scale German Military plastic kits. P&P Group 2 (£18+VAT for the first lot and £3+VAT for subsequent lots)

More details

Warrington & Northwich Auction
Lot 2249

Three Dragon 1/72 scale German Military plastic kits. P&P Group 2 (£18+VAT for the first lot and £3+VAT for subsequent lots)

More details

Warrington & Northwich Auction
Lot 2240

Two Hasegawa 1/72 scale military kits, Leopold railway gun and Karl with Munitionspanzer IV. P&P Group 2 (£18+VAT for the first lot and £3+VAT for subsequent lots)

More details

Warrington & Northwich Auction
Lot 2241

Six 1/72 scale German Military plastic kits, Hasegawa, Trumpeter, Revell, Roden. P&P Group 2 (£18+VAT for the first lot and £3+VAT for subsequent lots)

More details

Warrington & Northwich Auction
Lot 2101

3x 1:400 Scale Aircraft - Dragon Wings - Including 747 & A340 - Virgin, South African, Royal Jordanian - All Boxed. P&P Group 2 (£18+VAT for the first lot and £3+VAT for subsequent lots)

More details

Warrington & Northwich Auction
Lot 2252

Three Dragon 1/72 scale German Military plastic kits. P&P Group 2 (£18+VAT for the first lot and £3+VAT for subsequent lots)

More details

Warrington & Northwich Auction
Lot 2251

Three Dragon 1/72 scale German Military plastic kits. P&P Group 2 (£18+VAT for the first lot and £3+VAT for subsequent lots)

More details

Warrington & Northwich Auction
Lot 2138

3x 1:500 Scale Airliners - MD-11 Eva Air, Gulf Air A340, EL AL 777-200 - Boxed, P&P Group 2 (£18+VAT for the first lot and £3+VAT for subsequent lots)

More details

Warrington & Northwich Auction
Lot 2243

Three Italeri 1/72 scale German Military plastic kits. P&P Group 2 (£18+VAT for the first lot and £3+VAT for subsequent lots)

More details

Warrington & Northwich Auction
Lot 2207

Twenty Onyx 1/43 scale Formula One racing cars. P&P Group 3 (£25+VAT for the first lot and £5+VAT for subsequent lots)

More details

Warrington & Northwich Auction
Lot 2304

Dapol/Airfix OO scale plastic kits x 7, saddle tank, Prairie, Drewery, Evening Star, Mogul, Deltic, Harrow, contents unchecked. P&P Group 2 (£18+VAT for the first lot and £3+VAT for subsequent lots)

More details

Warrington & Northwich Auction
Lot 2208

Twenty five boxed OO scale vehicles, cars, vans, trucks from Classix, Trackside, BT models etc. P&P Group 3 (£25+VAT for the first lot and £5+VAT for subsequent lots)

More details

Warrington & Northwich Auction
Lot 2206

Twenty Onyx 1/43 scale Formula One racing cars. P&P Group 3 (£25+VAT for the first lot and £5+VAT for subsequent lots)

More details

Warrington & Northwich Auction
Lot 2253

Three Dragon 1/72 scale German Military plastic kits. P&P Group 2 (£18+VAT for the first lot and £3+VAT for subsequent lots)

More details

Warrington & Northwich Auction
Lot 2246

Three Italeri 1/72 scale German Military plastic kits. P&P Group 2 (£18+VAT for the first lot and £3+VAT for subsequent lots)

More details

Warrington & Northwich Auction
Lot 2232

Thirteen unboxed OO scale buses and coaches, Corgi OOC and EFE. P&P Group 2 (£18+VAT for the first lot and £3+VAT for subsequent lots)

More details

Warrington & Northwich Auction
Lot 2204

Ten Corgi O.O.C 1/72 scale buses and coaches. P&P Group 3 (£25+VAT for the first lot and £5+VAT for subsequent lots)

More details

Warrington & Northwich Auction
Lot 2245

Three Italeri 1/72 scale German Military plastic kits. P&P Group 2 (£18+VAT for the first lot and £3+VAT for subsequent lots)

More details

Warrington & Northwich Auction
Lot 2244

Three Italeri 1/72 scale German Military plastic kits. P&P Group 2 (£18+VAT for the first lot and £3+VAT for subsequent lots)

More details

Warrington & Northwich Auction
Lot 2242

Four Airfix 1/72 scale military related plastic kits, and 1/700 scale pitroad skywave HMS Exeter Destroyer. P&P Group 2 (£18+VAT for the first lot and £3+VAT for subsequent lots)

More details

Warrington & Northwich Auction
Lot 2203

Twenty Onyx 1/43 scale Formula One cars. P&P Group 3 (£25+VAT for the first lot and £5+VAT for subsequent lots)

More details

Warrington & Northwich Auction
Lot 2205

Twenty five boxed OO scale vehicles, wagons, cars, vans, bus from Classix, BT models, Trackside etc. P&P Group 3 (£25+VAT for the first lot and £5+VAT for subsequent lots)

More details

Warrington & Northwich Auction
Lot 2247

Three Italeri 1/72 scale German Military plastic kits. P&P Group 2 (£18+VAT for the first lot and £3+VAT for subsequent lots)

More details

Warrington & Northwich Auction
Lot 2250

Three Dragon 1/72 scale German Military plastic kits. P&P Group 2 (£18+VAT for the first lot and £3+VAT for subsequent lots)

More details

Warrington & Northwich Auction
Lot 2233

Sixteen OO scale boxed vehicles, cars, vans, tractor etc, Oxford Diecast. P&P Group 3 (£25+VAT for the first lot and £5+VAT for subsequent lots)

More details

Warrington & Northwich Auction
Lot 2248

Three Italeri 1/72 scale German Military plastic kits. P&P Group 2 (£18+VAT for the first lot and £3+VAT for subsequent lots)

More details

Lawrences of Bletchingley
Lot 228

Box containing a quantity of various die-cast model vehicles, play worn, quantity of new packaged model vehicles and a tray of various larger scale model vehicles

More details

Lawrences of Bletchingley
Lot 305

Approximately forty various boxed scale model construction kits of mainly Naval ships including: Airfix, Revell and Novo

More details
Loading...Loading...
  • 186094 item(s)
    /page

Recently Viewed Lots