We found 186097 price guide item(s) matching your search
There are 186097 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
186097 item(s)/page
Lot 284
*Embroidered map. The Map of England and Wales by Ann Jennings Warne, A.D. 1786, needlework map of England, Wales, and part of Scotland and Ireland, showing also Arran, Isle of Man, Alderney, and part of Guernsey, Sark, and France, finely worked in cross stitch on linen, with the title, counties, principal towns, rocks and promontories, details of a shipwreck, and a scale all stitched in black, floral title border and boundary outlines in various colours, faded and toned, some small holes, 64 x 58.5cm (25.25 x 23ins), framed and glazed A particularly detailed example of a map sampler, with an interesting number of coastal locations named, for example: 'The Man and his Man'; 'Cow and Calf'; 'Bishop and his clerks'; 'Ireland's Eye'; 'Maidens'; 'The Spaw'; 'St Bees Hd'; 'Well Bank'; 'Kentish Knock'; 'Bobbs Nose'; 'Deadman Pt'. Of especial interest is the unusual mention of a shipwreck, stitched in black within a green border, off the north coast of Cornwall: 'Sir cloudsley shovel was wreck'd near this place A.D 1707'. The notoriously treacherous seas around the Isles of Scilly are the site of a great many shipwrecks which have occurred over the centuries; in fact there are 530 registered wrecks around the archipelago. The best known is probably the shipwrecking of the Association on 22nd October 1707. She was part of Sir Cloudesley Shovell's English Fleet that took part in the seige of Toulon and ran aground on the Gilstone Ledges near Bishop Rock, sinking along with three other ships, HMS Eagle, HMS Romney and HMS Firebrand. Nearly 2,000 sailors were lost that night, and the incident was recorded as one of the greatest maritime disasters in British history. Shovell's body and those of both his stepsons were all found in Porthellick Cove on St Mary's, almost seven miles from where the ship was wrecked. He was temporarily buried there, but later interred in Westminster Abbey. The tragedy excited much public interest and a number of stories sprang up surrounding it. Local legend has it that Shovell was alive when he reached the shore but was murdered by a woman for the sake of his priceless emerald ring, the woman apparently confessing on her deathbed 30 years later. Another legend alleges that a sailor (a Scilly native) tried to warn Shovell that the fleet was off course but Shovell had him hanged at the yardarm for inciting mutiny. The maker of this sampler was no doubt fascinated by the story of the wreck and its associated grisly tales, and although the Scillies are not shown, she determinedly stitched details of the wreck in the sea above Cornwall. (1)
Lot 458
*De Morgan (Evelyn, 1855-1919). The Angel of Death, 1885, gold coloured pastel and black chalk on dark grey-brown wove paper, depicting a young woman seated on a rocky stepped plinth, her eyes half-closed, and her arms placed on the left arm of an angel who stoops over her and carries a scythe, monogrammed 'EP' and dated 1885 in gold lower right, 44.5 x 36.5cm (17.5 x 14.5ins), mounted, framed and glazed, with remains of old manuscript label on backboard 'The Angel of Death, Not for sale, De Morgan, 1 The Vale, Kings Rd, Chelsea' Evelyn and William De Morgan lived at 1 The Vale in Chelsea for 22 years. At that time a number of artists resided in close proximity in and around the area of The Vale: the De Morgans rented their house to Walter Sickert and his Chelsea Life School when they were on their travels abroad; James Whistler lived at 2 The Vale, which was subsequently occupied by Charles Ricketts who began the Vale Press there; on the same side of the Vale, close to the King's Road, was a chapel which was for a time the studio of sculptor Thomas Stirling Lee; and others who were not far away include Augustus John, Cecil Hunt, John Da Costa and Charles Maresco Pearce. Evelyn De Morgan painted two oils titled 'The Angel of Death'. One was executed in 1880, and exhibited in 1881 at the Grosvenor Gallery, London, and it is now in the De Morgan Foundation ('Evelyn De Morgan, oil paintings', DMF, plate 8). The other, dated 1890, was destroyed in 1991 when a fire raged through Bourlet's art storage unit in London where some of the De Morgan Foundation's art collection was held (plate 37). This remarkable study was executed, therefore, in the interim period between these two works, whilst the artist was as yet unmarried. It is one of a small number of works by the artist executed in gold on dark wove paper. Apart from one such study in Leighton House Museum ('Victoria Dolorosa'), almost all other known studies in gold pastel are held by the De Morgan Foundation, and none, to our knowledge, has ever before appeared at auction. Only a small number of artists used this technique, Edward Burne-Jones being one of them. It is generally believed that such works were final detailed compositional studies. Given that the artist was so prolific and meticulous in producing studies for her full-scale oils, it is perhaps not surprising that this view has come into existence. However, the De Morgan Foundation acknowledges that 'These pieces can be considered works of art in their own right and it is apparent that Evelyn often sold them as such'. Given this, and the fact that our study post-dates the initial oil of the same subject it now seems quite certain that such a work was done either for the artist's own pleasure (as seems to be the case here), or as a gift for, or commission from, an admirer of the oil painting. It is interesting to note that in the original oil the female figure gazes upwards with unseeing eyes which are clearly open, whereas here the young woman's gaze is downwards with her eyes half-closed, as it is in the later oil painting of 1890. The De Morgans were very interested in spiritualism, and especially angels, as evidenced in much of the symbolism of Evelyn's work. In her initial oil painting, the gentleness of the angel's touch, and grateful embrace of the frail girl is underlined by the weeds symbolising a hard life, and the spring flowers indicating joy to come. Here, however, as is typical of Evelyn's studies in gold, the background detail is pared away, and the figures, in all their beauty, come into stark relief.(1)
Lot 350
*Barry (James, 1741-1806). Crowning the Victors at Olympia, May 1st 1791, etching on laid paper, published by the artist, a strong impression, trimmed to platemark, several short closed tears to margins, and repaired tears to corners, without loss, laid down on card, 42 x 92 cm (16.5 x 36.2 ins), good quality 19th century dark wood and gilt frame, glazed, with old framer's label of Fred Loversidge, Carver and Gilder, Oldham to verso The London-based Irish artist James Barry's most famous work are the six large-scale painted scenes commissioned by the Royal Society of Arts to decorate its Great Room, a project which occupied him between 1777 and 1783. Crowning the Victors at Olympia, the third in the series entitled The Progress of Human Culture, is almost 42 feet in length, and depicts the finale of an Olympic competition, thereby offering an example to contemporary English society of the value of cultural excellence. The artist depicted himself in this work, seated on the base of the statue of Hercules. The large prints of the series that Barry published himself are uncommon. (1)
Lot 348
*Textile designs. An archive of designs from the Ladies' Work Society, late 19th and early 20th century, a large quantity of original designs in pencil, watercolour, or gouache, e.g. charts, finished drawings, tracings, pouncings, etc., for soft furnishings, including rugs, chairs, church kneelers, altar fronts, depicting dragons, knights, exotic birds, animals, classical figures, Regency-style designs, Chinese motifs, fish, etc., some by Lady Alison Delabere Carleton, some large-scale, including seven framed and glazed, together with some printed patterns and designs, and magazine articles and cuttings Provenance: from the archive of the Ladies' Work Society, an off-shoot of the School of Needlework formed in 1875 by Princess Louise, Duchess of Argyll, to provide employment for impoverished gentlewomen. Lady Alison Delabere Carleton was one of the proprietors of the Society, and an accomplished artist. (-)
Lot 372
*Austrian School. Portrait of a Habsburg Princess, circa 1770-1780, oil on canvas, 81.5 x 63 cm (32 x 24.75 ins), relined, old auction stencil to verso of stretcher 798 GR, gilded wood frame Provenance: Private Collection, Bath, England. A na‹ve portrait of a daughter of the Habsburg Dynasty, the Habsburg Crown seen large-scale on a table behind the young girl, and a miniature profile portrait of an Austrian royal figure or archduke at the front of her dress. Possibly one of the many daughters or grand-daughters of Empress Maria Theresa of Austria - the subject bears some resemblance to known portraits of Maria Teresa of Naples and Sicily (1772-1807), eldest daughter of Ferdinand IV & III of Naples and Sicily, later Ferdinand I of the Two Sicilies (1751-1825) and Marie Caroline of Austria (1752-1814), who married Francis II of Austria (1768-1835), the last Holy Roman Emperor. (1)
Lot 27
A rare crossbow 'Nu', Eastern Han dynasty, the mechanism intact, with green patina and retained in its wooden arm, with traces of the scale, the bow part no longer present, 54cm long, 21cm high In addition to the buyer's premium of 27% (22.5% + VAT) payable on the Hammer Price, this lot is also subject to import VAT at the reduced rate of 5%, payable on the Hammer Price. This indicates that the lot has been imported from outside the European Union. The unit for calculating the bow's strength is called 'shi' or 'a stone'. According to records, bows are rated as one, three, four, five, six, seven, eight, ten, twelve stones, and so on. The most common is six stones, the range being approximately two hundred and sixty meters.
Lot 530
A Late 19th /Early 20th Century Art Nouveau Marble Portrait Bust - Possibly Queen Alexandra Of Denmark Large scale bust in white marble raised on circular marble pedestal, her hair adorned with an ornate Kokoshnik tiara, her decolletage draped with carved pearls. Some chips/damage in places - does not detract, please see accompanying image. 65 inches in height, 49 inches at widest point
Lot 511
A superb collection of assorted vintage Corgi scale diecast TV and film related model vehicles to include; Batmobile ( + figures ) , Chitty Chitty Bang Bang ( complete ) , New James Bonds Astin Martin DB5 ( complete ) , Avengers Gift set 40 Bentley & Lotus ( + figures ) , James Bond Toyota 2000 GT , James Bond Astin Martin DB5 ( complete ) , U.N.C.L.E. Oldsmobile Super 88 , Green Hornets Black Beauty ( complete ) and !07 Glastron Batboat with Coupling ( + Robin ). All in various condition.
Lot 475
A collection of assorted mostly Britain's 1:76 scale / 00 Gauge diecast model figures and vehicles to include; 2 x LV/603 Articulated Lorry ,LV606 Tumbrel Cart complete with Hay Ladders And Carter , Britains Lilliput Fordson E27N Tractor and W.Horton Britains Lilliput Models 459993 animal set along with a collection of similar sized plastic animals and Slater's Plastic Huminitures. All in various condition with some boxed.
Loading...-
186097 item(s)/page