We found 186094 price guide item(s) matching your search
There are 186094 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
186094 item(s)/page
Lot 290
Two Worcester blue and white plates c.1765-68, one octagonal and painted with the Fan-Panelled Landscape pattern of Oriental landscapes reserved on a powder blue ground, the other with a scallop-edged rim and painted with peony and chrysanthemum branches to the well, the rim with six panels of flowers on a scale or cracked ice ground, alternating with powder blue panels, pseudo script marks, 20.6cm max. (2)
Lot 384
A Worcester scallop-edged dessert plate c.1770, painted with polychrome flower garlands and single sprigs reserved within shaped panels on a blue scale ground, square seal mark, and a bone china copy of a Worcester plate, with a central floral spray on a wet blue ground,22.2cm max. (2) Provenance: the Professor Richard Clarke collection. The Worcester plate purchased from Simon Spero in 1998.
Lot 420
Four English porcelain coffee cups 2nd half 18th century, one Bristol and painted with polychrome sprays of European flowers, blue X and 21 mark, one Bow and decorated in the Kakiemon palette with the Two Quail pattern, incised X and red E mark, a Worcester cup richly painted with two attendants waiting on a reclining Chinaman, and a flared Worcester cup with panels of birds on a blue scale ground, square seal mark, 6.5cm max. (4)
Lot 110
Angela Conner (British) CELEBRATION, 2001 bronze; (limited edition of 25) signed, numbered and dated at the base 8½ x 13in. (21.59 x 33.02cm) Bought directly from the artist in London by the present owner Depth: 13ins, with glass vase incorporated into centre of the work.Celebration was originally conceived for an ILPH Ball Fundraiser for the World Horse Welfare. Another example of Celebration was purchased by the late Duke of Devonshire. Angela Conner has created sculptures in a range of diverse materials, including stainless steel, marble dust, carbon fibre, resin, gold, silver, slate and glass. She has substantial international experience and is particularly known for her kinetic sculpture. Conner's sculptural works in Ireland include several large scale works such as Wave located in Parkwest, Dublin; the tallest water and wind sculpture in Europe. In April 2009 a major large-scale sculpture by the artist, entitled Patefaction, was installed on Grafton Street, Dublin as part of a temporary Public Art Space Programme, organised in conjunction with Dublin City Council. Her work is held in numerous private and public collections internationally, including the late Lucien Freud and several members of the Royal Family, the Arts Council England, the National Portrait Gallery, the Sculpture Gallery at Chatsworth, 10 Downing Street and the Carnegie Museum of Modern Art in Pittsburgh, among others. For further information on Conner’s work see: www.angelaconner.co.uk
Lot 25
Sir John Lavery RA RSA RHA (1856-1941) AN EAST WIND, 1912 oil on canvas laid on board inscribed [To The Countess Becdelievre from John Lavery 1912] lower left; signed and titled on reverse 10 x 14in. (25.40 x 35.56cm) Adam's, 1 April 2009, lot 131;Private collection 'Exhibition of Irish Art', Milmo-Penny Fine Art, Dublin, June 1991, catalogue no. 5 In the autumn of 1912 Lavery sent his recently completed full-length portrait of Cécile Marie Ernestine Roger de Villers, Countess Becdelièvre, to the annual Autumn Exhibition at the Walker Art Gallery, Liverpool. Nothing is known about the circumstances of the commission and the portrait in which the countess wears, 'a wonderful Parisian creation in shimmering satin' remains unlocated. The present seascape, probably given to the countess at the time of the sittings, is the only evidence we have of the friendship that was formed as a result of the commission. Sketches, personally inscribed to favoured sitters, are not uncommon in the Lavery oeuvre. The fact that this represents a familiar group of rocks on the shore at Tangier may also indicate that the painter and his subject met in the 'White City'. In March 1912 while Lavery was working at his Tangier studio, and anticipating the wedding of his daughter, Eileen, General Lyautey invaded Morocco, making it a French protectorate. The numbers of diplomats and military personnel in the city immediately increased. Since the illustrious Becdelièvres were a military family, it is possible that the portrait commission resulted from this intervention - it was one of a number of portraits of the French nobility painted around this time, when the painter's reputation in Paris was consistently high. Between March and September 1912, at the International Society's exhibition in June, the painter had exhibited five small recent seascapes to which the present example may relate. All of these were 10 x 14 canvasboards, of which he had an ample supply. In the present case, the rocks on the left, stretching into a choppy sea, are likely to be those depicted on other occasions - most notably in A Rough Sea (Paisley Art Institute). At low tide, on a calmer day, these same rock pools would attract his wife and step-daughter, and their presence would be used to punctuate compositions that would then be re-worked on a larger scale. The beach also became a convenient thoroughfare for passers-by as in The West Wind 1911 (Private Collection). Few beach scenes however, apart from the Paisley picture and possibly, Tangier Bay, Rain 1910 (Ulster Museum), show inclement or potentially stormy conditions - as here. During the early months of 1912, as Lavery noted in a letter, the weather was colder and less predictable than usual, and strong easterlies swept the Straits of Gibraltar. While his painting activities were restricted, he was nevertheless a seasoned campaigner and small studies such as the present example were always possible. While the wind may whip up the sands on the shore, and threaten to overturn a larger easel, it made no impact upon the delightful freshness of the present sketch held securely in a field-box. Professor Kenneth McConkeyJanuary 2017
Lot 73
Louis le Brocquy HRHA (1916-2012) THE TÁIN. CÚCHULAINN IN WARP SPASM, 1969 Aubusson tapestry; (no. 2 from an edition of 9) signed and numbered on label on reverse 72½ x 50½in. (184.15 x 128.27cm) Taylor Galleries, Dublin;Private collection Louis le Brocquy was living in France with his young family when he received a life-changing invitation, in December 1966. Publisher Liam Miller wanted him to collaborate with Thomas Kinsella on a new translation of Ireland's oldest saga. Le Brocquy penned an enthusiastic affirmative that Christmas Eve and spent much of the next three years visualising An Táin Bó Cúailgne. In September 1969, Dolmen Press published it as The Táin.The Táin was born of some eighty stories about the Ulaidh, a prehistoric people who lived in the north and north-western regions of what is now called Ireland. Part epic, part soap opera, the tales were vivid, vicious, inconsistent and often rather rude. Oral versions survived for long enough to be collected by scribes, whose fragmentary manuscripts are now in Trinity College and the Royal Irish Academy. Translators and writers such as Lady Gregory and W.B. Yeats had retold some of the Cúchulainn tales - and Joyce's Finnegans Wake drew on its meandering style - but Thomas Kinsella's Táin was the first widely-accessible version, especially when Oxford University Press' 1970 paperback followed the de luxe and limited editions produced by Dolmen Press. The Táin marked a unique cultural moment, for Ireland and the world. The State had just celebrated the 50th anniversary of the 1916 Rising and was driving ahead with Seán Lemass' Second Programme for Economic Expansion. By 1969 when it was published, Northern Ireland was in conflict, and global events such as the Prague Spring, the assassinations of Martin Luther King and Robert Kennedy, as well as wars in Vietnam, Angola and elsewhere, underlined its themes of invasion and carnage. Meanwhile, The Beatles sang "All You Need is Love." Its impact was instant. Although characters like Cúchulainn and Ferdia, Medb and Aillil, were local, the collaborators translated them into a crisply contemporaneous style that resonated through the cultural hierarchy. It engaged lovers of art, language, music and Celtic studies, as well as popular culture. The Táin became an Irish Iliad, with Cúchulainn as a Superhero reincarnating to a new age of rock, cartoons and animation.The images le Brocquy called 'shadows thrown by the text' became so iconic that it is almost impossible now to imagine The Táin differently. Yet no one had visualised the full saga previously and no artist from Ireland had engaged so thoroughly with pieces of writing in so collaborative a way. Le Brocquy made hundreds of drawings, many of which appear in the de luxe and limited editions, with a handful printed in the paperback and a precious twenty in these tapestries. Communication was difficult in those pre-digital days because he was in France and Miller was in Dublin, so that many key design decisions relied on sending letters through the post.Le Brocquy's innovative, daring approach cast the saga as a virtual alphabet composed of spontaneous, inky letters. The present work, Cúchulainn's Warp Spasm, speaks both of calligraphic marks from Sun Tzu's The Art of War and Yves Klein's bodily-marked Anthropometries, as well as cave paintings traced by prehistoric peoples.The translation into tapestry, via le Brocquy's Táin lithographs, crested on the momentum from oral to written traditions, from drama to poetry and from visual culture to music. Duché's subtly-textured cottons and wools freed le Brocquy's black-on-white marks into a textured, sensual material that illuminates the sense of a blot or stain without definite edges, which is what he wanted. Here, the statuesque shapes let le Brocquy grow the book's relatively modest scale into a life-affirming series of interconnected images that speak to each other like letters in a phrase or Medb Ruane,April 2012. [Abridged note reprinted from Whyte's Important Irish Art auction catalogue, May 2012]
Lot 246
* JOSEPH DAVIE,HEROoil on canvas178.5cm x 150cmFramedNote: Joseph Davie was born in Glasgow in 1965. He studied at Glasgow School of Art during the 80's, when testosterone and figurative painting seemed to go hand in hand. What is so different about Davie is the subtlety and ambiguity of his work. Georgina Coburn (the freelance arts correspondent) has described his work as lyrical, enigmatic, edgy, dreamlike and compelling. She writes : ''Gently provocative Davie delights in the surreal juxtaposition of ideas and materials. The meeting of contradictory characters, cultures or visual elements such as colour, pattern or form, create intriguing dialogues in his work. Davie's wonderfully ambivalent zinc and copperplate etchings, watercolours, oils on canvas and mixed media works inspire an imaginative response. His whole approach to the figure is brilliantly subdued and refreshing. He conveys a sense of the monumental and iconic not through obvious physical scale but in terms of human aspiration.'' His work is in numerous public collections including Glasgow Museum of Modern Art, The Kelvingrove Museum, Historic Scotland and the BBC.
Lot 134
JAMES MALTON (1761-1803)A set of twenty-five views of Dublin in hand coloured aquatints ''A Picturesque and Descriptive view of the City of Dublin''Frames 30 x 42.5cmJames Malton is thought to have lived in Dublin during the 1780s with his father Thomas Malton, an architectural draughtsman and teacher. According to the Publius source he was apprenticed to James Gandon, the famous architect, at the age of 17 in 1781. Malton's apprenticeship to Gandon was terminated after three years by mutual consent, after which he moved to London, working from there with frequent visits back to Dublin. Malton engaged on his grand project to produce his ''Picturesque Views of Dublin'', on a scale hitherto unknown even in London. Dublin pre-Act of Union in 1800 was of course an incredibly rich and vibrant city at the zenith of its financial and cultural powers, and so to Malton it must have appeared ripe for acceptance of such a publication to celebrate its status as the city second only to London. The book was published in six parts by subscription, as was the custom starting in 1792. The painting itself was carried out in London The book proved in part to be too great an undertaking for Malton, and he could not have foreseen the exodus which took place in the city after the Act of Union in 1800. He died in 1803 in London at the age of 38 of a brain fever, and undoubtedly did not reap the rewards of his endeavour.James Malton (1761-1803) undertook his ‘Views of Dublin’ project in the 1780s and began to publish his set of twenty-five prints in 1792. Completed as an architecturally accurate depiction of Dublin, these prints served as a visual record for the city. The prints enlightened those living in the latter part of the 18th century as to the nature of Dublin and, to this day, they have maintained their importance as a captivating illustration of the city as it was.In 1796, ‘St. Stephen’s Green, Dublin’ was published, providing a view stretching from the North West corner of the park, near what is now the Grafton Street entrance, towards Leeson Street. This idyllic and civilised portrayal of urban park life acts in direct juxtaposition to the area’s previous history. The area of St. Stephen’s Green was so called on account of St. Stephen’s Church and its accompanying leper house that was founded in the vicinity c.1192. Until 1664, the Green itself consisted of a swampy stretch of land in which the locals could graze their livestock in between public executions and witch burnings. In order to reform this part of Dublin, an area of 27 acres was bordered off by lime trees with the surrounding plots of land being subject to housing development. Only those inhabiting these plots were granted access to the Green.During the next century, the Stephen’s Green area rose in popularity as the opening of Grafton Street (1708) and Dawson Street (1723) piqued the interest of fashionable individuals. As such, the park soon became a promenade of high society, with particular devotion being given to the ‘Beaux Walk’ which ran along its northern edge. It is here that Malton has set his scene, portraying Dublin society at leisure. As ladies and gentleman pause for idle chatter, the viewer is encompassed by the lazy hum of their surroundings, whilst a pointing figure on the right directs our eye across the expanse of green, over a statue of George III by John van Nost and out to the city beyond. Rising in unison, these buildings are a stark reminder of Georgian solidarity and represent the building standards that were put on the Green’s surrounding plots of land. With the passing of an Act of Parliament in 1814, we see St. Stephen’s Green warping slightly from Malton’s depiction. Where once people could walk their dogs, these animals were now banned, along with such acts as running and jumping and any other exertion that might harm the land and the plants on it.This is all changed when, in 1880, Lord Ardilaun officially opened St. Stephen’s Green to the general public. In 1884, he handed possession of the Green over to the Dublin Corporation to hold on behalf of the people. From here, the Green, now under the control of the OPW, has progressed into the area that we know today.Over two hundred years after Malton committed his 18th century park to paper, the Green still holds a resemblance to its past. Whilst certain changes cannot be denied, for example the destruction of van Nost’s statue which once stood proudly in the centre, or the extensive growth of the lime trees bordering the walks, the similarities remain. Visitors to Dublin continue to enjoy the ‘Beau Walk’ and, with a change of costume, Malton’s seen would appear quite at home in the 21st century city.
![[Model Railway] Six boxed Corgi trackside wagons together with six railway scale tractors and vans etc](https://cdn.globalauctionplatform.com/cf789e79-bb9d-468e-9015-a71b0102113e/ce8d2073-252e-42b9-94dd-4d23f954acab/468x382.jpg)
Lot 287
Comprised of: 1) A pair of 1830s-1840s American officer's gold bullion epaulettes (2) with gold lace straps ending in gilded brass crescents, with 3/8 in. diameter bullion fringe (4 1/2 in. L). Each with a small, convex general staff button at end, secured below to original cotton tape ties below. Silk lining on underside now largely missing, exposing cotton padding at crescents and cardstock stiffeners of the strap segments, otherwise in good condition. 2) Pair of British other ranks' brass shoulder scales or wings, early- to mid-Victorian, consisting of brass scale straps ending in solid brass, raised crescents and backmarked: "FIRMIN & SONS/ MAKERS/ LONDON" in circular cartouche. Each wing has brass liners and two pair of copper attachment loops (one loop missing on one wing). Light oxidation on underside lining beneath strap/scale portion of each wing and light dents on crescents above; otherwise in good condition.
Lot 44
Includes a relic pickelhaube helmet, rusted, missing parts, missing leather lining with only one scale chin strap; a Austrian forage cap, black with silver bullion trim with double eagle plate, crown and shield. Visor, lining and sweatband; a German black felt 20th century bi-corn, black trim, bullion rope, brass button with brass eagle. Faux leather, lining and sweatband. Shows slight wear; a theatrical reproduction French Napoleonic general's chapeau, gold lace ribbon, cockade, gold bullion rope, one brass French button with eagle and crown. White and gold feather with lining and a reproduction Revolutionary War tri-corn hat with lining.
Lot 45
Includes a maroon fex with long black, silk tassel; a grey Austrian feldmutze or forage cap. Roundel device with brass crossed sabers below on front. Silver and gold, metallic edelweiss flower insignia on left side. Grey leather sweatband and grey cotton lining; a French artillery forage cap, late 19th or early 20th century, blue cloth body with red piping and edging, red tassel in front with applied flaming bomb device. Fully lined in black leather; a Russian grey sheepskin cap with red cloth top and metallic gold trim in form of cross, white metal, fish-scale and chinstraps. Front device mounted on cap features a rampant lion below a red star on a white/green/red ground with wreath surround. Leather sweatband and grey synthetic lining.
Lot 67
Includes a British reproduction Mitre Hat, French/Indian War period. Embroidered "crown/GR/running horse" on yellow cloth ground in front. Regimental No. 49 on back. Red, white and yellow with white trim. Back of red cloth with white lace trim, yellow band at bottom. White linen lining; a large reproduction black shako with red and white cockade and yellow trim. One button, two star retainers with scale chinstrap. Black visor and lining with tie string; a reproduction M1832 US Infantry cap. Black felt body with recessed leather crown, black leather visor and chin straps. On front of cap is a brass eagle over a white metal stringed bugle. Black leather liner; a original late Victorian busby, yellow trim with red bag, leather sweatband. Its red bag is a modern replacement. Sweatband shows use; a reproduction French Napoleonic Hussar's busby of black bear skin. Chain chinstrap, red bag with yellow tassel. Lining with tie string. French maker's tag. Mint reproduction; a reproduction French Grenadier's Cap, mid-18th century style. Embossed brass front plate bearing a flaming bomb. Leather sweat band with cotton liner.
Lot 69
Includes an English style late 19th century style spike helmet. Leather body with front plate having crown over leaves and shield. Lion retainers with scale chinstrap. Blue and gold cockade. Leather lining with string tie. Missing pike. Slight damage to visor, scratches and small holes; a reproduction Prussian mitre cap of Federick the Great's Army. Brass embossed front plate bearing painted eagle in black surmounted by crown with "FR" cypher on breast. Blue cloth body with scarlet wool band around crown. Probably WWI Era commemorative cap; an Italian policeman's or civil official's bicorn of black felt with purple, brown, yellow and white cockade. Bullion rope with silver French button with crown and shield. Black feathers. Lining with old maker's label in lining. Writing worn off. Tears to material, rough edges and tears in lining; a Russian busby style hat, blue hat with brown bear skin, gold bullion lace on top. Plate with double headed eagle. Plaque reading "3aTeaniiib 12ro-0 K TR6PH". White lining with St. Petersburg label. Sweatband; a reproduction Prussian shako of the Death's Head Hussar's, Napoleonic Era. Leather with skull and crossbones. Black and white plum. White aiguillette with white tassel. Retainers with scale chinstrap. Lining and sweatband.
Lot 83
1 - Original Russian officer's busby with fox or sable-covered body, with brass scale chinstraps and 8-point star device in front, with polychrome, enameled circular badge in its center on blue ground, surrounded by motto: 3A BBPY N BBPHOCTb. Brass scroll or ribband above star device bearing motto in Cyrillic text. Yellow superfine wool bag on top. Maroon silk lining wit adjusting tie. Front oval plate of blue and black reading . Also brass plaque. Red lining with tie string. Some spotting to top of yellow bag, light edge wear to same and one small moth hole; otherwise very good.
Lot 100
Officer's copper-alloy helmet surmounted by silver-plated eagle wearing gold crown. Scale chinstraps with two cockades. Copper-alloy visor, neck guard and silver edging. Starburst plate with black eagle with crown. Lining and sweatband. Shows small surface rust spots. Lining and neck guard is loose. Sweatband has a tear and shows wear. Possibly some modern parts.
Lot 102
Cuirassier-style helmet of indeterminate unit, steel body and visor with brass mountings and crest. Stamped-metal front plate and crest component pieces. Crest has a face, starburst silvered plate and silvered floral borders. Black horsehair crest. Visor and neck guard with scale chin strap. No lining. Small dents and brown spots throughout with a small hole on the back of the helmet and reproduction parts.
Lot 105
Black leather Bavarian helmet with green and yellow crest. Silver plate with "R" and crown. Reading "FUR CHTLOS UND TREW". White metal-scale chin strap (adjusting portion of strap replaced), die-struck, tricolor painted cockade of red, blue and yellow. Black leather visor, black leather lining missing adjusting string. Attached collection tag: "EM-Jager BN/ Bavaria/ 1860-1875/ Franco-Prussian War". It has some reproduction parts.
Lot 107
Polished steel body, front and rear visors with all lower edges of helmet reinforced with brass edging and rivets. Brass spike base with steel spike. Stamped brass front plate of a Prussian eagle with FR on breast. This helmet with spike stands 11" tall with diamond shape base and brass eagle plate. Articulated chinstrap. One black and white Kokarden on the right side. Retainers on both sides. No sweatband. Shows wear (one small dent on left back of crown). Brass fish-scale chinstraps mounted to leather and the end of the leather strap broken on one side.
Lot 1070
Manufactured by Tippman Arms Co. in Fort Wayne, Indiana in the 1980's. Miniature scale model of the original Browning Model 1917 machine gun. It is belt fed with 100 round capacity, semi-automatic, blow back and comes with fixed tripod. Comes in the original wooden carry case with two miniature ammo boxes with belts, instructions and some Allen wrenches for assembly. Serial Number-59; Manufacturer-Tippman Arms Co.; Model-1917; Caliber-.22 LR Rimfire; Barrel Length-11"; FFL Status-Modern;
Lot 1108
The Sauer Junior is a very scarce rifle of which little is known. It is a scaled down version of the Mk V, very similar to the Varmintmaster with the exception that it comes with a European style single standing rear sight and a banded ramp front sight, otherwise has all the other features of a Varmintmaster with the addition of double set triggers. We could not find this rifle in any of the 1970's or 80's catalogs. Very similar to the larger scale Mk V Europa Model, this might have been intended for the European market. Stock is all Weatherby with diamond skip checkering, contrasting rosewood forend tip and grip cap with white diamond and solid black Sauer composite buttplate. Features royal blue finish, oil grooved bolt, J.P. Sauer action and European sling swivels. Topped with Weatherby Variable 2x to 7x German made scope. Retains all of its original high polish original blue finish with a minor mark. The wood has some impressions and some finish loss left side of buttstock. Near new inside. Serial Number-S8027; Manufacturer-Weatherby; Model-Sauer Junior; Caliber-0.224; Barrel Length-24 - 1/2"; FFL Status-Modern;
Lot 1130
The Sauer Junior is a very scarce rifle of which little is known. It is a scaled down version of the Mk V, very similar to the Varmintmaster with the exception that it comes with a European style single standing rear sight and a banded ramp front sight, otherwise has all the other features of a Varmintmaster with the addition of double set triggers. We could not find this rifle in any of the 1970's or 80's catalogs. Very similar to the larger scale Mk V Europa Model, this might have been intended for the European market. Stock is all Weatherby with diamond skip checkering, contrasting rosewood forend tip and grip cap with white diamond and solid black Weatherby pad. Features royal blue finish, oil grooved bolt, J.P. Sauer action and European sling swivels. Topped with European style scope mounts that are the claw type and has a German B. Nickel telescopic rifle scope. As to condition, there are a couple spots of blue wear at rear sight. The frame has taken on a slight darkish-plum color due to heat treating. Stock has a couple minor impressions. Serial Number-S2057; Manufacturer-Weatherby; Model-Sauer Junior; Caliber-.224 Weatherby Magnum; Barrel Length-24"; FFL Status-Modern;
Lot 413
Two boxed ltd edn Corgi Aviation Archive planes comprising of AA34203 Modern Warfare Boeing Vertol YC-47A Chinook (prototype) US Army trials 1961 no certificate and AA33412 Military Airpower Sikorsky SH-3D Sea King, Empire Test Pilots School Boscombe Down, Wiltshire 1987 1:72 scale with certificate
Loading...-
186094 item(s)/page