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 290
Very interesting early lure from England, with blue scale, yellow diamond back, external bottom weight, diving lip, double line rings on nose, and two treble hooks. Not the usual construction seen in the States! Dimensions: 2.5"LCountry of Origin: Alnwick, EnglandManufacturer: Hardy Bros.Condition: Age related wear. VG.
Lot 293
This lure is greenish body with black stripe down its back, scale print on the sides. dark vertical lines, and orange belly. The eyes appear to be glass, the spoon on the front is engraved, "Heddon Dowagiac," and there are three treble hooks attached to the bottom. The box measures 6"L x 2.25"W x 1.5"H, has a bass jumping, red sides, and reads, "Genuine Heddon Dowagiac Minnow." Dimensions: 4.5"LCountry of Origin: Michigan, USAManufacturer: HeddonCondition: Age related wear.
Lot 298
Fantastic early plastic clear yellow body with black stripe down the back, glass eyes, and scale details on the sides. Comes with two treble hooks, wire leader line, and two whirling spoons. The box measures 4.75"L x 2.25"W x 1.25"H, depicts an Up Leaping Bass, red edges, and stamped 9109P. Issued: early 20th CenturyDimensions: 4"LCountry of Origin: Michigan, USAManufacturer: HeddonCondition: Age related wear.
Lot 302
Nice looking gold tone lure with brownish head, yellow glass eyes, red mouth. This lure has three hooks, an unmarked diving lip, and scale details. Dimensions: 6.25"LCountry of Origin: Indiana, USAManufacturer: Creek Chub Bait Co.Condition: Age related wear. One tiny pointer below mouth, otherwise EX.
Lot 323
Nice looking small lure with metal nose and wire leader. Body is painted black on top, green sides, pink to yellow belly with scale design throughout. The glass eyes are yellow and there are two hooks attached to the belly. Dimensions: 3.25"LCountry of Origin: USAManufacturer: South Bend Bait Co.Condition: Age related wear. VG.
Lot 341
These realistically colored curved body lures, have glass eyes, gold and copper scale, a black stripe down the back, two hooks in reinforced hardware and metal plate on the face. The longer lure measures 4"L. Country of Origin: Indiana, USAManufacturer: South Bend Bait Co.Condition: Age related wear.
Lot 344
These realistically green scale lures have curved bodies, dark green backs, metallic shimmer on their bellies, two hooks in reinforced hardware and metal plate on the face with glass eyes. The longer lure measures 4"L with glass eyes. Country of Origin: Indiana, USAManufacturer: South Bend Bait Co.Condition: Age related wear.
Lot 347
These realistic curved square body lures, both have yellow-orange bodies, with a red-black stripe down the back, black embellishment of the eyes, and gold scale detail. The longer lure measures 4"L with glass eyes, the shorter lure has tack painted eyes. Both have two hooks in reinforced hardware and metal plate on the face. Country of Origin: Indiana, USAManufacturer: South Bend Bait Co.Condition: Age related wear.
Lot 352
Yellow brown with scooped diving face, gill slits, tack eyes, and measurements of 8.75"L. Black-orange lure with jointed body and bottom fin. Last is a brown-orange lure with scale finish and wire leader. All lures have three treble hooks, two on the belly and one rear. Issued: 20th CenturyCountry of Origin: USACondition: Age related wear.
Lot 109
An impressive Victorian silver and parcel-gilt presentation cup and cover Charles Frederick Hancock, London 1872, designed by Raffaele Monti (1818-1881), rim of base incuse stamped HANCOCKS' & CO 39, BRUTON ST LONDON and Я90 Vase form, the removable cover surmounted by the winged figure of Nike, the Greek goddess of Victory, a circlet of laurel leaves in one hand and a long palm frond in the other, two Greco-Etruscan handles to the upper body supported by twin-tailed mermaids, a sculptural medallion to the back and front of the main form, the first featuring Perseus rescuing Andromeda after slaying Medusa, the other depicting the foundation of Athens, with Athena and the olive tree and Neptune thrusting his trident into the ground to create a spring, the whole richly embossed and chased with floral and foliate ornament in both polished and matt silver, all highlighted in parcel-gilt, atop an elaborately knopped spreading circular pedestal base, upon a later wood plinth, with associated twin-handled metal banded fitted case, height excluding wood plinth 86.5cm, weight 236oz. Footnotes: The design and manufacture of grand presentation silver reached the peak of its popularity in the mid-19th century. At the top end of the silver market, sculptural trophies and testimonials dominated this period; trophies awarded for competitive achievements such as horse racing, and testimonials presented to worthy individuals. 'These silver sculptures, bulky, glittering and proud, celebrated the achievements of the Victorian industrialist, soldier and sportsman and demonstrated the virtuoso skills and techniques of the contemporary silversmith' (Patterson, p.59). The subject matter chosen for these pieces was always on an epic scale, often figural compositions featuring dramatic mythological tales or key historical moments. Heroes from history were frequently staged in mounted combat against man or beast, often within a battle scene or historical diorama. Whatever the scene portrayed, each element was meticulously designed and modelled, with every minuscule detail intricately cast and hand-chased for absolute realism. These trophies were a vehicle to not only showcase silver as a national art form, but also to symbolise and represent Britain's place as a trailblazing manufacturing nation in the industrial age – art and industry combined to spectacular effect. The Hancock silver presentation trophy cup and cover on offer is therefore a superb example, as it fulfils all the above criteria. The goldsmith Charles Frederick Hancock (British, 1807-1891), the prestigious manufacturing retail silversmith and jeweller of Bruton Street and Bond Street in London, was known for the 'manufacture of plate and jewellery of a superior class, and is extensively patronised by the nobility and gentry, being noted for the taste and quality of its productions. Artists of celebrity are engaged as modellers of groups and designs for ... presentation pieces, racing prizes, &c. Among the modellers may be noted especially H. H. Armstead R.A.; C. B. Birch A. R. A.; Signor Raffaele Monti; Eugene (Lamy) and Marshall Wood' (Gilda Aurifabrorum, p. 97). Hancock had previously been a partner at Hunt & Roskell, but the partnership had been short-lived and he had left to set up on his own. Such was the quality of his work that on 13th August 1849, only eight months after establishing his own business, he was awarded the Royal Warrant of appointment from Queen Victoria. He was blessed with patronage from gentry, celebrities and the nobility of Europe, topped by being awarded the sole manufacturing rights to the Victoria Cross in 1856. Hancock was particularly well known for specialising in high quality trophy and presentation plate, for which he won numerous medals at the respected International Exhibitions: the Council Medal 1851; Gold Medal d'Honneur Paris 1855; Juries prize medal 1862; gold and silver medals Paris 1867 and Vienna 1872. Collaborating with famous artists and sculptors of the day was an award-winning business strategy and one he successfully employed on this piece, engaging the services of both Raffaele Monti (1818-1871) and Owen Jones (1809-1874). The cup and cover on offer appears to have had various incarnations, being one of Hancock's most popular and impressive presentation pieces. From research, it becomes apparent that this design was commissioned on a number of occasions, but was always subtly altered to an individual's specification - hence no two appear to be the same. The formative design for the current lot appears to originate from the 'Goodwood Races: The Chesterfield Cup' of 1866. The drawing of it in the 'Illustrated London News' (18th August 1866) shows it to be almost identical to this one, differing in a few aspects such as the absent mermaids by the handles, and the plinth (see fig. 1). The accompanying text describes it thus: 'It is a large silver vase manufactured by Messrs. C. F. Hancock, Son, & Co. It is oval shaped, with Greco-Etruscan handles, and surmounted by a winged figure of Victory, holding a palm-leaf in one hand and a laurel crown in the other. On each side is a medallion, one representing Perseus riding on the winged horse Pegasus to liberate the captive Andromeda; the other, Neptune creating the horse by striking the ground with his trident. These medallions and the statuette were designed and modelled by Signor Monti ... The rich ornamentation of the neck, handles and other parts was designed by Mr. Owen Jones.' The following year, what is described as the 'Goodwood Cup, 1866' is illustrated in 'The Art-Journal Catalogue of The Paris Universal Exhibition 1867' page 316, where the cup now 'includes' the mermaids by the handles (fig. 2); it may be that it was felt the aesthetic balance of the piece was improved by the addition. The version on offer here is possibly the one illustrated from that 1867 exhibition and later hallmarked, the only difference being that the original plinth is missing. Hancock's notably received a gold medal for their pieces in the Exhibition that year. Further investigation has also uncovered that a very similar cup and cover was later exhibited in the 1871 London Exhibition (fig. 3). On this example the cover finial is different, and the two main scenes (also by Monti) instead depict the signing of the Magna Carta; a fitting subject, as the cup is described as a testimonial to 'W.H. Smith, M.P. for Westminster' from his constituents. In addition, a further comparable model sold at Sotheby's London as Lot 139, on May 20th, 2020, titled 'The Royal London Yacht Club Jubilee Cup', which was originally awarded in 1887. As specified in 'The Art-Journal Catalogue' earlier cited, the designer and modeller of this lot is Raffaele Monti (1818-1871) a sculptor, author and poet, who was born in Switzerland. He studied under his father, Gaetano Monti (1776–1847) of Ravenna, a pupil of Bertel Thorvaldsen, who worked on Milan Cathedral and on monuments initiated under Napoleon. Monti moved to London in 1846 where he executed a marble sculpture of a Veiled Vestal Virgin for the Duke of Devonshire, which the Duke displayed in his villa west of London, known as Chiswick House. For further information on this lot please visit Bonhams.com
Lot 27
A pair of French Empire gilt bronze candlesticksCirca 1810the anthemion cast flared nozzles with detachable drip pans above milled collars, the tapering column supports with panelled scale and foliate decoration and conforming lower milled collars, the dished bases with oak leaf outer borders on foliate case plinth feet, 26.9cm high overall (2)For further information on this lot please visit Bonhams.com
Lot 66
Harriet Goodhue Hosmer (American, 1830-1908): A carved white marble figure of 'Puck' together with an unsigned companion pendant figure of 'Will o the Wisp' (third version)Circa 1864The figure of Puck seated on a toadstool, with scallop shell headdress and bats-wings, holding a stag beetle in his right hand, his left hand resting on a lizard, on oak leaf square plinth base, titled to the front and signed to the rear H. Hosmer Fecit Roma, the figure of Will o the Wisp with flaming curling hair and bats-wings seated on an acanthus leaf rusticated pedestal and titled square plinth base, the toe of the former now lacking and the finger to the latter detached but present 81.5cm and 78cm high respectively (2)Footnotes:ProvenancePhillips Son & Neal, Contents of Park Hall, Hayfield, Derbyshire, 5th April 1978.The present lot, comprising a pair of figures, one signed, the other unsigned but similarly attributed, are from a series of playful compositions by America's foremost female Neoclassical sculptor of the 19th century, Harriet Hosmer, based on themes of mystical folklore and playful literature. Hosmer created several conceptions in marble examining the idea of 'the fairy', with her depiction of Shakespeare's 'Puck' from A Midsummer Night's Dream perhaps being the most well-known of these which was conceived and first executed in 1855. The figure was to become so popular that it was replicated over thirty times. Copies were commissioned by a number of Royal patrons including Albert Edward, Prince of Wales (later King Edward VII) who visited Hosmer's studio in Rome and ordered a Puck for his rooms at Oxford.The sculptures were purposely designed on a small scale specifically for multiple replications in order appeal to upper-middle class patrons to grace their drawing rooms and parlours. The whimsical treatment of the subject matter however as married with high quality of workmanship which was intended to appeal to the most demanding of British and American clientsBy the time, Hosmer conceived the first of her three variations of her pendant figure to 'Puck', the figure of 'Will o' the Wisp'(from 1856, 1858 and 1864) she was on her way to becoming one of the most renowned and admired professional sculptors of her day, not only in American but also in Europe. Born in Watertown, Massachusetts, Hosmer's mother and three siblings died during her childhood. Despite being a delicate child she was encouraged and mentored by her physician father, Hiram Hosmer, to pursue a life outside the constraints of female society. As a result, and most unusually, she had a full academic education, physical training and was widely travelled. Hosmer's father encouraged her artistic vision and supported her wish to go to Rome to become the pupil of the sculptor John Gibson. When in Rome, Hosmer became friends with the ex-pat colony of European artists and writers that included Bertel Thorvaldsen, William Makepeace Thackeray Georges Eliot and George Sand. In Florence she was the frequent guest of Elizabeth Barrett and Robert Browning. She also importantly nurtured the talents of a group of American female artists which included Edmonia Lewis, Anne Whitney, Emma Stebbins and Vinnie Ream. It was this circle which the writer Henry James later called 'a sisterhood of American lady sculptors'.LiteratureSherwood, Dolly, Harriet Hosmer: American Sculptor, 1830-1908, Pub. Columbia, Missouri, 1991.Kasson, Prof. Joy, Marble Queens and Captives: Women in Nineteenth-Century American Sculpture, Pub. Yale University Press, 1990.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 514
BERLIOZ HECTOR: (1803-1869) French Composer. A rare and extremely fine A.M.Q.S., `H. Berlioz´, one page, oblong 4to, Vienna, 3rd February 1840, to Ch. Walter, in French. Berlioz has very carefully and cleanly penned a ten bars musical quote, which he entitles `Thème de l´adagio de Romeo et Juliette (scene d´amour)´ (Translation: `Theme of the adagio of Romeo & Juliette (love scene)) Berlioz also annotates to the heading the musical tempo `Andante´. Signed and inscribed by Berlioz `Pour l´album de Mr. Ch. Walter, avec mille remerciements de la part de son dévoué H.Berlioz´ (Translation: `For Mr. Ch. Walter´s autograph album, with a thousand of thanks from his devoted H.Berlioz´) Also dated in Berlioz´s hand. EX Berlioz composed his choral symphony Romeo et Juliette in 1939. It was premiered on 24th November 1939. This large-scale work is regarded as one of Berlioz's finest works, and is widely considered his most comprehensive and detailed programmatic piece. The composition of Romeo et Juliette was made possible by the generous gift of 20,000 francs by Niccolo Paganini after hearing a performance of Harold en Italie in Paris in 1838, the great virtuoso had publicly knelt before Berlioz and hailed him as the heir of Beethoven. Paganini died shortly after, and did not read or hear the piece. Berlioz used the money primarily to repay his debts, and afterwards was still left with a good sum of money, which he used to allow himself to put his full focus towards working on "a really important work", unobstructed by his usual time-consuming obligations as a critic. The present Autograph Musical Quote was signed only two months after its premiere.
Lot 760
GUS: (1911-1997) Gustave Erlich. French comic Cartoonist. Well remembered for his publications in French newspapers Le Figaro, Le Canard Enchainé, and many others. Three excellent signed original watercolours, `Gus´, one page each, oblong folio, drawing paper, n.p., all dated in his hand, in French. Gus has drawn three amusing colourful sketches, the first dated 10th July 1974 shows a scale with an eagle with swastika on one of the plates and entitled to the lower white border “Beate Klarsfeld Condamnée a Cologne” (“Beate Klarsfeld Condemned in Cologne”); the second, dated 7th May 1985, shows a colourful “big bang” watercolour, entitled “Anniversaire” (“Anniversary”) on the occasion of the 40th anniversary of the end of WWII; and the third and last is an attractive drawing showing a military tank painted half with the colours of the German flag and half with the French flag. The text states `Garde à vous, Achtung! - Brigade Franco-Allemande?´ (“Attention, Achtung! - Franco-German Brigade?”), dated 22nd June 1987. VG, 3 Beate Auguste Klarsfeld (1939- ) Franco-German Journalist, known as a Nazi hunter after her multiple investigations, together with her French husband, of Nazi war criminals, including Kurt Lischka or Klaus Barbie among others.
Lot 147
JAMES WATT INTEREST: A GEORGE III GOLD AND BLACK ENAMEL MOURNING RING FOR MATTHEW BOULTON LONDON 1809The gold coloured script running around the band stating Matw. Boulton Died at Soho 17 Aug. 1809 Aged 81, with milled and reeded borders, stamped with maker's mark J.P possibly for John Pottinger or John Pritchard Size/dimensions: finger size L 1/2Gross weight: 5.3 gramsProvenance: Sotheby's James Watts sale, 20 March 2003, lot 289 James Watt (1736-1819), the celebrated inventor, mechanical engineer and chemist, and Matthew Boulton (1728-1809) inventor and manufacturer, first met in person in 1768 after James Watt had previously gone to visit the Soho Works, Matthew Boulton's large scale manufacture factory which used both man and machines in the processes, Birmingham in 1767. Matthew Boulton was brought up in Birmingham and in 1759 took over his father's silver manufacturing business, and after marrying subsequent sisters he was able to use the dowry to establish the Soho works. They instantly recognised each other's intellectual prowess and Boulton recognised the great importance of Watt's stream engine with separate condenser, which was to become a great catalyst in the industrial revolution of the late 18th and first half of the 19th century. In the early 1770S Watts financier John Roebuck of the Carron Ironworks was sadly bankrupted, and so the door was open for Matthew Boulton to buy out Roebuck's interest and go into business with Watt in 1774. Despite their polar opposite attitudes to life, with Boulton being optimistic, outgoing and bold, and Watt being far more conservative and cautious in nature, and secretive with regards to his inventions, the partnership was a tremendous success and brought many revolutionising inventions and patents. The close tie and juxtapositions between the two great men can be seen in a sentence of a letter between James Watt Junior and Matthew Boulton, upon Watt Juniors' falling into debt and asking for help from Boulton rather than his father 'Never having been a young man himself he is unacquainted with the inevitable expenses which attend my time of life'. Another important facet to the lives of Watt and Boulton was their involvement as founding members of the Lunar Society (named due to the groups gathering on the first Monday of a new moon enabling them moonlight to ride home by), an assembly of some of the most brilliantly intellectual minds of the time, including and Josiah Wedgwood. Watt and Boulton both retired form their business in 1800, which continued with James Watt Junior and Matthew Robinson Boulton at the helm. The ring was hallmarked in London, which is ironic as Matthew Boulton was the driving force in the creation of an assay office in Birmingham and was also the first person to use the assay office when it opened in 1773 to assay silver, however Birmingham wasn't permitted to assay gold until 1824. The ring was written in the James Watt family inventory in 1851 as: Transferred to Doldowlod from Aston Hall, May 1849 as an heirloom;1851: Mr Watt's Room in Marquetry Double Chest, Doldowlod, page 36 Condition Report: Some light wear commensurate with age and use, no noticeable chips or repair to the enamelCondition Report Disclaimer
Loading...-
186097 item(s)/page