We found 205709 price guide item(s) matching your search
There are 205709 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
205709 item(s)/page
Lot 482
ROLEX Vintage Datejust 36 "Silbern", Ref. 16030. Armbanduhr. Edelstahl. Automatik-Werk, Kaliber 3035. Serien Nr. 5739XXX. Guter Zustand, Gebrauchsspuren an Band und Gehäuse. Kompletter Service durch Rolex Konzessionär, 04/2022. Box und Papiere anbei, Kauf 05/1979 bei Juwelier Rieth in Heidelberg. LC100, Deutschland. Geh.-Durchmesser ca. 36mm (gemessen ohne Krone).| ROLEX Vintage Datejust 36 "Silver", Ref. 16030. Wrist watch. Stainless steel. Automatic-movement, calibre 3035. Serial no. 5739XXX Good condition, signs of wear on case and band. Fully serviced by Rolex AD, 04/2022. Box and papers enclosed, bought 05/1979 at Juwelier Rieth in in Heidelberg. LC100, Germany. Diameter ca. 36mm (measured without crown).
Lot 2501
Wohl FRIESLAND Riechdose, Silber, 18./19. Jh. Vasenförmig mit reichem Rocaillendekor, läßt sich unten und oben öffnen, der Deckel wird von einem facettierten Glasstein geschmückt, innen vergoldet, ungedeutete Meistermarke 'ST', H. ca. 7,5 cm, Gewicht ca. 33 g. Etwas verzogen, Alters- und Gebrauchsspuren. | Probably FRIESLAND Smelling box, silver, 18th/19th century. Vase-shaped with rich rocaille decoration, can be opened at the bottom and top, the lid is decorated by a faceted glass stone, gilded interior, uninterpreted master's mark 'ST', h. approx. 7.5 cm, weight approx. 33 g. Somewhat warped, signs of age and use.
Lot 21
Nicholas Condy (1793-1857)Interior of an Irish Inn at BallyboylebooOil on canvas 47 x 63.5cm (18½ x 25”)SignedExhibited: London, Royal Academy, 1843, No. 415Exhibited at the Royal Academy in 1843, Condy’s recently rediscovered depiction of an Antrim interior populated by twenty very different individuals and with a rich variety of objects on display is an invaluable portrayal of Ulster country life in the middle of the nineteenth century. Although he described the picture as Interior of an Irish Cottage at Ballyboyleboo, what is shown is an inn, tavern or shebeen, making it a rare early depiction of an Irish public house. In contrast, however, to the small body of work showing Irish pubs by artists such as Charles Henry Cook, Erskine Nicol and Nathaniel Grogan, which invariably feature the Catholic Irish peasantry in stereotyped attitudes often verging on the caricature – here the clientele seems distinctly more mixed in terms of class and confession with a noticeably military flavour. The primary interaction in the painting is between the doubly amputated figure standing on the right in smart but sober attire and the seated black man at left who has suffered the loss of just one foot and who leans back in his chair as he raises a toast. This is an extraordinarily rare image of racial equality in an Irish genre scene of this date. Where black figures appear at all in Irish painting of the period it is invariably as marginal, often servile, subsidiary figures as, for example, in Erskine Nicol’s The 16th, 17th (St Patrick’s Day), and 18th March (National Gallery of Ireland). It seems likely that equality – or at least the superficial appearance of equality – has been gained through shared endeavour on the battlefield, and that the seated black man is a veteran toasting his former commanding officer. Certainly the deportment and dress of the man standing, very comfortably it must be said, on his double prosthetic limbs, suggests his elevated social position. The gathering includes both army and naval elements. An advertising bill on the right seeks able seamen, while the format of Condy’s signature, ‘Lt. Condy bf 43rd regt’ reminds us that he had begun his career as an army officer, serving in the Peninsular War, and retiring on half-pay at Christmas 1818. Continuing the military theme, a bust of the Duke of Wellington looks down from a shelf at upper left in the somewhat indecorous company of candlestick and brass kettle (and with a canoodling couple directly beneath his gaze). Prints of naval victories adorn the walls while to the side of the chimney hangs a toleware candle box and pair of bellows. A drunken sailor has passed out under the table his clay pipe and glass lying smashed in front of him while a serving woman brings more refreshments to those at table – a punch bowl, small glasses for toasting and pipes. Music is provided by a fiddler in the background.Claudia Kinmonth notes that Condy’s Ulster subjects ‘convey a real sense of how poor people’s homes in Antrim may well have been in the 1840s’ (Claudia Kinmonth, Irish Rural Interiors in Art (2006) p. 94). However, he also mixes Irish and English elements within his work, sometimes reusing still-life motifs or even whole figurative groups with which he was pleased. On the shelf to the left, the silver-plated vessel with a pouring spout and a handle on the side was used for serving hot chocolate, a delicacy unlikely to be widely available in Irish pubs of the 1840s, and indeed it, and other elements of the composition, appear again in Estate Workers in a Kitchen Interior (Mount Edgcumbe House). Similarly, a small work in the Royal Albert Memorial Museum and Art Gallery, Exeter, repeats almost verbatim the seated man shown here smoking a pipe. This is clearly a reduction from the present work, rather than the other way round, as the man’s motivation for turning round and looking upwards is lost when the figure is shown in isolation and removed from its context.Condy’s composition is artfully created and rather than the mere ‘slice-of-life’ recording of an interior and the objects within it, he offers knowing and witty allusions to the art of the past and also perhaps to that of his contemporaries. He relishes the chance to paint textures as different as scaly fish, metal, glass and ceramics and to record the differing way that light falls on each. The beautifully painted still-life in the lower right corner consisting of earthenware jug, crutch and broom resting on a barrel offers a deliberate reference to the art of David Teniers who time and again places a similar grouping of objects with a prominent diagonal formed by a brush or similar object to lead the eye into the composition. Similarly the still-life of fish may reference Teniers’s ‘well-kept kitchen compositions’ (‘de welvoorziene keuken’). The quotation of Teniers would have been recognised widely, as the seventeenth-century Flemish artist was synonymous with ‘low-life’ genre scenes such as this and his work was avidly collected and frequently engraved.Even more fundamental as a source of inspiration, however, was the phenomenally successful career of David Wilkie who applied the compositional dynamics of Teniers to modern-life subjects. Like Wilkie, Condy here deliberately echoes Teniers earthy ‘old master tonalities’ and shows a similar ‘delight in details and in rough irregular surfaces’ (David Solkin, Painting out of the Ordinary, Yale University Press, 2008, p. 12). Wilkie had also introduced a black soldier into his famous Chelsea Pensioners (Apsley House). Unlike Cushendall, the subject of another Ulster work by the artist, there is no townland in Antrim called Ballyboyleboo. It seems to be an Anglicization – exaggerating the Irishness of the name – of Ballyboley. In the rich account of life in Ulster of a couple of decades earlier written by John Gamble (published as Society and Manners in Early Nineteenth-Century Ireland, edited by Brendán Mac Suibhne, Dublin, 2011, p. 280, n. 4), Gamble records how he stopped ‘at a lone public house between Larne and Ballymena’ and enjoyed a session in which tall stories were narrated. Mac Suibhne suggests that this may be ‘the premises now call the Ballyboley Inn’. An earlier building on this site may also be the setting for Condy’s work, though an older inn only a few miles distant at The Battery is also a possible candidate.
Lot 134
A SILVER ROSE BOWL, CHRISTOPHER N. LAWRENCE, LONDON,1973 the plain bowl rising in the centre to support a detachable silver-gilt grid (unmarked) of textured down-curved branches surrounding the logo for the merchant bankers Hill Samuel, the underside inscribed, in its original box with 'Certificate of Authenticity' 14cm diameter, 537gr (17oz)
Lot 241
˜A SILVER-MOUNTED TORTOISESHELL SNUFF BOX, PROBABLY ENGLISH, CIRCA 1740 cartouche shaped, the lid with reeded silver rim mount, mother-of-pearl inlaid and silver overlaid with a huntsman and two dogs and a maiden perched on a beast amidst trees and foliage surrounded by a Rococo border of scrolls, rocaille and fruit-laden vines inhabited by birds and a sphinx 7.8cm long
Lot 243
A VICTORIAN SILVER 'LLOYD'S, RELIEF OF LADYSMITH' PRESENTATION TOBACCO BOX, MAPPIN & WEBB LTD., BIRMINGHAM, 1899 bun shaped with concave base, the squeeze action flush hinged lid engraved with the Lloyd's Corporation arms between the inscription 'LLOYD'S / 7th MAY 1900', gilt interior 7cm diameter The members of the Naval Brigade of HMS 'Powerful' who attended a reception held by Lloyd's on 7th May 1900 were each presented with one of these boxes. See another of these boxes held by the Royal Maritime Museum at Greenwich (No.OBJ0261) which is inscribed to the underside 'Silver Tobacco Box Presented by |Lloyds| to the men of HMS |Powerful| who took part in the gallant defence of Ladysmith'. Provenance: Charles Henry Dawkins (1880-1957) according to paper label.
Lot 246
A SWISS SILVER 'OMEGA' BOX, JEZLER, SCHAFFHAUSEN, CIRCA 1948 plain oblong excepting the raised Omega symbol to front, cedar lined base, interior lid with engraved inscription, originally the presentation box for an Omega Centenary wristwatch, interior felt now lacking, stamped '800', Jezler and MADE IN SWITZERLAND, 15.5cm long; together with an American box, Reed & Barton, Taunton MA, mid 20th century, oblong, the top with hinge across, engraved with scrolled initials within a ribbon-tied laurel wreath, stamped trademark, 'STERLING' and numbered 772, 14.5cm long, 260gr (American box only) (2)
Lot 250
A CAMEO SET SILVER-GILT BOX, THE CAMEO PROBABLY TORRE DEL GRECO, SECOND HALF 19TH CENTURY oval, the lid set with a finely carved shell cameo profile bust of Venus after the Antique, in a probably Neapolitan gold mount decorated with wirework and granulation (perhaps originally a brooch), the plain later box unmarked box 5.5cm long
Lot 258
A 1965 Churchill medal in 22 carat gold retailed by B.A. Seaby Ltd, No233/500, medal depicting Churchill, left, with the date 1945 over V for Victory beside the word Churchill, below the engravers name A.Loewental-Lincoln above OB, 24th Jan 1965, R, showing a hand holding a flaming torch with inscription either side "we will fight on land on sea and in the air until Victory is won" and legend reading "unflinching indomitable his spirit saved Britain and so the world" 50mm 118g, in a red presentation case, together with similar silver medal in red presentation case along with a bronze medal in red card box
Lot 319
A cased pair of George V silver napkin rings by Charles Horner Ltd, Chester 1915, etched with floral scrolls and empty cartouche, in velvet and silk lined box, together with two other silver napkin rings, and a pair of Indian white metal salts with plated spoons, combined silver weight 54 grams
Lot 94
A large collection of estate silverware, to include a Mexican silver sauce boat, a pair of cut glass and embossed silver lidded globular scent bottles, a cigarette box, a yellow metal locket, salts, napkin rings, milk jugs, a silver plated filigree spectacles case, two silver frames, a Chinese export silver model of a boat, and others, weighable silver 700 grams
Loading...-
205709 item(s)/page