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Group of nine Chinese silver objects. Group of seven small silver and enamel cups, and two silver vases. The vases with incised decoration depicting women and flowers with calligraphy inscriptions. The cups are decorated with floral decoration on a cobalt blue background; impressed marks along the undersides.(Each) Cups; height: 2 1/2 in x diameter: 1 1/4 in. Vases; height: 9 in x diameter: 4 1/4 in.
Group of three Chinese silver vessels. Two silver gilt tea caddies with enamel decoration; the round tea caddy features lovely and delicate filigree throughout. With one silver vessel with decoration in low relief throughout, and set with a ring of coral cabochons along the footrim and studded with turquoise cabochons. There is a central jade band encircling the piece, which lacks a lid.(Floral pattern) Height: 4 3/4 in x diameter: 4 1/4 in. (Blue Dragon Pattern) Height: 4 in x diameter: 3 in. (Jade band) Height: 2 3/4 in x diameter: 2 3/4 in diameter
20th c. Chinese silver and jade hand mirror, with lovely pale celadon jade components. The jade plaque along the reverse of the mirror depicts a boatman in the water in front of a pagoda. The handle is made of a jade belt hook, and flanked with a pair of silver bats.Total; Length: 9 1/4 in x width: 3 1/2 in x depth: 1 1/4 in. Handle; Length: 4 1/4 in x width: 3/4 in x depth: 1 1/4 in. Mirror; Length: 4 3/4 in x width: 3 1/2 in x depth: 1 in.
Pair of Japanese Meiji period silver mallets, in the form of Daikoku's magic mallet, Uchide No Kozuchi. Both with incised decoration depicting wood grain along the mallet; the larger mallet is parcel-gilt.(Small) Height: 1 in x width: 1 1/2 in x depth: 2 1/2 in. (Large) Height: 1 1/2 in x width: 2 in x depth: 3 1/4 in.
Peter Lik (Australian, b. 1959). Photograph titled "Beyond Paradise," depicting a pier in Key West, Florida, stretching out into the vibrant blue ocean. Silver halide print. Signed and numbered 480/950 along the lower right.Sight; Height: 19 1/4 in x width: 58 1/2 in. Framed; Height: 37 in x width: 76 in.
Chin San Long (Lang Jingshan) (Chinese, 1892-1995). Photograph depicting a figure carrying a load up a curving path in the mountains. Silver gelatin print. Hand signed along the backing to the lower right of the photograph.Chin San Long is known for his innovative art photography, particularly his signature "composite photography" technique. He was the first Chinese photographer to take artistic nude photos, and also specialized in nature photography.Provenance: From the collection of William Atkins.William Atkins (1919-2001) was a pilot for Northwest Airlines, who spent his career flying to Asia. He was an avid photographer who was involved in the Photographic Society of America, through which he developed relationships with photography clubs worldwide. It was through the photographic society in Taiwan that he met Chin San Long, with whom he became close friends. In the 1970s, he arranged an exhibit for Chin San Long's photography in Minnesota.Unframed; height: 14 3/8 in x width: 10 in. Matted; height: 20 in x width: 16 in.
Chin San Long (Lang Jingshan) (Chinese, 1892-1995). Photograph titled "The Raft," executed 1930, depicting a woman steering a raft through the water with a pole. Silver gelatin print. Hand signed along the backing to the lower right of the photograph.Chin San Long is known for his innovative art photography, particularly his signature "composite photography" technique. He was the first Chinese photographer to take artistic nude photos, and also specialized in nature photography.Provenance: From the collection of William Atkins.William Atkins (1919-2001) was a pilot for Northwest Airlines, who spent his career flying to Asia. He was an avid photographer who was involved in the Photographic Society of America, through which he developed relationships with photography clubs worldwide. It was through the photographic society in Taiwan that he met Chin San Long, with whom he became close friends. In the 1970s, he arranged an exhibit for Chin San Long's photography in Minnesota.Unframed; height: 12 3/4 in x width: 10 in. Matted; height: 20 in x width: 16 in.
Chin San Long (Lang Jingshan) (Chinese, 1892-1995). Photograph titled "Zhang Daqian (Cypress Trees)," executed 1963, depicting the painter Zhang Daqian (1899-1983), a close friend of Chin San Long's, seated on a stone with a staff under the superimposed image of a cypress trees. Silver gelatin print. Hand signed along the backing.Chin San Long is known for his innovative art photography, particularly his signature "composite photography" technique. He was the first Chinese photographer to take artistic nude photos, and also specialized in nature photography.Provenance: From the collection of William Atkins.William Atkins (1919-2001) was a pilot for Northwest Airlines, who spent his career flying to Asia. He was an avid photographer who was involved in the Photographic Society of America, through which he developed relationships with photography clubs worldwide. It was through the photographic society in Taiwan that he met Chin San Long, with whom he became close friends. In the 1970s, he arranged an exhibit for Chin San Long's photography in Minnesota.Unframed; height: 13 1/4 in x width: 10 1/2 in. Matted; height: 20 in x width: 16 in.
Chin San Long (Lang Jingshan) (Chinese, 1892-1995). Photograph titled "To Anchor at Even Tide," depicting a misty harbor scene. Silver gelatin print. Signed in ink along the lower right.Chin San Long is known for his innovative art photography, particularly his signature "composite photography" technique. He was the first Chinese photographer to take artistic nude photos, and also specialized in nature photography.Provenance: From the collection of William Atkins.William Atkins (1919-2001) was a pilot for Northwest Airlines, who spent his career flying to Asia. He was an avid photographer who was involved in the Photographic Society of America, through which he developed relationships with photography clubs worldwide. It was through the photographic society in Taiwan that he met Chin San Long, with whom he became close friends. In the 1970s, he arranged an exhibit for Chin San Long's photography in Minnesota.Unframed; height: 12 in x width: 15 in. Matted; height: 17 1/2 in x width: 19 7/8 in.
Chin San Long (Lang Jingshan) (Chinese, 1892-1995). Photograph depicting a nude woman reclining against a boulder in a wooded environment. A dramatically silhouetted tree is superimposed over the left side of the composition in the artist's iconic composite photography technique. Silver gelatin print. Hand signed along the backing to the lower right of the photograph.Chin San Long is known for his innovative art photography, particularly his signature "composite photography" technique. He was the first Chinese photographer to take artistic nude photos, and also specialized in nature photography.Provenance: From the collection of William Atkins.William Atkins (1919-2001) was a pilot for Northwest Airlines, who spent his career flying to Asia. He was an avid photographer who was involved in the Photographic Society of America, through which he developed relationships with photography clubs worldwide. It was through the photographic society in Taiwan that he met Chin San Long, with whom he became close friends. In the 1970s, he arranged an exhibit for Chin San Long's photography in Minnesota.Unframed; height: 13 1/2 in x width: 10 5/8 in. Matted; height: 20 in x width: 16 in.
Chin San Long (Lang Jingshan) (Chinese, 1892-1995). Photograph titled "Spring Fantasia," executed 1945, depicting a boat floating through mist behind the dramatic silhouette of branches. Silver gelatin print. Signed in ink along the lower right.Chin San Long is known for his innovative art photography, particularly his signature "composite photography" technique. He was the first Chinese photographer to take artistic nude photos, and also specialized in nature photography.Provenance: From the collection of William Atkins.William Atkins (1919-2001) was a pilot for Northwest Airlines, who spent his career flying to Asia. He was an avid photographer who was involved in the Photographic Society of America, through which he developed relationships with photography clubs worldwide. It was through the photographic society in Taiwan that he met Chin San Long, with whom he became close friends. In the 1970s, he arranged an exhibit for Chin San Long's photography in Minnesota.Unframed; height: 15 3/8 in x width: 11 5/8 in. Matted; height: 21 7/8 in x width: 16 1/4 in.
JOSEP MESTRES CABANES (Manresa, Barcelona, 1898 - Barcelona, 1990)."Llafranch", 1943.Oil on panel.Signed and dated in the lower right corner. Signed, dated and located on the back.Measurements: 19.5 x 27.5 cm; 34 x 41 cm (frame).Painter and set designer, Josep Mestres Cabanes came from a family with a long artistic tradition. He began his studies at the School of Arts and Crafts in Manresa, and then furthered his training at the Sant Jordi School of Fine Arts in Barcelona, where he was taught by J. Calvo. He also studied in the studio of Salvador Alarma, with whom he became a collaborator and partner years later, with the firm Alarma y Mestres (1939). When Alarma died in 1942, he was commissioned to decorate several Wagnerian works for the Teatro del Liceo, and then moved to his scenographic workshop until 1956. His decorations stood out for their realism and good knowledge of perspective, and as an easel painter he held several exhibitions in Barcelona and Madrid. Between 1947 and 1969 he taught perspective at the Institut del Teatre in Barcelona, and was later appointed professor of the subject at the Escola de Sant Jordi. During his career he was awarded the silver medal of the Diputació de Barcelona, the gold medals of the city of Manresa and of the Societat del Gran Teatre del Liceu and the Gold Poster of the Consorci del Liceu. Although most of his work is in private collections, he is also represented in the Museo Comarcal de Manresa and in the Museo de Artes Escénicas del Instituto del Teatro in Barcelona, where an exhibition has recently been dedicated to him.
JOSÉ BENLLIURE GIL (Valencia, 1855 - 1937)."The Gambler".Watercolour on paper.Signed in the lower left corner.Size: 95 x 60 cm; 106 x 72 cm (frame).José Benlliure showed great skill in the instantaneous, almost photographic, capture of his characters, insinuating singular temperaments, like that of this card player. The brother of the sculptor Mariano Benlliure and the painter José, Juan Antonio Benlliure began his training with the latter. He subsequently entered the San Carlos Academy in Valencia, where he furthered his studies and began to stand out as a portraitist. Like many of the artists of his time, he continued his artistic education in Rome. There he settled with his brother José, and began to paint brightly coloured canvases that would bring him renown as well as a good price for his work. In 1884 he took part in the National Exhibition of Fine Arts in Madrid, where his painting "Por la patria! The drawing and colouring of this work already began to reveal the finesse of execution that would characterise his work in the future. Other Valencian artists also took part in this competition, and Benlliure's success spread not only among the artistic and literary circles but also among the upper echelons of society, and he began to receive numerous commissions both in Madrid and in Rome, where he had also begun to frequent the circles of high society. For a brief period he lived in the Italian town of Assisi, where he produced several watercolours depicting the history and landscape of the city. It was during these years that the death of King Alfonso XII made a great impression on him, leading him to consider painting a picture depicting the king's final moment. His friend the Marquis of Togores, Spain's ambassador in Rome, encouraged him to carry out the work, as did his brothers. Benlliure then began work on "The Last Kiss". Presented at the National Exhibition of 1887, it was not awarded a prize due to political circumstances, but it became very famous due to its subject matter and the detailed evocation of the scene. In 1904 Benlliure settled permanently in Madrid, where he achieved great prestige as a portraitist, especially for his female models. In 1929 he was awarded the silver medal at the Rome Exhibition, and in 1920 he was decorated at the National Exhibition in Madrid. He also exhibited at the Sala de Arte Suárez, where he was very well received by the public and critics. He is currently represented in the Museo del Prado, the Museo de Bellas Artes in Valencia, the Palacio de Pedralbes in Barcelona and the museums of Jaén and Málaga, among others, as well as in numerous private collections.
ROBBE & BERKING Fischbesteck, 800er Silber, best. aus: 6 Messer und 6 Gabeln, Modell Alt Kopenhagen, Messerklingen und Gabel- rückseite mit versch. Gewürzkräutern grav., total ca. 685 g, passend zu Kat.-Nr. 01-0794ROBBE & BERKING fish table service , 800 silver, comprised of: 6 knives and 6 forks, model Alt Copenhagen, blades and forks backside with different aromatic herbs engraved, total approx. 685 g, consistent withcat.-no. 01-0794
Konvolut 16 Silbermünzen. Deutsches Reich, best. aus: 3 x 100 Jahre Völkerschlacht Leipzig 18. Oktober 1813-1913, 3 x 3 Mark Wilhelm II Deutscher Kaiser König v. Preussen 1912, 1913 u. 1914, 3 x 2 Mark Wilhelm II Deutscher Kaiser König v. Preussen 1902, 1912 u. 1913, 2 x 5 Mark Wilhelm II Deutscher Kaiser König v. Preussen 1098 u. 1913, 1 x 5 Mark Friedrich 1701 - Wilhelm II 1901, 1 x 5 Mark Friedrich Deutscher Kaiser König v. Preussen 1888, 1 x 2 Mark Friedrich 1701 - Wilhelm II 1901, 1 x 2 Mark Wilhelm Deutscher Kaiser König v. Preussen 1877, 1 x 2 Mark Friedrich Deutscher Kaiser König v. Preussen 1888Lot 16 silver coins. German Reich, comprised of: 3 x 100 Jahre battle of the nations Leipzig 18. Oktober 1813-1913, 3 x 3 Mark Wilhelm II German emperor king of Prussia 1912, 1913 and 1914, 3 x 2 Mark Wilhelm II German emperor king of Prussia 1902, 1912 and 1913, 2 x 5 Mark Wilhelm II German emperor king of Prussia 1098 and 1913, 1 x 5 Mark Friedrich 1701 - Wilhelm II 1901, 1 x 5 Mark Friedrich German emperor king of Prussia 1888,1 x 2 Mark Friedrich 1701 - Wilhelm II 1901, 1x 2 Mark Wilhelm German emperor king of Prussia 1877, 1 x 2 Mark Friedrich German emperor king of Prussia 1888
Brosche, wohl Norwegen um 1910, 800er Silber, Meistermarke unged., Lapislazulieinlage, abstr.-floral verziert, Abhängung bewegl., ca. 6 x 9 cmBrooch, probably Norway approx. 1910 , 800 silver, manufacturer's brand unidentified, lapis lazuli inlay, abstr.-floral decorated, suspension movable, approx. 6 x 9 cm
Armband, Fischland um 1935, 835er Silber und Bernstein, strenge, geometrische Form, 7 Bern-steinglieder alternierend mit 7 Silbergliedern,L ca. 18.5 cm, SicherheitskettchenBracelet, Fischland approx. 1935 , silver 835 and amber, geometric form, 7 amber links alternierend with 7 silver links, l. approx. 18.5 cm, safety chain
12 Schnapsbecher, Frankreich um 1900, 950erSilber, umlaufender Wellendekor, innen verg., Meistermarke wohl Jean-Charles Houlet, H. ca. 3.5 cm, total ca. 183.6 g, auf Tablett, versilbert, bez. S.F.A.M., ca. 23 x 24 cm12 schnapps beaker, France approx. 1900 , silver 950, framed wave decor, inside gilt, manufacturer's brand probably Jean-Charles Houlet, h. approx. 3.5 cm, total approx. 183.6g, on tray, silver plated, ref. S.F.A.M., approx. 23 x 24 cm
Konvolut 14 Silbermünzen, Baden, best. aus:2 x 5 Mark Friedrich und Louise von Baden 1906, 3 x 7 Mark Friedrich Grossherzog von Baden 1875, 1876, 1900, 1904 und 1907, 1 x 5 Mark Friedrich II Grossherzog von Baden 1913, 1 x 3Mark Friedrich II Grossherzog von Baden 1909, 1 x 2 Mark Friedrich und Louise von Baden 1906, 2 x 2 Mark Friedrich Grossherzog von Baden 1875 und 1901, 2 x Friedrich Grossherzog von Baden 1902Lot 14 silver coins, Baden, comprised of: 2 x 5 Mark Friedrich and Louise of Baden 1906 , 3 x 7 Mark Friedrich grand duke of Baden 1875, 1876, 1900, 1904 and 1907, 1 x 5 Mark Friedrich II grand duke of Baden 1913, 1 x 3 Mark Friedrich II grand duke of Baden 1909, 1 x 2 Mark Friedrich and Louise of Baden 1906 , 2 x 2 Mark Friedrich grand duke of Baden 1875 and 1901, 2 x Friedrich grand duke of Baden 1902
Parfümflakon, norddeutsch um 1835/40, Silber, blauer Orig.-Glasflakon geschnitten und geschliffen, Stöpsel sek., Behälter Filigranarbeit mit aufgelegten Blüten, L. ca. 6.5 cmPerfume bottle, north german approx. 1835/40, silver , blue orig.-glassflacon cutted and sharpened, bung sec., bottle filigree work with applied blossoms, l. approx. 6.5 cm
GEORG JENSEN Designer-Armband, 925er Silber, Modell Nr. 94, 2 gebogene, schiffchenförmige Glieder mit leichter Wölbungnach außen, dadurch sehr ergonomisch, Schraubschließe, Durchm. ca. 6 x 5 cmGEORG JENSEN designer-bracelet, silver 925 ,model no. 94, 2 curved, shipformed links, screw clasp, diam. approx. 6 x 5 cm
Anhänger mit Rubinen und Diamanten, Silber um 1870/80, teilvergoldet, ursprgl. aus anderem Zus.-hang, Diamanten zus. ca. 0.30 ct,Rubine zus. ca. 0.30 ct, Schleifenverzierung, florale Elemente, symm. Aufbau, Mittelteil beweglich, H ca. 4 cm, Durchm. ca. 3 cm, sammelwürdig, Kette WG 585/000, L ca. 40 cm, sek.Pendant with rubies and diamonds, silver ca. 1870/80 , partly gilt, formerly from other purpose, diamonds total approx. 0.30 ct, rubies total approx. 0.30 ct, ribbon decor, floral elements, symm. construction, middle part movable, h. approx. 4 cm, diam. approx. 3cm, collectable, chain WG 585/000, l. approx. 40 cm, sec.
Armreif, wohl deutsch, 1970er Jahre, 835er Silber, Hammerschlagverzierung, reine Treibarbeit, asymm. Formgebung, 1 Seite einge-rollt mit 2 barocken silberfarb. Zuchtperlen, Künstlerentwurf, ca. 6 x 5 cmBangle, probably german, 1970s , silver 835,hammer finish, pure embossment, asymm. form, 2 baroque silvercoloured cultured pearls, artist design, approx. 6 x 5 cm
Brosche, wohl Norwegen um 1935/40, 925er Silber, teilvergoldet, Goldpique, Grund guill. und transluzid mehrfach emaill., weiß bis rosa changierend, Schneeballblumen, reine Glücksbringer, bez. GG 925er NM, unged., Rand schwarz emailliert, ca. 7.5 x 6 cmBrooch, probably Norway approx. 1935/40 , silver 925, partly gilt, goldpique, ground needle etching and translucent multiple enameled, white up to rosecoloured iridescent,snow ball flowers, pure talisman, ref. YG 925er NM, unidentified, edge black enameled, approx. 7.5 x 6 cm
Silber Geldtäschchen, 925er Sterling Silber, England, Birmingham 1919, bauchige Form, Rand mit Girlanden und Blüten verziert, ca. 8.5 x 6.5 cm, innen 3 Fächer aus braunem Leder, Herstellermarke verschlagenSilver coin case, 925er Sterling silver , England, Birmingham 1919, bulged form, edge with garlands and blossoms decorated, approx. 8.5 x 6.5 cm, inside 3 pockets of brown leather, manufacturer's brand not clear
Anhänger in Form eines Hauses, Dänemark, Kopenhagen um 1950, sign. E. Ingomar V., 925er Silber, vollplastisch, aufklappbar, skurril, H ca. 3 cmPendant in the form of a house , Denmark, Copenhagen approx. 1950, signed E. Ingomar V.,silver 925, vividly, swiveling, bizarre, h. approx. 3 cm
Lapislazuliherz mit Saatperlchen und Smaragd, schlaufenförmige Aufhängung aus 835er Silber vergoldet, aufgesetzter Smaragdcabochonumgeben von Saatperlchen, ca. 3 x 2 cm, Klappschließe mit SicherheitsachtLapis lazuli heart with seedpearls and emerald , loop-shaped suspension made of silver 835 gold plated, emerald cabochon surrounded by seedpearls, approx. 3 x 2 cm, folding clasp with safety eight
Brosche deutsch//Niederlande um 1700/20, Silber, orig. Zustand, Diamant-Rosen in verbödeten Fassungen, meisterlich diamantiert,40 Diam.-Rosen zus. ca. 0.60 ct, hervorragendeArbeit aus der Zeit, in sich 5-fach beweglich,unterer Abschluß freischwingendes Kreuz, geschmiedet, alte Lötspur, Nadelung sek., in der Lit. ähnlich abgebildet, sammelwürdig, museal, B ca. 4.5 cm, L ca. 6.5 cmBrooch german//Netherlands approx. 1700/20 ,silver, orig. condition, diamond-roses in closed settings, 40 diamond-roses total approx. 0.60 ct, excellent work of this period, cross, forged, old solder joint, needling sec., similarly in lit. pictured, collectable, museum, w. approx. 4.5 cm, l. approx. 6.5 cm
2-teil. Fischvorlegebesteck GEORG JENSEN, 925er Silber, Dänemark, Entwurf Nr. 38 von 1912, Griffenden mit vollplastischer Blüte, Gebr.-Teile mit floraler Durchbruch- arbeit, L. ca. 26.5 cm2-part fish presentation cutlery GEORG JENSEN , silver 925, Denmark, Design no. 38 von 1912, handles with fully plastic blossom, using parts with floral breakthrough work, l. approx. 26.5 cm
Brosche, deutsch um 1970, 925er Silber, teilvergoldet, Meistermarke BBE, Theaterszene mit Maskeron und Vorhangstaffage, Opalcabochon, ca. 4 x 3.5 cmBrooch, german approx. 1970 , silver 925, partly gilt, manufacturer's brand BBE, theatrescenery with mask and curtain decoration, opalcabochon, approx. 4 x 3.5 cm
THEODOR FAHRNER Brosche 'Vogel', Silber vergoldet, um 1926, sign. Sterling, Plakette wohl sek., Plakette mit Fahrner Signet und 925 wurde entfernt, Korallencab., Lit. vgl. Theodor Fahrner Schmuck, Galerie Wolfgang Ketterer, München, S. 143, Abb. 280 und 282THEODOR FAHRNER brooch 'bird', silver gold plated , approx. 1926, signed Sterling, badge probably sec., badge with Fahrner Signetand 925 removed, coral cab., lit. compare Theodor Fahrner jewelry, Galerie Wolfgang Ketterer, Munich, page 143, pict.. 280 and 282
Armreif mit Onyx, Silber gepr., China um 1930, mit Filigrandraht, mit Blättern und Blüten, mit Onyxplatten, D. ca. 6 cm, Kastenschloß mit Sicherheitsacht, ca. 48.2 gBangle with onyx, silver tested , China approx. 1930, with filigree wire, with leaves and blossoms, with onyx plates, diam. approx. 6 cm, case lock with safety eight, approx. 48.2 g
2 Saucenkellen und 1 Gabel, GEORG JENSEN, 925er Silber, Dänemark, 2 x Entwurf 93 von 1916, 1 x Entwurf 66 (?), Griffe Elfenbein, L. ca. 21 cm, Versand nur innerhalb der EU2 soup ladles and 1 fork, GEORG JENSEN , silver 925, Denmark, 2 x Design 93 von 1916, 1x Design 66 (?), handles ivory, l. approx. 21 cm, shipping is only available within the bounds of the EU
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2475480 item(s)/page