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Coat of arms of Catalonia, XVI century. In marble. Signed "M.Salas" on the side. Measures: 32 x 23 x 14 cm. Shield of Catalonia represented in relief in a block of marble. On the four bars, a scalloped vegetal line stands out. It is signed "M. Salas". It could come from the facade of a Catalan town hall. It is from the Renaissance period. Given that the configuration of Catalonia does not occur in its current form until the 15th century, a single heraldic symbol was not developed for the entire Catalan territory. In this territory, unlike others of the Crown of Aragon, the Catalan counties and their holders maintained a high degree of political presence, and whose heraldry has endured in the areas in which they extended, as in the case of the arms of the County of Urgel or Ampurias. The heraldry of the Crown granted the permissions so that some cities could bear in some field the four clubs of gules as well as institutions of the crown. This is the case of the Generality of Catalonia, which adopted the coat of arms of the monarch practically from the beginning. However, the cross of Saint George (in silver field, a cross of gules) also began to be used, as the Generality was gaining political weight, since this saint is highly venerated and patron saint of Aragon (and also of Catalonia). This symbol was initially used by the city of Barcelona in its coat of arms as a symbol of the city (which also combined with the arms of the king), and by extension would symbolize the County of Barcelona. Often the representation of the Catalan Generality was made by means of two separate coats of arms, one the royal and the other that of St. George (perhaps consistent with the pacitist doctrine of this governing body), as well as, later, combining them by means of cross quartering. Since this representation coincided with that of its capital city and main county, during the sixteenth and seventeenth centuries territorialized symbols appeared that represented this coat of arms as a symbol of Catalonia as a whole. Other arguments justify this coincidence with the attribution of this sign of the city of Barcelona in some maps and portolanos later reproduced without contrasting.
Bolognese school, XVII century. Circle of GUIDO RENI (Calvenzano di Vergato, 1575 - Bologna, 1642). "St. John on Calvary." Oil on canvas. Restorations visible on the back. Size: 99 x 75 cm; 110 x 87,5 cm (frame). The formal peculiarities of the Bolognese school are clearly reflected in this painting of Saint John the Evangelist: the sculptural monumentality of the figure, the palette centered in the shaded tones of green and red in rich contrast, the physiognomic model taken from Antiquity.... These are aspects that Guido Reni knew how to work like no other, whose influence can be seen in this painting: the silver background fixes the attention on the volumetric figure, shown in three quarters. His face looking upwards and his hands joined with interlaced fingers suggest that in front of him is the expiring body of Christ on the Cross. St. John and the Marys are the figures traditionally depicted on Calvary. The posture of the saint, his soft, timeless features, the angular folds and the play of chiaroscuro are reminiscent of a work close to the great master of Roman-Bolognese Baroque classicism, Guido Reni. Closely linked to the Carracci family and the city of Bologna. He trained in Bologna with Denys Calvaert, and then went to the Accademia degli Incamminati, directed by Ludovico Carraci. In 1600 Reni arrived in Rome, where he worked with Annibale Carracci in the Farnese Gallery. His best period begins in these years; in 1609, at Annibale's death, Reni remains as the head of the classicist school. In the city he will be protected by Scipione Borghese, the future Pope Paul V, for whom the painter will realize one of his most important works, "La Aurora" (Palazzo Rospigliosi). It shows something that will always be characteristic of Reni's style, his admiration for ancient sculpture. Starting from the classical statues, he develops an ideal of beauty and perfection that will be much admired by the following painters. In 1614 he returned to Bologna for good. Reni's style evolves in a clear direction, more and more sculptural and cold, more and more fully classicist. His mature work will be characterized by a cold palette, with silvery reflections. Finally, from the thirties, his style becomes sketchy, with an unfinished appearance and a tendency towards monochrome, of great interest from a technical as well as formal point of view.
Owl pendant. Tumbaga, Tayrona Indians, Colombia, 600-1200 A.D.Gold, silver and copper alloy.Measurements: 5 x 3.5 cm.The archaeological remains of the Quimbaya culture are located north of the Cauca River, on the western slope of the Central Cordillera and the departments of Quindio, Caldas and Risaralda. Among their artistic manifestations, goldsmithing stands out, mainly gold and tumbaga work, and ceramics, characterized by the use of negative painting (in reserve), globular shapes, the use of various pigments and brushed geometric motifs.
Tumbaga Shaman, Tayrona Indians, Quimbaya Culture, Colombia, 600-1200.Gold, silver and copper alloy.Measurements: 7,4 x 5 cm.Anthropomorphic figure made of gold, silver and copper alloy representing a standing character. By its anatomy and its iconographic elements (like the headdress or the nose ring) it is possible to intuit that it is the representation of a shaman or a leader.The archaeological remains of the Quimbaya culture are located north of the Cauca River, on the western slopes of the Central Cordillera and the departments of Quindío, Caldas and Risaralda. Among its artistic manifestations, goldsmithing stands out, mainly gold and tumbaga work, and ceramics, characterized by the use of negative painting (in reserve), globular shapes, the use of various pigments and brushed geometric motifs.
Guerrero Tumbaga, Tayrona Indians, Quimbaya Culture, Colombia, 600-1200.Gold, silver and copper alloy.Measurements: 7,5 x 6,5 cm.Anthropomorphic figure made of gold, silver and copper alloy representing a standing character. By its anatomy and its iconographic elements (like the headdress or the nose ring) it is possible to intuit that it is the representation of a warrior or a leader.The archaeological remains of the Quimbaya culture are located north of the Cauca River, on the western slope of the Central Cordillera and the departments of Quindío, Caldas and Risaralda. Among its artistic manifestations, goldsmithing stands out, mainly gold and tumbaga work, and ceramics, characterized by the use of negative painting (in reserve), globular shapes, the use of various pigments and brushed geometric motifs.
Tumbaga pendant-figure, Tayrona Indians, Colombia, 600-1200 A.D.Gold, silver and copper alloy.Measurements: 3 x 3 x 4 cm.The archaeological remains of the Quimbaya culture are located north of the Cauca River, on the western slopes of the Central Cordillera and the departments of Quindio, Caldas and Risaralda. Among their artistic manifestations, goldsmithing stands out, mainly gold and tumbaga work, and ceramics, characterized by the use of negative painting (in reserve), globular shapes, the use of various pigments and brushed geometric motifs.
A leather cased Georgian silver and mother of pearl fruit knife along with a silver miniature comb. Label inside case reads 'Thomas Dismore, Jeweller to the queen, Liverpool'. Pearl handle engraved with floral design, hallmarked: AH for Aaron Hadfield, Sheffield, 1838. Comb hallmarked: MC&Co, london import marks, 1927. H.13cm
A novelty French silver tea cup and saucer along with an engraved vesta case. The tea cup and saucer with stylised repeating foliate design GC with hand and French assay mark. The vesta is engraved with a stylised foliate design and shield shape cartouche. Hallmarked: AC for Arthur Cook, Birmingham, 1900. H.3cm Weight 54.5g.
A leather effect jewellery box filled with a collection of costume jewellery. Including a sterling silver and paste Art Nouveau brooch, Victorian carved ivory gentian brooch and daffodil earrings, a rolled gold heart pendant and rope chain and other jewellery.
Gene Cernan signed poster Apollo 17 1972 1997 Triton College Commemorates Cernan's Silver Anniversary. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Roman mosaic of the IV-V centuries AD. Colored marble tesserae. Provenance: Phoenix Ancient Art. In perfect state of preservation. Measures: 110 x 290 cm. Roman mosaic of big dimensions, dated from the IV-V centuries A.D., representing a fierce animal ready to attack an equine. Both figures are inserted in a landscape insinuated by floral buds and a leafy tree full of fruit. The mosaic is a frequent type of representation on the floors of the main rooms of Roman villas. This example is a faithful reflection of the importance of this type of decoration in classical Rome. It is a piece of great delicacy in which the silver and amber colors give a clear sensation of volume in the bodies. The art of mosaic came to Rome from Greece, and soon became a whole industry, reaching heights of quality never seen before. It became so widespread that it became the main decoration of any Roman villa or house. In Rome, mosaics were built from small pieces called tesserae (hence the name "opus tessellatum"), cubic-shaped pieces of calcareous rocks, glass or ceramic, of different sizes. These tesserae were arranged on the surface to be decorated like a jigsaw puzzle, distributing the color and shape according to the design, and fixed with cement. The importance of mosaic manufacture is demonstrated by facts such as the facilities granted by Constantine to the mosaicists in 330 when he moved the capital from Byzantium, favoring the exodus of Greek and Roman masters to the new capital, thus laying the foundations of the famous Byzantine mosaic.
Roman mosaic from the 2nd century AD. Opus tessellatum. Measures: 50 x 50 cm; 56 x 57,5 cm. Roman mosaic dated from the 2nd century A.D., representing a dolphin in movement inserted in perimeter bands. With great delicacy the silver and amber colors are combined to give a certain sensation of volume in the bodies. The art of mosaic came to Rome from Greece, and soon became a whole industry, reaching heights of quality never seen before. It became so widespread that it became the main decoration of any Roman villa or house. In Rome, mosaics were built from small pieces called tesserae (hence the name "opus tessellatum"), cubic-shaped pieces of calcareous rocks, glass or ceramic, of different sizes. These tesserae were arranged on the surface to be decorated like a jigsaw puzzle, distributing the color and shape according to the design, and fixed with cement. The importance of mosaic manufacture is demonstrated by facts such as the facilities granted by Constantine to the mosaicists in 330 when he moved the capital from Byzantium, favoring the exodus of Greek and Roman masters to the new capital, thus laying the foundations of the famous Byzantine mosaic.
Figure "Retablo" of the Quimbaya culture, Colombia, 1530-1557. Terracotta. Measures: 40 x 27.5 x 17 cm. The archaeological remains of the Quimbaya culture are located north of the Cauca River, on the western slopes of the Cordillera Central and the departments of Quindio, Caldas and Risaralda. Their artistic manifestations include gold and silver work, mainly gold work and tumbaga, and ceramics, characterized by the use of negative painting (in reserve), globular shapes, the use of various pigments and brushed geometric motifs. Quimbaya figuration shows characters with short, strong limbs and broad thorax, somatic characteristics typical of the local population.
Roman mosaic from the 2nd century AD. Opus tessellatum. Measures: 40 x 54 x 3 cm. Roman mosaic dated in the second century, representing a sea bottom with lobsters and fish. With great delicacy the silver and amber colors are combined to give a certain sensation of volume in the bodies. The art of mosaic came to Rome from Greece, and soon became a whole industry, reaching heights of quality never seen before. It became so widespread that it became the main decoration of any Roman villa or house. In Rome, mosaics were built from small pieces called tesserae (hence the name "opus tessellatum"), cubic-shaped pieces of calcareous rocks, glass or ceramic, of different sizes. These tesserae were arranged on the surface to be decorated like a jigsaw puzzle, distributing the color and shape according to the design, and fixed with cement. The importance of mosaic manufacture is demonstrated by facts such as the facilities granted by Constantine to the mosaicists in 330 when he moved the capital from Byzantium, favoring the exodus of Greek and Roman masters to the new capital, thus laying the foundations of the famous Byzantine mosaic.
Figure "Retablo" of the Quimbaya culture, Colombia, 1530-1557. Terracotta. Measures: 41 x 28 x 15 cm. The archaeological remains of the Quimbaya culture are located north of the Cauca River, on the western slopes of the Cordillera Central and the departments of Quindio, Caldas and Risaralda. Their artistic manifestations include gold and silver work, mainly gold work and tumbaga, and ceramics, characterized by the use of negative painting (in reserve), globular shapes, the use of various pigments and brushed geometric motifs. Quimbaya figuration shows characters with short, strong limbs and broad thorax, somatic characteristics typical of the local population.
Ring. Rome, 2nd-3rd century AD. In gold and silver. Seal representing the "dextrarum iunctio", symbol of concord, both in private and political life. Measures: 20 x 17 mm (inside); 22 mm (wide frontis). Roman ring with silver structure that sets a yellow gold disc on its front, worked by bas-relief and representing two joined hands, "dextrarum iunctio". The fact of shaking two hands refers to the goddess Concordia who was the goddess of agreement, understanding, unity and marital harmony.
A canteen of Georg Jensen silver handled cutlery, acanthus 'Dronning' pattern (125 pieces) comprising twelve teaspoons, table forks, tablespoons, dessert spoons, dessert knives, fish knives, eleven fish forks, soup spoons, ten dessert forks, large knives with rubber damage, two butter knives, one ladle, carving fork, carving knife, fish serving knife, large round spoon, fruit knife, two single spoons and a fork together with original sales catalogues
A collection of 19th Century and early 20th Century costume jewels, including a silver plated Art Deco spray brooch, a set of glass Middle Eastern beads, partly strung seed pearl necklace, and a gold and glass open worked locket with hair, and other items in a balsa wood plum box
Marvel Comics, A good quantity of assorted Marvel comic books dating from the 1970s and 1980s, The Son of Satan, Marvel Triple Action, Warlock Special Edition, Invincible Iron Man, Marvel Presents, Marvel's Greatest Comics, Sub-Mariner, Marvel Feature, Astonishing Tales, The Incredible Hulk, Strange Tales, Silver Surfer #1, Ka-Zar #1, Nick Fury agent Of Shield #1. Approx. 120 books
Marvel Comics, A very large quantity of assorted Marvel comic books dating from the 1970s through to the 1990s. Titles include Avengers, Dr. Strange, Excalibur, Guardians Of The Galaxy, Uncanny X-Men, Marvel Team Up, Captain America, Generation Next, Cyberspace 3000, Silver Surfer, Fantastic Four, West Coast Avengers, ROM, Spider-Woman, The New Mutants, Ka-Zar, Crystar, Cloak and Dagger, Micronauts, X-Men Alpha, X Factor, Gambit and The Externals, Weapon X, X-Man, Amazing X-Men, Spectacular Spider-Man, Amazing Spider-Man, Mighty Thor, Strange Tales, Fantastic Five, Marvel: The Lost Generation, Power Pack, X-Men The Hidden Years, Clan Destine, Infinity War, Warlock and The Infinity Watch, Scarlet Witch, Vision, Galactic Guardians, Daredevil, Galactus The Devourer, Wild Thing, Moon Knight, Magik, Alpha Flight, Star Lord, Vision and Scarlet Witch, Tales of Asgard, Marvel Fanfare, Wolverine, Phoenix, Longshot, Thing, Conan The Barbarian, Nightcrawler, Kitty Pryde and Wolverine, Strikeforce Morituri, Black Knight, Marvel Age, Marvel Saga, What If, the Infinity Gauntlet, etc. Together with a quantity of Index and Handbooks. Approximately 1100 books. (10 boxes)
A collection of Whitman Publishing blue card coin albums, comprising one to Four albums of Pennies 1860-1966, two albums of halfpennies 1902-1936, 1937-1967, three albums of Farthings 1860-1956, three albums of Shillings 1902- to date 1966, and four single albums Florins 1941 to Date, Half Crowns 1941 to Date, Sixpence 1937 to Date and Silver Threepences 1902-1945 (16)
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2466194 item(s)/page