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COWEN, JEFF1966 New YorkTitel: "Attacus Atlas". Datierung: 2009. Technik: Getönter GelatinesilberabzugMaße: 162 x 126,5cm.Bezeichnung: Signiert, datiert, betitelt und nummeriert versoDiese Arbeit stammt aus einer Auflage von sechs Exemplaren, wobei jedes durch die individuelle Bearbeitung Unikatcharakter hat.Provenienz:- Privatsammlung Nordrhein-Westfalen. Erläuterungen zum KatalogJeff Cowen Fotografie 2000er Tier Fotografie Fotografie COWEN, JEFF1966 New YorkTitle: "Attacus Atlas". Date: 2009. Technique: Tinted gelatin silver printMeasurement: 162 x 126,5cm.Notation: . Signed, dated, titled and numbered versoThis work is from an edition of six copies, each of which has a unique character due to its individual treatment.Provenance:- Private collection North Rhine-Westphalia. Explanations to the Catalogue
EVERS, JAN PAUL1982 KölnTitel: "Pannebar" (Berghain). Datierung: 2011. Technik: Gelatinesilberabzug. Darstellungsmaß: 62 x 66cm. Blattmaß: 64 x 68cm. Bezeichnung: Signiert, datiert und betitelt. Rahmen: Passepartout. Bei diesem Abzug handelt es sich um ein Unikat.Provenienz:- Privatsammlung Nordrhein-Westfalen. Erläuterungen zum KatalogJan Paul Evers Deutschland Fotografie Zeitgenössische Kunst 2010er Architektur Fotografie Silbergelatineabzug. Gebäude EVERS, JAN PAUL1982 CologneTitle: "Pannebar" (Berghain). Date: 2011. Technique: Gelatin silver print. Depiction Size: 62 x 66cm. Sheet Size: 64 x 68cm. Notation: Signed, dated and titled. Frame: Mat. This print is a unique piece.Provenance:- Private collection North Rhine-Westphalia. Explanations to the Catalogue
BECHER, BERND UND HILLA1931 Siegen - 2007 Rostock / 1934 Potsdam - 2015 DüsseldorfTitel: Wasserturm, Köln-Kalk, Deutschland. Datierung: 1967/77. Technik: Gelatinesilberabzug auf Agfa, auf Karton montiert. Darstellungsmaß: 40 x 30cm. Bezeichnung: Signiert, betitelt und datiert verso auf dem Karton: B. Becher H. Becher Wasserturm Köln Bahngelände 1977. Rahmen: Rahmen. Wir danken Dr. Gabriele Conrath-Scholl, Photographische Sammlung/SK-Stiftung Kultur, Köln, für die freundliche wissenschaftliche Unterstützung. Provenienz:- Privatsammlung Nordrhein-Westfalen. Erläuterungen zum KatalogBernd und Hilla Becher Deutschland Fotografie Becher Schule Nachkriegskunst 1970er Industrie Fotografie Gelatinesilberabzug BECHER, BERND AND HILLA1931 Siegen - 2007 Rostock / 1934 Potsdam - 2015 DüsseldorfTitle: Wasserturm, Köln-Kalk, Deutschland. Date: 1967/77. Technique: Gelatine silver print on Agfa, mounted on card. Depiction Size: 40 x 30cm. Notation: Signed, titled and dated verso on card: B. Becher H. Becher Wasserturm Köln Bahngelände 1977. Frame: Framed. We thank Dr. Gabriele Conrath-Scholl, Photographische Sammlung/SK-Stiftung Kultur, Cologne, for the kind scientific support. Provenance:- Private collection North Rhine-Westphalia. Explanations to the Catalogue
MACK, HEINZ1931 LollarTitel: Silberflügel. Datierung: 1967. Technik: Silberbronze, gesprüht auf Velin. Maße: 70 x 100cm. Bezeichnung: Signiert und datiert oben Mitte: mack 67. Provenienz: - Galerie Neher, Essen (Aufkleber)- Privatsammlung Nordrhein-Westfalen. Erläuterungen zum KatalogHeinz Mack Deutschland Zero Nachkriegskunst Unikate 1960er Abstrakt Papierarbeit Mischtechnik Bewegung MACK, HEINZ1931 LollarTitle: Silberflügel. Date: 1967. Technique: Silver bronze, sprayed on vellum. Measurement: 70 x 100cm. Notation: Signed and dated centre top: mack 67. Provenance: - Galerie Neher, Essen (adhesive label)- Private collection North Rhine-Westphalia. Explanations to the Catalogue
PIENE, OTTO1928 Laasphe/Westfalen - 2014 BerlinTitel: Ohne Titel. Untertitel: (Rasterbild). Datierung: 1958/72. Technik: Öl und Blattsilber auf Holzplatte.Maße: 26,5 x 51cm.Bezeichnung: Signiert und datiert (geritzt) unten rechts: Piene (eingekreist) 1958/72. Sockel/Rahmen: Modellrahmen. Provenienz:- Galerie Heseler, München (Aufkleber)- Privatsammlung Nordrhein-WestfalenBereits Mitte der fünfziger Jahre beginnt Piene, sich künstlerisch mit dem Element Licht auseinanderzusetzen. Pienes erste Rasterbilder entstehen 1957. Die Rasterbilder entstehen, indem der Künstler die Ölfarbe durch Rastersiebe auf die Leinwand drückt, die er durch das Herausschlagen von Löchern mit Hilfe von Locheisen herstellt. Je nachdem, welche Siebe verwendet werden, ergeben sich unterschiedlichste Strukturen auf dem monochromen Bildträger. Um den Bildraum in Schwingungen und Vibration zu versetzen, arbeitet der Künstler meist mit Farben, die besonders gut reflektieren, wie Weiß, Gelb, Silber und Gold. Das hier angebotene Rasterbild auf silbernem Grund wirkt wie ein Kabinettstück und zeigt auf kleiner Fläche wunderbar anschaulich das Zusammenspiel Pienes werkbestimmender Elemente: Raster, Feuer und Licht. Erläuterungen zum KatalogOtto Piene Deutschland Zero Lichtkunst Nachkriegskunst Unikate 1950er Abstrakt Gemälde Mischtechnik Struktur PIENE, OTTO1928 Laasphe/Westphalia - 2014 BerlinTitle: Untiteld. Subtitle: (Raster Image). Date: 1958/72. Technique: Oil and silver leaf on wooden panel.Measurement: 26,5 x 51cm.Notation: Signed and dated (incised) lower right: Piene (circled) 1958/72. Frame/Pedestal: Craftman's frame. Provenance:- Galerie Heseler, Munich (label)- Private collection North Rhine-Westphalia. Explanations to the Catalogue
An oxidised silver and freshwater pearl necklace and earrings ensuite by YEN, 2011, composed of fluid ‘molecules’, incorporating freshwater pearl detail, to a ring and bar clasp, with maker’s mark ‘YD’ and London hallmark, the matching earrings on post fittings, necklace length 41.5cm, ear pendant length approximately 15mm. £100-£150
An oxidised silver and drusy pendant necklace by YEN, 2017, the central circular pendant of black drusy, in plain collet mount, suspended from a fluid necklace of oxidised silver and gilt ‘molecules’, to ring and bar clasp, maker’s mark ‘YD’, UK hallmark, length 45cm. £100-£200 --- Drusy - druse refers to a coating of fine crystals on a surface or vein of other minerals. It is usually located where water collects and evaporates from the rock surface, so may be found along river beds and shorelines. The most common drusy is quartz (agate or chalcedony), but many other gemstone types exist in this form. Yen Duong is a modern designer of Vietnamese heritage, her early years being spent in Wales. She studied at the Sir John Cass School of Art in London, graduating in 1995. She established YEN Jewellery the following year, working from her studios in Bloomsbury, her designs showing her fascination with the structural elements of jewellery, and incorporating movement and fluidity, with a highly tactile quality. Previous exhibitions of her work include those held at The Goldsmiths’ Company and the Crafts Council, and she has worked with Liberty of London, Selfridges and Harvey Nichols.
An ivory and lapis lazuli pendant possibly by Dagobert Peche, Wiener Werkstätte, first quarter 20th century, the ivory carved to depict an openwork floral and foliate spray, with three circular lapis lazuli cabochon accents, applied to a silver reverse, the whole enclosed within a modelled and beaded silver frame, suspended from an associated fancy-link chain, reverse stamped‘HANDBETRIEBEN’ (misstruck) and ‘900’, pendant length 6.3cm, chain 50cm. £300-£500 --- Dagobert Peche (1887-1923) was an Austrian artist and jewellery designer. Having initially trained as an architect, Peche joined the Wiener Werkstätte in 1915. He was a prolific designer in all media and went on to produce the most jewellery designs for the firm, second only to Josef Hoffmann. Peche’s designs are noted for their sculptural qualities, often based on mythological themes or featuring an abundance of foliage and floral motifs, “threatening to spill out of their allotted space”. During the war, material restrictions inspired the sculptor and master craftsman Friedrich Nerold to render many of Peche’s designs in ivory. Many jewels produced by the Wiener Werkstätte during this time also feature collet-set cabochon gemstones, as seen here, not only to further the sculptural qualities of the piece but also enhance the colour palette used. Literature: Staggs, Janis, Ed., Wiener Werkstätte Jewelry. (Neue Galerie: Museum for German and Austrian Art.) Germany, Hatje Cantz Verlag, 2008. Please note ivory is covered by CITES legislation and may be subject to import/export and trade restrictions.
A diamond pendant, the vertical mount claw set with three brilliant-cut diamonds spaced by pairs of baguette-cuts, 18ct white gold, lasered hallmark, on suspensory loop, with silver chain, total diamond weight total approximately 0.50 carat, length (including suspensory loop) 22mm. £220-£260
Assorted jewellery, silver and miscellaneous items, comprising an 18ct white gold mounted ruby pendant on chain, a treated amber bead necklace, four gem set rings, three pairs of ear studs, an oval locket, a silver cased fob watch, a string of freshwater pearls, a miniature white metal vase with floral motif decoration, stamped ‘800’, a mother of pearl and peridot set silver bracelet, a blue enamel brooch, two gem set brooches and a cheroot holder. (21) £100-£200
A small collection of antique and later jewellery, comprising an early 20th century lozenge-shaped black and white enamel brooch, monogrammed, with seed pearl highlights and glazed verso, a late Victorian gold bar brooch, a ruby and diamond tie pin, a diamond and pearl pendant tie pin (pearl untested for origin), a Victorian silver whistle, hallmarked for Birmingham 1888, a 9ct gem set floral spray brooch, hallmarked for London 1988, a yellow precious metal necklace, stamped ‘ITALY 9K’, a 9ct amethyst and white stone pendant, hallmarked for Birmingham 2006, and a collet set chalcedony ring stamped ‘9CT’, ring size O, first brooch length 3.1cm. (9) £260-£360
A three colour precious metal and cultured pearl necklace by Pierre Baltensperger, 1970s, designed with juxtaposed linked cylindrical hoops of varying sizes, the larger hoops inset with a cultured pearl of white, pink, grey, silver or black hue, the clasp signed ‘BALTENSPERGER’ with maker’s mark in oval punch and stamped ‘750’, together with a copy of original receipt from Pierre Baltensperger & Cie, Zurich, dated 19th March 1974, neckace length approximately 45cm. £8,000-£10,000 --- Pierre Baltensperger (1927-1999) was born in Zurich, Switzerland, into a family of jewellers. His grandfather Walter Baltensperger had founded the retail and manufacturing jewellers on the Bannhofstrasse in Zurich in 1878. Pierre completed a goldsmithing apprenticeship in Zurich and studied in Paris at the Ecole des Beaux-Arts and at the Académie de la Grande Chaumière. From 1950, he took over the company from his grandfather, and successfully ran the business until 1985, when he passed the management on to his son Stefan, enabling him to concentrate on his paintings and sculpture. He was part of a Swiss artistic movement known as ‘Zurich Fantastic Realism’, his work recognised for its extreme technicality and experimental nature.
Three Georgian silver rectangular vinaigrettes by Samuel Pemberton, all rectangular with canted corners, the first with lid engraved with stylised fruiting vines, gilt interior with plain pierced grill, Birmingham 1808; the second, slightly bowed, engraved with crossed arrows in sheaths, gilt interior, plain pierced grill, Birmingham 1811; the third, slightly bowed with engraved cross hatch and wavy decoration, gilt interior, plain pierced grill, Birmingham 1787, lengths 31mm, 26mm and 23mm. (3) £400-£500
Three 19th century silver vinaigrettes, of rectangular form, the first with engraved foliage and raised border, gilt interior and foliate grill, by Thomas Newbold, Birmingham 1826; the second, with ribbed decoration, and later applied plaque to the lid, gilt interior and foliate grill, by Wheeler & Cronin, Birmingham 1826, and another by the same maker, Birmingham 1844, lengths 35.5mm, 28mm and 27mm. £280-£300
Three 19th century silver vinaigrettes, of rectangular form, the first engraved with flowers and foliage, gilt interior and plain grill, by John Lawence & Co, Birmingham 1833; the second, engraved throughout with ivy leaves, gilt interior and scroll decorated grill, by Hilliard & Thomason, Birmingham 1885; the third, a small gilt example, all with suspension loops, lengths (excluding suspension loops) 31mm, 33mm and 26mm. (3) £220-£300,
Two silver 19th century vinaigrettes and a pill box, the first of rectangular form, with engraved lozenge decoration, gilt interior and plain grill by Ledsam & Vale, Birmngham 1825, with suspensory loop; the second, foliate engraved with flowerhead grill, by Frederick Marson, Birmingham 1872; the third, a tonneau-shaped pill box by Cocks & Bettridge, Birmingham 1813, lengths 28mm (excluding suspensory loop), 26.5mm and 27mm. (3) £320-£400
Four 19th century silver vinaigrettes by Joseph Willmore, all of rectangular form, the first with sarcophagus-shaped lid and base, gilt interior, pierced scrolling floral foliate engraved grill, Birmingham 1821; the second, with scrolling foliate engraved lid and chased borders, gilt interior, pierced scrolling foliate grill, Birmingham 1839; the third, with canted corners and cross weave decoration, gilt interior, plain grill, Birmingham 1816; the fourth, silver gilt, engraved in the form of a purse, plain grill, Birmingham 1820, lengths 34mm, 33.5mm, 22mm and 21mm. (4) £400-£500
Two Victorian silver vinaigrettes, of rectangular form, the first with shaped border and scroll engraved decoration, gilt interior, foliate engraved grill, Birmingham 1853; the second, with quartered foliate decoration, gilt interior, floral decorated grill, Birmingham 1839, both by Edward Smith, both with suspensory loops, lengths 30mm and 23mm (excluding suspensory loops). (2) £180-£220
Four 19th century silver vinaigrettes, of rectangular form, the first, with engraved woven design, the second of reeded design, both with gilt interiors with foliate grills, both by maker TS, possibly Thomas Shaw, Birmingham 1829 and 1825; the third, by John Shaw, Birmingham 1820; the fourth, a silver gilt example, by Francis Clark, Birmingham 1841, lengths 25.5mm, 25mm, 26mm and 24mm. (4) £300-£360
A Victorian silver rattle, with whistle and teether, embossed with flowers and foliage and suspending six bells, with corallium Rubrum coral branch teething bar, by Colen Hewer Cheshire, Birmingham 1879, with suspensory loop, length 13cm. £80-£100 --- Please note that coral is covered by CITES legislation and may be subject to import/export restrictions.
Two silver coin inset toddy ladles with twist whalebone handle, the single lipped example hallmarked for London 1801, maker’s mark rubbed, (second ladle with break to handle at the base), longest handle length approximately 26cm. £60-£80 --- Please note that whalebone may be subject to CITES and may have import and export restrictions.
Two 18th century silver marrow scoops, a silver dog nose spoon and silver ring handled meat skewer, the first marrow scoop by Elizabeth Oldfield, London 1751, the second with maker’s mark ‘ID’, possibly for Isaac D’Olier, Dublin 1793, the dog nose spoon with erased marks and the meat skewer by Atkin Brothers, Sheffield 1925, gross weight 6.35 troy oz. (4) £80-£100
An Edwardian silver sedan chair dance card box by Sampson Mordan & Co Ltd, the exterior profusely scroll and foliate decorated, the side panels showing two scenes of couples dancing, the fall front enclosing a set of seven colour printed dance cards, fully hallmarked with maker’s mark, Chester 1907, stamped ‘Rd 500857’ and numbered ‘4’, height 9.7cm. £200-£260
A silver and Wedgwood jasperware Silver Jubilee miniature box and cover, of circular form with gilded interior, the base engraved ‘LIMITED EDITION OF 1000 No 352’, signed ‘WEDGWOOD MADE IN ENGLAND’ to the inside lid, hallmarked London 1977, cased and with original documentation, diameter 36mm. £30-£40
A Victorian silver table vesta case, of engine turned finish, the hinged lid with crest in circular reserve, the compartmented interior incorporating a candle, on hinged platform, with strike, and enclosing original vestas, hallmarked for ‘J.I’ for John Ivings, London 1851, in original fitted case, the silk signed ‘P & F Scheffer, 27 Piccadilly London’, the case cover engraved with presentation initials, length 7cm, height 2.2cm. £300-£400
An Edwardian silver memorandum case by George Unite, both sides engraved with scrolling foliage with vacant central cartouche, opening to reveal a fitted maroon leather interior, with ivory writing sheet and propelling pencil, maker’s mark, hallmarked for Birmingham 1900, in outer fitted case, dimensions 10.2 x 7.8cm. £100-£120
An early Victorian silver rectangular snuff box by Nathaniel Mills, the hinged cover edged by chased floral borders, with central engraved presentation inscription, ‘Presented by John Halliday, to Mr James Woods, as a token of gratitude for his fidelity and friendship as executor’, the convex sides similarly floral decorated, the base with engine-turned panel, with maker’s mark, Birmingham 1838, contained in fitted leather case, length 6.6cm. £400-£600
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2466194 item(s)/page