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Sir Rod Stewart - British Rock Singer / Songwriter - rare double signed vinyl LP record ' Every Picture Tells A Story '. Signed in black marker by Stewart to the album cover, and in silver marker to the LP itself. Both obtained in person by the vendor, at an appearance in London. Rare.
An incredible and stunning Washington Green Fine Art / Marvel CC Fine Art made Marvel Superheroes large limited edition Giclee art print ' The Invincible Iron Man #47 '. Large canvas reproduction of the original comic book cover. Limited Edition No. 137/195. Signed to the corner by Marvel creator Stan Lee in silver marker. Edition number also stated to corner. With certificate of authenticity. Comes beautifully and professionally framed to a total size of: 112cm x 80cm. As new (only ever unpacked for this auction). A stunning piece of Marvel comic artwork.
An incredible and stunning Washington Green Fine Art / Marvel CC Fine Art made Marvel Superheroes large limited edition Giclee art print ' The Avengers #147 '. Large canvas reproduction of the original comic book cover. Limited Edition No. 137/195. Signed to the corner by Marvel creator Stan Lee in silver marker. Edition number also stated to corner. With certificate of authenticity. Comes beautifully and professionally framed to a total size of: 112cm x 80cm. As new (only ever unpacked for this auction). A stunning piece of Marvel comic artwork.
King Arthur (2004 - starring Clive Owen, Ioan Gruffudd and Mads Mikkelsen) original production used prop Roman shield. Canvas covered wood construction, with a neatly carved handle to reverse. Painted canvas front in blue and silver, with large central fibreglass boss. With certificate from Rare Props. Measures approx; 108cm tall. Rare.
An original vintage ' The Beatles Show ' 1963 concert programme. Silver cover, filled with details regarding the tour and the Fab Four. Along with a period 8x6" black and white photograph of The Beatles with facsimile autographs - ' Great to have you with us ' - depicting the pop stars leaning over a staircase and smiling.
An incredibly rare and important part of British Comedy history: a full scroll of original end-credits from ' Monty Python's Flying Circus ' Series 3, Episode 4 "Blood, Devastation, Death, War and Horror". Originally broadcast on 9th November 1972. The episode famously featured the Eric Idle penned sketch ' The Man Who Speaks In Anagrams ', and the end credits rather uniquely followed the theme of this sketch in that they were all written in anagrams. These credits - silver-printed onto black card - are the original credits as seen in-camera at the end of the episode. They feature the original ' Flying Circus ' artwork as designed by Terry Gilliam, with a list of the main cast, producer, director and assorted crew members. The credits are separated into two piece - namely the ' Flying Circus ' section to the top, and then the entire scroll. One name, approx halfway down has worked loose, and another name towards the end has been later-added (likely due to a last minute change in technical staff working on the episode). The scroll measures approx 15 feet in length, with a large portion towards the end remaining blank. A charming and important surviving relic of Monty Python and British Comedy history. Obtained personally by the vendor, who writes: In the early 1970s, I worked for a leading advertising agency in London as a media assistant. One of my colleagues invited me to attend the BBC’s live filming of a Monty Python TV show. It was episode 30, recorded on 11th December 1971. The show included the sketch: ‘The Man Who Speaks in Anagrams’. At the end of the show, I was introduced to the cameraman, who was a friend of my colleague’s, and he gave the credit scroll to me as a souvenir of the show. It is unique in that it was produced in anagram form, to match the sketch! Final images show the credits as broadcast - copyright BBC.
A collection of 9x boxed Elvis Presley coins and sets to include; Morgan Mint 25th Anniversary Colorized State Quarters set of 10, Morgan Mint Colorized Birthday Quarter, Morgan Mint Colorized State Quarter, Merrick Mint Elvis Birthday 2010 24kt Gold Plated U.S Kennedy Half Dollar And Indiana U.S Statehood Quarter, Morgan Mint presentation card colorized quarter, Morgan Mint Colorized JFK Half Dollar, Morgan Mint Centennial Silver Eagle, Morgan Mint Colorized Silver Eagle Dollar and a Morgan Mint Gibraltar Silver 1 Crown (no certificate). Each complete with certificates.
Two vintage 1960's Beatles concert programmes / brochures. Comprising: a rare original vintage 1960's ' The Beatles Show ' 1963 programme from the Odeon, Weston-Super-Mare in Somerset, where they played six consecutive nights in July of that year. Along with an original ' The Beatles Show ' silver-fronted programme, from the Bristol Hippodrome (likely from their next visit the year after). Centrally folded. Retains its rare ' Coming Soon ' type leaflet for the next show at The Colston Hall including: Billy Fury, Marty Wilde and others. Likely one of the only programmes still retaining this slip-in leaflet from Bristol.
SHEF UTD MEDAL Silver coloured Coca Cola Football League Championship Runners Up 2005-2006 awarded to Paddy Kenny when he played for Sheffield United when they were Runners-Up in the 2005-2006 Championship and promoted to the Premier League. Sheffield United had 90 points finishing 16 points behind Champions Reading. The silver coloured metal medal comes with a Coca Cola lanyard and the medal is inscribed "Coca Cola Football League Runners Up 2005-2006 " with "Coca Cola The Championship" in the middle of the medal. Good
MAN UTD 2006/07 Full Manchester United squad signed blue short sleeve Manchester United shirt, signatures in silver marker pen and they include Ferguson, Queiroz, Rooney, Ronaldo, Scholes, Giggs, Van der Sar, Neville (G), Vidic, Ferdinand, Fletcher, Brown, Evra etc. From mufccollection.co.uk. Good
An early 19th century George III tortoiseshell & ivory banded tea caddy of sarcophagus form with line silver inlays. The sarcophagus shaped hinged lid opening to reveal twin section caddies having banded ivory borders and finial handles. Measures 14cms high x 17 cms wide x 10cms depth
A rare and important mid 19th Century Victorian Markwick and Markham of Borell London Ottoman Empire Turkish Market full hunter silver double cased Verge movement pocket fob watch having a silver engraved decorated case with white enamel face and signed dial. The gilt movement signed and numbered 25679. Hallmarked for London 1842 watch case by John Phillips. Weighs 64.8 grams. Face measures 30mm wide. Case measures 40mm across without bale.
SILVER GILT MASONIC MEDAL, the obverse with central shield motif with enamel initials, within blue enamel border inscribed 'Justice Truth Philanthropy', the reverse inscribed 'Bro John L. Preston Raised 15-2-79 Key and Chain Lodge No 7988', Birmingham marks, suspended from clasp inscribed 'Key and Chain Lge. 7988', approximately 60mm high overall, 19.1g
FRANZ BIBUS 1860 - 1941: A CIGAR BOX 1920s-30s Silver, ivory, mahogany 6 x 31,5 x 22 cm Marked on inside lid "FB" and hallmark "Ag 800" A rectangular box with a hammered lid, ivory handle on front. Wooden lining with compartments inside. The traditional Franz Bibus trademark first appeared in 1896. Originally the company produced small gold and silver chains, but it gradually expanded its range to include boxes and later added flatware and tableware. In 1917 the company changed its name to Franz Bibus & Sohn. Producing silver, alpacca, and galvanized objects, the company remained in business until the 1940s, when František Bibus was forced to sell his company. After World War II the government merged all of the local workshops into a single unit, which was then made a part of theSandrik state-owned enterprise.
MIKULÁŠ MEDEK 1926 - 1974: ACTION I (EGG) 1955-1956 Egg tempera and oil on canvas 116 x 93 cm Signed lower right: "I.X.1955 - 10.II.1956 - MEDEK" Painter Mikuláš Medek occupies a leading position in Czech post-war art due to the original expression, profound meaning, and unique spirituality of his work. He also proved his artistic independence and spiritual dimension during the communist regime, which was a harsh adversary of modern art and free thought. In each of his early paintings he addresses new, deep problems that border on questions of life itself, with a style building on pre-war Surrealismthat is assisted by the extremely precise descriptiveness of the objects depicted and the narrativeaccentuating the emotional impact on the viewer, creating an imaginative space and developing the popular medieval concept of the painting-within-a-painting. He builds the composition from several seemingly independent objects connected with differing actions that he occasionally undertook with his wife, Emila Medková, and reflected the artist's physical states and psychoanalytical thoughts. His characters are set in empty, tight spaces delineated by orthogonal and transversal lines; his own style of Mannerist, puppet-like figures are executed with exact outlines. In Medek’s work, the deformation of the original concrete model is attached to feelings of feverish hallucinations, with elongated hands, expanded heads and hair stylized into flat barbs. Medek believed blue and red were the only absolute colors: “Colors are perfect when they are made out of metal – blue out of iron and silver, red out of gold.”In 1955 he started to paint his Action series from a larger series of paintings titled Naked in Thorns, which Ludmila Vachtová described the following year in an article in Tvar magazine; her text represents the first information published about Medek’s work: “Now he is concerned with expressing the conflict that arose by placing today’s man in the world, with creating a sort of modern mythology that has been constrained at times and is now permeating into symbolism, but is impressive for its sense of urgency. This symbolism is not the pretext, but the result of a new view of the most commonplace actions that are the most mechanized in our lives, ones that have become stereotyped. Because the painter has discovered conflict within them, they have the strength to become mythologies. His view can be interpreted as narrow and one-sided, but you cannot deny its right to exist. If we say humankind, world and life, we cannot exclude from this group the anxiety of mankind, anxiety from the things, situations and relationships that surround him and often bury him.”A painter, illustrator and writer born to a well-known intellectual and artistic family (grandson of the painter Antonín Slavíček, son of writer and General Rudolf Medek, and brother of Ivan Medek), Mikuláš Medek attended the State School of Graphic Design, attended Vlastimil Rada's studio and the Academy of Fine Arts in Prague, and was a student of František Tichý and František Muzika at the Academy of Arts, Architecture and Design in Prague. He was expelled in 1949. He participated in activities held by the Surrealists (Teige, Effenberger, Fára, Istler, Tikal) and took part in compiling art anthologies, but he was not allowed to work as a professional artist. Initially influenced by the Surrealists, he later became a leading figure of Czechoslovak Art Informel and non-figurative painting. He has created a number of installations for chapels in South Moravia (Jedovnice, Senetářov, Kotvrdovice) and the international offices of Czechoslovak Airlines (including Paris, New York, Damascus, Prague–Ruzynì)and his paintings are represented in public and private collections around the world. His work significantly overlaps with the photography work of his wife, Emila Medková. The contextual cogency, the magical power of his painterly style, and the spiritual energy emanating from Medek’s oeuvre, as well as its message to younger generations, make Medek one of the most important and most original artists not only on the Czech scene, but in the entire painting world of the mid-20th century. Medek’s work is represented in a number of Czech and international public institutions as well as in private collections.The last exhibition of the artist’s work was held at the Rudolfinum and the Auditorium of the Academy of Fine Arts in Prague; the National Gallery in Prague is preparing a large Medek exhibition scheduled for next year.Drawing for the painting: Action I Egg, 1955, charcoal, packing paper, 1140 x 780 mm, Olomouc, Museum of Art, inv. no.: Km14636.Exhibited at: I. Exhibition of Contemporary Czech Visual Artists, Prague, Charles University Faculty of Arts 1958, cat. no. 23| Mikuláš Medek: Obrazy 1947–1965 (Paintings 1947–1965), Prague, New Hall Gallery 1965, cat. no. 5| listed in the exhibition catalogue Mikuláš Medek, Hradec Králové Regional Gallery 1969, cat. no. 23, not exhibited | Mikuláš Medek: Souborné malířské dílo (Collected Oeuvre), Brno, Brna House of Arts – Prague City Library 1990, not listed in the catalogue, exhibited in Prague.Reproduced in: Tvar, vol. 8, no. 9, 1956, p. 281, fig. 775| Svobodné slovo, 22 March 1958| Výtvarná práce, vol. 13, no. 8, 17. May 1965, p. 5| Mikuláš Medek: Obrazy 1947–1965 (Paintings 1947–1965), Union of Czechoslovak Visual Artists 1965, cat. no. 5| Mikuláš Medek, Hradec Králové Regional Gallery and Art Centrum Prague 1969, cat. no. 23| Bohumír Mráz: Mikuláš Medek, Obelisk, Prague 1970, fig. 28, reproduced in color | Mikuláš Medek: Souborné malířské dílo (Collected Oeuvre), Brno, Brna House of Arts 1990, reproduced b&w| BOX, no. 3, January 1993, back cover, mirror inverse on front cover | Mikuláš Medek: Texty, Torst 1995, p. 280, reproduced b&w | Umění, vol. 45, no. 5, 1997, p. 489–500| Mikuláš Medek, Gema Art, Prague 2002, p. 43| Analogon, no. 38–39, 2003, p. 25.
JOSEF HOFFMANN 1870 - 1956: VASES FOR VIOLETS Cca 1906 Austria Vídeň Silver and glass 6,5 cm Marked: "EFCF" These vases for violets are from the workshop of Wiener Werkstätte and were created based on a design by Josef Hoffmann, a co-founding member of the workshop, decorator and architect whose interiors were supplied in part by Wiener Werkstätte. Production was initiated through the collaboration of the country’s best designers using the latest technologies. Wiener Werkstätte was focused on quality of workmanship and on interesting detailing, striving to free itself from excessive ornamentation and emphasizing simple forms and quality material. These vases, lined with glass and featuring a silver geometric cover, were remarkable for the Viennese workshops.
JOSEF HOFFMANN 1870 - 1956: VASES FOR VIOLETS 1906 Austria Vídeň 6,5 cm Marked: JH, WW These vases for violets are from the workshop of Wiener Werkstätte and were created based on a design by Josef Hoffmann, a co-founding member of the workshop, decorator and architect whose interiors were supplied in part by Wiener Werkstätte. Production was initiated through the collaboration of the country’s best designers using the latest technologies. Wiener Werkstätte was focused on quality of workmanship and on interesting detailing, striving to free itself from excessive ornamentation and emphasizing simple forms and quality material. These vases, lined with glass and featuring a silver geometric cover, were remarkable for the Viennese workshops.
Canteen of shell pattern silver flatware comprising of twelve dinner forks, twelve dessert spoons, twelve dessert knives, eight tablespoons, together with a further twelve teaspoons which are different dates and makers, various different dates between 1918-1920 but same maker, 2778 grams, together with further selection of shell pattern knives with silver handles various dates and makers
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2475480 item(s)/page