There are 2475480 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeA George V silver sugar caster and milk jug, William Neale Ltd, Birmingham 1927, each of baluster form on pedestal foot with beaded borders, caster with pierced pull-off cover, 16.5cm high (at fault), milk jug with acanthus capped scroll handle, 14.8cm high (at fault), together with a silver pepperette, of urn form on square foot with pierced pull-off cover, Greek-key decoration to borders, 12.5cm high, gross weight 8.72ozt (3)
A selection of silver and silver coloured tableware and accessories, to include; a Tiffany silver floral brooch, 64mm long, a silver mounted bottle coaster, P H Vogel & Co, London 1979, 9.3cm wide, a novelty silver caddy spoon, A J Bailey, Birmingham 1930, 6.2cm long, a George VI silver pin dish, Charles S Green & Co Ltd, Birmingham 1942, 10.5cm wide, a cased silver mounted magnifying glass and letter opener, George Wish, Sheffield 1913, a silver pencil, Walker & Hall, Birmingham 1958, 12.3cm long, a silver cased Yardio-Led pencil, Johnson, Matthey & Co, London 1960, 12.2cm long, a pair of silver napkin rings, ten assorted commemorative coins, a pair of silver coloured grape snips, a glass hip flask with silver coloured cap and detachable stirrup cup, and a further assortment of tableware and accessories (Qty)
An early 20th century Chinese silver coloured enamel server, shield-shaped blade with tapering planished handle, applied enamel 'Shanghai' flag, marks for Tuck Chang, 25.7cm long, together with a matched set of four silver coloured enamel teaspoons, two each for 'Shanghai' and 'Hong Kong', each marked 'TC', 12.8cm long, and a set of six silver coloured teaspoons for The Shanghai Scottish Volunteer Corps, each marked 'TC', 12.8cm long, gross weight 9.06ozt (11)
A George V silver rose bowl, Walker & Hall, Sheffield 1914, of circular form with shaped flared rim on pedestal foot, lion mask twin handles, 14.5cm high, weight 17.02oztCR; No inscriptions. Large dent to the foot which has led to slight misshaping, and a few other small dents to the foot. There are a few small dents to the bowl. Scratching and wear throughout, mostly concentrated to the inside of the bowl, commensurate with age and use. Shaped rim, masks and handles in good order, no large dents, splits, major damage or repair. Handles move smoothly. Hallmarks and marks to base crisp and clear.
A George V five-piece silver mounted dressing table set, Walker & Hall, Sheffield 1922, comprising handheld mirror, two hair brushes and two clothes brushes, each decorated with engine-turned radial decoration and embossed foliate borders, mirror 26.8cm long, together with a late 19th century base metal chatelaine, 36cm long, a silver napkin clip, marked for 'CCP', London 2000, 52mm long, and a further example, A J Poole, Birmingham 2009, 50mm long (8)
A Victorian three-piece silver tea service, Goldsmiths & Silversmiths Co, London 1889, comprising teapot, sucrier and milk jug, each of compressed circular form with half-wrythern decoration on pedestal feet, each engraved with heraldic crest of a bird facing Dexter, teapot with ebonised wooden knop and handle, 15cm high, gross weight 35.73ozt (3)
An early 20th century Chinese export silver sugar caster, of urn form on circular pedestal foot with pierced pull-off cover, body embossed with a four-clawed dragon, marked to foot 'ZEE WO' and Chinese character mark, 19cm high, weight 5.83oztCR; Several nibbles and small chips to the high points of the cut glass bodies on both examples. Both show blowing faults within the glass. No large cracks or fractures to the glass bodies. Several dents to the high points of the decoration on the silver caps, but no splits or signs of repair. Both examples show scratching and wear throughout commensurate with age and use.
A late Victorian silver bon-bon dish, Fenton Brothers Ltd, Sheffield 1899, of circular form with shaped scalloped rim, border embossed with scrolling foliate detail, inscribed to base 'Hamilton & Co Calcutta', 16.6cm wide, together with an Edwardian silver card salver, probably Charles Horner, Birmingham 1903, of circular form with scrolling rim and pierced border, 20.5cm wide, gross weight 11.06ozt (2)
A pair of Victorian silver pepperettes, Sibray, Hall & Co, London 1891, each of baluster form on circular foot with pierced pull-off cover, with shell and foliate detail to body, each 11.5cm high, together with a Victorian silver pepperette, Jay, Richard Attenborough & Co, Chester 1898, 9.2cm high, and a Victorian silver open salt, Stokes & Ireland Ltd, Chester 1899, 4.3cm high (lacking liner), gross weight 6.48ozt (4)
An Edwardian silver bon-bon dish, Joseph Gloster, Birmingham 1902, of oval form with shell and scroll border, repoussé and pierced decoration to bowl, Rd. No. 332651, 22cm x 16.3cm, together with a late Victorian bon-bon dish, Florence Warden, Chester 1897, 16.5cm x 12.7cm, and an Edwardian silver pin dish, Chester 1907 (maker's mark worn), 11cm diameter, gross weight 8.77ozt (3)
A Victorian silver bon-bon dish, London 1839 (maker's marks worn), of circular lobed form on pedestal foot, embossed scrolling floral borders, gilt interior, 6.1cm high, together with a cased set of six silver reproduction Charles II 'Trifid' Lace Back teaspoons, Francis Howard Ltd, Sheffield 1973, each 10.4cm long, and a five silver George V teaspoons, Northern Goldsmiths Co, Sheffield 1933, each 10.1cm long, within case, gross weight 9.50ozt (12)
A George III silver cream jug, Charles Hougham, London 1777, of baluster form with shaped rim on pedestal foot, acanthus capped scroll handle, embossed floral decoration, 11.3cm high, together with a late Victorian silver cream jug, William Aitken, Chester (date letter worn), of lobed oval form with angled handle, embossed scrolling foliate detail and gilt interior, 12.7cm long, gross weight 6.63ozt (2) CR; Charles Hougham jug: Dent to the rim of the foot. Mid-sized split and loss to the rim around the handle, possible signs of solder repair. Some misshaping to the spout. Light denting throughout, scratching and wear commensurate with age and use throughout. See pictures for illustration. No inscriptions.
A pair of George III silver salts, marks for 'W.S' London 1785, each of navette form on oval pedestal foot with beaded borders, blue glass liners, engraved with heraldic crest of a phoenix facing dexter, each 11cm wide, weight (excluding liners) 5.99ozt (2)CR; One glass liner has a couple of very small chips to the rim, as well as moderate scratching commensurate with age and use, but neither show large fractures or splitting. Heavy wear to the gilt lining and heavy scratching. Some light denting to the bowls, moderate scratching and wear commensurate with age and use, but no splitting, major damage or repair. Moderate loss of definition to the beaded borders, some wear to the engraved crests. Both examples sit flat on a level surface.
A George V silver sauce boat, Edward Barnard & Sons Ltd, London 1935, of typical form with shaped border, scrolling handle on three shell-capped hoof feet, 15.6cm long, together with a pair of Victorian silver sugar tongs, John & Henry Lias, London 1847, 14.3cm long, a pair of Victorian silver apostle spoons, I S Greenberg & Co, Birmingham 1888, each 12.2cm long, and five further assorted silver spoons, gross weight 10.08ozt (9)
A pair of Edwardian silver mounted glass dressing table jars, London 1906, of typical spherical form with star cut bases and silver pull-off covers, 11cm high (2)CR; Several nibbles and small chips to the high points of the cut glass bodies on both examples. Both show blowing faults within the glass. No large cracks or fractures to the glass bodies. Several dents to the high points of the decoration on the silver caps, but no splits or signs of repair. Both examples show scratching and wear throughout commensurate with age and use.
An early 20th century Champion & Wilton EPBM picnic set in leather holder, containing a sandwich tin and glass flask with bayonet top, tin 14.5cm wide, flask 14.5cm high (2) CONDITION REPORT:The glass flask shows no obvious chips, cracks or losses. The bayonet cap locks and has a cork seal but may not be watertight. The sandwich tin shows fine surface scratching and wear throughout. The silver plate shows some raised corrosion spots and losses to the plate around the edges of the tin. The leather case shows surface wear and scratching throughout, a small gouge approximately 7mm wide to the base and another approximately 15mm wide around the lower edge of the maker's mark, but the stitching appears to be intact throughout. The stud catch is functional. The shoulder strap lugs are secure but the case lacks the strap.
A collection of mainly British coinage and medallions, to include a Thomason and Jones, Emperor Napoleon medallion 'Died 5th May buried in Ruperts Valley St Helena 9 May 1821', 53mm diameter, in fitted case an assorted collection of George III 1797 cartwheel twopences, a Charles II crown dated 1662 and later examples including George III, George IV and Victoria and a further quantity of coins and medallions, three Stafford penny's, early silver hammered holed coins including two Elizabeth I examples, William and Mary, George II example etc (Qty)
The History of the Great Plague in London, in the Year 1665. 1754. Daniel Defoe. Publisher: London: for F. and J. Noble, 1754. One volume book, 8-1/16" x 5-1/4", [ii]376pp., complete, includes the publisher's ads. Bound in half leather brown calf leather, marbled boards, silver letters to spine. Toning and foxing to text pages.
A J.W.Benson half hunter silver pocket watch, engine turned outer case, the dial marked J.W.Benson London, sunken subsidiary dial, case diameter 5cm, together with a J.W.Benson cased silver pocket watch, the case with Continental hallmarks and marked JWB with additional J.W.Benson Royal Warranty engraving, the dial and movement seemingly unmarked, case diameter 5cm
JOEL PETER WITKIN (Brooklyn, 1939)."Side Show, Budapest, 1993.Gelatin silver photography.Edition 1/12.Signed on the back.Size: 99 x 106 cm, 108 x 111 cm (frame).Peter Witkin is one of the most prominent and controversial photographers of our time, famous for his provocative works revolving around death, religion, myth and allegory.During the 1950s he obtained his first camera, using it without any prior training in photography. Already at that time, his first pictures showed quite unusual scenes, which began to reflect his concerns and experiences related to his past experiences. The repetition of scenes in which corpses, transsexuals, dwarfs, hermaphrodites or deformed people are present is related to an accident he witnessed as a child. His photographs, since then, are generally based on metaphors about life and death, some of them inspired by ancient works of art and religious passages, where he acknowledges Giotto as an influence, as well as artistic nods to the works of Goya or El Bosco, making use of the iconography of art history as a backdrop for his subjects. His main objective is to bring out that hidden side of society in general, that somewhat disturbing side that few dare to explore for themselves at some point in their lives, many do not even get to know it.Today, his works can be found in the collections of the Museum of Modern Art in New York, the J. Paul Getty Museum in Los Angeles, the National Gallery in Washington, DC, the Victoria and Albert Museum in London and the Centre Georges Pompidou in Paris. The artist currently lives and works in Albuquerque, NM.
FRANÇOISE HUGUIER (France, 1942)."Jeune fille, pays lobi, Mali", 1996.Gelatin silver print.Edition 9/200.Signed and numbered in pencil.Size: 30,5 x 40,5 cm.Françoise Huguier debuted as a photographer for the first time in 1976, obtaining in 1983 the possibility to photograph the world of cinema, politics, culture and fashion working for Le Journal Libération, as well as working for magazines such as Vogue, The New York Times Magazine or Women's Wear Daily. At the same time, he began a personal work of photo-documentation, portraying scenes from Africa, Siberia and Japan. Her admiration for Africa led her to return on several occasions with the intention of photographing the intimacy of African women, resulting in a total of 200 black and white photographs and a first book entitled "On the Trail of Ghost Africa".Established in the world of fashion, she knows how to alternate with ease snapshot photography, mise-en-scène, portrait and landscape, thus obtaining an artistic career that has allowed her to obtain an eclectic work for more than forty years. His works initially acquired monochrome colours, showing a great scenographic and compositional delicacy, but it was in 1980 when his photographs acquired colour thanks to his dedication to fashion, in which the thicknesses, materials and compositions are richly highlighted.Her cosmopolitan universe, marked by photographic design and an unconventional documentary aesthetic, reflects her continuous commitment to photography, whether in reportage, fashion, portraits or cinema, knowing how to reflect her personal and original view.In addition to her career, she has been recognised for her involvement with Africa by creating the first Bamako Photography Biennial in Mali.
MANOLO VALDÉS (Valencia, 1942)."Eva III", 1993.Etching and collage on paper. Copy 51/51.Signed and justified in pencil at the bottom.Measurements: 165 x 65,5 cm.In this engraving intervened by the artist, the figure of Eve is shown, inspired by the painting of the same title, painted in 1507 by Dürer, which belongs to the Museo del Prado Collection. Valdés rescues this figure from the Old Testament, bringing her body into the contemporary world, reducing it to an aesthetic language of synthetic and schematic forms that preserve the devotional and iconographic expression of the religious figure, who maintains her nimbus of sanctity and her modest posture. Valdés dispenses with the iconic apple and in its place introduces the image of a flower, which he arranges over the sex of the protagonist. This reference also alludes to the work of Dürer, who made numerous drawings inspired by flora and fauna, but the image of the flower also adds a conceptual and metaphorical reading to the piece, which in a veiled way conveys the idea of birth.Manolo Valdés introduced in Spain a form of artistic expression that combines political and social commitment with humour and irony. He began his training in 1957, when he entered the San Carlos School of Fine Arts in Valencia. However, two years later he abandoned his studies to devote himself fully to painting. In 1964 he founded the artistic group Equipo Crónica, together with Juan Antonio Toledo and Rafael Solbes, in which he remained until the latter's death in 1981, despite the fact that Toledo had left the group two years after its foundation. Since then he has settled in New York, where he currently lives and where he has continued to experiment with new forms of expression, including sculpture. Among the numerous awards Manolo Valdés has won are the Lissone and Biella awards in Milan (1965), the silver medal at the II International Biennial of Engravings in Tokyo (1979), the Bridgestone Art Museum prize in Lisbon (1979), the National Plastic Arts Prize (1983), the medal at the International Festival of Plastic Artists in Baghdad (1986), the Decoration of the Order of Andrés Bello in Venezuela (1993), the prize of the National Council of Monaco (1997), the Gold Medal for Merit in Fine Arts (1998), the Prize of the Spanish Association of Art Critics (2000) and the Prize for the Best Print Artist (2002), among others. With Equipo Crónica, Valdés used figuration as a vehicle of expression for his approaches, for his criticisms of art, society and politics, but prioritising above all other content the pure act of painting. From the thematic point of view, Valdés was inspired by the art of the great masters of painting: Goya, Velázquez, El Greco, Ribera and Zurbarán, and he never concealed his models, but rather emphasised them, even in the titles of his works. Formally, he produces a large-format work in which the lights and colours express tactile values, due to the treatment given to the materials. His work forces the observer to delve into memory and search for significant images from the history of art. Valdés is represented in some of the world's leading museums, such as the Reina Sofía in Madrid, the Metropolitan, the MoMA and the Guggenheim in New York, the Centre Georges Pompidou and the Fons National d'Arts Plastiques in Paris, the Kusnthalle in Hamburg, the Kunstmuseum in Berlin and the Museo de Bellas Artes in Bilbao, among many others.
Loading...
