We found 4612 price guide item(s) matching your search
There are 4612 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
4612 item(s)/page
Lot 512
A COLLECTION OF INSTRUMENTS, ETC, to include a Richards Steam Engine indicator with wooden box (incomplete), boxed TS15/AP Flux Meter, C Baker of London monocular microscope, boxed Rabone Chesterman Engineers spirit level, boxed Starrett micrometer and depth micrometer, drawing instruments, etc
Lot 233
Sixteen various penknives and similar, Corry & Co. Saynor single blade penknife, "The Boys Favour" penknife, mother-of-pearl multi-tool pocket knife, "The Royal Family" and Royal Wedding 1981, souvenir knives, John Watts "Kings and Queens if England", small Preston spirit level, Zippy letter opener.
Lot 179
Heaney, Seamus 23 books, including three signed The Testament of Cresseid & Seven Fables. London: Faber and Faber Ltd., 2010. 8vo, softcover, signed and inscribed to Eric Dickson with a poem on the title-page by Seamus Heaney, with a loosely inserted signed card; The Burial at Thebes. London: Faber and Faber Ltd., 2004. First impression, signed on the title-page, dust-jacket not price-clipped; and two further copies, unsigned Electric Light. London: Faber and Faber Ltd., 2001. First impression, signed on the title-page, dust-jacket not price-clipped; and five further copies, unsigned; The Spirit Level. London: Faber and Faber Ltd., 1996. 8vo. original green cloth gilt, dust-jacket not price-clipped; and two further copies; Human Chain. London: Faber and Faber Ltd., 2010. First impression, dust-jacket not price-clipped; Preoccupations, selected prose 1968-1978. 8vo, dust-jacket price-clipped; Finders Keepers, selected prose 1971-2001. London: Faber and Faber, 2002. First impression, dust-jacket not price-clipped; Sweeney's Flight. London: Faber and Faber, 1992. Original green cloth gilt, dust-jacket not price-clipped; and 6 others (23)
Lot 429
A PAIR OF GEORGE V PIERCED OVAL SILVER SALT CELLARS, BLUE GLASS LINERS, 53M L, BY THE GORHAM MANUFACTURING CO, BIRMINGHAM 1919, THREE SILVER NAPKIN RINGS, A SILVER CIGARETTE CASE, A MINIATURE VICTORIAN MAPLE SNUFF BOX, A BRASS VESTA CASE AND OTHER BYGONES AND WOKRS OF ART TO INCLUDE MAGIC LANTERN SLIDES, BRASS TOBACCO BOX, GLASS PAPERWEIGHTS, WOODEN MATCHBOX SLIDE, THE LID PAINTED WITH A LAKE LANDSCAPE, MINIATURE BRASS MOUNTD STEEL SPIRIT LEVEL, A VICTORIAN BRASS SOVEREIGN BALANCE, CHAIN MAIL PURSE, JAPANESE WOOD NETSUKE, ETC, 4OZS 12DWTS APPROX SILVER Generally good condition. One of the blue glass liners damaged
Lot 68
Early Surveyors Level By Troughton & Simms, London,English, c.1830, signed in script to the silvered compass rose 'Troughton & Simms London' and further engraved by the owner (?) 'Dudley Timperley's', with rack and pinion focus (worn), four pillar mounted compass above large spirit level, eyepiece diagonal lacking prism, lacking adjustable screw base, in original mahogany case 68cm long
Lot 80
A surveyor's level in a mahogany case, A C Thornton, Manchester, late 19th century, stamped L 12, with spirit level and compass, the case with later label for W.F. Stanley, London dated 18th Sept. 1939, the case 12cm high, 44cm wide, 14.5cm deep Condition Report: The box with Marks, knocks, scratches, abrasions, consistent with age and use, scuffs and staining, the interior with baize and blocks to secure the internal elements. There is a vacant aperture for a lens or similar,Stanley label in good order, the front of the case is painted L 12 - this has been added laterDreweatts have not tested the workings and cannot make any guarantees or comments as to accuracy - we suspect this is incomplete and does require further elements There is no key to the case,Please refer to additional images for visual reference to condition Condition Report Disclaimer
Lot 536
Electrical and Other Measurement Equipment, including an Evershed & Vignoles direct reading resistance box for use with a "Megger" instrument, a Muirhead decade resistance box, a military surveyor/mapping rule in wooden case, a Rabone wooden spirit level, several hinged measuring rules, a Fowler circular long scale calculator in a leather case
Lot 840
Heaney (Seamus). Opened Ground. Poems 1966-1996, 1998; Station Island; District and Circle, 2006, 1st editions, Station Island 2nd issue in black cloth & without front free endpaper as issued, original boards, dust jackets, 8vo, each signed to title by the poet, together with 13 others by Seamus Heaney, all 1st editions except New Selected Poems 1966-1987, 2nd impression 1990 & The Redress of Poetry, 2nd impression, 1995, including Field Work, 1997 (spine faded), Preoccupations. Selected Prose 1968-1978, 1980, Sweeney Astray, 1983, The Haw Lantern, 1987, The Government of the Tongue,1988, Seeing Things, 1991, The Spirit Level, 1996, Beowulf, 1999, Electric Light, 2001, and The Burial at Thebes,2004Qty: (21)
Lot 336
* Wallis (Barnes Neville, 1887-1979). Autograph notes, 29 April 1968, an incomplete account in blue ballpoint pen, dated and titled 'En route from Scampton to Wisley, after witnessing the Ceremonial Stand-Down of Bomber Command', in full, 'How can one very simple unworthy person express all that this day has signified to the hundreds of people who were present at this historic ceremony - impossible of course to do more than tell the effect on myself - impressionable, emotional, and now alas old. To begin with this is no well-thought-out carefully planned description; it is only a simple record of my thoughts, as they come into my mind. Why was I asked? Why do I seem to receive so much credit (?) honour (?) respect from all whom I meet and know in the RAF. I am, and know I am, and who could know better a very simple, rather slow, and, inside, I think a genuinely humble man, stumbling along as best I can, doing what I know. Norbert Rowe would describe as the Will of the Holy Spirit and what I think Leonard Cheshire would describe in the same way. How can one explain in any other way why or how ideas come into my mind? What makes me so desperately keen to continue their fulfilment? What is the force that drives me on? Sometimes boasting that this or that can be done, when I have no firm idea as to how the desired result can be contrived. As I so often say "if a thing is obvious, and easy, and something that man needs, and would be the better for having then it would have been" ending abruptly, one page, a little creasing, foolscap folio, together with 5 further foolscap folio sheets with autograph fragments by Barnes Wallis, one an opening paragraph for an attempt at an autobiography, beginning 'How I wonder does one write an autobiography?', another a first page draft of a letter to Victor about airships, 'It did not require any mystic prescience for any level-headed and sane person to realise that R101 was doomed from the start. To begin with Richmond was a dope expert whose only experience of airships (as far as I know) was with small non-rigids, and some purely theoretical articles that he had written; and how misleading they can be... ', plus 3 further sheets of unrelated notes, all struck through with pencil, plus a 3-page manuscript inventory of articles taken by Barnes Wallis to Camp in 1951, written on rectos of 3 foolscap folio sheetsQty: (9 leaves)NOTESProvenance: From the family of Barnes Wallis, by direct descent. A small but revealing group of fragmentary notes and thoughts, offering good insights into the character and personality of Barnes Wallis.
Lot 115
* W. Watson & Sons "Acme" plate camera. W. Watson & Sons "Acme" mahogany and brass 8 x 10 inch plate field camera, early brass lens with Waterhouse slots marked "A. Ross, London, No 6794, Orthographic Lens", inside of lens board marked "Patent Light Tight Joint", set of J.H. Dallmeyers Waterhouse stops in leather case, square maroon extension bellows with two side tabs each side, rack and pinion sliding bed, glass focussing screen measures 8 x 10 inches, two wooden holders measuring 9 1/8 x 11 1/4 inches externally and 8 x 10 inches internally plus another smaller holder, brass spirit level mounted on sliding bed at front, complete with canvas storage bag (worn) and cloth hoodQty: (1)NOTESProvenance: Purchased by the vendor at Christie's on 21 June 1984, Lot 235
Lot 1208
A modified Mamod TE1a Steam Tractor and boxed SEL Stationary Engine, the TE1a with added 'footplating' to front end, rubber tyres fitted, plain front to smokebox and extended reversing control, an earlier example with water level plug, complete with scuttle and spirit burner, P-F, together with a boxed SEL 'Minor No 1520' engine with burner and original 'Merit' instructions, F-G, boiler appears painted with gold paint, box P-F, much taped, and a red pump-type oil can
Lot 68
Four walking sticks, including an Edwardian walking stick with spirit level (lacking liquid) and scaled ruler, with horn handle, 93cm, one with gold plated mounts, one carved with monkeys in the jungle and the other with silvered bands, and an oak walking stick/umbrella stand, carved frieze with turned supports, on pad feet, 34.5cmx24.5cmx70cmH
Lot 266
* A late 19th century horse measure, having a folding boxwood rule with inch scale and brass spirit level and further brass tape measure, the arm of the rule stamped Cooper W. Jones & Co Patent No. 1326B, 21cm, housed in the original leather pouch, together with an Eldonian Horse Measure, in leather case. (2)Condition report: From ‘A Broad Collection from a lifetime by The Broads’ - a large single-owner collection of rural bygones and museum-quality taxidermy from some of the most renowned ‘animal and bird preservers’ from the Victorian era and later. Read more about the collection here.
Lot 471
* An early 20th century painted pine horse measure, measuring up to 18 hands, the angular arm with inset spirit level, 220cm.Condition report: From ‘A Broad Collection from a lifetime by The Broads’ - a large single-owner collection of rural bygones and museum-quality taxidermy from some of the most renowned ‘animal and bird preservers’ from the Victorian era and later. Read more about the collection here.
Lot 12
Banksy (British, b. 1975)London, New York, Bristol (Heavy Weaponry), 2000 tagged Banksy (centre); dated and numbered 10/10 2000 (on the overlap)spray paint and emulsion on canvas 57 x 54 cm.22 7/16 x 21 1/4 in. This work is number ten from an edition of ten unique examples and is accompanied by a certificate of authenticity from Pest Control Office.Footnotes:ProvenancePrivate Collection, UKArtificial Gallery, LondonAcquired directly from the above by the present owner in 2015One of the definitive artists of the new millennium, Banksy has left an indelible mark on the walls of art history as a true maverick of the genre. In a unique work from a rare edition of 10, London, New York, Bristol (Heavy Weaponry), 2000, encapsulates the provocative, jocular spirit of a career defined by its irreverence, satire, and defiance. From his emergence as a figurehead of Street Art, Banksy has risen to the heights of global superstardom through a course of breakthrough exhibitions, political activism, and artistic showmanship. Here, his gritty style and piquant humour is on display with typical panache – a masterclass in stencil and spray paint on canvas. Known for his sardonic wit and pointed irony, Banksy has never shied away from a searing commentary of the art world that has embraced him nor the troubled politics and issues of his time. Like all great artists, Banksy's aloofness and ardent refusal to heed his now-celebrity status has only cemented his legacy as a true outlier and hero to the public who view him in the vein of Robin Hood, undermining and ridiculing the established order. He is the embodiment of that peculiarly British, self-effacing sense of humour whereby he mocks the faux seriousness of artists and the powers-that-be. He is polemic, scathing and satiric and everyone is a possible target, including himself.In true Banksy style, the present work is littered with a variety of symbols and motifs that have recurred throughout the Bristol-born artist's practice, standing in for his idiosyncratic style of commentary and mode of image making. An oversize barcode, an elephant backpacking a missile, and the names of the cities that early on bore the stencils of the lesser-known master in the 1990s and early 2000s. The painting feels charged with a veiled anti-war sentiment, mocking the commoditisation of military engagement. Banksy's own 'heavy weaponry,' however, remains his stencil and the art of the image, and London, New York, Bristol (Heavy Weaponry) reads as much a declaration of intent for artistic intervention in these locations as a critique of militant malpractice. Indeed, as Banksy's has recalled, 'as soon as I cut my first stencil I could feel the power there. I like the political edge. All graffiti is low-level dissent, but stencils have an extra history. They've been used to start revolutions and to stop wars' (the artist in 'The Story Behind Banksy,' Will Ellsworth-Jones, The Smithsonian, February 2013, online).His taste for theater, black humour and activism have distinguished him from his street art kin such as Blek Le Rat and Shepard Fairey, and placed Banksy in a category of his own. Undoubtedly, his anonymity and resilience as a political entity in his own right – who single-handedly became a symbol of hope stenciling graffiti in the Gaza Strip in 2015, and more recently launched an independent search-and-rescue vessel for asylum seekers adrift in the Mediterranean – has meant Banksy's legacy is unrivalled in its depth and scope not only in graffiti circles, but in the art world at large. At his core, he remains one of the greatest artists of our time, and the present work is a veritable embodiment of the adroit hand, cunning mind and values that have made him so celebrated and his works so highly sought-after.Presented here for sale is such a painting that demonstrates the British artist's indisputable and enduring currency as social commentator and contemporary artist. His technique remains singular and immediately identifiable. For so long the 'elephant in the room' of the art world, his legacy is secured as a definitive artist of the period, and London, New York, Bristol (Heavy Weaponry) stands as one of those most rare Banksy paintings on canvas that is a unique work from a very limited edition.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Loading...-
4612 item(s)/page