We found 49472 price guide item(s) matching your search
There are 49472 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
49472 item(s)/page
Lot 234
Quantity of vinyl records including David Gilmour 'Rattle That Lock', Johnny Cash 'and the Royal Philharmonic Orchestra', Paul Simon 'The Ultimate Collection', Don McLean 'American Pie', Spirit 'The Adventures of Kaptain Kopter & Commander Cassidy In Potato Land' and other music, approximately 100, in one box
Lot 316
GT Spirit - A rare limited edition Rolls Royce Silver Shadow II in 1:18 scale in resin. The car appears Mint and is still screwed into the packaging. The box is Good with some storage marks and a small 2 cm tear at one end.Condition Report - The model appears to be in Mint condition and has its Flying Lady.
Lot 462
AMERICAN STERLING SILVER TEA SERVICE, by Wallace, comprising teapot, milk jug, covered sugar bowl, spirit kettle and tea tray, each of footed bulbous form with gadrooned body, scroll and floral cast rim, scroll and foliate finial, beaded borders, the spirit kettle stand on double C-scroll legs on pad feet, 40cm high, approximately 8300g gross
Lot 10
PABLO PICASSO (1881-1973)Chapeaux d'arlequin (recto); Arlequin (verso), circa 1918 signed Picasso (lower left) black crayon on paper, double sided19.9 x 10.5 cm.7 13/16 x 4 1/8 in.Footnotes:The authenticity of this work has kindly been confirmed by Monsieur Claude Picasso.ProvenanceMarcel Michaud Collection, Lyon (acquired from the artist in 1943)Françoise Dupuy-Michaud Collection, France (by descent from the above circa 1951)Anon. sale, London, Charity Auction, 30 November 2015Acquired directly from the above by the present ownerPablo Picasso's Chapeaux d'arlequin (recto) and Arlequin (verso) is a testament to the artist's early 20th century innovations in illustration, painting, stage and set design. It showcases one of Picasso's most peripatetic periods, during which he collaborated with major composers, dancers, choreographers and artists that were together crystallising the tenets and aesthetics of Modernism – a movement with Picasso at its epicentre. Quite serendipitously, this whimsical, playful work was once owned by the famous dancer Françoise Dupuy, having been gifted to her by her father, the Avant-Garde art dealer and critic, Marcel Michaud.Guiding his black crayon across the paper with fluidity and flourish, Picasso renders a series of iterations of Harlequin, the stock character of 16th century Commedia dell'Arte theatre, performed throughout Europe by travelling comedy troupes. In this present work, the character is instantly recognisable from its typifying features; bicorne hats are perched at jaunty angles and ruffled collars protrude flamboyantly. A mischievous court servant, the Harlequin would perform dazzling stunts and tricks, often acting to thwart his master and gain the affections of his love interest, Columbine. Throughout the development of the Harlequinade pantomime genre in 18th century Britain, the character evolved into a prototype for the Romantic hero. The Harlequin was possibly included in Picasso's repertoire through Barcelona's annual street carnivals, as well as Picasso's visits to the Cirque Médrano in Montmartre in his early twenties, during which he befriended the performers. Their socio-political status as outsiders gave substance to some of Picasso's most poignant early works, including the iconic La famille de Saltimbanques (1905, National Gallery of Art, Washington, D.C.), which depicts an itinerant and seemingly destitute family of performers in a desolate landscape.In this present work, Picasso traces each Harlequin with a single deft stroke. His deliberate, unbroken lines flatten them to the point of pure abstraction. The undulating loops and swirls harmonise each figure into a cohesive entity, defining it in space, yet also generating a flurried medley of movement and perspective. Picasso's goal of eliminating the contours of a three-dimensional space is a hallmark of his Synthetic Cubism, the thematic successor of the Analytical Cubism which he developed with Georges Braque between 1908 to 1912. Picasso and Braque were concerned with fragmenting three-dimensional forms into geometric facets, giving them substance through shading. Conversely, this work represents Picasso forging a more 'distilled' mode of Cubism. By reducing his Harlequins into curvilinear vignettes, Picasso seeks to evoke distortion in its purist form.Incidentally, an iconographic hallmark of Picasso's Synthetic Cubist period was his revisiting the Harlequin and other theatrical characters that were previously ubiquitous in his Rose period (1904-1906). Theodore Reff has observed that, '... like a Cubist composition, the Harlequin's costume of flat bright colours and strongly marked patterns both fragments and conceals the underlying forms, assimilating them to a surface design of great decorative brilliance. Symbolically too this interest in a form of concealment that is also a form of revelation... links Harlequin as a type and Cubism as a style.' (T. Reff, 'Harlequins, Saltimbanques, Clowns and Fools', in Arforum 10, no. 1, 1971, p. 31). Many critics – including Reff and even the psychologist Carl Jung – interpret the Harlequin as an alter ego for Picasso himself. Indeed, Picasso's famous self-portrait, Au Lapin Agile (1905, Metropolitan Museum of Art, New York), depicts the 25-year-old artist in the trademark bicorne hat and patterned garb of the Harlequin, leaning demurely at the bar with a drink in hand. In this deeply psychological scene, Picasso inhabits the melancholic essence of the outcasted Harlequin, thereby evoking his isolation as a young artist.Between the Rose period of Au Lapin Agile and the time of this present work, the Harlequin was dormant within Picasso's oeuvre for nearly a decade. Its resurgence and aesthetic transformation here might be interpreted as a re-alignment of Picasso's social and artistic identity. Indeed, 1917 represented a major turning point in Picasso's life. Motivated by the onset of the First World War, and two failed marriage proposals, Picasso travelled to Italy for the first time at the invitation of his friend, Jean Cocteau. There he designed Cubist sets and costumes for the Ballets Russes, a ground-breaking company that facilitated collaboration between Modern artists, designers, composers and choreographers, including Wassily Kandinsky, Henri Matisse, Erik Satie and Coco Chanel. Picasso's relocation to Rome scandalised his Cubist contemporaries at the Café de la Rotonde, who considered Paris the sole habitable option for artists of their calibre.At the Ballets Russes, Picasso met the young ballerina Olga Khokhlova, who he married in the summer of 1918. At the close of that same year, Picasso contributed three highly similar Harlequin drawings to Jean Cocteau's book, Le Coq et l'Arlequin (1918). This quasi-manifesto, which is at times didactic, comedic and absurd, defends the simplicity of the music of Satie and Stravinsky, reviling in turn the more bombastic compositions of Wagner and Debussy. In it, Cocteau mocks the 'fuzziness' of traditional 19th century paintings, which he interprets as facile spectacles of obscurity. Against this literary backdrop, and indistinguishably from this work, Picasso renders his harlequins at their most minimal. They evoke both Cocteau's ethos, with its speckled veil of farce, as well as the spontaneity and whimsy of Cocteau's choreography for the Ballets Russes.Just as Picasso executed this work near the close of the First World War, Marcel Michaud purchased it from Picasso in 1943 in the final stages of the Second World War. A key figure of Lyon's artistic milieu of the mid-20th century, Michaud owned Galerie Folklore and founded Groupe Témoignage in 1936, an experimental art group bringing together young sculptors and painters, many of whom were taking up the mantle of Surrealism. A few years later he gifted the work to his daughter, Françoise Dupuy who in 1951 married her husband Dominique Dupuy, and befitting to the the work's history, both are renowned for their ground-breaking contributions to dance. They performed globally as a duo aptly named 'Françoise et Dominique' in ballet, cabaret and music-hall productions. From the zeitgeist of its creation to the rich lives of its previous owners, this present work arguably serves as a remnant of the free spirit of Modernism, with interwoven ties to art, music, design and performance. Associations Pablo Picasso's Chapeaux d'arlequin (recto) and Arlequin (verso) is a testament to the artist's early 20th century innovations in illustration, painting, stage and set design. It showcases one of Picasso's most peripatetic periods, during which he collaborated with major composers, dancers, choreographers an... 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
Lot 52
Bryan Wynter (British, 1915-1975)Waves oil on board64 x 106.3 cm. (25 1/4 x 41 7/8 in.)Footnotes:ProvenanceThe Artist, circa 1955, from whom purchased byJennifer Proctor, thence by descentPrivate CollectionTheir sale; Christie's, London, 29 April 2000, lot 194, where purchased by the present ownerPrivate Collection, U.K.Waves combines Bryan Wynter's passion for abstraction with his love for the sea and is completed on a large scale. Following the war in 1945 the artist had moved to Zennor, near St Ives, becoming a near neighbour of Patrick Heron and in the process meeting some of the leading artists of the day. Striving to reconcile nature and the human spirit, Wynter would continue to paint water throughout his career leading to the bold and psychedelic colours used to express its meandering in the mid-1960s.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
Lot 326
A PAIR OF REGENCY MAHOGANY DRESSING TABLESIN THE MANNER OF GILLOWS, CIRCA 1815of slightly varying proportions, the larger table 81cm high, 113.5cm wide, 58cm deep, the smaller 81cm high 102cm wide, 55cm deepFor a pair of related tables, see Christie's, London, Christie's Interiors - Style & Spirit Including Collection of a Nobleman Part I, 20th November 2012, Lot 31 (£9,375).
Lot 1206
A Bennet B Burley, Glasgow 10" brass mounted ebony spirit level; a J Rabone & Sons 30" spirit level; a E Preston & Sons brass mounted spirit level; a Victorian rolling rule; a parallel rule. (5)Provenance: Estate of Thomas Jones, apprentice and partner of Frank Pratt of Derby. Apprenticed to Frank Pratt in Derby until the business moved to Wirksworth after the Derby premises at 43 King Street were lost to make way for the inner ring road in 1967. In 1968 the business moved to The Old Grammar School in Wirksworth where they continued production of reproduction antique furniture opening a new showroom at 67 King Street, Derby. Thomas carried on the business upon Franks retirement in 1973
Lot 628
A precision built 1 inch scale live steam model of a Road Roller Engine by Maxwell Hemmens, 1995,with spirit fired copper boiler, pressure gauge, solid fly-wheel, whistle, pressure safety valve and water pump, the model finished in green, red and black paintwork, the canopy with brass chimney extension, complete with instruction manual 57cm long,
Lot 630
A precision built 1 inch scale live steam model of a Traction Engine by Maxwell Hemmens, 1995,with spirit fired copper boiler, pressure gauge, pressure safety valve and water pump, the model finished in green, red and black paintwork, the canopy with brass chimney extension, complete with instruction manual 48cm long
Lot 190
WW2 RAF 90 Squadron Bomber Command Distinguished Flying Medal (DFM) Group & Ephemera. A good comprehensive DFM medal group awarded to Warrant Officer James Ronald Sigurd Leask DFM, who flew 35 operations with 90 Squadron which flew the Avro Lancaster Bomber. Comprising: Distinguished Flying Medal (1896202 SGT J.R.S. LEASK RAF), 1939/45 Star, Bomber Command Clasp, France & Germany Star, War Medal. Medals loose ... Original ephemera includes Buckingham Palace letter for the award of the DFM ... Aircrew Logbook, this covers a period of 14th August 1944 to 10th March 1945 (35 Ops) ... Selection of snap shot photographs ... Service and release book etc. Distinguished Flying Medal. London Gazette 25th September 1945. This Flight Engineer excellent operational efficiency coupled with a deep and thorough knowledge of his aircraft have gone towards the making of many successful attacks which his crew have completed. His fine team spirit and close co-operation with his Captain have been an inspiration to the whole crew. The energy and cheerfulness with which he went about his duty is worthy of the highest praise. Warrant Officer James Ronald Sigurd Leask was born in Belfast in 1907, his father was killed in the Great War whilst serving with the 5th Bn Northumberland Fusiliers. At the outbreak of WW2 his enlistment was delayed by his reserve occupation serving with the National Fire Service. He was called up for the RAFVR in June 1943 and volunteered for aircrew duties and qualified as a Flight Engineer. After training he was posted to 90 Squadron and flew his first operation a trip to Essen on the 23rd October 1944. A return trip was made two nights later. The log book records 35 missions including Cologne 4 times, Essen twice, Duisberg, Nuremberg, etc. On the 8th December he was detailed for a daylight trip to Duisberg. A near flak burst knocked out the port inner engine and damaged the undercarriage hydraulics. A frantic flight home and the landing gear hand cranked down into position saw the crew land safely back at base. Screened from operations at the end of his tour Leask now promoted to Warrant Officer ended the war with Coastal Command at RAF Pembroke Docks. He died at the age of 76 years in 1983.
Lot 1416
A silver plated spirit kettleThe kettle of ovoid form, having a swingover handle, raised on a tripod stand, fitted with a spirit burnerCondition report:- Silver plating worn down to brass in areas particular the high points of the decoration- Overall in good condition- Overall height including handle 42cm
Lot 1342
This lot will be auctioned on Thursday, July 1st. The auction will begin at 9:00am PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on June 29th or June 30th. Madison Elizabeth Frank's (Amber Valletta) hair locks from Robert Zemeckis' supernatural thriller What Lies Beneath. Claire Spencer (Michelle Pfeiffer) stole a lock of Frank's hair, unwittingly unleashing her late spirit and the secrets it carried. Multiple similar versions of the lock were created for rigging, burning, and filming underwater. This lot consists of six braided locks of synthetic blonde hair tied with pink ribbons and red hair ties. The lot is in excellent overall condition with minimal fraying and loosening braids from production use. Dimensions (each): 8.5" x 3.5" x 0.5" (21.75 cm x 9 cm x 1.5 cm). This lot comes from the collection of renowned special effects artist Tom "Brooklyn" Bellissimo. A letter of authenticity from Bellissimo is included. Estimate: $800 - 1,200
Lot 145
This lot will be auctioned on Tuesday, June 29th. The auction will begin at 9:00am PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on June 30th or July 1st. A screen-matched Jason Voorhees hockey mask signed by Kane Hodder from Adam Marcus' horror sequel Jason Goes to Hell: The Final Friday. Jason's (Hodder) spirit passed his signature mask from body to body before he was dragged to hell by Freddy Krueger (Hodder). This mask screen-matches to the scene in which a SWAT team ambushes and blows up Jason. This version of the iconic Voorhees mask was designed by effects supervisor Howard Berger and manufactured by K.N.B. Effects Group to appear battle-scarred, burnt, water-damaged, and fused to the face of the latest wearer. As such, the mask is extensively aged with grime, scratches, and chips made throughout by production. It is constructed of molded vacuum-formed plastic painted white, gray, and brown with "To Tom, You're Next, "Jason"" signed in black marker by Hodder above a red triangle emblem. Three brown leather straps are screwed into the top and sides. Though intentionally distressed, the mask remains in good overall condition. This lot comes from the collection of renowned special effects artist Tom "Brooklyn" Bellissimo. A letter of authenticity from Bellissimo is included. Estimate: $20,000 - 30,000
Lot 534
This lot will be auctioned on Wednesday, June 30th. The auction will begin at 9:00am PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on June 29th or July 1st. Jack Burton's (Kurt Russell) TEC-9 gun from John Carpenter's martial arts comedy Big Trouble in Little China. Trucker Burton used his gun when he escaped from a warehouse that was secretly a front for the criminal activity of supernatural spirit Lo Pan (James Hong). He later used the gun in the film's climactic battle with Lo Pan's army. This gun is crafted from a single piece of dense, black molded foam rubber. It features a textured grip, attached magazine and a vented, shroud-style barrel with circular hole-like details. This gun shows signs of wear from production use and age, including paint chipping and some wear by the magazine port, but remains in excellent overall good condition. Dimensions: 12.75" x 2" x 10" (32.5 cm x 5 cm x 25.5 cm) Ownership may be restricted in some countries; see replica firearm notice in Buyer's Guide. Estimate: $2,000 - 3,000
Lot 558
This lot will be auctioned on Wednesday, June 30th. The auction will begin at 9:00am PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on June 29th or July 1st. Candyman's (Tony Todd) hook arm from Bill Condon's supernatural horror sequel Candyman: Farewell to the Flesh. Candyman, a vengeful spirit with a hook arm, was summoned when his name was chanted. This hollow, flesh-color resin arm is inset with a bloodied stump and a resin hook painted to appear metallic. Its metal core attaches to the inside of the arm with cords, a metal bracket, and a block of foam. It is in fair overall condition with some wear, including scuffing throughout and the hook tip missing. Dimensions: 23" x 5" x 4" (58.5 cm x 12.75 cm x 10.25 cm) Estimate: $1,000 - 1,500
Lot 31
Boxed Pre-war Hornby 0 Gauge Tank Wagons, comprising cream 'Motor BP Spirit' (2), red 'Shell' (2), blue 'Redline-Glico' and 'Redline', buff 'Esso' (box dated 3-38), cream 'Shell-Mex/BP Motor Spirit', and uncommon deep orange 'Motor Pratts Spirit' with small drop-link couplers (circa 1930), all on T3 bases, mostly G-VG, boxes P-G (9)
Lot 32
Pre- and Post-war Hornby 0 Gauge Tank Wagons, all on T3 bases, comprising cream 'Motor BP Spirit' (3), rubber-stamped red 'Shell', buff 'Shell-mex/BP Motor Spirit', orange 'Pratts High Test' and another in yellow, grey 'Gargoyle Mobiloil', cream BP spirit with red underline, 'POOL' tankers in light and dark grey, together with no 0 versions (from sets and without buffers) in 'Shell' and 'Royal Daylight' (2) red finishes, all G-VG, all in stout modern boxes (14)
Lot 616
An Uncommon Vintage Bassett-Lowke Live Steam Traction Engine, in original box and finished in crimson and black with red lining, wheels in yellow with red lining, overall length approx 15" (1" scale), with double-acting single cylinder, 3½" disc flywheel, reversing lever from footplate, regulator, gear drive to right wheel and screw-operated brake to left side, worm steering (chain broken on one side), safety valve, water gauge and straked wheels to rear, slightly modified with rubber tyres fitted all round, a 'Markie' pressure gauge and 'ring-type' spirit burner currently fitted in place of the B-L originals (the B-L spirit burner and tank are included in the lot, but not the original pressure gauge), overall G-VG, would benefit from careful cleaning, complete with a condition/overhaul report and boiler test certificate from Markie models dated 2005, which quotes original build date as 1955, box F-G, scuffs to corners and old tape damage
Lot 620
A Mamod RS1 0 Gauge Live Steam Passenger Train Set and additional Track, containing SL1 locomotive in green, red coach and brown brake van, with track and other original accessories, the locomotive fitted with a competently-made nickel-silver three-wick spirit burner, all VG, loco appears to have had little use, with unused fuel tablets and tray, small amount of 'sooting' to boiler from spirit burner, all in original set box, box G-VG, together with two boxes straight rails and one box of curves, all VG (set + 3 boxes)
Lot 629
A 'restored' Bing Gauge 2 (2") live steam L&YR 'Aspinall-style' nominal 4-4-0 Locomotive and Tender, with twin inside oscillating cylinders driving the forward axle, (the rear 'driving' wheels non-coupled and free-running), with polished brass boiler and handrails, re-finished black smokebox, splashers and cabsides with evidence of previous lining to latter, with a reproduction spirit burner and 4-wheel tender nicely replicated to match the style of the loco, also finished in black with some amateurish gold lining and evidence of old lining as with the engine, as restored G, whistle and dome-retaining nut missing, tender paintwork flaky in parts
Lot 630
Bowman and Mamod live steam Stationary Engines and Accessories, a Bowman model M135 single-cylinder horizontal engine in original wooden box, complete except for drip lubricator tap, F, generally rusty/grubby, box F, lacks lid, together with a Mamod SE1 engine with exhaust regulator and whistle and a MM2 engine, both P-F, MM2 very sooty and has a previously-repaired steam pipe, both lack spirit burners, with workshop accessories comprising 2 power punches (1 missing flywheel/pulley), power hammer and grinding wheel, all P-F, grubby and with some corrosion (7)
Lot 631
A boxed Mamod live steam SR1 Steam Roller, a very early example without speed control, with thin crankshaft, all-bolted assembly, polished aluminium rolls, brass-bodied spirit burner permanently rivetted to scuttle, brass whistle and level plug, VG, appears very little used, complete with safety valve and double-length steering extension fitted with cream-finished wooden handle, box G-VG with 25-31 Camden Street address, slight fading to red-printed areas
Lot 637
A complete Stuart Turner spirit-fired operating Steam Beam Engine, mounted on a wooden plinth with a 9" long Stuart boiler, water reservoir with hand-pump and perimeter railings, the engine itself neatly constructed and finished in green with red trim and some planished steel parts, the cylinder approx 1" dia x 2"stroke, with in-line displacement lubricator to steam pipe and oiler cups to main bearings, cylinder drain cocks top and bottom, the boiler with regulator valve, water and pressure gauges, VG, complete with spirit burner
Lot 638
A complete Stuart Turner spirit-fired operating Steam Horizontal Mill Engine and Generator, mounted on a wooden plinth with twin 9" long Stuart boilers (linked by steam pipe but each with its own water and pressure gauges, spirit burners and chimneys), large water reservoir with hand-pump and perimeter railings, the engine itself neatly constructed and finished in maroon with white lining and polished brass cylinder cover, the cylinder approx 1½" dia x 1½" stroke, with in-line displacement lubricator to steam pipe and oiler cups to main bearings, cylinder drain cocks, operating Watt-type governor, the heavy 5" flywheel linked by belt to a Stuart Dynamo (finished in green and on the same base), together with a free-standing lamp standard connected by cables, all G-VG, generally oily with a little tarnishing in parts
Lot 461
Victorian silver mounted cut glass spirit flask of faceted form, with silver bayonet fastening cap and detacheable silver drinking cup (London 1898). Samuel Summers Drew & Ernest Drew. 12.5cm overall height.Condition report: The glass is in good order overall, there is some dirt to the interior and it would benefit from being cleaned. The silver mount has clear marks and no signs of previous repairs. There are a few minor dents to the cover. The cup is in good order with clear marks, there are a couple of minor dents and some surface scratching, but overall the piece displays well and is very useable.
Loading...-
49472 item(s)/page