Autographen - GRACE KELLY (1929-1982), Fürstin Gracia Patricia, eigenhändig geschriebener 2-seitiger Brief auf Briefpapier mit Kuvert, datiert 13. Oktober (ohne Jahr). Der Brief muss aus der Zeit als Prinzessin von Monaco stammen, denn der Stempel auf dem Kuvert trägt die Randschrift "SERVICE DE S.A.S. la PRINCESSE de MONACO". Adressiert ist der Brief in der Handschrift Grace Kellys an "S.A.R. La Princesse de Borbon-Parme Hotel Metropole Monte Carlo". Die Anrede in dem Brief ist "Dear Meg". Grace Kelly bedankt sich bei der Prinzessin für die Blumen, die sie und ihren Mann Rainier erreicht haben, nachdem sie aus Cagliari zurückgekehrt waren. Sie würde nach Paris und Marchais gehen und sie vermissen und sich auf ein Wiedersehen in ein paar Wochen freuen, wenn sie zurückkehren. Unterschrieben ist der Brief mit "Much love Grace". Format ca. 24,5 x 18 cm. Mittig gefaltet. | Autographs - GRACE KELLY (1929-1982), Princess Gracia Patricia, handwritten 2-page letter on stationery with envelope, dated October 13 (no year). The letter must date from the time when she was Princess of Monaco, because the stamp on the envelope bears the inscription "SERVICE DE S.A.S. la PRINCESSE de MONACO". The letter is addressed in Grace Kelly's handwriting to "S.A.R. La Princesse de Borbon-Parme Hotel Metropole Monte Carlo". The salutation in the letter is "Dear Meg". Grace Kelly thanks the Princess for the flowers that reached her and her husband Rainier after they returned from Cagliari. She would go to Paris and Marchais and miss them and look forward to seeing them again in a few weeks when they return. The letter is signed "Much love Grace". Format approx. 24.5 x 18 cm. Folded in the middle.
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Selection (5) of 1930s London Underground diagrammatic card (bar one) POCKET MAPS comprising 1933 code 33-3636 (well-used with stains, age-darkening, partial fold partings, office stamp on cover), No 2 1936 (very good, unmarked condition), No 2 1938 large paper issue (good condition), No 1 1940 (very good, unmarked condition) and No 1 1943 (very good, unmarked condition). [5]
A silver ink stand, by James Dixon & Sons, Sheffield 1901, with retailers stamp to base underside "Lund & Blockley, Bombay & Poona", length 21.7cm, fitted two silver mounted glass inkwells with bevelled edges by Henry Manton, Birmingham 1893 & 1901, the pen tray with associated white metal combination letter opener/pen nib holder. (weighable silver 185.0g)
CAPUTO, ULISSE (auch Ulysse, Salerno 1872-1948 Paris), "Junge Frau in gelbem Kleid", 1914, auf einer Récamière ausgestreckt sitzend, vor ihr eine Französische Bulldogge, im Hintergrund weiße und blaue Draperie mit rotem Blumenmuster, u.li. signiert, bezeichnet und datiert 'U. Caputo, Paris 14', Öl/Leinwand (verso Pariser Herstellerstempel), HxB: ca. 65x80 cm (80x95 cm mit Rahmen). Alters- und Beriebspuren, part. Kratzer. Mit Rahmen (part. beschädigt). VERSO handschriftlich bezeichnet und Etiketten mit Sammlungshinweis und Künstlerdaten.| CAPUTO, ULISSE (also Ulysse, Salerno 1872-1948 Paris), "Young woman in a yellow dress", 1914, sitting stretched out on a recamier, in front of her a French bulldog, in the background white and blue drapery with a red floral pattern, l.l. signed, inscribed and dated 'U. Caputo, Paris 14', oil/canvas (verso Paris manufacturer's stamp), HxW: ca. 65x80 cm (80x95 cm with frame). Signs of age and rubbing, part. scratches. With frame (partly damaged). VERSO inscribed by hand and labels with collection information and artist data.
DIENES, ANDRÉ DE (1913-1985), "Marilyn Monroe having breakfast, raw eggs and milk", 1953, Marilyn Monroe beim Frühstück im Bett, Schwarz-Weiß-Fotografie, verso Stempel der Authorisierung durch den Nachlass aus dem Jahr 2006 mit Nummerierung145/200 und Copyright. HxB: Blatt ca. 41x50,5 cm. Leichte Altersspuren. Mit verglastem Rahmen (berieben). ANBEI Certificate of Authentificity durch den Nachlassverwalter Chuck Murphy und Echtheitszertifikat der Galerie Joachim Penno, Esslingen.| DIENES, ANDRÉ DE (1913-1985), "Marilyn Monroe having breakfast, raw eggs and milk", 1953, Marilyn Monroe having breakfast in bed, black and white photograph, stamp of authorization from the estate from 2006 with number 145/200 and copyright on verso. HxW: sheet approx. 41x50.5 cm. Slight signs of age. With glazed frame (rubbed). ATTACHED Certificate of Authenticity by the estate, Chuck Murphy and Certificate of Authenticity by the Joachim Penno Gallery, Esslingen.
TAKAHASHI, SOHACHIRO (1933-2014), "black poems", 1968, Objektkasten mit collagierten Holzklötzchen, HxB: Außenmaße ca. 52x20 cm. Altersspuren, part. leicht fleckig und kleine Beschädigungen. VERSO Stempel mit Bezeichnung und Stempel der Galerie Senatore, Stuttgart.| TAKAHASHI, SOHACHIRO (1933-2014), "black poems", 1968, object box with collaged wooden blocks, HxW: external dimensions approx. 52x20 cm. Signs of age, part. slightly stained and minor damage. VERSO stamp with designation and stamp of the Galerie Senatore, Stuttgart.
SALONKOMMODE IM LOUIS XV-STIL Frankreich, 20.Jh., auf vier elegant geschweiften Beinen der zweischübige, dreiseitig bombierte sowie reich intarsierte Holzkorpus sans traverse, aufwendig furniert und intarsiert, reicher, teilweise durchbrochen gearbeiteter Bronzebesatz, abschließende Marmorplatte in Rouge Griotte, Kommode trägt Schlagstempel eines Ebenisten, HxBxt: 85/120/65 cm. Min. Altersspuren.| SALON CHEST OF DRAWERS IN THE LOUIS XV STYLEFrance, 20th century, the wooden corpus sans traverse, with two compartments, cambered on three sides and richly inlaid, on four elegantly curved legs, elaborately veneered and inlaid, rich, partly openwork bronze trimming, the final marble top in rouge griotte, the chest of drawers bears the stamp of an ebenist, HxWxt: 85/120/65 cm. Min. signs of age.
FRANZÖSISCHE KOMMODE IM LOUIS XV-STIL 20.Jh., dreischübiger Aufbau in Eiche, furniert mit felderbildenden Bandeinlagen, die Front leicht bombiert, die Ecken in Schweifung vortretend und in kräftige, kurze Stollenfüße einlaufend, deren innerer Schwung in die heruntergeführte Zarge einläuft, die Kommodenseiten in horizontaler Welle mittig leicht ausgebaucht, die Furnierhölzer im hellen Farbton, schönes Beschlagwerk, die obere Schubebene geteilt, die Ecken mit bis in die Füße hineinziehenden Bronzen beschlagen, Kommode trägt Schlagstempel eines Ebenisten, HxBxT: 83/115/55 cm. Min. Alters-und Gebrauchsspuren.| FRENCH COMMODE IN THE LOUIS XV STYLE20th c., three-bay construction in oak, veneered with field-forming band inlays, the front slightly cambered, the corners protruding in a sweep and running into strong, short stud feet, the inner sweep of which runs into the lowered frame, the sides of the chest of drawers slightly bulging in the middle in a horizontal wave, the veneer woods in a light shade, beautiful fittings, the upper level of the drawer divided, the corners with bronzes extending into the feet, the chest of drawers bears the stamp of an ebenist, HxWxD: 83/115/55 cm. Min. signs of age and use.
KOMMODE IM LOUIS XV-STIL 20.Jh., dreischübiger Aufbau in Eiche, furniert mit felderbildenden Bandeinlagen, die Front leicht bombiert, die Ecken in Schweifung vortretend und in Stollenfüße einlaufend, deren innerer Schwung in die heruntergeführte Zarge einläuft, die Kommodenseiten in horizontaler Welle mittig leicht ausgebaucht, die Furnierhölzer im hellen Farbton, schönes Beschlagwerk, die Ecken mit bis in die Füße hineinziehenden Bronzen beschlagen, Kommode trägt Schlagstempel eines Ebenisten, HxBxT: 83/97/50 cm. Min. Alters-und Gebrauchsspuren.| COMMODE IN THE LOUIS XV STYLE20th c., three-bay construction in oak, veneered with field-forming band inlays, the front slightly cambered, the corners protruding in a sweep and running into stud feet, the inner sweep of which runs into the lowered frame, the sides of the chest of drawers slightly bulging in the centre in a horizontal wave, the veneered woods in a light shade, beautiful fittings, the corners with bronze fittings extending into the feet, chest of drawers bears the stamp of an ebenist, HxWxD: 83/97/50 cm. Min. signs of age and use.
WIEN Figurengruppe 'Wildschweinhatz', 20. Jh. Weißporzellan, Darstellung dreier Hunde, die ein Wildschwein jagen, auf ovaler Plinthe, bodenseitig der unterglasurblaue Firmenstempel, L 27 cm, leichte Altersspuren.| VIENNA Figure group 'Wild boar hunt', 20th century. White porcelain, depiction of three dogs hunting a wild boar, on an oval plinth, the underglaze blue company stamp on the bottom, L 27 cm, slight signs of age.
WOYTEK (geb. 1962), "Herbst", Bronze, patiniert und poliert, an der Sockelkante signiert, Gießerstempel 'STRASSACKER Kunstgiesserei', num. '44', H: ca. 23 cm. | WOYTEK (born 1962), "Autumn", bronze, patinated and polished, signed on the edge of the base, foundry stamp 'STRASSACKER Kunstgiesserei', num. '44', H: approx. 23 cm.
FUCHS, ERNST (1930-2015), 'Königin der Nacht', Bronzeskulptur versilbert, rückseitig am Gewandsaum sign., num. 15, Gießerstempel, H. 10,5 cm. Alters- und Abnutzungsspuren. ANBEI Echtheitszertifikat von Joachim Penno, Esslingen.| FUCHS, ERNST (1930-2015), 'Queen of the Night', bronze sculpture silver plated, signed on the back on the garment hem, num. 15, stamp, h. 10,5 cm. Signs of age and wear. Enclosed cetificate by Joachim Penno, Esslingen.
FUCHS, ERNST (1930-2015), 'Pan' und 'Eva', Paar Bronzefiguren, unten jew. sign. und Gießersigné, Pan: num. 180, H/L: 5,5/11 cm. Eva: vergoldet, num. 164, H: 10 cm. Alters- und Abnutzungsspuren.| FUCHS, ERNST (1930-2015) 'Pan' and 'Eve'. Bronze figures, each signed and foundry stamp below, Pan: num. 180, h/l: 5,5/11 cm. Eva: gilded, num. 164, h: 10cm. Both with . Signs of age and wear.
HL. GEORG Russischer silberner Anhänger, Malerei auf Metall, St.Petersburg, 1908-1917Meistermarke „A.M“ wohl Aaron Martyashkin und Stempel vom Besitzer eines Juweliergeschäfts „W. Gordon“6,2 x 4,4 cmRUSSIAN SILVER PENDANT SHOWING ST. GEORGEpainted on metal, St. Petersburg, 1908-1917Master’s mark 'A.M' probably Aaron Martyashkin and stamp of the owner of a jewelry store 'W. Gordon'6.2 x 4.4 cm
SILBEROKLAD FÜR EINE IKONE DER VERKÜNDIGUNG AN MARIA, HL. GEORG UND HL. ANNA Griechenland, datiert 1880Der erste Stempel zeigt den Namen des regierenden Sultans: Abdul Hamid II (1876-1909), der zweite Stempel = 900 Silber27 x 18 cm, Gewicht: 264gDie Nimben des Erzengels und der Gottesmutter fehlen.GREEK SILVER OKLAD FOR AN ICON OF THE ANNUNCIATION, ST. GEORGE AND ST. ANNAGreece, dated 1880The first stamp shows the name of the reigning Sultan: Abdul Hamid II (1876-1909), the second stamp = 900 silver27 x 18 cm, weight: 264gThe halos of the Archangel and the Mother of God are missing.
Carry On Films - The Carryoons (unproduced animated series c2001) - an original digital character model sheet for 'Leda' - Valerie Leon's character in Carry On Up The Jungle. Likely designed by Stephen Mansfield, the Carryoons were drawn in the style of their 1970s counterparts. A pilot episode was believed to have been made c2002, but has never been officially released and the series shelved. This digital character design was gifted to Leon shortly after production. A unique piece of Carry On memorabilia. Measures approx: 15x10" Supplied with an original c1970 large format promotional photograph of Leon in the original role, photographed by Larry Ellis - with his photographer's stamp to rear. 15x12". (2) About the Carryoons: In 1999 Ken Burns approached Peter Rogers with an animation concept entitled 'The Carryoons'. Ken had just completed editing the ITV documentary 'What's A Carry On?' celebrating 40 years of the Carry On films. A series of 26 half hour cartoons were proposed. Peter loved the idea & contracts of association were quickly signed. The Carryoons 'Pilot' went into production at Pinewood in early 2001. Having trawled the animation industry for the best in the business, they engaged the services of top character designer Stephen Mansfield to create the unique look of The Carryoons. All characters were drawn as they looked during the films peak, 1968. They also encouraged a sixties look to the animation style to reflect the colourful era. During their research, they discovered increasing numbers of young people were becoming Carry On fans. Naturally, a cartoon series would compliment the films but it was not essential that the viewers be familiar with the cartoons' origin. A documentary team has chronicled the development of The Carryoons over the past two years. (from: www.retroboy.co.uk/carry-on-into-the-21st-century) This auction is part of a live event - An Evening With Valerie Leon - at Bristol Aquarium IMAX Cinema on 27th October 2023. The event starts at 7pm, and the auction at 9:30pm (timings approximate). Anyone wishing to attend the event / auction will need to purchase a ticket from mummystomb.eventbrite.co.uk. Viewing available at the event or by appointment at our saleroom beforehand. A portion of the proceeds will be donated to REACT Children's Charity (No. 802440).
STAMPS LOTTERY, a fine collection in two binders on the history of Lotteries in the post, with pre-stamp to more modern material. Includes some interesting Australian 'Tattersall's' covers from 1901 onwards, US lottery material with incoming 'prohibited' mail from Jamaica & New Zealand. Also Austrian, Danish & Italian items with lots of ephemera, tickets etc. An interesting collection to expand upon. Needs viewing! (100+ items)
A mixed lot comprising two silver plated snuff boxes, a tortoiseshell snuff box, a Chinese mother of pearl letter opener with carved phoenix design (l- 23cm), a bisque ware cat group trinket, a small pill/stamp box with rose design, an Egyptian inspired scarab beetle ornament with hieroglyphic inscription (w- 7cm), and a set of mother of pearl opera glasses (8)
§ Laurence Broderick M.R.B.S. F.R.S.A. (British 1935-) Ollie the Otter Maquette signed, titled and numbered 10/25, with Lunts Castings Foundry stamp, hallmarked for Birmingham, silver Dimensions:20cm high (7 7/8in high) Note: Laurence Broderick: The Accidental NaturalistI am never ever going to make an animal, I didn’t want to go into that area. I was a sculptor of shapes, modern, abstract shapes, I did not want to go down the road of being a wildlife sculptor. Laurence BroderickDespite the above declaration, the agility of the otter and its ability to create myriad shapes captured Laurence Broderick’s imagination and appealed to his artistic nature. He allowed himself to experiment and to depict just this one animal. Today Broderick’s affinity with the otter is so great that he is known as the ‘otter man of Skye’ and he is a joint president of the International Otter Survival Fund (IOSF). His work and attitude towards conservation have also broadened to include many other species.Broderick’s respect for the natural world is also apparent through his creative process. Often carving directly into stone or wood he makes no preparatory drawings or models of his intended creations. Instead, he works in unison with the material to accentuate its natural truth, keeping forms simple and surfaces uncluttered by detail. In many cases his sculptures are carefully polished to enhance their colour and markings, especially when they are cast in bronze or silver. Broderick works with a wide selection of stone including Ledmore, Portsoy and Purbeck marbles, alabaster, Polyphant soapstone, as well as Hopton Wood and Ancaster limestone. The combination of these raw materials together with a sympathy with the casting process and sensitive sculpture’s eye has led to the creation of objects in harmony with the natural world.
§ Laurence Broderick M.R.B.S. F.R.S.A. (British 1935-) Heron Maquette numbered 9/25, with Lunts Castings Foundry stamp, hallmarked for Birmingham, silver Dimensions:14cm high (5 1/2in high) Note: Laurence Broderick: The Accidental NaturalistI am never ever going to make an animal, I didn’t want to go into that area. I was a sculptor of shapes, modern, abstract shapes, I did not want to go down the road of being a wildlife sculptor. Laurence BroderickDespite the above declaration, the agility of the otter and its ability to create myriad shapes captured Laurence Broderick’s imagination and appealed to his artistic nature. He allowed himself to experiment and to depict just this one animal. Today Broderick’s affinity with the otter is so great that he is known as the ‘otter man of Skye’ and he is a joint president of the International Otter Survival Fund (IOSF). His work and attitude towards conservation have also broadened to include many other species.Broderick’s respect for the natural world is also apparent through his creative process. Often carving directly into stone or wood he makes no preparatory drawings or models of his intended creations. Instead, he works in unison with the material to accentuate its natural truth, keeping forms simple and surfaces uncluttered by detail. In many cases his sculptures are carefully polished to enhance their colour and markings, especially when they are cast in bronze or silver. Broderick works with a wide selection of stone including Ledmore, Portsoy and Purbeck marbles, alabaster, Polyphant soapstone, as well as Hopton Wood and Ancaster limestone. The combination of these raw materials together with a sympathy with the casting process and sensitive sculpture’s eye has led to the creation of objects in harmony with the natural world.
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