We found 400965 price guide item(s) matching your search
There are 400965 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
400965 item(s)/page
Lot 186
`FLORIDAN` IMITATION PEARL SINGLE STRAND NECKLACE, boxed, `KIRKS FOLLY` SILVER PLATED AND PASTE SET BANGLE, boxed and a SILVER AND THREE COLOUR GOLD PLATED CHOKER NECKLACE, 1oz, A SILVER RING SET WITH A SQUARE BLUE STONE AND BROAD SETTING OF SMALL CUBIC ZIRCONIA, FIVE U.S.A. GOLD PLATED METAL CHERUB CHARMS and a GOLD PLATED SILVER TENNIS BRACELET SET WITH CUBIC ZIRCONIA ALL ROUND, SILVER RING SET WITH CENTRE BLUE STONE AND CUBIC ZIRCONIA SHOULDERS and a SILVER RING SET WITH SQUARE CUT CUBIC ZIRCONIA AND SIXTEEN STONE SET SHOULDERS
Lot 187
SILVER BROAD HALF HOOP RING SET WITH NUMEROUS SMALL CUBIC ZIRCONIA and a SILVER RING SET WITH THREE BAGUETTE CUT CUBIC ZIRCONIA AND STONE SET SHOULDERS, SILVER RING, the large pierced floral top set with numerous cubic zirconia and a `Veronese` Italian gold plated silver textured concave band ring, SILVER RING with large floral cluster top set with numerous blue stones and a Thai silver RING, set with three oblong blue stones and eight small cubic zirconia
Lot 193
A 9CT GOLD, DIAMOND AND RUBY CLUSTER RING, claw set with two central tiny diamonds, with a cluster surround of eight tiny round rubies, London, 1981, 3g AND A 9CT GOLD, SAPPHIRE AND WHITE STONE RING, the centre set with a square cut sapphire, flanked by two round white stones, hallmarks rubbed, 2.4g (2) EST 50-80
Lot 195
A MARKED 9CT GOLD AND PASTE RING, with a square blue paste with a square white paste set border, FIVE SILVER GEM AND PASTE SET RINGS, INCLUDING A SILVER AND AMETHYST CABOCHON RING, WITH FOLIATE SCROLL SHOULDERS, A SILVER BELCHER CHAIN BRACELET AND A SILVER FINE CHAIN NECKLACE WITH BLACK CATS EYE STONE PENDANT FRONT (8) EST 20-30
Lot 259
A SINGLE 9CT GOLD EAR STUD set with a centre oval blue stone and surround of ten white stones and A PAIR OF SILVER COLOURED METAL EARRINGS each set with four square synthetic amethysts, in case, A SILVER RING SET WITH AN OVAL TURQUOISE, floral embossed and pierced shoulders AND ANOTHER SILVER COLOURED METAL RING SET WITH OVAL BLACK ONYX (5)
Lot 290
SINGLE STRAND NECKLACE OF SMALL RIVER PEARLS, a SILVER GILT FINE CHAIN NECKLACE AND SILVER AND BLACK ONYX DISC PENDANT SET WITH TINY GEM STONES, A SIMILAR OVAL PENDANT, A SILVER GILT EGYPTIAN STYLE PENDANT and TWO LONG IMITATION PEARL NECKLACES, CLIP EARRING; SWORD PATTERN TIE CLIP; GILT METAL FINE CHAIN NECKLACE AND PASTE SET PENDANT; BLACK STONE SET TIE TACK; GOLD PLATED AND REVOLVING AMETHYST FOB SEAL, TWO SILVER RINGS SET WITH A SOLITAIRE CUBIC ZIRCONIA AND TINY STONE SET SHOULDERS AND A PAIR OF SILVER AND SQUARE CUT CUBIC ZIRCONIA ETERNITY RINGS
Lot 344
A late Victorian gold and enamel brooch, converted to a pendant, the enamel plaque painted to show a winged putti leaning on a plinth, within a gold mount; A mid Victorian chrysoberyl and pink stone brooch, the oval and circular-cut stones within a tapering oval mount with rope work border and raised decoration around the edge. Lacking locket reverse. Total weight 14 grams, 4.6cm long.
![Walter Frederick Osborne RHA ROI (1859-1903) SUNSHINE AND SHADOW, [LA RUE DE L`APPORT], DINAN, 1883 oil on canvas signed and](http://lot-images.atgmedia.com/SR/10092/2901686/35-20142316453_468x382.jpg)
Lot 35
Walter Frederick Osborne RHA ROI (1859-1903) SUNSHINE AND SHADOW, [LA RUE DE L`APPORT], DINAN, 1883 oil on canvas signed and dated lower left; signed again in pencil on stretcher on reverse; with Spence`s Fine Art Gallery [Sackville St., Dublin] label on reverse 17.5 by 13.5in., 43.75 by 33.75cm. P RHA, Dublin;Private collection;Christie`s, London, 9 May 1996, lot 69 as La Rue de l`Apport, Dinanwith Cynthia O`Connor Gallery, Dublin;Private collection RHA, Dublin, 1884, catalogue no. 333 [£21-0-0];Irish Paintings for the 31st Antique Dealers Fair, RDS, Dublin, 26-29 September 1996, catalogue no. 5 as as La Rue de l`Apport, Dinan (illustrated) Sheehy, Jeanne, Walter Osborne, Gifford & Craven, Ballycotton, Cork, 1974, p.115, catalogue no. 76 (listed);Campbell, J. Peintres Irlandais en Bretagne, Musée de Pont Aven, 1999, p.48 Lovers of Irish art may feel a sense of familiarity with his picture by Walter Osborne, even if they have not seen it before, or visited Dinan in Brittany. For it shows the same motif: gateway at Dinan which is featured in the much -admired painting The Hôtel Beaumanoir`s Portal, Dinan, 1883 also known as Old Convent Gate, Dinan, 1883, by Osborne`s contemporary Joseph Malachy Kavanagh, in the National Gallery of Ireland (NGI. 1194).The medieval walled town of Dinan in the district Cote d`Eméraude in the north of Brittany, was often the first port-of-call for Irish and English visitors to the Continent, quite easily accessible by ferry from Southampton to St. Malo, and then by local steamer down the River Rance. Strategically situated on a hill above the river, Dinan was a picturesque medieval town encircled by a stout wall, notable for the port, the imposing St. Servan Church, the Tour d`Horloge dating form the 15th Century, and the Jardin Anglais; as well as for its cobbled squares and streets, stone entrance gates, and stone bridges. There was a long-established English colony there, and throughout the 19th Century, Dinan attracted many artists, including Dagnan and Stanfield in the Romantic period, the Pre-Raphaelites Seddon and Boyce, History painters Ward and Lady Elizabeth Butler, and French Realists Corot and Bonvin. Shortly before Osborne`s visit the old stone Porte de Brest had been demolished. Of more significance to Walter Osborne was the fact that young English contemporaries, such as Ralph Todd, Blandford Fletcher, William Breakspeare and Edwin Harris (some of them students in Antwerp) had painted in Dinan c.1879-80. After completing their studies in Antwerp Osborne and Kavanagh travelled to Brittany in spring or early summer 1883. In spite of the town`s historic sites Osborne preferred the more quiet or secluded corners of Dinan, for example the narrow Rue de l`Apport leading from the Place des Merciers, and the Rue du Jerzual, which led downhill to the port. The large gateway (entitled Old Convent Gate in Kavanagh`s picture) is situated on the Rue de l`Apport, the Renaissance portal to the Hôtel Beaumanoir, built in the 15th Century. Rather than showing the gate from outside, bathed in sunlight, the artist represents it from inside and largely in shadow. Framed by the gateway, an elderly street cleaner with a long-handled twig broom pauses from his work, standing in reflection, or looking at the viewer. He wears the plain costume of the Dinan worker: wide-brimmed hat, blue jacket, faded trousers and wooden clogs. The painting is a fine piece of Social Realism. Yet the man stands in shadow, and Osborne`s attention is given as much to the architectural features of the scene, and contrast of sunlight and shadow, as to the human presence. Although small in scale, the picture is well constructed, and painted with a kind of rapturous verisimilitude. Osborne was attracted by the variety of rough textures: old stone, weathered wood, cobbles, slates, tiles, grass and foliage, on which sunlight falls. He shows the imposing gateway with its latticed upper area through which the sun pierces. The gate and the workman`s hut appear in a state of neglect, the timberwork battered, and weeds growing. (Behind the artist was a small square in which the manor was situated, while the top of the gate`s exterior was decorated by a religious statue and curling fish motifs). Warm sunlight in the street begins to enter through the arch, falling on the woodwork and cobbles and along the top of the gate. The area of sunlight at the top right is balanced by a small section of blue sky in the top left corner. The fruit or vegetable stall outside the gate is in shadow, but the sturdy stone house captures the sunlight. Osborne even observed such details as the plaque bearing the name of the street, Rue de l`Apport, and a globe-like glass lamp hanging from the gate.Osborne enjoyed working in the company of fellow-artists, and the close similarity of his painting with Kavanagh`s suggests that the two artists were painting in Dinan together. However, Kavanagh`s picture is larger in scale, and his viewpoint further back in the square. The man is viewed from behind, and sunshine enters the square more fully, suffusing the cobble stones with warmth. And the little glass globe is omitted from Kavanagh`s picture.In one of Osborne`s sketchbooks in the National Gallery is a tiny pencil drawing of his painting (NGI no. 19, 201 facing p.3, iv), entitled Sunshine and Shadow. This, surprisingly, may be the title of the picture, rather than Rue de l`Apport whose name he identifies in the street sign in the painting. Both pictures were exhibited at the RHA in 1884, along with several other Breton works. (Sunshine and Shadow, along with later titles such as Light and Shade, indicate Osborne`s plein-air as well as topographical preoccupations). There is a small black and white photograph of the exterior of the gate, La Porte du Couvent, in Osborne`s photographic album in the National Gallery (NGI, CSIA). The arch appears to have a grill with an open doorway in it. Osborne`s painting has an important historical significance, for it shows the house outside the gate as it was in 1883. It was later destroyed (perhaps during World War II), and a fine handsome, traditionally-styled house built on its site. However, the ancient Hôtel de Beaumanoir with its fine doorway, staircase and gate, has been beautifully restored. Dr Julian CampbellJanuary 2014
Lot 229
A small mixed lot of bijouterie, including a shagreen etui case, a snuff box niello-decorated with desert and other landscapes, a silver cased pocket watch, 9 carat gold mounted blood stone fob and a silver box of square form, the hinged lid decorated with a gentleman in a landscape, English and imported marks.
Lot 284
Bullingham, fly fisherman and companion on the banks of a river in a Highland landscape, together with companion, Highland loch with moored rowing boat and sailing boat on the water, together with an unsigned watercolour of a farmhouse with sheep on the path to the fore and a watercolour study of figures on a stone bridge with mature trees beyond, each framed and glazed.
Loading...-
400965 item(s)/page