We found 398886 price guide item(s) matching your search
There are 398886 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
398886 item(s)/page
Lot 182
An 18ct gold and platinum mounted three-stone diamond ring, claw set with round brilliant cut diamonds, shank inscribed; together with an 18ct gold and platinum mounted five-stone diamond ring, similarly set with graduated early round brilliant and single cut diamonds, also with inscribed shank (2) Estimated total diamond weights 1.00cts and 0.21cts
Lot 165
Theophile Alexandre Steinlen (1859-1923). Gil Blas, a good group of sixteen cover illustrations. Lithographs, printed in colours, 1890’s. Each c.27.5 x 24.5cm (10 3/4 x 9 3/4 in). With Coal Miners, lithograph by Steinlen, 21.5 x 30cm (8 1/2 x 11 3/4 in), signed in the stone, c.1900; with 5 French caricatures, by or after Daumier, Cham and Boilly (22)
Lot 395
A set of three stone composition urns, 20th century, each cast with fruiting vines, on a domed foot and square base, each 33cm high, 41cm diameter, and another pair of stone composition urns, of baluster form with gadrooned decoration, on a domed foot and square base, each 40cm high, 39cm diameter
Lot 170
* Barker (Thomas, of Bath, 1769-1847). A lithographic stone with original study of a man in rustic costume with walking stick and basket, for ‘Impressions of Rustic Figures After Nature’, early 19th c., orig. drawing on lithographic stone, monogram present, image slightly rubbed, image dimensions 22 x 14cm (8.75 x 5.5ins), stone 24.5 x 16.5cm (9.75 x 6.5ins). There are thirty-one known examples of Thomas Barker’s lithographic stones, all of which are in the collection at the Victoria Art Gallery in Bath. Eighteen of the stones are for ‘Forty Lithographic Impressions from Drawings by Thomas Barker Selected from his Studies After Nature’ published in 1813. A further eight in the collection were drawn for ‘Thirty Two lithographic Impressions from Pen Drawings of Landscape Scenery’, published in 1814. It is very unusual for lithographic stones to have survived preserving an original illustration. The stones were highly expensive to produce and were usually reground and reused. Stones were hired out to artists by the printer for approximately a week at atime, but Barker appears to have owned his own lithographic stones. His stones are likely to be white lias limestone quarried from the Bath area. Unlike those for ‘Landscape Scenery’ the stones for ‘Rustic Figures’ have similar dimensions. In 1803 Barker was asked to contribute to the first major publication of English lithographs, Specimens of Polyautography, for Alois Senefelder’s agent in London. In 1813, the printer D.J.Redman moved to Bath at Barker’s invitation and set up a lithographic press, making Bath the centre of artistic lithography for a while. The success of the press in Bath arose partly from the plentiful supply of good quality local limestone. That same year, Redman published Barker’s Impressions of Rustic Figures After Nature, a set of forty figure studies. The following year Redman published a companion set of Barker’s landscape studies. To Barker’s disappointment, neither group was a financial success: in 1815 Redman returned to London, and Barker stopped producing lithographs. Barker’s ‘Impressions of Rustic Figures After Nature’, was the first single-artist collection of lithographs ever printed in England. (1)
Lot 195
* Ruskin (John). Notes by Mr. Ruskin. Part I. On his Drawings by the Late J.M.W. Turner, R.A. Part II. On His Own Handiwork Illustrative of Turner. The above being exhibited at The Fine Art Society’s Galleries, 148, New Bond Street. 1878, 11th thousand, revised edition, [1878], Ruskin’s own copy, with his ms. ink and pencil annotations, orig. printed wrappers, dusty and a little marked, front cover detached and frayed (at one time attached with brown tape still present at gutter of title), upper margin of front cover with ms. note in Ruskin’s hand ‘Mine - with Guardian reviewinside’ (review no longer present), ‘With the Author’s Compliments’ slip tipped-in oninside front cover, 8vo, together with Ruskin’s own green morocco-backed blank drawing book, approx. forty blank leaves of coloured paper, upper hinge broken, folio, plus a large cloth portfolio containing fifteen blank sheets of drawing paper which belonged to Ruskin, plus an armorial seal, possibly Italian, the ivory seal in engraved silver setting, with carved agate handle, length 70mm (2.75ins), plus an amethyst and gold watch key, the stone engraved with a flower and ‘To You’ (in reverse), length 20mm (.75ins), and a small amethyst and gold drop earring, both of which belonged to Ruskin’s mother, plus a small quantity of related catalogues and ephemera (6)
Lot 363
* Sciola (Pinuccio, 1942-). Two vulvic forms, c. 1990, both stone carved basalt, lengths approx. 23 & 12cm (9ins and 5ins), together with a folder of books, exhibition catalogues and articles relating to the artist, mostly in Italian. Sciola was born in San Sperate, Sardinia. Much of his civil architecture is megalithic in scope and intent with archaeological and geological resonances. He is well travelled and he has exhibited at the Venice Biennale (1976), at the Besana in Milan (1984) and his works are held in numerous European art museums and private collections. He has never exhibited in the UK. (-)
Lot 122
A selection of New Zealand green stone and African malachite carved animals, to include; five malachite frogs, 3.5cm - 7cm, four malachite turtles, 3.5cm - 5cm, a malachite hippo 5cm, a large green stone frog, 8.5cm, three turtles 4cm - 7.5cm, four green stone graduated kiwis 3.5 - 5.5cm and two pieces of malachite 15.5cm and 8cm wide (20)
Lot 127
A pair of Victorian provincial game-poultry skewers, 15cm. long, maker J. Stone, Exeter, 1848, also an Exeter fiddle pattern butter knife, maker James & Josiah Williams. 1857, a fiddle pattern teaspoon, maker J. Hicks, Exeter, 1824, a pair of Victorian fiddle pattern salt spoons maker George Adams, London, 1851, and another London, 1874, total weight 5.25ozs.
Lot 151
A Victorian provincial fiddle pattern sugar spoon with typical shovel bowl, maker James & Josiah Williams, Exeter, 1857, also another sugar spoon maker T.S probably Thomas Salter, Exeter, 1872, a Victorian fiddle pattern cream or small sauce ladle by W.R.Sobey, Exeter, 1838, a fiddle pattern preserve spoon by James & Josiah Williams, Exeter, 1854, a pair of fiddle pattern sugar tongs maker ES, Exeter, 1854, two fiddle pattern mustard spoons, maker W R Sobey and J Stone, Exeter 1836, 1846, and an Old English pattern teaspoon, maker Joseph Hicks, Exeter, 1784, total weight 5.75ozs.
Lot 152
A set of six Victorian provincial Old English pattern tea spoons, maker W.R.Sobey, Exeter, 1852, a pair of fiddle pattern teaspoons, by J Stone, Exeter, 1837 another by J Osment, Exeter 1833, two marrow scoop spoons, (converted), maker William Walsh, Exeter C. 1798, maker IH, London, 1823, a pair of sugar tongs maker IS, London, 1829 and a crested teaspoon (ICI), Birmingham, 1934, total weight 8.75ozs.
Lot 5
A late 19th century diamond five stone ring Of half-hoop design, set with five graduated old brilliant-cut diamonds with old brilliant-cut diamond accents, to carved scroll gallery and shoulders circa 1890, one accent stone missing, two later replaced single-cut diamonds and two rose-cut diamonds View on Christie's.com
Lot 29
Three diamond and gem rings Comprising: a sapphire, diamond and peridot crossover, the two central circular cabochon sapphires to shaped cabochon peridot and graduated brilliant-cut diamond line shoulders; an 18ct, gold, emerald and diamond ring, the central pavé brilliant-cut diamond curved panel with oval cabochon emerald single stone side accents, London import mark 1994, hoop signed Dianoor; and a garnet and diamond crossover composed of shaped buff top garnets with diamond line detail (3) View on Christie's.com
Lot 57
A pair of Indian pearl and enamel earpendants Each baroque shaped pearl drop to a flat-cut diamond trefoil surmount and single stone top, the reverse with red and green enamel floral decoration, post fittings, please note that the pearls have not been tested for natural origin, some loss to enamel (2) View on Christie's.com
Lot 84
A pair of diamond, coloured diamond and labradorite earrings The oval faceted labradorite single stone drops to diamond and yellow diamond loop and graduated line suspesnion, clip and post fittings, please note that the yellow diamonds have not been tested for natural colour origin View on Christie's.com
Lot 95
A pair of aquamarine and diamond fringe drop earpendants and a necklace Each earpendant composed of triple pear-shaped aquamarine drops each suspended from a diamond flowerhead cluster with diamond terminals to a pear-shaped aquamarine single stone and diamond stud surmount; and a matching aquamarine and diamond pendant necklace (3) View on Christie's.com
Loading...-
398886 item(s)/page