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A light oak Cotswolds style gateleg supper table, the oval twin flap top raised on narrow supports, height 72cm, width 92cm, depth 91cm.Condition report: The hinges on both sides of the table are seized and will not allow the flaps to be raised. Split on one flap with chips, some staining. Extra images on David Lay website.
Helen Bradley (British, 1900-1979)Aunt Edith was Sixteen and Wept for Love signed 'HELEN BRADLEY' and with fly insignia (lower right)oil on board30.6 x 38 cm. (12 x 15 in.)Footnotes:ProvenanceThe Artist, thence by family descentThe Estate of Margaret BradleyFour Paintings from the Family of Helen Bradley (1900-1979)Born in 1900 as Nellie Layfield in Lees, a small industrial town on the northern fringe of Oldham, Helen Bradley would become one of the nation's most loved painters, but not until her late sixties.Helen (who changed her name from Nellie by deed poll) was born into a well-established family of local business owners. She attended art school in Oldham where she met fellow student Tom Bradley, who was considered the star pupil. Following a long engagement, the couple would marry in 1926 with two children to follow, Peter born in 1927 and Betty in 1931. Whilst both Helen and Tom painted throughout their lives, and it was accepted between them that if either had a chance of painting professionally Tom was the stronger candidate, neither pursued this career initially. Throughout the interwar years Tom worked in textile manufacturing for a Manchester based firm who specialised in hand printed fabrics (including several Omega patterns by Vanessa Bell and Duncan Grant) whilst Helen kept the home. Following the Second World War, Tom's work led the family to relocate to Middlesex. This afforded Helen the opportunity to visit the National Gallery and British Museum regularly and to attend art school in Harrow. The family returned to the North West in 1952 when Tom took early retirement to allow him to focus on his painting which consisted of portrait and flower commissions. They initially settled in Cheshire before buying a cottage in Cartmel on the edge of the Lake District in 1964. Now in her 60s, Helen painted with a renewed vigour, traveling around the Lakes producing misty landscapes in watercolour, whilst Tom rented a second nearby cottage as a studio for his portrait work. Together the couple joined the local Saddleworth Art Society, through which Helen first met L.S. Lowry. She once expressed to Lowry that she had always struggled to paint figures and he suggested that she should 'paint someone you know well, go home and paint your mother'. This she did, and the resultant portrait proved to be an important turning point. Shortly after she began painting scenes from her own childhood that she would become so loved for, depicting a world full of incident viewed with innocence and rendered in exquisite detail.It was not until 1965, at the age of sixty-five that Bradley had her first solo exhibition. Staged by the Saddleworth Art Society to much local acclaim, it led to a request from Cork Street's Mercury Gallery for six of her works to be included in an exhibition of naïve art the next year. There followed a little over a decade of subsequent highly successful exhibitions in Britain, America and Japan, and the publication of many much-loved books and prints. Bradley enjoyed a broad public profile that few artists ever achieve; she was announced by the media as 'The Jolly Granny' and 'England's own Grandma Moses' (although she notes her personal inspirations as Avercamp and Turner). She was appointed an MBE in the 1978 Queen's Birthday Honours, but sadly died before her investiture.The following four works were given by the artist to her son Peter. They have remained in the family collection since then, with Uncle Tom's Funeral Procession taking pride of place above the dining table.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
Sir Gerald Festus Kelly RA, KCVO, PRA (British, 1879-1972)A Glass of Sherry in the Studio, Portrait of W. Somerset Maugham oil on canvas laid on board72 x 81.4 cm. (28 3/8 x 32 in.)Painted 1932-7Footnotes:ProvenanceThe Artist (until 1952), from whom acquired byBertram E. Alanson (1877-1958), San FranciscoPrivate Collection, U.S.A. ExhibitedLondon, Royal Academy, Summer Exhibition, 1 May-7 August 1933, cat.no.209 (as A Glass of Sherry in the Studio (W.S.M.))London, Royal Academy, Summer Exhibition, 1 May-7 August 1943, cat.no.39 (as W.S.M.: A Glass of Sherry in the Studio. (2nd. Version))Stanford, Albert M. Bender Room, Stanford University Library, A Comprehensive Exhibition of the Writings of W. Somerset Maugham Drawn from Various Collections and Private Collections, 25 May-1 August 1958, section III, item AFollowing graduation from Eton College and Trinity Hall, Cambridge, Gerald Festus Kelly embarked on an artistic career without any formal training. In 1901 he moved to Paris to broaden his education. There he made the acquaintance of Degas, Sickert and Sargent. However, it was another Irishman who he met in the city, the brash young novelist-playwright William Somerset Maugham, who would become Kelly's most enduring friend until the writer's death in 1965.Over the years the two men supported each other in various ways. In 1908 Maugham helped to fund Kelly's career-changing first trip to Mandalay, as a cure to get over an unhappy love affair. Thereafter Maugham used the artist as the basis for characters in several novels, such as Frederick Lewson in Of Human Bondage (1915) and Lionel Hillier in Cakes and Ale (1929-30), and finally he dedicated Ashenden (1927) to the artist. Kelly returned the favour, painting Maugham on roughly eighteen occasions including in A Jester (1911, Tate Gallery, London) considered one of the Artist's finest portraits.A Glass of Sherry was likely intended by Kelly to be both sequel and companion to The Jester. Indeed, the artist elected to show both portraits at the Royal Academy's 1933 summer exhibition, leading the critic Frank Rutter to declare that 'Mr. Kelly has definitely established himself as the premier portrait-painter of the year' (Sunday Times, 30 April 1933, p.12).Following this outing the picture remained in the Artist's possession. In 1937 Kelly reworked the canvas, replacing a decanter positioned on the table to the left with two books and moving the grey bowl a touch to the right. He added a second canvas facing the wall behind the portrait of Princess Saw Ohn Yung and introduced a tube of paint on the easel. Kelly later subtly adjusted the sitter's expression, turning the corners of the mouth upward into a self-confident half smile and shifting his gaze so that he addressed the viewer directly. Pleased with the results, and perhaps capitalising on his position as President to circumvent the Academy's rule that no work should be exhibited twice, the picture was included in the Summer Exhibition for a second time in 1943.It is following this outing that the work was sold by Kelly to Maugham's closest American friend, Bertram E. Alanson. Alanson was a stockbroker who later became head of the San Francisco Stock Exchange. As well as being entrusted by Maugham with his finances, Alanson amassed one of the most important collections of the author's writings ever assembled, most of which he later bequeathed to Stanford University. Following Alanson's death in 1958, the work's whereabouts were untraced until its recent rediscovery. A welcome re-addition to the canon of 20th Century portraiture, A Glass of Sherry stands as a testament to the dear friendship between these two highly celebrated men.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lucas Samaras (Greek, born 1936)Heads Mix Table 32 signed, dated '03' and numbered '2/5' (on the reverse)pure pigment on paper72.4 x 58.4 cm.Executed in 2003, this work is number 2 from an edition of 5.Footnotes:Another work from the same edition belongs to the MOMA NY, gift of Anne and Joel Ehrenkranz.Provenance Pace Wildenstein Gallery, New York.Exhibited/Literature New York, PaceWildenstein, Lucas Samaras, Photofictions, November 11, 2003 – January 10, 2004, p.12 (illustrated in the catalogue) 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
Middle East.- Niebuhr (Carsten) Voyage en Arabie & en d'autres Pays circonvoisins, 2 vol., first edition in French, half-titles, engraved vignette titles, large folding map of the Yemen hand-coloured in outline and 124 engraved maps, plates and plans, many folding, 1776-80; Description de l'Arabie, second edition in French, half-title, engraved vignette title, 25 engraved maps and plates, some folding including a large map of the Yemen hand-coloured in outline and 2 plates of Arabic scripts with partial-hand-colouring indicating vowel sounds (one folding), folding letterpress table, errata leaf at end but lacking list of plates, 1774 § Michaelis (J.D.) Recueil de Questions, proposées à une Société de Savants, qui par ordre de Sa Majesté Danoise font le Voyage de l'Arabie, first edition, half-title, 1774, together 3 works in 4 vol., uniform contemporary half red morocco over boards, spines gilt, uncut, rubbed, vol.1 with spine torn at head, vol.2 split to upper joint, vol.3 with spine torn and upper half detached, lower cover also detached, 4to, Amsterdam, S.J. Baalde, & Utrecht, J. van Schoonhoven⁂ Frederick V of Denmark commissioned a Danish expedition to Arabia in 1761-63. The second mentioned work in this set is an account of the expedition on which all but Niebuhr died, the first describes his return journey overland through Persia and Turkey. The final volume is a list of questions and objectives for the expedition, set by J.D.Michaelis, a noted German orientalist, concerning dialects, natural history etc. The Description contains important maps of the region including Oman, the Arabian Gulf and the first reliable map of the Nile delta; there are also views of Mecca and Medina. The Voyage includes a visit to Persepolis.
Bartholomaeus de Pisa. [Liber Conformitatum vitae beati Francisci.] Opus. Auree & inexplicabilis & continentie, collation: a12 a-z8 &8 [cum]8 R̸8 A-B8 C6, double column, gothic letter, title in red and black and woodcut vignette depicting St. Francis with a cross following Jesus with a cross within a border incorporating vignettes of 8 saints, full-page woodcut pictorial table of comparisons in red and black, woodcut vignettes, decorative initials and a printer's device to foot of final printed f., lacking final blank, title with a few small worm traces to head (some repaired) and lightly browned and foxed, a few small wormholes to upper margins of first few ff., some water-staining (mostly marginal) towards end, occasional spotting and light staining elsewhere, 19th century mottled calf, gilt, spine ends chipped, corners worn, rubbed, 4to (290 x 199mm.), [Milan], Giovanni Castiglione, 1513.⁂ Handsomely printed work outlining the conformity of the life of St. Francis of Assisi to that of Christ. Some of the comparisons were ridiculed by Erasmus Alberus in his anti-Franciscan work L'Alcoran des Cordeliers. Provenance: M.H. Bloxam (bookplate and signature). Literature: Adams F906; EDIT 16 CNCE 4489; Sander 205.
Worcestershire.- Greenwood (C. & J.) Map of the County of Worcester from Actual Survey made in the years 1820 & 1821, detailed county map with calligraphic title, dedication, compass rose and table of explanation, engraving with full original hand-colouring, sheet 1140 x 1240 mm (44 7/8 x 48 3/4 in), dissected and mounted on linen, some offsetting, minor surface dirt, folding with marbled endpapers, partial green silk edging to one side, presented in contemporary tree calf book-style slipcase, label to spine, very scuffed and worn, 4to, 1822.
Dugdale (Sir William) The Baronage of England, 3 vol. in 1, first edition, titles to vol.1 & 2 in red and black, 5 folding genealogical tables, vol.2 with errata in one paragraph on verso of title, 3R2r in vol.3 with "Earl of" at end of first line second column, title lightly foxed with short tear repaired on verso, a little browned, small rust hole to 3G1 in vol.3 with loss of a couple of letters, a few marginal tears and defects (some repaired), later russia, gilt, g.e., rubbed, corners a little worn, rebacked with gilt spine, new endpapers, [Wing D2480], by Tho. Newcomb, for Abel Roper [&c.], 1675-76 § Dallaway (James) Inquiries into the Origin and Progress of the Science of Heraldry in England, first edition, engraved title, coat-of-arms on dedication, head - & tail-pieces and 27 plates, 8 hand-coloured, folding genealogical table, title foxed, light soiling, bookplate of John Fremlyn Streatfeild, contemporary tree calf, worn, covers detached with some leaves loose, Gloucester, 1793, folio & 4to (2)
Bartholomaeus Anglicus. De proprietatibus rerum, collation: [2-4]6 a b8 c d6 e8 f g6 h8 i k6 l8 m n6 o8 p-z A-R6, table triple column, text double column, 257 ff. (of 258, lacking final blank), 52 lines and headline, Gothic type, opening initial supplied in black ink, initial spaces with guide-letters, early ink marginalia, including fingerposts, title with inscription inked out and covered with a strip of paper and with later ink inscription regarding edition at foot, water-stained, some spotting, lightly browned, 19th century half vellum, soiled and rubbed, folio (269 x 193mm.), Strasbourg, [Printer of the 1483 Jordanus de Quedlinburg (Georg Husner)], 11 August, 1491. ⁂ A rare edition at auction of this medieval encyclopedia, which includes natural history, astrology, food and drink, gemstones and minerals. Provenance: M.H. Bloxam (bookplate). Literature: BMC I 142; Goff B-140; GW 3412; HC ∗2509; Bod-inc B-065; BSB-Ink B-98; ISTC ib00140000.
Ethnography.- [Boemus (Johannes)] [The Fardle of Facions, Conteining the Aunciente Maners, Customes, and Lawes, of the Peoples Enhabiting the Two Partes of the Earth, Called Affrike and Asie], black letter, lacking all before B1 (title and prelims), G8, H8 and all after T6 (the treatise of Josephus, table and colophon), woodcut initials, soiling and light staining, attractive 18th century calf, gilt, library label to spine, a little rubbed, [STC 3197], small 8vo, [By Ihon Kingstone, and Henry Sutton], 1555.⁂ The first scientific attempt at ethnographic classification. With the main text seemingly complete (excepting the two leaves indicated).
Cicero (Marcus Tullius) Opera, edited by Paulus Manutius, 10 vol. in 4, comprising, I. Rhet. I. (*4, not called for by Adams, of which first f. engraved pictorial title and last blank) ɫ4 A-I4 A-Z Aa-Ee4 :A-Z Aaa-Zz, Aaa-Fff4 Ggg6 : a-g4 h6, final f. blank, A-I4 mis-bound before printed title; II. Rhet. II. *4 A-Z Aa-Zz 2Aa 2Bb6, a-f4, with blanks Bb6 f4; III. Orationes I. [*]2 A-Z AA-XX4 YY2; IV. Orationes II. [*]2 A-Z Aa-Qq4 a-e4 f6, final f. blank; V. Orationes III. [*]2 A-Z Aa-Zz4 Aaa Bbb4 a-g4 h6, Bbb4 blank, index (a-g4 h6) mis-bound at start; VI. Epist. Fam. [*], a-h4 A-Z Aa-Zz Aaa-Zzz Aaaa-Hhhh4, advertisement f. at end; VII. Epist. Ad Att. ✠4 A-Z Aa-Zz Aaa-Zzz, Aaaa-Nnnn4; VIII. Philos. I *4 A-Z Aa-Rr4 Ss6; IX; Philos II. *4 A-z Aa-Ss4 Tt6 Vu4; X. Philos III. ɫ4 A-G4 H*2 H-V4 Xɫ2 X-z, Aa Bb4 Ccɫ2 Cc-Ff4 Ggɫ2 GG Hh4 Ii6 a-g4, ɫ4, V4 and g4 blank, folding letterpress table, all vol. woodcut printer's devices or portraits of Aldus to titles, a few engraved illustrations and portraits in text, woodcut head-pieces and initials, water-staining, very occasional small areas of marginal worming, some spotting, 17th century armorial calf, first vol. upper cover detached, extremities worn, rubbed and scuffed, folio (330 x 219mm.), Venice, Aldus, 1583 [engraved title dated 1582 & colophon dated 1581]. ⁂ A scarce set of this monumental edition. Literature: Adams C1660; EDIT 16 CNCE 12460.
Middle East.- Niebuhr (Carsten) Description de l'Arabie, second edition in French, half-title, engraved vignette title, large folding engraved map of the Yemen hand-coloured in outline, 23 engraved maps and plates only (of 24, lacking folding plate of Arabic script), some folding, folding letterpress table, errata leaf at end but lacking list of plates, occasional foxing but generally clean, contemporary mottled sheep, rather scuffed and worn, upper cover detached, Amsterdam, S.J. Baalde, & Utrecht, J. van Schoonhoven, 1774; and vol.3 only of Niebuhr's Reisebeschreibung nach Arabien, Hamburg, 1837, 4to (2)⁂ Containing maps of Oman, the Arabian Gulf, the first reliable map of the Nile delta, and views of Mecca and Medina.
Sombre Binding.- Book of Common Prayer (The)..., engraved throughout and ruled in red, with decorative borders, illustrations, volvelle on Circular Table and advertisement leaf at end, a little soiled and water-stained, with details of Matthew family births etc. in manuscript on front free endpapers, occasional smudging to red rules, volvelle loose causing hole to backing leaf, contemporary black morocco sombre binding, tooled in blind with decorative border and panel of volutes, flowers atop circles, raspberries and other tools, spine tooled in compartments, g.e., rubbed, corners and spine ends a little worn, split to head of spine, 8vo, John Baskett, sold by John Sturt, engraver, 1717.⁂ The engraved portrait of George I on verso of title is made up of the Lord's Prayer, Creed, Commandments etc. in minuscule script.
World.- Heylyn (Peter) Mikrokosmos [graece] a little description of the great world, fourth edition, title within architectural woodcut border, woodcut initials, head- and tail-pieces, title detached, with margins a little chipped and browned, folding table partially backed with short repaired tear, light soiling, occasional foxing or browning, bookplates, 19th century half calf, upper cover detached, upper joint split, spine lacking upper portion, rubbed and scuffed, [Sabin 31656; STC 13279], small 4to, Oxford, by W. T[urner]. for William Turner, and Thomas Huggins, 1629.
[Williams (John)] The Holy Table, Name & Thing, with final blank f., woodcut decorations, rust hoel to N3, N4 lower corner torn away, not affecting text, 2E4 with paper flaw affecting printed side-note, occasional light foxing and minor soiling, 19th century cloth, paper labels to spine and upper cover, [STC 25725], [Eliot's Court Press] for the Diocese of Lincoln, 1637 § Heylyn (Peter) Antidotum Lincolniense, or an answer to a Book entituled the Holy Table, Name, and Thing, etc., woodcut initials and decorations, title and final errata f. detached, title chipped and stained, dampstaining, 3H2 margin torn affecting printed side-note, later calf, covers detached, spine chipped, rubbed, [STC 13267], for John Clark, 1637 § Lipsius (Justus) Miracles of the B. Virgin, or an Historical Account of the Original and Stupendious Performances of the linage entituled our blessed Lady of Halle, title browned and mounted on stub, spotting and browning, dampstaining to head, a few ff. shaved at head, 19th century half calf, [Wing L2361], 1688; and 13 others, similar, v.s. (16)
Bible, Latin.- Biblia latina, with additions by Menardus Monachus, collation: [a12 b-y10 z A6 B-N10 O P6 Q-S10 T V8 X-Z aabb10 cc6], double column, 468 ff., 51 lines, Gothic type, first 3 initials on punched gold ground with marginal extensions comprising intertwining sprays and flowers in green, blue, red, pink and yellow by a contemporary artist, headlines and initials in red, early foliation in black ink, first f. blank, contemporary manuscript table of contents on vellum leaf bound in at start, 18th century German bibliographical note to front endpaper, a4 loose, ff.27-30 and ff.400-468 stained to varying degrees, heavier towards end, with c. last 10 ff. with some holing and repairs with loss of text, c.30+ ff. at end with inner gutters strengthened, elsewhere occasional marginal staining / water-staining and spotting, modern half morocco, spine gilt, folio (390 x 270mm.), Nuremberg, Anton Koberger, 30 July, 1477.⁂ Koberger's second Latin Bible, here with handsome decorations. Provenance: William Constable-Maxwell (1804-1876), 10th Lord Herries of Terregles (engraved armorial bookplate); J. H. Burn, March, 1931 (label)Literature: BMC II 414; Goff B552; GW 4227 (+var); HC 3065*; Bod-inc B-261; BSB-Ink B-425; ISTC ib00552000.
HERMÈS Eperon. HERMÈS Eperon. France. Ca. 1952. Pig's leather with sailcloth H, 22,5 x 19,0 x 10,0 cm. The Sac EPERON from Hermès is certainly a highlight of the pre-Christmas auction in our house. This model was first designed in black crocodile leather in 1940 for Rita Hayworth by Robert Dumas. Rita Hayworth, Hollywood goddess of the time, was so popular that her face adorned even the bombers of the American army. The international customers of the Hermès company were later able to have a model made individually in various colors and materials. Each bag was a unique piece of craftsmanship from the studios on Rue du Faubourg Saint-Honoré. The bag offered today was individually ordered by the then customer for his wife in natural pigskin leather in a combination with Toile H, an iconic fabric of the house, and delivered to her before Christmas 1952 with her initials embossed on it. Even the order card still exists and impressively documents the provenance. This piece is a special example of how the classic and valuable workmanship is still just as desirable and highly topical after 68 years. The Toile H combined with Barenia leather is today one of the favorite combinations of true Hermès connoisseurs. Now the wonderfully preserved piece is back on the Christmas table after 68 years. Original packaging enclosed. Condition as good as new. Explanations to the Catalogue Hermès Luxury goods Estimated Shippingcost for this lot: Germany: 26,89 Euro plus 5,11 Euro VAT EU: 46,22 Euro plus 8,78 Euro VAT Worldwide: 92,44 Euro plus 17,56 Euro VAT additional shipping insurance
Smaragd-Diamant-Ring. Smaragd-Diamant-Ring. Wohl Frankreich. Um 1940. Platin, getestet, Gesamtgewicht: ca. 11,0 g. EU-RM: 56. 10 Brillanten zus. ca. 0,9 ct. SI/L-M, 10 Diamanten im Baguette-Schliff 2,0 - 4,6 x 1,7 - 2,6 mm. 1 Smaragd im Emerald-Schliff ca. 7,9 ct. Smaragd mit deutlichen Tragespuren und einem großen Riss durch die Tafel. Schmuck 1940er Ring Platin Smaragd Frankreich Erläuterungen zum Katalog Smaragd-Diamant-Ring. EMERALD-DIAMOND-RING. Presumably France. Ca. 1940. Platinum, tested, total weight: ca. 11,0 g. EU Ring Size: 56. 10 brilliants in total ca. 0,9 ct. SI/L-M, 10 diamonds in baguette-cut 2,0 - 4,6 x 1,7 - 2,6 mm. 1 emerald in emerald-cut ca. 7,9 ct Emerald with distinct signs of wear and large tear through the table. Explanations to the Catalogue Jewellery 1940s Ring Platinum Emerald France
ASSORTED KINGS SHAPE ENGLISH TABLE SILVER comprising: six George III Hourglass pattern table forks and six dessert forks, crested, various makers, London & Dublin, 1815-1819; three Kings pattern table forks, two dessert forks and a single struck teaspoon, various markers, 19th century; and two Queens pattern dessert spoons, a Queens pattern dessert fork and a Fiddle Shell & Thread pattern dessert fork, various makers, 19th century; together with a set of six French silver fruit knives, Philippe Berthier, Paris, third quarter 19th century, Kings pattern, loaded silver handles engraved with scrolled initials, silver blades, 950 standard; and a silver fruit knife and fork, Sheffield, circa 1825, Vine & Shell pattern loaded silver handles and silver blade and tines weighable silver 1601gr (51oz) (30)
A FRENCH FOUR-GLASS TABLE CLOCK, LATE 19TH CENTURY the oval typical case with curved and bevelled glass, the white enamel dial with recessed visible Brocot escapement and Roman numerals, the eight-day movement striking the hours and half hours on a bell, unsigned, numbered 9503, with chamfered brass pendulum, with key and watch key for the suspension regulator 34.5cm high
A PAIR OF CHINESE JADEITE PLAQUES, EARLY 20TH CENTURY each rectangular plaque carved and pierced with a kylin amidst foliage and ruyi cloud swirls, the stone of pale green colour with bright apple-green inclusions, each mounted as a table screen with openwork scroll carved wood frame and affixed stand plaques 8cm high Provenance: Private English Collection
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