Three boxes of assorted items to include: wall barometers, cased model of a miniature ship, Welsh tapestry placemats and coasters, wooden spice rack, vintage enamel scales, cookie cutters, casserole, stoneware hotwater bottle, chopping board with knife, Lilliput lane cottages, oriental design parasol, driftwood corkscrew, model Towy coracle, various china; miniature Limoges plate, animal figures, eggcup, Ieuan Evans Welsh rugby Grogg figure, Regency fine arts 'Tartan Westies' in box, Wedgwood pin trays, miniature teapot, mugs etc. (3)(B.P. 21% + VAT)
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Tapestry; Flemish work, 17th century.Wool.Presents restorations.Measurements: 268 x 243 cm.Flemish tapestry made in wool that presents a heraldic motif as the main ornamentation of the work. In the absolute centre we can see the coat of arms dominated only by the presence of a castle and in the upper area, the bell, a knight's helmet. The coat of arms is surrounded by numerous intertwining vegetal and geometric decorations, which are delimited by a square band that separates the inner perimeter of the tapestry frame, which has been designed as a border decorated with garlands. In the 17th century, Flemish tapestries were arguably the most important productions, with many specimens from this period still extant, demonstrating the intricate detail of pattern and colour embodied in pictorial compositions, often on a monumental scale. The success of decorative tapestry may be partly explained by its portability. It is a very common style in Europe, which began to develop in the Middle Ages. Tapestry is relatively fragile and difficult to make, so most historic pieces are intended to hang vertically on a wall, or sometimes horizontally on a piece of furniture such as a table or bed. In some periods smaller pieces, often long and narrow, were made and used as borders for other textiles. European tapestries are therefore usually made to be viewed from one side only, and often have a plain lining added to the back.
MONTEGRAPPA FOUNTAIN PEN "VATICAN PAPAL".Silver embossed and rose gold-plated barrel.Limited edition. Exemplary 410/476.Two-tone gold nib. Tip M.Screw cap. Piston loading.No box.Dimensions: 14 cm in length, 14 mm. in diameter.Uniquely captures the essence of the last two millennia by depicting the origin of this recorded time. Through the use of intricate engravings, it celebrates and commemorates the basis of the calendar by which we have achieved and marked this milestone.This numbered limited edition bears the signature of Pope John Paul II and the seal celebrating the Great Jubilee. The body and cap are overlaid with hand-engraved sterling silver 1.In a tapestry of images, hand-engraved into the precious metals of the cap and body of the pen, are the cherished values and images of the church.Turning the cap counterclockwise from the clip reveals the unmistakable silhouette of St Peter's Basilica. The name of the engraver's workshop is accompanied by the pen's serial number. An exclusive image of Pope John Paul II in front of the Holy Door at the opening of the Great Jubilee of the Year 2000 is central to the design of the cap, followed by the official logo of the Great Jubilee Celebrations of the Year 2000.Below the logo, the Latin inscription reads "PER CHRISTVM - IN SPIRITV SANCTO - AD DEVM PATREM" (FOR CHRIST - IN THE HOLY SPIRIT - TO GOD THE FATHER), quoted from the Apostolic Letter "Incarnationis Mysterium". The lower part of the cap proudly bears the signature of the Holy Father, Joannes Paulus II, who stamps this edition.The body presents the Holy Trinity: God the Father (top), Jesus Christ (centre) between Mary and John, the Holy Spirit represented by a dove (bottom). A multitude of angels surround the Holy Trinity, and the four angels near the dove hold the Gospels.Technically, the Papal Pen represents the latest advances in modern technology. It features a two-tone nib crafted in solid 18k gold, tastefully engraved to reproduce the keys of St. Peter's Basilica, masked platinum and an iridium tip for smooth writing.These piston-fed fountain pens employ a state-of-the-art ink feed system using hand-turned ebonite for uninterrupted ink flow, complemented by a high-capacity ink reservoir.
An antique woolwork picture and one other CONDITION REPORTIn our judgement, condition of lot is fair. Notably, the square picture sports a stain to top right corner and a hole in the tapestry, and the larger rectangular picture has signs of stretch to the mesh, as pictured.DimensionsSquare picture, 54.5 x 54.5cmRectangular picture, 66.5 x 56.5cmOur team of trusted experts are on hand to help and always endeavour to provide an accurate judgement. The ultimate responsibility lies with the buyer however, and we recommend that you make every effort to inspect the lot yourself.To that end, we have provided a number of additional images for your attention.
Thirty vinyl LPs and 12" singles, female solo artists, to include Cher - Love Hurts , Jennifer Rush - Passion, Kate Bush - The Kick Inside, Suzi Quatro - Greatest Hits, Whitney Houston - Self Titled, Olivia Newton John - Totally Hot, Judie Tzuke - I Am The Phoenix, Carloe King - Tapestry, Tina Turner - Foreign Affair, Madonna - Like A Virgin and others
Nine original Prog vinyl LPs comprising three separate issues of "Steamhammer" including one UK first pressing, a UK first pressing "Steamhammer- Mountains", "Captain Beyond" US first pressing, "Captain Beyond" UK first pressing, "Captain Beyond- Dawn Explosion", "Captain Beyond- Sufficiently Breathless", and a "Captain Beyond" reissue on Tapestry.
Albrecht Dürer - St Sebaldus in a niche - 1518 / Description: In a niche, decorated with a tapestry, Saint Sebald is depicted full-length. We recognize him by his pilgrim attributes, such as the staff, duffle bag, prayer chain and pilgrim badges sewn onto his hat. As the patron saint of Nuremberg, he is presenting a model of the Church of St Sebald where Dürer was baptized, married and where most of his relatives were buried. Above right we may identify the coat of arms of Nuremberg, above left the royal coat of arms of France and Denmark. This woodcut was made by Albrecht Dürer in 1518 and is dated in the block at the upper left. / Dimensions: 30,10 x 21,30 cm / Condition: Very good evenly printed contrasted black impression with almost intact borderline and small margins all around. Small restored defect bottom middle and left corner. With a few needle pin size holes and a few cracks mainly on the left column mounted on a support sheet. / Literature: Meder 1932 / Dürer Katalog (p.196) --- Dodgson 1903, 1911 / Catalogue of Early German and Flemish Woodcuts in the BM, 2 vols (I.395.52) --- Bartsch / Le Peintre graveur (VII.180.21) --- Matthias Mende has firmly attributed this work to Dürer himself, previously it was considered as a work by his assistant, Hans Springinklee (1495-1540). Schoch,Mende, Scherbaum 251. / Medium: Woodcut /Circa: 1518
14 Cartoons: Set of 7 cartoons of Louis XIV and 7 Additional cartoons, Carel Allard. / Description: 14 cartoons: Set of 7 cartoons of Louis XIV and 7 additional cartoons, made or published by Carel Allard, 1705-1706. Each etching was published by Carel Allard in Amsterdam ca 1705, but has a different imaginary address engraved below. (Source Rijksprentenkabinet Amsterdam:) First set: The Royal Almanac of Louis XIV, 1705, the seven virtues 1. Charity: First etching with King Louis XIV as a sun god sitting in the centre of the sun with the 24 rays. Each ray shows a crime committed by the king. Top left the solar eclipse of May 12, 1706. References: FMH 3073-(1a), Atlas van Stolk 3162. 2. Faith: Second etching with Cartoon of Lodewijk Willem, Margrave of Baden-Baden, bribed to the French side by King Louis XIV. The Margrave asleep at a table of gold pieces. References: FMH 3075-(2a), Atlas of Stolk 3164 . 3.Temperance: third etching with Harlequin (King Louis XIV) with triangle and hump, persuades Lodewijk Willem, Margrave of Baden-Baden, who is weighing money, to defect to the French side. References: FMH 3081-(3a), Atlas of Stolk 3171. 4, Hope: fourth etching, a complaint from Theresia Kunigunde Sobieska, Elector of Bavaria (wife of Maximilian II Emanuel, Elector of Bavaria), 1705. On the left a large bust of King Louis XIV. References: FMH 3086-(4b), Atlas van Stolk 3174. 5. Fifth etching: Force: Cartoon of Maximilian II Emanuel, Elector of Bavaria, 1705. The Elector standing full-length, in the background maps of the Brabant Lines and the Flemish Lines (forced on August 4 by Baron Sparre). On his mantle are French lilies; References: FMH 3090-(5b), Atlas of Stolk 3177. 6. Prudence: Sixth etching: Cartoon of the fleeing Colonel Sar during the passing on of the Flemish Lines on August 4 by the State General Baron Sparre (or Spar); References: FMH 3091-(6a), Atlas van Stolk 3180. 7. Justice: Seventh etching: Cartoon of Louis Willem I, Margrave of Baden-Baden, standing with sword in hand, in the other hand with a balance a sword weighing against a bag of gold pieces. References: FMH 3093-(7), Atlas of Stolk 3181. 1. First additional etching: Cartoon of the parties fighting for Castile, 1706. On top of a castle are Charles III, the Elector of Bavaria and Louis XIV. Others try to climb the tower. In the plate verses in Dutch and French. Cartoon of the situation in the year 1706 in the War of the Spanish Succession. References: FMH 3126-(16b), Atlas of Stolk 3245. 2. Second additional etching: The Duke of Villeroy and Maximilian II Emanuel, the Elector of Bavaria, Kneeling, Stockinged, Before King Louis XIV, 1706. References: FMH 3042-(4), Atlas van Stolk 3186. 3. Third additional etching: A French wooden legged town crier (Louis XIV) and a Spanish drummer lament the recently lost towns, 1706. References: FMH 3115-(12a), Atlas van Stolk 3238. 4. Fourth additional etching: Cartoon of the French King Louis XIV who falls ill after eating Spanish nuts that are too hard, 1706. The mistresses bend over the king, children and grandchildren of the king weeping on the background. References: FMH 3111-(10a), Atlas van Stolk 3234. 5. Fifth additional etching: Philip V, Duke of Anjou, King of Spain only on paper, flees the Spanish Royal Palace taking the crown, 1706. He destroys a tapestry with his dagger. References: FMH 3127-(17a), Atlas van Stolk 3248. 6. Sixt additional etching: King Louis XIV as a sun god sitting in the center of the sun with the 24 rays. Each ray shows a crime committed by the king. References: FMH 3039-(1), Atlas van Stolk 3183. 7. Seventh additional etching: Another version of Temperance: etching with Harlequin (King Louis XIV) with triangle and hump, persuades Lodewijk Willem, Margrave of Baden-Baden, who is weighing money, to defect to the French side. References: FMH 3083-(3c), Atlas van Stolk 3172. All 14 etchings in excellent condition, very good dark impression on laid paper with margins, born together as set ca 1705-1706. / Dimensions: paper size 30,7 cm x 19,8 cm / Condition: All 14 etchings in excellent condition, very good dark impression on laid paper with margins, born together as set ca 1705-1706 / Literature: see description / Medium: engravings/etchings /Circa: 1705 -1706

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39442 item(s)/page