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A Chinese 'Teadust' glazed vase, of meiping form with short lug handles, the shoulder and body with a series of ochre coloured horizontal bands, before a dusted rich green ground, 29cm high, drilled mark to base, possibly a Yongzheng mark (1722-35), secondary paper label to base with written number 30.
A Chinese late Qing Dynasty (1664-1912) Tianqiuping vase, the bulbous body rising to a shaft neck, with allover variegated ochre ground, depicting two outlines of five-clawed dragons in pursuit of the flaming pearl, with overglazed ruyi fire-scroll decoration, 43cm high.
A later 20th Century Norman Stuart Clarke studio glass vase of globular form with blue spots and whiplash lines on the green ground all in an iridescence, engraved signature, height 11cm, together with a similar scent bottle of squat form with iridescent blue spots and green whiplash lines, conforming stopper, engraved signature. (2)
A Moorcroft Pottery vase decorated in the Foxglove pattern designed by Rachel Bishop, height 18cm together with a Moorcroft Pottery vase of globe and shaft form decorated in the Isis pattern designed Emma Bossons, height 16cm both with printed marks, both marked as seconds (2)
A Liberty & Co. Tudric pewter tray of shaped oblong form with twin loop handles issuing from shaped leaves, stamped marks no.045, width 47cm, together with three Art Nouveau Secessionst pewter tumbler vases each decorated in relief, to include as Kayserzinn example numbered 4568, an Orvit vase numbered 2109 and an unmarked example. (4)
Three 20th Century Middle Eastern rugs to include two Persian examples, both with a cream coloured central field decorated with birds, animals and a flowering vase within repeat pattern borders, both measuring 162cm x 131cm, together with a North West Iranian rug detailed with two geometric pattern guls upon a rust coloured ground, 145cm x 105cm (3)
δ Craigie Aitchison CBE RA (1926-2009)Still Life With Bird VaseScreenprint in colours, 2004, signed and numbered from the edition of 300 in pencil verso, on Saunders Waterford thick wove paper, printed by Advanced Graphics, co-published by Timothy Taylor Gallery and Advanced Graphics, the sheet loose as issued and housed within the original blue cloth portfolio and accompanied by the book 'Pictures', the full sheet, 280 x 220mm (11 x 8 3/4in) (folio)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
A George II elm, ash and walnut 'comb' back Windsor armchair, mid-18th century, from the Thames Valley region, the shaped top rail above a vase shaped splat and turned supports, the solid 'saddle' seat flanked by 'horseshoe' shaped arms, on tapering cabriole legs terminating in hoof feet at the front, joined by a curved stretcher, 103cm high, 56cm wide, 53cm deep Provenance: Private Collection, Richmond, Surrey For closely related designs of chair of the period made in the Thames Valley see Bernard D. Cotton, The English Regional Chair, The Antique Collectors Club, 1990, page 45, figures TV14, TV15 & TV16.
A Continental porcelain Etruscan-style vase, circa 1830-50, probably Paris, painted in iron-red, black and shades of buff with vignettes of charioteers and figures flanking a stele between gadrooned, key-pattern and palmette borders, 31.5 cm. high; together with a Continental white biscuit figure of Spinario, after the antique, modelled as a youth seated on a mound above a rectangular base The decoration of this vase is inspired by the designs of ancient vases in the collection of the Duke of Hamilton, published in d'Hancarville, P-F. H, Collection Of Etruscan, Greek And Roman Antiquities From The Cabinet Of The Honble. Wm. Hamilton ... = Antiquités Etrusques, Grecques Et Romains, Tirées Du Cabinet De M. Hamilton ..., Naples, 1766/7, the scene of charioteers is adapted from Vol. I, pl. 130, a design from the Meidias Hydra, the stele is derived from Vol. I, pl. 55, on a volute krater known as the Hamilton vase, with flanking figures after a departure scene of a warrior and women, Vol. II, pl. 71. This stylised red and black figure-painting inspired potters such as Josiah Wedgwood and a raft of Neapolitan, French and continental makers such as Sèvres, Dagoty and Honoré of Paris. The connection with ancient pottery is further re-enforced by the use of the pelike form derived from an antique vessel for liquids.
A George II elm and yew 'comb' back Windsor armchair, mid-18th century, from the Thames Valley region, the scroll carved centred by a shell motif, above a vase shaped splat and turned supports, the solid 'saddle' seat flanked by 'horseshoe' shaped arms, on tapering cabriole legs terminating in pad feet at the front, joined by an H-shaped stretcher, 100cm high, 68cm wide, 47cm deep Provenance: Private Collection, Richmond, Surrey For closely related designs of chair of the period made in the Thames Valley see Bernard D. Cotton, The English Regional Chair, The Antique Collectors Club, 1990, page 45, figures TV14, TV15 & TV16.
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653833 item(s)/page