We found 653833 price guide item(s) matching your search
There are 653833 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
653833 item(s)/page
A silver topped sugar caster, two pairs of brass candle sticks, two spelter mining figures, other plateware and pewter including boxed cutlery together with a box of miscellaneous including antlers, wooden planes, stereoscope, measuring gauge, lacquered oriental vase, electrical meter, etc.
An original post-WWII Second World War 1968 large artillery brass shell, made into an umbrella stand / vase. Dated to base, with military markings. Plaque to the base with an in-joke as presented to one ' Lt / Col RH Dickinson RAOC '. Supplied with a photograph of Dickinson being given the shell case. Measures approx; 62cm tall.
Newcomb College Art Pottery Vase, 1926, decorated by Sadie Irvine with spiderwort modeled in low relief, matte glaze with blue, green and yellow underglaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, shape no. 121, and reg. no. PL85, h. 5 in., dia. 6 in. Note: Restorations to rim
Monumental Newcomb College Art Pottery Vase, 1916, decorated by Anna Frances Simpson with tall pine tree grove design, satin matte glaze with blue and green underglaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, reg. no. HU78, h. 11 3/4 in., dia. 5 1/4 in
Newcomb College Art Pottery Vase, 1913, decorated by Sadie Irvine with a landscape design of moss-laden live oaks, matte glaze with blue and green underglaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, reg. no. GI37, shape no. 49 and B for buff clay body, h. 6 in., d. 8 in
Newcomb College Art Pottery Vase, 1918, decorated by Sadie Irvine with Louisiana irises in low relief, matte glaze with blue, green, pink and yellow underglaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, and reg. no. JT21, h. 10 1/8 in
Newcomb College Art Pottery Vase, 1929, decorated by Anna Frances Simpson in the Moon and Moss pattern, semi-matte glaze with blue and green underglaze, base marked with Newcomb cipher, decorator's mark, Jonathan Hunt's potter's mark, reg. no. RY27 and shape no. 161, h. 8 1/2 in
Newcomb College Art Pottery Vase, 1926, decorated by Sadie Irvine with a relief-carved blossom and foliage motif, matte glaze with blue, green and white underglaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, reg. no. PW81 and shape no. "[illegible]00", h. 6 1/2 in
Fritz Bultman (American/New Orleans, 1919-1985), "The Wave", painted cast aluminum, unsigned, h. 25 1/2 in., w. 37 in., d. 13 in., wood pedestal, overall h. 55 in. Provenance: Commissioned by Reynolds Metals Company, Richmond, VA; Private Collection. Note: A native of New Orleans, Fritz Bultman lived a bohemian childhood with his extended family, which owned the House of Bultman funeral home on St. Charles Avenue. Exposed to writers, painters, antique collectors, and musicians throughout his formative years, Bultman formed a particular friendship with the artist Morris Graves and eventually moved to New York to start his career. During the 1960s, and continuing throughout his career, Bultman introduced the color blue and the “wave” form into his paintings, drawings, collages, and sculptures. Bultman also changed his method of creating art, switching from working in one medium at a time to slowly and methodically producing art in various media with overlapping colors and themes. The wave motif, the infinity symbol, and the idea of yin and yang were all significant subjects to which Bultman was greatly attracted. Bultman wrote in his journal, “The vase [or vessel] quality of the female body was the first that forced itself into my conscious mind, then the wave meander, then the [twined] ropeness of the twisted torso and arms in space.” Taking this description into account, the viewer could easily imagine the current lot as a stylized representation of the spine, hips, and legs of a model, reimagined as a sinuous form one would find in the breaking surfs of the ocean. This essential theme, which reappeared time and time again throughout Bultman’s oeuvre, was critical to expanding his artistic concepts from the 1960s to the 1980s. Ref.: Kingsley, April. Fritz Bultman: A Retrospective. New Orleans: New Orleans Museum of Art, 1993.
FIVE DARK GREEN REEDED HOCK GLASSESwith four applied rings to each of the reeded stems raised on a circular foot, 16.5cm high; along with four sherry glasses, possibly Bohemian, with engraved fruits to bowl above applied frill detail; and a Hadeland leaf green vase, of slender form, circa 1960s, marks to base (10)
ROYAL DOULTON ART NOUVEAU STONEWARE VASEof baluster form, decorated with stylized flowers and leaves on a blue ground, impressed maker's mark and monogram to base, 29cm high; along with another Royal Doulton Art Nouveau stoneware vase, of tapering form, monogrammed 'LW' for Louisa Wakely (2)
-
653833 item(s)/page