CRICKET, selection, inc. old embossed glass bottle (with marble), two bottles of wine, brochures, glass, mug, cassette tapes, figures; prints, photos; signed (2), Geoff Boycott, also signed by the artist M. Steed, LE 165/850 (water damage to lower edge); Robin Smith, colour photo; unsigned (some printed signatures); 1931 Lancashire cotton handkerchief; prints (7), Vanity Fair - Cricketing Christianity, signed photo of Clive Lloyd etc., G to EX, Qty. (three boxes)
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16 EFE commercials and 2 buses including 4x Bedford TK VP Wine, Bloxwich, Barton, VG Food Stores, an AEC Ergomatic, Woodcock, Atkinson flat bed & semi trailer, AEC articulated box van Hoover, 2x Bristol Lodekka code 3 Wellingborough Heritage centre, AEC Mammoth Major Whitbread, Taylor Woodrow, Roses, 2x Macreadys, 2x Lacons, Mobil Oil, and Atkinson St Albans. All boxed. VGC-Mint. £50-70
Map Retro Globe Drinks Cabinet A Mobile Cabinet With Unique Graphics All Over In An Old Map Style, The Cabinet Opens To Reveal Three Compartments Which Can Hold Up To Four Wine Bottles And Up To Twelve Glasses, Keeping Everything Safely And Discreetly Stored Away, As Well As Giving You Something To Impress Your Guests When You Reveal The Contents Dimater Φ44.2 X 88H cm
Globe Bar Cabinet Now here’s one for all the home-bar enthusiasts out there. Welcome this mini-globe bar from a piece to store and show off your drinks with pride. Using solid wood to form frame, the structure is tough and durable, keeping the upper cabinet securely in place. Covered in a faded old-map design sticker, the globe opens to reveal space to keep 2 two wine bottles and up to nine glasses Product Dimension: Ф44.2 x 88H (cm) Globe Diameter Inner: 33 cm Bottom Plate size: Φ41.5 x 1T (cm) Middle Shelf Size: Φ31.8 x 1T(cm)
Retro Globe Drinks Cabinet Mobile Now here’s one for all the home-bar enthusiasts out there. A piece to store and show off your drinks with pride. Using solid wood to form the mahogany-coloured frame, the structure is tough and durable, keeping the upper cabinet securely in place. Covered in a faded old-map design, the globe opens to reveal space to keep up to three wine bottles and up to nine glasses Towards the bottom, a shelf is placed for extra holding room for up to five bottles, meaning you’ll always have enough to keep you quenched no matter what. Overall Dimension: Φ44.2 x 88H cm globe Dimension: Φ33 cm Bottom Plate Dimension: Φ41.5 cm Retro Globe Drinks Cabinet MobileNow here’s one for all the home-bar enthusiasts out there. A piece to store and show off your drinks with pride. Using solid wood to form the mahogany-coloured frame, the structure is tough and durable, keeping the upper cabinet securely in place. Covered in a faded old-map design, the globe opens to reveal space to keep up to three wine bottles and up to nine glasses Towards the bottom, a shelf is placed for extra holding room for up to five bottles, meaning you’ll always have enough to keep you quenched no matter what. Overall Dimension: Φ44.2 x 88H cm globe Dimension: Φ33 cm Bottom Plate Dimension: Φ41.5 cm
Cookham Large Sideboard In Grey Features A Built-In Wine Rack, 2 Cupboards, Each With A Shelf, And 2 Drawers For A Stylish, Practical Storage Solution. It Offers An Updated Farmhouse Kitchen Style, And Is A Lovely Subtle Smoky Oak, Showing The Natural Grain Of The Wood W1305 X D450 X H800mm (5055999243933)
{ Option of lots: 563, 564 } Carnaby Ash Wood Accent Chair, Tan Leather The Carnaby Ash Wood Accent Chair Is Characterised By Its Casual Style, Its Low-Slung Seat And Angled Backrest Creating A Comfortable Spot To Unwind With A Good Cup Of Tea Or A Glass Of Wine. This Chic Design Boasts A Sturdy Frame Made From Solid Ash Wood Paired With A Tan Leather Upholstery, Its Padded Seat And Backrest Both Framed By A Row Of Brass-Look Studs. W 64 Cm / D 90 Cm / H 83 Cm / 10.85 Kg (5055999240604)
{ Option of lots: 563, 564 } Carnaby Ash Wood Accent Chair, Tan Leather The Carnaby Ash Wood Accent Chair Is Characterised By Its Casual Style, Its Low-Slung Seat And Angled Backrest Creating A Comfortable Spot To Unwind With A Good Cup Of Tea Or A Glass Of Wine. This Chic Design Boasts A Sturdy Frame Made From Solid Ash Wood Paired With A Tan Leather Upholstery, Its Padded Seat And Backrest Both Framed By A Row Of Brass-Look Studs. W 64 Cm / D 90 Cm / H 83 Cm / 10.85 Kg (5055999240604)
A MIXED GROUP OF GLASSVARIOUS DATES, MOSTLY 19TH CENTURYComprising; an engraved and gilt fluted glass ewer with auricular handle jug, possibly Spanish, 27.5cm high; a pair of engraved and gilt wine glasses with knopped stems, possibly Spanish, 11cm high; another continental wine glass with knopped stem, 11cm high; an English plain stemmed wine glass with engraved ogee bowl and folded foot, inscribed with initials F Lo and dated 1771, 14.5cm high; a pair of small 'cluk-cluk' bottles, 12cm high; and a set of twelve English glass wine glass coolers, each with a double lipped rim and finely engraved with trailing vines, 16cm wide (12)Condition Report: Eight double-lipped wine glass rinsers: No damage.Plain stemmed wine glass with engraved ogee bowl: no damage.Both 'kluk-kluk' bottles lack stoppers.Engraved ewer, gilding worn, water damage to the interior, body cracked at the join with the top of the auricular handle.Wear to gilding of the three gilt glasses.Condition Report Disclaimer
A GROUP OF ENGLISH DRINKING GLASSESMOSTLY 19TH CENTURY Including; a plain-stemmed short ale glass, mid-18th century, 17.5cm high; six similar wine or champagne flutes with knopped stems, 16.5cm high; nine assorted facet-stemmed wine glasses, approximately 11.5cm high; and others (19) Condition Report: Six flutes with funnel bowls with fluted lower section: No damage.Two plain-stemmed ale glasses: One with minute foot rim chips.Facet-stemmed wine glasses with stylised flower band: No damage.Ditto plain flute. Five similar facet stem wine glasses with 'OXO' band: One with mainute foot rim chip, another with savagely chipped foot. Rest undamaged.Condition Report Disclaimer
GIOVANNI BATTISTA TIEPOLO (ITALIAN 1696-1770) A LARGE GROUP OF PUNCHINELLI Pen, ink and wash 23.9 x 37.5cm (9¼ x 14¾ in.) Provenance: The Henry Oppenheimer Collection Sale, Christie's, The Henry Oppenheimer Collection, 14th September, 1936, lot 185 (A) (part lot) Where purchased by Sir Osbert Sitwell, 5th Bt. And thence by descent. Literature: G. Knox, 'Domenico Tiepolo's Punchinello Drawings: Satire, or Labor of Love?' in Satire in the Eighteenth Century, (J.D. Browning Ed.) New York, 1983, p. 138, fig. 5. G. Knox, 'The Punchinello drawings of Giambattista Tiepolo', in Interpretazioni Veneziane studi de storia dell'arte in oncore di Michelangelo Muraro, (D. Rosand Ed.) Venezia 1984, p. 441, fig.5. V. Sears Goldman, April 2012, 'The Most Beautiful Punchinelli in the World': A comprehensive Study of the Punchinello Drawings of Giovanni Battista Tiepolo, (unpublished doctoral dissertation), Princeton University, New Jersey, pp. 390-393, no. 4, fig. 4. We are grateful for Professor Bernard Aikema for confirming the authenticity of this work from a photograph. Catalogue Note: This drawing is from a distinctive group of documented Punchinello drawings by Giovanni Battista Tiepolo (1696-1770); related drawings by Tiepolo of the same period, depicting large groups of Punchinelli include: A large group of Punchinelli cooking (École des Beaux-Arts, Paris, no. 393); A large group of Punchinelli (private collection, Zurich); Punchinelli preparing a meal of gnocchi and parmesan cheese (Baron Dominique-Vivant Denon; Vivant-Denon sale, Pérignon, Paris, 1-19 May 1826, lot 543; most recently, Christie's, New York, 31 January 2013, lot 75, USD 542,500 inc. premium) (Sears Goldman, op. cit., pp. 393-397, no. 5; pp. 420-422, no. 10; pp. 423-429, no. 11). Punchinello was the buffoon character of the 17th century commedia dell'arte, a subject that Tiepolo embraced from the late 1720s through to the early 1760s, primarily in drawings, executing about thirty-six, but also in at least two paintings, and etchings. Tiepolo's interest in Punchinello was most likely stimulated when he was in Verona working on the illustrations for Scipione Maffei's Verona Illustrata (c. 1725). The drawing offered here dates from the early 1730s; it retains the fine delicate line of the earlier drawings but includes two tones of painterly wash, the wash less evenly applied than in slightly later drawings (Sears Goldman, op. cit., p. 376). Tiepolo, in contrast to his son Domenico, who shows Punchinelli engaged in everyday activities in his Divertimento per li Regazzi, portrays his Punchinelli making and eating gnocchi, and suffering from the excesses of overindulgence. The subject derives from a regional festival, venerdì gnoccolare, which took place in Verona on the last Friday of Carnival. Young boys from the poorest district of San Zeno, dressed up in costume, and gathered at the Palazzo del Podestà to invite the mayor to the town square for a glass of wine and a plate of gnocchi, followed by a town fiesta of eating and drinking until dawn. This drawing depicts a jumbled group of Punchinelli; two figures on the right are engaged in the cooking and presentation of gnocchi, but most have surrendered to the gnoccolonità that affects unlucky Punchinelli after the feast - several are drunken or ill (Sears Goldman, op. cit., p. 390). Some of the figures in this drawing can be found in other Tiepolo Punchinello drawings. For example, to the left of the drawing is a prostrate Punchinello with a protruding stomach lying on top of his hat; a similar Punchinello is depicted in Drunken Punchinello in the Musée de Picardie, Amiens (M.P. 975-6) and Two Punchinelli in the Fondazione Giorgio Cini, Venice (30.082). The Punchinello slumped over on the ground in the centre of the present drawing has its counterpart in Punchinelli cooking gnocchi (formerly Tito Miotti, Udine) and Three Punchinelli gathered around a gnocchi pot (Kennedy Onassis estate sale, Sotheby's, New York, 24 April 1996, lot 250). The composition of the present drawing is additionally related to a disegno di Pulcinella senza Pulcinella (c. 1724) by Tiepolo in the Staatliche Museen zu Berlin (inv. 11772). A toppled gnocchi pot or Punchinello hat, a wine flask, and a walking stick lie in the foreground. The use of scattered objects in the front appears in other Tiepolo drawings, for example, La folla e i serpenti, but in the world of Punchinello these symbols of the venerdì gnoccolare are represented differently: Punchinello's hat, a fallen quiver of arrows; the wine flask, a ceramic pot with a grotesque carved mask, Punchinello's walking stick suggesting a makeshift caduceus, a serpent-encircled staff (A. Rizzi, Mostra del Tiepolo: disegni e acqueforti, Milan, 1971, p. 17, no. 9; G. Vigni, Disegni del Tiepolo, 2nd ed., Trieste, 1972, pp. 53-54, no. 6). George Knox, the Tiepolo art historian, suggests that this drawing is among the earliest of the Punchinello drawings because of its fine line and delicate, even use of wash (Knox, op. cit., p. 441; G. Knox, Tiepolo: A Bicentenary Exhibition, no. 6). He further proposes that this drawing may be linked stylistically with the studies for the Villa Loschi at Biron, executed around 1734 (Knox, op. cit., p. 441). The present drawing, and others of this period, undoubtedly mark the moment that Tiepolo's draftsmanship assumes its mature form (G. Knox, Tiepolo: A Bicentenary Exhibition, 1770-1970; Drawings, mainly from American Collections, by Giambattista Tiepolo and the Members of His Circle, Cambridge, Mass., Fogg Art Museum, Harvard University, 1970, no. 13). Scipione Maffei (1675-1755), a Veronese writer, art critic and collector, was possibly the patron of the Punchinello works (Knox, op. cit., pp. 439-446). Tiepolo visited Verona twice, around 1730 when he worked with Maffei on Verona Illustrata, and nearly thirty years later in 1760 to paint the ceiling of the Palazzo Canossa. By the middle of the 18th century, however, Punchinelli drawings were collected outside Verona; in 1761, Count Francesco Algarotti's wrote to Pierre-Jean Mariette that he had 'les plus belles polichinelles du monde de la main de notre célèbre Tiepoletto' (Knox, 1984, op. cit., p. 444). Moreover, many artists made copies after Tiepolo's drawings, whether in pen and ink or as prints. Some of these were direct copies; others, such as the artist Georg Friedrich Schmidt's (1712-1775) 1751 etching, after Three Punchinellis cooking gnocchi, was based principally on the drawing but contributed new elements as well (Sears Goldman, op. cit., p. 364). Henry Oppenheimer, F.S.A. Click here for full description.
EDITH SITWELL. (1887 - 1964). EDITH SITWELL'S PERSONAL ADDRESS BOOK. An Alwych ruled, indexed address book, all-weather black covers, 8vo. (230 x 170mm), 143pp., approx. 388 manuscript entries by Edith Sitwell and others. Edith's personal address book reads like a 'Who's Who' from the world of music, theatre, publishing, film, ballet, and politics, her entries in blue and red ink include The Queen Mother Castle of May, Caithness, Allanah Statlender, Alberto (de Lacerda), Ava Waverley (Viscountess), Eamonn Andrews, Charlotte Bonham-Carter, Elizabeth Arden, Armando Dumas Child, M.D., OBE., Chelsea dressmaker, Madame Nina Astier, The Home Secretary, Rt. Honourable Henry Brooke, Stephen Spender, Robert Helpmann, George Cukor, Graham Greene, Evelyn Waugh, Willie Walton, Cecil Day - Lewis, and Gore Vida to name a few. Aristocracy, celebrities, family members, International publishers and press contacts are mixed amongst Edith's practical and useful addresses, with little reminders to herself jotted in such as 'write to Lucia Davidova', 'Patches, black velvet beauty spots write to Fashion Daily Express', 'Poems for 9th October 1962'; bookcase suppliers and builders follow Cecil Beaton, Jean Cocteau, Noel Coward, Coutts Bank and 'Coroner, (murdered tramp), Southwark', with the New York Times and New Scotland Yard preceding the Noise Abatement Society; Edith's family related entries include 'Reresby & Penelope', 'The Palsied Osbert Time Magazine', 'Montegufoni wine', 'Sachie's suggestions for wine', and 'Osbert, from 25 March, 5 York House, Church St, W8'; Edith Sitwell's many personal and amusing comments are written in larger text within the addresses (not always in alphabetical index order), and include people she has been impressed by, 'Ian, charming American undergraduate to whom I must write', 'Well meaning American pest', 'BBC, young man (intelligent, wants to interview me)', 'little boy who wrote to me, I must send him Facade', plus many underlined entries with exclamation marks noting people who had annoyed her, 'Psychopath who insulted me after television', 'That Blasted Priest!',' The American who wants to bring his wife to tea',' Insolent women with the shrieking children!', ' Impertinent Catholic ass', 'Cat Torturers names withheld by the horrible woman magistrate', 'American woman who has copied my ring'; a loosely inserted Change of Address postcard from John Lehmann, inscribed, 'This is an update! - J'; tissue wrapping with NPG. label. National Portrait Gallery Exhibition, The Sitwells: 14/10/94 - 22/1/95. Catalogue No. d94/4.73.Condition Report: some foxing and marks to the NPG. tissue paper wrapping and label, the address book's black covers with a few scuffs but clean, the alphabetical index curling a little at edges, some coffee? staining to pastedowns and to the tops of some pages, o/w. clean internally, the text easy to read.Condition Report Disclaimer
A collection of 19th century glasses, including an oversized goblet with vine etched bell bowl, baluster stem and plain foot with pontil, 20.8cm. high; an early 19th century panel cut wine goblet, 14cm. high; an oversized Victorian rummer, 1.4cm. high; four Victorian rummers; and six others. (13)
A Chinese export porcelain blue ground wine ewer and cover, probably early 20th century, in the Kangxi style, enamelled with two inverted heart shaped panels depicting a duck on a pond amidst lotus blossoms, and peonies issuing from rockwork, the cover with similar smaller reserves with grasshoppers, the blue ground with gilt peony and foliate decoration, 8 5/8in. (22cm.) high. * Very good condition, with no faults.
Two silver plated wine funnels and a George III silver strainer, the strainer of typical form, maker's mark indistinct, London 1813, 2.5 tr.oz.; one silver plated wine funnel by William Hutton & Sons, with raised ribs to side and hanging loop, 5¾in. (14.7cm.) high; plus another unmarked. (3)
1982 Chateau Mouton Rothschild / Baron Philippe wine label lithograph, designed by John Huston, signed in the plate "In celebration of my beloved friend Baron Philippe's 60th harvest at Mouton, John Huston", framed and mounted, 16 x 19¾in (40.7 x 50.2cm.) overall; together with two framed photographs, dated 1985 of Chateau Margaux and Chateaux d'Yquem; and a framed 'Collectors Corkscrews' poster. (4) * John Huston (1906-1987), best known as a film director, but also a boxer, art lover, writer, horse trainer, big-game hunter and actor, was a talented painter from an early age. This watercolour for the Mouton Rothschild 1982 label is one of the last works he ever painted.
A collection of 19th century drinking glasses, including a set of three Victorian wine glasses with painted fruiting vine decoration, 13.1cm. high; a set of three Edwardian fern etched and cut water glasses; a pair of cut glass tumblers; an Art Deco blue glass lemonade glass with etched yachts; etc. (12)
A Georgian Scottish silver wine label, James McKay, Edinburgh c.1810, oval with gadrooned edge, 'Cherry'; together with a Victorian wine label, 'Gin', of pierced cartouche form, Alfred Taylor, Birm. c.1860. (2) * - McKay: Good condition and marks. -Taylor: Good, but date mark rubbed or poorly struck. Rubbing to maker's mark but remains legible.
A set of six late-Georgian wine glasses, the panel cut trumpet bowls on a bladed collar and bladed knop stem to a plain foot with ground pontil, 12.4cm. high; together with a pair of Georgian gin glasses, with etched ribbon and fern swag decoration to the bucket bowls, bladed knop stem and folded foot with pontil, 10.1cm. high. (8)
Four 18th century English wine glasses, comprising one with slight ogee bowl, on an airtwist stem and broad, folded conical foot, 17.1cm. high; one with bell bowl on a three ply airtwist stem to a conical foot, 16.8cm. high; one with slightly flared bucket bowl on a four play airtwist stem to plain foot; and a small wine glass with drawn trumpet bowl, plain stem with small bubble and folded foot, 13.7cm. high, all with pontils. (4)
An extensive suite of Waterford Clare pattern drinking glasses, comprising eight each of red wine glasses, white wine glasses, hock glasses, sherry or port glasses, champagne flutes, tumblers and liqueur glasses, all with etched factory mark; together with a boxed Marquis Waterford Poinsettia pattern bowl; two small cut glass bowls, one by Thomas Webb; a cut glass water jug; and three cut glass cream jugs. (63)
A set of six 19th Century Webbs Tileries of Worcester dust pressed tiles, sepia transfer printed with figures in peasant dress engaged in fishing, farming, hunting, wine making etc., within stylised floral borders, each with 'REGd No 12387' to the sides, c.1889, 6in. (15.2cm.) square; together with two glazed tiles depicting raised silhouettes of a young maiden and dandy. (8)
A quantity of collectable silver, comprising a pierced clover shaped bon bon dish by Jones & Crompton, Birmingham 1909, 4¼in. (10.8cm.) at widest; a miniature Victorian bright cut tankard by George Unite, Birmingham 1889, inscribed 'Alma Mabel Rhind - J.A.R', with foliate engraved decoration; and a pierced oval form bon bon dish by Joseph Gloster Ltd., Birmingham 1925, raised on shaped pad feet, 5¾in. (14.6cm.) long; together with a modern wine coaster, sauce ladle and various spoons etc., weight without coaster 8.5 tr.oz. (quantity) * Clover dish with small split to rim, tankard with dents to handle and possible repair, otherwise good.
Two Minton and Davenport creamware wine bin labels, 19th century, two by Minton, 'Port' and 'Sherry' with black painted lettering, plus a gold lettered 'Port' label by Davenport, each with impressed factory marks verso, the Minton Port label also with pencil inscription verso 'From Will Matwell No. Vintage 1851: Bottled 1855'; together with a unmarked 'Claret' label in the same style, the Minton labels 5 5/8in. (14.25cm.) wide, the Davenport label 5¼in. (13.3cm.) wide. (4)
A small collection of silver smalls, comprising a silver presentation sovereign holder by William Neale, Chester 1905, inscribed 'Swimming Portora M.M.S 1906', attached to chain with propelling pencil and tooth; two silver tooth picks; three pill boxes; a silver etui case of tapered form; and a wine bottle ring by Bruce Russell, Guernsey, weight 2.6 tr.oz. (quantity) * Sovereign holder missing push button, etui missing inners, pill boxes etc with light wear.
A pair of George V silver pierced bon bon dishes, William Hutton & Sons Ltd, Birmingham 1912, circular form, pierced with ornate latticework, raised on three ball feet, 3¾in. (9.5cm.) diameter; together with a wine coaster by Ari D Norman, London 1997, gross weight 6.9 tr.oz. (3) * The Bon Bon dishes with slight dents to upper rims, overall good.
[IB] Twelve bottles, Chateau La Mission de Haut Brion:2nd wine of 1st growth house, Graves, 2008* Notes Lots stated as[IB] or "in-Bond" are currently stored under-bond and are liable for U.K Duty & VAT as applicable if delivered to a home address.Lots marked as [IB] can be transferred to any other bonded warehouse for further storage without any Duty or VAT being paid.
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166044 item(s)/page