We found 110997 price guide item(s) matching your search
There are 110997 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
110997 item(s)/page
Lot 24
Amelia Goddard (British, 1847-1928)The orange sellers signed and dated 'Amelia Goddard./1875' (lower left)oil on canvas104.5 x 76.5cm (41 1/8 x 30 1/8in).Footnotes:ProvenanceAnon. sale, Van Ham, Cologne, 16 May 2014, lot 701.Acquired at the above sale by the present owner.Amelie Goddard was born in Christchurch, Hampshire, close to the New Forest in southern England but lived most of her life within the boundaries of the national park. Both Amelia and her elder sister Eliza (b. 1840) became artists and travelled to France to further their studies when Amelia was still in her late teens. The sisters would show their work at exhibitions together and the height of their careers came in 1904, when a show entitled The Knot of Grass, composed entirely of Amelia and her sister's work, was held at the Dore Gallery in New Bond Street, London.Much of Amelia's subject matter was drawn from the lives of those who lived within the New Forest, principally gypsy families who had roamed and lived in harmony with the forest for generations. Amelia and Eliza's grandfather, John, had been a doctor who had always been prepared to help the poorer members of society. It was Amelia's experience as a young girl, seeing him tending to the poorest souls of the Forest that formed her close affiliation with these people who existed on the very edge of society.The story of the present lot, considered to be Goddard's masterpiece, was the result of an interesting and surprise commission and is perhaps best told in the artist's own words. In an undated letter (c.1911) to Mr. R A Scott Macie, Secretary of the Gypsy Lore Society the artist wrote:'When I came back from a spell of long study in Paris, in 1875, Dr. Robert Druitt (Physician) an old friend & schoolfellow of my Father's, saw my studio, & gave me a handsome order to do a picture of Egyptian Orange Sellers. He having just returned from that country. He instructed me as to the costumes but left me to choose my models. I was on the verge of going to town to hunt up professional ones, but as Christmas Fair was in full swing, & more of a function in those days than now, I happened to see a van with a splendid Type of woman, & some children, moving off down the street rather quickly, and I ran after putting on my hat, a long distance to overtake them. With some great persuasion I brought her to the studio, then and there and my was, with my Mother came to look at Mrs Selby White. And we 3 agreed she was perfect for what I wanted. It was no easy matter nor small expense to arrange the engaging of her for a month's posing. But through the sincerity of my Parents' desire to help me in Art, it was managed, and she proved herself faithful, honest clean & kind, and a dear friend into the bargain...After my Egyptian picture was finished the White's went off for a long time in another part of the country, and I missed them sadly in my work.'For further information on this lot please visit Bonhams.com
Lot 261
A late 19th century gold and enamel bracelet, French, designed as a graduated series of circular enamel plaques, painted en grisaille with polychrome highlights and depicting theatrical profiles in costume, each within an intwined foliate gold surround with rose-cut ruby highlights, six enamels initialled ‘MP’, two signed ‘M. Puisoye’, French assay marks and maker’s mark ‘EM’, length 17cm. £4,000-£6,000 --- Jewels set with painted enamel plaques, inspired by the 16th century enamels of Limoges, became extremely fashionable in France during the second half of the nineteenth century. According to Vever, circular enamel plaques, such as those in this bracelet, were inspired by Renaissance hat-badges, or enseignes, often decorated with the wearer’s portrait, monogram, patron saint or other mythological or Biblical image. Similar circular ‘Limoges' enamel portraits are illustrated in the Parisian jewellers' pattern book, Le Bijou, from 1884. The Limoges technique is a form of painted enamel, often executed en grisaille, as here, on a blue or black ground. The effect is formed from layers built up through repeated firings until the desired shades are achieved and the polychrome highlights are added. The miniature painter and enamelist of this lot, Marie Puisoye (1855-1942), was a student of the great Claudius Popelin and worked with him from 1881 onwards. Popelin, a close friend and rumoured lover of Princess Mathilde Bonaparte, is celebrated as having revived the 'Limoges' technique during the nineteenth century and is famed for his enamels in the Renaissance taste. Popelin’s enthusiasm for the technique led him to publish a history of enamelling, entitled ‘L'Émail des peintres’, that inspired many jewellers to learn the art of enamelling, notably Paul Grandhomme. Popelin and his workshop are known to have collaborated in particular with Lucien Falize and Henri Vever. In 1893 Falize published his essay, ‘Claudius Popelin et la renaissance des émaux peints’, that celebrates the success of his friend within the circle of Parisian enamel painters. The workmanship and naturalistic design of this bracelet is indicative of Lucien Falize and his firm. For a similar chased gold bracelet and chased gold parure by Lucien Falize, both with painted enamels by Paul Grandhomme, see Vever, Henri, 'French Jewellery of the 19th Century', (trans. Purcell, Katherine), London, 2001, pp. 956 and 989.
Lot 315
Formerly the Property of Lavinia, Duchess of Norfolk A Royal Presentation diamond brooch by Garrard & Co. Ltd., 1953, modelled as the facsimile initials ‘ER’ for Her Majesty Queen Elizabeth II, followed by a full stop, the initials modelled in the Queen’s handwriting, set throughout with single-cut diamonds, the full stop set with a brilliant-cut, within closed back millegrain-edged setting, the reverse engraved ‘Platinum’, and in facsimile script ‘With grateful thanks’, contained in a Garrard & Co. Ltd. red leather case, the Royal cypher in gilt to the hinged lid, total diamond weight approximately 1.5 carats, dimensions 27.5 x 39.5cm. Accompanied by a handwritten double-sided letter from Her Majesty the Queen addressed to Lavinia, Duchess of Norfolk, on headed stationery from Buckingham Palace and dated 4th June 1953, (two days after the Coronation),reading: “Dear Lavinia I write to express my heartfelt thanks to you for standing in for me in the Abbey in the weeks leading up to my coronation. It was extremely kind of you to be there to support me at such an important moment of ones life, and it gave me such tremendous confidence to know all was ready before the service. The Archbishop was very grateful for all your patient help and Mummy hopes that my understudy will be available when I am next ill in bed!! I hope you will accept this small gift, which was Philip’s inspired idea, as an enduring reminder of my appreciation. Yours sincerely Elizabeth R. “ £4,000-£6,000 --- Provenance: This brooch was given by Her Majesty Queen Elizabeth II to Lavinia Fitzalan-Howard, Duchess of Norfolk (1916-1995) in June 1953. The Duchess stood in for the Queen during the rehearsals held at Westminster Abbey in the lead up to the Queen's Coronation on 2 June 1953. The photograph depicts the Queen and the Duchess of Norfolk leaving Westminster Abbey together after one of the rehearsals in May 1953. As Earl Marshal of England, the Duchess of Norfolk’s husband, Bernard Fitzalan-Howard, 16th Duke of Norfolk, had overall responsibility for the organisation of the Coronation, and indeed he had previously planned the Coronation of King George VI in 1937. Six other matching diamond brooches were made by Garrard & Co. Ltd., and were given as gifts by Her Majesty to her six Maids of Honour who attended her at the Coronation. The recipients were: Lady Jane Vane-Tempest-Stewart, Lady Anne Coke (later Lady Anne Glenconner), Lady Moyra Hamilton, Lady Mary Baillie-Hamilton, Lady Jane Heathcote-Drummond-Willoughby and Lady Rosemary Spencer-Churchill who, together with the Duchess of Devonshire, assisted the Queen with the Robe of State, a 5.5m long hand woven silk velvet cloak lined with Canadian ermine, attached to the shoulders of the Queen’s coronation gown, designed by Norman Hartnell. One of these six presentation brooches, the example given to Lady Anne Glenconner (née Coke), was displayed at her ancestral home Holkham, in North Norfolk, in 2012, at an exhibition entitled ‘The Ostrich & the Crown’, the exhibition celebrating Holkham’s history from 1612 to 2012 and the Coke family’s association with the Crown over 400 years. This exhibition was staged to mark the Queen’s Diamond Jubilee. Lady Glenconner wore her diamond brooch pinned to her hat at the Service of Thanksgiving at Westminster Abbey on 4 June 2013, held to mark sixty years since the Queen’s Coronation. Lady Moyra Campbell (née Hamilton) and Lady Mary Russell (née Baillie-Hamilton), also wore their brooches to the Thanksgiving Service. The brooch offered here for sale was donated by the Duchess of Norfolk in 1956 to be sold for the benefit of the British and Foreign Bible Society. It was purchased by a relative of the present vendor, and thence by family descent.
Lot 392
Early 19th Century English "Full length Portrait of a Gentleman holding a top hat and hunting crop, wearing a dark blue jacket with tails and hunting boots," 13" x 8" (33cms x 20cms); together with a pair of Landscapes, framed as one, depicting "Deer on the Highlands," and the other with "Cattle and Drover," both Signed with initials T.R. (2)
Lot 93
A GROUP OF THREE VARIOUS BROWN LEATHER TRAVELLING TRUNKSThe largest 31cm high, 92cm wide, 54cm deepTogether with a black leather travelling hat box, 25cm high (4)Provenance:Property from the estate of the late Joe ConstantineCondition Report: All with signs of age and use, old splits and cracks to the leather, scuffs etc. All applied with old various labels and signs where others have previously beenCondition Report Disclaimer
Lot 321
A FLIGHT OF MAHOGANY WALL SHELVESMID 19TH CENTURYThe triangular pediment above the four shelves80cm high, 64cm wideTogether with a set of Regency painted hanging coat and hat hooks, circa 1820, with arrangement of hinged arms, 40cm high, 58cm wide (2)Provenance:Property from the estate of the late Joe Constantine
Lot 25
A Regency mahogany hat stand, with nine hooks projecting from a ring-turned column, raised on a tripod base,61cm wide61cm deep171cm highSome knocks, chips, losses and repair. Refinished although with good colour beneath. Splits to column. One arm a little loose, but joints generally solid. General wear commensurate with age and use.
Lot 403
A weathered stone figure of a man,19th century, the pensive subject in period costume, with wide brim hat, on a plinth,40cm wide31cm deep135cm high,plinth 41cm square50cm high Provenance: The residual contents of Bixley Manor by instruction of the executors of Sir Timothy Colman KG.Weathered with lichen and moss.
Lot 587
An oak and brass hat and umbrella stand,first half of the 20th century, with an acorn finial above eight double hooks, with a turned column supporting a circular stick stand, raised on a circular base,56cm diameter167cm highGeneral knocks, scratches and surface wear commensurate with age and use. Some hooks a little loose owing to splits in the timber. Fading and wear. Knocks, wear and losses to drip tray. Knocks and damage commensurate with use.
Lot 42
Dresden porcelain group, Male gardener and his female companion, with a wheelbarrow, on a naturalistic base, 23cm.Condition report:The top head of wheat in the lady's arms has been reglued. Chipped losses to the tied ribbon to the back of the gent's hat/ Other chipped losses to the petals to the barrow and elsewhere. No other evident losses.
Lot 1054
Fourteen Royal Worcester candle snuffers including Welsh lady, together with seven other unmarked candle snuffers (21)White glazed snuffer in the form of an old woman has a firing crack on the base. White glazed snuffer in the form of a witch has crazing and minor nicks to hat brim. Polychrome snuffer in the form of a witch has a restored chip to hat brim. Large Monk (unmarked) has chip to base. White matt snuffer in the form of an old woman has minor nicks to bonnet. Snuffer in the form of a young girl has various chips to bonnet and a crack on the base. Welsh bonnet snuffer has a chip to the underside of base.
Lot 1056
Four Royal Worcester white glazed male figuresFigure of Chinese man- some wear to the gilding, no chips, cracks, crazing or restoration.Figure of man wearing hat with instrument- some wear to the gilding, no chips, cracks, crazing or restoration.Figure of Scotsman- some wear to the gilding, no chips, cracks, crazing or restoration.Figure of black man- some restoration to the brim of the hat, otherwise no chips, cracks, crazing or restoration.
Lot 1060
Two Royal Worcester male figures, both wearing hats, tallest is 17.5cm high, the other is 15.5cm highFigure in top hat- in good condition, some wear to painted decoration on top hat brim and overall. No chips, cracks, crazing or restoration.Other figure- no chips, cracks, crazing or restoration.
Lot 4066
A photograph album depicting Her Majesty The Queen (then Princess Elizabeth) and Princess Margaret (1930-2002) performing in the Christmas pantomime 'Aladdin', Waterloo Chamber, Windsor Castle, Saturday 18th December, 1943, one of the four wartime Christmas Pantomimes the Princesses performed in and helped to stage between 1941-1944, to raise money for the Royal Household Wool Fund, which supplied knitting wool to make comforters for soldiers fighting at the Front. The album containing 13 sepia photographs of Princess Elizabeth (as 'Aladdin') & Princess Margaret (as 'Princess Roxana') in costume on stage performing in various scenes of the pantomime, six of the images solely of the Princesses, the other images of the Princesses together with one or more other members of the cast present in shot, including a large group photograph of all the cast on stage. In the title role of 'Aladdin', Princess Elizabeth wore a gold brocade and turquoise jacket with turquoise dungarees and matching hat, while Princess Margaret wore a red silk dress and matching jacket to play 'Princess Roxana'. Together with two original printed programmes for the production (one with some spotting to front cover), and an original printed admission ticket (seat D18 to top corner, but with excised part of another ticket for seat D17 attached to bottom corner), loosely inserted. Each photograph approximately 16 x 21cm and loosely corner mounted and tissue guarded, in a contemporary oblong album, silk ribbon tied, front cover near detached, with red foil crown above "E M Aladdin" in silver foil attached to front cover (foil with some part losses, a/f). Several of the photographs with ink stamps of Studio Lisa verso, the husband and wife team of Lisa and Jimmy Sheridan, who were granted two Royal Warrants, and took some of the most informal and intimate photographs of the Royal Family during a period spanning over 30 years from the 1930s through to the 1960s.During the Second World War, Her Majesty The Queen (then Princess Elizabeth) and Princess Margaret spent much of their time in Windsor, safely away from the bombing in London. The pantomime was written and produced by Hubert Tannar, then headmaster of the Royal School at Windsor, and directed by actor Cyril Woods, who also appeared in the pantomime as 'Widow Twankey'. The young Princesses helped to make the costumes themselves - it is believed that the oriental style costumes used furnishing fabric that had once been in the State Rooms at Windsor Castle. The costumes went on display for the first time as part of the Fashioning a Reign exhibition at Windsor Castle, September 2016 to January 2017.Amidst the backdrop of the pressures of WWII, the Christmas pantomimes were an enjoyable distraction from the harsh realities of war. King George VI found the performances incredibly moving, writing in his diaries about how he was in floods of tears watching them each year. Allegedly, according to the Queen's Governess Marion 'Crawfie' Crawford (1909-1988), the young Prince Philip of Greece was in attendance for the 1943 performance of "Aladdin". In the memoir of the Queen's governess, Marion 'Crawfie' Crawford, Elizabeth reportedly asked, 'Who do you think is coming to see us act, Crawfie? Philip!', with Miss Crawford also reporting 'The pantomime went off very well,' and 'I have never known Lilibet more animated. There was a sparkle about her none of us had ever seen before.'Provenance: By descent. From the estate of Sylvia Salisbury, artist and illustrator, who attended the pantomime, and illustrated the 'The Princess Elizabeth Gift Book', edited by Cynthia Asquith & Eileen Bigland, [London], Hodder & Stoughton, [1935], by way of two full page colour plates, titled 'Princess Jane of London Town', & 'The Street Criers'. Sylvia Salisbury was the daughter of the pre-eminent British portrait artist Frank Owen Salisbury (1874-1962), known as "Britain's Painter Laureate", whose significant portraits include, amongst others, Winston Churchill, Franklin D. Roosevelt, Earl Mountbatten of Burma & Benito Mussolini amongst others, and many of the Royal family. Twenty-five members of the Royal House of Windsor sat for Salisbury and he was the first artist to paint HM Queen Elizabeth II. He also produced over forty large canvases of historical and national events, a field in which he was virtually unchallenged until 1951. The two most significant of these are The Heart of Empire - the Jubilee Thanksgiving in St Paul's Cathedral 1935 and The Coronation of their Royal Majesties King George VI and Queen Elizabeth 1937. As well as his daughter Sylvia Salisbury, Frank O. Salisbury also illustrated 'The Princess Elizabeth Gift Book', [1935], with one coloured plate entitled 'Childhood'. The Gift book was produced as a charitable concern in aid of the Princess Elizabeth of York hospital for children, and the Christmas pantomimes at Windsor Castle were also a charitable production, to raise money for the Royal Household Wool Fund, which supplied knitting wool to make comforters for soldiers fighting at the Front. The Royal Christmas pantomimes were performed in front of friends and close relations of the Royal Family. Sylvia Salisbury attended, as the album contains two programmes, it is conceivable the other programme may have been for her father Frank O. Salisbury, owing to the fact he also illustrated the charitable 'Princess Elizabeth Gift Book', and perhaps also due to his other strong connections to the Royal Family. A scarce and important photograph album, the images stored at Windsor Castle archives, but original images very seldom seen anywhere else.
Lot 568
Two Niderviller figures of a youth and girl, late 18th c, the young stonemason posed thoughtfully with the tools of his trade before a block of stone, the barefoot young woman in a striped skirt teasing a kitten with a ball of wool, on round gilt base, 18cm h, incised 7.T in a rectangle Boy - professional restoration to brim of hat and handle of mallet. Girl - minute chips to kitten's ears, light wear to gilding around base
Lot 849
A Swiss carved limewood and deer horn hat rack, late 19th c, carved with deer, rocks and vegetation, the animals with amber or green glass eyes, the six horn hooks with turned bone pegs and finials, 49cm h, 67cm l, black painted at later date One or two tiny repairs, including two one of the two horns on the principal deer's head
Lot 3301
An Armand & Marseille (Germany) bisque head and fixed ball jointed composition bodied doll, weighted sleeping blue glass eyes, painted features including fine eyelashes and brown eyebrows, open mouth revealing teeth, blonde wig on pate, impressed marks 'ARMAND MARSEILLE GERMANY. 390 A.4/0.M.', dressed in a Scottish uniform comprising black Bearskin hat, red and white chequered kilt with sporran, 34cm high
Lot 3382
Reka (C W Baker) group of figures, comprising a Zulu figure with shield and knobkerrie, two African warrior figures, a sailor with straw hat and two movable arms and an Italian Bersagliere with shovel, each unboxed (5) For similar examples see Joplin, The Great Book of Hollow-Cast Figures (New Cavendish Books) ISBN-1-872727-78-6 pages 195 and 196.
Lot 7081
Cajetan Roos (1686/90-1770), zugeschrieben. Allegorie des Monats September, Öl/Lwd., doubl./rest., 107 x 130,5 cm, gerahmt, war als Lot 1003 am 2.6.21 bei Van Ham, Ellis Dullaart vom RKD Den Haag hat die Zuschreibung an den Künstler auf Grundlage hochaugelöster Digitalfotos vorgeschlagen, ger. 110 x 136 cm
Lot 3295
3-tlg. Figurenpendule, 2.H.19.Jh., Weißguss bronziert, bez.'' L´ Education de L´ Angur, nach Moreau'', Frau hat Amor den Bogen weggenommen, am Rücken mit kleinem Loch, auf grünem Marmorsockel, mit vergoldeten Rocaillenfüßen und Blütenranken, champagnerf. Zifferblatt mit schwarzen arab. Ziffern und geschwärzten Zeigern, facettiertes Glas, franz. Rundwerk mit 1/2 Stunden Scheibenschlagwerk auf Glocke, Uhrwerk läuft an, H. 56cm, B. 34cm, T. 16cm, dazu passend 2 Leuchter für jeweils 5 Kerzen, H. 51cm
Lot 30
PHILIP TREACY SAKS FIFTH AVENUE BLACK WOVEN HAT, wide brim that is slightly curled under, subtle tilt shape, hat 'cut' to face, abstract woven detail, textured across crown, swirl shape along side of hat with two cane feature, deep purple lining with Philip Treacy gold logo in centre, with box. (good condition)
Lot 124
Billy Perry signed 22x16 1953 FA Cup Final black and white print Billy Perry steers home Blackpool's last minute winner from a Stanley Mathews cross as hat trick hero Stan Mortenson looks on in the famous 4 3 victory of Bolton Wanderers. Limited edition 250 copies. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Lot 120
Marx - Pelham - The Lone Ranger - 4 x boxed figures, Butch Cavendish #7402, Tonto # 7401, The Lone Ranger figure is missing but his hat and a gun are still in the box # 7400 and a Pelham SM Boy puppet. They all show some signs of age and play use and have parts missing, the Marx figures appear in Good overall condition in Poor to Fair boxes, the Pelham is Very Good in a Very Good box. (This does not constitute a guarantee) (4)
Lot 2213
WW2 British Pioneer Corps officer's 1942 pattern service dress jacket dated 1942, complete with all buttons and insignia, a brown leather Sam brown belt by Hector Rowe, a Hector Powe Officers Service Dress peaked cap; black leather slip on ankle boots; Other Ranks General Service cap, 1945: Slouch Hat complete with Plastic Pioneer Corps cap badge. All item belonged to Lt RP Knighton, new to the market.
Loading...-
110997 item(s)/page