We found 126346 price guide item(s) matching your search
There are 126346 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
126346 item(s)/page
Lot 1122
A Royal Worcester Porcelain Rectangular Dish, painted by P. Love, signed, with ripening fruit against a mossy woodland bank, gilt gadrooned border with shell handles, black printed mark, date code for 1961, 17.5cm long.5mm scratch to bottom edge near signature, 2mm scratch to one apple, brown dot flaw to middle bottom edge.
Lot 1054
A Pair of Royal Worcester Porcelain Cabinet Plates, painted by J. Birbeck (Sen) with 'American Golden Plover' and 'Red Grouse', retailed by Richard Briggs, Co, Boston, puce marks, 23cm diameter and a circular Royal Worcester dish painted by E. Spilsbury, signed, with pink roses, puce marks, 23cm diameter. (3)No chips, cracks or crazing, some dirt on plates (rubs off), light wear to gilt.
Lot 1079
A Royal Worcester Porcelain Cabinet Plate, painted by Robert Sebright, signed, with ripening fruit against a mossy woodland bank within a dark blue and gilt border, puce mark, date code for 1930, 23cm diameter.dirt it all rubs off, very light crazing to back edge, one small area of paint chip
Lot 1111
A Moorcroft Pottery teapot and Cover, of globular form painted in the 'Bramble' pattern against a blue ground, impressed mark, signed in monogram, 22cm high (chipped) and a Royal Worcester Porcelain Teapot and Cover, the 'Old Ivory' ground printed and painted with flowers, date code for 1887, printed marks, 14cm high. (2)
Lot 1082
A Royal Worcester Porcelain Part Tea Service, painted by J. Hunt, signed, with pink and white roses, puce marks, date code for 1925, comprising: sugar bowl, six teacups, saucers and plates together with a Royal Worcester blush ivory flat handled jug decorated with flowers, puce mark, shape number 1094, date code for 1907, 15cm high. (20)One cup with glue repair, one small plate with multiple cracks one other plate with crack, some rub to gilt and surface scratching throughout.
Lot 1052
A Royal Doulton Stoneware Jardiniére, designed by Ethel Beard and Francis C. Pope, signed in monogram, with an Art Nouveau design of white roses and stylised foliage within a blue ground, 19.5cm high; A Royal Worcester 'Kingfisher' Spill Vase, printed marks, C.W. 240, date code for 1925. (2)Bird with light crazing, no chips or cracks.
Lot 1243
ROYAL WORCESTER PART MINIATURE COFFEE SERVICE, ALONG WITH A ROYAL WORCESTER PIN DISH each hand painted with fruit, comprising a coffee pot, two saucers and two plates, with a further Royal Worcester pin dishthe coffee pot 12cm highQty: 6Condition generally good. No chips or cracks. No noticeable crazing. Some scratches to dished section of one saucer. Manufacturing flaws to interior of cups, more noticeable to one - frit present.
Lot 16
A collection of Aynsley tea wares with gilt and floral pattern comprising cake plate, five cups, saucers and side plates, milk jug and sugar bowl, together with a collection of Royal Worcester Contessa coffee cups and saucers for six and further Royal Grafton coffee cups, saucers and tea plates in black and gilt, red and gilt and blue and gilt (collection)
Lot 20
Three pieces, comprising - 1. A Royal Doulton flambe glazed Hare Crouching, HN107, 11.3cm long. (* In good condition, with no faults) 2. A Royal Worcester 3075 Children of the Nations figure, 'England', modelled by Dorothy Doughty, 14cm high. (* Tiny underglaze chip to edge of the base - it does not show under UV and is not later retouching. No other faults - in good condition) 3. A German porcelain figure of a stoat or weasel, incised with indistinct factory mark and '378 9', 17.5cm long. (* In good condition, with no damage or faults. Kiln dust glaze flaw to underside of left front paw)
Lot 846
TABLE LAMPS TO INCLUDE: A French gilt metal Athénienne lamp, early 20th century and later converted, 51cm high including fitment; a pair of Royal Worcester duck egg blue and white porcelain lamps, black printed marks, 50.5cm high including fitments; a pair of modern "TILLEY" lamp style brass bases 63cm high including shades; a modern brass desk lamp (6)Provenance: The Estate of a deceased Gentleman Condition Report: Please note the below condition report is the only one available. Marks, knocks, scratches, abrasions commensurate with age and use. Some surface wear from cleaning, dirt and discolouration, with pitting to the gilt. Athénienne lamp has slight wobble between components but stands firm. Royal Worcester stamps to bases. Tilley lamps are scratched consistently on bases, have some denting, and a factory mark on either base. Shades are included and have little signs of wear. Modern desk lamp's hinges function and hold.Both Tilley Lamps and Desk Lamp Portable Appliance Test (PAT) Passed. Other three are sold as decorative items only. The above report is supported with additional images which can be sent via a link. Please 'Ask a Question' to request these images. For any further enquiries please contact the department directly. Condition Report Disclaimer
Lot 732
Y JAMES EARL OF MASSACHUSETTS (AMERICAN 1761 - 1796) PORTRAIT OF MR JANNER Oil on canvas Signed, inscribed and dated 'Mr Janner Aged 41 by J. Earl 1793 No 5A Newham Street Oxford Street ' (verso) 35 x 30.5cm (13.75 x 12 in.) Another oil portrait by James Earl is in the Royal Ontario Museum, Canada, of William Jarvis with his son Samuel Peter Jarvis (Inv. no. 981.79.1) James Earl was an American portrait painter to the American royalists who spent the greater part of his career working in England as many of his sitters were former American colonists who had fled to London during and immediately following the end of the American Revolution. His ancestors were Quakers who emigrated from Exeter to Rhode Island in about 1634. At the beginning of the 18th century his grandfather settled in Worcester Country Massachusetts and James Earl was born in a village called Paxton in 1761. Ralph Earl (1726 - 1808), the father of James and his elder brother Ralph, was a farmer who joined the local militia during the Revolution in which he achieved the rank of Captain. However his son Ralph (1751 - 1801) became a loyalist and because of his activities in this cause left America and established himself as a painter in England from 1778 to 1785. It is thought that he taught his younger brother James and as he was also a loyalist, encouraged him to go to London. In April 1787 James exhibited two portraits at the Royal Academy and was resident at 6 Sweetings Alley, Royal Exchange. In 1789 he married Georgiana Caroline Pilkington (1759 - 1838) the widow of Joseph Brewer Palmer Smyth, an American loyalist from New Jersey. Both James Earl and the Smyths lived at 42 Great Peter Street, Westminster. In 1787 Smyth returned to North America to substantiate claims for his lost property. In a letter he wrote in August 1788 from Niagara to his wife he said 'I hope Mr Earl is well in health and Desire my Best Respects to Him'. Smyth died shortly before returning to England and Caroline was left with two children, Elizabeth Ann and William Henry. Earl enrolled in the Academy schools March 24th 1789 and is thought to have been a pupil of Benjamin West. He was an accomplished and popular painter and thirty four of his portraits painted during his seven years in England have been recorded so far. Many of his pictures have been misattributed to better known artists such as Sir William Beechey, George Romney, Mather Brown, Joshua Reynolds or to his brother Ralph Earl. Indeed four of his portraits of the Beauclerk family were attributed to Beechey, and those of Lord Aubrey and his wife to George Romney when they were sold by Sotheby's in 1949. Another portrait of Lady Massereene in the collections of the Virginia Museum of Fine Arts in Richmond USA was until recently attributed to Sir Joshua Reynolds. His portraits are not as stylised as those by his brother, and his subjects are portrayed with an almost photographic individuality. His portraits of men are direct and without flattery, and he had a particular interest in portraying the eyes of his subjects with an almost jewel-like quality. In 1794 he travelled to Charleston Carolina an expanding, affluent town, leaving his family in London. His obituary states that he had 'resided for nearly two years in this city'. He died of yellow fever and had made a will two days before his death. James Earl had a remarkable ability to capture a likeness, and his pictures are important additions to the body of 18th century American portrait painting. He was also the father of Augustus Earle (1793 - 1838) who lived a life of exploration as a draughtsman on board ship, and who famously was the artist on board the Beagle with Charles Darwin when he sailed to the Galapagos. Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning.Set in a 19th century rosewood frame with gilt slip measuring 45 by 40cm, canvas size 36 by 30.5cm The picture has had light sensitive professional clean within the last 5 years. Former old tear to right of his head has been sensitively repaired, under UV scattered small areas of retouching notably to margins and corners of the images, background, small spots to forehead, right cheek and running under his chin and down into cravat. Craquelure throughout and surface dust and fibres Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Υ CITES REGULATIONS Please note that lots marked with the symbol (Υ) in the printed catalogue and the online catalogue may be subject to CITES Regulations when exported. Relevant CITES Regulations information may be found here. The refusal of any CITES licence or permit and any delay in obtaining such licences or permits shall not give rise to the rescission or cancellation of any sale, nor allow any delay in making full payment for the Lot. Condition Report Disclaimer
Lot 96
* ENZO PLAZZOTTA (ITALIAN 1921 - 1981), SPIRIT OF FREEDOM bronze sculpture with rich brown patina, stamped with the Plazzotta seal and numbered 34 inscribed title to plaque, on marble base 33cm high Provenance: Enzo Plazzotta Catalogue Raisonne No 329 illustrated page 171.Note: Enzo Plazzotta was born in Mestre, near Venice, in 1921 and spent his student days in Milan studying sculptural drawing and modelling under Giocomo Manzu at the Academia di Brera, and architecture at the Politecnicao. He decided to specialise in sculpture, but his studies were interrupted by World War ll. Plazzotta became a member of the Italian Resistance Movement and fought in the Ossola region as a partisan. He was captured as a result of a secret political meeting held in Milan and spent nearly a year in solitary confinement. While being transferred to a German prisoner of war camp, however, he managed to escape and rejoin the partisans. Plazzotta was engaged in guerrilla activities and in conjunction with the British Special Forces was on the organising end of a clandestine escape route for Jews and escaped Allied prisoners of war en route from Italy to Switzerland. Through these contacts with British Intelligence he was involved in the repatriation of Ferruccio Parri, the leader of the Italian Resistance, from Switzerland to Italy. Parri later became Italy's first prime minister after the war ended. Plazzotta's wartime record won him the Silver Medal for Military Valour. After the war, Plazzotta resumed his studies in Milan, and in 1947 received his first commission, appropriately enough from the Italian Committee of Liberation. This was to be their tribute to their successful wartime collaboration with the British Special Forces. The bronze sculpture was entitled Spirit of Rebellion and depicted the boy David with the head of Goliath. Plazzotta himself was chosen to make the presentation to the Special Forces Club headquarters in London, and the bronze still has a place of honour there today. This first visit to London played a major part in shaping Plazzotta's career, for he quickly decided to make London his permanent place of residence. From his first studio in London he received several portrait commissions and, in 1949, held his first exhibition at the former Brook Street Gallery, to be followed by many others. "Spirit of Freedom" was also commissioned by The Special Forces Club (London) as confirmed in the Catalogue Raisonne. One of his first public commissions was a monument to commemorate the 700th anniversary of the Battle of Lewes, and after this time he began to explore the themes for which he has become well known, specialising in studies of dance, the horse and the female form – all of which exude vitality and movement. His style, based on the classical lines of the Renaissance, reflects perfectly his own admiration for such great masters as Michelangelo and Rodin. He lived in Chelsea and worked from the studio formerly owned by the late Sir Charles Wheeler. Major public sculptures by Enzo Plazzotta include: Camargue Horses, on the Waterside Terrace at The Barbican Centre, London; The Cruxifixion, in the College Gardens of Westminster Abbey; Homage to Leonardo. Belgrave Square, London; Jeté, on the corner of 46 -57 Millbank, Westminster, London; The Hand of Christ, Dinand Library at the College of the Holy Cross, Worcester, Massachusetts, USA; The Helmet, Lewes Priory; Two Brothers, Boys Town, Nebraska, USA; Young Dancer, Royal Opera House, Broad Street, London. The estate of Enzo Plazzotta is handled by Chris Beetles Gallery (London) and their website at the time of writing shows "Spirit of Freedom" priced at £2750.
Lot 382
The Waterloo medal awarded to Corporal William Emmott, Royal Horse Guards, appointed Quartermaster in the Regiment in 1828, and subsequently Captain and Adjutant of the Worcestershire Yeomanry Cavalry with whom he was actively engaged during the Bristol Riots of 1831 and against the Chartists in 1842, when he himself captured a leading Chartist Arthur O’Niel at a riot near Dudley Waterloo 1815 (Corpl. William Emmott, Royal Horse Guards.) fitted with contemporary replacement silver clip and bar suspension, latter part of rank erased, edge bruising and contact marks, fine and better £3,600-£4,400 --- William Emmott was born in the Parish of Trawdon, near Colne, Lancaster, and enlisted into the Royal Horse Guards on 12 March 1811, aged 20. He served with the Blues in the Peninsula at the battles of Vittoria and Toulouse, and as a Corporal at Waterloo. He was commissioned as Quartermaster in the Royal Horse Guards on 25 September 1828, and retired on half-pay on 31 December 1831. He was afterwards drill Sergeant to Lord Villiers’ Bicester Troop of the Oxford Yeomanry Cavalry before being appointed Captain and Adjutant of the Worcester Yeomanry Cavalry by Lord Plymouth, serving in that capacity until his death on 14 April 1865, During this period the WYC was very actively engaged with the frequent riots and protests of the times, including the Bristol, Worcester and Staffordshire riots of 1831 and the Chartist riots of 1842, much of which is described in a letter of petition from Emmett in February 1859 (copy sold with the lot). Captain Emmott was buried at Tardebigge, the funeral being attended by Lord Lyttelton, the Lord Lieutenant, the Bromsgrove and Redditch Companies of Rifle Volunteers, and 450 of the Worcester Yeomanry Cavalry with the Band, under command of Lord Dudley. Sold with research including a copy of his original Commission as Quartermaster and a typed copy of a 6-page letter written by Emmott describing the events following the battle of Vittoria [dated 27 October 1813], these both being held by the Household Cavalry Museum. Emmot’s two-clasp M.G.S. medal is held by the National Army Museum, Chelsea, London. A fine portrait of Captain Emmott mounted on his favourite charger by Sir Francis Grant can be found in the history of the Worcester Yeomanry Cavalry.
Lot 696
James Hadley for Royal Worcester, an Aesthetic Movement vase, circa 1865, quatrelobed footed baluster form, decorated to simulate Japanese Vermillion Lacquer with mixed metal and raised tooled gilt floral motifs and cranes, between prunus and cracked ice gilt panels, impressed and printed marks, 26.5cm high
Loading...-
126346 item(s)/page