534310 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen
534310 Lose gefunden, die zu Ihrer Suche passen. Abonnieren Sie die Preisdatenbank, um sofortigen Zugriff auf alle Dienstleistungen der Preisdatenbank zu haben.
Preisdatenbank abonnieren- Liste
- Galerie
-
534310 Los(e)/Seite
Los 1
A quantity of framed WWI photographs of soldiers and fretwork search light scene, posthumous memorial photo of Royal Artillery soldier Reginald B Sparling with handpainted RA badge and battle honours, another RA soldier photo with wife and baby in hammered metal frame, framed photo of FW Swift 12834 25th Battallion Royal Fusiliers 'Frontsmen' East Africa 1915, heavily decorated French officer, British Naval officer, British flying cords pilot with friends c.1915, etc (qty.)
Los 210A
Utagawa Kuniyoshi (Japanese, 1798-1861), a diptych, of a battle scene in the mountains, each 37 x 24cmCondition report: Edges and corners soft, and a little creased. Some foxing and surface dirt. A couple of patches of paper verso. A small hole to the centre of the right print. Ink a little rubbed in various places. A couple of light creases.
Los 303
A Danish sterling silver vase by C.C.Hermann, of shaped form with engraved band of acanthus leaf and rope twist vertical mouldingsstamped marks to the base, 13.5cm diameter x 10.75cm high, 15oztCondition report: Inscription to the base 'Souvenir if Denmark 1958'. a very minor dent to one of the lobed panels and some light surface scratching to the base. Tarnished around the rim and base moulding.
Los 427
A Roman oil lamp and other antiquitiesCondition report: Box: loose top and loss to finishEwer: foot damaged half missingJug: chips to rimTazza: paint loss to bowlFive light lamp: three branches brokenProvenance: Private collection. The collection is that of a deceased estate. Many of the other items from this estate were purchased at auction which is possibly the case here.
Los 530A
Dutch School (20th Century)Still life of carnations, roses and tulips in a vase on a carved tablesigned lower right with initials 'AM'oil on canvas, unframed128 x 102cmCondition report: Relined. Fine craquelure throughout. Seen under UV, some spots of restoration to the the background and all craquelure fluoresces. Some light surface dirt. One or two very tiny flakes of paint loss.
Los 544
Annie Gunning, British 20th centuryCaei Fai Farmhouse VOil on boardLabel versoCondition report: A few light scuffs across top edge and one or two light scratches elsewhere. A little rubbing to edges and white edges are a little dirty. Vertical scratch through house.50.5cm x 50.5cmVertical scratch extending from above roof to the centre of the painting
Los 545
Henri SchaferSt Ouen, Rouen, NormandyOil on canvas, Monogrammed and dated 1884 lower left, gilt framedCondition report: Areas of gilding missing to side of frame40.5cm x 30.5cm Light surface scratches to the painting, the frame with scratches and losses to gesso 41cm x 30cm picture only. 62cm x 52cm including frame.
Los 559
Thomas Sidney Cooper RA (1803-1902)Portrait of Captain Peacock's spanielsigned and dated 'J J Cooper 1831' c.r., an inscription by a later hand on paper verso reads 'a pencil sketch by T Cooper RA in 1831, of Captain Peacock's spaniel at Greatford Hall, Stamford (my great grandfather), J G Sutton', pencil10.5 x 13.5cmCondition report: Some discolouration to the paper, also some light scattered foxing throughout, with three darker spots of foxing in the lower left quarter. Not seen outside of frame.
Los 588A
George Belcher RA (1875-1947)'I've had to oil it Miss, it squeaks, it put both me teeth on edge';'I get these shooting pains in my 'ead, it must be what they call musketry rheumatism'two, both signed 'George Belcher' l.r., charcoal on buff papereach 41 x 38cm (2)Condition report: 'Oil it': Some dirt, a crease across top right corner, and a lighter crease lower left corner. Paper lightly discoloured. One or two very small indents to the paper. Remnants of tape verso'Shooting pains': Some dirt. light foxing scattered throughout. Paper lightly discoloured. Pin holes at top corners. Remnants of tape verso
Los 608
Arthur H Buckland (20th century)The Complete Angler - a Kingfisher with Laburnumsigned and dated 'Arthur H Buckland / 1928' l.r., oil on board44 x 58cmCondition report: There is browning and discolouration in the entire water area. Some small woodworm like holes in the board in the lower area. A little light surface dirt and one or two very small water stains.
Los 618
Follower of Paul SandbyView across Lake Windermere to Ferry House, with cattle in the foregroundwatercolour8 x 15cm;Attributed to Charles Ward (fl.1826-1869)Cattle crossing a Welsh stream, a spaniel drinking at the streambears signature l.r., watercolour10 x 16cm (2)Condition report: Windermere: A blotch in the sky on the left, could be a water stain. Some scattered grey foxing. Not seen outside of frame.Dog and waterfall: A light wave to the paper. Appears to be stuck down at the corners. One or two specks of dirt/foxing. Not seen outside of frame.
Los 719
A pair of contemporary two-seater sofas, in the manner of Howard and Sons, upholstered in yellow Nina Campbell fabric, with sweeping arms, and raised on baluster front supports, 180cm wide, 130cm deep, 90cm high (2)Condition report: Some knocks to frame. Upholstery would benefit from a light clean, but appear generally in fair order.Feet are turned wooden supportsDepth is 110cm not 130cm
Los 752
After Henri Lebasque (French, 1865-1937) Une jeune fille au chapeau sur une plagebears signature 'Lebasque' l.l., pastel38 x 50cmCondition report: A dark stain by left edge. Some further light scattered stains. A little light surface dirt. A crease lower left corner. Paper has a very light wave, barely visible. Not seen outside of frame.
Los 753
Louis Haghe, after David Roberts, RA (1796-1864)The Bazaar of the Silk Museum, Cairohand coloured lithograph, from Egypt and Nubia53 x 36cmCondition report: Condition appears fine. Some light brown paper discolouration at edges where paper meets mount. A few flecks of dirt under the glass. Not seen outside of frame.The image and 'mount' are a single sheet. It is a later version but it is a hand coloured lithograph.
Los 768
Anatoly Sukhorukikh (Russian, 1935-2015),Lenin reviewing troops in Red Squaresigned and inscribed on backboard, watercolour and gouache25 x 31cm Condition report: Paper lightly cockled throughout and is lightly discoloured. There are some scattered light crease marks with corresponding paint rubbing. There appears to be damage top centre, possibly a hole, which has been painted over. Appears to be stuck down. A few scattered light stains. Gouache is lightly cracking in places. Not seen outside of frame.
Los 774
An Empire style secretaire abbatant, the shaped variegated marble top over a frieze drawer, over the fall front opening to reveal an interior with shelves and pigeon holes over three further drawers, on turned and carved bun feet, 90cm wide, 39cm deep and 138.5cm highCondition report: Scratches and chips to the marble, surface scratches, knocks and light scuffs to the timber
Los 39
Marcos Grigorian (Iran, 1925-2007)Desert No. 3 mud, straw and glue on boardsigned, titled and dated on the verso, executed in 198190 x 77cm (35 7/16 x 30 5/16in).Footnotes:Provenance:Property from a private collection, Los AngelesAcquired directly from the artist by the present owner, New York, 1991'Perhaps I was homesick for the native soil of Iran, or maybe it was just the opposite – a reaction to being obsessed with my past' - Marcos GrigorianBonhams is delighted to present this superlative work by Marcos Grigorian executed in 1981. Desert No.3 is part of Grigorian's acclaimed Earthworks Series. Earthworks was inspired by the use of materials and forms that went beyond the conventional means of art-making. Compared to the Western Land Artists, who similarly created compositions through the handling of earth itself, Grigorian predated this movement by a decade.Born to Armenian parents in 1925, Grigorian was brought up in Russia for a short time before emigrating to Iran with his family at the age of five. After studying at Kamal-el-Molk Art School in Tehran, he moved to Rome to complete his studies at the Academia di Bella Arti in the 1950s. His move to Rome allowed him to study the works of classical and modern masters and was a turning point in his career. His subsequent moves to Iran and then to the United States in the later years of his career were to be equally influential to his artistic development. His early abstract style was supplanted by expressionist figurative compositions on his return to Iran in 1954. In 1962 he moved to New York where he began his most famous Earthworks Series.These works are mostly on a square format, which became something of a signature for Grigorian. The square form was a representation of sacred geometry and harmonious proportions. The organic materials such as hay, straw, sand, soil and clay which he used to create his almost three-dimensional compositions were to be equally defining. In experimenting with soil and mud, he believed he was rebuilding life and exploring the complex relationship between mankind and earth. The present work is reminiscent of the commonly held theory that the Earth and the other planets developed over millions of years out of dust and gas. The traces of a circular movement on the centre of the canvas – the circle representing the universe or unity- and the monochrome earthy surface impress upon the viewer the feeling of a distant aerial view from space, an early phase in the creation of life and a beginning for humankind to come. The textured surface and the play between light and shadow endow the painting with an even more dramatic effect, adding to its three-dimensionality.In 1965, The Museum of Modern Art, New York acquired a work from Grigorian's Earthworks Series on the recommendation of Alfred H. Barr Jr., the legendary former director of the museum. A second work was then donated to the museum by Nelson Rockefeller in 1978. Further examples of Grigorian's works were recently acquired by the Metropolitan Museum of Art in New York and can also be found in the collections of Tehran's Museum of Contemporary Art and the National Gallery of Armenia in Yerevan.Besides being a leading figure in avant-garde Iranian and Armenian art history, Grigorian was an artist, writer, gallerist, collector, pioneer and a teacher. From his Gallery Esthétique in 1950s Tehran, which provided a free exhibition space for younger artists, to his pioneering decision to organise the first national Tehran Biennial in 1958 (after he was awarded the honour of representing Iran in the 1956 Venice Biennial) Grigorian desired to make an impact on the development of art. He was instrumental in the introduction and promotion of modern art in Iran in the 1950s and extensively promoted the works of Armenian artists in the United States in the 1980s. Despite travelling around the world, Grigorian chose to return to his ancestral home of Armenia for the remainder of his life and donated his complete collection to the Armenian government as a sign of his lifelong commitment to his nation.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 66
Ayman Baalbaki (Lebanon, born 1975)Untitled (Loss and Destruction) acrylic and mixed media on canvas, framedsigned in Arabic and dated '2010' on the verso, executed in 2010200 x 150cm (78 3/4 x 59 1/16in).Footnotes:Provenance:Property from a private collection, DubaiChristie's, Modern & Contemporary Art, October 2015, lot 107Luce Gallery, Ciel Chargé de Fleurs, Turin, 2010Rose Issa Projects, Ciel Chargé de Fleurs, London, 2009'I have a temper. It doesn't always show but in some situations my temper flares up. It was war and displacement that made me tough. I developed an aggressive and defensive force in me... but the violence I have witnessed was translated into painting,' – Ayman BaalbakiAyman Baalbaki's inimitable depictions of war-torn Beirut are a visceral, aesthetically overpowering testament to the destructive power of conflict, a destruction whose genesis, whilst physical, infiltrates, scars and distorts the collective consciousness of its sufferers.Baalbaki's fixation with conflict is manifest throughout his life and work. Born in 1975, the year of the outbreak of the Lebanese Civil War, his family were forced to flee Rass-el Dikweneh when he was only a few months old. When it came to approaching his work as a painter Baalbaki naturally drew from the deep reservoir of memory formed by these disturbing experiences.Concerned with the link between imagery and memory, Baalbaki uses his art as a haunting aide-memoire to the conflict that has plagued Beirut, reminding people that even in times of relative piece, they should not disregard the deep systemic divisions that gave rise to conflict in the first place. Baalbaki explains that this conceptual initiative is 'based on what Nietzsche called the 'imposition of memory. After the war, whoever had experienced it, tried to erase its effects and impact from his/her memory and surroundings, although the causes of war and its essence [were] still present in the city'.In light of this overarching agenda, Baalbaki's works accordingly focus on the aftermath of conflict, and the remnants of its destructive influence. The gap between the act of destruction and the time of depiction, which Baalbaki's works occupy, is part of a concerted effort to place a reflective emphasis on the theme of war; it is seldom in the eye of the storm where one can truly measure, discern and recognize the effects of destruction, it is only when the impact of war breaches the heat of the battle, permeating into the visual, emotional and psychological landscape that its true imprint becomes manifest.The medium through which this imprint is made palpable by Baalbaki, is through the depiction of Beirut's war torn buildings; these buildings, like the individuals they contained, are perhaps some of the city's most important inhabitants, they are the edifices that signify identity, civilization, the existence of families and homes, they are the structures which give shelter, congregation, life, and industry to a population, they are the building blocks of the communities they house, and it is through their facades that the culture, history and collective narrative of their inhabitants are most immediately recognized.It is these buildings which therefore wear most overtly the wounds of war, and whilst the human impact of conflict lives within the hearts of those who have survived it, and through the memories of those who have the fallen, the visual insignia of conflict is most tangible in the fragmentation of the civic space.It is this fragmentation which Baalbaki seeks to document, reflect on, and ultimately immortalise in his canvases. Executed in a scale which captures both the architectural enormity of the buildings depicted, and the severity of the damage they have suffered, Baalbaki's paintings are striking vignettes of a city whose urban fabric has been punctured and mutilated.Monumental yet deeply personal, vigorous yet unsettlingly brooding, Baalbaki's building is rendered with both a stark brutality and delicate pathos, harnessing both its nurturing and destructive qualities, pointing to its emotionally paradoxical role in Lebanese life; as both part of the city built as a place of shelter, yet at the same time a scene of its greatest tragedies. The tension between these two elements, rendered as it is in monumental format, make this one of Baalbakis most emotive and compelling artworksThis lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lots denoted with a 'TP' will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Los 71
Suad Al-Attar (Iraq, born 1942)Garden of Eden oil on canvassigned 'Suad Al Attar' in Arabic and English (lower right), executed in 198351 x 84cm (20 1/16 x 33 1/16in).Footnotes:Provenance:Property from a private collection, LondonAcquired directly from the ArtistExhibited:Leighton House, Suad Al Attar solo exhibition, 1993, London'Above the palm tree high,is it light of her face I see,or is it the moon - how can I know?You are as fine as the palm tree high,But, alas, not for me is one so high and fine,One who salaams and passes me by'.-From an old Baghdadi songThis present work, Garden of Eden, was one of Suad al-Attar's major works on the important chapter of her theme of inspiration from gardens of paradise, birds, flowers, palm trees, orange trees and peacocks. In these paintings, Suad has created an alternative world in the fabric of dreams where souls could escape to. They look back to the tradition of the Baghdadi School of Art and the works of the 13th Century artist, Al-Wasiti, whose works were such an influence on Jewad Selim. Trees are deeply embedded in Suad's subconscious, are a symbol of endurance and magnificence and yet are tragically confined too. They reflect the common human condition. Suad Al Attar was was born in 1942 in Baghdad. Al-Attar studied art under Jewad Selim and was a participant in the Baghdad Modern Art Group in the early 1960s. In 1965, Al Attar was the first woman artist to ever have a solo exhibition in Baghdad. Al-Attar earned degrees from Baghdad University and California State University. She also studied printmaking in London at the Wimbledon School of Art and the Central School of Art and Design. She returned to Iraq and actively exhibited and taught art for a decade. In 1976, she moved to London but her artworks continue to reference Iraq's cultural heritage, from ancient, Islamic and modern periods. Al-Attar's work is featured in major permanent collections in the UK and at Mathaf: Arab Museum of Modern Art in Doha.'A woman is like a tree, rooted in the earth and she strives, as a tree which strains its branches towards the indifferent sky, to break free from her servitude.' - by Yasmin Alibhai-Brown excerpts from Tree of Life Exhibition in London, 2011This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 2524
Een beige lederen doos met gouden detaillering, juwelendoos voor collier, Cartier,rond 1900, met zilveren plaquette met inscriptie: 'Kaiser Franz Joseph I, Franz Ferdinand Erzherzog Osterreich-Este', lengte doos 28 cm en hoogte 12 cm. -Gedeelte v.d. opbrengst t.b.v. de F.L.I.M. fundraising voor A.V.L.- A light brown leather jewellery case with gold detailing by Cartier, ca. 1880-1910, with inscription on silver plaque: 'Kaiser Franz Josepth I, Frans Ferdinand Erzherzog Österreich- Erste', length 28 cm and height 12 cm.
Los 2579
Een zilveren chanoukia menorah, Israel, 925/000, br.gew. 94 gr., hoogte 14,5 cm. Rails voor negen kaarsen kan worden verwijderd en maakt het tot een tweelichtskandelaar. A silver chanoukia/hannukah menorah, Israel, 925/000, gross w. 94 gr., height 14.5 cm. Row for nine small lights can be removed to create a two light candelabra.
Los 2176
Twee geelgouden ringen respectievelijk bezet met een oud briljant slijpsel, licht getinte diamant, diameter ca. 5 mm, en een lichte aquamarijn, 750/000 en BWG, br.gew. 3,7 gr., ringmaat 15,5 en 16. Two yellow gold rings, respectively set with a old brilliant cut lightly tinted diamond, diameter ca. 5 mm, and a light blue aquamarine, 750/000 and BWG gross w. 3.7 gr., seize 15,5 and 16. BWG = Below Dutch standard Gold of minimum 585/000.
Los 187
'Baron Crämer' a German teddy bear 1920s, with light golden mohair, clear and black glass eyes, remains of brown painted backs, pronounced muzzle, black stitched nose, mouth and claws, swivel head, jointed elongated limbs with felt pads, seam down back of leg, rounded hump and inoperative growler, possibly Crämer --20 ½in. (52cm.) high (general wear and thinning, some repairs to pads) - this bear was lot 11 in Grandma's Teddy Bear Museum auction in these rooms on the 9th September 2020
Los 220
'Maisie Mouse' a Dean's Rag Book Co Ltd mouse-eared teddy bear 1930/50s, with light golden mohair, orange and black glass eyes, pronounced clipped muzzle, black stitched nose, mouth and claws, swivel head, jointed limbs with felt pads, hump, inoperative voice and recent dress with hat --14 ½in. (37cm.) high (some balding, general wear and thinning) - this bear was lot 263 in Grandma's Teddy Bear Museum auction in these rooms on the 9th September 2020
Loading...-
534310 Los(e)/Seite