534297 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen
534297 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
-
534297 Los(e)/Seite
Los 548
A pair of Japanese Meiji period cloisonné vases of hexagonal form decorated with dragons on a blue ground, 18cms high.Condition ReportThere is an indentation to the foot rim of one, a bruise to one side, two very minor light blue areas of damage / bruising on the side closest to the foot indentation; damage and loss of enamel to the base of the other vase, otherwise good overall condition.
Los 30
Day Taking of Pegasus Bridge FDC Signed by Major John Howard who led the glider landing. 6 6 94 BFPS 2419 - Operation Overlord 50th Anniversary D Day The Taking of Pegasus Bridge Special Postmark on Full set of D – Day Stamps . The D – Day Landing 50th Anniversary of Operation Overlord. Picture Silk Cachet Lord Lovat relieves Major Howard’s assault force at Pegasus Bridge. Personally Signed by Major John Howard who led the glider-landed D Company, 2nd Oxfordshire and Buckinghamshire Light Infantry (Ox & Bucks) in an airborne assault in the early hours of June 6, 1944. Released at 8,000 feet over the Normandy coast, details & News Paper cuttings enclosed. Good Condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Los 32
"The Battle of Arnhem Operation Market Garden cover rare Signed by 4 involved. 17th Sept 1994 Manston Kent Operation Market Garden Special Postmark. The Battle of Arnhem Operation Market Garden. Flown in 50th Anniversary Fly- Past Operation Market Garden. Personally Signed by Anthony Deane – Drummond, CB, DSO,MC and Bar Took part in Operation Market Garden. President of the Arnhem Veterans Club. Major Thomas Ian Jodrell Toler transferred to the Glider Pilot Regiment in November 1942, having been the first Battery Commander of 1st Airlanding Anti-Tank Battery RA. By late 1944, he was the Officer Commanding B Squadron Glider Pilot Regiment. He took part in the Battle of Arnhem, during Op Market Garden, and managed to escape across the Rhine. Colonel Patrick de Burgh enlisted as a gunner in 1941, with The Royal Artillery and was granted an emergency commission on 1 May 1943. After various moves he joined HQ 1st Airborne Division and took part in the Battle of Arnhem during Operation Market Garden in September 1944. During the battle, he took a wounded signaller to a medical centre. Unknown to him, the building had been overrun by the Germans and he was taken prisoner and forced to work as a medical orderly. However, during the darkness and confusion of the night, he escaped through an open window in driving rain and eventually made his escape eventually joining remnants of the 1st Airborne Division. Paddy was subsequently awarded a Mention in Despatches for his actions.(London Gazette 10 May 1945.). Shortly after returning to the UK Paddy attended RAF Ringway and qualified as a military parachutist on Course 151 which ran from 30 January to 16 February 1945. He later served with the 1st Airborne Division in Norway as part of Operation Doomsday. Colonel J L Waddy Joining the British Army shortly before the Second World War, he initially served with the Somerset Light Infantry in India. In November 1941 He became founder member of 151 (British)Parachute Battalion Italian Campaign in late 1943. After returning to the United Kingdom with the 4th Parachute Brigade, part of the 1st Airbourne Division, he took part in the Battle of Arnhem where he was wounded and taken Prisoner by German troops." Good Condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Los 114
Sinking the Bismarck Signed J A Grindle HMS Rodney and P D Gick Swordfish Pilot Both in action. Rare. official Navy cover. Rear Admiral Philip ‘Percy’ Gick flew Swordfish aircraft in the Second World War and also created Emsworth Yacht Harbour. He served in a total of eight aircraft carriers and was awarded the DSC and Bar and twice mentioned in dispatches. Gick flew Fairey Swordfish biplanes with 825 squadron from 1941. Swordfish wings could be folded for easier storage on aircraft carriers. Less than a month after joining the Squadron, flying his Swordfish from the aircraft carrier Victorious, he was involved in the hunt for the German battleship Bismarck that was a serious threat to the British Royal Navy and war supply ships. At 16:00 on 25 May 1941 the Victorious (seen above with Swordfish aircraft on its deck), together with four light cruisers plotted a course to launch her nine Swordfish torpedo bombers at Bismarck. At 22:00, Victorious launched the strike. Gick scored a direct torpedo hit on the Bismarck in the attack, the only pilot out of the nine to be successful, despite flying to find the German battleship completely in the dark! Even though the Bismarck didn’t sink, she was severely damaged, and was sunk two days later, following a successful air strike from the aircraft carrier Ark Royal. Gick subsequently received the DSC for his part in the action. Following promotion to acting Lieutenant Commander, he then joined the escort carrier Vindex as Lieutenant Commander (Flying) in 1944. After work on the Atlantic convoy routes as an escort ship, his Swordfish aircraft squadron took part in the sinking of no fewer than five U-boats, for which he was again mentioned in dispatches. After a short spell in command of a training squadron, in 1952 he captained the destroyer HMS Daring. Although aged only 40, he was known by the crew as ‘Old Percy’ after a nickname given to him by a Royal Navy Admiral as a joke. Gick then joined the carrier Venerable, part of the British Pacific Fleet, in command of the ship’s air group. In January 1957 he took command of the aircraft carrier Bulwark for her final commission as a fixed-wing carrier before her conversion to helicopter carrier. Bulwark took part in NATO exercises in the North Atlantic and the Caribbean Good Condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Los 109
PIERRE-AUGUSTE RENOIR (1841-1919)Baigneuse signed 'Renoir' (lower right)oil on canvas27.7 x 23cm (10 7/8 x 9 1/16in).Painted in 1916Footnotes:This work will be included in the forthcoming Pierre-Auguste Renoir Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.ProvenanceGalerie Durand-Ruel, Paris.Paul Vallotton, Lausanne, no. 7754.Galerie Tanner, Zurich.Private collection, Switzerland (acquired from the above); their sale, Sotheby's, London, 27 June 1990, lot 103.Anon. sale, Sotheby's, London, 4 December 1996, lot 119.Private collection, Europe (acquired at the above sale); their sale, Christie's, London, 21 June 2006, lot 222.Private collection, UK (acquired at the above sale).LiteratureA. Vollard, Pierre-Auguste Renoir, Tableaux, Pastels et Dessins, San Francisco, 1989, no. 1373 (illustrated p. 287).G-P. & M. Dauberville, Renoir, Catalogue raisonné des tableaux, pastels, dessins et aquarelles, Vol. V, 1911-1919 & 1er Supplément, Paris, 2014, no. 4373 (illustrated p. 445).Baigneuse was painted around 1916, at a time when Pierre-Auguste Renoir was deeply invested in exploring the theme of the female nude within a natural environment. The artist sought inspiration from the French and Italian Masters, such as Jean-Auguste-Dominique Ingres (1780-1867) and Raphael (1483-1520), whose paintings captivated him during his 1881 tour of Italy. Renoir's motivation stemmed not only from a desire to cement his legacy in art history alongside his heroes, but also to offer a more expressive alternative to the polished, idealised nudes of academic painters such William-Adolphe Bouguereau (1825-1905). Renoir's devotion to the subject was remarked upon by Berthe Morisot (1841-1895), who wrote in her journal in 1886: '[Renoir] is a draftsman of the first rank [...] He tells me that the nude is absolutely indispensable as an art form' (G. Muehsam (ed.), French Painters and Paintings from the Fourteenth Century to Post-Impressionism: A Library of Art Criticism, New York, 1970, p. 513).Baigneuse depicts a nude woman stepping into an inviting blue stream, her back turned toward the viewer, her arms raised delicately to balance her passage through the reeds. While her posture grants fluidity and movement to the composition, the soft transitions of light and shadow across her skin give it a lifelike texture. The rouge of her left cheek is echoed within the delicate pink accents that appear across her figure, sensuously evoking her youthful vitality and perhaps her reaction to the coolness of the water. These honest and tender details generate a wonderful fusion of spontaneity and intimacy – an evocative framework by which to celebrate the sensuality and grace of the female form. Typical of his mature style, Renoir employs softer, more fluid brushstrokes and a warm, luminous colour palette. The play of light across the bather's skin conjures a golden radiance, while the more loosely worked water and vegetation, with their cooler tones, swathe her within an atmospheric veil. Nude women being enveloped by nature was a key artistic motif for Renoir, who was fascinated with the harmonious relationship between humanity and nature. He took his cue from his more classical forbears, such as Titian (c. 1488-1576) and Peter Paul Rubens (1577-1640), who frequently portrayed nudes within mythological or pastoral contexts. For Renoir, this trope was key to achieving his certain sense of joie de vivre – inviting the viewer into idyllic and pleasurable scenes that offer a retreat from the rapidly industrialising world outside.'Hymns to light and colour, to youth and life', Renoir's female nudes stand among the most celebrated works of Impressionist art (G. Muehsam, op. cit., p. 516). Indeed, the present work boasts an important early pedigree, with its first documented owner being Galerie Durand-Ruel, an institution that played a pivotal role in the promotion and success of Impressionist artists. Paul Durand-Ruel (1831-1922) was a visionary art dealer who recognised the potential of Renoir and his contemporaries at a time when their work was often met with scepticism from critics. His early support and international promotion of the Impressionists was critical in securing their enduring recognition. Baigneuse was subsequently owned by the esteemed Lausanne gallerist, Paul Vallotton (1864-1936). Like Durand-Ruel, his discerning taste and critical influence played a key role in the circulation and appreciation of Impressionist and Modern Art. More recently, the present work has remained in the same private UK collection for almost two decades. As a tender and luminous evocation of Renoir's devotion to nature and the female form, Baigneuse represents a remarkable example of the most pure and expressive work of his mature period.For further information on this lot please visit Bonhams.com
Los 131
LOUIS VALTAT (1869-1952)Personnages à Choisel stamped with the artist's initials 'L.V.' (lower right)oil on canvas88.3 x 74.3cm (34 3/4 x 29 1/4in).Painted in 1928Footnotes:This work is registered in the Association Les Amis de Louis Valtat Archive.ProvenanceGalerie des Templiers, La Baule.Galerie Hurtebize, Cannes (acquired from the above in 2006).Private collection, UK (acquired from the above on 8 April 2010).LiteratureJ. Valtat, Louis Valtat, Catalogue de l'oeuvre peint, 1869-1952, Tome I, Paris, 1977, no. 2025 (the larger original canvas illustrated p. 226).The present work was originally the left-hand side of a larger composition, which contained also two female figures to the left, that the male figure in the foreground of the present work was depicted conversing with. The right-hand portion was gifted to the Denver Art Museum in 1981. Each of these two works features the artist's underlined initials – the stamp of the artist's estate - on their lower right corners. While the original composition is reproduced in full in the catalogue raisonné, the present work is also registered in the Archive of the Association Les Amis de Louis Valtat as a standalone painting.In 1924, after his bustling Parisian life denied him the tranquil retreat of a countryside garden, Louis Valtat bought a house in Choisel, a small village in the Vallée de Chevreuse. The surrounding landscape became his main source of inspiration, allowing him to explore the interplay of light, colour, and form in a new, more contemplative manner. During this period, his compositions grew more serene, while retaining his characteristic Fauvist colour palette. In Choisel, Valtat enjoyed hosting friends like Georges d'Espagnat and Maximilien Luce, who once painted the village church during a visit. By this time, Valtat had received official recognition, being made a chevalier of the Legion d'Honneur in 1927.The abundant, dark foliage in the present work contrasts with the sun-drenched meadow in the foreground, skilfully rendered by Valtat by simplifying his brushstrokes and juxtaposing tones of pure colour, a hallmark of his Fauvist roots. Upon closer inspection, trunks, branches and the two figures are defined by continuous contours, showcasing the painter's mastery of line. Although green is the dominant colour, its many nuances suggest a large field filtering through the foliage, providing the composition with additional depth. As echoed in the sister painting, the interplay of light and shadow evokes the enjoyment of a summer day amidst the trees' freshness.For further information on this lot please visit Bonhams.com
Los 108
ALBERT DUBOIS-PILLET (1846-1890)Reines-marguerites dans un pot sur le rebord d'une fenêtre signed 'Dubois-Pillet' (lower left) and dated 'Août 1885' (lower right)oil on canvas81.5 x 64.8cm (32 1/16 x 25 1/2in).Painted in August 1885Footnotes:ProvenanceAugustin Durastel de Rocheblave Collection, Puy-en-Velay (acquired directly from the artist).Private collection (by descent from the above); their sale, Sotheby's, London, 1 July 1970, lot 29.Giusto Tolloy Collection, Rome (acquired at the above sale). Private collection, UK (by descent from the above). ExhibitedParis, Salon des Indépendants, 2e exposition de la Société des artistes indépendants, 21 August – 21 September 1886, no. 160 (titled 'Des fleurs sur une fenêtre').LiteratureL. Trézenik, & G. Rall (eds.), Lutèce, journal littéraire, politique, hebdomadaire, 20 August 1886.J. Le Fustec, 'Exposition de la Société des Artistes indépendants', in Journal des artistes, 29 August 1886, p. 290.F. Fénéon, 'Les Impressionistes', in La Vogue, no. 8, 13-20 June 1886, p. 275.R. Gounot, 'Le peintre Dubois-Pillet', in Cahiers de la Haute-Loire, Revue d'études locales, Le Puy, 1969, p. 123 (titled 'Des fleurs sur une fenêtre').J.U. Halperin (ed.), Félix Fénéon, Oeuvres plus que complètes, Vol. I, Chroniques d'art, Geneva, 1970, p. 44.L. Bazalgette, Albert Dubois-Pillet, sa vie et son oeuvre (1846-1890), Paris, 1976, p. 162 (titled 'Des fleurs sur une fenêtre').P. Smith, Seurat and the Avant-Garde, New Haven, 1997, p. 83 (illustrated p. 84; titled 'Bouquet de reine marguerites à la fenêtre').J. Monneret (ed.), Catalogue raisonné du Salon des Indépendants, 1884-2000, Les Indépendants dans l'histoire de l'art, Paris, 2000, p. 172 (titled 'Des fleurs sur une fenêtre').D. Lobstein, Dictionnaire des Indépendants, 1884-1914, Vol. I, A-D, Dijon, 2003, p. 572 (titled 'Des fleurs sur une fenêtre').P. Offenstadt, Albert Dubois-Pillet, Catalogue raisonné, Paris, 2018, no. 85 (illustrated p. 104).Albert Dubois-Pillet's Reines-marguerites dans un pot sur le rebord d'une fenêtre, painted in August of 1885, is a remarkable example of the artist's pivotal influence on Pointillism, a groundbreaking movement that was then burgeoning in Paris. Exhibited in 1886 at the second Salon des Indépendants, the painting garnered early critical attention, notably from the renowned art critic Félix Fénéon. In his seminal article, 'Les Impressionistes', published in La Vogue in June of 1886, Fénéon used this work to highlight how Dubois-Pillet, as well as other artists such as Georges Seurat (1859-1891) and Paul Signac (1863-1935), were revolutionising the established Impressionist style. Rather than working spontaneously or subjectively as the Impressionists did, Fénéon emphasised how these artists were pioneering a new scientific approach, dividing highly keyed colours into their constituent parts with tiny dabs of paint upon canvas, allowing them to blend optically in the viewer's eye. This technical, structured approach to achieving vibrancy and luminosity would come to be known as Neo-Impressionism, a movement for which Fénéon's article would later become revered as a foundational text. The present work depicts vibrant pink and purple flowers arranged in a floral-patterned pot placed upon the windowsill of the artist's studio, framed by a typical Parisian rooftop in the background. Its tight composition and meticulous stippled treatment of the sky showcase Dubois-Pillet's precision and fascination with light and colour. Engaging with contemporary colour theories, notably those of Georges Seurat, he applied tiny dabs of colour to deconstruct light and achieve a unique form of radiance through optical blending.As a friend and contemporary of Seurat, Dubois-Pillet was involved in the same avant-garde circles that challenged the traditional and academic norms of painting. While he aligned with the Neo-Impressionist movement due to his scientific approach to painting, his works conveyed a more restrained and poetic sensibility to those of his counterparts. As Seurat explored the bustling metropolitan life of Paris, Dubois-Pillet focused on still-lifes and quiet interiors, emphasising introspection and the domestic sphere with a delicate and evocative sensibility. In addition to its significant early acclaim – demonstrating its presence at the heart of a transformative moment in modern art – the present work comes with an impeccable, unbroken provenance. Its first owner, Augustin Durastel de Rocheblave, acquired the work directly from the artist. Durastel de Rocheblave was a lawyer from Puy-en-Velay, the French commune that Dubois-Pillet was transferred to as an artillery captain in the French military, and which inspired many of his final paintings. Dubois-Pillet passed away in August 1890 due to an outbreak of smallpox in this region, after which his friend Paul Signac and the Société des Artistes Indépendants – of which Dubois-Pillet was a founding member – organised a memorial exhibition of his work. Extant paintings by the artist are exceedingly rare, due to a fire that destroyed the majority of his work, as well as his early death. The present work, therefore, remains an exceptional example of Dubois-Pillet's most pioneering work, and a testament to his contribution to the tectonic shifts in modern art that took place at the end of the nineteenth-century.For further information on this lot please visit Bonhams.com
Los 16
LAWRENCE CALCAGNO (1916-1993)Rio Grande signed and dated 'Larry Calcagno 1972' (lower right)oil and mixed media on paper56.5 x 76.2cm (22 1/4 x 30in).Executed in 1972Footnotes:ProvenancePrivate Collection, New Mexico.203 Fine Art, Taos, New Mexico.Acquired from the above by the present owner.The abstract expressionist, Lawrence Calcagno held his first solo show at the famed Martha Jackson gallery in 1955, and the artist went on to hold approximately eighty solo exhibitions and feature in a total of nine Whitney Biennials. Even with such a storied pedigree, the artist's career is only now receiving it's due.Hailing from the Bay Area, Calcagno studied at the California School of Fine Arts where he found his personal style of bands of bold colours, suggestive of the horizon. Whilst studying at CSFA, Calcagno was instructed by, and interacted with, some of the most prominent figures in the Abstract Expressionist movement, including Clyfford Still, Mark Rothko, Ad Reinhardt and Richard Diebenkorn, all of whom significantly influenced Calcagno's development. Visiting Paris in the 1950s, the artist became an intimate of Beauford Delaney, and relationship that would continue for decades. And their work too enjoyed a relationship, abstracts investigating the almost mystical nature of painting.The 1970s represented a period of artistic maturity and refinement for Calcagno, where he fully embraced the abstract expressionist style that he had been developing over the previous decades. His works from this era are marked by an intense focus on colour, light, and space, which often conveyed a sense of spiritual depth and emotional resonance, beautifully evidenced in this present work. While many of his earlier works had direct references to nature and the landscapes of the American West, by the 1970s, his paintings became increasingly abstract. Rather than depicting specific places, his work sought to capture the feeling or essence of the landscape. His pieces evoke the expansiveness of the desert or the vastness of the sky without literal representation. Calcagno's work during the 1970s also reflected his belief in art as a pathway to understanding life's deeper mysteries. He often spoke about how his paintings were less about depicting the external world and more about an inner exploration of his thoughts and emotions. His work is frequently described as 'spiritual abstraction,' and he was influenced by his travels to the American Southwest, where he found inspiration in the landscape's vastness and quiet beauty.Today, Calcagno's work can be found in numerous museums and institutions, including the Museum of Modern Art, (MoMA), the Whitney Museum of American Art, the Smithsonian Institution, the Boston Museum of Fine Arts and the Carnegie Museum of Art, among others.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
![Reproduction Tripod spot light together with fire extinguisher drinks dispenser [96cm in height]](https://cdn.globalauctionplatform.com/8f530688-69f8-4972-a21e-b1ff00bc25a1/ceea848d-39a5-484a-90fb-b1ff010ee438/468x382.jpg)
![Contemporary light oak two drawer coffee table [50x100x60cm]](https://cdn.globalauctionplatform.com/8f530688-69f8-4972-a21e-b1ff00bc25a1/e4c9032f-1055-4662-b911-b1ff010b6a77/468x382.jpg)
Los 624
Maurice Hope signed limited edition print with signing photo Maurice Hope was one of Britain's finest World Champions. This superb print shows Maurice after retaining his World Light-Middleweight title at Wembley, London in July 1980, against Rocky Mattioli. Maurice has personally signed each print and you will receive a photo of the signing (as shown in inset image). Actual Size 560mm x 410mm - limited edition of 500 and part of the Sporting Masters editions - Photo printed on 250gsm, high quality art board - The accompanying photo of the personality signing this item will include a copyright over the image and the edition number may vary. Good condition Est. Good Condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Los 808
A collection of rum, comprising of: Alnwick De Luxe 92 Vatted Rum, 75cl, 52.5%; W. T. Dainton’s Lemon Cut Pure White Rum, 70cl, 20%; Havana Club Rum, 7 years old, 75cl, 40%; Havana Club Rum, 3 years old light-dry, 75cl, 70 proof; British Navy Pusser’s Rum, 75cl, 54.5%; Wood’s 100 Old Navy Rum, 75cl, 57%; Mount Gay Rum, 70cl, 40%; Appleton Estate Dark Deluxe Jamaican Rum, 75cl, 43%. (8)
Los 748
Hardy 'The H.J.S.' Palakona rod and reel, the rod with detachable grip fitted plug, serial no. E 40564, with both light and heavy tips, the reel engraved '9lb', in mahogany box with fittings and line winder, the rod 172cms long, in inner slip and outer canvas covered metal tube with handle section.
Los 814
A collection of spirits, comprising of: Mozart Liqueur, 50cl, 20%; Calvados Phillippe Bizouard, 70cl, 40%; Siglo White Spanish Wine, 75cl, 11%; Freezomint de Cusenier Crème de Menthe Liqueur, 70cl, 24%; Pimpeltjens Nassau Orange Liqueur, 70cl, unknown proof; Liquore Strega, number 359, large bottle, 42.3%; Luxardo Liqueur, 17.6fl oz, 50.7%; Liquore Strega Liqueur, large bottle, 40%, 1 litre; Vaccari Sambuca, 70cl, 38%; Harveys Bristol Cream Original Superior Sherry, 75cl, 17.5%; Cockburns Light White Port, 75cl, 20%; Fernet-Branca Liqueur, 75cl, unknown proof. (12)
Los 12
‡ PAUL PETER PIECH (American-Welsh 1920-1996) - limited edition (15/75) woodcut - quote from Japanese journalist and professor, 'Love is Basic..' signed and dated 1972, 76 x 51cms together with another limited edition (13/75) woodcut - quote from Martin Luther King, 'The Ultimate Measure of Man..' signed and dated 1972, 77 x 52cms (2)Provenance: were gifted by the artist to the Bertrand Russell Peace Foundation, proceeds will help pay for renovations of Russell's old home in Cornwall, private collection NottinghamshireComments: both unframed, light creasing
Loading...-
534297 Los(e)/Seite