283287 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen
283287 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
-
283287 Los(e)/Seite
![Mamiya RZ67 180mm W-N Portrait Lens #13074. (condition 4F). In Nikon hard case & with Soft Case #2.[F]](https://cdn.globalauctionplatform.com/48e6e044-7098-436c-ae2d-a9fb0112f934/51405629-685e-4e43-abd2-aa10012d201d/468x382.jpg)
Los 399
Group of Canon L39 Screw Mount Lenses and Accessories. Comprising Serenar 50mm f1.8 lens (some internal fungus, condition 5/6F), with caps; black Canon 35mm f2 (condition 5F); uncommon Canon 100mm f3.5mm portrait lens (internal fungus and haze, condition 6F) with caps and correct viewfinder; Canon 35-135mm universal finder (slightly cloudy). And a Leica lens hood for 5cm Elmar.[J]
Los 315
Follower of Christian Wilhelm Ernst Dietrich (German, 1712-1774), Portraits of elderly bearded gentlemen, oil on canvas (a pair), 35 x 28 cm. Provenance: From a Suffolk country house Oil on coarse weave canvas which are unlined. The portrait of the gentleman facing right has tears in the lower left hand corner. Both paintings have scattered areas of loss. The varnish layers are darkened and yellowed with surface dust. Both frames have extensive losses to the decorative moulding. Old stretcher bar marks can be seen from the front. Inventory numbers to the reverse: 3 G and 1 G
Los 133
Seán O'Sullivan RHA (1906-1964)Portrait of Mrs. R. Smyllie, in a West of Ireland LandscapeOil on canvas, 76 x 64cm (30 x 25¼'')Signed and dated 1943Exhibited: Dublin, Royal Hibernian Academy, 1944, Catalogue No.124.Mrs Smyllie was married to Robert 'Bertie' Smyllie who, from 1934 until 1953 was the editor of The Irish Times.
Los 46
May Guinness (1863-1955)Portrait of a WomanOil on canvas, 84 x 61cm (33 x 24'')Exhibited: Dublin, IMMA, 'Analysing Cubism', February/May 2013; Cork, Crawford Gallery, Cork, June/September 2013; and Banbridge, F.E. McWilliam Gallery, September/November 2013.Literature: 'Analysing Cubism 2013', full page illustration, p.31.This undated work is likely to have been painted after 1922 when Guinness had thoroughly familiarised herself with modern French painting. She studied with the cubist Andre Lhote from 1922 to 1925 but had already spent many years in France. Born in 1863, Guinness first visited Paris before 1910 where she studied art with the Dutch artist Kees Van Dongen, an expressionist painter. She continued to visit the city regularly and to develop her understanding of modernism right into her sixties and beyond. This portrait depicts a young woman wearing a bright strikingly modern costume of coloured stripes with a pink band of material across her head. Her hands are held dutifully in her lap while her detached expression suggests the ennui associated with posing for long periods. Although called a portrait the work can be considered in terms of its abstract design and use of form. Guinness was strongly influenced by French expressionism or Fauvism and especially by the work of Henri Matisse and Van Dongen. This is evident in this painting. The thinly applied paint with its flat texture suggests the technique of fresco painting. It is a style that Matisse used in a number of his paintings most notably in his Portrait of André Derain (1905, Tate) which was shown in the inaugural Fauve exhibition at the Salon d’Automne in 1905. Guinness painted murals at her family home, Tibradden House in the 1920s (now destroyed) in which she may have deployed a similar effect. The strong pinks and oranges of the shadows cast on the face in Portrait of A Woman are typical of Fauvist art which exaggerates the effects of light and shade to create highly decorative and expressive paintings. Guinness was well aware of this idea. Her one-woman exhibition in London in 1922 was called ‘Decorative Paintings and Drawings’. In this painting she builds up the composition in blocks of strong colour to create a consciously modern work of art that exudes the artist’s energy and freshness of vision.Dr Roisin Kennedy
Los 196
δ Tracey Emin (b.1963)Self-Portrait 12-11-01Chromogenic print in colours, 2001, signed, dated, titled and numbered from the edition of 80 unique prints in black ink verso, on Kodak Professional photographic paper, published by Parkett Editions, New York/Zurich, as included in Edition for Parkett No. 63, the full sheet, 400 x 401mm (15 3/4 x 15 3/4in) (unframed) δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Los 92
δ Salvador Dalí (1904-1989)Portrait of Goya (from Les Caprices de Goya de Dali) (Field 77-3-80; M & L 848b)Etching with pochoir printed in colours, 1977, signed and inscribed 'Epreuvre d'artiste' in pencil, one of twenty artist's proofs aside from the edition of 200, on Rives wove paper, printed by Ateliers Rigal, published by Berggreuen Editions, Paris, sheet 445 x 306mm (17 1/2 x 12in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Los 94
δ Salvador Dali (1904-1989)Portrait of La Fontaine (Field 74-1-A; M&L 653d)Etching with drypoint, 1974, signed, inscribed 'E.A.' and numbered in roman numerals from the edition of 62 in pencil, on Auvergne wove paper, printed by Ateliers Rigal, published by Mouret, Paris, with margins, plate 572 x 400mm (22 1/2 x 15 3/4in) (framed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
![[§] WILLIAM SCOTT C.B.E., R.A. (BRITISH, 1913-1989)PORTRAIT OF A GIRL, 1948 60/60, signed and numbered in pencil (lower right](https://cdn.globalauctionplatform.com/3460b8af-433f-4d78-b36b-a9eb00a441df/f1ae98e7-a0d1-41f9-a371-aa0900c7fae0/468x382.jpg)
Los 23
[§] WILLIAM SCOTT C.B.E., R.A. (BRITISH, 1913-1989)PORTRAIT OF A GIRL, 1948 60/60, signed and numbered in pencil (lower right), lithograph43.5cm x 30.5cm (17.25in x 12in), unframedNote:This lithograph depicts the artist's wife Mary. It was commissioned by the V&A Museum to commemorate the 150th Anniversary of lithography.
![[§] GEORGES D'ESPAGNAT (FRENCH, 1870-1950)PORTRAIT OF MADAME X, 1924 initialled (upper left), oil on canvas54cm x 44.5cm (21.](https://cdn.globalauctionplatform.com/3460b8af-433f-4d78-b36b-a9eb00a441df/08b1d3c0-5c05-4616-a771-aa0900c7f9ce/468x382.jpg)
![[§] CHRIS LEVINE (BRITISH, B.1960)EQUANIMOUS, 2007 initialled and dated '11' in pencil in the margin (lower right), and with](https://cdn.globalauctionplatform.com/3460b8af-433f-4d78-b36b-a9eb00a441df/844a13bc-6909-4462-8577-aa0900c70d54/468x382.jpg)
Los 242
[§] CHRIS LEVINE (BRITISH, B.1960)EQUANIMOUS, 2007 initialled and dated '11' in pencil in the margin (lower right), and with the artist's blindstamp, also signed and dated (to reverse), archival inkjet print47cm x 47cm (18.5in x 18.5in)Provenance: Collection of The House of St. Barnabas. Note:In 2004 Chris Levine was commissioned to create a portrait of Queen Elizabeth II by the Jersey Heritage Trust to celebrate 800 years of allegiance of the Crown by the island of Jersey. The result 'Lightness of Being' has perhaps become one of the most iconic portraits of the Queen. From that original sitting, Levine has created a series of new editions over the intervening years that are play on different elements of the photography processes that Levine uses.'Equanimous I' uses the exposure of the film to change the identity of the Queen although her outline stays in tact.This work was created in 2007, but dated to 2011, as Levine signs the prints as the edition is made, and he does not make all the editions in one go.
Los 322
OF ROYAL INTEREST: A PAIR OF 9CT GOLD CUFFLINKS BY GERALD BENNEY, each circular panel with Elizabeth II cypher to a bark textured ground, on baton fittings, hallmarked for London 1972, with maker's mark AGB, in signed case, accompanied by a portrait photograph in frame, cufflinks panel diameter 2.2cm (2)
Los 344
AN EMERALD AND DIAMOND DRESS RING BY GEORGE WEIL, designed as a tiered abstract flowerhead, centred with a cluster of oval cabochon emeralds framed by round brilliant-cut diamonds in scatter formation, above a tapered panelled hoop, 18ct gold mounted, signed G. Weil and hallmarked for London 1975, with maker's mark WJ LD for Weil Jewellery Ltd, also stamped '18ct' and 'plat', total diamond weight approximately 0.35ct, ring size M½ George Weil was born in Vienna in 1938 to a Jewish family of jewellers, who left Antwerp the following year at the outbreak of the Second World War. Weil trained as a jeweller and studied at St Martins' School of Art in London. A contemporary of Andrew Grima, he was also a painter and sculptor, producing portrait busts of iconic figures such as Winston Churchill and Sammy Davis Junior, and the influence of this background can be found in his bold jewellery designs. Weil's Hatton Garden jewellery studio closed in 1979 and he later emigrated to Israel, where he continued to work as an artist.
Los 345
A TIGER'S EYE AND DIAMOND DRESS RING BY GEORGE WEIL, circa 1970-75, the oval cabochon tiger's eye claw set to a tapered mount of pierced and textured abstract design, highlighted with a border of round brilliant-cut diamonds, 18ct gold mounted, signed G. Weil and WJ LD for Weil Jewellery Ltd, with London hallmark and indistinct date letter, also stamped '18ct' and 'plat', total diamond weight approximately 0.30ct, ring size approximately K-L George Weil was born in Vienna in 1938 to a Jewish family of jewellers, who left Antwerp the following year at the outbreak of the Second World War. Weil trained as a jeweller and studied at St Martins' School of Art in London. A contemporary of Andrew Grima, he was also a painter and sculptor, producing portrait busts of iconic figures such as Winston Churchill and Sammy Davis Junior, and the influence of this background can be found in his bold jewellery designs. Weil's Hatton Garden jewellery studio closed in 1979 and he later emigrated to Israel, where he continued to work as an artist.
Los 614
A GEORGE III SILVER TODDY LADLE, the lipped bowl inset with a William III 1697 coin, and with whalebone twist handle, by Charles Hougham, London 1783; a pair of Georgian pierce decorated sugar tongs, maker's mark I.G. probably James Graham, c.1770; a late Victorian silver and mother of pearl handled bread knife, cased; a small quantity of silver flatware; a Dunhill silver plated lighter; and a silver pendant/brooch inset with a miniature portrait of a lady (qty)
Los 74
A VICTORIAN CAMEO PENDANT, the oval conch shell cameo carved to depict a classical portrait profile, bordered by oval coral corallium rubrum cabochons, (glazed verso deficient), suspended from a trace-link chain, together with a coral corallium rubrum single strand bead necklace, pendant length 4.5cm (2)
Los 132
Nine assorted George III coloured and reverse painted mezzotints, second half 18th century, including three by Richard Houston (Irish, circa 1721-1775), most published by Robert Sayer of Fleet Street, others by Carington Bowles, depicting female portrait sitters and allegorical figures, including the Seasons and the Elements, after Joshua Reynolds (British, 1723 - 1792), Robert Pyle (British, fl. 18th century), and Philip Mercier (British, 1689 - 1760), in carved wood frames, the largest 57cm high, 41cm wide CATALOGUE NOTES: Richard Houston was an Irish draughtsman and engraver, who spent most of his career in London, translating famous paintings to the medium of the mezzotint for publishers Robert Sayer and Carington Bowles. A pair of similar hand coloured mezzotints of George III and Queen Charlotte by Houston was sold at Christie’s South Kensington, ‘Interiors’, 3 June, 2008, lot 320
Loading...-
283287 Los(e)/Seite