We found 35023 price guide item(s) matching your search
There are 35023 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
35023 item(s)/page
Lot 83
MILITARY INTEREST - a gilt-brass architectural 8-day mantel clock, with presentation inscription "Presented to Sargent Major Garton, by the Officers NCOs and men of A Squadron, Surrey Yeomanry as a token of their esteem and regard Xmas 1908", case height 29cm, with pendulumMovement is untested, case is tarnished, no obvious damage
Lot 125
Austin Osman Spare (British, 1886-1956)Red Roofs, Firenze signed with initials, dated and inscribed 'A.O.S-FIRENZE-'06' (lower left)watercolour, pen and ink and pencil on paper38 x 27cm (14 15/16 x 10 5/8in).with a further unfinished watercolour of a cityscape, on the reverse, by the same handFootnotes:ProvenancePickford Robert Waller (1849–1930), probably acquired directly from the ArtistSale; Sotheby's, London, 12 March 1975, lot 1070Sale; Bonhams, Knightsbridge, 15 November 2011, lot 215, where acquired by the present owner Alan Michael HarrisSpare seldom travelled overseas, but it seems likely that after he left the Royal College of Art in 1905, he ventured to Italy to round-off his art education. Architectural studies are rare in Spare's oeuvre, but the present lot and lot 126 appear to be among the earliest. Pickford Robert Waller (1849-1930) was an amateur artist, successful property developer, and an early patron for Austin Osman Spare.We are grateful to Robert Shehu-Ansell for compiling this catalogue entry.This 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
Lot 126
Austin Osman Spare (British, 1886-1956)Houses by the Arno signed with initials, dated and inscribed 'Lung ARNO - A.O.SPARE.'06.' (lower left)watercolour, gouache and pen and ink on paper38 x 27cm (14 15/16 x 10 5/8in).Footnotes:ProvenancePickford Robert Waller (1849–1930), probably acquired directly from the ArtistSale; Sotheby's, London, 12 March 1975, lot 1069Sale; Bonhams, Knightsbridge, 15 November 2011, lot 216, where acquired by the present owner Alan Michael HarrisSpare seldom travelled overseas, but it seems likely that after he left the Royal College of Art in 1905, he ventured to Italy to round-off his art education. Architectural studies are rare in Spare's oeuvre, but the present lot and lot 125 appear to be among the earliest. Pickford Robert Waller (1849-1930) was an amateur artist, successful property developer, and an early patron for Austin Osman Spare.We are grateful to Robert Shehu-Ansell for compiling this catalogue entry.This 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
Lot 3052
HERBAL. - John GERARD. The Herball or Generall Historie of Plantes… very much enlarged and amended by Thomas Johnson. London: Adam Islip, Joice Norton and Richard Whitakers, 1636. Third edition, folio signed in 6s (331 x 214mm.) Engraved architectural title by J. Payne, numerous botanical woodcut illustrations throughout, woodcut initials, 'Appendix' to rear, indices for both Latin and English terms, 'The Table of Vertues' to rear and last leaf 'An Advertisement to the Readers' being Bbbbbbb5. (Light spotting and browning throughout, occasional minor soiling, part of p.491 replaced in facsimile, title laid-down, marginal repairs to dedication leaf and 'An advertisement to the Reader' with some loss of text to latter, blanks replaced.) 18th century reversed calf, red morocco lettering piece to the spine (rebacked in reversed calf, corners repaired, staining and scuffing to covers). Provenance: George Gill (ink name rear pastedown); S.L. Nussey, Potternewton Hall (name-plate to the front pastedown).Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.
Lot 3118
ONORATI, Marsilio. Vita di Giesv Christo Redentor Nostro, Cauata da gli Euangelisti e da quell oche ne scriuono i sacri Dottori. Roma: Francesco Caualli, 1641. First edition, 4to (211 x 150mm.) Engraved frontispiece with architectural design, colophon to rear, 63pp. 'Indice'. (Browning throughout, light to moderate spotting, creasing to frontispiece.) Contemporary vellum (heavily browned, rubbed to extremities).Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.
Lot 1105
A late 19th Century North European carved oak breakfront cabinet on stand, the carved architectural pediment with boars head, above an acanthus cornice and animal mask and scroll frieze, barley twist uprights and single glazed door enclosing adjustable shelves, the lower section with carved frieze drawer above single door enclosing shelf with carved horn, rabbit and leaf decoration, on bun feet, 99 x 53 x 226cms high.
Lot 1027
Bryson & Son, Dalkeith: a mid 19th Century Scottish mahogany longcase clock, the circular silvered roman dial with subsidiary seconds dial, two train movement fitted a deadbeat escapement with bell, the case with architectural pediment above a door with circular glass panel, rectangular waist door on panelled and plinth base, with weight and pendulum, 201cms high.
Lot 219
A mixed quantity of architectural prints, 19th century prints, engravings, signed prints and others to include a French cut-out coloured print of a male English grouse, an engraving of a young woman annotated in pencil to page edge, and others (some long term damp and storage damage) Location:
Lot 281
A limestone carving, 15th century, possibly French, of a figure standing with right arm to their chest 72 x 33 x 15cm approximately Provenance:'Hillsleigh', Burford, Oxfordshirepossibly from a window jamb as there are architectural elements to the figures right hand side and below, the face rubbed and damaged, cracks and distressed paint
Lot 272
An Ottoman mother-of pearl inlaid, square occasional table, circa 1900, the top with a central square panel enclosing a central octagonal mother-of-pearl panel displaying devotional Arabic calligraphy, surrounded by foliate scrolls, each centred by a 6-pointed star, divided by the outer border of a chain of mother-of-pearl diamonds with a plain rosewood band, each side of the base inlaid with script above two architectural arches, raised on rectangular legs inlaid with stringing and chevron edges, minor damage and some restorations, 36cm wide x 52cm highMinor damage and restorations, including chipped edges and corners and some loss of mother-of-pearl, including 0.5cm of one diamond on the outer border, plus some losses on the edges of the legs. Restorations including one middle leg re-stuck and with a wooden strengthening batten on the inside where formerly broken, also isolated patches of inlay restored, including top and sides and edges.
Lot 753
A George III mahogany breakfront linen press or housekeepers cupboard, outlined and detailed with serrated and checkered band inlay, the architectural pediment above a pair of fielded panelled cupboard doors opening to three oak sliding trays, flanked by a pair of conforming cupboard doors enclosing an arrangement of sliding shelves, the base with four central graduated and cock-beaded oak lined drawers, the upper drawer opening to a compartmentalised interior with two side opening secret drawers, applied with pierced brass back plates and swing handles, flanked by cupboard doors opening to sliding trays, upon a plinth base, 256 H x 249cm W x 68cm DCondition report30cm length of beading missing from middle RH door, LH door has dropped and catches when the door opens, the same door has a 70cm split running from the top.Moulding to the top of the base is loose on both sides, with an 8cm chip to the LHS, the RHS with moulding missing from the top side.All four drawers are tight and at fault, with various splits and losses, the second drawer having a detached slither, 15cm long.There is a 5cm hole to the backboards in the RH cupboard.The cupboard is in structurally sound condition, however it will require a degree of restoration and tidying.
Lot 412
A pair of English porcelain twin handled vases, probably Coalport early 19th century, each of ovoid form with flared shaped neck, spreading square foot, and foliate handles, the blue body with relief moulded scroll and foliate details, the central reserves enamelled with architectural scenes, gilt highlights throughout, painted "225/6" fraction mark to bases, each 20.5cm high, with a further pair of twin handled vases, each of flared form with pierced rim, entwined handles and central architectural and floral reserves, gilt highlights throughout, painted "180" to base, each 18cm high (4) (at fault)
Lot 702
An early 19th century mahogany cased mercury wheel barometer by Cetti & Co. 25 Red Lion St, Holburn, London, the case with an architectural pediment, inlaid with conch shell and foliate detail, the arched cased thermometer above a 20cm silvered register signed with the makers name, 97cm long
Lot 191
Richard Haas (b. 1936). A photograph and screenprint proposal of the Boston architectural center mural. Pencil signed along the lower right; numbered 8/15 along the lower left. With an affixed slip of paper reading "Project: Boston Architectural Center - completed 1977 with funds from National Paint and Coatings Association and private donors."Height: 18 in x width: 32 in.Condition: The item is in good condition, with no visible tears, losses, or major creases. The emulsion appears to be smooth and great. In the upper right corner of the right image, there is a minor crease that does not affect the overall appearance. When inspected under UV light, there is no visible sign of restoration. Both images are affixed on the board; therefore, the verso of each image was not inspected.
Lot 421
A LATE 19TH CENTURY FRENCH BRASS AND COPPER MANTEL WITH ACHILLES BROCOT MOVEMENT, the architectural case with five urn shaped finials, the front of the case with relief decorated copper panels and columns featuring flora and fauna, the silvered chapter ring with Roman numerals, eight day movement, gong strike, stamped with an oval containing 'A*B', numbered '2052 163', height 39cm, with pendulum, no key (Condition Report: generally in good condition, the right hand facing column is loose in the frame, clock runs, winds, chimes)
Lot 2653
Thomas Restell of Tooting - a Regency rosewood cased bracket clock, the case having a pineapple finial over a stepped architectural cornice, with brass stringing, signed convex white enamel dial with brass bezel, twin winding holes for a brass eight-day fusee movement with pull hour repeat, anchor escapement and striking on a bell, plain unsigned backplate, the case with pierced fishscale brass grilles and ring carry handles, h.47cm
Lot 75
Full title: Volodymyr Miller (1940): Still life with wine, oil on canvas, dated 1998Description:Work: 80 x 60 cm The Ukrainian artist Volodymyr (Vladimir) Miller (Melnikov) (°24 August 1940, Ivanovo, Russia) studied at the Moscow Architectural Institute and was active in the artistic scene in Moscow in the 1970s. In 1986, he moved to Lviv, where he devoted himself to painting.
Lot 1112
CHINESE LACQUERED TEA CADDY 19TH CENTURY with profuse gilt decoration of figures and architectural scenery, the hinged lid opening to reveal the twin caddy compartments each with their circular lid15cm high, 34cm wide, 24cm deepIn overall fair condition. Some wear and chips to the inside of the lid, as well as some scratches. The figural scene on the lid is also faded. Other chips, flaking and marks throughout the piece. Additional images now available. Unfortunately, the lid doesn't appear to close properly.
Lot 1053
CHINESE BLUE AND WHITE JAR LATE 19TH/EARLY 20TH CENTURY painted with figures on a bridge in an architectural river landscape, with wood cover28cm high overallThe jar is in overall good condition. A few small cracks on the body. Wooden lid has some chips underneath. Wooden stand has some chips and scratches.Additional photos now available.
Lot 1050
PAIR OF CHINESE CARVED MOTHER OF PEARL SHELLS LATE 19TH / EARLY 20TH CENTURY carved with scenes of figures in architectural landscapes, on pierced and shaped hardwood standseach shell 19cm at widest pointOne shell is damaged and repaired, the other shell has a very small nick. Both stands with small losses. Additional images uploaded.
Lot 1173
CHINESE EXPORT LACQUERED TABLE CABINET 19TH CENTURY with profuse and elaborate gilt decoration overall, including dragons to the inset rectangular top above figural and architectural scenes, the two hinged doors opening to reveal staged fitted drawers, each drawer face further painted with figures and architectural features, over one long base drawer, the drawers with turned bone handles52.5cm high, 35cm wide at base
Lot 16
JOSEF ALBERS (1988-1976)Study for Homage to the Square 1965 signed with the artist's monogram and dated 65; titled, dated V 65 and extensively inscribed on the reverse oil on masonite61 by 61 cm.24 by 24 in.Footnotes:This work will be included in the forthcoming catalogue raisonné currently being prepared by The Josef and Anni Albers Foundation, under no. JAAF 1976.1.674.This work is accompanied by a photo-certificate of authenticity issued by The Josef and Anni Albers Foundation, Bethany.ProvenanceThe Estate of Josef Albers, New HavenThe Josef and Anni Albers Foundation, BethanyWaddington Custot Galleries, LondonPrivate Collection, SwitzerlandPrivate Collection, UKSale: Bonhams, London, Post-War & Contemporary Art, 22 October 2020, Lot 26Acquired directly from the above by the present ownerExhibitedBologna, Museo Morandi, Josef Albers Omaggio al quadrato. Una retrospettiva, 2005, p. 123, no. 62, illustrated in colourLondon, Waddington Galleries, Josef Albers: Works on Paper and Paintings, 2007, p. 69, no. 29, illustrated in colourAn arresting work by of one of the forefathers of geometric abstraction and colour theory, Josef Albers' luscious Study for Homage to the Square from 1965 is constructed in his signature tri-partite composition with a florid green over two warm greys, creating a pulsating window of colour that beautifully illustrates the visual and phenomenological systems Albers experimented with throughout his career. With comparable green paintings from the 1960s in the Tate Collection, London, the Museum of Modern Art and the Metropolitan Museum, New York, Study for Homage to the Square is a museum-quality work of art and a truly immaculate example of the artist's superlative aesthetic sense and globally celebrated oeuvre.Few artists have produced a body of work as ground-breaking as Joseph Albers, who ranks amongst Kasimir Malevich and Piet Mondrian as an artist who paved the way for post-modern Geometric Abstraction. Within a body of prints, drawings, poetry, tapestries, architectural commissions, critical writing and painting, truly exceptional examples of Albers' Homage to the Square, such as the present work, are instantly recognisable and highly sought-after. Hand-painted in rich oils over masonite, their colours exude a warmth and spatiality that is teeming and concrete. Not only is his influence on the timeline of modern art largely unparalleled, but Albers' legacy endured in the artists he taught, shared ideas with, and guided through the early years of their career, influencing the emergence of Colour Field Painting, Geometric Abstraction and Op Art. One of the worlds most lauded art teachers, his students include Cy Twombly and Robert Rauschenberg, the formidable Eva Hesse, Sheila Hicks and Richard Serra. In short, Albers' role as a mentor and his significance as an artist can be traced through the pantheon of American artists and global artistic movements.Before his departure from Nazi Germany, Josef Albers worked as a professor at the Bauhaus between 1923 and 1933, and later moving to Black Mountain College where he and his wife Anni led the arts programme. A central figure of this revolutionary school that was at the centre of burgeoning European Modernism in art, architecture and design, Albers set about examining the compositional and formal effects of colour and shape, fascinated as he was by the versatility and fragility of perception. In Albers own words, 'every perception of color is an illusion [...] We do not see colors as they really are. In our perception they alter one another. [...] This play of colors, this change in identity, is the object of my concern. It leads me to change my color tool, my palette, from one picture to the next' (the artist in: Eugen Gomringer, Josef Albers, New York 1967, p. 104).It was at the midpoint of the twentieth century, shortly after joining the Yale faculty in 1950 at the age of 62, that Albers began his definitive Homage to the Square series, a body of work he would continue to work on until his death in 1976. What may initially be read as a narrow compositional framework, the Homage series allowed Albers to explore the finite, expressive potentials of colour and their intrinsic relationships. Entirely based on a mathematically determined format of several squares, each element appears to overlap and nestle within one another, both as an autonomous shape and integral part of a complete system.The geometric abstraction that Albers had conceived of was a scientific and aesthetic method of exploring the subjective experience of colour. Albers' deliberate use of adjacent complimentary and combative colours and their effects on one another, combined with the flat planes of his compositions that appear to be staggered in a field of vision in the interior of the work, engaged an entirely novel visual style; one chiefly concerned with the experience of looking. In 1965, the artist wrote: 'they all are of different palettes, and, therefore, so to speak, of different climates. Choice of the colours used, as well as their order, is aimed at an interaction - influencing and changing each other forth and back. Thus, character and feeling alter from painting to painting without any additional 'hand writing' or, so-called, texture. Though the underlying symmetrical and quasi-concentric order of squares remains the same in all paintings – in proportion and placement – these same squares group or single themselves, connect and separate in many different ways' (the artist in: Josef Albers, Study for Homage to the Square, 1964, December 2012, Tate, online).In the present work, the qualities that made Albers such a stalwart of the modern period are evident in abundance. His exceptional aesthetic sense plays out between the simplicity of his composition and colours, and in turn produces a work of outstanding, complex beauty.For further information on this lot please visit Bonhams.com
Lot 236
After Louis-François Cassas (1756-1827), an early 19th century architectural engraving, engraved by M. A. Benoist, from Cassas' 'Voyage Pittoresque de la Syrie de la Phoenicie de la Palestine et de la Basse Egypte', c.1800, 54.5x35.5cmProvenance: from the estate of Professor James Griffin, formerly White's Professor of Moral Philosophy at Oxford University and an Emeritus Fellow of Corpus Christi college, Oxford
Lot 237
Jean-Charles Delafosse (1734-1789) engraved by Jacques Chéreau (1688-1776), a set of seven architectural studies of the classical orders, each approx. 51x30cmProvenance: from the estate of Professor James Griffin, formerly White's Professor of Moral Philosophy at Oxford University and an Emeritus Fellow of Corpus Christi college, Oxford
Lot 2421
A pair of late 19th century Italian micromosaic buttons, both finely detailed with architectural scenes, diameter 2cm, together with a painted porcelain panel depicting the Madonna and Child, after Raphael, a carved lava cameo, a pair of turned bone Stanhope lens binoculars and a malachite pendant. Provenance: the property of Donald Church.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 39
Cornelis Springer (1817-1891), Ville fantaisiste, 1849-1869, huile sur toile, signée et datée, 65,5x55,5 cmProvenance: Gisèle Waterschoot van der Gracht (1912-2013), Amsterdam, c. 1948 Collection Geert van Mesdag (1929-2021), puis restée dans la famille jusqu'à ce jour Bibliographie: W. Laanstra, H.C. de Bruijm, Dr J.H.A. Ringeling, Cornelis Springer (1817-1891), Utrecht, 1984, p. 69, no. 49-6, ill. Etiquette au verso avec cachets de cire: Ondergetekende verklaart dat deze schilderij door hem is vervaardigd in het jaar 1849 en grotendeels overschilderd in het jaar 1869, Amsterdam, C. Springer Traduction: Le soussigné déclare que cette peinture a été faite par lui en l'an 1849 et retravaillée en l'an 1869, Amsterdam, C. Springer Cornelis Springer est considéré aujourd'hui comme l'un des peintres architecturaux néerlandais les plus importants et les plus influents du XIXe siècle. Issu d'une famille d'architectes d'Amsterdam, son père lui enseigne très tôt les principes de la perspective et du dessin pratiqué dans sa profession, compétences qui seront déterminantes dans le développement ultérieur de l'artiste qui se consacre aux paysages urbains. Après une formation artistique sous la tutelle du célèbre peintre architectural Kasparus Karsen, Springer s'oriente autour de 1850 vers des vues réalistes très détaillées, plus particulièrement d'Amsterdam, sa ville natale, mais aussi Haarlem, Enkhuizen, Zwolle, Kampen et Monnickendam. Ces peintures sont reconnues par les historiens comme un témoignage précieux d'une époque révolue.Le présent tableau peint en 1849 est une 'uvre s'inscrivant à l'apogée de la carrière de l'artiste, et clôture sa première période consacrée aux vues idéalisées de ville pour s'orienter vers des représentations photographiques réalistes. Voyageant beaucoup en Hollande, en Allemagne et en Belgique, Springer produit de nombreux croquis très détaillés servant de base à ses compositions. A cette époque l'artiste est déjà tellement renommé qu'il ne travaille plus que sur commande pour des collectionneurs et des marchands privés: une liste d'attente de deux ans pour obtenir une de ses 'uvres témoigne de sa grande popularité.Springer entraîne le spectateur dans une rue ensoleillée, où des citadins sont engagés dans leurs activités quotidiennes, certains baignés de lumière et d'autres adoucis dans l'ombre. Les bâtiments tout comme les personnages sont réalisés avec une grande virtuosité et sont d'une précision millimétrique. La lumière sublime la perfection architecturale et sa douceur nous transporte dans une atmosphère chaude et lumineuse.Cette 'uvre est inédite sur le marché et se trouve conservée à l'abri des regards du public depuis plus de 70 ans, ce qui en fait une 'uvre d'autant plus rare et exceptionnelle.
Loading...-
35023 item(s)/page