We found 116689 price guide item(s) matching your search
There are 116689 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
116689 item(s)/page
Lot 193
Cricket - Robert St Leger Fowler - c.1900s Gunn & Moore Cricket Bat 'The Cannon' Model originally used by Fowler when representing the Army. The vendor's grandfather served in the Lancers with Fowler and obtained the bat during the 1920s. Fowler (1891-1925) was an Irish first-class cricketer, often regarded as the best Irish cricketer not to have represented Ireland. He is perhaps known for his outstanding all round performance as Captain of Eton College in the match against Harrow in 1910, the match commonly referred to as 'Fowler's Match'. The bat appears used with tape to the bottom of the blade and small chips and cracks to the edge, grip and handle appear good
Lot 150
Hoshiko Kusudo. Group of two ceramic sculptures, one depicting a girl with flowers and one depicting a family of owls.Note: Portion of the proceeds from this lot will be donated to the Salvation Army. Girl; Height: 17 in x width: 8 1/2 in x depth: 6 1/2 in. Owls; Height: 14 1/2 in x width: 11 in x depth: 7 in.
Lot 158
Three Onondaga Arts and Crafts copper pieces, marked under the bases.Note: Portion of the proceeds from this lot will be donated to the Salvation Army. Small cup: height: 1 3/4 in x diameter: 2 1/2 in. Bigger one: height: 2 1/4 in x diameter: 3 in. Tray: height: 2 1/2 in x diameter: 5 1/2 in.
Lot 33
Chinese Qing russet-skinned, pebble formed snuff bottle. Well hollowed. A rare example of pebble-formed snuff bottles, this piece is exceptional not only because of the quality of the jade, but also the incredible carving, which leaves behind only a thin layer of jade to form its body.Note: Portion of the proceeds from this lot will be donated to the Salvation Army. Height: 3 1/4 in x width: 2 1/2 in x depth: 1 in.
Lot 35
Carved agate peach form box with original wooden stand. Carved lapis lazuli miniature brush pot with original wooden stand. The brush pot features detailed carvings of figures and pagodas.Note: Portion of the proceeds from this lot will be donated to the Salvation Army. Peach: Height: 4 in x width: 4 1/2 in x depth: 4 in. Brush holder: height: 3 1/2 in x diameter: 2 1/2 in.
Lot 18
Patrick DesJarlait Sr. (1921 - 1972). Modernist color pencil and graphite drawing of a Native American family in profile. Signed along the lower right.Provenance: Private collection, Minnesota.Biography: Patrick DesJarlait was a successful Ojibwe artist devoted to painting scenes of his traditional culture. He grew up on the Red Lake Reservation in Minnesota, and later made his home in the Twin Cities. Throughout his career he painted iconic scenes of Ojibwe life, such as wild rice harvesting, walleye fishing, and dancers in traditional costumes. DesJarlait explained: “I felt compelled to tell the story of my people through my paintings.”DesJarlait grew up in a cozy log cabin in the woods near Red Lake, with his parents and 6 brothers and sisters. Like other Ojibwe families of the 1920s, they didn’t have a lot of money, and lived off the land as much as they could. The climate could be harsh up in northern Minnesota, but each season brought new opportunities. In the spring, many families made a temporary camp and harvested maple syrup. Desjarlait liked to sketch everyone at work, giving him the nickname “little boy with the pencil.” In the fall they harvested wild rice, and throughout the year they fished and hunted. Every summer the Red Lake Ojibwe celebrated with their annual pow-wow, and DesJarlait always looked forward to watching the elders dance in their traditional beaded costumes.In his early years, DesJarlait developed a strong connection to his land and his people, and expressed this through his many drawings. During elementary and middle school, he was sent to various boarding schools for Native American children, as part of the government’s program to indoctrinate them into mainstream culture. Ojibwe language, games and crafts were prohibited for the children. Desjarlait continued to create drawings during his study time when allowed, although his subject matter was somewhat restricted.In High School DesJarlait returned home to Red Lake and attended public school. There were no art classes available, but the drama teacher encouraged him to create elaborate set designs for each of their productions. She also helped him obtain a scholarship to study art at Arizona State College in Phoenix. He never imagined a life beyond the reservation, and this opportunity changed his life. At Arizona State he took Art Appreciation classes, along with drawing, painting, and ceramics. He was impressed with the styles of Native American painters of the Southwest, along with other modern artists like Picasso and Rivera.While he was in Arizona, the U.S. entered World War II. DesJarlait was recruited by the Army to work in a nearby Japanese-American Internment Camp. At the camp he organized art classes for the detainees, some of whom were accomplished artists themselves. Next he moved to San Diego, where he worked for the Navy making instructional videos on topics like assembling torpedos. Some of these films were animated, so he began to learn more commercial artistic practices as well. While in San Diego, an art gallery held the first solo exhibition of his paintings.After the war, Patrick DesJarlait moved back to the Red Lake reservation and married Ramona Needham. Encouraged by his experiences in the Southwest, he spent the next year trying to create his own unique artistic style. He preferred working with watercolor, but added minimal water to his pigments to achieve a bright color palette. Painting was a slow and painstaking process for him, each brushstroke was small and intentional. The brushstrokes were not blended together, but each remained clearly visible in the final piece. “These individual little strokes were to me like the tiny particles that make up our world and everything in it.” His subject matter focused on the traditional way of life of his people. Red Lake Fishermen and Maple Sugar Time, both dated to 1946, were the first paintings in his new signature style.After his year at home on the reservation, DesJarlait and his wife moved to the Twin Cities, where they would raise their 5 children. He found a job in advertising, making print ads and commercials. Several well-known logos were his creations, such as the Land O’Lakes logo with the Native American woman and the Hamm’s Beer bear. He continued to work on his own paintings in the evenings, and eventually was successful enough to make a living with his art. When he passed away in 1972, he was buried with one of his favorite paint brushes to take with him to the spirit world. Today his work is popular with corporate and private collectors around the country and held in many prestigious museums. His paintings are treasured both for their visual beauty and their cultural record of the Ojibwe people.Dimensions: Sight; diameter: 7 3/4 in. Matted; height: 12 in x width: 12 in.Condition: Good condition; for a detailed condition report, please contact us.
Lot 35
William Scott (1913-1989). Gouache on paper titled Still Life, White and Blue on a Green Background. Painting is signed along the lower left and dated '68, and inscribed "Theme Blue and Green no. 1" in pencil along the verso. We would like to thank the William Scott Foundation for confirming the authenticity of this work, Archive Number 2346.Provenance: Private Collection, Minnesota.Biography: William Scott was born in Scotland in 1913. He shortly afterward moved to Northern Ireland with his family, where he began his artistic education with Kathleen Bridle, a local art teacher. He went on to study at the Belfast School of Art, and then later at the Royal Academy in London, where he initially studied sculpture before switching to painting.After his graduation, he and his wife Mary Lucas, who he had met in art school, moved to France to open an art school with Geoffrey Nelson, a fellow painter. This school allowed Scott to pursue his artistic career in France while also focusing on teaching, a lifelong passion of his. During this time, Scott began to achieve artistic success, displaying his paintings--at this point, primarily still lifes--at the Paris Salon d’Automne.At the start of World War II, Scott and Lucas moved back to Britain, where Scott enlisted in the army. In the army, Scott served in the Royal Engineers as a lithographic draftsman, putting his art skills to patriotic use. Following the war, Scott went to teach at the Bath Academy of Art. During this period, his success continued to grow, with multiple solo exhibitions, as did his network of other important artists. He was closely tied to the St. Ives Group of artists and also built friendships with abstract expressionists such as Mark Rothko and Willem de Kooning. It was during this period when Scott first began experimenting with abstraction in his works.As he continued to gain success, he left his position at the Bath Academy of Art and painted full time. He represented the United Kingdom at the Venice Biennale and the São Paulo Biennale, where he won the prestigious Sanbra Purchase Prize. In the 1960s, Scott traveled the world with his art, exhibiting throughout Europe and Asia and doing a yearlong residency in Berlin. He lectured for the British Council in Australia, Mexico and India. His work also received great acclaim within Britain, with a retrospective exhibit at the Tate in 1972, which showed 135 of his works and many other major exhibitions. In addition, he was conferred honorary doctorates from Trinity College Dublin, Queen’s University Belfast, and the Royal College of Art in London, as well as being elected to the Royal Academy.This piece is an important demonstration of the major art themes of Scott’s life, showing his still lifes on their slide into abstraction, containing both abstract and representational elements. The objects, while still recognizable, are flattened, and seem almost to hang off a horizon line rather than sit on a table. Scott’s subtlety in his blending of colors creates vibrance in an otherwise stiff composition, retaining the mood of his earlier still lifes.Dimensions: Height: 22 3/4 in x width: 30 1/2 in.Condition: Good condition; for a detailed condition report, please contact us.
Lot 73
Jack Levine (1915-2010). Pencil and colored pencil on paper titled "Facing East." Drawing is inscribed "At Amelio's, San Francisco" along the lower right. Provenance: Private collection, Minnesota. Note: Portion of proceeds from this lot will be donated to the Salvation Army. Dimensions: Sight; height: 10 3/4 in x width: 14 in. Framed; height: 21 3/4 in x width: 23 1/2 in.Condition: Good condition; for a detailed condition report, please contact us.
Lot 18
A Great War gallantry medal group comprising Military Cross (un-engraved), 1914-15 Star (QM & Lieut J H Hall, Gordon Highlanders], British War and Victory Medals with Mention in Despatches oakleaf [QM & Capt J H Hall], Delhi Durbar medal 1911 and Edward VII Army Long Service and Good Conduct medal [24899 C S Majr J H Hall, RE], with miniatures
Loading...-
116689 item(s)/page