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Postcards, Kirchner, a selection of 9 Art Nouveau (2nd period 1900 - 1907) glamour cards illustrated by Raphael Kirchner from the 'Geisha' series, Dell 'Aquila D8/1-2, 1-4, 1-5 and 1-8 (all orange background), and D8/1-2, 1-5, 1-6, 1-7 and 1-9 (green background) (all with wtf, mixed condition)
Postcards, Kirchner, a selection of 10 Art Nouveau (2nd period 1900 - 1907) glamour cards illustrated by Raphael Kirchner, from the 'Mikado' series (6) and 'Santoy' series (4). Mikado series inc. Dell 'Aquila nos D14-1, D14-2, D14-3, D14-4 and D14-6 (2). Santoy inc. D18-1, D18-2, D18-3 and D18-6 (all with blemishes and varying amounts of wtf, mixed condition)
Postcards, Kirchner, a selection of 11 Art Nouveau glamour cards and 1 other, illustrated by Raphael Kirchner (11), all from different series inc. Dell 'Aquila nos B7-3, D3-6, D7-1, D24-1, D31/1-4, E1/1-2, E23-5, G8/1-10, K1/1-1, K1/2-5 and L2-3. Also Kirchneresque 'Fleurs D'Hiver' 2 ladies skating (all cards with writing or blemishes to front ) (12)
Postcards, Glamour, a mixed, mostly glamour selection of 12 cards, Artists include Kosa, Mosa, Mucha (salon type religions), Brunelleschi (Art Nouveau v poor), Art Nouveau head and shoulders, Deco Brunelleschi ladies with Afghan (stamp to front and crease), Eva Daniell (3) (wtf or post marks) etc (poor to gd)
Postcards, Advertising, selection of 12 cards , inc. Asti Cinzano art deco, Chicoree Arlatte art nouveau by Tucks, Mazda Lamp, Singer Wright in Flight, Berry Boot Polish tramp, Eastmans Butchers, Pickford Removals, HP Sauce with monk on donkey, Pelaw Metal Polish etc (gd) (12)
Postcards, Greetings, a fine collection of approx. 130 Easter greetings cards. Artists include Wichera, Marsh, Scrilli, themes include good embossed chromos, transport, chickens and chicks, lots of various eggs, hares and rabbits, children, anthropomorphic, Tuck, animals, cats, Art Deco, silhouette, cherubs, boats, angel etc (mainly gd)
Postcards, selection, approx. 40 cards inc. Barnum & Bailey Circus chromo Advert, Circus Entertainers, Military, Patriotic, Boer War Bloemfontein 1900, Red Cross by Harry Payne, Russo-Jap War, Japan Imperial Government Railway, art nouveau (2), Political Comedy & Caricatures (10), Women at War (2), Votes for Women etc. (gd) (approx. 40)
Male head. Roman. 1st-3rd century AD.Marble.Provenance: private collection, François Antonovich, Paris. Sold by judicial auction in 2022.Measurements: 12 cm. high; 20 cm. high with pedestal.Head of a Roman ephebe, from a complete free-standing sculpture. The beautiful face, with symmetrical features, conveys calmness. The slightly parted lips are delicately outlined, harmonising with the almond-shaped profile of the eyes. The wavy strands of hair have been worked one by one. The detail in their execution, especially reflected in the individualised hair and the expressive firmness of the face, demonstrate the skilful skill of an artist fully trained in sculptural instruction. The Romans brought two important innovations to the world of sculpture: portraiture and historical relief, neither of which existed in the Greek world. However, they followed Greek models for much of their sculptural production, a basis which in Rome was combined with the Etruscan tradition. After the first contacts with Classical Greece via the Magna Graecia colonies, the Romans conquered Syracuse in 212 BC, a rich and important Greek colony in Sicily, which was adorned with a large number of Hellenistic works. The city was sacked and its art treasures taken to Rome, where the new style of these works soon replaced the Etruscan-Roman tradition that had prevailed until then. Cato himself denounced the looting and decoration of Rome with Hellenistic works, which he considered a dangerous influence on native culture, and deplored the Romans' applause of statues from Corinth and Athens, while ridiculing the decorative terracotta tradition of ancient Roman temples. However, these oppositional reactions were in vain; Greek art had subdued Etruscan-Roman art in general, to the extent that Greek statues were among the most coveted prizes of war, being displayed during the triumphal procession of the conquering generals.
Greek Guttus, 3rd century BC.Black-glazed pottery.In good condition.Attached report issued by Ricardo Batista Noguera, former director of the Archaeological Museum of Barcelona, of the Archaeological Museum of Olérdola (Barcelona), of the Archaeological Museum of Catalonia and municipal archaeologist of Tossa de Mar.Enclosed is a certificate issued by Antigüedades Pijoan, Art Canigó.Measurements: 13 x 8 cm.Guttus in moulded ceramic with relief decoration and black varnish made in Magna Grecia. It has relief decoration on the upper part of the globular body or container and a long spout in a channel with a rim. The entire surface is varnished in black except for one rim where it is enhanced. The guttus is a type of Greek pottery characterised by its narrow spout, and was used for pouring oil during meals. The black-glaze technique uses the same glaze as that used on red-and-black-figure ware, but covering the entire piece, without figurative decoration. It was a transparent glaze when raw, which took on its characteristic intense, glossy black tone after firing.
Figure of the goddess Bastet. Ancient Egypt, Late Antiquity, 664-323 BC.Bronze sculpture on a wooden base.Provenance: Former private collection, Toronto, USA.In good condition, unrestored.Measurements: 16 cm (height); 16.5 cm (height with the spike).Splendid round votive sculpture made in bronze, representing the goddess Bastet in her feline form. The animal is shown seated, leaning on its hindquarters, with its forelegs erect, its head raised towards the front, its ears pointed upwards and its tail encircling its right thigh towards the front. It is in an expectant position, at the same time watching what is going on around it. This is her classic representation in Egyptian art. Bastet or Bast was the goddess protector of the home and symbol of joie de vivre, considered the deity of harmony and happiness. Equivalent to the Greek Artemis, she was depicted as a domestic cat or as a cat-headed woman, carrying a sistrum to indicate her love of music. She was considered the personification of the warm rays of the sun, as well as the embodiment of the peaceful aspects of goddesses such as Sekhmet, who represented the evil qualities of the sun. As the eye of Atum (creator and sun god), she was associated with the moon and protected births and pregnant women. From the time of the Ancient Empire, she was considered the mother of the pharaoh, whom she helped and protected in order to reach heaven. Her cult had one of its most important centres in the city of Bubastis, where hundreds of mummified cats in her honour are found.
Pair of "fat ladies"; China, Tang Dynasty, AD 618-907.Polychrome terracotta.Attached is a certificate of thermoluminescence of the group.They show slight damage caused by the passage of time.Measurements: 22 x 6 x 5 x 5 cm; 20 x 8 x 5,5 cm.Pair of terracotta figures, decorated with cold-applied engobes, probably belonging to a funerary trousseau from the Tang period. It shows two ladies, clearly from the court and of high class as can be seen from their features, hairstyle and magnificent clothing. This type of figurine, known as 'fat ladies' due to the canon of beauty of the time, which was somewhat different from today's, depicted courtesans in full dress, highlighting their costumes and elements with the polychrome used, in some cases maintaining a slight curvature on the body that adds elegance.The Tang dynasty is considered by historians to be a period of splendour in Chinese civilisation, equal or even superior to the Han period. Emerging from a period of despotism under the cruel Yang Di, it was established by Li Shimin who, out of filial piety, put his father on the throne before assuming the role of emperor himself and founding the Tang dynasty. Stimulated by contact with India and the Middle East via the Silk Road, the Tang empire experienced a creative boom in many fields. Buddhism, which had emerged in India at the time of Confucius, continued to flourish during this period and was adopted by the imperial family, becoming an essential part of traditional Chinese culture. The development of the printing press also extended the dissemination of written works, giving rise to the golden age of Chinese art and literature.
A George V silver mounted yellow guilloche enamel powder case, mirror interior, on suspension ring, gilt interior, hallmarked by Elkington & Co., Birmingham, 1924, gross weight 51.03 grams together with an Art Deco style silver and enamel cased mirror, the cover with sky blue radial stripes within a mint green guilloche enamel border, gilt interior, mirrors to both sides, the silver hallmarked by Padgett & Braham Ltd, London, 1949, gross weight 169.92 grams (2) - both appear to be in good condition
BEN NICHOLSON, OM (British, 1894 ? 1982), rare pochoir in eleven colours on wove paper, after the 1945 painting, executed in 1953 by the studios Renson in Paris in an edition of 1500, editions 'Art D'Aujourdhui', 22cm x 22cm, framed. (Subject to ARR - see Buyers Conditions)
THREE BRONZE FIGURESMing DynastyComprising: a bronze figure of a seated scholar; a bronze figure of Guanyin seated on a lotus pedestal; and a bronze figure of a seated official. The official: 34.3cm (13 1/2in) high (3).Footnotes:Provenance: Dr Walter Rieder (1890-1986)來源:Walter Rieder博士(1890-1986)舊藏Dr Walter Rieder (1890-1986) served in the Swiss East Asia Mission (SOAM) in Qingdao, Shandong Province, between October 1930 and December 1951. The mission specialised in educational, literary and philanthropic work and Dr Rieder was in fact, not a theologian or missionary, but a teacher of mathematics, physics and science to high school students attached to the SOAM. His guiding principles were 'Creating understanding between different cultures' and 'Building bridges between East and West'. While in Qingdao, Dr Rieder collected a wide variety of Chinese art. The objects in the collection thus offer a unique window into the type of antiques that were on the market in Qingdao in the second quarter of the 20th century. As well as demonstrating his passion for Chinese art, his collection also reveals the personal friendships Dr Rieder forged with local artists, some of whom he knew from his teaching activities. Dr Rieder had a scholarly approach to studying his collection. Alongside many of his objects, meticulous notes can sometimes be found detailing his art historical commentaries. The collection was hence Dr Rieder's gateway to the history and culture of China. Objects from the collection were exhibited at the Kunsthaus in Interlaken, Switzerland in 2006 and 2018.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

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641361 item(s)/page