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Louis-Robert Carrier-Belleuse (French, 1848-1913) Melodie patinated bronze and ivory depicting a maiden with a mandolin signed 'Louis Carrier Belleuse' and with plaque 'Melodie par Louis Carrier Belleuse - Recombense au Salon' and with 'Syndicat des Fabricants de Bronzes UNIS France' foundry mark 51.3cm high.
Thomas Woolner (British, 1825-1892) William E. Gladstone inscribed 'T. Woolner SC., 1882' and 'W. E. GLADSTONE' bronze 33cm high. According to contemporary correspondence only two castings were taken, one of which remained in the artist's studio after his death and which was exhibited by his widow in 1897. In 1927 one of these two busts, identical in every aspect except size (9" high) was presented to the National Portrait Gallery London by Alfred Jones. Philip Mould Historical Portraits apparently had the other version (34.4cm high) and this could be a period recasting of this model. Provenance: with Jeremy Cooper.
Michael Ayrton (British, 1921-1975) Point of Departure, 1970 4/9, signed and numbered bronze on revolving wooden base overall 41cm high, 21.5cm across. Literature: Peter Cannon-Brookes, Michael Ayrton, Birmingham Museums and Art Gallery, 1978, p.136. In the summer of 1970 Michael Ayrton finished the bronze Point of Departure, where he assembled the protagonists of his mythological drama for the final time. On one side the Minotaur starts up in alarm, below the figure of Icarus, one of whose wings half covers the sun. On the other side the artist placed his own naked figure, harassed but determined as he strides out of the composition. In the flanking wall beside him is a pierced circle holding the double bladed labrys, the symbol of the maze. (Justine Hopkins, Michael Ayrton - A Biography, published by Andre Deutsch)
A Japanese bronze vase mounted as a lamp, Meiji Period, 19th century, of elongated baluster form raised on three stylised wave form legs on a decorative base, the body decorated with opposing cartouches decorated with scenes of fish, cray fish and other sea creatures to one side, and an octopus entangled with a large jar with shells and birds swooping overhead to the other, with applied twin wave form handles and decorative borders, signed to the base, 58cm high
A Japanese bronze Shakudo vase, Meiji period, last quarter 19th century, of oviform with broad shoulders and slightly flared lip, decorated with a long-tailed cockerel beside a hen, both perched on the branch of a blossoming cherry tree, a three character markers mark ??? inscribed vertically to the back, with hardwood stand, 30.8cm high
A Japanese bronze marine life platter, mid-late Meiji period, of circular form with a central arrangement of a crayfish with two further fish surrounded by shells and water plants, the rim decorated with floral mons, the reverse decorated with a key fret motif, with scattered floral mons in relief, two of the original five squat cabriole legs remaining (with a third leg that has become detached), the base signed with a three character markers mark, possibly Miyao, 37cm diameter (at fault)
A pair of Japanese bronze candlesticks, Meiji Period, late 19th/ early 20th century, each of Kappa form, the mischievous water imps modelled running whilst looking upward, clasping a single open flower in a raised hand, on a broad-oval form four legged pedestal base, approximately 31cm high (2)
A very large Chinese bronze statue of two cranes and a turtle on a carved hardwood base, circa 1900, modelled with both cranes perched on the back of a turtle, the larger crane with wings outstretched holding the stem of a water lily in its beak, in which candles can be placed, the smaller crane with its head tucked to one side, holding a similar stem, with incised detail throughout (cast in five parts and assembled) 127cm high
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