We found 109378 price guide item(s) matching your search
There are 109378 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
109378 item(s)/page
Lot 643
A 20th century hardwood head and shoulders sculpture of Mahatma Ghandi, signed to base Dew Pasar.. Bali. Nadepanti. W. 26 cm high. (see illustration). CONDITION REPORT: The bust is in extremely good condition. It is very well carved. There are no splits, cracks or stress fractures to the timber and there are no significant scratches or marks. There are no significant nibbles or losses to the bottom edge. The condition is really extremely good.
Lot 81
A George III silver commemorative rose bowl, London hallmark, dated 1784, mm Thomas Chawner. The bowl of circular form, the rim with gadrooned and bright-cut decoration, the body inset with two commemorative medallions the first commemorating the Landing of William III at Torbary in 1688 as designed by George Bower, obverse bust of William III right facing with the date on truncation, the reverse depicting the figure of the prince mounted at the head of his army, with his fleet anchored in the distance Terras Astraea Reuisit. The second medallion commemorating The Battle of Saragossa AE medal 1710 by John Croker, obverse bust of Anna Augusta left facing, the reverse depicting Victory placing captured standards at the feet of Anna Augusta. The interior of the bowl is gilded and raised on a circular foot, further supported on a stepped plinth, 23.5 cms diameter x 21 h cms, approx 1900 gms.
Lot 2633
A small 18th century Continental tin glazed blue and white floor tile, detailed with a stylized portrait, 7.5cm x 7cm, together with another 18th century polychrome decorated floor tile and an oval glazed earthenware roundel, detailed with a moulded portrait bust (some faults).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 2493
A group of 20th century Grand Tour artefacts, including Roman style brooches, a bronze model of an owl, height 4cm, a model of a gladiator and a bronze bust. Note: from the estate of a West Sussex collector.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 2470
An Egyptian bronze head and shoulders bust of Osiris, height 6.5cm, mounted within a detailed perspex case.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 2335
A Roman gold ring, the bezel inset with a white overlaid blue glass cameo depicting a female bust, width 1.7cm. Note: from the estate of a West Sussex collector.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 2615
A modern Art Nouveau style bronzed composite bust of a young maiden, in the manner of Villanis, height 33cm.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 2495
A large collection of 17th/18th century silver cufflinks and buttons, detailed with various designs, including roses, marriage hands of Charles 1st and Henrietta Maria, a galleon and a quarter-length bust of a Carolean monarch (some broken and as found).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 2339
A Roman green patinated bronze head and shoulders bust of Hercules, height 6cm. Note: from the estate of a West Sussex collector.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 2390
A Roman green patinated bronze head and shoulders bust of a lady, length 6cm, together with a votive model of a jug, height 3.5cm.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 36
HENRI GAUDIER-BRZESKA (FRENCH 1891-1915) THE MADONNA OF 'THE MIRACLE' WITH SELF-PORTRAIToil on canvas55 x 43cm; 21 3/4 x 17in74 X 61cm; 29 x 24in (framed)Property from a Deceased EstateProvenance:Mr & Mrs Thomas Leman Hare (commissioned from the artist. Thomas Leman Hare was a publisher and collector and in the 1920s became editor of Apollo magazine)Mrs Genevieve Shillingford (god-daughter of Mrs Leman Hare)Miss Joia Shillingford (daughter of the above)Sale, Sotheby's London, 11th November 1981, lot 242 (sold by the above)A. Leslie (probably purchased at the above sale)Alton Gallery, BarnesPurchased by the late owner from the above prior to 1990Painted in 1912, this is a unique example in Gaudier-Brzeska’s oeuvre both in being painted on canvas rather than paper, and in the silhouette self-portrait holding a brush. The statuette in the foreground of the composition is a plaster Gaudier had recently completed of Madame Carmi in the leading role of the Madonna in The Miracle performed at the London Olympia. The plaster is now in the collection of Kettle's Yard, Cambridge (fig. 1). The present painting was almost certainly executed in the Thameside home of his patrons, Mr and Mrs Leman Hare, on Chiswick Mall. Thomas Leman Hare (1872-1935) was a painter, collector and writer on art, who subsequently became editor of Apollo magazine. Friends of the Leman Hares included fellow art writer Haldane Macfall, painter and illustrator Claud Lovat Fraser and the aspiring young writer Enid Bagnold, who later achieved fame as the author of National Velvet. Gaudier-Brzeska had arrived from his native France with his companion Sophie Brzeska early in 1911 and had entered the orbit of this group in January 1912 after writing to Haldane Macfall in response to an article he had published in the English Review. Gaudier modelled portraits of several of them and contacts with more advanced artists and writers followed notably with the sculptor Jacob Epstein, some of the Camden Town painters and with Roger Fry’s Omega Workshop. In 1914 he was elected to the London Group and emerged as one of the leaders of the short-lived, radical Vorticist Group before his tragically premature death in France aged only 23. Performed from 21 December 1911 to 10 February 1912, The Miracle, produced by the German impressario Max Reinhardt was an extravaganza - part medieval miracle play, part wordless musical pageant involving around 1,700 performers including orchestra and chorus, horses, actors and a set evoking the interior of a medieval church which is probably that sketched on the verso of Gaudier’s canvas (fig. 2). It was a hit which subsequently toured in Europe and the US, was revived in the 1920s and filmed in three versions. It also launched the career of Maria Carmi who incarnated the central figure, a sculpture of the Madonna and the redemptive figure of the nun at the core of the plot.The statuette of Maria Carmi (1880-1957) was one of Gaudier’s earliest commissions. He was paid £5. The commission and the process of its making were described both by Sophie Brzeska in the ‘Journal’ of her life with Gaudier (Cambridge University Library) and by Gaudier himself in a letter, dated 12 February 1912, to Haldane Macfall (National Art Library).In Sophie Brzeska’s account Mrs Leman Hare arrived at their Chelsea lodgings, just as they were packing up to move, to offer Gaudier the commission and to insist that he and Sophie Brzeska accompany the Hares to the final performance who had already seen it eight times; ‘There is a large number of people who admire Maria Carmi as much as we do. So my husband had the idea to ask Lord Northcliffe and a few other gentlemen whether they might not like to contribute to having a bust made of this divine Madonna. Lord Northcliffe was enchanted by the idea. . . We are going to have a copy cast in bronze to offer to Madame Carmi and then fifty or so in plaster which will sell easily.’Two days later Gaudier gave a down-to-earth account in a letter to Macfall, describing the sculpture as a statuette rather than a bust. ‘Off we went as tired as could be, made about sixty sketches of the subject, came back home…at 1 o’clock yesterday, and spent the whole morning putting up the clay for the thing.’ He added ‘Mr Hare gave me a very good idea. He suggested that I should indicate on the plaster cast the different colours gold, red and blue and this I will do.’On 26 February Gaudier was able to report to Macfall that the mould was finished and he expected to be able to cast the piece that evening. A second plain white cast was made, later probably destroyed, but the projected edition never came to fruition.The archive image of the statuette (fig. 1) shows short brush strokes of colour applied in an Impressionist technique although all the colour has now deteriorated to dark brown in this sculpture (Kettle’s Yard, Cambridge). A pastel of The Madonna alone (Private Collection) is more densely pigmented in red, blue, green and ochre (H Brodzky, Gaudier-Brzeska Drawings, 1946, colour frontispiece). One may surmise that Gaudier included the mirrored image of himself as a painter rather than sculptor in his canvas in acknowledgement of Leman Hare’s colour suggestion.We are grateful to Dr Evelyn Silber for her assistance in preparing this catalogue entry. fig. 1, Archival photograph of Gaudier-Brzeska, Mme Carmi as the Madonna in 'The Miracle', plaster, 1912 (courtesy of Kettle's Yard, University of Cambridge)fig. 2, The reverse of the present lot, almost certainly showing the stage set of The Miracle performed at Olympia Exhibition Halls 1911-12
Lot 61
FRENCH SCHOOL (18TH CENTURY)A PAIR OF PORTRAITS OF A LADY AND GENTLEMAN, BUST-LENGTHOil on canvas, ovalPortrait of the gentleman signed and dated 'Sotoini 1774' (centre right)62 x 50cm (24¼ x 19½ in.) (2)Condition Report: Both canvases have been relined and the paint layers appear stable. Some surface cracking throughout and the stretcher marks are slightly visible. Lady: UV reveals scattered retouching of the cracking and stretcher marks including in the sitter's face and neck, as well as a restoration in the background upper left. Gentleman: the painting is signed and dated 'Sotoini 1774' centre right. UV reveals some scattered retouching including very small areas in his face. Condition Report Disclaimer
Lot 67
JOSEPH WRIGHT OF DERBY (BRITISH 1734-1797)PORTRAIT OF FRANCIS FOX (1724-1789), BUST-LENGTH, IN A BROWN COAT; AND PORTRAIT OF DOROTHY FOX (1733-1793), IN A BLACK AND WHITE DRESS AND HATOil on canvas75 x 62cm (29½ x 24¼ in.) (2)Provenance:By descent through the sitters' family Exhibited:Derby, Corn Exchange, A Catalogue of the Art and Industrial Exhibition..., 1866 (nos. 206, 209), lent by Rev. S. Fox Literature:Benedict Nicolson, Joseph Wright of Derby : Painter of Light, London, Paul Mellon Foundation for British Art, 1968, nos. 62 and 63In his 1968 Catalogue Raisonné Benedict Nicholson suggests that it is more likely that the sitters represent Mr. and Mrs. William, however this was presumably based principally on the location of the Fox portraits entry in the account book, where it appears directly above entries for various views in the Lake District of the mid-1790s. However, Wright's account book does not follow a strict chronological order and is not a reliable mechanism for dating purposes. In addition, the identities of the sitters are confirmed not only by the old labels attached to the stretchers, but also by their provenance, by direct descent from Francis and Dorothy Fox to the present owner. Both works are to be included in Martin Postle's forthcoming catalogue raisonné.
Loading...-
109378 item(s)/page