We found 305988 price guide item(s) matching your search
There are 305988 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
305988 item(s)/page
Lot 67
Harry Kernoff RHA (1900-1974)Gantries on a Sunday, Belfast 1936Oil on board, 61.7 x 94cm (24 x 37")Inscribed with the title verso in the artist's handExhibited: Thought to be 'Gantries from Victoria Park, Belfast' RHA 1936 Cat. No. 78 Priced £50.0.0'Harry Kernoff Exhibition' Godolphin Gallery, March 1974 Cat No. 2 under title 'Gantries On a Sunday, Belfast 1936' where thought to have been purchased and thence by descent to the current owner.Louis MacNeice’s 1937 poem Carrickfergus opens with the line ‘I was born in Belfast between the mountain and the gantries / To the hooting of lost sirens and the clang of trams’, capturing the sound and landscape of the city and its industry. Similarly, in this painting, Harry Kernoff finds a moment of leisure in Victoria Park under the looming cranes of the Harland and Woolfe shipyard, framed by the mauve Belfast Hills. To the left of the painting, the distinctive Arrol Gantry is visible, built in 1908 and a crucial component in the ability of the company to build large liners like the RMS Titanic and RMS Olympic. Against this imposing backdrop, the game of two boys – setting their small toy boat to sail across the lake – adds a charming touch to the scene. Born in London in January 1900, Harry Kernoff moved to Dublin with his family in 1914. While working as an apprentice cabinet maker with his father, the young artist attended classes at the Kevin Street Technical Schools, before moving to the Dublin Metropolitan School of Art. In 1923, Kernoff was awarded the Taylor Scholarship and his first solo exhibition was held in the rooms of the Society of Dublin Painters in 1927. Over the following decades, Kernoff dedicated his painting practice to the representation of daily life in Ireland’s towns and cities, chiefly in Dublin, but extending to Killarney, London, Paris, and Belfast. He was elected to the Royal Hibernian Academy in 1935 and was a regular exhibitor there throughout his career. In 1936, Kernoff included Gantries from Victoria Park, Belfast among his submissions to the RHA Annual Exhibition: a catalogue price of £50 suggests that the work was a well-sized oil, perhaps the present work. There is a detailed preparatory sketch for this painting in the National Gallery of Ireland (NGI. 7766.357). Part of the extensive collection donated by the artist’s sister, Lena Kernoff, after his death, the sketch is robust and meticulous in its depiction and annotation of the scene. Kernoff noted that he observed the ‘Gantry’s [sic] from Victoria Park, Belfast’ on the 11 July 1935. For the most part, the sketch aligns with the present oil, showing the latticed ironwork of the gantries, contrasting with the curve of the bridge and flowing water. A sauntering bird, however, has been replaced with a striding worker – a Belfast cousin of the artist’s characteristic Dublin dockers. Four sketches in this collection relate to this visit to Belfast, with the artist also capturing views of the Bellevue Steps at Belfast Zoo and two views from the top of Cave Hill. Paintings related to these sketches were exhibited at the Waddington Galleries in 1936, and at further Dublin exhibition in 1937. For artists interested in the urban landscape, Belfast’s harbour and shipping industry had long provided visual inspiration: ranging from early nineteenth-century vedute to William Conor’s evocative street scenes and depictions of the city’s workers. This painting, filled with the colour and character of Kernoff’s best urban paintings, is an important component of the artist’s oeuvre and a notable representation of the northern city. Kathryn Milligan April 2023
Lot 201
A pair of Royal Albert Old Country Roses photograph frames; milk jug, sugar basin and cake knife conforming; Wedgewood Wild Strawberry pattern two handled bowl; Ainsley Cottage Garden pattern box and cover, vases, etc; Noritake cabinet cup and saucer; Beswick terrier; Royal Albert tea service for six; Foley China tea service for six comprising cups, saucers, sides plates, milk jug and sugar basin; etc (qty)
Lot 162
A QUANTITY OF MAINLY BOXED MODERN DIECAST VEHICLES, Lledo Days Gone including early issues, ProMotors, View Vans, Collectors Club models, Royal Commemorative, Promotional issues including Walkers Crisps, Collectibles, Trackside etc., Oxford Diecast, Corgi Motoring Memories, Corgi Cameo & Vintage Collection, Matchbox Models of Yesteryear, Maisto & Shell Sportscars etc., some still contained in original shipping boxes, small quantity of unboxed Lledo and Corgi Cameo models including some contained in a small wooden wall mounted cabinet, also includes a Portfolio Editions reproduction of issue No.1 of the Beano (5 boxes and cabinet)
Lot 295
A late Victorian mahogany pedestal desk made by Graham & Banks (makers name engraved in the frieze drawer), circa 1895, inverted front shape, leather inlay top, oversailing top above one long frieze drawer flanked by twin short, raised on twin tapering pedestals with three tapering drawers on swept feet. 76cm H x 106cm W x 61cm DNote:Graham and Banks Ltd445 Oxford Street with works at 50 Carnaby Street, London; cabinet makers (fl.1894-1908)The directors were Walter Banks, a former draper’s assistant (born c.1865), and James Graham (born 1861), a nephew of Peter Graham who once worked as an upholsterer’s salesman for Jackson & Graham [1881 Census].Graham & Banks produced a trade catalogue, c.1895, entitled The House Comfortable and The House Beautiful: its furniture and decoration portrayed in pen and camera (copy at the Caroline Simpson Library and Research Collection, Sydney Living Museums). In addition to the manufacture of furniture, according to the Academy Architecture and Architectural Review (1902) they also produced chimney pieces, panelling and fitments. Graham & Banks made a mahogany secretaire-bookcase which The Cabinet Maker (January, 1899) remarked had 'rich tones of the mahogany relieved by inlay of the broad decorative character that has been cultivated of late by one or two of our leading manufacturers’ (illus. Agius (1978), p. 90).Sources: Agius, British Furniture 1880-1915 (1978); Martin Graham.
Loading...-
305988 item(s)/page