A POLYCHROMED BLACK STONE FIGURE OF A GELUG LAMATibet, circa 16th centuryThe lama carved from heavy stone, wearing a thick meditation cloak over his robes. 12 cm (4 3/4 in) high (2).Footnotes:Provenance: a private South African Collection.Himalayan Art Resources item no.16723.The posture of the present lama is common among Gelug portraits, especially the Fifth Dalai Lama (e.g., HAR 71167). Gelug lamas also don the yellow pandita hat, worn here in an unusual manner generally associated with high translators (lotsawas). Compare a portrait of Chokyi Palsang and another unidentified portrait with a similar face both formerly of the Halpert Collection (Rochell, Faces of Tibet, New York, 2003, nos.41 & 48). Also, see a polychromed stone figure of Milarepa in the Rubin Museum of Art (HAR 700037).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
We found 7207 price guide item(s) matching your search
There are 7207 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
7207 item(s)/page
Ca. 1368-1644 AD. Chinese Ming Dynasty Attendant Figure. An elaborately crafted male attendant figure dressed in a deep blue tunic with vibrant bright blue cuffs, a pleated half-cloak, which is tied about the throat with a light blue ribbon. The attendant also sports a truncated conical hat and a long implement, possibly a bed warmer in his right hand. Attendant figures such as this item were important to a variety of cultures with afterlife beliefs which involved trials, travels, or an afterlife similar to that which was lived on earth. These figures, which are included as funerary offerings reflect the belief that assistance would be helpful in overcoming the difficult environs of the afterlife. Popular choices included warriors, dancers, male and female figures, and animals. Good condition. Size: H:170mm / W:70mm ; 245g, Provenance: Property of a London Gallery, previously with Mr. M.P. Dannish collector; acquired in the 1990s
Nine Original Star Wars Trilogy Plastic Toy Figures, including Jawa (cloth cape, ionization blaster), Luke Skywalker Jedi Knight Outfit (Jedi cloak, blue light saber, General Madine (Rebel Battle Staff) Bib Fortuna (Battle Staff), Lando Calrissian (grey vinyl cape, Bespin Blaster), Wicket W. Warrior (wicket spear), bidder to assure themselves of authenticity of all weapons and accessories.
An Egyptian limestone relief Old Kingdom, 6th Dynasty - First Intermediate Period, circa 2300-1987 B.C.The rectangular panel carved in low relief depicting a man facing to the right and holding a staff in his raised left hand, a sceptre in his lowered right hand, wearing a kilt and a panther-skin cloak, a broad collar, short false beard and rounded wig, offerings before him, text preserved in sunken relief above his head, with remains of red and black pigment overall, 55.9cm x 40.6cmFootnotes:Provenance:Anonymous sale; Sotheby Parke Bernet, New York, 13 December 1979, lot 68. Private collection.The Jacob collection, Switzerland.Lot to be sold without reserve.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
A Roman silver bracelet Probably Eastern Mediterranean, circa 250-300 A.D.With a bitumen core, one shorter side openable by two hinges, and the entirety worked in repoussé, the convex hoop with flattened interior, the exterior divided into six sections, each with three registers, all demarcated by banded borders, the central scenes comprising: a male figure holding a whip (?) in his hand with a dog in front of him, a male rider on horseback, wearing a cloak and carrying a spear, a lion with raised tail, looking back over its shoulder, a recumbent deer with a star in the field, and the latter two scenes repeated on the short, removable section, the upper register with: a wreath in the central panel, running animals in the panels to either side, and the lower register with: running animals in two panels, circular wreaths in two panels, and arrangements of three leaves in a fan motif in two panels, 10.5cm diam.Footnotes:Provenance:Acquired in the Middle East prior to WW1 (according to Lepage).Anonymous sale; Sotheby's, London, 9 July 1973, lot 37.Private collection, London.Published:C. Lepage, 'Un bracelet romain en argent repussé', Objets. Revue semestrielle d'Art et d'Archéologie, ARKE, Geneva, 1970, p. 11-17.Lepage suggests that the male figure on foot, accompanied by the dog, is the servant of the male figure riding on horseback in the box behind him; it is likely that the bracelet depicts a hunting scene.For further information on this lot please visit Bonhams.com
A QUANTITY OF JEWELLERY including a chrysoberyl cat's-eye stud, a Scottish agate and silver cloak brooch, a carved shell cameo brooch depicting a warrior, a ruby and diamond ring, set in 18ct gold, a silver and gold ring mounted with a circular diamond, a diamond and gold cruciform pendant, a diamond foliate pendant, a gold chain, a coral and 9ct gold ring and a cultured pearl and gold ring
A set of Meissen figures emblematic of the Four Seasons, circa 1760Modelled by F.E. Meyer, each standing on a high base moulded with gilt-edged scrollwork, 'Spring' as a classical nymph standing by an urn filled with flowers holding a posy, her puce-lined cloak painted with indianische Blumen; 'Summer' similarly clad, standing by an urn filled with leaves and holding a wheat sheaf, the base applied with vegetables, leaves and flowers; 'Autumn' as a young man holding grapes and a goblet, wearing a yellow-lined floral cloak with a rabbit hung from his waist, the base and urn applied with fruiting vines; 'Winter' as a bearded man wearing a fur-lined puce cloak warming his hands over a fire, 22.8cm high, crossed swords marks in underglaze-blue (some losses and chips) (4)Footnotes:Provenance: Private European CollectionAnother full set was sold in these rooms, 26 November 2014, lot 232. A similar figure of 'Winter' in the Landesgewerbemuseum, Stuttgart, is illustrated by R. Rückert, Meissener Porzellan 1710-1810 (1966), no. 991For further information on this lot please visit Bonhams.com
A Meissen group of Jupiter in his chariot, 19th centuryModelled by J.J. Kaendler, the crowned god draped in a purple cloak, leaning on his chariot raising a thunderbolt, his chariot pulled by two eagles, flanked by a putto holding the astrological symbol for Jupiter, all raised on a bed of clouds mounted on an ornamental neo-classical base, made in two parts, held together with original bolts, 54cm wide, crossed swords mark in underglaze-blue and incised model number No. 29 to both parts (minimal chips, one wing broken off)Footnotes:Provenance: Private European CollectionThis group was first modeled in part by Kaendler and in part by Acier, as part of an elaborate gift for Czarina Catherine II, the so-called 'Great Russian Order', of porcelain made for the Russian court. It was intended for decoration of the Katalnaya Gorka or 'Sliding Hill' pavilion near Oranienbaum Palace outside of Saint Petersburg. They were modelled by Johann Joachim Kaendler and based on the five planets known at the time, Mercury, Venus, Mars, Jupiter and Saturn, as well as the sun and the moon, which were also called planets. For a discussion of this gift and an image of the large figure, formerly Lomonosov, Pavilion near sliding hill see: U. Pietsch (ed.), Meissen for the Czars (2004), cat. ill. 26, p. 104.Pietsch mentions (op.cit. p. 103) that Kaendler's inspiration for the original designs of this series may be found in the Gründliches Mythologisches Lexicon (Leipzig, 1724). The original print source for these large-scale mythological groups however can more likely be found in the series of 'Seven Planets' which were published widely in Europe in the second half of the 16th century. They could very well be based on works by the same title published around 1600 by the Dutch engraver Crispijn (van de) Passe the Elder (1564-1637), or indeed the 'Planetarium - Effectus et Eorum in Signis Zodiac' by engraver Johannes Sadeler published in Antwerp in 1558, which both show Mars in his chariot flanked by his zodiac sign. Both engravers based their prints on works of Maarten de Vos. Interestingly, Anthony Griffith, The Print Before Photography (2016), notes that of the 1600 prints made after Maarten de Vos, only two were derived from paintings, the majority having been supplied directly to an engraver.The large figure group showing Mars from the same series was sold in these rooms, 5 July 2018, lot 231.For further information on this lot please visit Bonhams.com
Two Meissen groups of putti emblematic of the Seasons, 19th centuryEach modelled in the round, one depicting Winter wearing a fur-lined cloak with his hands held over a brazier and Spring with a basket of flowers around the neck holding flowers in each hand, the other with Summer sitting on wheat sheafs with a bird perched on one hand and Autumn feeding a bunch of grapes to a goat, on rockwork bases moulded with rocailles, 25.5cm high, crossed swords marks in underglaze-blue, incised model numbers 1239 and 1230, painters' numbers and impressed numerals (minor chips and some restoration) (2)For further information on this lot please visit Bonhams.com
A Meissen figure of a Polish Nobleman, the porcelain circa 1750, the decoration 19th centuryDecorated in blue cloak and green sash over yellow breeches and top, his sabre to his side, 15cm high (hilt and sabre and fingers chipped, fingers restuck)Footnotes:Provenance: European Private CollectionFor further information on this lot please visit Bonhams.com
Two miniature portraits of Augustus the Strong (1670-1733), Elector of Saxony and King of Poland, circa 1720The first attributed to Georg Friedrich Dinglinger (1666-1720), wearing a powdered wig, in armour with an ermine-lined blue cloak and the Star of the Order of the White Eagle; the second attributed to Charles Boit (1662-1727), wearing a powdered wig, armour and a crimson ermine-lined cloak with a star, enamel on copper, the first with gold rope-twist frame and suspension loop, the second with a later gilt-metal pierced floral scrollwork frame surmounted by a crown, the first: 2.8cm high, 4.6cm high overall; the second: 3.5cm high, 7.1cm overall (2)Footnotes:Provenance:Collection of Gustav von Klemperer (1852-1926), Dresden;Thence by descent until sold at Sotheby's London, 16 December 1998;Purchased at the above sale by the present ownerLiterature:Hans Buchheit, Miniaturen aus der Sammlung Gustav von Klemperer (1928), nos. 63 and 209 (illustrated on pl. 3);M. Cassidy-Geiger, Porcelain and Prestige. Princely Gifts and 'White Gold' from Meissen, in M. Cassidy-Geiger (ed.), Fragile Diplomacy (2007), p. 6, fig. 1-9Exhibited:New York, The Bard Graduate Centre, 'Fagile Diplomacy', 15 November 2007-10 February 2008, nos. 4 and 5Both miniatures are after portraits of Augustus the Strong by Louis de Silvestre of 1716-18. Charles Boit also made an almost full-length miniature after a Silvestre portrait that was possibly recorded in the Pretiosenkammer by 1725 and is now in the Green Vaults in Dresden. A similar miniature attributed to Georg Friedrich Dinglinger, once in the possession of the Radziwill family, is now in the collection of the Royal Castle in Warsaw. See W. Schmidt/D. Syndram (eds.), Unter einer Krone (1997), nos. 506 (Silvestre), 510 (Boit) and 511 (attr. G.F. Dinglinger).For further information on this lot please visit Bonhams.com
A large Meissen white figure of Minerva, circa 1747Modelled by J.J. Kaendler, wearing a plumed helmet with a laurel wreath, long cloak over armour and a skirt and sandals, holding a scroll-edged shield moulded with the mask of Medusa in her left hand, the base applied with leaves and flowers, 41.8cm high, crossed swords mark in underglaze-blue to rear edge of base (left arm reattached at elbow, left edge of base damaged, chips to fingers on right hand and toes on right foot)Footnotes:Provenance:Anon. sale, Christie's London, 11 October 1993, lot 183Literature:M. Cassidy-Geiger, Hof-Conditorei and Court Celebrations in 18th century Dresden, in Handbook of the International Ceramics Fair and Seminar, London (2002), n. 28;R. Roos (ed.), Meissen SO-IL, exhibition catalogue. Kunsthal KAdE, Amersfoort (2011), pp. 52f.Exhibited:Amersfoort, Kunsthal KAdE, 'Meissen SO-IL', 28 May-28 August 2011Kaendler's work records for April 1747 include: 'Das Bild, die Göttin Minerva im Modell zertheilet u.z. abformen eingerichtet' [the portrait of the Goddess Minerva cut into sections and prepared for moulding]. The figure appears to have belonged to the porcelain table fountain ('Cascade') made for the celebrations of the 'double' weddings in 1747 between Saxony and Bavaria. A coloured example of this figure is mounted on top of the large Meissen temple at Longleat, Wiltshire: see P. Ferguson, Felbrigg's Folly The Meissen 'Temple of Honour' in Dresden, in Apollo, suppl. Historic Houses and Collections Annual (2010), pp. 13f.; the temple is illustrated by H. Tait, Porcelain (1962), col. pl. XXXIV.For further information on this lot please visit Bonhams.com
A good example of a Victorian pedlar doll, on ebonised base under a glass dome, the doll with painted face, black bonnet and red cloak, the basket with numerous sewing tools, gloves, miniature slippers, misers purse, bags, copper kettle, basket handle broken, the doll 20cm high 27cm under dome. From a connoisseur's collection
Circle of Allan Ramsay (1713-1784) Portrait of Robert Chester, head and shoulders, in a grey wig and red cloak Oil on canvas 59 x 49cmProvenance: Wood Hall, Arkesden, Essex.Robert Chester was the son of Sir Peter Chester and grandson of Edward and Judith Chester.Condition report: Oil on canvas which is unlined. The canvas tension is slack with stretcher bar marks and minor undulations. Small tears have started to form along the tacking edges. There is a prominent network of age craquelure across the surface which is slightly raised in areas and pulling the canvas forward. Overall the paint layer is in a stable condition. The varnish is old and yellowed but still glossy. In some areas the varnish has chipped off revealing the cool tones of the original paint layer below, for example in the flesh and cravat. There is a layer of surface dirt and fly spots present. The gilding on the frame is worn with a few chips and losses.
Attributed to John Riley (1646-1691)Portrait of a gentleman in a long brown wig, gold cloak and lace-trimmed shirt, standing, three-quarter length, his arm resting on a marble ledgeOil on canvas126 x 102cm, unframedProvenance: Private collection, London.It is thought that the sitter is possibly Samuel Pepys.Condition report: Oil on canvas which has been lined. The canvas has good tension and the picture is in plane. Overall the paint layer is in a stable condition. There is some wear and abrasion in thin paint passages and around the sitter's features. There are a few scattered old losses which have slightly uneven fills. There is a large area of retouching on the top of the sitter's wig and in the lower left corner. There are other small, scattered retouchings across the surface which are all well matched to the original. The painting has been carefully cleaned and old residues of varnish remain in some of the darker paint passages. The old degraded varnish causes a slightly mottled effect to the surface. The upper paint layer is even, semi-matte and slightly yellowed but acceptable.
Philippe Mercier (French, 1689-1760) Portrait of a lady, half length, in a gold dress and blue cloak, with pearl stomacherSigned with initials and dated 1742 l.r., oil on canvas, in a painted feigned oval74 x 61cmProvenance: From a Suffolk country house;Sotheby's, 17 March 1971, Lot 63, and 27 October 1971, Lot 52, where acquired by the vendor.Literature: John Ingamells and Robert Rainer, 'A Catalogue of the Paintings, Drawings and Etchings of Philip Mercier', Walpole Society, p.38, No. 122, XLVI 1976-78, 'location unknown, 74 x 61 HL young woman to half rt. in blue and gold dress, within a painted oval, signed and dated PM f. ano. 1742'.Condition report: Oil on canvas which has been lined. The canvas is in plane with good tension. There are numerous old tears across the canvas which have been repaired. Retouchings in these areas are slightly matte and discoloured but generally acceptable. There are a few small, scattered retouching across the surface. The varnish is old and yellowed but generally even. There are a few scattered losses to the gilding on the frame.
English School, 18th century Portrait of a lady, head and shoulders, in a red and blue dress and green and gold cloak, her hair in long ringletsOil on canvas, in a painted feigned oval72 x 59cmProvenance: From a Hertfordshire country house.Condition report: Oil on canvas which has been lined. The canvas tension is good and the picture is in plane. The paint layer is stable overall. There are numerous retouchings across the surface, some of which appears slightly matte to the surrounding area. The varnish is clear but slightly uneven. The frame is in a good condition with a few small losses to the gilding and gesso.
English School, 18th centuryPortrait of a lady, head and shoulders, in a blue dress, white fichu and gold cloak; Portrait of a lady, head and shoulders, in a pink dress and silver, green and gold cloak;Portrait of a gentleman, head and shoulders, in a long grey curled wig, red and blue cloak and white stockThree, oil on canvaseach 73 x 60cm, oval, in period frames (3)Provenance: From a Hertfordshire country house.Condition report: Portrait of a Lady in a blue dress, Oil on canvas which appears to be lined. The canvas tension is adequate and the picture is in plane. The paint layer is slightly raised along the lines of craquelure. There is some wear and abrasion in the sitter's hair. The varnish is in a poor condition and is no longer adequately saturating the paint layer below. Areas of retouching have darkened and are visible in the lower half of the painting.Portrait of a lady in a pink dress with green wrap, Oil on canvas which has been lined. The paint layer is stable overall but has suffered from wear and abrasion in the past. There appear to be two campaigns of overpaint. The most recent appears dark under UV and is scattered across the surface, for example on the sitter's nose and below. Older overpaint is present in the flesh and is slightly grey, for example around the abraded curl of hair on the sitter's right shoulder. The varnish is clear, even and semi-glossy. There is some wear and abrasion to the gilding on the frame with a few scattered losses.Portrait of a Gentleman in a large wig, Oil on canvas which appears to have been lined. The canvas tension is good and the picture is in plane. The paint is slightly raised in areas following the age cracks but generally stable overall. The varnish has become dull, grey and cracked overtime. There are scattered retouchings across the surface including in the sitter's face. In the lower section of the painting larger retouchings have become darker over time. The gilded surface of the frame is flaking with small, scattered losses to the surface.
English School, 18th centuryPortrait of a young girl in a red dress and blue cloak, pointing with her handOil on canvas74 x 62cm, ovalProvenance: From a Hertfordshire country house. Condition report: Oil on canvas which has been lined. The canvas tension is slightly slack and there are vertical undulations across the surface. The paint layer is stable overall. There are numerous retouchings across the surface. Some fine retouchings cover old cracks and others have been applied in a more brushy manner. There are retouchings to the right side of the sitter’s face. The varnish is clear, even and semi-mate. There are losses to the moulding on the frame and wear to the gilding which has been covered with metallic paint.
*Frank Owen Salisbury (1874-1962)Portrait of Monica, a young girl with red hair, head and shoulders, in a blue cloak and with a brown ribbon in her hairSigned u.r., oil on canvas76 x 62cmFrank Salisbury won a scholarship to the Royal Academy Schools which he attended for five years and where he won two silver medals and two scholarships, including the Landseer scholarship which funded his to travel to Italy in 1896. Frank Salisbury is best known for his portraiture - his speed in producing portraits stemmed from painting his own twin daughters every morning for an hour and his career began with child portraiture.The present work is, according to an old inscription on the reverse, a study for Salisbury's 'To the Honour of Woman', now in Auckland, New Zealand, a study of a little girl with her mother, seen in Russell Square, London, during the blackout.*Artist's Resale Right may apply to this lot.Condition report: Relined and appears fine - areas of thicker paint in places.
A selection of lady's vintage costume jewellery, to include a silver paste set drop necklace, a white metal chain set with amethyst colour pastes, a paste set necklace suspending a star shaped pendant, a paste set Art Deco style belt buckle, a paste set cluster pendant, a paste set brooch, a pair of paste-set drop earrings and a cloak pin (9)
Signed, oil on canvas(61cm x 51cm (24in x 20in))Footnote: Provenance: Ian MacNicol, Glasgow Note: Glasgow Boy artist George Henry painted some of his most successful compositions in Galloway, having been encouraged to try painting there by his close-friend and artistic collaborator Edward Atkinson Hornel. The two artists also travelled together to Japan, spending eighteen months exploring, learning and innovating their individual painting techniques in response to their discoveries there. A quintessentially elegant scene by Henry, ‘Autumn by the Lake, Galloway’ deploys some of the key features of his celebrated approach: rich colour, and a slight flattening of the picture plane, to allow for more focus on the decorative effects of colour and pattern. Our Edwardian lady with her russet hair and draping cloak appears gazing out over a serene lake, her elegance mirrored in the bevy of swans, with their gracefully arching necks, gliding across the gentle pool. The late afternoon autumnal colours are rich and warm, with the oranges and greens offset by the rippling cool blue of the water.
Co. Carlow: George III - General Assizes, a Grant of Pardon unto Charles Nowlan (as a poor man) convicted at Carlow 1794 - felony of conduct: by enlisting as a soldier. [The conviction to be imprisoned for a space of six months and to be publicly whipped through the town of Carlow; for stealing one red cloak valued at 16 shillings and 3 pence in October 1793]. The Pardon states that he must enlist as a soldier with the Sixty First Regiment of Foot, as a m/ss, w.a.f. (1) Interesting insight into the British methods of recruitment for the army in the 18th Century.
A collection of porcelain figures to include – Three Continental porcelain figures of musicians/dancers, a Samson group of winged cherub and sheep in the Chelsea style, two Derby porcelain flower sellers, Continental porcelain figure of a boy with cornucopia of grapes, two Sitzendorf porcelain figures, a model of a lady dressed in purple cloak with fur muff and a press-moulded frosted glass model of a gentleman leaning against a bricked chimney on stepped circular base (qty - damages, repairs)
Sillitoe, Sir Percy"Cloak Without Dagger", Cassell & Company 1955, photographic portrait frontis, red cloth, dj not price clipped but repairedLeasor, James "War at the Top - based on the experiences of General Sir Leslie Hollis", Michael Joseph 1959, signed on the ffep ' Leslie Hollis April 1959', photographic illustrations, edges foxed and stained, black cloth, gilt titles, dj not price clippedTrevor-Roper, Hugh "The Philby Affair", William Kimber 1968, maroon cloth with pastedown titles to the backstrip, dj not price clipped, pen signature on ffepPortway, Lieut Colonel Donald "Military Science Today", Oxford University Press, nd, part of the Pageant of Progress series, photographic illustrations, folding map, some foxing to edges, pictorial cloth, spine fadedWankowicz, Melchior "Bitwa O Monte Cassino", RZYM 1947, 3 volumes, pictorial cloth, photographic illustrations Lawrence, T E "Seven Pillars of Wisdom - a Triumph", Jonathan Cape 1935, frontis portrait, numerous plates, name in pencil on ffep, brown cloth, gilt decorations, dj not price clipped but loss to the front coverWoolley, C Leonard and Lawrence, T E"The Wilderness of Zin", Jonathan Cape 1936, brown cloth, gilt titles, dj not price clipped (8)
Three (3) Female Miniature Portraits, including Lady Blount. 1st item: Watercolor portrait miniature of a woman in 18th century dress with dark upswept hair and band at neck. Inscription en verso: "Hon. --- Blount". Rectangular ebonized frame with gold colored metal rabbet edge and brass thistle hanger. Sight - 3" H x 2" W. Framed - 5" H x 4" W. 2nd and 3rd items: Two (2) Continental School miniature watercolor portraits in nearly identical bronze color metal filigree frames, one of a woman in 18th century dress with powdered wig and feathered hat, signed "Vernet" lower right, the other a woman with braided dark hair and pink cloak wearing a jeweled headband and necklace, illegibly signed lower right "S K --". Sight - 3 1/8" H x 2 1/2" W. Framed - 5 1/2" H x 4 1/8" W. All items late 19th/early 20th century. Provenance: the estate of Dr. Howard T. DeHaven, Columbia, TN. CONDITION: 1st item: Excellent condition. 2nd item (woman in hat): Hairline extending from lower left edge to subject's hair. 3rd item (woman with braids): Painting has shifted in frame and shows edge abrasions. Another spot of edge abrasion lower left side. Some cloudiness upper left.
Police buttons and badges. Six sealed pattern buttons and badges, six button dies and a small collection of uniform buttons and badges of Royal Irish Constabulary (Queen's and King's crown); Dublin Police; Garda Siochana; Royal Ulster Constabulary; RIC collar badges; cloak clasp; RIC rank pips. Also Metropolitan Police and Indian Police buttons. (63)
A hand painted framed ceramic plaqueLate 19th centuryOf rectangular form, depicting a wintry scene showing a winged putto and a girl swathed in a cloak warming their hands by a fire, indistinct artists monogram, unframed 25cm x 19cm, framed 47cm x 43cm, paper label to the reverse for Howell & James Art Pottery GalleriesFor further information on this lot please visit Bonhams.com
John the evangelist holding up his letter on a scroll, in an initial on a leaf from a large and fine Bible, in Latin, illuminated manuscript on parchment[Northern France (Paris), c. 1280-90] Large leaf, with historiated initial 'S' (opening "Senior gaio karissimo ...", opening III John from the Canonical Epistles), in soft pink heightened with white penwork, enclosing a full-length portrait of John in a blue cloak, on orange-red tessellated ground within the initial and blue with white foliage overlaid outside it, enclosed within thin gold frame and with text border in blue and red-brown with animal mask, gold baubles and angular gold grounds, descending the entire length of the page and filling the space above and below the text column, one slightly smaller initial in blue containing sprays of coloured foliage, within similar frame and text borders, this enclosing a bearded animal-masked drollery, single red initial on reverse with contrasting penwork and text border of red and blue foliate shapes with scrolling penwork, running titles and versal initials in red and blue capitals, rubrics wanting but guide-text present in pale brown hairline script, double column of 41 lines, marginalia in red and blue triangle, modern pencil folio no. '455', a little inkburn causing small holes in places, slight thumbing at lower outer corner, else excellent condition, 300 by 210mm.From an incomplete manuscript sold at Sotheby's, 5 December 1989, lot 79.The art here is representative of the zenith of Parisian commercial Bible production in the thirteenth century. It was decorated by the Sainte-Chapelle group (see R. Branner, Manuscript Painting in Paris during the Reign of Saint Louis, 1977, pp. 236-39), named for a Gospel lectionary made c. 1260-70 and used in the Sainte-Chapelle (now at the BnF., ms. lat. 17,326), perhaps by a sub-group known as the 'Henry VIII' group, who were active c. 1280-90.
Collection of leaves from Armenian Biblical and liturgical manuscripts, all on paper[Armenia, fourteenth to seventeenth century]Four leaves: (a) single large leaf from a Biblical codex, with double column of 35 lines of erkatgir, capitals opening each major section, torn and darkened at edges, folded across middle, somewhat scuffed, one edge reinforced with sections from another leaf, 480 by 310mm., most probably fourteenth century; (b) two leaves most probably from a single liturgical manual, each with double column of 29/30 lines of bolorgir, red rubrics and initials, the first with large opening initial formed from a pink penwork bird, a stylised church in same penwork in the opposite margin, large floral headband with pink flower heads on a blue ground surmounted by two birds holding foliage in their beaks at head of text, the second leaf with two decorated initials formed from birds and foliage, and a large two-faced bird enclosed within foliage and a human-headed drollery with a large hooked nose and the body of a bird in the margins, second leaf with small tears to edges and slight water damage in places, overall both good condition, 275 by 180mm., sixteenth or seventeenth century; (c) opening leaf from a Biblical text (probably a Gospel), with 3 lines of text formed from coloured birds and foliage edged with liquid gold penwork, the large initial formed from an angel with pink wings in a blue cloak holding out a golden book, these below an elaborate half-page headband with blue interlace knotwork with red flowers and coloured foliage over a dull gold ground, this surmounted by two facing birds and with a full decorated border of coloured foliage on gold grounds holding up a golden crucifix, some scuffing and losses to gold and paint, the leaf laid down on modern paper and pasted to modern black paper mount, fair condition, 240 by 158mm., seventeenth centuryItem (a) is unusual in its combination of Erkatagir (iron script), the oldest form of Armenian writing, with the use of paper rather than parchment (see Treasures from the Ark: 1700 Years of Armenian Christian Art, 2001, no. 100 for another example of the same late date). The script here denotes respect for the subject matter.
A Victorian brocade and beaded bodice, a Victorian heavily beaded black skirt, a similar brocade skirt, an opera cloak, an 18th century waistcoat and other skirtsCondition:Purple over coat: Extensively damaged with rips, holes and losses.Silver silk skirt: losses, holes and tears.Red long waistcoat: loss of colour, holes and tears.Embroidered purple skirt: Damage to lace, slight loss of colourPlain purple skirt: Appears to be okay, minor damages commensurate with age.Cream petty coat: appears to be okay, slightly discoloured.Beaded corsette: damages and losses throughout, quite heavily damaged.black beaded skirt: heavily damaged.
A LIMEWOOD FIGUREHEAD, POSSIBLY NORTHERN EUROPEAN, EARLY 19TH CENTURY carved in the form of a warrior maiden holding a dagger in her right hand and clasping a bird in her left, an axe in her belt and a billowing cloak held with a chain around her neck and her hair secured with a torque, terminating in scrollwork and secured to a large section of timber -- 44in. (112cm.) high (including timber mount)Condition report: Overall wear commensurate with age.
A TIBETAN BRONZE FIGURE OF PADMASAMBHAVA 16TH CENTURY Sitting on a double lotus throne, wearing monk's robes with a finely decorated edge and a cloak, his lotus hat topped with a vulture's feather symbolising the realisation of the highest view, holding a two-pointed vajra in his right hand and a kapala in his left hand, the sealed base with a four-pointed vajra, 13cm, 371g.
A Märklin O Gauge Station and Goods Shed Combination, with English legends 'Cloak-room' and 'Refreshments Room' to platform face of main building, 'Ladies' and 'Gents' toilet unit to left side and goods shed to right with raised loading platforms and opening doors to each side, the main building in pale blue with dark blue window shutters, red pantiled roof with one chimney and two small gables, goods shed building and toilet block detachable from base, overall G, some surface rusting to main building
An Edwardian novelty painted and gilded bronze inkwell fashioned as a Professor Wise Owl, the owl with gilded cloak and painted features, having glass eyes, opening on a hinge at the neck to reveal gilt interior for ink, 3 7/8in. (9.8cm.) high. * Condition: The hinged head having side movement (loose), showing must of the paint.
Four novelty brass pipe tampers, probably late 19th or early 20th century to include a standing gentleman in 16th century costume with cloak and smoking a church-warden pipe; hand holding a posy of flowers and a bird; booted leg with spur; slender shoe, the tallest 3in. (7.6cm.). * Condition: Fine, nothing to note.
English School (mid-19th century), The fortune teller oil on canvas, unsigned 8 5/8 x 7in. (21.8 x 17.8cm.) * Condition: Relined. Some craquelure visible to darker areas and bitumenisation to paint to lower section of red cloak. Some retouches visible but heavily varnished so not easily visible under UV. Small paint flake lower centre margin.
CIRCLE OF JOHN RILEY (1646-1691) A portrait of a gentleman, depicted half-length seated in an interior, wearing a brown cloak over his white shirt with lace collars and jabot, a long brown wig falling over his shoulders, seated before a brown curtain, pulled back in part to reveal a landscape beyond, 123cm x 102cm
CIRCLE OF THOMAS MURRAY (1663-1734) A portrait of a gentleman, depicted half-length, a brown wig falling over his shoulders, wearing a lace cravat over a green jacket with red sash fastened with a brooch at the shoulder, oil on canvas, 73cm x 61.5cm (oval) ; together with the companion portrait of a woman wearing a pale red dress with scooped neckline and a blue silk cloak, oil on canvas, 73cm x 61.5cm (oval) (2)
Loading...-
7207 item(s)/page