We found 43065 price guide item(s) matching your search
There are 43065 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
43065 item(s)/page
Lot 126
* HAMISH MACDONALD DA PAI (SCOTTISH 1935 - 2008),SUILVEN AND LOCHINVERlimited edition print on paper, signed, titled and dated 64/500image size 26cm x 30cm, overall size 47cm x 50cm Mounted, framed and under glass.NOTE: Lots 200 - 222 are being sold on behalf of The Prince & Princess of Wales Hospice (Glasgow).
Lot 148
* PAM CARTER DA PAI (SCOTTISH b. 1952),GIANT HOGWEEDoil on canvas, signed, titled labels verso image size 43cm x 43cm, overall size 61.5cm x 61.5cm Framed and under glass. Artist's label verso.Label verso: Macaulay Gallery, East Lothian.Note: Pam Carter was born in Tanganyika, East Africa to an Austrian mother and Scottish father. At the age of thirteen, she came to Scotland where she schooled at Bearsden Academy. She graduated from Glasgow School of Art in the seventies. "My main inspiration as an artist is in the Scottish landscape and seascape. I enjoy using colour to define contours, structure and changing light sequences. I search out specific viewpoints. I am equally inspired by the rugged isolation of the Western Isles and the dramatic viewpoints of the Eastern coastline. I work predominantly in oil". Pam Carter is unquestionably one of Scotland's most popular and successful living artists. She has won numerous awards and prizes, has always received significant media attention and has been the subject of many magazine features and has several tv appearances. Her work is widely exhibited but rarely appears at auction. The most recent three examples of Pam Carter's oil paintings to be offered in our auctions achieved hammer prices of £2000 (April 2022), £1900 (June 2021) and £1800 (September 2020).
Lot 152
* PAM CARTER DA PAI (SCOTTISH b. 1952),RED ROOFS AND OXEYESoil on canvas, signed, titled label versoimage size 34cm x 34cm, overall size 47cm x 47cm Framed and under glass. Artist's label verso.Note: Pam Carter was born in Tanganyika, East Africa to an Austrian mother and Scottish father. At the age of thirteen, she came to Scotland where she schooled at Bearsden Academy. She graduated from Glasgow School of Art in the seventies. "My main inspiration as an artist is in the Scottish landscape and seascape. I enjoy using colour to define contours, structure and changing light sequences. I search out specific viewpoints. I am equally inspired by the rugged isolation of the Western Isles and the dramatic viewpoints of the Eastern coastline. I work predominantly in oil". Pam Carter is unquestionably one of Scotland's most popular and successful living artists. She has won numerous awards and prizes, has always received significant media attention and has been the subject of many magazine features and has several tv appearances. Her work is widely exhibited but rarely appears at auction. The most recent three examples of Pam Carter's oil paintings to be offered in our auctions achieved hammer prices of £2000 (April 2022), £1900 (June 2021) and £1800 (September 2020).
Lot 165
* SHEILA MACMILLAN DA PAI (SCOTTISH 1928 - 2018), MONTEJAQUE FROM THE GARDEN OF EL NARANJO oil on card, signed and dated 2001, titled versoimage size 40cm x 46cm, overall size 60cm x 64cm Framed and under glass.Note: Sheila Macnab Macmillan was born in Glasgow in 1928. She attained a degree in Geography at Glasgow University and went on to train as a teacher. However, she had always painted and her talent was strongly encouraged by her uncle the distinguished Iain Macnab RE ROI (1890 - 1967) who persuaded Sheila to come to London and train under him. Iain Macnab had been Principal at Heatherley's Art School (1925 - 1940) and then went on to be founding Principal of the hugely influential Grosvenor School of Modern Art. Sheila's London influences and Glasgow School foundations evolved into a distinctive and individual style. She usually worked "en plein air" and her work is semi abstract. She focused mainly on landscape where her training as a geographer, allowed her to use her understanding of land formation, the delicate balance of the seasons and the interaction between Man and the environment. Her uncle's concept of "rhythm" is evident in Sheila's work and remained a constant throughout her career. She painted in Scotland, Spain. France and Italy and exhibited widely especially in Glasgow, Edinburgh, London and Newcastle. Her work appeared frequently at the Royal Scottish Academy, Royal Glasgow Institute, Paisley Art Institute annual exhibitions and at the Royal Academy Summer Exhibition (London). She won numerous awards and prizes over a long and distinguished career. In recent times we have offered a growing number of Sheila Macmillan's paintings with several achieving more than £1000. The current leading price is £1700 (hammer) for "Ronda, Spain", a 45 x 48cm oil on board (lot 510A, The Scottish Contemporary Art Auction 24th October 2021).
Lot 17
* HAMISH MACDONALD DA PAI (SCOTTISH 1935 - 2008),PITTENWEEM HARBOUR oil on board, signed and titledimage size 29cm x 35cm, overall size 47cm 52cm Mounted, framed and under glass.Note: Hamish MacDonald was born in Glasgow in 1935. He studied at Glasgow School of Art between 1963 and 1967. From 1968 he successfully combined painting with teaching and also guest lectured throughout Scotland. In 1991 he retired from his post as an Art Department Principal to concentrate fully on the development of his painting. Much of his work was inspired by the Scottish Colourist movement, but MacDonald preserved an individuality which marks him out as both a vibrant and important artist. Throughout his career he succeeded in capturing dramatic scenes with his own passionately innovative palette. Hamish MacDonald is now widely regarded as one of Scotland's most successful contemporary artists. Since 1964, Hamish staged numerous solo exhibitions in Scotland and Cornwall. He also participated in group shows with prominent galleries in London and throughout the UK. His works can be found in many major collections throughout the world.
Lot 84
* SHEILA MACMILLAN DA PAI (SCOTTISH 1928 - 2018),NEAR JOUCAS (PROVENCE)oil on board, titled verso but obscured by the backboardimage size 41cm x 42cm, overall size 58cm x 60cm Framed and under glass.Note: Sheila Macnab Macmillan was born in Glasgow in 1928. She attained a degree in Geography at Glasgow University and went on to train as a teacher. However, she had always painted and her talent was strongly encouraged by her uncle the distinguished Iain Macnab RE ROI (1890 - 1967) who persuaded Sheila to come to London and train under him. Iain Macnab had been Principal at Heatherley's Art School (1925 - 1940) and then went on to be founding Principal of the hugely influential Grosvenor School of Modern Art. Sheila's London influences and Glasgow School foundations evolved into a distinctive and individual style. She usually worked "en plein air" and her work is semi-abstract. She focused mainly on landscape where her training as a geographer, allowed her to use her understanding of land formation, the delicate balance of the seasons and the interaction between Man and the environment. Her uncle's concept of "rhythm" is evident in Sheila's work and remained a constant throughout her career. She painted in Scotland, Spain. France and Italy and exhibited widely, especially in Glasgow, Edinburgh, London and Newcastle. Her work appeared frequently at the Royal Scottish Academy, Royal Glasgow Institute, Paisley Art Institute annual exhibitions and at the Royal Academy Summer Exhibition (London). She won numerous awards and prizes over a long and distinguished career. In recent times we have offered a growing number of Sheila Macmillan's paintings with several achieving more than £1000. The current leading price is £1700 (hammer) for "Ronda, Spain", a 45 x 48cm oil on board (lot 510A, The Scottish Contemporary Art Auction 24th October 2021).
Lot 43
Renée Sintenis (1888 Glatz/Schlesien - 1965 Berlin) (F)'Liegendes Fohlen', 1919, Bronze, braun patiniert, 6 cm x 12 cm, RS monogrammiert, Expertise von Frau Dr. Berger anbei, Literatur: WVZ. Buhlmann 129, mit Abb. S. 210.Renée Sintenis gehört zu den wichtigsten deutschen Bildhauerinnen und Graphikerinnen der klassischen Moderne. Sie wirkte vor allem in Berlin und ist für ihre Tierplastiken, Sportlerskulpturen, Portraits und Akte bekannt. 1905 zog die Familie nach Berlin, wo sie bereits in der Schulzeit Zeichenunterricht erhielt, der später von Studien in Dekorativer Plastik an der Kunstgewerbeschule Berlin weitergeführt werden sollte. Als die Künstlerin wenige Jahre später Georg Kolbe kennenlernte, wurde sie sein Modell. Durch diese Tätigkeit angeregt, begann sie selbst weibliche Akte, ausdrucksstarke Köpfe, Sportler und Selbstportraits in Zeichnungen, in Radierungen und in bildhauerischer Form zu erschaffen. "Nach 1915 entstanden die prägnanten Tierfiguren, die zu ihrem künstlerischen Lebensthema wurden. Da sie die Monumentalität in der Bildhauerkunst ablehnte, kreierte sie vornehmlich kleinformatige Skulpturen. Diese schmalen Kunstwerke wie Pferde, Rehe, Esel und Hunde erfreuten sich beim Publikum großer Beliebtheit." Diese sollten ab 1913 über Jahrzehnte in der Bildgießerei Hermann Noack in ihre Form gegossen werden. 1931 wird Renée Sintenis als zweite Frau - nach der berühmten Käthe Kollwitz - in die Preußische Akademie der Künste aufgenommen. Doch wie für viele Berliner Künstlerinnen und Künstler bedeutet die Machtübernahme durch Adolf Hitler auch für sie einen tiefgreifenden Einschnitt. Sie wurde aus der Akademie ausgeschlossen, die Ausübung und Ausstellung ihrer Werke wurden verboten. Hinzukommt, dass durch den Zweiten Weltkrieg um 1941 der Bronzeguss verboten wurde, denn das Metall war für die Rüstungsindustrie unentbehrlich. Die künstlerische Arbeit wird für Renée Sintenis spätestens zu diesem Zeitpunkt nahezu unmöglich. Im Oktober 1942 stirbt unerwartet ihr Ehemann, und 1945 zerstören alliierte Bombenangriffe ihr Atelier, wobei zahlreiche persönliche Besitztümer und viele künstlerische Arbeiten verlorengehen. Doch das Kriegsende markiert für die Künstlerin einen Neubeginn. Im Berlin der Nachkriegszeit gelingt es ihr, an ihre Erfolge aus den zwanziger und frühen dreißiger Jahren anzuknüpfen. Auch zu akademischen Ehren kommt Renée Sintenis, denn 1955 wird sie als Professorin an die Hochschule für Bildende Künste sowie an die West-Berliner Akademie der Künste berufen. Zum Markenzeichen wird ihr Berliner Bär, der als verkleinerte Nachbildung einer 1932 entstandenen Bronzeskulptur in Silber und Gold zur begehrten Trophäe der alljährlichen Filmfestspiele "Berlinale". Das kleine Fohlen kann auf das Jahr 1919 datiert werden und ist somit ein Zeichen des großartigen Erfolgs der künstlerischen Ausübung der Berliner Künstlerin. Nicht ohne Grund wurde sie ab 1920 vom Galeristen Alfred Flechtheim ausgestellt, vertrat sie bis dahin Wolfgang Gurlitt, der ihre Werke neben derer von Max Beckmann, Max Liebermann und Karl Schmidt-Rottluff ausgestellt hat. Zudem wurde sie mit Ausstellungen in der Berliner Nationalgalerie, der Tate Gallery London und dem Museum of Modern Art in New York, in Paris, Glasgow und Rotterdam zu einer international anerkannten Künstlerin, dessen Werke bis heute in bedeutenden Sammlungen weltweit vertreten sind. Renée Sintenis (1888 Glatz/Silesia - 1965 Berlin) (F)'Liegendes Fohlen', 1919, bronze, brown patinated, 6 cm x 12 cm, RS monogrammed, expertise of Dr. Berger attached, literature: WVZ. Buhlmann 129, with Fig. p. 210.Renée Sintenis belongs to the most important German sculptresses and graphic artists of the classical modern age. She worked mainly in Berlin and is known for her animal sculptures, sports sculptures, portraits and nudes. In 1905 the family moved to Berlin, where she took drawing lessons while still at school, which would later be followed by studies in decorative sculpture at the Kunstgewerbeschule Berlin. When the artist met Georg Kolbe a few years later, she became his model. Inspired by this activity, she herself began to create female nudes, expressive heads, athletes and self-portraits in drawings, in etchings and in sculptural form. "After 1915, she created the striking animal figures that became her artistic life's theme. Since she rejected monumentality in sculpture, she created mainly small-format sculptures. These slender works of art, such as horses, deer, donkeys and dogs, enjoyed great popularity with the public." These were to be cast into her mould at the Hermann Noack picture foundry for decades from 1913. In 1931 Renée Sintenis became the second woman - after the famous Käthe Kollwitz - to be admitted to the Prussian Academy of Arts. However, as for many Berlin artists, the seizure of power by Adolf Hitler also meant a profound break for her. She was expelled from the Academy, and the practice and exhibition of her works were banned. In addition, the Second World War banned bronze casting around 1941, as the metal was indispensable for the armaments industry. Artistic work became almost impossible for Renée Sintenis at this point at the latest. In October 1942, her husband died unexpectedly, and in 1945, Allied bombing raids destroyed her studio, causing the loss of numerous personal possessions and many artistic works. But the end of the war marked a new beginning for the artist. In post-war Berlin, she succeeded in building on her successes of the 1920s and early 1930s. Renée Sintenis also achieved academic honours: in 1955 she was appointed professor at the Hochschule für Bildende Künste and at the West Berlin Akademie der Künste. Her Berlin Bear, a scaled-down replica of a bronze sculpture she created in 1932 in silver and gold, became a coveted trophy at the annual Berlinale film festival. The little foal can be dated to 1919 and is thus a sign of the great success of the Berlin artist's artistic practice. It was not without reason that she was exhibited by the gallery owner Alfred Flechtheim from 1920 onwards. Until then, she had represented Wolfgang Gurlitt, who exhibited her works alongside those of Max Beckmann, Max Liebermann and Karl Schmidt-Rottluff. She also became an internationally recognised artist with exhibitions at the National Gallery in Berlin, the Tate Gallery London and the Museum of Modern Art in New York, in Paris, Glasgow and Rotterdam, whose works are still represented in important collections worldwide.
Lot 050578
Schmuckset mit Bein, China um 1960, Silber verg., best. aus Armband, L. ca. 19 cm, Sicherheitskettchen, Ring, RW variabel da Ringschiene offen und Paar Ohrclips, florale Filigranarbeit, Cabochons mit bunter MalereiJewelry set with bone, China approx. 1960 , silver gilt, comprised of bracelet, l. approx. 19 cm, safety chain, ring, ringsize variable splint open and pair of earclips, floral filigree work, cabochons with colorful painting
Lot 052139
18 kt Gold Halsreif, GG/WG 750/000, gerillte Optik, gegenl., Enden mit Kugel- abschluß, D. variabel, da offen gearbeitet, D. ca. 11.5 cm, ca. 47.4 g18 kt gold circlet, YG/WG 750/000, grooved optic, inversely, ends with sphere closing, diam. variable, open worked, diam. approx. 11.5 cm, approx. 47.4 g
Lot 445
1962 FIFA WORLD CUP CHILE FIFA World Cup special edition brochure, 108 pages, produced in Rio, Brazil, July 1962 just after the World Cup Final, published by ''Esporte Ilustrado'' titled: ''Chile 1962 Edicao Da Copa Do Mundo'' Includes colour covers with pictures, reports and full team line-ups from each of the games at the tournament plus a complete history of the previous FIFA World Cup tournaments from 1930 to 1958 with team line-ups and reviews from every previous World Cup match. Also includes extensive coverage of the 1962 World Cup Final Brazil v Czechoslovakia which Brazil won 3-1 to retain the FIFA World Cup. Generally good
Lot 453
1972 SCOTLAND / IRELAND 1972 BRAZIL INDEPENDENCE CUP Match played 7/6/1972 - 9/7/1972 in Brazil. 48-page issue of the Brazilian weekly football magazine ''PLACAR'' dated 9/6/1972 which previews the tournament, entitled ''EXTRA A TABELA COMPLETA DA MINICOPA'' the central pages has a large tournament fixture table poster which includes group details, dates of games, stadium and host City details and fixture tables etc. Generally good
Lot 464
1950 PORTUGAL V ENGLAND (Friendly) played 14/5/1950 at Estadio Nacional, Lisbon. Issue of the Lisbon daily Sports & News paper ''Diario de Noticias'' dated 14/5/1950 which previews the game inside and includes full team line-ups plus front cover headline entitled ''FUTEBOL NO ESTADIO NACIONAL A SELECCAO PORTUGUESA CONTRA A EQUIPA DA INGLATERRA''. Generally good
Lot 15
ATTRIBUTED TO THE 'MAESTRO DELLA FERTILITA DELL'UOVO'THE CAGE OF FOOLSOil on canvasElaborately inscribed upper left and right66.5 x 92cm (26 x 36 in.)Provenance:Daniel Hunt Fine Art, LondonThe Master of the Fertility of the Egg is a name given to a yet to be identified painter active in the second half of the 17th and early 18th century in Brescia. The name is based on a work entitled La fertilità dell' Uovo, which depicts dwarfs, geese and lobsters hatching eggs and is in the collection of the Milwaukee Art Museum, United States. His paintings usually include a banner with a mysterious saying that purportedly explains the subject of the composition. A pair with the same theme was sold at Sotheby's, New York, 28 January 2005, lot 369A, also depicting figures in a cage and with a similar inscription: Son Capporal Dei Matti Ch osseruo beni patti (I am corporal of the fools that well observes the rules). The inscriptions on the present painting also speak of Matti (Fools), and a cage (Gabbia) which everyone eventually ends up in:O presto o tardi [ogn'un] se ne va in Gabbia chi per desio dell'oro e chi di lode Altri canta altri mai non me ne labbi[a] E n'è chi si disiran[..] e ne chi godeChi [?eci un] per Amor e chi da rabbiaChi l'affetto ritien, e chi la frodeInsomma in opre e gesti o detti o fattiIl mon[..] per il più Gelbia è da MATTICondition Report: The canvas has been lined. Surface dirt and discoloured varnish. Small tear about 1cm wide in second figure from the right in the apron. Paint thinning in some areas but paint layers are stable. Some craquelure particularly in the figure on the right. UV light reveals signs of retouching which is particularly visible around the edges. Condition Report Disclaimer
Lot 523
Banco Nacional Ultramarino, Cape Verde, printers archival specimen 50 Mil Reis, 1 March 1909, serial number range 1001 to 1500, Luis Diogo da Silva signature, Ship seal Type I, perforated CANCELLED, order number and date inked in top margin, light mounting traces, in PMG holder 58, choice about uncirculated, extremely rare with only eight specimens produced for the four print runs, and likely unobtainable as an issued note BNU CV15cs, Pick 9as £800-£1,200 --- This is the BNU plate note
Lot 547
Banco Nacional Ultramarino, Mozambique, specimen 5 Mil Reis, 2 January 1908, no serial number, Alfredo Mendes da Silva signature, perforated SPECIMEN, in PMG holder 66 EPQ, gem uncirculated and truly remarkable note, with only two examples known for this 1908 type, particularly with this signature which was not used on the later 1909 series BNU MZ26s3, Pick 31s £1,000-£1,500
Lot 548
Banco Nacional Ultramarino, Mozambique, printers archival specimen 1000 Reis, 1 March 1909, serial number range 183334 to 216667, Luis Diogo da Silva signature, Ship seal Type I, perforated SPECIMEN, order number and date inked in top margin, in PMG holder 63, choice uncirculated, very scarce BNU MZ30gs, Pick 32s £240-£300
Lot 550
Banco Nacional Ultramarino, Mozambique, printers archival specimen 10 Mil Reis, 1 March 1909, serial number range 70001 to 77500, Luis Diogo da Silva signature, Ship seal Type I, perforated CANCELLED, order number and date inked in top margin, light mounting traces in PMG holder 63, choice uncirculated, very scarce and one of several print runs of this series to be sunk by German forces on its way to Mozambique, meaning several orders had to be reprinted (see next lot) BNU MZ36is, Pick 38s £500-£700
Lot 551
Banco Nacional Ultramarino, Mozambique, printers archival specimen 10 Mil Reis, 1 March 1909, serial number range 70001 to 77500, Luis Diogo da Silva signature, Ship seal Type I, perforated CANCELLED, annotation in margin reads ‘Reprint originals sunk by Germans’, light mounting traces, in PMG holder 63, choice uncirculated, very scarce and a specimen for the replacement print run which had been destroyed in late 1915 or early 1916 (see previous lot) BNU MZ36js, Pick 38s £500-£700 --- This is the BNU plate note
Lot 577
Banco da Beira, obverse (1) and reverse (2) photos showing the original designs for 10 Libras Esterlinas, 15 September 1919, serial number 0000000, two laid down on board and dated 31/1/20 in ink, minor differences to the note issued, including significant changes to the border on obverse, and the use of L instead of £ for the currency on the reverse, along with the inclusion of a printers imprint when one wasn’t actually used, in PMG holders 62, 60 NET and 64, uncirculated to choice uncirculated, obverse with damage, otherwise as produced, unique and important (3 photos) Pick SR10 for type £150-£200
Lot 638
Afghanistan Bank, 500 Afghanis, SH1318 (1939), serial number 063337, significant crude repairs to edges, particularly in corners and top margins, but still retaining strong and original paper, overall about fine but very scarce regardless TBB B307a, Pick 27 £400-£500 --- This note is stamped on the reverse ‘Directorate for Issuance and Vigilance, Da Afghanistan Bank, Sawad (copy)’, and is only the third note see that has this stamp. The reason for the stamp are not known.
Loading...-
43065 item(s)/page