We found 228188 price guide item(s) matching your search
There are 228188 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
228188 item(s)/page
Lot 146
A pair of Chinese equestrian funerary figures, Ming Dynasty, one painted black, the other white, the riders with removable heads, one bearded whilst the other clean shaven, the dress and tiger striped saddle cloth picked out in black ink with contrasting details in yellow and red, on rectangular bases, 30cm wide, 34cm highPurchased from C C Lai, Toronto for $4900
Lot 30
Nikolaos Gyzis (Greek, 1842-1901)L'offrande signé et daté 'N.Gysis Muenchen 74' (en bas à gauche)huile sur toile120 x 80cm (47 1/4 x 31 1/2in).Peint en 1874.signed and dated (lower left)oil on canvasFootnotes:ProvenanceVienna Arts Society, 1875. Tzirakopoulos collection, Athens. (from Eikones,magazine, 1960)Private collection, Athens.ExposéVienna Art Exhibition, 1875.Athens, Nicholaos Gysis 1842-1901, The Great Master, National Gallery and Alexandros Soutzos Museum, October 8 - December 10 2001, no. 20 (discussed, pp. 37-38, 131 and illustrated in the exhibition catalogue, fig. 16, p. 34).LittératureGysis's letter, April 7, 1886 (mentioned).Estia magazine, vol. XIX, no. 470, January 1, 1885, p. 34 (discussed).Kleio magazine, vol. I, no. 2, January 15/27, 1885, pp. 30-31 (mentioned), p. 25 (illustrated).K.F. Skokos, National Calendar of the Year 1897, Athens 1897, p. 20 (mentioned).Panathenea magazine, Homage to Nicholaos Gysis, vol. I, no.11, March 15, 1901, pp. 426-427 (discussed).M. Montandon, Gysis, Derlag von Delhagen & Klafing editions, Bielefeld und Leipzig, 1902, pp. 57, 69 (mentioned), p. 28, fig. 22 (illustrated).La Revue de l'Art Ancien et Moderne, vol. IX, 1903, p, 303.The Studio magazine, vol. XXVII, 1903, p. 203.Allgemeines Lexikon der Bildenden Künstler, Verlag von E.A. Seemann, Leipzig 1922, vol. XV, p. 380 (mentioned). Album of Tinian Artists - N. Gysis, D.I. Kalogeropoulos, X. Sochos ed., Athens 1928, p. 23-24 (mentioned).Dialexis magazine, vol. I, no. 3-4, February 29, 1928, p. 85 (mentioned). Ellinika Grammata magazine, vol. II, no. 7, March 26, 1928, p. 238 (mentioned).Eklogi magazine, vol. V, no. 2, February 1949, p. 203 (discussed).Nicholaos Gysis's Letters, G, Drossinis, L, Koromilas ed., Eklogi editions, Athens 1953, p. 139 (mentioned), p. 57 (illustrated).Great Creators, Zoi edition, Athens 1954, pp. 211-212 (discussed).Eikones magazine, no. 227, February 26, 1960, p. 36 (illustrated).T. Spiteris Archive, Tellogleion Art Institute, Thessaloniki, c. 1960s, no. GR TITSpit f216-3, p. 2 (mentioned). S. Lydakis, Geschichte det Griechischen Malerei des 19. Jahrhunderts, doctoral dissertation, Prestel-Verlag editions, Munich 1972, p. 235 (mentioned).The Greek Painters, vol. I, From the 19th Century to the 20th, Melissa editions, Athens 1974, p. 142 (mentioned).S. Lydakis, The History of Modern Greek Painting (16th-20th Century),The Greek Painters, vol. 3, Melissa editions, Athens 1976, pp. 363-365 (discussed), p. 193, fig. 291 (illustrated).A. Xydis, Propositions for the History of Modern Greek Art, vol. II, Olkos editions, Athens 1976, p. 15 (mentioned).M. Papanikolaou, Greek Genre Painting of the Nineteenth Century, p. 86 (mentioned), p. 183 (listed), fig. 17 (illustrated).T. Spiteris, Three Centuries of Modern Greek Art 1660-1967, Athens 1979, vol. III, p. 298 (mentioned). M. Kalligas, Nicholas Gysis, National Bank of Greece Cultural Foundation, Athens 1981, pp. 52, 217 (discussed).K. Didaskalou, Kompositionsentwurfe und Studienvon Nikolaus Gysis, Munich 1986, pp. 96-97.K. Didaskalou, Genre- und Allegorische Malerei von Nikolaus Gysis, doctoral dissertation, Munich, 1991, p. 39 (mentioned).N. Misirli, Gysis, Adam editions, Athens 1995, p. 98 (discussed), p. 370 (catalogued), p. 99, fig. 47 (illustrated).Epta Imeres - Kathimerini newspaper, Nicholaos Gysis, March 9, 1997, p. 4 (mentioned).Dictionary of Greek Artists, Melissa editions, vol. I, Athens 1997, p. 324 (mentioned).Nicholaos Gysis and his Era, exhibition catalogue, Elitrochos editions, Patra 1999, p. 19 (mentioned).Nicholaos Gysis 1842-1901, On the Occasion of the Centenary of his Death, 2001 Calendar, National Gallery and Alexandros Soutzos Museum, Athens 2000 (illustrated).Ellinomouseion, Six Centuries of Greek Painting, vol. I, Athens 2001, p. 120 (mentioned).K. Didaskalou, Gysis in Tinos, 100 Years from the Death of the Artist, exhibition catalogue, Panhellenic Sacred Foundation of the Evangelistria in Tinos, 2001, p. 63 (mentioned).S. Lagouros, Tinos, Art and Artists, Tinos editions, Athens [200-], p. 34 (mentioned), p. 9 (illustrated).F. Yiofyllis, Four Tinian Artists, Erinni editions, Athens 2003, p. 77 (mentioned).Y. Papaioannou, Nikolaos Gysis, Ta Nea editions, Athens 2006, p. 19 (mentioned).N. Misirli, Greek Painting 18th-19th Century, Adam editions, Athens 2006, p. 97 (discussed).A. Paka, Female Figures in Greek Painting from the Late 19th to the Early 20th Century: a Feminist Approach, doctoral dissertation, Aristotelian University of Thessaloniki, Thessaloniki 2012, pp. 142-146 (discussed), fig. 28 (illustrated).S. Kotidou, European and Greek Symbolism in Painting: Convergences and Divergences, doctoral dissertation, Aristotelian University of Thessaloniki, Thessaloniki 2015, p. 135 (discussed), p. 134, fig. 53 (illustrated).'Look how wonderfully the artist has painted this beautiful inspiration of his! The two women, exhausted from the long and uphill hike, have paused. The one looks upwards to the mountaintop where a monastery is perched like an eagle's nest. The other is the story's main character. The paleness of her face, her bare feet –those gentle feet that are probably bleeding from the sharp rocks– the candle, and the votive offering she's holding, indicate that she is the heroine of the scene –the one who fulfills her vow barefoot. The two women are silhouetted against a rocky mountain backdrop, whose precipitous side cuts through the horizon, allowing us only to see some traces of a distant beach and a few floating luminous clouds. The mother, with her one hand resting on the rock and the other embracing the young girl, turns her gaze to the Saint up there as if she is praying. What should one think of the young kore in the long dress? Did she just recover from an illness, or did the life of her first child was saved, and so she came to fulfill her vow? On the contrary, the offering she's holding in her hand suggests that some kind of erotic drama, some desire of the heart which was satisfied made her set out for the monastery she's about to ascend to.How many dormant emotions does this beautiful and Greek picture of Gysis evoke?'- Estia magazine, January 1, 1885.A masterwork of 19th century Greek genre painting and a milestone in Gysis's artistic development, the famed L'offrande is a picture of genuine Greek character, distinguished by romantic disposition, expressive power, and solemn grandeur. Alluring and psychologically acute, it shows no signs of idealisation, its beauty emanating from within, depending on the honesty of representation and genuineness of character. Warm, earthy colours and lively brushwork build up a vibrant and moving composition, while the generalised rendering and economy of detail point to the artist's concern with purely pictorial issues.The beautiful countenance of the young female figure, captured in profile and modelled by strong contrasts of light and shadow, has a sculpture-like immobility, recalling the timeless, idealised beauty of ancient Greek statues. Surrendering her individual specificity, the young Greek takes on a symbolic quality, enhancing the poetry of the scene. The painting is bathed in a warm light, casting the figures in relief and lending a glowing quality to their faces. Gysis often used two kinds of lighting in his paintings: a general, diffuse lighting and a local one that highlighted the figures or objects he wanted to be particularly pronounced.1 Here, to accentuate the dramatic effect, he used two local lightings, one for the monastery and the other for the young maiden's face. However, despite the suspenseful moment in the narrative, the painting conveys a sense of tenderness and affection, and displays a nightscape clad in the deep blues of the artist's native ... For further information on this lot please visit Bonhams.com
Lot 567
AN ART DECO DIAMOND AND ONYX DRESS SET CIRCA 1930the cufflinks with octagonal polished onyx panels each centred with an eight cut diamond, to a textured border, stamped 18ct, together with four matching onyx and diamond buttons, and a pair of dress studs, approximately 0.26 carats total, in an associated caseSIZE/DIMENSIONS: cufflink and button panels 1.3cm wide GROSS WEIGHT: 13.9 gramsCondition Report: The set has some light wear, no major chips, cracks or damage to the onyx panels, the diamonds are all present and correct. The button backs are base metal, the gross weight doesn't include the button backs. The box has damage to the top where tape has been put on the box and someone has tried to remove it, some signs pf use to the box, the cufflink securers are not in placeCondition Report Disclaimer
Lot 568
Y A PAIR OF ROSE CUT DIAMOND AND CORAL DRESS STUDSthe circular studs with a central circular cabochon coral within a surround of rose cut diamonds, with an associated Garrard & Co Ltd boxSIZE/DIMENSIONS: 7mm diameterGROSS WEIGHT: 3.4 gramsCondition Report: The corals may be later, the screw in stud fitting may have been later soldered on, the diamonds are all present and correctCondition Report Disclaimer
Lot 599
A 1970S SAPPHIRE AND DIAMOND CLUSTER DRESS RINGthe brilliant cut diamond estimated to weight 0.20 carats, within a surround of circular cut sapphires to a domed textured gold coloured setting, the shank stamped Plat 18ctSIZE/DIMENSIONS: finger size SGROSS WEIGHT: 8.9 gramsCondition Report: There is some wear to the high relief, and thinning to the claws. A couple of the sapphires have nibbling to the crown Condition Report Disclaimer
Lot 627
GRATIA SCOTT-OLDFIELD, AN 18 CARAT GOLD SPESSARTINE GARNET DRESS RINGthe oval cut garnet in six claw setting to bifurcated lobed shoulders, signed Gratz, with TJ Loughridge maker's mark and London 2000 hallmark, in a Gratz ring boxSIZE/DIMENSIONS: finger size JGROSS WEIGHT: 11.3 gramsCondition Report: Minimal wear, the garnet is bright and vibrantCondition Report Disclaimer
Lot 628
GRATIA SCOTT-OLDFIELD, A GREEN TOURMALINE AND RED JASPER DRESS RINGthe polished red jasper tapered shank with a central oval cabochon green tourmaline in a gold coloured collet setting, stamped 750SIZE/DIMENSIONS: finger size PGROSS WEIGHT: 9.3 gramsCondition Report: Minimal wear, finger size PCondition Report Disclaimer
Lot 630
GRATIA SCOTT-OLDFIELD, AN 18 CARAT GOLD PINK AND GREEN TOURMALINE AND CITRINE DRESS RINGthe broad band with a central cushion shaped cabochon tourmaline between two pear shaped cabochon pink tourmalines, with polished pointed cabochon citrine borders, signed Gratz, with TJ Loughridge maker's mark and London 1997 hallmark, in a fitted Gratz caseSIZE/DIMENSIONS: finger size O 1/2GROSS WEIGHT: 28.6 gramsCondition Report: Some light scuffs and scratches to the back of the shank from light use, one of the citrine tips has a small chip, a couple of others have a nibble to the tip, but the chips/nibbles only noticeable under magnification. Condition Report Disclaimer
Lot 638
GRATIA SCOTT-OLDFIELD, A BLUE TOPAZ AND ROCK CRYSTAL DRESS RINGthe carved and polished spiralling rock crystal shank with a central squared cushion shaped cabochon blue topaz within a polished gold coloured collet setting, stamped 750 SIZE/DIMENSIONS: finger size P 1/2GROSS WEIGHT: 13.9 gramsCondition Report: Minimal wear, unsignedCondition Report Disclaimer
Lot 639
GRATIA SCOTT-OLDFIELD, A PINK TOURMALINE, EMERALD AND CACHOLONG OPAL DRESS RINGthe polished, carved and tapered cacholong opal shank with a central heart shaped cabochon pink tourmaline and circular cut emerald cluster, stamped 750SIZE/DIMENSIONS: finger size QGROSS WEIGHT: 10.6 gramsCondition Report: Finger size N with protective coiled rubber backing, minimal wear, the emeralds are brightCondition Report Disclaimer
Lot 650
STEPHEN WEBSTER, A SPECIALLY COMMISSIONED YELLOW SAPPHIRE AND YELLOW STONE CLUSTER DRESS RINGthe rectangular facetted yellow sapphire estimated to weigh 9.50 carats, within a surround of calibré step cut yellow stones in illusion settings, London 2016 hallmark with maker's markSIZE/DIMENSIONS: Finger size L 1/2GROSS WEIGHT: 18.5 gramsCondition Report: The sapphire is an approximate weight due to closed back settings, some typical inclusions, including healed fractures, 18 carat gold setting has some light surface scuffsCondition Report Disclaimer
Lot 652
BUCCELLATI, A DIAMOND SET DRESS RINGthe textured broad band with a pierced section set with a row of brilliant cut diamonds, approximately 0.84 carats total, signed M. BUCCELLATI ITALY, stamped 750 with indistinct Italian control markSIZE/DIMENSIONS: finger size L 1/2GROSS WEIGHT: 7.8 gramsMario Buccellati is one of the most admired Italian goldsmiths of the twentieth century. He opened his first jewellery boutique in Milan in 1919. Buccellati pioneered unique gold engraving and texturing techniques which have remained the trade-mark of the firm's jewellery ever since.Condition Report: There is some slight tarnishing to the band, some very light surface wear to the back of the shank, the diamonds are bright and lively, colour estimated H-J, clarity VS, assessed in settings, signature clearCondition Report Disclaimer
Lot 670
BULGARI, A PERIDOT AND PINK TOURMALINE DRESS RINGthe front with three spaced bands, with oval cabochon peridot and tourmaline accents, stamped Bulgari Made in Italy 750, with Italian control marks, with a suede Bulgari pouchSIZE/DIMENSIONS: finger size LGROSS WEIGHT: 13.7 gramsCondition Report: Some light wear commensurate with use, surface scuffs, the peridot has a chipCondition Report Disclaimer
Lot 679
CARTIER, A MID 20TH CENTURY DIAMOND AND WHITE CERAMIC DRESS SETthe cufflinks with circular textured white ceramic panels within a border of eight cut diamonds, with baton connectors, signed Cartier Paris, numbered 01019, stamped with French poinçon, with four matching buttons each stamped Cartier Paris, with French poinçon, and two dress studs, one signed Cartier Paris, in a Cartier caseSIZE/DIMENSIONS: cufflink and button panels 1.3cm diameterGROSS WEIGHT: 23.5 gramsCondition Report: The ceramic panels have no cracks, a couple of the panels have rubbing to the textured decoration, there is some wear to the settings commensurate with use, one of the buttons signature has virtually rubbed off, but the connectors and loops don't have any noticeable thinning, the diamonds are all present and correct, the box may have been relinedCondition Report Disclaimer
Lot 647
ËœA PORTRAIT MINIATURE OF A LADY, ENGLISH SCHOOL, CIRCA 1790 wearing a white dress, on ivory, the glazed reverse with plaited hair border and hair-work wheat-sheaf on opalescent glass, gold frame, 6.8cm oval; together with a memorial miniature to Ann Mace, dated 1796, painted with a grieving maiden by a tomb, on ivory, blue glass reverse with central hair reserve, gilt-metal frame, 6.2cm oval (2)
![[GP] "ODEONESQUE" GOLD DRESS RING, FRENCH, 1940s designed as a stylised bow, French assay marks for 18 carat gold and makers](https://cdn.globalauctionplatform.com/135c58ee-6ca3-4812-b0ca-adcc010525c3/303ad4f5-fb8e-469a-8321-addb0108c746/468x382.jpg)
Lot 499
A MEISSEN GROUP OF LOVERS, CIRCA 1900 after the model by Johann Joachim Kändler (1706-1775), showing the couple seated in an embrace before a tree, he in a puce coat, she in a dress scattered with "indianische Blumen", underglaze blue crossed swords, incised 612, impressed 144 18cm high, some restoration
Lot 506
A BOW FIGURAL SALT (OR SWEETMEAT) DISH, CIRCA 1760 modelled as a seated woman in "Turkish" dress holding a flower-painted shell-shaped dish which rests on a shell and coral encrusted outcrop, her tall yellow headdress above a white coat, flowered white dress and puce pantaloons 15.5cm high, some restoration For another very similar Bow dish see the Victoria and Albert Museum No. 414:188-1885. The museum"s online entry states: |This Bow model is derived from one made by Chelsea or from the latter"s Meissen prototype, which was probably modelled by J.F. Eberlein in 1746. Among the invoices submitted to the Bow factory in 1759-60 for enamelling carried out by Richard Dyer "at Mr Bolton"s, Enameller near the Church, Lambeth" are some that mention "Turk salts".| The model, sometimes titled "Levantine Lady", occasionally may be found accompanied by a male "Turkish sweetmeat figure", see The Doris Duke Collection, Christie"s, New York, 3-5 June 2004, lot 368.
Lot 286
Ladies first quarter of 21st century Longines hallmarked 18ct gold dress watch with gold hands to a mother of pearl dial with diamond set batons, diamond set bezel, total diam 20mm, various stamps to back including '18 carat, Longines, Swiss made' and numbered 31212559, mounted on a heavy quality gate style flexible bracelet with integral catch, watch case and bracelet both stamped with control marks for 18ct gold, g/w 52.5gms
Loading...-
228188 item(s)/page