Follower of Sir Thomas Lawrence PRA FRS (1769-1830) Portrait of Lady Bateman, half length, wearing a lace veil and a string of pearls Portrait of Sir Hugh Bateman Bt., half length, seated in a red upholstered chair, wearing a black jacket and white cravat Oil on canvas, 73cm by 60.5cm and 63cm by 60.5cm respectively (2) Provenance: Tennants Auctioneers, Summer Fine Art Sale, 22nd August 2011, Lot 760 See illustration . gentleman is in restored condition, relined, cleaned and re-varnished some time ago. varnish discoloured and deteriorated with opaque quality most evident within the background. varying sized craquelure to surface, minor rubbing/abrasions to some edges. little to discern under a UV light but this does not exclude the possibility of some restoration.. Lady Bateman : broadly in comparable condition to Sir Hugh Bateman excepting deep cracking and crasing within paint and bitchumin mostly within upper 50-60% excluding flesh-tones of the face. evident old infilling to the mentioned areas which has deteriorated. scuffs/abrasions, minor losses mostly in vertical formation between empire line of dress. framed ensuite.
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A ''Dapper Dan'' Ventriloquist's Dummy, with articulated jaw, wearing evening dress, 60cm high; Another Ventriloquist's Dummy, with painted wooden head, 49cm high; and A Painted Composition Ventriloquist's Dummy Head, with articulated jaw and glass eyes, wearing a Black Forest type felt hat, 53cm (3)
A Pair of Chinese Carved Gilt and Polychrome Figures of Dignitaries, 17th century, each wearing formal robes, one sitting on a rocky outcrop, the other on a throne, on stepped square bases and bracket feet, 33.5cm and 32cm high. One missing head dress, some surface losses and age related splitting throughout, both with typical minor losses
British School (18th century) Portrait of a lady, half length, wearing a white dress with blue overcoat trimmed with ermine and flowers pinned to her hair, standing in a landscape Oil on canvas, 74cm by 61cm See illustration. in fully rtestored condition. stiffly relined, cleaned and high gloss varnish. surface somewhat flattened , slight stretcher shadow. surface dirt and discoloured varnish. minor wear to edges especially the left hand side. reasonably sporadic retouching to the sitters face, notably to her left hand cheek. shadows around her neck, chin etc have also been strengthened and there are two to three patches to her chest area of retouching. the greys to describe the darker parts of her ermine are strengthened. as is a degree of the general definition within her bodice and pink waisttie and also folds within the blue of her wrap on her left hand side. background generally strengthened. areas of stable craquelure.
Follower of Sir Godfrey Kneller (1646-1723) Portrait of Mrs James, the only daughter of Sir Thomas Wyndham Bt., head and shoulders wearing a lilac dress with white chemise and red silk shawl, in a feigned oval Oil on canvas, 73cm by 61cm Provenance: Tennants Auctioneers, Summer Fine Art Sale, 13th July 2012, Lot 373 See illustration . in restored condition, relined, cleaned and revarnished of some age. surface slightly flattened from restoration porcess. paint thin in places most notably in costume. slight stretcher shadow. varnish has deteriorated and is discoloured and showing as slightly opaque particularly within the area above the ladies head. small abrasion to canvas approx 1cm from lower edge and 7cm right of centre. odd further superficial scuffs/abrasions. there is lttle to discern under UV light but doesnt rule out the possibility of further restoration. in reasonable and stable condition.
After Houdon: A Gilt and White Painted Composition Bust, early 20th century, of a maiden in Art Nouveau style, her hair up in a scarf, signed Houdon 100, 59cm highMarks to hands are dirt. Some pain loss under chin lower neck area. Various small paint chips to gold painted areas of her dress. No damage to report.
French School (18th century) Portrait of a lady, half length, wearing a blue velvet dress trimmed with lace, a gold embroidered red silk shawl and a jewel encrusted blue ribbon to her hair Oil on canvas, 74cm by 58cm See illustration Provenance: Christies Interiors, Masters and Makers, Lot 256, March 6th, 2012 . old reline clean and re varnishing. two broadly triangular shaped patches of consisitent overpainting and retouching to both upper corners and along upper edge. further general strengthening to background right hand side. the central parting and definition within the hair on both sides displayes signs of retouching and overpaint with some more delicate strands of hair also strenghtneed. the lid and lower part of her left eye has been retouched in addittion to the majority of her chin and left hand side cheek. more delicate and sporadic infilling to minor parts of her chest area. left hand side lapel is mopstly overpaintined, in addition to left hand side shoulder and a good amount of the darker tones and drapery of her costume.lower right hand corner broadly overpainted. craquelure throughout which is more pronounced in places especially across chest area. stretcher shadow. surface abraded. surface dirt and discoloured varnish. damage to frame lower edge just right of centre approx 1cm in length. minor knocks and abrasions to frame. some evidence of old losses can be seen with the naked eye.
William Shuter (fl.1771-1779) Portrait of a young lady, half length, wearing a pink silk dress and a green wrap with a feathered and blue ribbon hair decoration Signed and dated 1787, oil on panel, 23.5cm dia. (oval) Provenance: William Rockhill Nelson Gallery of Art, Atkins Museum of Fine Arts, Kansas City, Missouri (as John Opie); Wilkins and Wilkins, London; Christie's, The Duarte Pinto Coelho Collection, 20th July 2011, Lot 481 See illustration . cleaned and revarnished. small nic to out edge. varnish slightly deterioating and showing slightly opaque around some of the minor and sporadic retouches and infilling within the background, ladies hair, length of nose, very small amounts of the shadowing in the costume, lower edge centre etc. some minor rubbing to edges, otherwsie in a good state of preservation. stable craquelure throughout. light surface dirt.
Circle of John Downman ARA (1750-1824) Portrait of gentleman, half length, in a grey coat with striped lining and white jabot, wearing a powdered wig Portrait of a lady, half length, wearing a white satin dress, trimmed with lace and a powdered wig Oil on canvas, 29cm & 28.5cm dia. (oval) respectively (2) Provenance: The Caroll Gallery, London (as John Opie); The collection of William Rockhill Nelson Gallery of art, Atkins Museum of Fine Arts, Kansas City Missouri (as John Opie); Christie's London, 9th February 1990, Lot 122 (as circle of John Downman); Wilkins and Wilkins, London (as French School); Christie's, The Duarte Pinto Coelho Collection, 20th July 2011, Lot 480 See illustration. Old relining. scattered retouching particularly noticible to edges of canvas and ladys neck and bust area. 3 large scratches and areas of paint los above ladies head. pin spots of paint loss.but in overall good condition. various labels verso. frames in good order.
A brodée Grand Cross Breast Star, 85 mm, to be sewn on the dress: five pointedstar made of interwoven, silver round paillettes; intermediate rays of silverflat and twisted wire; centre medallion in gilt silver with two green enameled laurel wreaths signifying the union of the reigns; blue enamelled outercirclet with inscription “JOS. NAPOLEO SICILIARUM REX INSTITUIT”; reversewith thin paper backing.A star of great rarity, with small signs of use.This order was instituted by Joseph Napoleon, (brother of the Emperor)once established on the Neapolitan throne, as a reward for outstandingmerits; it underwent changes when Joachim Murat succeeded to thethrone and, once re-established the Bourbones’ dynasty, it was abolishedin 1819, being still used for a short time, then “adapted” with the Bourbonefleur-de-lys, instead of the imperial eagle. I RR!
An early 1st Class Set of the Type awarded in 1904–1914: sash badge, 78x48 mm, in gilt Silver, white enameled cross’s arms, flanked by highly polished,gilt beams; centre medallion with the Serbian coat-of-arms on a blue enameled background; white enameled medallion’s outer circlet with the Cyrillicmotto “for the Faith and Freedom”; reverse centre medallion with the Serbian double eagle in gilt silver with enameled details, on dark red enameledbackground; blue enamelled outer circlet with the Cyrillic name of the King Petar I and the date of institution “1904” in gold lettering; upper loop astwo crossed ribands, with hinged royal crown, enriched by polychrome enameled “jewels”; with original sash adapted for wear with the court dress;breast star, 94 mm, with chiselled and pierced rays; the centre in gilt silver and enamels, as the badge’s obverse; the reverse with reinforced star’s tips(the lower, with Austrian “A” and silver marks), four retaining nuts and vertical pin, this, struck with two “A”, “G.A. SCHEID WIEN” and a French “swan”mark for pieces passed in auction.A rare set, extremely fine condition.This order was the first, created by the new dynasty after the coup-d’état of 1903 that, with the assassination of the Obrenovic royal couple, abruptlychanged the history of Serbia.The G.A. Scheid firm of Vienna created the prototypes of this award and was its best producer, ending to provide the insignia at the outbreak of the First World War.I RR!
A Grand Cross Set: sash badge in gold; 92x48 mm, the cross’s arms with dark green, translucent enamel on a finely chiselled ground; the obverse centre medallion with the white enameled double cross, sided by the gold letters “M” and “T” (for Maria Theresia, founder of the Order) on a field of translucent red enamel, rising from a chiselled pointed crown resting on the green enameled three mounts; white enameled outer circlet with the order’s motto “PUBLIC UM MERITORIUM PRÆMIUM” (A Prizeof Civil Merits); reverse medallion with abbreviated inscription “STO. ST.RI. AP.” (Sancto Stephano Regi Apostolico = To Saint Stephen, The Apostolic King) in gold lettering on white enameled field, within the outer circlet chiselled with oak leaves under translucent, green enamel; circular upper loop struck with the lozenge-type mark “F.R” of Rothe, Vienna and a gold mark; the royal Hungarian “sacred crown” of St. Stephen with mirror-polished details and fixed upper ring, struck with the samemarks as the cross’s loop; grooved and pearled suspension ring; with its original, shortened sash (for wear on the court dress) with rosette; breast star in silver, 88,5 mm, with typical, Austrian brilliant-cut and pierced rays; centre medallion in gold with separately-made white enameled double cross, sided by the finely chiselled, applied gold letters “M” and “T” on a convex field of translucent red enamel, rising from a chiselled, lilied crown resting on the green enameled three mounts;white enameled outer circlet with an applied, golden oak wreath with green enameled leaves; the reverse with broad, convex centre disc struck with the early “ROTHE” a hexagonal “Diana’s Head” silver mark and a “900” control mark; vertical pin, struck with “C.F. ROTHE” “WIEN” marks and “Diana’s Head” and a “900” silver control marks.A beautiful, important and very rare set, extremely fine condition.The St. Stephen Order was founded in 1764 by Maria Theresia, to create a specific, chivalric order to reward civil merits, following the creation, dating back to 1757, of the Military Order of Maria Theresia.While the lower two classes were destined to civil merits only, the Grand Cross had a high, state and diplomatic significance, being awarded to highest ranking, foreign sovereigns and dignitaries, s. as the Tsars, the British sovereigns, Napoleon I, Napoleon III, French Marshals like Ney (and his son Joseph-Napoléon), etc.
GIUSEPPE NUVOLONE(1619 Mailand 1703)Porträt eines jungen Mädchens im roten Kleid.Öl auf Leinwand.201 × 118 cm.Provenienz:Europäischer Privatbesitz.Literatur:- Franco Moro: Scheda in L’anima e il volto. Ritratto e fisiognomica da Leonardo a Bacon, catalogo della mostra a Palazzo Reale di Mailand, Mailand 1998, S. 205.- Filippo Maria Ferro: Nuvolone una famiglia di pittori nella Milano del ‘600, Soncino 2003, S. 247, g 48, Abb. 99b.- Franco Moro: Scheda in Piacenza, terra di frontiera: pittori lombardi e liguri del Seicento. Dipinti e disegni inediti, catalogo della mostra a cura di Franco Moro, Piacenza 2010, S. 81. GIUSEPPE NUVOLONE(1619 Milan 1703)Portrait of a young girl in a red dress.Oil on canvas.201 × 118 cm.Provenance:European private collection. Literature:- Franco Moro: Scheda in L’anima e il volto. Ritratto e fisiognomica da Leonardo a Bacon, catalogo della mostra a Palazzo Reale di Mailand, Mailand 1998, p. 205.- Filippo Maria Ferro: Nuvolone una famiglia di pittori nella Milano del ‘600, Soncino 2003, p. 247, g 48, fig. 99b.- Franco Moro: Scheda in Piacenza, terra di frontiera: pittori lombardi e liguri del Seicento. Dipinti e disegni inediti, catalogo della mostra a cura di Franco Moro, Piacenza 2010, p. 81.
A Selection of Leather Suits and Dresses, including L'Estelle shirtwaist style dress, in khaki (size 12), another in purple leather and suede (size 12) and a black leather skirt suit, a Cibi turquoise dress, lilac skirt suit and a wine skirt suit and Chewitt tan suit, all approx size 12. (7)
A c.1960's/70's Jacques Heim Couture Evening Dress and Jacket, in gold silk satin, the fitted sleeveless dress with heavily beaded bodice and matching belted jacket; A Joan Leslie Emerald Crepe Evening Gown, with pleated long sleeves bodice and full skirt and a Dejue (Paris) black velvet evening cloak. (3)
K.B 241 GERMAN BISQUE HEAD BABY DOLL, c. 1910, with jointed composition body, weighted blue glass eyes, open mouth, head marked 'Germany KB 241-6', in ivory silk dress with cream cardigan, various other knitted accessories, 50cms tall Condition Report: toes, heels and fingertips worn/chipped, joints loose, head with some superficial crayon marks.
Premier picture paper, Daily Sketch - A 20th Century oil on board painting artist's impression of a traditional vintage advertising enamel sign. Red border with yellow font, depicting a woman in a blue dress and red hat sat on a rock at the beach holding up paper that says Daily Sketch. Reads "There first". Measures approx. H71cm x W51cm
WW2 pattern RAF Officers Economy Cap Badge, together with a padded Royal Air Force Pilot's Wings with cloth back, a cap badge, a similar pilot's wings, two epaulettes and a two bar stripe, a Queen Elizabeth II medal and corresponding dress miniature medal, two buttons with eagle insignia, and two boxed Ocean Cruising Club Award medallions (13)
LÉONARD TSUGUHARU FOUJITA (1886-1968)Nature morte à la couture signed and dated 'Foujita, 1929' and further signed in Japanese (lower left)oil on canvas16.3 x 22cm (6 7/16 x 8 11/16in).Painted in 1929Footnotes:The authenticity of this work has kindly been confirmed by Madame Sylvie Buisson. This work will be included in Vol. IV of the Léonard Tsuguharu Foujita catalogue raisonné currently being prepared.ProvenanceGalerie Colette Weil, Paris. Private collection, France (acquired from the above in 1929).Thence by descent to the present owners.ExhibitedParis, Musée Maillol, Foujita, peindre dans les années folles, 7 March – 15 July 2018, no. 101.During les Années folles in Paris, there were many colourful figures who lead the avant-garde artistic scenes of Montmartre and Montparnasse, but few as flamboyant and recognisable as Léonard Tsuguharu Foujita. Arriving from Japan just before the First World War, Foujita threw himself into the fashionable circles of Parisian life throughout the twenties, and became known for his unique dress sense as well as for his ethereal and other-worldly canvases. Foujita designed and made his own clothes, and would often be spotted at Brasserie La Coupole with his fellow artist Kawashima in matching couture. Foujita famously stayed up all night creating a beautiful blue silk blouse for the artist and model Fernande Barrey: his creation won the affections of the beautiful Barrey, who he would go on to marry. Painted the year after their divorce, Foujita here depicts the tools of his passion for dress-making: the buttons, threads, scissors and thimble. They are displayed with a solemn contemplation, not just scattered tools but holy relics. Foujita imbues the objects with a loftiness worthy of the traditional subjects of still-life painting, like freshly cut flowers or abundant fruits. He communicates clearly his affection for the collection of precious sewing implements, enveloping them in the same careful grey and black sfumato that the artist used at this time for his monumental nudes.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
TWO JOHN LETTS LIMITED EDTITION SCULPTURES: 'Pas de Deux' numbered 147/250, 30cm high; and 'Zephyr' numbered 119/250, 21cm high, both with Certificates of Authenticity Condition Report : foot broken and re-glued to Pas de Deux; there are some minute nibbles to the frill of the dress on Zephyr Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Irish School (20th century) - study of a girl carrying flowers in a sunlit landscape wearing a yellow dress and bonnet, indistinctly signed, possibly a Youngavarney, oil on panel, 13.5" x 10.25" *The picture bears a frame maker's label verso for Rooths Market Street, Bradford on Avon, Wiltshire BA15 1LL
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