There are 228098 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeAn interesting Regency porcelain bowl printed with two chariots, one pulled by sheep having a man perhaps from the aristocracy of the time, the other side with a woman in the chariot pulled by two birds, a Barr Worcester coffee can with a man and a woman in classical dress and a Flight Barr and Barr can with roses
Szczygielski, Max Franz (1886 Berlin - 1958 ebenda)"Bäuerin im Sonntagsstaat". Öl auf Leinwand, erste Hälfte 20. Jh. Unsigniert. Rückseitig auf Etikett handschrifllich betitelt und künstlerbezeichnet (wohl vom Künstler selbst). Gerahmt. 42 x 36 cm (Ra). An einer Stelle leicht berieben. Nahsichtige Schilderung einer älteren Dame in bäuerlicher Festtagstracht mit Gesangbuch. Lady from the countryside in Sunday dress. Oil on canvas, first half 20th century. Unsigned. Backside on handwritten label titled and with remark on artist (pres. by the artist himself). Framed. In one small part a bit rubbed.
Unbekannter Künstler, 20. Jh.Bildnis einer Dame in Violett mit Blumenstrauß. Öl und Kohle (?) auf Malpappe, 1975. Schwer lesbar signiert (Dieter Poesgen ?) und datiert unten rechts. Rückseitig von unbekannter Hand bezeichnet, Auktionsetikett Christie's. Ungerahmt. 57 x 47 cm. Etwas berieben. Interieur mit Frau und farblich abgestimmtem Blumenschmuck in ungewöhnlichem, pastellhaften Farbauftrag. Unknown artist, 20th century. Portrait of a Lady in violet with flowers. Oil and charcoal (?) on cardboard, 1975. Hard to read signed and dated bottom right. Backside with remarks by unknown, auction label Christie's. Unframed. A bit rubbed. Interior with a Lady in dress that matches the colours of the bunch of flwoers behind her. Unusual colouring.
JEWELLERY - 3 X 9 CARART GOLD & AMETHYST COLOUR STONE RINGS 3 9 carat gold dress rings, all set with amethyst colour stones. The cluster ring and the Art Deco ring are paste but the 3rd ring is set with amethysts and diamond chips. Some bending to the shank on the Art Deco style ring, otherwise very good condition. 7 grams total weight.
Ca. 618-907 AD A terracotta figure of a female dancer depicted in dynamic, dancing movement. The lady wears a long flowing dress with a red bodice, and a green shawl. Her hands are hidden in sleeves. Her upper body is slightly bent to the side, with her right arm up in the air, indicating motion. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Size: L:325mm / W:175mm ; 1.09kg Provenance: Property of London Art gallery; formerly in a Somerset estate collection, acquired in Hong Kong in the 1980s-90s.
Ca. 618-907 AD A delicate figure of a female dancer wearing a long flowing gown with her hands covered in sleeves. The top of her dress is red, and a long shawl hangs from her left shoulder. Her upper body is slightly bent to the side, with her left arm up in the air, indicating motion. The dancer herself is carefully modelled, with her hair done up, red pursed lips, delicate brows, and smiling eyes. Dance as an art form reached its peak in China during the Tang Dynasty, which is now known as the golden age of Chinese music and dance. Indeed, during this time The Great Music Bureau was created as a means through with to train musicians and dancers for the imperial court. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Size: L:320mm / W:160mm ; 1.08kg Provenance: Property of London Art gallery; formerly in a Somerset estate collection, acquired in Hong Kong in the 1980s-90s.
Ca. 618-907 AD A delicate figure of a female dancer wearing a long flowing gown with her hands covered in sleeves. Her dress is red, covered with a white shrug and a long green shawl hangs from her right shoulder. Her upper body is slightly bent to the side, with her right arm up in the air, indicating motion. The dancer herself is carefully modelled, with her hair done up, red pursed lips, delicate brows, and smiling eyes. Dance as an art form reached its peak in China during the Tang Dynasty, which is now known as the golden age of Chinese music and dance. Indeed, during this time The Great Music Bureau was created as a means through with to train musicians and dancers for the imperial court. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Size: L:350mm / W:130mm ; 985g Provenance: Property of London Art gallery; formerly in a Somerset estate collection, acquired in Hong Kong in the 1980s-90s.
Ca. 618-907 AD A delicate figure of a female dancer wearing a long flowing gown with her hands covered in sleeves. The top of her dress is red, and a long pink shawl hangs from her right shoulder. Her upper body is slightly bent to the side, with her right arm up in the air, indicating motion. The dancer herself is carefully modelled, with her hair done up, red pursed lips, delicate brows, and smiling eyes. Dance as an art form reached its peak in China during the Tang Dynasty, which is now known as the golden age of Chinese music and dance. Indeed, during this time The Great Music Bureau was created as a means through with to train musicians and dancers for the imperial court. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Size: L:325mm / W:190mm ; 1.11kg Provenance: Property of London Art gallery; formerly in a Somerset estate collection, acquired in Hong Kong in the 1980s-90s.
Ca. 618-907 AD A ceramic figure of a female attendant standing facing forward, with ewer in her right hand. She wears a long-sleeved, loose-hanging robe with a brown skirt and red bodice, which is covered by a green shawl around her neck. The dress is embellished with delicately detailed upturned shoes. The facial features, such as the eyes, lips, nose, and eyebrows are picked out by delicate painting. An elaborate coiffure crowns her face. For similar style holding ewer see The Metropolitan Museum of Fine Art 1997.442.7.1. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Size: L:350mm / W:95mm ; 1kg Provenance: Property of London Art gallery; formerly in a Somerset estate collection, acquired in Hong Kong in the 1980s-90s.
Jan Boeckhorst came from Munster, Germany, but from 1626 he lived in Antwerp, where he was admitted to the Guild of St. Luke in 1633/1634. He collaborated with Rubens on his large commissions. Between 1635-1637, he made a trip to Italy.The Queen of Sheba, accompanied by several court ladies, kneels before Solomon's throne and points to the gifts she brings to the famous king; golden vessels and jewels. The white silk dress and blue coat set her apart from the other muted characters. The beautiful faces of the court ladies standing around the queen are painted with special care. King Solomon, depicted at a young age, asks what the remarkable visitor wishes. King Solomon is surrounded by his advisors, wise old men with beards, one of whom looks at the viewer on the left. The composition, with columns and architecture in the background, is inspired by Venetian painting. An 18th-century painting by Balthasar Beschey of the same subject shows a similar composition. Both works were perhaps inspired by a common pattern. Certificate written by Dr. Klaus Ertz 118.5 × 170 cmOil on canvas
This painting is a clear reference to the more famous "Madonna of the Belvedere" by Raphael Sanzio (now preserved in the Kunsthistorisches Museum of Vienna). Immersed in a vast lake landscape with a particularly high horizon, we find a seated Madonna holding the Baby Jesus, who seems to be taking the first uncertain steps towards little John, who is kneeling on the left offering a processional cross, his typical attribute. In the gesture of Jesus, who takes hold of the cross, there is a reminder of the fate of his martyrdom.The loose and pyramidal composition, with the protagonists linked by a chain of glances and gestures, is clearly based on Leonardo's models, such as the Holy Family with Saint Anne. The author focused on portraying affection, a sense of calm and spontaneous familiarity, without the traditional melancholy of the Virgin Mary, which foreshadows the tragic fate of her son.The typical red color of Mary's dress represented Christ's Passion, and the blue represented the Church. There is a distinct contour line between the figures and the landscape, which, unlike Leonardo's painting, is placed in the background. Among the various carefully depicted botanical species, another stylistic motif derived from Leonardo stands out, the red poppy. The color is also a reference to Christ's passion, death and resurrection.101 x 71 cmOil on canvas
The pair of paintings is a faithful copy of Raphael's work on the vault of the Chamber of Signatures, in the Vatican, where he depicted four medallions with personifications of the sciences and arts. The female figures are flanked by cherubs and sit on clouds, in reference to their celestial, or spiritual dimension. Their belonging to the sphere of ideas is also indicated by the golden background, associated with divine light, and the higher world.The generic and idealized features of these figures underline their abstract nature, but each of them displays a different temperament thanks to different combinations of colors, and differences in movement. The effect of spontaneity of movements and attitudes makes these allegories far from the traditional rigidity of the sign; they seem lively and light.Our paintings depict poetry and theology. The poem is depicted as a woman wreathed in laurel and with outstretched wings, referring to the freedom of the imagination. She is wearing a white dress, with a green cloak draped over her hips and resting on her lap. She is sitting on the clouds. She is pink, and has a dynamic and theatrical pose; her body is turned, her legs are crossed, arms outstretched. He rests his left arm on an ancient marble head, and holds a lyre. He supports a book with his outstretched right arm. It is flanked on the sides by two naked and winged cherubs, who support two signs with the inscription: 'NUMINE AFFLATUR' referring to creative energy and the rush of inspiration.The Tondo with Theology, or Science of Divinity ("Divinarun rerum notitia") shows a female figure with a flowing white veil, a red dress and a green mantle; colors full of meaning. They are actually associated with the theological virtues: Faith (white), Hope (green) and Love (red). The color symbolism also seems to be related to the elements: Water (green), Air (white) and Fire (red).On the left he holds a book of theology, and on the right he points to a scene painted on the wall with the inscription, “Controversy about the Sacrament.” She is flanked by two winged cherubs in short, and very dynamic white tunics, in a dancing pose.162 x 162 cmOil on canvas
The portrait shows a noble gentleman in a casual, silk dressing gown (morning robe), called a robe de chambre in French. He looks at the viewer in a friendly, yet somewhat distant way. He has a high powdered wig on his head. The flushed cheeks point to the liveliness and hedonistic nature of the portrait subject. A voluminous scarf wraps around his neck and chest. It is said that this type of clothing (banyan) was especially popular with intellectuals, who often had themselves painted in it. Benjamin Rush (1745/46–1813) wrote: "Loose dress contributes to the easy and vigorous exercise of the powers of the mind. This observation is so obvious and so generally known that we find thoughtful men always painted in dress when sitting in their libraries." The color of the dress in our portrait is very restrained, designed in a purple-gray tone, so that the face, with red tones, stands out as the main accent.Oil on canvasSize 80 × 65 cm
Two French jacquard silk tapestry pictures. After Louis Leloir, probably by Neyret Freres, late 19th/early 20th century. Decorated with a banqueting scene and another with a painting scene in black, silver and white thread, all figures in historical dress, signed Louis Leloir, in reeded ebonised frames, 26.5cm x 17cm exc. frame
Group of mixed ceramics to include a pair of late 19th Century Doulton Lambeth tapering vases with relied beaded decoration, cobalt blue glazing and floral bud embellishments, produced by Geo. Tinworth & Eliza Hubert, stamped 1878 to base, approx 12.5cm high, together with 3 x Chelsea porcelain figures in 18th Century dress, with gold anchor marks, an early 19th Century Crown Derby twin-handled urn-shaped vase and a pair of 20th century porcelain cruets with silver-plated tops and printed monograms to base
Pair of Chelsea style porcelain figures in 18th century dress with floral and gilt decoration, to include a young man carrying a watering can and a young lady with flower caught in her dress, approx 27cm and 28cm high respectively, together with a white porcelain figure of an 18th century gentleman with a basket in both hands and a porcelain lid with 2 putti, one holding a basket of flowers
A lady's blue stone dress ring, having a line of oval blue stones (3 x 4 mm) set in a gallery between open tapering shoulders, Sheffield, 1996, and a lady's blue and white dress ring, having three blue stones (approximately 3 mm) separated by four small white illusion set stones, set in a gallery between tapering shoulders, Sheffield, 1993, sizes S 1/2 and N respectively, 3.91 g gross
A lady's blue spinel and diamond dress ring, having an illusion set diamond surrounded by six brilliant cut blue spinels, set on an unusual gallery formed from six upswept crescents, between tapering yellow metal shoulders (test as gold), and a lady's pearl dress ring, having three 4.5 - 5 mm pearls set between a tapering shoulder and a bifurcated tapering shoulder, marked '9ct', size Q / R and O respectively, 4.16 g gross
Loading...
