There are 71174 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeJames McBey (1883-1959) - 'Farewell to Venice', signed artist's proof, number 57/80 also inscribed within the plate and dated 22nd October 1923, black and white dry point etching, 10" x 17.75" (pl) ** Hardie/Carter, 256 The work is sold together with a copy of the original receipt from Garton & Co., Print Dealers and Publishers, dated 25th April 2001, the original cost price £3000
James McBey (1883-1959) - 'The Mid Day Holt', signed artist's proof also numbered in Roman numerals XVII, and inscribed within the plate Sinai and dated July 1917/ 1919, black and white dry point etching, 7" x 13" ** The work is sold together with a copy of the original receipt from The Fine Art's Society Plc., 148 New Bond Street, London, W1Y 0JT, dated 9th April 1997, the original price £240
Patrick Procktor RA (1936-2003) - Suite of three limited edition prints from The Rhyme of The Ancient Mariner, plate's three, four and eight, 'and We Did Speak Only To Break The Silence of The Sea!', 'The Very Deep Did Rot', and 'The Water - Snakes', from an edition of 75 hard-ground etching and aquatint, each 13.5" x 10.5" (pl), overall size 25.75" x 19.5" ** Published by Editions Alecto in 1976 ** The works are sold together with a copy of the original art guidelines invoice dated 30th May 1990, the original cost price £1397.25
Sir Terry Frost R.A. (British, 1915-2003)Tolcarne Rhythm acrylic and collage on canvas205.7 x 144.8 cm. (81 x 57 in.)Painted in 1998Footnotes:ProvenanceWith Flowers East, LondonThis composition was translated to an etching and aquatint by the same title (Kemp 184) which was published in 1998 in support of the Big Issue, with related compositions to include Lilac and Red Tolcarne (1999) and Tolcarne Moon Blue, Newlyn (1997), all named for the pebble beach at Newlyn, home of Frost's studio from 1974 onwards.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
Constantinos Parthenis (Greek, 1878-1967)L' Apothéose de Athanassios Diakos signé 'C. Parthenis' (en bas à gauche) huile sur toile117.5 x 117cm (46 1/4 x 46 1/16in).Peint vers 1927 signed and dated (lower left) oil on canvasFootnotes:ProvenanceSpyros Loverdos collection, Athens.Thence by descent to the present owner. ExposéVienna, Vienna Academy of Fine Arts, Foundation for Hellenic Culture, Konstantinos Parthenis, Vienna-Paris-Athens, retrospective exhibition, April 28 - May 14, 1995, no. 20 (discussed, pp. 28-29, 90, and illustrated in the exhibition catalogue, p. 91). LittératureI. Chadjiioannou, Panhellenic Album of National Centennial 1821-1921, The Golden Bible of Hellenism, vol. IV, Fine Arts, Nea Elliniki Ios editions, Athens 1927, p. 160 (shown in a photograph with the artist in his home studio).C. Parthenis, 1964 Calendar, Heracles-Olympos General Cement Company, Athens 1963, p. 31 (illustrated).Ellinika Themata magazine, no.2, 1966, p. 105 (illustrated).Eikones magazine, no. 537, February 4, 1966, p. 44 (mentioned).Tachydromos magazine, no. 730, April 5, 1968, pp. 58-59 (illustrated).The Greek Painters, 20th Century, vol. 2, Melissa editions, Athens 1975, no. 33, p. 26 (discussed), p. 48 (illustrated).S. Lydakis, The History of Modern Greek Painting (16th-20th Century),The Greek Painters, vol. III, Melissa editions, Athens 1976, pp. 370-371 (discussed), fig. 634, p. 369 (illustrated).S. Lydakis, Dictionary of Greek Painters and Engravers, vol. IV, Melissa editions, Athens 1976, p. 335 (illustrated).Eleftheri Yenia magazine, no. 11, March 1977 (cover illustration).T. Spiteris, Three Centuries of Modern Greek Art 1660-1967, Athens 1979, vol. II, p. 57 (illustrated). C. Christou, Greek Painting 1832-1922, National Bank of Greece edition, Athens 1981, pp. 111 (mentioned), 161 (listed), 113 (discussed).Modern Greek Culture 1832-1982, Malliaris-Paideia editions, Athens 1983, vol. 1, p. 169 (mentioned). E. Georgiadou-Kountoura, Religious Subjects in Modern Greek Painting 1900-1940, doctoral dissertation, Thessaloniki 1984, p. 108 (mentioned).A. Kotidis, On Parthenis, University Studio Press, Thessaloniki 1984, p. 35, n. 41 (mentioned).L'Art Contemporain et le Monde Grec, Actes du XVIIIe Congrès de l'Association Internationale des Critiques d'Art (AICA), Greece 1984, p. 150 (mentioned).Synchrona Themata magazine, no.35-36-37, December 1988, p. 59 (illustrated).M. Tsikouta, Les Influences dans la Peinture Grecque après 1945, doctoral dissertation, Universite de Paris-Sorbonne, Paris, 1991, illustrations vol. I, fig. 6 (illustrated). A. Kotidis, Modernism and 'Tradition' in Greek Art of the Interwar Period, University Studio Press, Thessaloniki 1993, pp. 228-231 (discussed), p. 231, fig. 162 (illustrated).E. Papaspyrou-Karadimitriou, Thanassis Diakos in Art, Historical and Ethnological Society of Greece edition, Athens 1996, p. 84 (discussed), p. 85, fig. 51 (illustrated).E. Matthiopoulos, Greek Participation in the Venice Biennales 1934-1940, doctoral dissertation, vol. III, Rethymno 1996, pp. 820, 822 (mentioned).C. Christou, Greek Art, 20th Century Painting, Ekdotike Athenon editions, Athens 1996 (cover illustration).A. Saragiotis, Greek Symbolism, (doctoral dissertation), Thessaloniki 1999, p. 109 (discussed), fig, 250, p. 402 (illustrated).C. Christou, Greek Painting in the Twentieth Century, vol. I, 1882-1992, Society for the Dissemination of Useful Books editions, Athens 2000, p. 15 (illustrated). Dictionary of Greek Artists, Melissa editions, vol. III, Athens 1999, p. 476 (mentioned).A. Xydis, Constantinos Parthenis, Ta Nea editions, Athens 2006, pp. 113, 116 (discussed), pp. 86, 122, 123 (illustrated).E. Matthiopoulos, The Life and Work of Costis Parthenis, K. Adam editions, Athens 2008, no. 173, pp. 66, 74, 76 (mentioned), p. 422 (catalogued), pp. 259, 260 (illustrated).A. Voyatzoglou, Ancient Greek Art Themes in Modern Greek Painting of the 1930s, Aristotelian University of Thessaloniki, Thessaloniki 2012, p. 104 (illustrated).Realnews newspaper, July 27, 2014, p. 40 (illustrated).https://el.wikipedia.org/wiki/Parthenis-konstantinos-apotheosis-athanasiou-diakou.jpegOne of the greatest pictures ever painted by a Greek artist, Parthenis's famous L' Apothéose de Athanassios Diakos is a triumphant expression of the master's poetic vision and a glorious recapitulation of his lofty symbolist ideals. Ideologically akin to the poetry of Costis Palamas and Angelos Sikelianos, it is a great work of national exaltation, expressing the resurgence of Hellenism and the efforts to extend Greece and restructure it into a modern state. Loaded with age-old memories and entranced by the dynamism and boldness of the twentieth century, L' Apothéose is a highly accomplished work of audacious modernity that elaborates on avant-garde visions and breakthroughs, carrying the hallmarks of Parthenis's signature style and conveying an enduring sense of spiritual uplift and poetic feel. Captured in fine lines and curvilinear shapes echoing the simplicity of ancient Greek vase painting, this stunning canvas pays homage to Athanasios Diakos (1788-1821), one of the leaders of the 1821 uprising and War of Independence. The hero, who had been obtained deacon, and hence was called Diakos, was a member of the Philiki Hetaireia and had served as a klepht under Odysseus Androutsos. On the outbreak of the Revolution he collected a troop to fight the Turkish forces and opposed Omer Vrionis's army at the bridge of Alamana, not far from the pass of Thermopylae where in 480 BC Kind Leonidas and his handful of Spartans died a heroic death resisting the Persian invadors. On May 5, 1821, Diakos with only seven hundred men fearlessly defended the bridge against a far superior Turkish force, and following a most gallant fighting he was captured and horribly executed.1 Occupying the right hand side of the painting, the Greek hero is depicted in the ascetic cassock of a monk hovering above ground in a diagonal position2 and ascending to heaven through a cluster of highly stylised clouds. His head is rendered in clear-cut profile, with the face turned distinctly to the sky, while his hands are stretched in prayer—a direct reference to the Ascension of Christ, reflecting the artist's strong bonds with religious iconography.3On the left, standing suspended in mid-air, a nude male figure with large outstretched wings and ancient helmet, should be identified with the Spartan king Leonidas, who is symbolically akin to Diakos, since both men chose to die under similar circumstances and in the same location, forever etching their names in the pantheon of Hellenism.4 The hero of the liberation struggle seems to welcome Leonidas, who lowers his head in respect, in a typically idealistic linking of the present and the past, of modern and ancient history,5 demonstrating Parthenis's view of the unbroken continuity of Greek civilization.Drawing from the poetic and inspiring atmosphere of the symbolist era, the winged figure represents a recurrent theme in Parthenis's work throughout his career. Interestingly, when the artist produced works intended for worship, the angel wings were given a small, conventional shape. However, in his secular paintings they were stylised in a geometric Art Deco fashion and equalled or exceeded the figure's height.6 (Compare Prayer in the Mount of Olives, c. 1930, Bonhams, Greek Sale, April 4, 2014, lot 24; Annunciation, Bonhams Greek Sale, November 21, 2018, lot 16.)On the lower part of the composition, a female figure in diaphanous veils reclining on a schematised rocky ledge, her body turned towards the viewer, her right arm raised and her head framed in a semi-circular halo-like fashion, is the allegorical personification of Hellas, a favourite Parthenis ... For further information on this lot please visit Bonhams.com
A German 32-Bore Wheel-Lock Holster Pistol (Puffer)Augsburg, Late 16th CenturyWith swamped two-stage barrel etched with foliage at a later date in front of the girdle and along the top flats of the octagonal breech, the latter struck with maker's mark of M. Klein of Augsburg (Neue Støckel 3955) and with Augsburg mark, tang with later etching, flat lock etched en suite with the barrel and with circular wheel-retaining bracket pierced with a pair of monsters and retained by two screws, sprung manually-operated pan-cover, cock engraved with a further monster and operating on a chiselled spring between a pillar-shaped bridle secured by two screws, and pivoting safety-catch (button replaced) acting against an external spring, blackened full stock inlaid with white staghorn or bone panels between slender horn lines and borders mainly engraved with blackened guilloche, repeated foliage and scrollwork, opposite the lock with addorsed monsters each with a bearded human head, and on either side of the tang with a foliated portrait bust, compressed ball-pommel inlaid with horn roundels each engraved as a flower-head and between bands of guilloche, ramrod-pipes engraved respectively with a blackened helmeted male profile bust and a bird, each within a cartouche, slender iron trigger-guard and baluster trigger, horn fore-end cap engraved with overlapping foliage, later ramrod with tip en suite, and in fine condition 31.8 cm. barrelFootnotes:ProvenanceClapp and Graham, New York 1926Property sold by the Art Institute of Chicago, from the George F. Harding Collection to benefit the Harding Collection of Arms and Armor, Christie's London, Antique Arms And Armour..., 20 September 2007, lot 151This 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
Caricatures. Collection of caricatures, 19th century, all hand-coloured etchings, mounted, all except item 6 framed and glazed (not examined out of frames), and comprising:1) [Seymour, Robert]. The March of Intellect, [no publisher], c.1828, on the foundation of London University, signed 'Shortshanks fecit', mount aperture 245 x 345 mm,2 & 3) [ibid.] Lomocotion [and:] Locomotion Plate 2nd, London: Thomas McLean, c.1830, 252 x 355 and 240 x 340 mm, Plate 2nd slightly spotted and toned,4) Phillips (John). The Gold Cup, London: E. King, July 1827, on the supposed parsimony of Lord and Lady Eldon, a little smudging to foot of image, 325 x 215 mm,5) Woodward (George Moutard). Comfort for an Old Maid, London: P[iercy] Roberts, c.1800, 264 x 320 mm,6) ibid. A Long Headed Election, [London]: Thomas Tegg, [1806], 250 x 366 mm,7) Heath (Henry). Mathew-orama for 1827, being, The Home Circuit or Cockney Gleanings. "Look at Home - "look abroad - "Look every where", London: Thomas McLean, 1827, depicing the comic actor Charles Mathews in the various guises of his 'Monopolylogue', etching with aquatint, 300 x 370 mm,8) [Williams, Charles]. Fat and Lean, [London]: William Holland, 1806, depicting Daniel Lambert, keeper of Leicester gaol and 'the most corpulent man of his time in England' (ODNB), moderatedly spotted, 335 x 237 mm,9) [Heath, William; attributed]. Every One His Hobby plate 2d, [London]: T. Tegg, 1819, 230 x 340 mm (qty: 9)Footnote:BM Satires 16438 (Locomotion Plate 2nd), 15420 (The Gold Cup), 10610 (A Long Headed Election), 10632 (Fat and Lean).
Cruikshank family. Collection of caricatures, 19th century, etchings, all hand-coloured except item 5, all mounted, many also framed and glazed (not examined out of frames), and comprising:1) Cruikshank (Isaac, 1764-1811). Irish Volunteers advancing at the Seige [sic] of Dublin, [London:] T. Tegg, c.1800-10, 244 x 350 mm,2) ibid. Dreadful Fears of Invasion, [London]: T. Williamson, 1803, 288 x 216 mm, transverse tear through imprint (recent attempted tape-repair verso),3) Cruikshank (Isaac Robert, known as Robert, 1789-1856). Mathew-orama for 1825, or "My Memorandum Book" make every body comfortable, "that's my way", London: G. Humphrey, April 1825, etching with aquatint, depicting actor Charles Mathew in the various guises of his 'Monopolylogue', framed, mount aperture 300 x 380 mm,4) ibid. A Beau-Clerk for a Banking-Concern, London: G. Humphrey, 1825, depicting Mrs Coutts handing a cheque to Lord Burford, framed, mount aperture 257 x 355 mm, a few closed tears to edges extending into frames but not image,5) ibid, A Steward at C Sea in a Vain Tempest! or, Gaining the Point of Matrimony in spite of Squalls, London: Sidebethem [Sidebotham], 1819, 242 x 345 mm,6) Cruikshank (George, 1792-1878). Coriolanus addressing the Plebeians, London: G. Humphrey, 1820, depicting George IV (the former Prince Regent) as Coriolanus, framed, mount aperture 218 x 294 mm,7) ibid. Back & Front View of the Ladies Fancy-Man, Paddy Carey. This Brazen Image was erected by the Ladies in honor of Paddy Carey O'Killus, Esq. their Man O'Metal!!!, London: J. Fairburn, 1822, on Richard Westmacott's statue of Achilles erected in honour of the Duke of Wellington, 235 x 335 mm,8) The Root of the King's Evil, London: Thomas McLean, 1835, 282 x 375 mm, marginal spotting and tears (qty: 8)Footnote:BM Satires 10081 (Irish Volunteers), 10049 (Dreadful Fears), 14877 (Mathew-orama), 14874 (A Beau-Clerk), 13386 (A Steward), 13677 (Coriolanus), 14376 (This Brazen Image), 13503 (The Root).
Gillray (James). Group of four caricatures, each a hand-coloured etching on wove paper, comprising:1) Death of the Corsican-Fox, Scene the last, of the Royal-Hunt, London: H. Humphrey, 1803, with aquatint, depicting George III brandishing a fox with the head of Napoleon to a pack of hounds named Nelson, Vincent, Cornwallis, Gardner and Sydney on their collars, mounted and glazed in an old frame, imprint only partly visible beneath frame, aperture 350 x 245 mm,2) Election Candidates; or the Republican Goose at the Top of the Pole, the Devil Helping behind, London: H. Humphrey, 1807, mounted, aperture 370 x 268 mm, very small hole in image,3) Taking Physick, London: H. Humphrey, 1800, tipped to mount, 255 x 192 mm, shallow chip in left-hand margin, trimmed to border,4) The Republican Rattle-Snake fascinating the Bedford Squirrel, London: H. Humphrey, 1795 [i.e. Henry Bohn, c.1850], 370 x 260 mm, laid down, tipped to mount, a few nicks and some delamination to foot (qty: 4)Footnote:BM Satires 10039, 10732, 9584; cf. 8684 for the original impression of item 4.
carved horn and vegetal fibre, with a narrow grip of plaited fibre covering the shaft, the projecting spur elaborately carved with a skeletal figure shown projecting away from the handle and surrounded by intricate scrolling detail and animal forms, the underside with a human face mask indicated by low relief etching and a triangular projection forming the nose, a second mask is identified by rotating the piece 180 degrees, raised on a bespoke mount 11.4cm longFootnote:Provenance: Pascassio Manfedi, ParisPrivate collection, London, United Kingdom, acquired from the above, June 2011. A copy of the original invoice will be made available to the winning bidder Note: The present piece is a fine work of Dayak carving that makes strong reference to the artists’ spiritual world. In the skeletal form we see reference to the cult of the ancestors, the shape is also highly suggestive of a link with Polynesian art, specifically that of the Maori hei-tiki figure. An interesting link given the shared, though distant, ancestry between these two diverse peoples.
Large format album containing cuttings, photographs and other ephemera compiled by 2087 Private Walter Alexander of the 1/4th Battalion The Royal Scots including his discharge certificate, 4th Royal Scots Christmas card, group photographs, photographs of soldiers, dinner menu 1915 with signatures, a GEORGE STRATTON FERRIER etching, architectural drawings including elevations of a house etc., volume size 39cm x 56cm.
Finely Etched 16th Century Spanish Cabasett Steel high crown with etched foliage edged oval cartouches with central figures . Etched vertical bands with semi nude figures . Lower steel plain rivets . Rolled edge brim with line edge etching . Old damage to one edge of the crown with riveted in internal repair . Similar patterns of helmet have been associated with the Knights of Malta . Good early example
19th Century Snaphaunce European Made Musket 49 inch, octagonal barrel. Front stud sight and simple, white metal rear sight. Ornate steel lock plate with floral etched cock with top jaw. Spring covering with similar etching. Heavy, line decorated frizzen. Polished, square form woodwork with horn butt plate. Brass, simple ball trigger with inlaid bone mounting. Four, pierced steel barrel bands.
Loading...
