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Chopard 18ct white gold sapphire and diamond lady's wristwatch, references 13/6397-23 522277 915, pavé diamond bezel, mother of pearl diamond dot dial, quartz, Chopard blue crocodile strap, 28.2gm, 24mm (227)-Movement - currently functioning.Dial - good.Glass - good.Hands - good.Case - good, see images for guidance.Crown - adjusts hands correctly.Strap - wear to leather, buckle is not gold.No box or papers.-Condition reports are provided for general guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots. Due to the opening of the wristwatch case backs, it is recommended watches are re-sealed by professional technicians to ensure any stated water resistance is retained
Rolex Oyster Perpetual Datejust 36 stainless steel gentleman's wristwatch, reference no. 126234, serial no. 463Rxxxx, circa 2020, white gold fluted bezel, blue dial, Oyster bracelet, 36mm (324)-** with International Guarantee card purchased in December 2020 -Movement - currently functioning.Dial - good.Glass - good.Hands - good.Case - good, mild marks- see images.Crown - adjusts correctly.Bracelet - with spare link, wrist size 7.5" approx.No box.-Condition reports are provided for general guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots. Due to the opening of the wristwatch case backs, it is recommended watches are re-sealed by professional technicians to ensure any stated water resistance is retained
Chaumet, Paris 18ct yellow gold concealed lady's cocktail watch, 55.95gm, 15mm (725)-Movement - currently functioning.Dial - some wear tot he signature.Glass - good.Hands - good.Case - good - see images.Crown - adjusts correctly.Bracelet - good.-Condition reports are provided for general guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots. Due to the opening of the wristwatch case backs, it is recommended watches are re-sealed by professional technicians to ensure any stated water resistance is retained
+ ALIX AYMÉ (FRANCE & VIETNAM, 1894-1989) PROFESSOR AT THE ÉCOLE DES BEAUX-ARTS DE L’INDOCHINE (EBAI - INDOCHINA FINE ARTS COLLEGE OF HANOI) Jeune fille assise aux fleurs – A seated young beauty with flowers Lacquered wooden panel Signed on the lower right Framed with an American case Dimensions (the sole lacquered panel, frame excluded): 77 x 49 cm This lot will be included in the forthcoming catalogue raisonne of the artist in preparation by Mr. Pascal Lacombe. Provenance: a Brittany private collection, France. + NOTICE TO BIDDERS: This lot is stored at CADOGAN TATE PARIS. Please contact CADOGAN TATE at Parc des Docks, Bâtiment 553B, 50 rue Ardouin, St Ouen, 93400 Paris, France, +33 1 48 20 85 60. Notes: 1. Born in Marseille as Alix Angèle Marguerite Hava, Alix Aymé (this last name being that of her second husband, Georges Aymé, who eventually became the Commandant of French Forces in Indochina) was a pupil of George Desvallières (1861–1950) and then Maurice Denis (1870-1943), with whom she maintained a close correspondence throughout her career. She first traveled to Asia (Shanghai, China then Hanoi, Vietnam) in the 1920s with her first husband, a milestone from which would grow her fascination for this continent. She returned to Indochina in the late 1920s together with her new-born child and then traveled extensively the South-Eastern Asia. Alix Aymé was inextricably linked to the French colonial experience in Indochina: she lived and worked for many years in Hanoi; she was instrumental in the revival of the ancient art of lacquer that she taught at the Ecole des Beaux-Arts de l’Indochine (Indochina School of Fine Arts) along with Joseph Inguimberty (1896-1971). Her work is at the crossing point between the Nabis style and the traditional Vietnamese painting. It is also inspired from the Byzantine icons with a notable taste for gilt backgrounds. She thereby brought traditional Vietnamese subjects, such as young beauties and maternities, under the light of Western Modernity. She was particularly talented at depicting the soul and intimacy of her models. In September of 2012, an exhibition about the Ecole des Beaux-Arts de l’Indochine (EBAI) opened at Paris Museum of Asian Art (Cernuschi Museum) that drew attention to the work of Alix Aymé with the display of a magnificent lacquered cabinet by hert that was arguably the ‘star attraction’. Today, her work is found in a number of important private and public collections worldwidely, including the Cabinet des Dessins of the Louvre Museum (Paris, France), the Musée des Années Trente (Paris, France), the Royal Palace in Luang Prabang (Cambodia) and the Evergreen Museum and Library of Johns Hopkins University in Baltimore (USA) 2. This portrait seems to belong to a series of lacquered wooden panels depicting women together with flowers and may possibly be the most notable one. Indeed, it stands out because of its size (it appears to be the largest one of the series) and also because the body of the model is made visible, whilst on the other panels, their sole busts are depicted. Alix Aymé captured the soul and intimacy or her model - a very young girl with almond eyes, half-long hair and a delicate smile - who appears to be serene and calm. She is wearing a long brown long robe as well as a flower necklace and his holding a bouquet of flowers. The sobriety of her tunisque is deeply contrasting with the bright pastel colors of the flowers and with the gold background. The latter makes it looks like an icon rather than a mere portrait, which conveys spirituality and invites to meditate. 3. Compare with a panel depicting a young girl with a dove of smaller size (45,5 x 38 cm) sold at AGUTTES, Paris, France, 2020-10-06, lot 24, for €27,000 hammer price. Also compare with a panel depicting a young girl with flowers of smaller size (48 x 38 cm) sold at AGUTTES, Paris, France, 2022-03-14, lot 30, for €87,000 hammer price. This last example is the closest one to our panel and gives a good idea on the most recent trend for prices.
VIETNAMESE SCHOOL (VIETNAM, ACTIVE 20TH CENTURY) ATTRIBUTED TO HOÀNG TÍCH CHU (1914-1976) AND NGUYÊN TIÊN CHUNG (1897-1933) ECOLE DES BEAUX ARTS DE L’INDOCHINE (INDOCHINA FINE ARTS COLLEGE - EBAI), 11TH CLASS (1936-1941) La Moyenne Région (du Nord Vietnam, Tonkin) - The Middle Region (of North Vietnam, Tonkin) Lacquered wooden shallow dish with gilt against a red ground Not signed D: 30,5 cm Provenance: A private collection of Vietnamese Art, French Riviera, France. Notes: 1. This impressive work may be linked with a major lacquered wooden panel sold at CHRISTIE’S, a common work by these two artists, students of Joseph Inguimberty (1896-1971) in the lacquer section of the Ecole des Beaux Arts de l’Indochine as well as close friends. See CHRISTIE’S Hong Kong, China, 2017-05-28, lot 325, sold for €549,320. 2. Please find below an abstract of the lot essay written by expert Jean-François Hubert, senior consultant at CHRISTIE’S, for the above-mentioned panel, that may also fit our shallow dish: ‘The execution of a joint work, might not be unique, but it certainly remains exceptional. In 1942, these two artists were in full force and at the peak of their talent. In this work, they both related the same way to this majestic and mysterious mountainous Tonkin, which Victor Tardieu and Joseph Inguimberty always encouraged students of the Beaux Arts to go admire. The sugar loaf mountains, such as those found in this region are magnified, as well as the vegetation, by an abundant use of gold lacquer in contrast to the rather dark atmosphere of the rice fields.’ TRƯỜNG HỌC VIỆT NAM (VIỆT NAM, HOẠT ĐỘNG VÀO THẾ KỶ 20) THUỘC VỀ HOÀNG TÍCH CHU (1914-1976) VÀ NGUYÊN TIÊN CHUNG (1897-1933) ECOLE DES BEAUX ARTS DE L’INDOCHINE (TRƯỜNG CAO ĐẲNG MỸ THUẬT ĐÔNG DƯƠNG, KHÓA 11 (1936-1941) La Moyenne Région (du Nord Vietnam, Tonkin) - Miền Trung (thuộc miền Bắc Việt Nam, Bắc Kỳ) Đĩa nông lòng bằng gỗ sơn mài có hoa văn mạ vàng trên nền đỏ Chưa được ký Kích thước: 30,5 cm Xuất xứ: Một bộ sưu tập tư nhân của Nghệ thuật Việt Nam, French Riviera, Pháp. Ghi chú: 1. Tác phẩm ấn tượng này có thể được liên kết với một tấm tranh gỗ sơn mài lớn được bán tại CHRISTIE'S, một tác phẩm chung của hai nghệ nhân này, họ là học sinh của Joseph Inguimberty (1896-1971) trong khoa sơn mài của Trường Mỹ thuật Đông Dương đồng thời cũng là những người bạn thân. Xem CHRISTIE’S Hồng Kông, Trung Quốc, 28-05-2017, lô số 325, được bán với giá €549.320. 2. Vui lòng xem dưới đây phần trích của bài luận văn về lô sản phẩm do chuyên gia Jean-François Hubert, chuyên gia tư vấn cấp cao của CHRISTIE'S, viết về tấm tranh sơn mài đề cập ở trên, cũng có thể phù hợp với cái đĩa nông lòng của chúng tôi: “Việc thực hiện một tác phẩm chung, có thể không độc nhất vô nhị, nhưng chắc chắn vẫn rất đặc biệt. Năm 1942, hai nghệ nhân này đang sung sức và ở đỉnh cao tài năng. Trong tác phẩm này, cả hai liên hệ với nhau thông qua cùng mối quan tâm sâu sắc đến vùng Bắc Kỳ có núi non hùng vĩ và huyền bí này, nơi mà Victor Tardieu và Joseph Inguimberty luôn khuyến khích các sinh viên của Mỹ thuật đi chiêm ngưỡng. Những ngọn núi có đỉnh núi giống cối đường, chẳng hạn như những ngọn núi được tìm thấy ở vùng này thật hùng vĩ, cũng như thảm thực vật, được phóng đại bằng cách sử dụng nhiều lớp sơn mài màu vàng tương phản với bầu không khí khá u ám của những cánh đồng lúa”. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
BẢO ĐẠI 保大 - ANNAM: A GOLD MEDAL AWARD VIETNAM, LATE NGUYEN DYNASTY, EMPEROR BẢO ĐẠI 保大 (1926-1945) Female version of the award. A gold medal of scalloped shape, the upper and the lower part pierced with attachment holes (originally for beaded tassels, here missing). Nicely chiseled, a central cartouche on both sides flanked by two confronted flying phoenix. The obverse inscribed with ‘保大年造’, i.e. in Chữ Nôm ‘Bảo Đại Năm Tạo’ (lit. ‘Made under the reign of Emperor Bao Dai); The reverse inscribed with ‘琼瑶永好’. H: 6,7 cm - width: 4,87 cm Weight: 14,4 grams BẢO ĐẠI 保大 - ANNAM: GIẢI THƯỞNG HUY CHƯƠNG VÀNG VIỆT NAM, CUỐI TRIỀU NHÀ NGUYỄN, VUA BẢO ĐẠI 保 大 (1926-1945) NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
Kunio Kaneko (JAPAN, b. 1949) ‘Fuji 70’ Circa 1990s Chuban yoko-e woodblock print Handsigned in the lower right margin Limited edition, numbered in the lower central margin: 161/250 Dimensions (the leaf): 18,9 x 24,7 cm Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Notes: A very high quality printing with embossing, gold and silver pigments. 2. Born in Tokyo, Kunio Kaneko graduated from the Musashino University of Fine Arts. His woodblocks are pressed by traditional Japanese Baren. He has had several solo shows notably in Tokyo and Kanagawa. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
TANYA CLARK (CANADA & JAPAN, B. 1954) ‘Akachochin’ Oban tata-e woodblock print on mulberry paper Handsigned in the lower right margin Dated in the lower right margin Titled in the lower central margin Limited edition, numbered in the lower left margin: 6/250 Dimensions (the leaf): 55 x 40 cm Note : Tanya Clark is a trained Canadian artist who studied printmaking at Emily Carr College of Art, Vancouver, BC, Canada. In 1985, she moved to Tokyo to thoroughly study the art of woodblock printmaking with the world-praised artist Toshi Yoshida 吉田遠志 (Japan, 1911-1995), the son of shin-hanga artist Hiroshi Yoshida 吉田博 (Japan, 1876-1950), a key member of the sōsaku-hanga movement and also a ‘National Living Treasure’ of Japan. Abstracts from Tanya Clark’s website: ‘Tanya’s immersion in the Shinhanga style conferred a real appreciation for the Japanese aesthetic and its subdued and subtle approach to colour. In 1991, her work was awarded ‘Gold for a New Member’ at the Nihonhangakai, the largest international juried competition for woodblock prints […] Tanya Clark work is inspired by the natural beauty of the world, the play of light and shadow, the lyrical patterns of water, cloud, mountain and reef, the fleeting beauty of an ever changing world.’ Click HERE to look at the artist’s website and to see her complete creation of NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report. woodblock prints.
TANYA CLARK (CANADA & JAPAN, B. 1954) ‘The Tea Master's House’ Woodblock print on mulberry paper Handsigned in the lower right margin Titled in the lower central margin Limited edition, numbered in the lower left margin: 11/250 Dimensions (the leaf): 32 x 38 cm Note : Tanya Clark is a trained Canadian artist who studied printmaking at Emily Carr College of Art, Vancouver, BC, Canada. In 1985, she moved to Tokyo to thoroughly study the art of woodblock printmaking with the world-praised artist Toshi Yoshida 吉田遠志 (Japan, 1911-1995), the son of shin-hanga artist Hiroshi Yoshida 吉田博 (Japan, 1876-1950), a key member of the sōsaku-hanga movement and also a ‘National Living Treasure’ of Japan. Abstracts from Tanya Clark’s website: ‘Tanya’s immersion in the Shinhanga style conferred a real appreciation for the Japanese aesthetic and its subdued and subtle approach to colour. In 1991, her work was awarded ‘Gold for a New Member’ at the Nihonhangakai, the largest international juried competition for woodblock prints […] Tanya Clark work is inspired by the natural beauty of the world, the play of light and shadow, the lyrical patterns of water, cloud, mountain and reef, the fleeting beauty of an ever changing world.’ Click HERE to look at the artist’s website and to see her complete creation of woodblock prints. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
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1854489 item(s)/page