We found 137173 price guide item(s) matching your search
There are 137173 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
137173 item(s)/page
Lot 2267
AMENDED DESCRIPTION Full set of wartime deck plans for RMS Queen Mary, comprising 14 deck plans, each 2ft x 11ft and a scale of 1/8th inch to 1ft, the Sun Deck and Sports deck plan bearing the modificationstamp showing theAdmiralty mark to lower right, together with two discs of digitalised plans, and numerous personal archives. Provenance: the plans were acquired by the vendor in a car boot sale in 1996. They had come from a house repossession at Henley upon Thames belonging to Mr David Gough an Emeritus fellow of Oriel College Oxford who was executor for Miss K Rintoul, daughter of Colonel D Rintoul. The personal archives relate to Miss K Rintoul, her brother DrS Rintoul and Colonel D Rintoul.The vendor did extensive research and Liverpool Museum have verified them as a full set of deck plans. The Maritime Archives and Library, Liverpool, as stated in printed correspondence, hold the original builder's plans of the Queen Mary as part of the Cunard Ships Plans Collection and the collection contains several sets of QM deck plans, including original copies of the trooping conversion plans. The Queen Mary is currently berthed in Los Angeles. Over the years they have shown at Westminster Halls at the Annual Ocean Liner society's meet.
Lot 1613
Walzenkrug. Meissen 1735. Mit geschweiftem Bandhenkel. Wandung umlaufend unterglasurblau bemalt mit Kakiemonblütenzweigen und Insekten. Porzellan, unterhalb des Henkels unterglasurblaue Schwertermarke mit „K“. Vergoldeter Silberstandring, -montur und -deckel mit Stadtpunze für Gotha und Meisterpunze „GB“, H=18 bzw. 22,7 cm. Malerei von Johann David Kretzschmar.
Lot 26
JULES PASCIN (1885-1930)Les bas noirs signed 'Pascin' (lower right)pencil on paper48.4 x 49.5cm (19 1/16 x 19 1/2in).Executed in 1928Footnotes:ProvenanceLucy Krohg Collection.Anon. sale, Paul Brandt, Amsterdam, 12 April 1972, lot 583.Dr. Anton C.R. Dreesmann Collection, no. C-98 (acquired at the above sale); his sale, Christie's, London, 9 April 2002, lot 77.Acquired at the above sale by the present owner.LiteratureP. Morand, Pascin, Paris, 1931 (illustrated p. 17).Y. Hemin, G. Krohg, K. Perls & A. Rambert (ed.), Pascin, Catalogue raisonné peintures, aquarelles, pastels, dessins, Vol. II, Paris, 1987, no. 1056 (illustrated p. 312).This 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
Lot 1
RENÉ MAGRITTE (1898-1967)La chambre d'Ecoute signed 'Magritte' (lower right)pen and black ink on paper15.5 x 20.8cm (6 1/8 x 8 3/16in).Footnotes:The authenticity of this work has kindly been confirmed by the Comité Magritte.ProvenanceLouis K. Meisel Gallery, New York, no. 6701. Private collection, US (a gift from the above in December 2009).La chambre d'Ecoute celebrates one of Magritte's most famous motifs, the apple, which was oft repeated in playful yet unsettling compositions. Illustrating the artist's virtuoso draughtsmanship, the present work shows the mature realisation of the artist's iconic style which was first ignited by his meeting key figures from the Surrealist movement in the 1920s.The twenties were a decade which sculpted the young Belgian into a prominent artist within the Surrealist group and helped carve his name into the annals of modern art history. A defining moment in the lead up to Magritte's visit to Paris in 1927 and involvement with the likes of Salvador Dalí and André Breton was an earlier encounter with Giorgio de Chirico's metaphysical masterpiece The Song of Love, in 1923. It was a profoundly moving experience for the artist, both emotionally and artistically, and the work of de Chirico was hugely influential for not only Magritte, but also a great number of the Surrealist artists. The work's inconsequential objects, its sinister architectural forms, vacuous passageways and a train that flicks past just out of sight, conjures feelings of both the absurd and the ominous. The presence of absurdity coupled with the quietly disconcerting is a common element of the Surrealist output, although it was by no means of their sole invention. The group had in fact found this common ground within the prose-poem Les Chants de Maldoror (1868-1869) by the Comte de Lautréamont. Having existed in something of obscurity at the time of publishing, this piece of transgressive literature was rediscovered by the Surrealists, who found mutual sentiment in the verse's themes of violence and the absurd. The piece also captured one of the most important principles of the Surrealist aesthetic: to challenge the observer's preconceived and preconditioned perception of reality through the juxtaposition of two entirely foreign realities.This principle is most evidently revealed in the biomorphic abstraction that was so prevalent with the Surrealists through the late 1920s, in particular in the work of the Joan Miró and Jean (Hans) Arp (see lot 45). From the Greek words for life, 'bios', and form, 'morphe', the abstracted imagery adopted by these artists presented a world of bulbous, enticing, sexually-charged forms that were simultaneously totally alien to the viewer whilst maintaining a presence of uncanny familiarity. In contrast, Magritte's figurative creations challenged the real world through a naturalistic and highly detailed depiction of ordinary objects suspended in everyday settings, juxtaposed in an entirely illogical manner, often transposing the monumental into the seemingly mundane or vice versa: 'In view of my determination to make the most familiar objects scream aloud, these had to be disposed in a new order and to be charged with a vibrant significance' (R. Magritte quoted in P. Waldberg, René Magritte, Brussels, 1965, p. 116).It is from this methodology that Magritte's use of the motif is so entirely important whilst, in a most satirically Magritte-ian way, remaining utterly irrelevant. His works are characterized by a series of these motifs – apples, curtains, bowler hatted men, birds, objects in flames, and more – which he endlessly arranges and re-arranges within varying settings whilst the viewer struggles to find meaning and theory in his image. His most iconic and successful subjects challenge the viewer. They challenge the viewer to find and define reason, clarity and meaning in the work, to question their idea of what is real and what is not.In addition to his use of motifs, Magritte used the titles of his works to divert and test the thought process of his viewers, subverting their expectations by assigning descriptions that bore almost no relevance to the depicted scene. In his own words, 'the titles are meant as an extra protection to counter any attempt to reduce poetry to a pointless game' (R. Magritte quoted in D. Sylvester (ed.), René Magritte, catalogue raisonné, Vol. V, Supplément, London, 1997, p. 20). La chambre d'Ecoute presents the viewer with the iconic, orb-like apple hanging seemingly unaided within a room. Immediately we must question which object is 'real'; is it the apple that is oversized, or is the room extremely small? Of course, our questioning is futile, for the presence of either must discredit the reality of the situation entirely and regardless, the artist has led us into an endless loop of unanswerable uncertainty. Aside from probing the viewer's constructs of reality, Magritte prompts us to question what we are not seeing, to question that which is hidden within. Objects in his works are often partially concealed, as in the 1964 Son of Man, so the viewer can deduce that the apple here may well be concealing something – or indeed nothing at all. It is a somewhat Schrödinger's cat-like situation; the potentially hidden presence is both simultaneously present and absent. It is another characteristic of the quietly ominous.Whilst it is easy to attribute the playful, potentially Machiavellian nature of this to nothing more than toying with his viewership, a more disturbing explanation for Magritte's use of the everyday object to obscure can be found in his childhood memories of his mentally ill mother. As a young boy he would sit for long periods of time locked in her room until after several attempts she eventually escaped and took her own life in the River Sambre in 1912. The claustrophobic nature of the expanded apple sucking the space from the room in the present work could certainly be linked to this experience, as the artist attempts to eliminate what was once his normality with an alternate reality, leading us also to question what, or who, is hidden behind the apple.As a study for two seminal paintings from 1952 and 1958 titled La chambre d'écoute, or The Listening Room, the present work sits firmly within Magritte's seminal mature period and its importance as a study for one his most recognisable works cannot be understated, with both finished paintings now residing in public collections in the US and Switzerland.The nature of Magritte's studies for his paintings offers the viewer an intimate insight into the bubbling mind of this Surrealist master like no other. Whilst the present work appears to be a study for the aforementioned paintings, we are immediately drawn to the highly finished nature of the draughtsmanship and the considered ink line, which, coupled with the artist's signature in the lower right corner, offers an elevated position for the work and almost allows it to be placed within The Listening Room series as a finished work in its own right.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
Lot 10
LEONOR FINI (1907-1996)La Leçon d'acupuncture, dit aussi Le Traitement (Les Leçons) signed 'Leonor Fini' (lower right)oil on canvas100 x 100cm (39 3/8 x 39 3/8in).Painted in 1972Footnotes:ProvenanceGalerie Lambert Monet, Geneva.Chalet Saqqarah, Gstaad.Private collection, US (acquired from the above circa 1970s).LiteratureX. Gauthier, Leonor Fini, Paris, 1973.L. Fini, Le Livre de Leonor Fini, Lausanne & Paris, 1975.Leonor Fini, Das groβe Bilderbuch, Munich, 1975.M. Gagnebin, Fascination de la laideur, Lausanne, 1978 (p. 251).C. Jelenski, Leonor Fini, découverte et masquée, Paris, 1978.J. Audiberti (et al.), Leonor Fini, Paris, 1981.P. Borgue, Leonor Fini ou le Théâtre de l'imaginaire, Paris, 1983.K. Ogata, A New Species which Violates Boundaries, Leonor Fini, Tokyo, 2006 (p. 197).P. Webb, Leonor Fini, Métamorphoses d'un art, Paris, 2007.P. Webb, Sphinx, The Life and Art of Leonor Fini, New York, 2009.R. Overstreet & N. Zukerman, Leonor Fini, Catalogue Raisonné of the Oil Paintings, Zurich, 2021, no. 792 (illustrated p. 439).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
Lot 46
MAN RAY (1890-1976)Revolving doors - Jeune fille signed and inscribed in the weave 'Man Ray, A3' (lower left); numbered in the weave 'II/VI' (on the reverse) and signed 'Man Ray' (on a label on the reverse)wool tapestry145 x 111cm (57 1/16 x 43 11/16in).Conceived circa 1916-1917, this tapestry executed circa 1970 by the Aubusson workshop in a numbered edition of 6.Footnotes:Andrew Strauss and Timothy Baum of the Man Ray Expertise Committee have confirmed the authenticity of this work and that the edition of this work will be included in the Catalogue of Objects & Sculptures of Man Ray, currently in preparation.ProvenanceJuliet Man Ray Collection; her sale, Sotheby's, London, 23 March 1995, lot 144.Private collection, US (acquired at the above sale).LiteratureK. Shinoyama, 'Man Ray's Atelier', in Art Vivant, no. 15, 1985.C. Aillaud, 'Dada mon amour, l'appartamento parigino di Juliet Man Ray', in Architectural Digest, February 1989 (illustrated p. 90).This 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
Lot 293
Hawking (Stephen) The Universe in a Nutshell, with ink thumb print of Stephen Hawking dated 2017 and witnessed by K Thurkettle, illustrations, original cloth, slight bumping to corners and spine extremities, dust-jacket, small adhesion mark to upper cover, slight creasing to spine extremities, small 4to, 2001.
Lot 295
Scientific Instruments.- Manzini (Carlo Antonio) L'occhiale all'occhio dioptrica pratica, woodcut vignette to title with a telescope, woodcut illustrations in text, woodcut tail-pieces and decorative initials, lacking engraved portrait of Eustachio Divini, some staining and spotting, 18th century carta rustica, later paper label to foot of spine, spine lightly browned, some staining, [Krivatsy 7389; Riccardi ii, 96; Wellcome II, p.48; V. Ilardi, Reinassance Vision from Spectacles to Telescope, Philadelphia 2007], small 4to, Bologna, Heirs of Benacci, 1660.⁂ First and only edition of this important treatise on practical optics and lens making, once owned by Eustachio Divini (1610-1685), a leading 17th century manufacturer of optical instruments, who is referenced in the work. Indeed, Manzini in his preface credits him with being the first to perfect the art of telescope making. It is possible that the volume was sent to Divini pre-publication, accounting for the missing portrait of the recipient, which was printed separately on different paper. Provenance: Eustachio Divini (ink ownership inscription to title); ink monogram combining the letters O and K at foot of title; Giorgio Tanarroni (modern bookplate).
Lot 1250
ZIGARETTENETUIMoskau 1892. Beschaumeistermarke L.O. Meistermarke K. Fabergé.Rechteckform mit getriebenen uns ziselierten Blüten, Rocaillen und Voluten. Frontseite mit den applizierten, vergoldeten Initialen AB verziert mit Cabochons. Rückseitig vergoldetes Datum von 1893.8,7 × 6,5 × 1,8 cm. 145 g.Provenienz:Deutscher Privatbesitz. CIGARETTE CASEMoscow 1892. Assay maker's mark L.O. Maker's mark K. Fabergé.Rectangular case, decorated with chased and chiseled blossoms, rocailles and scrolls. Front with applied, gilt initials AB and decorated with cabochons. Back with gilt date: 1893.8.7 × 6.5 × 1.8 cm. 145 g.Provenance:German private collection.
Lot 1089
GEFASSTE STANDUHR,Rokoko, das Gehäuse in der Art von J.C. HOPPENHAUPT (Johann Christian Hoppenhaupt, 1719-1785), Berlin/Potsdam um 1760/70.Holz ausserordentlich reich beschnitzt mit Blumen, Kartuschen, Blättern und Zierfries sowie beige gefasst bzw. teils vergoldet. Prismierter, sich nach unten verjüngender Korpus mit jochförmig abschliessendem Volutenkranz auf profiliertem Sockel mit Volutenfüssen. Feiner Messingzifferring mit römischen Stunden- und arabischen Minutenzahlen sowie kleinem Ring für die Sekunden und darüber Einstellmechanismus. Feine, teils durchbrochene Zeiger. Später zugefügtes Werk mit Ankergang und Stundenschlag auf Glocke.H 268 cm.Sehr guter Zustand. Werk revidiert.Die reiche und phantasievolle Schnitzerei sowie die Fassung und Vergoldung finden sich in analoger Weise an diversen Möbeln und Boiserien von J.C. Hoppenhaupt; man denke an die opulenten Dekorationen des Potsdamer Palastes, der Schlösser Charlottenburg und Sanssouci. Johann Christian Hoppenhaupt war zusammen mit seinem Bruder Johann Michael als Dekorationsbildhauer für Friedrich II. von Preussen tätig und wurde 1746 Nachfolger von Johann August Nahl als "Directeur des ornements" an Friedrichs Hof. Er gilt als Hauptmeister des späteren friderizianischen Rokoko. Vgl.: K. Maurice, Die deutsche Räderuhr, München 1976; II, Nr. 892 (mit Abb. einer ähnlichen Standuhr). PAINTED LONG-CASE CLOCKRococo, the case in the style of J. C. HOPPENHAUPT (Johann Christian Hoppenhaupt, 1719-1785), Berlin/Potsdam ca. 1760/70.Opulently carved wood, painted beige and parcel-gilt. Fine brass chapter ring with the hours in Roman numerals and the minutes in Arabic numerals, and with a small ring for the seconds, and an adjustment mechanism on top. Fine, partly pierced hands. Movement with verge escapement, later, striking the hour on bell.H 268 cm.In very good condition. The movement has been serviced.Cf.: K. Maurice, Die deutsche Räderuhr, Munich 1976; II, No. 892 (with an illustration of a similar long-case clock).
Lot 164
A XIX Century Scottish Hardstone Inset Circlet Brooch, together with a modern stag brooch (stamped "925"), a hallmarked silver bird brooch, a Rennie Mackintosh style brooch, a single strand coral bead necklace, a wedding band (unmarked) (finger size K), 'Javlin' brooch, a hallmarked silver shell inset pendant with feature hallmarks, etc.
Lot 298
A 9ct Gold Wedding Band, (finger size J1/2), a 9ct gold signet style ring with rectangular hardstone panel, within openwork shoulders (finger size P1/2), a 9ct gold illusion set cluster ring (finger size I), a 9ct gold dress ring, star set highlights, within textured setting (finger size P), an illusion set ring stamped "9ct Plat" (finger size K) (total weight 8grams); three further rings. (8)
Lot 323
A Delicate Single Stone Diamond Ring, the brilliant cut stone claw set, between inset shoulders, stamped "18" (finger size K), (1.8grams). A 9ct gold single stone diamond ring, the brilliant cut stone claw set (one missing) between openwork high setting and shoulders (finger size M/N), (1gram). (2)
Lot 409
Kumme mit Blaudekor Meissen, um 1730 Wandung mit Lotosblattrelief und gewelltem Rand. Unterglasurblau bemalt mit Blütenstengeln und gefeldertem Flechtmuster. Rautenborte um den Innenrand. Im Spiegel archaisches Gefäß mit Blütenzweig in doppelter Ringlinie. H. 9,5 /D. 16,5 cm (2× Randrep.). Blaue Schwertermarke mit blauem "K": Blaumaler Kretzschmar. (59282)
Lot 494
Tasse mit Genreszene und Tasse auf Untertasse mit Hausmalerei Meissen, M. 19. Jh. bzw. KPM Berlin, um 1870/73 a) Glockenbecherform. In doppelter Goldrahmung fein gemalte Darstellung eines blonden Mädchens vor halb verdecktem Brüderchen in weinumranktem Fenster. Goldradierte Blattranken. Breit vergoldeter Innenrand. (Dazu Untertasse. Partiell radierte Goldbänder. Haarrisse. Ohne Marke). b) Glockenform mit profiliertem Fuß. Auf der Tasse und im Spiegel der Untertasse bunt gemalte Architekturlandschaften mit Steinbogenbrücke. Die Untertasse mit goldener Weinborte. Doppelter Goldrand. Blaue Szepter- mit Pfennigsmarke. Einmal Malersignet: Ph. K. 1873. (59228)
Loading...-
137173 item(s)/page