We found 534297 price guide item(s) matching your search
There are 534297 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
534297 item(s)/page
Lot 1724
Biringuccio,V.: Li diece libri della pirotechnia nelli quali si tratta non solo la diversità delle minere, ma ancho quanto si ricerca alla prattica di esse. Venice, [Curzio Troiano Navò] Comin da Trino 1558. Kl.4°. 20 x 14,5 cm. Titel in breiter historisierender Holzschnittbordüre, Holzschnittillustrationen und historisierende Initialen. Mod. Hldrbd. mit Papieretikett a. d. Rckn. - Mehrere marginale Randnotizen oder Unterstreichungen mit Tinte und Bleistift, gelegentlich leicht feuchtigkeitsfleckig (stärker auf der letzten Sammlung im oberen Teil der Seite, das letzte Blatt wurde verso mit einer kleinen Papierlasche verstärkt), Titel mit kleinem Tintenwort auf dem Titel, das einen Buchstaben berührt und eine leere Ecke mit Papier verstärkt). Adams B2083; Duveen, p. 79 Hoover 131. - Provenienz: Leo S. Olschki, Exlibris und Regaletikett auf dem Rücken. - Title within wide woodcut historiated border, woodcut illustrations and historiated initials, several marginal ink and pencil side-notes or underlining, occasional light dampstains (heavier to final gathering to upper part of page, final leaf strengthened on verso with small paper tab), title with small ink word on title touching one letter and one blank corner strengthened with paper), early twentieth century half calf, spine gilt with morocco lettering label, and paper shelf label.
Lot 440
Wallhausen,J.J.v.: Art militaire à cheval. Instruction des principes et fondements de la cavallerie, et de ses quatre especes, ascauoir lances, corrasses, arquebus & drageons, avec tout ce qui est de leur charges & exercise. Frankfurt, de Bry, 1616. 30 x 19 cm. Mit gestoch. Titel u. 40 (st. 44) meist doppelblattgr. Tafeln. Titel, 7 nn. Bll. 135 S. Prgt. d. Zt. (Kl. Alterssp.). Cockle, p. 735. Lipperheide 2069 - Die franz. Ausgabe erschien parallel zur deutschen Erstausgabe. - Seltene Abhandlung über den Krieg zu Pferde, kurz vor Beginn des 30jährigen Krieges erschienen. , "Das bedeutendste Werk über Infanterie, welches vor dem dreißigjährigen Kriege erschien" (Jähns). Die Kupfer zeigen Marsch-, Schlacht- u. Lagerordnungen, Gebrauch der Waffen, Ausrüstung, - Title within wide engraved pictorial border, large engraved coat-of-arms on dedication leaf, 40 engraved plates (of 44, one folding, 33 double-page), light damp-stain in a few margins, contemporary vellum, lettered in ink on spine and upper cover, some soiling, lacks ties.
Lot 4450
Warhol, Andy: (1928 Pittsburgh - New York 1987). Wallpaper "Andy Warhol". Schablonen-Druck (Pochoir) in Grün, Gelb, Hellbraun und Rot auf 2 Blatt Zeichenpapier. New York (1967). Blgr. ca. 46 x 31 bzw. 49,5 x 31,2 cm. 1 Bl. unten Mitte mit Filzstift sign., 1 Bl. verso mit Bleistift monogr. sowie bez. "Factory". Warhols erste Wallpaper (Cow) wurden vom 2. bis zum 27. April 1966 in der Leo Castelli Gallery zum erstenmal ausgestellt. Später folgten Wallpapers mit zahlreichen Warhol-Motiven (Marylin, Flowers, Dollarsign etc.). - Name Wallpaper. Pochoir in green, yellow, light brown and red on 2 sheets. 1 sheet signed in felt-tip pen at lower centre, 1 sheet verso monogrammed in pencil and inscribed "Factory". R
Lot 125
Two original British WWII Husun Pilot 6E-338 Night Use Binoculars. Made by Henry Hughes and used by Pilots, pathfinder crews and special forces. These Galilean binoculars have very wide exit lenses in order to gather maximum light for better vision in low light conditions. Serial numbers: 1631 and 1166, both are broad arrow marked.
Lot 148
A collection of 9 x assorted vintage binoculars. Models are: Hensoldt Wetzlar Telgon, Hensoldt Wetzlar Diarex 8 x 30, The Imperial 8 x, Hartmann Wetzlar 117 Porlerim 8 x 30, Kershaw Aerospot 8 x 30, Avimo 7x42 L12A1 (broad arrow marked), Zenith 10 x 50 (light weight), Zenith Tempest 7 x 50, Zenith 7 x 50 field 7.1. Optics are clear.
Lot 31
Cherry Blossoming by Sharon Teague. Sponsored by Simply C Photography. Artist: Sharon Teague"I have lived in Suffolk all my life. Since graduating from Ipswich Art School I’ve had a 30+ year career as a graphic designer. My love of art came from my grandfather, who painted beautiful oil landscapes. In my spare time, I enjoy experimenting with various art techniques and mediums and particularly enjoy painting leaves or blossom with negative spaces.https://www.instagram.com/outfluxSponsor: Simply C PhotographyThis sculpture is sponsored by Simply C Photography. As a professional commercial photographer with over 20 years of experience, I’m here to ensure that the images used on your website, in your brochure, in magazines and more, convey the right message about your business, your brand and your personality. Specialising in candid, creative photography using natural light to capture the true essence of any subject; be that a product, property or person; Simply C Photography will enable you to stand out from the crowd, strengthen your brand and ultimately boost your sales." https://simplycphotography.co.uk/
Lot 13
MAURICE DE VLAMINCK (1876-1958)La forêt signed and inscribed 'Vlaminck La forêt' (lower left)oil on canvas81 x 100cm (31 7/8 x 39 3/8in).Painted circa 1907-1908Footnotes:This work is accompanied by an attestation from the Wildenstein Institute. This work will be included in the forthcoming Maurice de Vlaminck Digital Catalogue, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.Please note that this work has been requested for the exhibition Maurice de Vlaminck: Modern Artist Rebel at the Museum Barberini, Potsdam, 14 September 2024 – 12 January 2025.ProvenanceDaniel-Henry Kahnweiler, Paris and Zurich, no. 68 (probably acquired directly from the artist); on consignment with Galerie Alfred Flechtheim, Dusseldorf, no. 616, subsequently with Galerie Paul Cassirer, Berlin, no. 17219, from 2 October 1919.Private collection, Berlin and London (acquired in the 1920s).Thence by descent to the present owner.ExhibitedDresden, Kunstsalon Emil Richter.(Possibly) Dusseldorf, Städtischer Kunstpalast, Ausstellung des Sonderbundes Westdeutscher Kunstfreunde und Künstler, Düsseldorf 1910, 16 July - 9 October 1910, no. 182 (titled 'Der Wald').(Possibly) Dusseldorf, Galerie Alfred Flechtheim, Wilhelm Kreis, Max Hünten, Manolo, De Vlaminck, 17 August - 6 September 1919, no. 43 (titled 'Der Wald').'When painting I experienced a source of joy, a constantly renewed pleasure, an intense cerebral excitement... I was in communion with the sky, the trees, the clouds, with life... An unceasingly renewed but fleeting illusion... It was precisely that appearance, continually renewed, always ungraspable that I worked furiously at capturing, at fixing on the canvas in greens, yellows, blues and reds.' - M. de VlaminckUnseen in public for almost a century, La forêt is a luminescent example of Maurice de Vlaminck's liberal and emotional presentation of colour and the evolving modernisation of his style. At the same time the work has a history as rich as its palette, traversing the shifting tides of European art collecting and dealing in the 20th century. Passing through the hands of Daniel-Henry Kahnweiler, Alfred Flechtheim and Paul Cassirer, before being taken to London following the rise of Nazi Germany, the provenance trajectory of the present work encapsulates some of the most fundamental developments in the history of art and of the world.A chance meeting in July 1900, on the same suburban St Germain-en-Laye to Gare St Lazare rail line that had coincidentally brought together Paul Sérusier and Maurice Denis some ten years previously, gave birth to a blossoming friendship and to two of Fauvism's most ardent proponents: André Derain and Maurice de Vlaminck: 'It is certain that if it had not been for that meeting... the idea would never have entered my mind to make 'Painting' my livelihood!' (M. de Vlaminck, Portraits avant décès, Paris, 1943, p. 13).Together Derain and Vlaminck set up in Chatou, a quiet suburb of Paris, penniless, but nonetheless flush with a burning passion for their impending artistic endeavours. As Renoir and Monet had done in the summer of 1869, the pair worked on the banks of the Seine, inspiring one another in turn and ceaselessly conversing to generate a unique aesthetic. Over the 1900-1905 period, the 'School of Chatou' was born. When apart, the two artists would continue their discussion via letter and Vlaminck kept the entire body of letters written to him by Derain, eventually giving them to the Musée de Chartres. These invaluable notes offer an important insight into the aesthetic development of Derain and, in turn, Vlaminck, offering a gauge on the exchange of ideas, discussion of aesthetics, and questionings that nourished and stimulated the relationship between the young artists.Galerie Bernheim-Jeune's major exhibition of Vincent van Gogh in March 1901 was to have an unimaginably profound effect on Vlaminck, who was 'bowled over' by the Dutch artist's 'revolutionary direction, an almost religious feeling in his interpretation of nature' (M. de Vlaminck, op. cit., 1943, p. 31), an effect we see come to the fore through Vlaminck's later use of lengthened brushstrokes, to give form to his subjects. At this same exhibition, Derain introduced his friend and visionary accomplice to the third Fauve master of colour, Henri Matisse. Matisse later recalled to his son-in-law, Georges Duthuit, the exclamation of Vlaminck at this meeting: 'You see, you have to paint using pure cobalts, pure vermilions, pure Veronese greens!' (Matisse quoted in G. Duthuit, Les Fauves, Braque, Derain, Van Dongen, Dufy, Friesz, Manguin, Marquet, Matisse, Puy, Vlaminck, Geneva, 1949, p. 72).Vlaminck's artistic output in the following years was as monumental as it was influential, ultimately creating an oeuvre of some 6,000 works. He was, however, constantly financially challenged in these early years. Juggling a young family and a voracious appetite for painting, he supplemented his salary as an evening musician by giving violin lessons. As he recalled later, 'I quite often went without the necessaries in order to be able to cover my canvases with colours, which I later scraped off so I could use them again. My most recurrent problem was that I lacked the money to buy tubes and stretchers!' (M. de Vlaminck, Le Ventre ouvert, Paris, 1937, p. 50).This hardship prevented Vlaminck from travelling with Derain and Matisse to the South of France and discovering the light of the Midi. Instead, he remained in the regions along the Seine valley to the west of Paris, travelling by foot and by bicycle in search of the perfect place to paint en plein air. This did not matter for Vlaminck, for his relationship to the landscape, the motif, was instinctive and it was 'far from the intense southern light that Vlaminck's personal style rose to a level on which the colour exploded' (M. Vallès-Bled, Maurice de Vlaminck, La période fauve, 1900-1907, Paris, 2008, p. 37). His emotional and aesthetic attachment to the landscape drew comparisons to Cézanne, who was often drawn back to the views of Mont-Sainte Victoire and the gardens of Jas du Bouffan.Some financial respite was to come later however, from his first dealer Ambroise Vollard. After the preliminary exhibitions of his Fauvist works, Vollard bought up much of his stock and made monthly purchases that allowed Vlaminck to live as a painter. He also played a crucial role in disseminating Vlaminck's works through the frequency of his purchases, his national and international sales and his loans to a wide number of exhibitions. To find himself in such a position however, Vlaminck had to first run the gauntlet of the 1905 Salon d'Automne, a Salon that would secure itself in the annals of art history.'A tremendously bright room, of the most daring, the most extreme, of those whose intentions have to be decoded... At the centre of the room, the torso of a child and a small marble bust by Albert Marquet, whose modelling is a delicate science. The ingenuousness of these busts is striking, set amidst the orgy of pure colours: Donatello amongst the wild beasts' (L. Vauxcelles, 'Le Salon d'Automne', in Gil Blas, 17 October 1905).Thenceforth Matisse, Derain and Vlaminck became known as les Fauves (wild beasts), proudly and defiantly adopting the sobriquet given at the infamous Salon. Now the Fauvists would continue their vivid journey with a new title and exacerbated purpose. As Vlaminck recalls: 'Fauvism was no... 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
ALBERT MARQUET (1875-1947)Alger, Laperlier signed 'Marquet' (lower left)oil on panel33.1 x 41cm (13 1/16 x 16 1/8in).Painted in Algeria in 1941Footnotes:This work is accompanied by an attestation from the Wildenstein Institute. This work will be included in the forthcoming Albert Marquet catalogue raisonné, currently being prepared by Jean-Claude Martinet and Guy Wildenstein.ProvenanceMarcelle Marquet Collection, Paris (the artist's wife).Henri Piccot Collection, Paris (acquired from the above in March 1947).Acquired from the above by the husband of the previous owner in December 1947; their sale, Sotheby's, Olympia, 23 March 2005, lot 17.Private collection, Switzerland (acquired at the above sale).Albert Marquet first visited Algeria in 1920, trying to escape the constant illnesses he suffered during the winters in Paris. The artist was immediately struck by the favourable climate there, writing to his friend Élie Faure in January that 'the weather is marvellous in Alger and I think I will work here'. Marquet would return many times to the north coast, revelling in the exotic and lush landscape, before settling at Villa Miramar in 1924, located on the winding Laperlier road. The present work captures its panoramic views over the bay with its hazy blue-grey horizon punctuated by the red roofs of the town. A renowned colourist, along with his great friend Henri Matisse, Marquet's skill lay in rendering the atmosphere of a landscape, whether a rainy day in Paris or the dazzling light of Algiers.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 62
MELA MUTER (MARIA MELANIA MUTERMILCH) (1876-1967)Rue avec clocher d'église signed 'Muter Muter' (lower centre); signed 'Muter' (on the reverse)oil on card72.8 x 54.3cm (28 11/16 x 21 3/8in).Painted in Avignon circa 1930Footnotes:The authenticity of this work has been confirmed by Barbara Brus-Malinowska.ProvenanceGalerie Gmurzynska, Cologne, no. 1434.Galerie Bargera, Cologne, no. 15.Anon. sale, Dom Aukcyjny Unicum, Warsaw, 30 November 1997, lot 9.Private collection, London (acquired at the above sale).Exhibited(Possibly) Cologne, Galerie Gmurzynska, Mela Muter, Bilder, Aquarelle und Zeichnungen, 20 November 1965 - 10 January 1966.Mela Muter is regarded as the first professional Jewish female painter in Poland. Largely self-taught, she formed part of a rich coterie of Polish artists – among them Moïse Kisling – who relocated to Paris, attracted to its civil freedoms and bohemian lifestyle. There she developed a highly individualistic style resting upon a diversity of Modern and historical influences. At the time she painted Rue avec clocher d'église, Muter had suffered a slew of tragedies, including the deaths of her father and son, her close friend Rainer Maria Rilke, and her partner Raymond Lefebvre, a social activist who died under mysterious circumstances at the Communist International in Moscow in 1920. She sought sanctuary in a newly optimistic artistic style. In the present work, Muter evokes the town's quiet splendour with lively brushstrokes and glowing colours that bespeak the joy of observation. In its twisting amalgamation of curvilinear forms – echoing the Cubist leanings of her friends Albert Gleizes and Gino Severini – the city street seems to breathe and move with a life of its own. The spatial distortion and rushing verticality of the buildings, along with the splashes of chromatic intensity in the teal door and lime-green accents of the tenement façade, betray her admiration of El Greco's Spanish cityscapes. The force of the bright afternoon ripples through the scene, the sky rendered with broken strokes of vivid azure, criss-crossed with powerlines that evoke an aura around the church tower. Thick textures abound in her expressive handling of oil paint across the dappled surface of her support, as she leaves portions unpainted to denote light, in the style of the Fauves. Muter became immediately successful upon her move to Paris, exhibiting regularly at the Salons, thence gaining international renown. She painted portraits of central artistic figures, including Ambroise Vollard, Diego Rivera and Erik Satie. Throughout her life she remained staunchly devoted to social activism, creating pacifist illustrations for the leftist periodical Clarté, and founding a society for the protection of disadvantaged people at the Polish borders on the Oder and the Nysa. In 1965, she donated a significant amount of her collection to the Galerie Gmurzynska in Cologne.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 7
HENRI MATISSE (1869-1954)Portrait de femme (Elvire van Hyfte) signed, inscribed and dated 'Henri Matisse Vence Janv, 46' (lower right)pencil on paper34.9 x 26.2cm (13 3/4 x 10 5/16in).Executed in Vence in January 1946Footnotes:The authenticity of this work was confirmed by the late Wanda de Guébriant.ProvenanceLouis Aragon Collection, Paris.Acquired from the above by the previous owner (circa 1978-1981); their sale, Christie's, London, 8 February 2007, lot 565.Dr Paul Cushman, Jr. Collection, US (acquired at the above sale).Thence by descent to the present owner.This work was drawn by the artist on the back of the cover of E. Tériade's Verve: revue artistique et littéraire (Vol. IV, no. 13, Paris, 1945).Dr Paul Cushman, Jr. epitomised the modern Renaissance man. A pioneering and compassionate physician at the forefront of treating opiate addiction, he was also a historical biographer of early Americans, a masterful bridge player, and a connoisseur of fine and performance arts. Born in New York City to Paul Cushman, Sr., a stockbroker and children's welfare advocate, and Cordelia Hepburn, a civic and welfare leader, both art collectors, Dr Cushman was exposed to the arts and the importance of service early in life. In addition to attending The Buckley School, Exeter, Yale, and Columbia Medical School, Dr Cushman served in the US Air Force as a medical officer. While stationed abroad in England, he met and married Paulette Bessire. Following his service, Dr Cushman returned to New York and became a devoted researcher and early champion of methadone for the treatment of opiate addiction. A founder of the American Society of Addiction Medicine, Dr Cushman ran one of the best regarded methadone clinics in New York in the 1970s and helped to treat thousands of people struggling with addiction. As a Professor of Medicine at the Medical Colleges of Wisconsin and Virginia, he worked to integrate substance abuse medicine into medical school curricula.In addition to an impressive medical career, Dr Cushman was an avid patron of the arts, including opera, ballet, and collecting fine paintings. His collection of Hudson River School paintings, which celebrate the grandeur of the American Landscape at the height of western expansion, includes impressive works by James Buttersworth, Asher B. Durand, George Inness, John F. Kensett, and Thomas Moran. This group of paintings is complemented by works by European masters Henri Matisse, Édouard Vuillard, and Maurice Utrillo. The present work, Portrait de femme by Henri Matisse, was once part of the collection of the celebrated poet Louis Aragon, with whom Matisse had a close friendship. Aragon wrote extensively on the artist's work, and he was also one of the founding members of the Surrealist movement together with André Breton. During the mature phase of his career, Matisse executed a series of pencil drawings wherein he captured his fascination for the human countenance and proved yet again his masterful draughtsmanship. In Portrait de femme, the swift lines on the bright white paper unfold as a play of positive and negative space. Drawn from close by, Matisse gives the portrait a certain layer of directness and intimacy, connoting a close relationship between the artist and sitter. The artist himself explained: 'My line drawing is the purest and most direct translation of my emotion. Simplification of means allows that. But those drawings are more complete than they appear to some people who confuse them with a sketch. They generate light; looked at in poor, or indirect light, they contain not only quality and sensibility, but also light and difference in values corresponding obviously to colour.... Once I have put my emotion to line and modelled the light of my white paper, without destroying its endearing whiteness, I can add or take away nothing further' (Matisse quoted in V.I. Carlson (ed.), Matisse as a Draughtsman, exh. cat., Baltimore, 1971, p. 18).The model for the present work was Elvire van Hyfte, who also sat for Matisse when he painted the resplendent composition L'Asie that same year in Vence (currently housed within the Kimbell Art Museum, Fort Worth, Texas). She is recognisable in both works from her strongly defined brow, almond-shaped eyes and delicate, plump lips. Born in the Belgian Congo in 1920, van Hyfte met Matisse in the South of France and enjoyed a long friendship with him, becoming an enduring source of refined beauty in his final series of oil paintings.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 8
EDGAR DEGAS (1834-1917)Danseuse signed 'Degas' (lower right)pastel, wash and charcoal on paper laid on card52 x 31cm (20 1/2 x 12 3/16in).Executed circa 1906-1908Footnotes:We are grateful to Professor Theodore Reff for his assistance in cataloguing this work.ProvenanceAnon. sale, Hôtel Drouot, Paris, 22 March 1920, lot 10.Anon. sale, Hôtel Drouot, Paris, 3 June 1927, lot 15.The Hon. H. Marks Collection, London.Thence by descent to the present owner.'The sheer labour of drawing had become a passion and a discipline to [Degas], the object of a mystique... a supreme preoccupation which abolished all other matters, a source of endless problems in precision which released him from any other form of inquiry. He was and wishes to be a specialist, of a kind that can rise to a sort of universality.'-Paul ValéryAs Edgar Degas' life drew to its close, his drawing practice reached its ascendency. Increasingly reclusive, suffering the decline of his vision due to a progressive retinal disease, he toiled in his four-floor studio at rue Victor Massé, thick with clouds of pastel dust and stacks of unfinished sketches. There he drew with monkish devotion, altering, colouring and reworking his compositions, tracing them on top of one another, transferring the loose media of their ever-changing forms from sheet to sheet. Pastel and charcoal at this time truly liberated Degas' approaches to colour, light and form, leading him to create his most poignant and truthful works, of which Danseuse is a quintessential example.In a fleeting glimpse, a ballerina adjusts her shoe between performances. Although she is not dancing, her entire presence is animated with motion, as her bold, vigorously applied contours are accented with the lively, flurried strokes of her arms, legs and tutu. At the same time, the delicate pattern of her spine traversing upward into her carefree coiffure evokes a certain intimacy. Heavy zigzags of charcoal at the base of the scene – some of which have been smudged into shadows – evoke the dark recesses of the backstage, access to which was a sought-after privilege for the cultural elite. The solid pink colour field of the door – its foundations rendered sensitively with Degas' trademark pastel wash – seems to underscore the ballerina's femininity, as its heavy vertical lines of charcoal generate a visual caesura. The light streaming in from the stage beyond, conjured up by the blank space of the sheet, gently hints at a narrative – one that Degas hides just out of reach, preferring the viewer to instead meditate upon this simple, personal and poignant vignette.Degas presents to the viewer a series of visual paradoxes: boldness and fragility, balance and spontaneity, intimacy and detachment. The resulting sense of transience, the stoking of the imagination, the leaving of questions unanswered are all central to Degas' dogma. At this time, he was drawing more from memory than from observation, making the splendour and mastery of his late technique all the more extraordinary. His compositions became simpler and bolder, depicting single figures or small groups within ever more abstract interiors. Anatomical accuracy gave way to the poetic, as Degas fused his imagination with the real world, creating a pictorial mythos that rests upon subjectivity rather than objectivity.In carrying out these aims, pastel was Degas' ambrosia. In its opacity, it allowed him to layer colours and fully rework compositions, working rapidly from sketch to sketch. At the same time, its powdery constitution allowed him to mix it with water and solvents to create pastes and washes. Degas' mastery of this versatile medium thereby engendered expressive compositions that possess a kind of magical, shimmering iridescence. While pastel allowed him to draw with colour, charcoal's friability enabled diverse delineations of form and space, granting his compositions a sculptural force. The harmony of these media led drawing to rival oil painting in Degas' late work, evidenced by the striking stylistic affinities between his artworks of these types. Indeed, as the ballerina of the present work makes a cameo in the circa 1889 painting Danseuses au foyer (Foundation E.G. Bührle, Zurich), she retains her startling vitality, as Degas renders her in oil with the rapid manner of a pastellist. This stylistic evolution within Degas' drawings coincided with a transformation in his methods of production, beginning at the close of the nineteenth century. His process began with a charcoal sketch on thin tracing paper, comprising bold, bassline contours followed by short staccato strokes. Then, he would apply a vaporous fixative by boiling it and directing the steam toward different aspects of that composition. Once the medium was secured, the mounters of his studio would apply the sheet to a lightweight piece of card, granting the artwork the required opacity and solidity for the ensuing stages. Next, Degas would apply coloured pastel, sometimes separating those tonal layers between further layers of fixative, preventing their pigments from intermixing. This sustained the chromatic intensities of the different colour fields, flattening their textures and allowing Degas to revisit his sketches across months and even years. Degas' mounting and fixing method therefore held key importance in his creative process, being reserved for charcoal drawings that he wished to develop further – and for which he often had a buyer in mind. This complexity of material and method has led Christopher Lloyd to liken Degas' studio to 'Prospero's cell – or, less poetically, the laboratory of a forensic scientist' (C. Lloyd, Edgar Degas, Drawings and Pastels, London, 2014, p. 273). The highly physical nature of Degas' late practice imbues his drawings with a kinetic force – one that resounds in the physical statures and poses of his subjects. Indeed, Degas held a lifelong fascination with ballerinas. Embodying his passion for music, they also provided a vehicle by which Degas could explore the human form and the poetic qualities of Modern Parisian urban life. As such, Degas followed Charles Baudelaire's edict to extract the beauty from the everyday, and depict the fragmented, Modern existence - in other words, to be both a man of the world and a man of the crowd. In his late oeuvre, Degas' dancers inhabit moments of rest and repose between performances, yawning, stretching and tending to their shoes. This banal shade of beauty brings with it a tinge of irony, as the viewer's experience is far from that of the Parisian theatregoers', who would instead observe the dancers' refined talents, alluring costumes and flawless physiques. Access to the backstage – a privilege that Degas keenly persuaded the ballet companies for – thus opened a vibrant world from which he could evoke fleeting glimpses of reality that were transformed by his own imagination.Paul Valéry described Degas' overall goal as trying 'to combine the snapshot with the endless labour of the studio, enshrining his impression of it in prolonged study – the instantaneous given enduring quality by the patience of intense meditation' (Valéry quoted in C. Lloyd, Edgar Degas, Drawings and Pastels, London, 2014, p. 285). Degas assumed this goal from his superiors, Gustave Courbet and Honoré Daumier, as well as his contemporaries, Édouard Manet and James Abbott McNeill Whistler. At the same time, Degas fiercely defended his individualism as an artist, taking cues from the many turning points of nineteenth and twentieth century art, yet refusing to subscribe to a movement. Unlike his avant-garde peers, he extracted the pursuit of ideal beauty from French academic and Romantic painters, employing the expressiveness of Je... For further information on this lot please visit Bonhams.com
Lot 27
2 jade pendants with 14ct gold fixings and bales. A cylindrical lavender jade pendant with cap fixing and a circular carved light green jade pendant in the shape of two fish "Pisces" sign of the zodiac. Gold marks to both bales. Lavender jade approx. 4cm including bale, green jade approx. 2.5cm diameter.
Lot 16
SIR JAMES LAWTON WINGATE RSA (SCOTTISH 1846 - 1924),AN ORCHARD IN AUTUMNoil on canvas, signed and dated '82, titled label versoimage size 42cm x 32cm, overall size 67cm x 56cm Framed. Partial handwritten label verso.Note: Born at Kelvinhaugh near Glasgow in 1846, Wingate's career as a boy clerk in a Glasgow commercial house was overshadowed by his taking drawing lessons in the early morning before work. Ruskin's Modern Painters and Elements of Drawing were a stimulus to him, as was the Pre-Raphaelite tradition, as seen in Scotland in the paintings of Waller Paton. From pencil studies, he constructed watercolour drawings which he exhibited for the first time in 1864 at the Glasgow Fine Art Institute. The appreciation he received for his work induced him to give up all thought of a commercial career and with £70 as his savings, he went on a six months' tour of Italy (1867-68), where he studied the works of the great masters and for the first time painted directly from nature. The tour resulted in the production of about 150 watercolour drawings. After his return to Scotland he based himself in Hamilton for about five years. The neighbouring Cadzow Forest, beloved by Sam Bough and Alexander Fraser, gave him the opportunity of careful study of tree forms, of which he made excellent use in later life. He then moved on to Edinburgh, where he studied at the RSA Schools. The turning point in his career came through meeting Hugh Cameron at Comrie, in Perthshire, in the autumn of 1873. Cameron was a genial and helpful critic. Wingate sturdily defended his work as being true to fact; Cameron's reply "I feel the work to be wrong and art is not an affair of argument, it is an affair of feeling" struck him with irresistible force. In 1874 he went to Muthill, near Crieff, in Perthshire, painting rustic subject matter such as 'The Wanderers' and 'The Quoiters', which drew public attention. 'The Wanderers' ensured his election to Associate rank in the Academy. From 1880-86 he made Muthill his home and in the later years he gained full membership of the Academy. Later he moved to Colinton and afterwards to Slateford, both in the vicinity of Edinburgh and 1913 he came to the capital. Thereafter he came increasingly under the influence of William McTaggart and his style became much more free, although with the same affection for the Scottish Countryside. The sky as the source of light, treated by so many painters in a perfunctory way is with him all-important. He exhibited at the RA from 1880 but showed mainly at the RSA from 1865. He became President of the RSA in 1919, resigning shortly before his death in Edinburgh, aged 77. There are three distinct periods in Wingate's career: early, post 1873 and late career (post 1913). Collectors are most motivated by his work from the mid period (post 1873) when the artist created a superb body of work and examples from this period appear at auction infrequently. However, in the most recent Scottish Pictures Auction (27th April 2022) lot 207 "The Hayrick" dated 1883 (by Wingate) sold for £3200 (hammer). "An Orchard in Autumn" is a little smaller than "The Hayrick" but it's an exceptionally fine example of the work of Sir James Lawton Wingate at the very peak of his talent.
Lot 4
HELEN STIRLING JOHNSTON (SCOTTISH 1888 - 1931),A SUMMER'S DAYoil on board, signed, titled label versoimage size 42cm x 49cm, overall size 52cm x 60cm Framed.Comment: it's highly likely that "A Summer's Day" is a self-portrait and the composition is a statement of feminine freedom which at the time would have been fairly radical.Note: Helen Stirling Johnston was born on the 28th of October 1888 and attended day classes in Drawing and Painting and Life Drawing at The Glasgow School of Art between 1907 and 1918. She established her reputation in Glasgow where she had a studio and was a prominent member of The Glasgow Lady Artists' Club. “Miss Johnston was one of the foremost lady artists in Scotland, and made Kirkcudbright her residence for several months each year”. She rented (from the Taylor's) a studio behind 9 High Street and became one of the group of women artists who created "a heady atmosphere of sisterly solidarity" in Kirkcudbright in the 1920s. Her obituarist saluted her "modernity" which was defined as consisting mainly of "her seeking light and then more light, so that her pictures became high-keyed and joyous in colour". Johnston exhibited at the Royal Scottish Academy where her first picture was accepted in 1919 and the last of twenty-four RSA pictures in 1931. She also exhibited at the RGI, at Liverpool, Kirkcudbright and in Glasgow. She died prematurely in 1931 following unsuccessful surgery.
Lot 291
A Meissen figural salt as a man in 18th Century dress beside a large boat shaped dish with floral encrusted decoration, bears blue crossed swords mark underglazed, struck through and incised numbers "2872" and impressed No. "128" to base 17 cm long x 11 cm high CONDITION REPORTS Appears basically sound though bowl with repaired damage. Fingers of left hand also with repaired damage. Left bottom corner of his jacket with chip - see further images of damage and repair under UV light
Lot 498
ROLEX A LADY'S 9 CARAT GOLD COLOURED BRACELET WATCH, NO. 107215, CIRCA 1953 Movement: Manual wind Case: 9 carat gold case, snap case back, import mark for Glasgow 1953 Dial: White Bracelet: Gold coloured flexible link bracelet, stamped 9ct Size: 25mm. bracelet 15cm Signed: Dial, movement, crown Accessories: None Condition Report: Movement is not currently functioning. Movement has scratches, marks and tarnishing commensurate with general wear visible when viewed under a 4x loupe. Dial appears to be in an average condition with some light marks and scratches when viewed under a 4x loupe. Hands show marks and tarnishing when viewed under a x4 loupe. Glass has some scratches and marks when viewed under a 4x loupe. Case shows noticeable scratches, marks and dints. Pierced hole to bezel at 11 o'clock Crown has light scratches when viewed under a 4x loupe. Possibly a replacement Expandable bracelet has light scratches and some signs of light stretching to links. Bracelet measures approximately 15cm including case. This lot does not come with box or papers. 16g gross Dreweatts 1759 do not guarantee the working order or accuracy of any lots sold. Due to opening of the case back we recommend this watch is re-sealed by a qualified technician to ensure any stated water resistance is achieved. If you should have any further questions regarding this lot, please contact the Watch Department on 01635 553 553 or at watches@dreweatts.com Condition Report Disclaimer
Lot 477
ROLEX A GOLD PLATED KEYLESS WIND HALF HUNTER POCKET WATCH, NO. 553161 Movement: Swiss lever Case: Gold plated five piece hinged case, the front cover with blue enamel Roman numeral chapter ring Dial: White Size: 49mm Signed: Movement Accessories: None Condition Report: Movement is currently functioning. Movement has scratches, marks and tarnishing commensurate with general wear visible when viewed under a 4x loupe. Dial appears to be in an average condition with some light marks and scratches when viewed under a 4x loupe. Hands show marks and tarnishing when viewed under a x4 loupe. Glass appears free of significant scratches or marks when viewed under a 4x loupe. Case shows light scratches and marks. Hinges appear intact. Crown has light scratches when viewed under a 4x loupe. This lot does not come with box or papers. Dreweatts 1759 do not guarantee the working order or accuracy of any lots sold. Due to opening of the case back we recommend this watch is re-sealed by a qualified technician to ensure any stated water resistance is achieved. If you should have any further questions regarding this lot, please contact the Watch Department on 01635 553 553 or at watches@dreweatts.com Condition Report Disclaimer
Lot 484
Y CONCORD, TIFFANY & CO. A LADY'S 14 CARAT GOLD WRIST WATCH, NO. 2061676 519314 Movement: Ca. ETA 979.001, quartz, 7 jewels Case: 15 carat gold case, snap case back, stamped with 14 carat gold common control mark Dial: Champagne Strap: Unsigned blue exotic leather strap with gold plated pin buckle Size: 16mm Signed: Case, dial Accessories: None Y - Indicates that this lot may be subject to CITES regulations when exported. Condition Report: Movement is not currently functioning. Movement appears to be in a generally good condition with little sign of previous intervention when viewed under a 4x loupe. Screw missing from battery retaining bar Dial appears to be in an average condition with some light marks and scratches when viewed under a 4x loupe. Hands appear to be in a generally good condition. Glass has some scratches and marks when viewed under a 4x loupe. Case shows light scratches and marks. Crown has light scratches when viewed under a 4x loupe. Strap shows marks and creasing. Buckle shows wear to the plating as well as marks and scratches. 11g gross This lot does not come with box or papers. Dreweatts 1759 do not guarantee the working order or accuracy of any lots sold. Due to opening of the case back we recommend this watch is re-sealed by a qualified technician to ensure any stated water resistance is achieved. If you should have any further questions regarding this lot, please contact the Watch Department on 01635 553 553 or at watches@dreweatts.com Condition Report Disclaimer
Lot 256
A modern light oak wall hanging corner cabinet, single galleried door, shelved interior, 51cm high x 51cm wide x 29cm deep; another mahogany wall hanging display cabinet, 75.5cm high x 53cm wide, 30.5cm deep; a lyer leg drop leaf occasional table 54cm high x 71cm wide x 37.5cm deep ; a single bed headboard, 71cm high x 105cm wide (4)
Lot 103
A CHINESE SILVER RECTANGULAR SILVER CIGARETTE BOX HE SHENG, EARLY 20TH CENTURY Embossed with bamboo, the cover engraved E.C.B. within an oval reserve 16cm (6 1/4in) long With a cedar liner Condition Report: Marks clear Engraving rubbed Hinge good Cover sits well Light scratches and wear commensurate with age and use Condition Report Disclaimer
Lot 106
A PAIR OF DUTCH SILVER OVAL CANDLESTICKS .934 STANDARD, CIRCA 1815 With oval reeded sconces, the slightly tapering stems with reeded bands and on oval bases 23.5cm (1 /4in) high Loaded Condition Report: Marks are clear, to bases and sconces One stands well, the other wobbles One sconces sits proud, the other good No engraving Light scratches and wear commensurate with age and use Condition Report Disclaimer
Lot 107
A MATCHED SET OF SIX DUTCH SILVER CANDLESTICKS .935 STANDARD, CIRCA 1826 (4) AND 1847 (2) With gadrooned oblong sconces, baluster stems and oblong bases 21cm (8 1/4in) high Loaded Condition Report: Marks generally rubbed One snapped off at stem Sconces with slight gaps One sconce with knock to one corner Two wobble Five stand true No engraving Light to heavy scratches Some pitting Light scratches and wear commensurate with age and use Condition Report Disclaimer
Lot 108
A DUTCH SILVER OBLONG TEAPOT .934 STANDARD, CIRCA 1850 With a flower finial to the domed pull off cover, a wooden handle, chased with C-scrolls and foliate to the corners, on an oblong pedestal foot 245cm (9 3/4in) long 384g (12.35 oz) gross Condition Report: Marks are partially obscured Dent to the foot rim Badly wobbles Slight play to the handle Cover sits well Minor dents No engraving Light scratches and wear commensurate with age and use Condition Report Disclaimer
Lot 11
A GEORGE III SILVER OVAL TEAPOT ROBERT HENNELL I, LONDON 1784 With a bell shaped finial to the flat cover, a wood loop handle, engraved with urns, ribbons, foliate swags, a crest and monogram within oval reserves 28.5cm (11 1/4in) long 522g (16.8 oz) gross Condition Report: Marks are clear Play to the hinge Cover sits well Slight play to the handle Engraving is worn Slightly wobbles Light scratches and wear commensurate with age and use Condition Report Disclaimer
Lot 118
A GERMAN SILVER TAPERING BEAKER PHILIPP STENGLIN, AUGSBURG CIRCA 1720 With two engraved strapwork bands 8cm (3in) high 73g (2.35 oz) Condition Report: Marks partially obscured Wobbles Bands crisp No personal engraving Signs of gilding to the base and rim Light scratches and wear commensurate with age and use Condition Report Disclaimer
Lot 119
A GERMAN SILVER MOUNTED TAPERING GLASS DECANTER WILHELM BINDER, POST 1886, .800 STANDARD With a cone finial to the flat cover, an angular handle, a husk band and two shield shaped vacant reserves 28cm (11in) high Condition Report: Marks clear Hinge tight Dent to the top of the handle Cover sits with slight gap Glass appears in good condition Light scratches and wear commensurate with age and use Condition Report Disclaimer
Lot 12
A GEORGE III SILVER SHAPED OVAL TEAPOT STAND BENJAMIN MOUNTIGUE, LONDON 1787 With a raised moulded border, engraved with ribbons and an armorial, on four pad feet 19.5cm (7 3/4in) long 130g (4.2 oz) Condition Report: Maker's mark partially obscured, rest are clear Engraving rubbed Wobbles Light scratches and wear commensurate with age and use Condition Report Disclaimer
Lot 120
A GERMAN SILVER GILT COLOURED BOWL AND COVER POST 1886 .925 STANDARD With a cone finial to the domed cover a dart and tongue border, engraved with coronet above an armorial and an inscription 13cm (5in) diameter 455g (14.6 oz) Condition Report: Marks and engraving is clear Cover sits well Rubbing to the gilding on the foot Light scratches and wear commensurate with age and use Condition Report Disclaimer
Lot 122
AN INDIAN SILVER CANTED RECTANGUALR TRAY 19TH CENTURY, UNMARKED The boarder pierced and embossed with foliate swags, the centre embossed with flower heads and foliate swags, a vacant reserve to the centre and on four ball feet 23.5cm (9 1/4in) long Together with another Indian silver canted rectangular tray, 19th century, unmarked, with a bamboo border, a pierced and embossed foliate band, the centre embossed with birds outside a townscape, a vacant reserve to the centre and on four ball feet, 21.5cm (8 1/2in) long 469g (15.1 oz) Condition Report: Both unmarked No personal engraving to either Tray with bamboo border wobbles, the other good Light scratches and wear commensurate with age and use Condition Report Disclaimer
Lot 123
AN INDIAN SILVER PEDESTAL ROSE BOWL J. MANIKRAI, KARACHI, STAMPED T.95 CIRCA 1900 With an embossed foliate border and a band of hunting animals, on a conforming circular pedestal foot, with an unmarked silver coloured mesh cover 18cm (7in) diameter 843g (27.1 oz) gross Condition Report: Marks to the bowl clear Cover unmarked Gaps to the cover Stands well No engraving Decoration good Light scratches and wear commensurate with age and use Condition Report Disclaimer
Lot 124
Y AN INDIAN SILVER THREE PIECE BALUSTER WATER JUG, CREAM SUGAR AND SUGAR BOWL J. MANIKRAI, STAMPED T.95, KARACHI, CIRCA 1900 The hot water pot with a lobed finial to the domed cover, a scroll handle with ivory warming bands, chased with foliate swags and panels of wild animals, on a circular foot 27cm (10 1/2in) high 1384g (44.5 oz) gross Please note Dreweatts have applied for a de minimis exemption licence for the ivory in this lot Ref: 65JMPP5R Y - Indicates that this lot may be subject to CITES regulations when exported. Condition Report: Water jug - Marks are clear, play to the hinge, handle tight, splits to the ivory, cover sits well, stands well Sugar bowl - Marks are clear, cover fits tightly to the body, stands well, knock to the foot rim Cream jug - Marks are clear, wobbles All with light scratches and wear commensurate with age and use Condition Report Disclaimer
Lot 125
AN INDIAN SILVER FOUR PIECE GLOBULAR CRUET SET UNMARKED, EARLY 20TH CENTURY The mustard pot with a cone finial to the domed cover, a scroll handle, embossed with foliate swags and on three ball feet 6.5cm (2 1/2in) long With three spoons with elephant terminals Together with another Indian silver mustard pot and pepperette 295g (9.5 oz) gross Condition Report: All unmarked Light scratches and wear commensurate with age and use Condition Report Disclaimer
Lot 127
A RUSSIAN SILVER SHAPED OVAL PEDESTAL BOWL 84 ZOLOTNIKI, ST. PETERSBURG 1846 The lobed body with twin loop handles and on a shaped oval pedestal foot 17cm (6 3/4in) long Together with a Russian silver coloured elephant handled letter opener, 84 Zolotniki, with a faux ivory blade, 24.5cm (9 3/4in) long 328g (10.55 oz) weighable Condition Report: Bowl - Marks are partially obscured, wobbles, no engraving Letter opener - Marks partially obscured, blade tight to the handle Light scratches and wear commensurate with age and use Condition Report Disclaimer
Lot 138
A PAIR OF CONTINENTAL SILVER COLOURED FISH SERVERS STAMPED 800 The foliate and shell handles engraved VJ, the knife blade pierced and engraved with a fish among foliage The fork 24cm (9 1/2in) long The knife 29.5cm (11 1/2in) long 218g (7 oz) Together with a George III fish slice by William Eley & William Fearn, London 1802, with a filled handle and pierced blade, 30cm (11 3/4in) long Condition Report: Continental servers Marks worn Engraving crisp Light scratches and wear commensurate with age and use George III slice Marks lightly rubbed to blade No marks to the handle Handle dented Play to the handle Light scratches and wear commensurate with age and use Condition Report Disclaimer
Lot 14
A GEORGE III SILVER SHAPED OVAL TEAPOT MAKER'S MARK OBSCURED, LONDON 1788 With a pineapple finial to the domed cover, a wood loop handle, engraved with ribbons, foliate and floral swags and two vacant oval reserves 28cm (11in) long 472g (15.2 oz) gross Condition Report: Maker's mark obscured, rest are clear Play to the hinge Slight gap to the cover Play to the handle Wobbles Engraving lightly rubbed Light scratches and wear commensurate with age and use Condition Report Disclaimer
Lot 142
A GEORGE III SILVER VINAIGRETTE JOHN SHAW, BIRMINGHAM 1819 With engraved guilloche decoration and an oval reserve, opening to a pierced floral grill 3.5cm (1 1/2in) long 16g (0.5 oz) Condition Report: Marks are partially obscured Hinges good Decoration good Light scratches and wear commensurate with age and use Condition Report Disclaimer
Lot 143
A WILLIAM IV SILVER RECTANGULAR SNUFF BOX MAKER'S MARK TS, LONDON 1836 The cover chased with four jockeys and horses, the engine turned body with chased foliate borders 9cm (3 1/2in) long 196g (6.3 oz) Condition Report: Marks are partially obscured The chased cover is rubbed Hinge good Split to the front left corner of the cover Slight gap to the cover No personal engraving Light scratches and wear commensurate with age and use Condition Report Disclaimer
Lot 145
A VICTORIAN SILVER RECTANGULAR NUTMEG GRATER NATHANIEL MILLS, BIRMINGHAM 1838 The engine turned cover with a rectangular vacant reserve, reeded sides, opening to a steel grater 4cm (1/2in) long 37g (1.2 oz) gross Condition Report: Marks are partially obscured Hinges good Grater rusted Engine turning good No engraving Light scratches and wear commensurate with age and use Condition Report Disclaimer
Lot 146
A VICTORIAN SILVER RECTANGULAR SNUFF BOX MAKER'S MARK EE, LONDON 1847 With engine turned decoration, chased floral borders and a rectangular shaped vacant reserve 9.5cm (3 3/4in) long 165g (5.3 oz) Condition Report: Marks are clear Hinge is tight Slight gap to the cover No engraving Two patches of rubbing to the engine turning on the base Light scratches and wear commensurate with age and use Condition Report Disclaimer
Lot 147
A VICTORIAN SILVER SHAPED RECTANGULAR CARD CASE NATHANIEL MILLS, BIRMINGHAM 1848 Engraved JW to GM in a reserve, on a trellis and scroll foliate roundel ground 10cm (4in) long 69g (2.25 oz) Condition Report: Marks are clear Hinge good Engraving crisp Light scratches and wear commensurate with age and use Condition Report Disclaimer
Lot 148
AN EDWARDIAN SILVER VESTA CASE CHARLES LISTER, CHESTER 1900 Chased with flowers, foliage and a portrait of Queen Victorian in a heart shaped reserve 5.5cm (2 1/4in) high 30g (0.95 oz) Condition Report: Marks are partially obscured Hinge good Light scratches and wear commensurate with age and use Condition Report Disclaimer
Lot 15
A GEORGE III SILVER OBLONG PEDESTAL TEA POT PETER & WILLIAM BATEMAN, LONDON 1789 With a wood finial to the domed cover and harp handle, the body engraved with a foliate swag band, on a gadrooned oblong pedestal base with four ball feet 27cm (10 1/2in) 775g (24.9 oz) Condition Report: Marks are clear Slight play to the hinge Handle is tight Cover sits well No personal engraving Splits to the hanlde Light scratches and wear commensurate with age and use Condition Report Disclaimer
Lot 151
A SILVER RECTANGULAR SNUFF BOX MAKER'S MARK OBSCURED, BIRMINGHAM 1923 The cover engraved with six birds, the body with engine turned decoration 9cm (3 1/2in) long 176g (5.65 oz) Condition Report: Marks are worn Engraving lightly rubbed Hinge good Cover closes well Light scratches and wear commensurate with age and use Condition Report Disclaimer
Loading...-
534297 item(s)/page