There are 534325 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeFREDERICK SAMUEL CORDEY (FRENCH, 1854-1911)Paysagesigned 'Cordey' (lower right)oil on canvas44 x 61cm ProvenanceKaplan Gallery, LondonCondition reportThe canvas has been relined. Some light traces of dirt to paint surface but otherwise sound; no sign of retouching under ultraviolet light. Held in a plaster gilt frame in fair condition.
FRANCIS WYNNE THOMAS (BRITISH, 1907-1989)German Training Ship in Shadwell Basin (1937)signed 'F. WYNNE THOMAS' (lower right) and inscribed with title (to reverse of stretcher)oil on canvas51 X 61cmARRCondition reportTwo pin holes visible upper left and right and two visible lower left and right.Very small white mark visible lower centre. A little undulation to canvas.Overall appears in generally good condition.Inspection under UV light reveals no signs of retouching.
XENIA BERKELEY (B. 1916)A downland landscapesigned 'Xenia Berkeley' (upper right) and inscribed (to reverse of frame)oil on canvas-board37 x 52cmARRCondition reportThe canvas-board is sound. canvas is course and slightly uneven, some light traces of surface dirt but generally sound. Ultraviolet reveals no sign of retouching. Held in the original painted frame in fair condition.
JOHN ROWLAND BARKER (BRITISH, 1911-1959)Danforth Anchor and Shacklesigned with initials and dated 'JB '44' (lower right)oil on board37 x 50cmARRExhibitedLondon, Waterhouse & Dodd, John Barker; A Retrospective Exhibition, 4th-21st June 1991, No 7Condition reportThe board undulates very slightly but is generally sound. There are a couple of light surface scratches, upper and lower right, otherwise the paint surface is in good, clean condition. Ultraviolet reveals no sign of retouching.
JOHN ROWLAND BARKER (BRITISH, 1911-1959)Bird and Boat, Chichester Harboursigned and dated 'Barker 52' (lower left), inscribed and bears old label (verso)oil on board39 x 58cmARRProvenanceAgnewsExhibitedLondon, Waterhouse & Dodd, John Barker; A Retrospective Exhibition, 4th-21st June 1991, No. 24Condition reportCraquelure. Unevenness to paint surface but this is most likely as the artist intended.Inspection under UV light reveals no signs of retouching.
ADRIAN ALLINSON (BRITISH, 1890-1959)Mountainous Estuarysigned and indistinctly dated 'allinson' (lower left)oil on panel56 x 68.5cmProvenanceThomas Agnew & Sons Ltd, LondonVictorian and Modern British Paintings and Sculpture, Sotheby's, London, 24th June 1985, lot 358, as A Quiet CoveModern British and Continental Paintings, Drawings & Watercolours, Christie's, London, 20th September 1990, lot 6720th Century Art, Sotheby's, London, 24th October 1997, lot 128Private collection, UKCondition reportAppears in generally good condition. Inspection under uv light reveals some well executed scattered in filling.
MARY FEDDEN (BRITISH, 1915-2012)The Purple Tablesigned and dated 'Fedden 1987' (lower left)oil on board51 x 101.5cmARRProvenancePrivate collection, UKCondition reportA few small media spots around central plate.A couple of media spots fluoresce under UV light but they are not retouching.Appears in good condition.
SCOTTIE WILSON (BRITISH, 1891-1972)Buildings and trees under the sunsigned 'SCOTTIE' (lower right)pen, ink and watercolour18.5 x 27.5cmARRCondition reportA little undulation to paper. Small mark centre left and upper left.Otherwise appears generally good.Not inspected out of frame.Not inspected under UV light.
AFTER LAURENCE STEPHEN LOWRYYachtsnumbered '200/850' (in lower margin)limited edition print, published by the Henry Donn Gallery in association with the City of Salford Art Gallery43 x 59cmARRCondition reportThe sheet is generally sound; very light discolouration to left and right borders, otherwise good condition overall. Framed and under glass, unexamined out of frame.
AUREL RICHTER (HUNGARIAN, 1870-1957)Marin Et Fille Au Cafésigned 'RICHTER' (upper right)gouache on board50 x 27cmARRProvenanceSale, Sotheby's London, 19 October 2006, lot 202, where acquired by the present ownerThe Darren Shan CollectionCondition reportThe sheet appears generally sound. There is a small patch of light staining to the girl's neck, upper right; some areas where the wove of the paper is visible but good overall condition. Framed and under glass; unexamined out of frame.
AUREL RICHTER (HUNGARIAN, 1870-1957)Le Marin Et Fillesigned 'RICHTER' (upper left)gouache on board50 x 49.5cmARRProvenanceSale, Sotheby's London, 19 October 2006, lot 203, where acquired by the present ownerThe Darren Shan CollectionCondition reportThe sheet is sound; a couple of light surface abrasions which seem to be the thick weave of the paper. Good condition overall - framed and under glass, unexamined out of frame.
GERALD NORDEN (BRITISH, 1912-2000)Still life of apples and nutssigned and dated 'Norden 70' (lower left)oil on board15.5 x 21.5cmARRProvenanceThe Trafford Gallery, Mount Street, LondonPrivate collection, UKCondition reportA little surface dirt, including a very small brown mark upper right and a small dark spot lower right. These could be media spots.Appears in generally good condition.Inspection under UV light reveals no signs of retouching.
GERALD NORDEN (BRITISH, 1912-2000)Still life of eggs by a candlesigned and dated 'Norden 68' (lower left)oil on board25.5 x 17.5cmARRCondition reportCraquelure visible, mostly to centre right (to lower right of bottle). What looks like a small spot of paint loss with infilling to lower right of bottle (in the area with craquelure).A little surface dirt.Inspection under UV light reveals some retouching, mostly to the right side, starting above right edge of plate, up to the upper right quarter. Also some other retouching to background areas, behind lower section of candle and upper left
TOMASZ SETOWSKI (POLISH, B. 1961)Untitled, Surrealist composition with saxophonist signed and dated 'T SETOWSKi 93' (lower right)oil on canvas147.5 x 167.5cmARRProvenancePrivate collection, UKCondition reportSome surface dirt. A few stains/drip marks visible in places. A very small bulge to canvas in upper right quarter.Overall appearance generally good.Inspection under UV light reveals a few stains and drip marks in various places.
JOHN PIPER (BRITISH, 1903-1992) (3)Eye and Camera, Red, Blue and Yellowsigned in pencil 'JohnPiper' (in lower margin)sreenprint in coloursimage size 40 x 60.5cm(unframed)together with two other signed copies of the same screenprint(3)ARRCondition reportSome creases and foxing to borders and margins.Some light foxing and surface dirt visible in images, mainly to white/pale areas. One print better than others.
JOHN PIPER (BRITISH, 1903-1992) (3)Eye and Camera, Red, Blue and Yellowsigned in pencil 'JohnPiper' (in lower margin)sreenprint in coloursimage size 40 x 60.5cm(unframed)together with two other signed copies of the same screenprint(3)ARRCondition reportSome foxing to borders and margins.Some light foxing and surface dirt visible in images, mainly to white/pale areas.Small vertical tear approximately 3cm long to upper centre margin/border on one print.
FINN JUHLA Judas Model dining table, by Finn Juhl, with circular silver inlays, with two additional leaves. Denmark, c.1950. 119.5, 173.5/224.5/275.5, 75cm(h)Condition Report: Overall condition is very goodSome very light scratches on the surface, see additional images The timber has lightened over the years and one leaf is darker as a result from lack of useBaker's furniture label on the underneath, see additional imagesThe legs do not fold
GINO SARFATTI (1912 - 1985)A 'Model 537G' table lamp by Gino Sarfatti, for Arteluce, on a marble base, Italy c.1950s, with maker's label. 35cm(h)Condition Report: Overall condition is goodSome light wear to the enamel and shade consistent with ageNot checked by a certified electrician for safety
SIR MATTHEW SMITH (1879-1959)Tulips in a Blue VaseOil on canvas, 61 x 45.5cmProvenance: With Browse & Darby, London; Private Collection, DublinCondition Report: Very good condition with light impasto Sound canvas, pin marks in each cornerVery slight sagging in the top right quadrant Not original frame
JACQUELINE DU PRE AND RELATED - LPs. A smashing selection of 5 LPs including a box-set by cellist Jacqueline Du Pre. Titles include Brahms: The Two Sonatas For Cello And Piano (ASD 2436, UK stereo press on the half-moon Nipper HMV label. Record is stunning Ex/ front laminated flip-back sleeve is also Ex), Cello Concerto (x2) inc (ALP 2106, UK mono press on the half-moon nipper HMV label. Record Ex but would benefit from a clean/ sleeve Ex) & (ASD 655, UK stereo press. Record has some light surface marks, side 1 VG+/ side 2 VG/ the sleeve is Ex). Elgar: Cello Concerto Op 85 (76 529, German stereo press on CBS Masterworks. Strong VG+/ VG+) & Daniel Barenboim/ Otto Klemperer - Beethoven: The Five Piano Concertos (SLS 941/4, UK stereo 4LP set on HMV Angel. Includes booklet. Records Ex/ box VG+).
GEORGE SZELL - COLUMBIA UK STEREO LP RARITIES. A wonderful pack of 3 classical LPs, all original UK stereo pressings on Columbia. Composers/ performers include George Szell inc Walton: Symphony No. 2 (SAX 2459, blue/ silver labels. Record is superb Ex+/ sleeve is signed on the rear by composer William Walton. Again in beautiful Ex condition), Walton/ Hindemith/ Weber: Variations (SAX 2576, half-moon labels. Record is beaufiul Ex/ sleeve signed on the rear by William Walton "Willie Walton", in lovely Ex condition) & Barber/ Schuman - Piano Concerto/ A Song Of Orpheus (SAX 2575, half-moon stereo labels. Side 1 has one light paper mark, Strong VG+/ side 2 is Ex/ sleeve is signed on the rear by piano player John Browning. Sleeve is in beautiful Ex condition).
MICHAEL RABIN LP RARITIES PLUS LETTER. A superb pack of 2 LPs by American violinist Michael Rabin, includes a hand-written person letter and a couple of festival programmes. Titles include Wieniawski/ Bruch - Violin Concerto No1/ Scottish Fantasy (35484, 1958 US pressing on Angel. Record has some light paper surface marks, strong VG+/ the textured sleeve has some age-related storage/ handling wear, VG+) & In Memoriam (S-60199, US pressing on Seraphim. The record is in superb Ex condition/ the sleeve has some age-related storage wear, VG+). The letter, hand-written to friends, thanks them for their wonderful company and hospitality during his stay.
NATHAN MILSTEIN - BRAHMS: VIOLIN CONCERTO LP (UK STEREO - SP 8560). A glorious original UK stereo LP by Nathan Milstein; Brahms: Violin Concerto (SP 8560, 1962 UK stereo pressing on Capitol. Labels with multi-coloured rim are lovely, bright and clean. The record is in stunning Ex condition, displaying a couple of light paper marks. The front laminated sleeve is beautiful Ex, has a small sticker at the top of the cover).
SIR THOMAS BEECHAM - UK HMV STEREO LP RARITIES. A superb pack of 4 classical LPs by Sir Thomas Beecham, all UK stereo pressings on His Master's Voice. Titles include Delius: Brigg Fair (ASD 357, white/ gold label. Record Ex/ sleeve Ex), Rimsky-Korsakov: Scheherazade (ASD 251, white/ gold labels. Ex/ Ex), Handel-Beecham: Love In Bath (ASD 298, white/ gold label. Record is superb Ex+/ sleeve Ex) & Grieg: Music For Peer Gynt (ASD 258, white/ gold label. Side 1 has a couple of light paper marks, strong VG+/ side 2 is Ex/ sleeve Ex). Also includes a couple of concert programmes.
TEATRO ALLA SCALA LP BOX SET (UK STEREO - COLUMBIA - SAX 2286/ 87/ 88). A glorious original UK stereo LP box-set pressing of Teatro Alla Scalla (SAX 2286/ 87/ 88. Original UK 3 LP pressing on the blue/ silver Columbia labels. Includes libretto. Records are all stunning Ex/ Ex+ condition/ the box has some light edge storage wear, VG+), also includes a couple of concert programmes.
BERNSTEIN - RAVEL/ SHOSTAKOVICH: PIANO CONCERTOS LP (SIGNED - STEREO - 835525 AY). A beautiful original Dutch stereo pressing of Ravel & Shostakovich piano concertos performed by Leonard Bernstein signed on the rear by Shostakovich & Bernstein (835525 AY, Original Dutch stereo pressing on Philips. Maroon/ silver labels are in beautiful shape. The record is in stunning Ex condition/ the sleeve, signed on the rear by Bernstein and Shostakovich has some light age-related edge storage wear, strong VG+).
DECCA SXL - UK STEREO LP RARITIES (SIGNED). A wonderful pack of 3 classical LPs, all UK stereo SXL pressings on Decca. Composers/ performers include Curzon/ Szell - Brahms: Piano Concerto No.1 (SXL 6023, ED1 labels. Record is superb Ex+/ sleeve is signed on the rear by Curzon. Sleeve is beautiful Ex), Vladimir Ashkenazy/ Fistoullari - Rachmaninov: 3rd Piano Concerto (SXL 6057, ED1 labels. Record is Ex, side 1 has some inner sleeve transfer sheen that'll wipe clean/ sleeve is signed on the rear by Ashkenazy. Sleeve is beautiful Ex) & Kertesz - Dvorak: Symphony No 6 (SXL 6253, ED2 label. Record is Ex, displaying a couple of light paper marks/ sleeve is wonderful Ex).
IGOR & DAVID OISTRAKH - MOZART: SINFONIA CONCERTANTE LP (ED1 - SXL 6088). Up next we have the wonderful LP by Ukrainian father and son duo David & Igor Oistrakh; Mozart: Sinfonia Concertante For Violin And Viola (SXL 6088, 1964 UK first pressing on the ED1 Decca label. Wide-band, deep-groove labels are lovely, bright and clean. Side 1 is in beautiful Ex condition, would benefit from a clean. Side 2 has some light paper surface marks, nothing feelable. Strong VG+. The front laminated flip-back sleeve is in beautiful shape, the cover is lovely and glossy, the back has some light storage wear, Ex).
Italian school, late 18th century.Male portrait.Oil on canvas.Re-drawn.Frame of the 19th century.Measurements: 65 x 57 cm; 59 x 50,5 cm (frame).Male bust of naturalistic character, in which an expressive and extremely plastic palette has been used, based on strong contrasts between warm and cold tones. Wearing a beret, the figure is partially hidden behind a long beard of grey hair. His tanned skin, modelled with side lighting, emphasises his angular features. The influence of Venetian art can be seen in the treatment of light, as Venice is an enclave with a long tradition of portraiture, from the 16th to the 18th century, from Bellini to Giorgione and Titian to Giorgione. In particular, the legacy of Giorgione's vivid portraits of humble characters and old women can be appreciated,
Flemish school; early 17th century."Saint Hermenegild".Oil on canvas.Measurements: 104 x 125 cm.Saint Hermenegild was the son of the Visigoth king Leovigild. In 579 he confronted his father and married Ingund, the daughter of the Frankish king Sigebert I of Austrasia, who was a Christian. Later he started a rebellion, in which he tried to replace Arianism with Christianity. During the conflict Hermenegild fled to Seville and when it fell to a siege in 584, he made his way to Cordoba. After Leovigild paid 30,000 gold pieces, the Byzantines withdrew and took Ingund, his wife and son with them. Hermenegild sought refuge in a church and his father sent Recaredo, Hermenegild's brother, to offer peace. In this scene the artist depicts the saint kneeling, praying and turning his face towards the crucifix on the tree on the left-hand side of the composition. However, despite the pious subject matter of the scene, we are struck by the multitude of animals that share the composition with Saint Hermenegild: a white horse, from which he seems to have immediately dismounted as he is saddled, three dogs in the lower part of the foreground and a deer standing on a promontory, looking directly at the saint. This feature creates a confusing situation in the conception of the work, as it seems that Saint Hermenegild is also looking at the animal, to some extent losing sight of the presence of the deer.The painting belongs to the Flemish school, which can be deduced from certain characteristics associated with that school. In this painting, there is a realistic reaction to the fantasy of the international Gothic, it is a painting very influenced by the art of sculpture, oil painting is usually generalised, it is a painting with a great symbolic sense which allows us two readings, the symbolic and the realistic. There is an importance for detail, with a meticulous description of objects, nothing escapes the painter's eye, the presence of many details is evident, a painting in which real beings appear without idealistic intention. The portrait occupies an increasingly prominent place, there is a greater study of light, as well as a veracity of the sense of volume, depth is sought in space, achieving perspective in an intuitive manner.
Christ Crucified; Limoges workshop, 12th-13th century.Copper.With losses.Measurements: 15.5 x 13.5 cm.This piece was part of a crucifix or of a processional cross which has not been preserved. The Limoges workshop appeared in the last quarter of the 12th century and continued its activity until the 14th century. It flourished again in the 15th century with the new technique of painted enamel. It became the most important enamel workshop, ahead of the Rhineland and Meuse, which disappeared in the 12th century and were dedicated to the production of individual plates on commission, which were then mounted on an object or joined together to form altar frontals. In Limoges, on the other hand, the production of objects, no longer just plaques, decorated with enamels for religious, but also for secular use, began to take off. They were cheaper, copper-based pieces, and very attractive because of the enamelled decoration, which made them a huge and immediate success throughout Europe. Limoges is also mentioned in documents, indicating that it was an important centre known throughout Western Europe. One of the distinguishing features of Limoges is its very shallow bottom dragging, which does not go beyond two or three millimetres. To depict detail, such fine partitioning is used that it can only be distinguished from the excavated one by close observation through a magnifying glass. In Limoges, the enamels are applied according to the client's taste, filling only the background, only the figures, or both, and the enamels are applied according to the client's taste. As for the colour range, he used that of the Meuse workshops, which was very varied, but added new colours, such as olive green, a light greyish blue or white for the flesh tones. In the long history of these workshops, one of their main successes was precisely the fact that they not only made plaques, but also complete pieces, as in the case of the Crucifixion shown here.
Christ Crucified; Limoges workshop, 12th-13th century.Copper.Measurements: 13.8 x 10.3 cm.Devotional sculpture made in copper, which represents the body of Christ on the cross, although this is not preserved. The piece shows a figure of Christ triumphant, as he is awake and crowned as king of heaven. The Limoges workshop appeared in the last quarter of the 12th century and continued its activity until the 14th century. It flourished again in the 15th century with the new technique of painted enamel. It became the most important enamel workshop, ahead of the Rhineland and Meuse, which disappeared in the 12th century and were dedicated to the production of individual plates on commission, which were then mounted on an object or joined together to form altar frontals. In Limoges, on the other hand, the production of objects, no longer just plaques, decorated with enamels for religious, but also for secular use, began to take off. They were cheaper, copper-based pieces, and very attractive because of the enamelled decoration, which made them a huge and immediate success throughout Europe. Limoges is also mentioned in documents, indicating that it was an important centre known throughout Western Europe. One of the distinguishing characteristics of Limoges is its very shallow bottom dragging, which does not go beyond two or three millimetres. To depict detail, such fine partitioning is used that it can only be distinguished from the excavated one by close observation through a magnifying glass. In Limoges, the enamels are applied according to the client's taste, filling only the background, only the figures, or both. As for the colour range, he used that of the Meuse workshops, which was very varied, but added new colours, such as olive green, a light greyish blue or white for the flesh tones.
Christ Crucified; Limoges workshop, 12th-13th century.Copper.Part of the enamel is preserved.It shows losses and cracks.Measurements: 17.5 x 12.5 cm.Devotional sculpture made of copper, representing the body of Christ on the cross, although this is not preserved. The piece presents a figure of Christ triumphant, as he is awake and crowned as king of heaven. The Limoges workshop appeared in the last quarter of the 12th century and continued its activity until the 14th century. It flourished again in the 15th century with the new technique of painted enamel. It became the most important enamel workshop, ahead of the Rhineland and Meuse, which disappeared in the 12th century and were dedicated to the production of individual plates on commission, which were then mounted on an object or joined together to form altar frontals. In Limoges, on the other hand, the production of objects, no longer just plaques, decorated with enamels, began, above all for religious but also for secular use. They were cheaper, copper-based pieces, and very attractive because of the enamelled decoration, which made them a huge and immediate success throughout Europe. Limoges is also mentioned in documents, indicating that it was an important centre known throughout Western Europe. One of the distinguishing characteristics of Limoges is its very shallow bottom dragging, which does not go beyond two or three millimetres. To depict detail, such fine partitioning is used that it can only be distinguished from the excavated one by close observation through a magnifying glass. In Limoges, the enamels were applied according to the client's taste, filling only the background, only the figures, or both. As for the colour range, he used that of the Meuse workshops, which was very varied, but added new colours, such as olive green, a light greyish blue or white for the flesh tones.
Christ crucified; Limoges, 12th-13th century.Copper.With losses and breaks.Measurements: 17 x 12.5 cm.Devotional sculpture made in copper, representing the body of Christ on the cross. Stylistically, the work follows medieval aesthetics, where symbolism prevailed over a realistic representation. For this reason, an anatomical distortion and schematisation of the features can be seen in both the face and the body of Christ. This piece was part of a crucifix or a processional cross that has not been preserved.The Limoges workshop appeared in the last quarter of the 12th century and continued its activity until the 14th century. It flourished again in the 15th century with the new technique of painted enamel. It became the most important enamel workshop, ahead of the Rhineland and Meuse, which disappeared in the 12th century and were dedicated to the production of individual plates on commission, which were then mounted on an object or joined together to form altar frontals. In Limoges, on the other hand, the production of objects, no longer just plaques, decorated with enamels for religious, but also for secular use, began to take off. They were cheaper, copper-based pieces, and very attractive because of the enamelled decoration, which made them a huge and immediate success throughout Europe. Limoges is also mentioned in documents, indicating that it was an important centre known throughout Western Europe. One of the distinguishing characteristics of Limoges is its very shallow bottom dragging, which does not go beyond two or three millimetres. To depict detail, such fine partitioning is used that it can only be distinguished from the excavated one by close observation through a magnifying glass. In Limoges, the enamels are applied according to the client's taste, filling only the background, only the figures, or both, and the enamels are applied according to the client's taste. As for the colour range, he used that of the Meuse workshops, which was very varied, but added new colours, such as olive green, a light greyish blue or white for the flesh tones. In the long history of these workshops, one of their main successes was precisely the fact that they not only made plaques, but also complete pieces, as in the case of the Crucifixion shown here.
Christ crucified; Limoges workshops, 12th-13th century.Copper.With losses and cracks.Remains of enamel.Measurements: 13.3 x 11.4 cm.Despite the lack of the lower crossbeam of the cross, the piece still conserves almost the entire body of Christ, which stands out for the drama it achieves through the representation of the body, where the ribs have been marked in an expressionist manner. However, the face of this crucified Christ remains serene. Leaning slightly on his shoulder and with his eyelids closed, the artist presents us with a Jesus who has already perished and is resting in the kingdom of heaven to rise again.The Limoges workshop appeared in the last quarter of the 12th century and continued its activity until the 14th century. It flourished again in the 15th century with the new technique of painted enamel. It became the most important enamel workshop, ahead of the Rhineland and Meuse, which disappeared in the 12th century and were dedicated to the production of individual plates on commission, which were then mounted on an object or joined together to form altar frontals. In Limoges, on the other hand, the production of objects, no longer just plaques, decorated with enamel, began, above all for religious but also for secular use. They were cheaper, copper-based pieces, and very attractive because of the enamelled decoration, which made them a huge and immediate success throughout Europe. Limoges is also mentioned in documents, indicating that it was an important centre known throughout Western Europe. One of the distinguishing characteristics of Limoges is its very shallow background dragging, which does not go beyond two or three millimetres. To depict detail, such fine partitioning is used that it can only be distinguished from the excavated one by close observation through a magnifying glass. In Limoges, the enamels were applied according to the client's taste, filling only the background, only the figures, or both. As for the colour range, he used that of the Meuse workshops, which was very varied, but added new colours, such as olive green, a light greyish blue or white for the flesh tones.
Spanish or Italian school, 18th century. Following models by JOSÉ DE RIBERA (Játiva, Valencia, 1591-Naples, 1652)."Lamentation over the Dead Christ".Oil on canvas.Repainting, restorations.Frame of the 19th century.Measurements: 81,5 x 126,5 cm; 86,5 x 132,5 cm (frame).This canvas depicts the theme of the Lamentation before the body of Christ, a theme paired with The Descent from the Cross, and which, in the painting by Ribera on which it is inspired, is entitled "The Pietà" (Museo Thyssen-Bornemisza). In Ribera's painting, Magdalena kisses the feet of the lifeless body and the Virgin and Saint John are also present. In the present painting, the same figures appear, set against a black background that enhances their volumes, although they differ in their gestures. Stylistically, however, the direct influence of "El Españoleto" dominates: the way in which a powerful light builds up the volumes and cuts out the gestures, staging the moment of contained pain, the silent pathos. As in Ribera's models, the allegorical iconography is concealed (the nails, the cross and other symbols of the Passion are not present), and so the attention is concentrated on the bodily and expressive grammar. Ribera's "Pietà", now in the Museo Thyssen-Bornemisza, belongs to a transitional period in which the painter had not yet abandoned his tenebrist illuminations, but in which a concern for new colour was already beginning to be perceived. The present work, which is from the collection of the Marquis of Heredia, depicts a theme that Ribera treated with numerous variations throughout his career. This Pietà is modelled with an energetic brushstroke, selectively illuminated, a device that undoubtedly contributes to accentuating the devout and emotional message contained in the work. Ribera also manages to masterfully express both the physical pain through Christ's open wounds.
LUCA GIORDANO (Naples, 1634 - 1705)."Allegorical scenes following the models of the decoration of the staircase of El Escorial".Oil on canvas. Re-coloured.It has 19th century frames.Measurements: 80 x 105 cm (x2); 97 x 118 cm (frame, x2).Pair of canvases in which a scene of allegorical character is presented in both cases, starring figures of mythological inspiration. The two images differ from each other, although they have a similar compositional structure. In both works a pyramidal composition can be seen, dominated at the top by the presence of a woman holding an attribute in her hands. Below her are all the figures, who appear to be arranged on a large cloud that acts as a base. In both paintings the background is indistinct and is dominated in the upper area by golden clouds that bathe the scene in a warm luminosity. Both paintings follow the aesthetic of the frescoes painted by Luca Giordano in the Escorial. In 1692 the artist was summoned to the Spanish court to participate in the ornamentation of the monastery of El Escorial, both on the staircase and the vaults of the basilica, where he worked between 1692 and 1694. In this area he combined historical scenes and allegories with real characters.Due to its technical characteristics, such as the directed light, the sobriety of the colour palette and the composition of the scene, this scene can be considered to be part of the Italian Baroque period, particularly linked to the artistic circle of Luca Giordano (Naples, 1634-1705), who painted scenes very similar to the one here, such as the one in the Museo de Bellas Artes in Cuba. During his lifetime Giordano enjoyed great popularity in both Italy and Spain. His style was influenced by artists such as Mattia Preti, Rubens, Bernini and, above all, Pietro da Cortona, whose physical types inspired those of Giordano. During the late 1670s he began his large-scale mural decorations (Montecassino, 1677-1678, and San Gregorio Armeno, Naples, 1679), followed in 1682 by the dome of the Corsini chapel in the church of Carmine (Florence) and those of the gallery and library of the Palazzo Medici Ricardi (Florence). In 1692 he was called to Madrid to carry out the mural decorations in the monastery of El Escorial, both in the staircase and in the vaults of the basilica, where he worked from 1692 to 1694. The former is his most painstaking work, the process of which was closely followed by the monarch himself, Charles II. This was followed by the decoration of the monarch's office and bedroom (destroyed) in the Royal Palace of Aranjuez. He was then commissioned to decorate the Casón del Buen Retiro (ca. 1697); the sacristy of Toledo Cathedral (1698); the decoration of the royal chapel of the Alcázar (destroyed); and Saint Anthony of the Portuguese (1699), in which Giordano depicted eight scenes from the life of Saint Anthony of Padua painted on tapestries. The arrival of Philip V in 1701 and the outbreak of the War of the Spanish Succession led to the end of his royal commissions and his return to Naples, although he continued to send paintings to Spain.
Spanish school of the early 18th century. Following models by BARTOLOME ESTEBAN MURILLO (Seville, 1617 - 1682)."Virgin and Child".Oil on canvas. Re-drawn.With small paint flaws. Needs restoration.Measurements: 42 x 37 cm; 50 x 45 cm (frame).In this canvas the Virgin Mary is represented with the Child in her arms, both embracing each other with tenderness. Mary appears in three quarters, seated, holding her son with both hands, surrounding him with her arms. Jesus, for his part, appears almost naked, although Mary covers him with a white cloth as is common in this iconography. The Child turns his body towards his mother, resting his hands on her breast. The composition is set in a dark interior, with the figures silhouetted against a neutral background that is illuminated by the soft light radiating from the figures. The Virgin wears a pink inner tunic and a blue cloak and golden veil, colours that allude respectively to purity, the future Passion of her son, the concepts of truth and eternity and divine glory. Formally, there are important traces of Murillo's art in this work, both in the way the scene is composed and in the type of the child, which is very sweet and naturalistic, as well as in the carefully studied and effective lighting and in the monochromatic colour scheme of ochre, earthy and carmine tones. Typical of Murillo's first period, from 1645 to 1650, are precisely these closed backgrounds, the predominance of earthy tones and the large, compact figures, such as those in the present painting. In works such as the "Virgin of the Rosary" in the Museo del Prado or the "Virgin and Child" in the Pitti Palace we see this same triangular composition, with the Virgin seated on a parapet with the Child on her knees, dressed in red and blue with a golden veil. In both, a relationship of tenderness and affection is established between the figures, depicted as mother and child rather than as devotional figures, in a naturalistic sense typical of Murillo and his followers. Likewise, in both examples the Virgin looks directly at the viewer, as is the case here. The differences, personal to the author of this canvas, are nevertheless visible in compositional nuances and in the model of the female face, which is somewhat more classical than those used by Murillo in his Virgins. Thus, in this work the scene is simplified, bringing the figures closer to the viewer in a fully devotional sense. On the other hand, the Child appears attentive, happy to be with his mother but attentive to the viewer, establishing a relationship. Likewise, Mary is a woman of great beauty and delicate features, but somewhat more adult than those in Murillo's paintings, which are practically adolescent.
European school, following 17th century models; 19th century."Abraham".Oil on panel.It presents slight jumps in the painting.Measurements: 40,5 x 31,5 cm.In this work of the XIX century the author rescues the aesthetic models of the XVII century, based on the tenebrism. He conceives a completely dark image, with a directed and dramatic light that falls directly on the face of the protagonist. The sitter is presented bust-length before the viewer, with his head bowed in an attitude of humility or even redemption, in such a way that some of the features of his face are hidden from the viewer's view. The aesthetic treatment, inspired by ancient models, and the rotund features that indicate that we are dealing with an elderly protagonist, lead us to believe that this is a representation of Abraham.Abraham is the common patriarch of the Abrahamic religions, including Judaism, Christianity and Islam. His life, recounted in the narrative of the Book of Genesis, revolves around the themes of posterity and the land. Abraham is called by God to leave his father Terah's house and settle in the land of Canaan, which God now promises to Abraham and his descendants. This promise is subsequently inherited by Isaac, the son of Abraham and his wife Sarah, while Isaac's half-brother Ishmael is also promised to found a great nation. Abraham buys a tomb (the Cave of the Patriarchs) in Hebron to be Sarah's tomb, thus establishing his right to the land; and, in the second generation, his heir Isaac marries a woman of his own family, and thus the Canaanites are cut off from all inheritance.
The Macallan-12 year oldDistilled and bottled by The Macallan Distillers Ltd.In original carton (some damp staining). Labelling with light damp staining and minor tear to lower edge. Level: into neck. 75cl. Single malt, 43% volume1 bottleFor further information on this lot please visit Bonhams.com
A First World War period Mauser saw-back bayonet, blade length 36cm, marked 'Waffenfabrik Mauser A.G. Oberndorf a.N.' (overall wear, rust and light losses), together with a British 1913 pattern bayonet by Remington, blade length 43cm, with steel-mounted leather scabbard.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A First World War period bronze memorial plaque, detailed George Thomas Paul'. Note: George Paul served with the Royal Navy as a Stoker 1st Class on the light cruiser HMS 'Pathfinder', died 5th September 1914 and is remembered with honour on the Chatham Naval Memorial.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
An 1821 pattern light cavalry officer's sword by Henry Wilkinson, Pall Mall, London, with straight single-edged blade, blade length 89cm, with overall etched designs and crowned 'RHG' cypher above banners detailed 'Dettingen', 'Peninsula' and 'Waterloo' to one side, probably for the Royal Horse Guards, and detailed 'From J. Burns' to the other, triple-bar hilt and wire-bound fishskin grip, with steel scabbard with suspension rings.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
An 1860s Spencer .508 repeating three-band percussion rifle, barrel length 72cm, with fixed front site, hinged rear ladder sight, rolling-block percussion action, detailed 'Spences Repeating Rifle Co, Boston Mass, Patented March 1860' and numbered '6873', side-lock external hammer and walnut stock with concealed magazine tube and two suspension loops (overall wear, light rust and mould).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Loading...
