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 16
A MATCHED SITZENDORF THREE PIECE GARNITURE, late 19th century, comprising oval easel back mirror surmounted by a pair of cherubs holding a rose swag, raised upon two ball feet, 12" high, together with a pair of two branch three light figural candelabra, the 18th century gallant and his female companion holding baskets, 17" high, all marked in underglaze blue
Lot 610
A SET OF THREE INDIAN MUTINY ASSOCIATED MEDALS, awarded to Major General John Dawson, 43rd Bengal Light Infantry (1824-1887), comprising Gwalior Star (Maharajpoor) 29th Dec. 1843, silver and bronze with ribbon, Sutlej Medal (Subraon) 1846, silver with ribbon, and Indian Mutiny Medal 1858, silver with ribbon, presented in glazed mahogany frame with summary of his escape during the Mutiny, together with full and detailed biography of John Dawson.
Lot 614
AN ALLCOCK "THE LIGHT CASTER" SPINNING ROD, 7 1/2" two piece, agate line guides, red whippings throughout, bronze ferrule, with cork handle and mid screw reel fitting, original sleeve, together with an Octopus Scaley "Octofloat", 11` three piece rod in original sleeve and an "Apollo Tubular Steel Rod", 7`6" two piece rod, in original sleeve (3)
Lot 628
AN ALEX MARTIN OF GLASGOW SPLIT CANE ROD, 8`7" two piece single handed trout rod, agate line guides, green whippings tipped black, bronze ferrule, with half wells cork handle and alloy reel seat, sleeved, together with another light split cane trout rod, 7` two piece rod, inscribed "Agila", red whippings, and cigar cork handle and sleeve (2)
Lot 9
James Humbert Craig, RHA RUA (1877-1944) Unloading the Catch, Killary Harbour Oil on board, 45.5 x 60cm (18 x 23.5") Signed Provenance: Sold in these room, "Important Irish Art Sale" December 2005, Lot No. 142, where purchased by current owner Exhibited: RHA Annual Exhibition 1936, Cat. No. 112 Looking across Killary Bay from Rosroe, it shows the boats used for the treacherous waters of the Killeries. The herring industry was a major economic force in Connemara from the late 19th century until the end of World War 1. From South Connemara through Roundstone and using the railhead in the late 19th century and until the 1930s at Recess when the Galway-Clifden line was closed the herring was dried, or canned and shipped abroad. Rosroe was at the perimeter of The Marquess of Sligo's estates of which the most famous water estates is nearby at the head of Killary at Assleagh Falls and Delphi. The Lord Sligo's estate company continued to own the Assleagh Fisheries until the 1960s. The Co-operative Fishing Company continued with the Rosroe Fishery until after World War II. The property was subsequently owned by Count Cyril McCormack for many years and some eel and herring table products were also developed by Count McCormack. The light is typical of the area and was often painted by many landscape artists because of its light reflecting properties. The agricultural practice of lazy beds by subsistence farmers was in continuous use until the 20th century as a means of producing the staple diet of the potato, and it gives the Irish landscape its particular surface appearance end in the field patterns which resulted was very attractive to painters. J.H. Craig used a light toned palette to achieve his effects of mounting cloud forms and the reflections of the water, hills and mountains reflected in the water. It was a practice used by many artists in the Franco-Irish tradition having two sources, the English painter John Constable and the School of Barbizon painters using the smaller scale of humankind against the grand sweep of landscape and the clouds giving the sense of scale even to the smallest works. Paul Henry, Maurice MacGonigal, Kitty Wilmer O'Brien, Ann King Harman, Dorothy Blackham and Letitia Hamilton and many other artists painted in the area from the end of the 19th century and for much of the 20th. This is an unusually light coloured work of great charm and pictorial sensitivity to the great scale of nature, with the clear but small scale human figures busy in their material affairs, including in this instance, the herring nets and the clinker built herring boats, which were introduced into the area in the early 20th century, delivering the catch, as the waters were too shallow most of the time for the larger trawlers to berth at the quay and on which may be seen the drying sheds for the fish.
Lot 13
Derek Clarke RWS RSA (b.1912) Connemara Family Oil on canvas, 91.5 x 122cm (36 x 48") Signed and dated 1946 Exhibited: The Royal Hibernian Academy, London 1947, Cat. No. 335; The Royal Scottish Academy 1948; "Derek Clarke - Paintings and Drawings in Connemara 1938, 1939, 1946" Exhibition, The Frederick Gallery, September 2004, Cat. No. 41, where purchased by current owner Derek Clarke wrote for the Frederick Gallery about his time in Ireland and how this painting came about: "I am one of those artists who, having completed their Art School training by 1935, only had four years in which to establish themselves before war put an end to their careers - in many cases forever. In those days there were few travelling scholarships bursaries or prizes: those who could went off to Paris to further their development. My main influences were Cézanne and Van Gough, but I had no desire to be an adherent of any art movement. Instead I wished to find out whether I had a voice of my own. In 1937 I was in Ireland, carrying out commission portraits in Co. Tipperary and Co. Donegal. My patrons suggested that the place I was seeking might very well be Connemara, and a visit was arranged. The following year I set off on my bike across Ireland, travelling over the Burren to Galway, then along the coast road until I came across the village where the greatest number of red petticoats could be seen among the white or blue-washed houses, Rossaveel. Surely this must be the heart and centre of the Gaeltacht! The lodgings in which I settled provided a room in which to paint, but I was deprived of this facility on the arrival of a young man, Brian MacLochlainn, sent by the Irish Folklore Commission to discover whether there were any seanachaÃs (Gaelic storytellers) still in the district. He was a great help to me. I accompanied him on his evening sessions, equipped with his clockwork waxed drum recorder. Next day he would write the stories out in longhand, explaining obscure passages and obsolete words. He suggested that I would be considered very stand-offish if I went knocking on people's doors. So this set a pattern of my visiting. I would enter their houses, out would come The Chair and be dusted for me; I would decline and sit on the bench or stool. There ensued lengthy apologies that I regretted I had no Irish, and that they had no English. None of the children had any English, but usually some older person could speak it, having returned from America to get married or to claim some property. Then I would ask them whether I might make a drawing of them or their children. Apart from the women's paisley shawls, all clothes were made in the village; wool was carded and spun in the cottages, woven by the village weaver into all-purpose cloth, and made into clothes by the village tailor. All the young children wore the petticoat and had cropped heads with a small fringe or forelock. I was given to understand that the inability to tell the difference between the girls and the boys was to safeguard against losing the boys for changelings. When the children first went to school the mother was given 'the boot money', but the children continued to pad to school on their beautifully shaped feet. The older boys wore knickerbocker suits, and the older lads, like the men folk, wore the banÃn, a coat without lapels or buttons, made from white wool. After Christmas I moved to nearby Carraroe, where I was given a large white-washed bedroom and my own turf fire. So at last I had the facilities to do more painting. Unfortunately war was declared in September of that year. Having been wounded in Tunisia during the war, I was fortunate to be given a whole year's sick leave, which gave me the opportunity to do some painting based on my Connemara experience. In 1946 I returned to Carraroe with my wife, and was given the same large whitewashed room. To start painting again from scratch was like starting a new life. Post-impressionism was now history, American and International Art has not yet taken over. Some artists turned to abstraction, others to surrealism. Others, like me, felt the need to go back to nature and start learning again. One hot Sunday afternoon, I was painting a watercolour and ran out of water. I went into the nearest house to ask for more. The whole family stood around the fireplace, staring at me exactly as for the desired painting; the composition was already completely determined for the painting 'Connemara Family'. Father was at home dandling the baby. Mother was baking the daily loaf of soda bread in the pot oven. Best of all, they agreed to let me paint them in their house, and to pose for me whenever I wanted. I could not possibly have carried this out, if it had not been for the kindness of a young couple who lived a hundred yards down the road, and allowed me to leave the painting overnight, or contemplate it, or work on it on stormy days. My canvas and the sitters were lit by the window on the left, and the door open on the right. This interest in a double source of light is an important feature of this painting, and has stayed with me in all my paintings of people. When painting this picture, I usually started by asking two of them to pose together, before concentrating on one. I kept a strict record of the number of hours that each posed for me. The eldest girl (on the far right) worked in a knitting 'factory' which employed a few girls, learning to knit jerseys in imitation of the ingenious Aran Island patterns. Her sister wears a dress sent by her cousin in America. The little boy in the foreground wears the petticoat. Those worn by the two sisters in the centre had been improved by their mother, who added collars and dyed them blue. The elder of the two had the reddest hair that I have ever seen, yet as dark as the sooty fireplace behind her. The image of the Sacred Hear above the mantelpiece, which was a feature of every house, was the apex of the composition. Thanks to their co-operation I was able to complete this painting in circumstances which I doubt if another artist has experienced."
Lot 19
Frank McKelvey, RHA, RUA (1895 - 1974) Children in the Park Oil on canvas, 51 x 68.5cm (20 x 27") Signed Provenance: Purchased directly from the artist by Mr Solomon and by descent within the Solomon family, from whom purchased privately by current owner, July 2000 Exhibited: The National Gallery of Ireland "New Millennium Wing Opening Exhibition of 20th Century Irish Art" January 2002 - December 2003; "Collector's Eye" Exhibition, The Model Arts and Niland Gallery Sligo, Jan/Feb 2004, Cat. No. 19; "A Celebration of Irish Art and Modernism", the Ava Gallery, June/September 2011, Cat. No. 32 Literature: "Collector's Eye" 2004, illustrated p11; "A Celebration of Irish Art and Modernism", illustrated p41 Painted a year after ‘The Good Companions,’ McKelvey has already rejected the intimacy of the classic genre study in favour of a composition that demonstrates a sense of place and features a larger study of society. While the former, in a detailed manner not unlike Walter Osbourne, focuses on the carefully composed study of two girls and the pet rabbits they watch, ‘Children in the Park,’ includes two younger girls in the left foreground, yet here they lack facial detail and are now more impressionist in execution rather than typical of a genre study. The intention of the inclusion of children here is as a starting point to communicate the atmosphere of a busy recreation ground, believed to be Belvoir Park in Belfast. S.B. Kennedy has described McKelvey’s tendency to orchestrate his canvas - ‘the clear division of the composition into distinct areas of recession - the foreground containing the narrative and darker in tone, contrasting with the sunlit middle distance.’ He employs elegant chiaroscuro to gently lead the eye further into the middle ground. There is a familiarity of scene and apparent ease in execution that lends the entire an air of serenity and contentment. As Anne Crookshank has observed, ‘he was a very prolific and somewhat slick practitioner...[who produces work of] great freshness and competence.’ (Ireland’s Painters, 2002, p290). While the overall tone is limited, there is an interesting range of colours employed. People are largely captured in browns, whites, blues with some highlighted elements in pink and green. The trees are delightfully rendered with their detail becoming looser as the eye roams further into the composition. The painting is unified through its even cast of light representing high summer. The painting shows the immediacy of plein air painting. McKelvey sketched directly before his subject, making notes on colours, light and effects, to enable an accurate representation in his studio. The artist achieves a similar quality in ‘The Park’ featured in the collection of Buxton Museum and Art Gallery. No doubt well known innovations of the late nineteenth century would have been known to the artist such as George Seurat’s ‘A Sunday Afternoon on the Island of La Grande Jatte,’ highlighting the peopled park as an aesthetically appealing subject. McKelvey was equally adept in landscape, portraiture and genre scenes. He depicted many parks - Ormeau, Woodvale, Belvoir as well as a number of paintings featuring children; feeding chickens, picking blackberries, playing by the riverbank, and sitting in the park. ‘Children in the Park’ is harmonious in its composition and technically fluent in its execution. Typically of McKelvey, detail is developed to create interest but never to the point of complication. Marianne O’Kane Boal
Lot 34
Louis Le Brocquy, HRHA (1916-2012) Boy with Flowers Watercolour, gouache & ink on paper, 29 x 22cm (11½ x 8¾") Signed and dated '51. Provenance: Acquired directly from the artist in the 1950's by a Dublin Collector and sold by him through the Frederick Gallery Christmas Exhibition, 2002, Cat. No. 11 (Front Cover Illustration) where acquired by current owner Exhibited: "Collector's Eye" Exhibition, Model Arts and Niland Gallery January/February 2004, The Hunt Museum Limerick March/April 2004, Cat. No. 15; "A Celebration of Irish Art and Modernism", The Ava Gallery, June/September 2011, Cat. No. 28 Literature: "Collector's Eye" 2004, illustrated p9; "A Celebration of Irish Art and Modernism" 2011, illustrated p37 'Boy with Flowers' is one of a series of works executed by Louis le Brocquy in London in 1951 which were to lead up to his iconic work 'The Family' (1951), now in The National Gallery of Ireland (NGI). Late in 1950 Louis had moved to a small Georgian watch house in Holly Hill in Hampstead, London which belonged to the Northern Irish film producer William McQuitty. He was surrounded by interesting people, including his old friend and fellow artist, Derek Hill who had a house nearby. Louis converted the large garage beside the house into a studio complete with skylight. It was here that he was to commence a series of works sometimes referred to as his "Grey period" which culminated with 'The Family'. Regarding that work, Dr Yvonne Scott has written : "Carried out in the aftermath of World War II, it was intended to reflect the threatening and unstable environment, indicated in the painting by the austere surroundings, and revealed in the agonised expression of the woman and defeated posture of the man". The artist has been quoted as saying of this work : " 'A Family' was conceived in 1950 … in the face of atomic threat, social upheaval, and refugees of World War II and its aftermath ….. fifty years ago it was painted while contemplating a human condition stripped back to Paleolithic circumstances under the electric light bulbs" It is thought that "Boy with flowers'' was included along with other works in the 'Family' series in le Brocquy's Gimpel Fils June 1951 exhibition which was his most important exhibition to date. The reviews were very favourable, with an entire page of The Listener, written by Eric Newton, devoted to it. It was also written about at length by Neville Wallis of The Observer and John Russell of The Times. In a long article in Art News and Review (16th June, 1951) the critic John Berger wrote: "…. le Brocquy is completely free of the contemporary tendency to cosmic megalomania. It has become pretentious to talk of an artist's humility, yet that is what distinguishes his work, his studies testify to his patience, and his final, large picture to his refusal to evade simple but difficult problems by relying on the grandiose cliché ….. " We are indebted to the artist's wife Anne Madden, the late Dorothy Walker and Dr Yvonne Scott of TRIARC whose research and writings have formed the basis of this catalogue entry.
Lot 52
John Doherty (b.1949) Loitering at McCarthy's Garage Oil on canvas, 101.5 x 152.5cm (40 x 60") Signed and dated '06 verso Provenance: John Doherty Exhibition, The Taylor Galleries,March/April 2007 where purchased by the current owner Literature: "John Doherty: New Twists and Turns" 2007, full page illustration p15 John Doherty divides his time between his native Ireland and Australia and has solo shows regularly in both countries. John paints realistic subjects that initially appear normal, but on closer inspection a message is conveyed from a forgotten past. The subject may appear as a nostalgic record in appealing bright sharp colours causing us to reflect on its simple and elegant design. Each subject is distinctly different in tone and mood adding its own personality. The images can be buildings that are crumbling with abandoned petrol pumps, Old Bar windows, lighthouses, a cluster of buoys on a quayside, or boats in various stages of repair or disrepair. The titles given to the work can be the key to unlocking the artist's message. Other titles to the artist's work include, "Alone Again" circa 1996, "I've Got Mine" circa 2004, "Sheep's Head Light", 2005. Exhibited at the Taylor Galleries in 2007, John Doherty executed two versions of "Loitering at McCarthy's Garage". This work is the larger of the two, and depicts the petrol pump with excess peeling paint but with lesser puddles of rain. The Garage would appear to be shut and its title "Loitering" would suggest the pump remains in one place with no purpose. The forlorn appearance of the building and petrol pumps indicate either abandonment or a lack of attention and upkeep from its owner. On closer inspection, however the accumulated litter inside the garage window indicates human life. Perhaps the colour pink represents nurturing and the message is a reminder to its owner and to us the viewer that if we wish things to remain in good order, they need to be maintained and cared for.
Lot 92
Joseph O'Reilly (1865-1893) Contributions Earnestly Solicited Oil on canvas, 91 x 61cm (35¾ x 24") Signed and dated 1890. Inscribed with title verso. Exhibited: R.H.A. annual exhibition 1891, cat. no. 97, for £30. Born in Dublin and educated at The Royal Hibernian Academy School, Joseph O'Reilly won numerous prizes for his paintings. He was awarded a bronze and a silver medal, and by 1887 had won the The Albert Scholarship, quickly establishing himself as a landscape and figure painter, and commanding robust prices for the titles that he showed at the R.H.A. between 1885 and 1893. This was the work that won him The Taylor Scholarship, enabling him to travel to Paris to paint. He was encouraged to make this trip by celebrated Irish impressionist and portrait painter Walter Osborne (1859-1903). Taylor was evidently much influenced by Osborne, who had himself won the same scholarship and spent time painting in France in the early 1880's. There are striking similarities between this painting and Osborne's 'A Tempting Bait' (shown at the RHA in 1883, no. 129), especially in the pose of the begging fox terrier, and that of the young boy looking down at his dog, with his ankles crossed and legs dangling. Osborne's arrangement is darker, and its story, with a rat-trap being set, is more strongly narrative. Walter Osborne's father William Osborne, was also a prolific painter of animals, and his painting of 'The Dogs' Parliament' (exhibited RHA 1887) shows a terrier in a closely similar pose to O'Reilly's. As a way of successfully demonstrating his artistic talents, O'Reilly seems deliberately to have set himself the challenge of depicting light on a variety of surfaces: metal, earthenware, glass, bare flesh, draped wool and eggshell. His choice of objects is a favourite one of earlier genre painters, who often arranged vignettes such as the one shown here in the lower left corner, to show off their skills at painting difficult transparent or reflective things. The scene hovers between farm kitchen and studio. His small boy sits on a Thonet bentwood chair, but the rest of the props are more suggestive of an Irish farmhouse. The spaniel sits high to beg on a creepie stool draped with a cloth, the striped blue and white jug rests on a Carpenters' Chair, and in the background, where sunlight falls through the window, is a scrubbed-top table of a type common in Irish farmhouses. Strickland considered O'Reilly's work to be 'brilliant and successful', but it was cut short by his death of consumption, aged only 28, so his surviving works are very rare. By Claudia Kinmonth PhD M.A. (R.C.A.) author of Irish Country Furniture 1700-1950 & Irish Rural Interiors in Art (Yale University Press, 1993, 2006).
Lot 185
GOOD LOUIS XV STYLE FIFTEEN LIGHT GILT BRONZE CHANDELIER 19TH CENTURY the stem modelled as three cherubs clutching bullrushes, the central reservoir with applied rococo mounts cast with fruiting vines, shells, butterflies and a serpent and issuing fifteen outscrolling naturalistic candle arms, fitted for electricity 88cm wide, 97cm drop approx Provenance: Property from a Scottish country house
Lot 361
KASHAN RUG SIGNED MOKHTAZADEH KASHANI, CENTRAL PERSIA, LATE 19TH/EARLY 20TH CENTURY the light blue field with floral sprays and red and ivory lozenge medallion suspending pendants, indigo and ivory spandrels, within red arabesque vine border between bands, signature cartouche to one end 197cm x 132cm
Lot 526
A Victorian presentation vase, by Frederick Elkington, London 1887, of tapering form decorated with embossed foliate designs and spiral fluting, engraved DLI insignia and inscription "Presented to Officers 3rd Bn The Durham Light Infantry", with inscription to verso "Officers Race won by Lieut. H.J. Sowerby 1887", 8in. (20cms), 13.8oz.
Lot 527
A Victorian presentation vase, by Frederick Elkington, London 1887, of tapering form decorated with embossed foliate designs and spiral fluting, engraved DLI insignia and inscription "Presented to Officers 3rd Bn The Durham Light Infantry", with inscription to verso "Officers Race won by Lieut. H.J. Sowerby 1888", 8 3/4in. (22cms), 16.6oz.
Lot 528
A Victorian presentation rose bowl, by Charles Stuart Harris, London 1883, retailed by Elkington & Co, circular with undulating mask, scroll and leaf rim, fluted sides centred by a leaf and scroll cartouche engraved 'Durham Light Infantry 3rd Btn' and City crest, on domed and fluted spreading foot, engraved on foot rim "Presented to the 3rd Batt'n Durham Light Infantry Officers by Capt'n and Hon. Major R.T. Richardson, 1884' and retailer name and address, 10in. (25.5cms), 38.7oz.
Lot 529
A Victorian presentation punch bowl, by Charles Stuart Harris, London 1892, of circular form, with detachable undulating rim decorated with masks, 'C' scrolls and floral motifs, the body half flued below embossed ribbons and swags, engraved inscription "To the Officers of the 4th Batt'n Durham Light Infantry, on his vacating his 18 years command, of the regiment, from Colonel J.J. Allison C.B., "Beaufront" Roker, Aug'st 1892, in which he held a commission since its institution in 1853", lion mask and ring handles, domed fluted foot, 15 1/2in. (39.5cms), 56.9oz. See illustration
Lot 530
A pair of Victorian vases, by The Goldsmiths and Silversmiths Co., London 1890, circular tapering form with spiral fluting embossed with foliate and scrolls, engraved insignia and motto for the '3rd Batt Durham Light Infantry', the domed feet also engraved "Officers' Race 1890, presented to the Officers by Lieut. H.J. Sowerby", 8 3/4in. (22cms) high, 19.8oz. gross.
Lot 537
A set of ten Edwardian posy vases, by William Comyns, London 1906, each of hexagonal tapered form and engraved with '3rd Bn Durham Light Infantry' insignia, each with filled bases and engraved inscriptions, six reading "3rd Durham LI presented to the Officers by Capt. E.S. Curling, winner Officers' Shooting Cup 1906", four reading '3rd Durham LI presented to the Officers by Lt Col T.G. Sowerby, on retirement, May 1906', 6in. (15cms) high.
Lot 538
A George V salver, made and retailed by The Goldsmiths & Silversmiths Co. Ltd, Sheffield 1921, shaped circular, with raised gadrooned border centred by DLI insignia and inscribed "This coffee set was bequeathed to the Officers' Mess 68th Light Infantry by Brigadier General E. St. G. Pratt CB. DSO who died 24th November, 1918", 14 1/4in. (36cms) diameter, 42.2oz. gross.
Loading...-
534297 item(s)/page