We found 2984 price guide item(s) matching your search
There are 2984 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
2984 item(s)/page
NEAR PAIR OF DERBY SHEPHERD AND SHEPHERDESS FIGURES, circa 1760-70, he seated placing the pipes with a dog at his feet, she playing a lute or guitar with a sheep at her feet, on flower encrusted bases with moulded scrolling decoration, patch marks, height 20cm (2) Ref: Twitchett (John), Derby Porcelain, 1748-1848, p163, colour plate 126
TWO CARVED OAK ECCLESIASTICAL ARCHITECTURAL FIGURAL PILLARSEARLY 18TH CENTURYin the Gothic style, depicting seated figures on carved uprights with twisted columns on canted stepped bases; the first, carved with a man playing a lute; the second, depicting a lady singing (2) 168cm highProvenance: Arthur A. Seager, Stow-on-the-Wold
A group of four Taisho period Japanese ivory figures, a gentleman with a peony, a gentleman with staff and peony, height 21.5cm, a gentleman with a zither in a bag and a female figure with fan, each mounted on Art Deco style mahogany plinths. CONDITION REPORT Man with lotus and staff has damage to the staff - 313g. Man with staff and peony has damage to end of staff - 333g.Man with lute has fine cracks - 369g.Lady has small knocks and marks commensurate wit age - 182g.Some detached elements present.
Mary Swanzy HRHA (1882-1978)The Lute PlayerOil on canvas, 45 x 36cm (17¾ x 14¼'')Mary Swanzy began her career as a portrait artist, before adopting an increasingly abstract approach to her subject matter. In this present example, her handling of the paint reflects her later interest in cubist techniques, particularly evident in the figure’s dress, where she has broken up the contours of the surface, using colour instead line to suggest the folds of the drapery. However, at the same time she is following more traditional lines of composition and figural representation. The Lute Player incorporates many elements of style and pictorial arrangements similar to old master paintings. The female figure, is placed in the centre of the composition, as the focal point around which the scenes rotates. She is given a sense of importance, raised up on a rock, out of proportion to the landscape surrounding her. This amplification of her features, particularly her head and hands, and deliberate eschewing of perspective by Swanzy reflects the work of Renaissance painters. Women playing lutes reoccur time and again in these old master paintings, with the instrument serving as a symbol of harmony and grace, appropriate qualities for a woman in the 16th century. In Swanzy’s work, she is presented to us as a Venus figure, with a dress draped loosely over her body, slipping off her shoulders to expose the pearly white flesh of her skin underneath. She is a sensual figure, a symbol of beauty, the epitome of femininity, sitting in this arcadian landscape. Yet, Swanzy held strong views about the role of women in art and she rejected the notion that only certain types of subject matter were appropriate to her because of her gender, remarking “Ladies have to paint pussy-wussies and doggy-woggies...If I had been born a Henry instead of Mary, my life would have been very different”. (Brown, Karen. E, The Yeats Circle, Verbal and Visual Relations in Ireland, 1880- 1939, Routledge 2011). While she could never escape this prejudice in her own lifetime, by taking on the role traditionally adopted by male painters of representing a female subject for purely visual pleasure, she is manages to subvert this stereotype. Niamh Corcoran, August 2018
Two 19th century Faience wall pockets in the form of musical instruments; violin & lute, both hand painted with floral sprays, L32cm and 19th/ early 20th century Sitzendorf porcelain centrepiece, the pierced basket hand painted with floral sprays, blow a two winged cherubs on five scroll feet, H34cm
dating: 17th Century provenance: Teschen, Octagonal, smooth-bore, 11 mm cal. barrel, slightly bell-mouthed at the nozzle, engraved at the base and tang with rinceaux, an engraved segment in the center, following the same motif, and another similar decoration at the nozzle, with small fore-sight. Wheel-lock with flat, iron plate, all engraved with rinceaux. Similar engravings also on the covering band of the wheel, on the tang's plaque and cock's base. Thin, wooden stock, richly inlays. All the front part with bone plaques to effigy animals and grotesques among the thin spirals, these elements alternated with mother-of-pearl disks. Some repair at the end. Bottom pat with an angel intent on playing the lute, a big lion and a predator, all among spirals and mother-of-pearl plaques. The left side with another musician and a fine effigy of a knight, further to another character and some animals. The back of the butt decorated en suite (two small repairs). Iron trigger-guard, iron sphere at the butt-plate, which is in a single bone plaque. Small patchbox with cover carved en suite. Bone-tipped wooden ramrod. length 112,5 cm.
A group of six small Staffordshire pot lids comprising, 'Superior Cold Cream by Patey & co Perfumers London', 7cm, 'Piesse & Lubin floral lid', 8.5cm, woman with lute, 8.5cm, woman with feather headdress at toilette, 8cm, medieval woman with falcon, 7cm, and woman with three attendants, 8cm. (6)
A pair of Derby Patch Mark figures, of a shepherd and shepherdess, he seated wearing feathered headdress, fanciful dress, dog by his side, playing the bagpipes, she seated wearing a ribboned bonnet, playing a lute, a lamb at her feet, before bocage, pierced scroll bases, picked out in gilt, 19cm high, c.1770
An early 19thC French eight day bell-striking ormolu mantel clock by LeRoy & Fils, Paris with silk suspension, the case with burnished details, surmounted by a reposing figure of a lady on a couch gazing wistfully down towards a lute, the rectangular case with a frieze of anthemion, 21” high – some casting joints loose. SEE ILLUSTRATION
Hartman, George (fl. circa 1696) The Family Physitian, or A Collection of Choice, Approv'd and Experienc'd Remedies. London: Printed for Richard Wellington, at the Lute in St. Pauls-Church-Yard, 1696. First edition, one of two variants dated 1696 with differing imprints, octavo, advertisement leaf bound opposite title, illustrated with double-page engraving of distillation equipment; ex libris Kenneth Garth Huston, with bookplate; repair to title at date, bound in contemporary speckled calf, rebacked, some toning, pale mottled browning to some leaves, 6 1/2 x 4 in. Hartman's collection includes a remedy for stupidity, and others for deafness, small pox, cancer, and many other maladies, in addition to cosmetic preparations, winemaking, and culinary recipes. A-Z8, Aa-Kk8. http://estc.bl.uk/R19842 Estimate $1,000-1,500 The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Condition requests can be obtained via email (lot inquiry button) or by telephone to the appropriate gallery location (Boston/617.350.5400 or Marlborough/508.970.3000). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Skinner Inc. shall have no responsibility for any error or omission.
An early 19th century French verre églomisé and stained maple piano etui, with moulded gilt decoration, the hinged lid with a couple playing a piano and a lute on a terrace, with panels of palmettes and a lyre, the interior with a mirror to the underside of the lid, with three verre églomisé lidded compartments, one with a musical movement, decorated with musical trophies and a lady playing a guitar, with further divisions, the etui tray now missing, on turned tapering brass legs, late 18th / early 19th century, 17.3cm high, 37.6cm wide, 27.3cm deep.Click here to view the online page turning catalogue.
![Loading...](/content/bs/images/ajax-loader.gif)
-
2984 item(s)/page