We found 3412 price guide item(s) matching your search
There are 3412 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
3412 item(s)/page
Lot 651
CAILLEBOTTE GUSTAVE: (1848-1894) French Painter. Member and patron of the Impressionists. Caillebotte was also noted for his early interest in photography as an art form. An excellent A.L.S., `G. Caillebotte´, one page, 8vo, n.p., n.d., Wednesday morning, 06h, to Claude Monet, in French. Caillebotte sends a message referring to Monet´s yacht, stating `My dear friend, your yacht will leave with the first carrier available and will leave it at the lock of Port Villez.´ Further explaining that it is the best option, saying `It is the fastest way, the most convenient and the cheapest. If there is a carrier later, you will have it this evening.´ Caillebotte adds an annotation to the left border about what goes with the yacht. A letter of good association. VG Claude Monet (1840-1926) French Impressionist Painter.
Lot 653
RENOIR PIERRE-AUGUSTE: (1841-1919) French Impressionist Artist. Exceptional hardcover 4.5 x 6.5 ledger book, 116 pages, containing 14 pages filled out in Renoir´s hand, recording the sales of his paintings, listing those in deposit, where they are, etc.. Written to the front cover `Tableaux´ ("Paintings"). The opening page bears a red pencil annotation, `Durand Ruel´, and the next 14 pages are dated from 1882 to 1885, recording various financial transactions. Several of these entries record amounts received from the sales of his works, and in several instances he writes names or descriptions of the works, such as "Portrait de Mme. C dans un jardin", "Femme nue", "Jeune Kabyle", "Vues Venise", "Saltimbanque", "Naples et Alger", "jardin coquelicot", "Jardin Montmartre", "Samary (Pastel)", and many more. Few other pages with multiple payments records, painting prices, financial transactions, amounts received on account, dates, etc.. In two instances, in 1883, Renoir writes the name `Manet´ presumably referring to his friend and fellow Edouard Manet. These entries provide valuable insight into Renoir's life and work, and as such this ledger represents an important piece for Renoir research. Very small minor age wear, otherwise VG Paul Durand-Ruel (1831-1922) French Art Dealer. Probably the most important commercial advocate of impressionists, providing monetary support to his painters and solo-exhibitions. He counted Degas, Monet, Manet and Renoir among his clients.
Lot 737
LATE 19TH / EARLY 20TH CENTURY CERAMICS ETC, comprising a pair of blue and gilt rimmed plates, hand painted floral sprays to the centres signed L Monet, both bear a blue Sevres backstamp, diameter 26cm, Crown Devon Fieldings blush ivory wares, including a biscuit barrel, jardinieres, strainer with saucer etc, Wiltshire & Robinson cheese dish with cover, pair of majolica style vases, Japanese satsuma footed bowl with cover and a brass twin handled coal bucket (Condition report: some damage to blush ivory items and majolica vases)
Lot 3484
A large quantity of Art Reference books to include: techniques for painting in Watercolour; Artist reference books - Lucian Freud, Gaugain, Rafael, Monet etc - titles: The Cult of Beauty; Art Nouveau; The Bird in Art; Phaidon's 30,000 years in Art, various authors, institutions, publishers - mainly hardbacks (4 boxes)
Lot 2065
Circa 1970s and Later Ladies' Costume, comprising a Monet cream slubbed full-length dress with long sleeves and faux jacket with flower decoration; After Six cream long dress with cream embroidery and buttons to bodice; Richard Shops brown floral full-length pinafore dress with attached cream long sleeved shirt with neck tie; Berkertex blue floral sleeveless full-length dress; five other similar dresses including Dollyrockers, Fiona, Jinty and Angela at London Town; six items of Laura Ashley including three cotton dresses and three skirts; Droopy & Brown items including two tailored wool jackets in navy and peach, fine needlecord fitted jacket with floral design, red jumbo cord long pinafore dress and full-length white cotton dress (20)Condition report: Droopy & Brown items - the cord pinafore has a couple of small brown marks to the skirt. - the two wool jackets show slight wear. - cord jacket - slight wear. - cream dress - ok.Laura Ashley items - all show slight wear, the brown skirt is the most faded and worn.Fiona dress - stitched repairs.Monet dress - sleevehole has been repaired.remaining items have slight fading and wear.
Lot 182
MONET; a pair of gold tone vintage clip-on earrings, and twenty-nine further pairs of clip-on earrings, mainly from the 1980s, including silver tone clip-on earrings with faux crystals, pearls, enamel, and semi-precious stones and crystals (30). Additional InformationAll earrings are in good condition with signs of wear to the backs of some, but generally very few signs of wear.
Lot 48
ZAO WOU KI (Beijing, 1921 - Nyon, Switzerland, 2013).Untitled, from the Suite Olympic Centennial, 1992.Lithograph on 270 gram Vélin d'Arches paper, copy 58/250.Signed and justified by hand.Measurements: 90 x 63 cm.Zao Wou Ki is the second most sought-after postwar artist in the world and is the sixth most expensive artist of all time. In the first half of 2018, his sales ranked only behind those of stars such as Picasso, Monet, Modigliani or Andy Warhol. At the end of 2018, one of his paintings was sold for 56.5 million euros at auction at Sotheby's. The work made Wou-Ki the most expensive Asian artist in history.Zao Wou Ki was born into a Franco-Chinese family and grew up in a highly cultured environment, interested in the arts and sciences. He studied calligraphy in his childhood, an aspect that would influence his mature work, and later trained in painting at the Hangzhou College of Fine Arts between 1935-1941. A few years later, in 1948, he settled in Paris, in the Montparnasse district, where he would follow the artistic courses of Émile Othon Friesz and come into contact with the contemporary artistic avant-garde. He begins to experiment with lithography, a technique that he eventually mastered, as a result of his contact with Desjobert. He holds a solo exhibition at the Creuze Gallery in May 1949, with a presentation written by Bernard Dorival, curator of the National Museum of Modern Art. In January 1951 Pierre Loeb visits Wou-Ki's studio with Henri Michaux, organizing an exhibition at the Pierre Gallery for June, thus laying the foundations for a close collaborative relationship that would last six years. Thus, he exhibits regularly at the Pierre Gallery, and meets I. M. Pei and his wife Eileen, opening his circle of exhibitions to Switzerland, London, Basel and Lausanne, as well as in New York, Washington and Chicago. His painting is eminently abstract and colorist, very influenced by the work of Paul Klee, for his expressionist and emotive abstraction. He tends to work with large masses of intense and contrasting color, often creating works of large dimensions, as well as diptychs or triptychs. They are often explosions of color, germinal "big bangs", the origin of a world in creation, as we can see in this lithograph. Delicate patches of blue and mauve intermingle with some gray tones.
Lot 1642
Paulette Helleu (French, 1904-2009), A Breezy Day on the French Coast, oil on board, signed "Paulette Helleu" lower right, 13 x 16in. (33 x 40.6cm.), original French painted and gilded frame. * Notes: The daughter of the French painter Paul-César Helleu (1859-1927), Paulette was brought up in a world of glamorous parties and among famous artists and writers. Monet advised Paulette always to paint naturally "sur le motif" and told her that "you paint like a bird sings". In 1955 she became the third wife of Rear-Admiral Clarence Dinsmore "Johnny" Howard-Johnston, CB, DSO, DSC and they lived partly in Paris and for a time in Dolphin Square in London, later settling in a villa that Paulette designed near Biarritz. She became great friends with the designer Karl Lagerfeld. She was appointed a Chevalier of the Legion d'Honneur and an Officier des Arts et des Lettres.
Lot 737
NINE PICTURES AND PRINTS, ETC, comprising a print after Gustave Dore 'The Vintage' a grape harvest scene, John Cahill signed landscape print, two Ernest Walbourn prints, Paul Klee poster print, Monet poster print, Cadbury's cocoa vintage style poster print, faded Sally Hunkin limited edition print 'Almost Spring' and a 20th century Chinese waterfall landscape oil on canvas, largest size approximately 89cm x 68cm including frame (9)
Lot 321
William S Horton (American 1865-1963) "Impressionist Spring Landscape" Signed lower left. Oil on Panel. A landscape painter, William Horton lived and worked primarily in Paris where he was a member of the Societe Moderne, the Societe Internationale, and the Salon d'Automne. He was a wealthy man and a friend of artists who became famous such as Monet and Degas and other Impressionists. Sight Size: 13.5 x 17 in.Overall Size: 21.25 x 25.25 in.(D1963)
Lot 545
Rhinestone Brooch Assortment (81) items including botanical, insect and animal motifs as well as (2) sets including brooch and matching earrings, a pendant and a single pair of earrings; makers include Monet, Emmons, JNY, Coro, Chicos, Pago, Wendy Gel, Trifari and Disney Width: 3 1/4 inches (widest) Condition: Very Good to Good, overall light wear consistent with normal use; occasional missing rhinestones and tarnish; one missing back pin noted Category: Silver & Costume Jewelry > Costume Estimated Sale Time: 5:55 pm (America/Chicago) Shipping Status: Leonard Auction Shipping Quote Sales Tax (United States Only): Kansas (6.5%), New Jersey (6.625%), Pennsylvania (6%), Washington (10.5%) Download High Resolution Photographs:Photograph #1Photograph #2
Lot 122
EUGÈNE BOUDIN (France, 1824 - 1898)."Dordrecht, La Meuse; Study of an Estuary," 1875.Watercolor and graphite on laid paper.Attached photo certificate of authenticity issued by Manuel Schmit in 2016. Registration number in the Manuel Schmit Fine art archive: B-A.7562.The work will be included in the forthcoming Catalogue Raisonné of Eugène Boudin's works on paper.Signed, dated and located in the lower area.Provenance: Andre Seligmann, New York.Measurements: 22 x 33.5 cm; 39.5 x 50.5 cm (frame).In this work, which is conceived as a sketch, the author captures a view of the city of Dordrech, located in the Low Countries. Boudin captures in the foreground the presence of the canal and in the distance a city that stands out for the presence of windmills, a recurring theme in Impressionist painting, of which Boudin was an admired master. It is worth noting that Boudin made several visits to the city of Dordrech, in which he immortalized urban scenes and seascapes, which were always of his predilection. The 1884 visit was especially prolific, as he made numerous views of the city. The work has a photo certificate of authenticity issued by Manuel Schmit, a scholar who made a catalog raisonné of the artist.Eugène Boudin was one of the first landscape painters of the French school to paint directly in the open air, a plein air, before the Impressionists popularized this practice. He specialized in marine and harbor and coastal views, although on occasion he was also interested in green inland landscapes with animals, such as the cows grazing serenely in this beautiful panorama. He worked both in oil and pastel. His pastel sketches, synthetic and expressive, were widely praised by Baudelaire, and earned him the nickname "king of the skies" from Corot. The son of a dock worker, he began working on steamships as a child, always near the sea, something that would mark his work. However, in 1835 he moved with his family to Le Havre, where his father opened a frame store in which works by Constant Troyon and Jean-François Millet were exhibited. Knowledge of these painters, and also of Isabey and Couture, encouraged the young Boudin in his pictorial vocation. At the age of twenty-two he abandoned his work in commerce to devote himself fully to painting, and the following year he began a journey that would take him to Paris and Flanders. In 1850 he obtained a scholarship that allowed him to settle in the French capital, a city from which he would travel frequently to Normandy and Brittany in search of new coastal landscapes. In Boudin's work, from these early years of his career, a profound influence of the masters of Dutch Baroque landscape painting can be seen. In 1859 he made his debut at the Paris Salon, and in those years he met a very young Monet, whom he influenced to leave caricature and devote himself to landscape painting. From then on, both artists would be united by a great friendship, and in fact they would exhibit together in the first Impressionist exhibition (1874). Already fully established as an artist, in the 1870s Boudin made numerous trips, first to Belgium, the Netherlands and the south of France, and already in the 1890s he would travel regularly to Venice. He continued to exhibit his work at the Parisian Salons, and was awarded a third medal in 1881. He was also awarded a gold medal at the Paris Universal Exposition of 1889, and in 1892 he was made a knight of the French Legion of Honor. Towards the end of his life Boudin returned to the south of France, finally dying in 1898 in his native Deauville. His works are now in the Musée d'Orsay in Paris, the Hermitage in St. Petersburg, the Metropolitan in New York, the Art Institute of Chicago, the National Gallery in London, the Ashmolean Museum in Oxford, the Thyssen-Bornemisza in Madrid, etc.
Lot 488
A group of six artworks in various media to include Paul Lightfoot; watercolour of a 19th century country scene with cottage in the background and seated figures in the foreground, woman with baby, hens and basket with eggs, signed lower left and dated '93, 52 x 32cm, a watercolour by the same hand depicting a country woman holding a small basket with chick, 20 x 16cm, both framed and glazed, a mixed media abstract by the same hand 'Canine Madness' with paper label verso 'Association of London Artists Autumn Competition and Exhibition 1991', 32 x 32cm, framed, a mixed media abstract by the same hand 'Elements', with paper label verso 'Association of London Artists Autumn Competition and Exhibition 1991', 46 x 30cm, framed, an unattributed acrylic depicting a lady in period costume with parasol in a flower meadow, in the style of Monet, 51 x 39cm, framed and an unattributed mixed media abstract, 39 x 49cm, framed and glazed (6).Provenance: Part of the Paul Lightfoot Collection.
Lot 352
A RUSSIAN TWO-DAY MARINE CHRONOMETER BY MONET, CIRCA 1965 the 4in. silvered dial signed in Cyrillic and numbered 21684, striped plates numbered 21770, standard balance with silvered helical spring, jewelled detent, contained within bowl in three-tier wooden box with tipsy key, maker's label and drop handles, approximately -- 7in. (18cm.) cubed.Condition report: In running order at time of cataloguing
Lot 372
digital painting on anodized aluminium163cm x 122cm (64in x 48in)Provenance:Simchowitz Gallery, Los Angeles;Private Collection, London.Footnote: “When you put something on the Internet, it’s mine.” (Petra Cortright)Petra Cortright has been called ‘the Monet of the 21st century’ and is considered one of the foremost artists of the ‘Post Internet’ and ‘Net Art’ movements, known for her digitally created art works across multiple mediums including You Tube videos, digital paintings as well as projections on metallic and archival surfaces. Her work questions new technology and its effects on contemporary aesthetics, society and culture. Lifted from Google Images and Pinterest, Cortright creates her paintings by manipulating these images on photoshop and reintegrating them into ‘digital’ paint, morphed and layering them on top of one another, which are then presented as still-life paintings as with Boylinks.
Lot 1
Alain Jacquet (1939-2008)Gabrielle d'Estrées 1965 signé et daté 65encre sérigraphique sur toilesigned and dated 65silkscreen on canvas 114 x 162.4 cm.44 7/8 x 63 15/16 in.Footnotes:Cette œuvre porte le numéro d'enregistrement AJ-GAB-65-18 au catalogue raisonné de l'artiste. Mous remercions Madame Gaia Jacquet-Matisse pour les informations qu'elle nous a communiquées.ProvenanceCollection particulière, FrancePuis par descendance au propriétaire actuelExpositionsNice, Musée d'art moderne et d'art contemporain de Nice - MAMAC, De Klein à Warhol - face-à-face France/Etats-Unis, 1997-1998, p. 85, un autre exemple de cette série illustré en couleursNice, Musée d'art moderne et d'art contemporain de Nice - MAMAC, Alain Jacquet: Camouflages et Trames, 2005, p. 97, un autre exemple de cette série illustré en couleursParis, Musée Marmottan Monet, La toilette, naissance de l'intime, 2015, p. 188-189, un autre exemple de cette série illustré en couleursL'œuvre d'Alain Jacquet a traversé les frontières historiques, conceptuelles et mondiales, pour s'affirmer comme l'une des plus influentes et inspirantes de la dernière moitié du vingtième siècle. Nous présentons aujourd'hui à la vente une sélection de six pièces fondatrices majeures qui définissent la carrière de Jacquet et le Pop Art européen dans son ensemble. Entre Portrait of a man (1964), La Source (1965), Gabrielle d'Estrées (1965), Thomas Eackin's Swimming Hole (1966-1968) et Le Pape Otto (1969-1970), ces œuvres remontent à une période décisive de la carrière de Jacquet, qui se situe au sommet du mouvement du Pop Art et consacre la transition avec la peinture expressionniste, en tant qu'école de pensée dominante. Elles représentent un microcosme de la période la plus prolifique de Jacquet, et, comme telles, ont ouvert la voie à une génération d'artistes contemporains pour qui l'appropriation est devenue leur raison d'être créative, particulièrement ceux de The Pictures Generation, notamment Barbara Kruger, David Salle et Richard Prince. L'importance et l'influence de Jacquet sont telles que ses œuvres sont présentes dans plus de 40 grands musées internationaux, y compris le Musée d'Art Moderne et Contemporain (MAMCO), Genève ; le Centre Georges Pompidou, Paris ; le Moderna Museet, Stockholm ; et le Smithsonian American Art Museum, Washington D.C. Associée au Nouveau Réalisme émergent, l'œuvre de Jacquet est toutefois demeurée distincte du groupe, adoptant un style combinant les variantes américaines et britanniques du Pop Art, le Conceptualisme de Duchamp et ce que Restany appellerait le Mec'Art, c'est-à-dire un art reposant sur le processus mécanique de sa production. Dès ses toutes premières œuvres, Jacquet a développé une fascination pour les jeux de mots, l'association et l'interprétation. Il voyait l'histoire de l'art comme une source inépuisable d'inspiration, sous-développée et sous-exploitée, et considérait que la technique de l'impression, et les immenses possibilités de reproduction qu'elle offre, permettaient de déconstruire et de reconstituer cette imagerie infinie.Le Pop Art américain et britannique incarnait l'optimisme de la société et la libération culturelle qui s'est répandue comme une traînée de poudre dès la fin des années 50 et pendant les années 60, du rock'n'roll aux hippies, au mouvement des droits civiques et à Hollywood. Les trames Ben-Day de Roy Lichtenstein, les collages de Robert Rauschenberg, et les sérigraphies de Marylin Monroe de Warhol – artistes que Jacquet a fréquentés en 1964 – ont écrit une nouvelle version du Roman américain, donnant l'image d'une culture redéfinie par son propre sens de la liberté. Jacquet était toutefois moins blasé dans son approche de la culture populaire. L'image imprimée et la structure atomique de ses composants pointillistes font au contraire l'objet d'un examen minutieux et d'un œil critique dans l'art de Jacquet. Les images gagnent dès lors en proportion et en lisibilité, en particulier dans le Portrait d'Homme, présenté ici. La géométrie et les couleurs primaires qui sous-tendent les techniques d'impression deviennent l'image dans sa totalité. Parmi ses contemporains, Jacquet est le plus proche du peintre allemand Sigmar Polke dans cette veine – les deux artistes réalisent des toiles qui exposent les trames et les points, où l'artiste prend le rôle d'un programmateur d'image, par opposition avec celui d'un peintre. L'une des œuvres les plus éminentes de Jacquet, Gabrielle d'Estrées, partage beaucoup avec l'une des œuvres les plus célèbres de Polke, Freundinnen (Girlfriends), à laquelle elle est antérieure, qui date de 1965/1966. S'inspirant d'un tableau anonyme de l'École de Fontainebleau datant du 16ème siècle, Jacquet transforme la peinture académique pour en faire un double portrait érotique et ludique, qui est superbement évocateur de l'esprit des années 1960. Vue de près, la trame somptueuse et microscopique de couleurs se fond dans la toile brute, laissant une étendue d'espace négatif en son centre, uniquement interrompue par les ombres des baigneuses nues de Jacquet. C'est ce va-et-vient constant entre l'abstraction et la figuration, l'historique et le contemporain, le visible et ce que Jacquet appelait le « camouflage », qui fait de Gabrielle d'Estrées une pièce fondatrice dans l'œuvre de l'artiste.Dans La Source, Jacquet fait une nouvelle démonstration éclatante de son sens exceptionnel de l'époque contemporaine. Peintes sur une structure gonflable, les toutes premières œuvres contemporaines de Jeff Koons en sont le corollaire évident ; Jacquet et Koons doivent tous deux beaucoup à la philosophie du readymade dont Duchamp a été le pionnier. S'inspirant du tableau du même nom de Jean Auguste Dominique Ingres, qui date de 1820-1856 et interprétant la composition en remplaçant la cruche par un jerrican d'essence et en faisant porter un masque de protection contre les produits dangereux à la jeune femme du tableau, Jacquet détourne l'œuvre néoclassique qui l'a inspiré pour lui donner une tournure industrielle – faisant ainsi un clin d'œil au titre de l'œuvre originale. En ré-imaginant ces icônes de l'histoire de l'art par le prisme du Pop Art européen, Jacquet produit une critique visuellement spectaculaire et complexe du mode de vie bourgeois, en utilisant une technique de « camouflage » qui dissimule et construit simultanément l'image, en faisant apparaître et disparaître tour à tour ses éléments constitutifs isolés et leur assemblage.Nous présentons ici à la vente six œuvres remarquables créées à l'apogée de la carrière d'Alain Jacquet, représentatives de sa série la plus importante d'œuvres de Mec'Art. Français émigré à New York quelque temps plus tard, Jacquet est reconnu comme un artiste majeur des deux côtés de l'Atlantique, comme en témoigne sa présence dans de prestigieuses collections publiques et privées. Son influence sur les générations d'artistes qui ont suivi est in... For further information on this lot please visit Bonhams.com
Lot 305
A collection of designer vintage and contemporary mainly gilt costume jewellery to include Givenchy chain necklace and earrings, Liberty enamel earrings, Georg Jensen pendant, Butler & Wilson brooch, along with other jewellery by Triffari, Monet, F.O Inc, Michael Kors, Swarovski, Hollywood, Sarah Cov, Napier etc (1 bag)
Lot 59
Paul Alexandre Alfred Leroy (French, 1860-1942)Les joueuses d'osselet signed 'PAUL' LEROY' (lower right)oil on canvas 32.5 x 46.5cm (12 13/16 x 18 5/16in).Footnotes:ExhibitedParis, Musée Marmottan Monet, L'Orient des peintres, du rêve à la lumière, March - July 2019.Born in Paris, Paul Alexandre Leroy started his artistic training in Odessa, Russia, where he had spent his childhood. In 1877, he joined the National School of Fine Art in Paris and studied under Alexandre Cabanel. From 1881, he started to exhibit at the Salon of French Artists and obtained a travel grant which enabled him to visit Italy. In 1884, he was awarded the Prix de Salon for his painting 'Mardochée'. From 1885 to 1887, Leroy travelled extensively in Egypt, Tunisia, and Turkey; he also visited Algeria with the painter Charles Landelle. Here he was to find the inspiration that defined his work, and he became so absorbed by Arab civilization that he studied Oriental languages on his return to Paris. At this time, he began a long friendship with Arthur Chassériau and Etienne Dinet which, under the guidance of the art historian Léonce Bénédite, and with fellow artists Charles Cottet and ten other members, resulted in the formation of the Société des Orientalistes Français in 1895. Paul Leroy designed the emblem of the movement: the Hand of Fatma on the Star of Solomon. He was awarded a silver medal at the Universal Exhibition in 1900 and also exhibited at the Colonial Exhibition in 1906, 1922 and 1931. In 1908, Leroy was awarded the great honour of being made Chevalier de la Légion d'Honneur. A passionate collector, Leroy assembled an important collection of Islamic earthenware and Berberian fabrics, and thanks to the generosity of his friend Charles Landelle, he had a huge collection of Turkish and Persian earthenware in his studio. His work can be seen in many public collections, including The Louvre and the Musée du Luxembourg.See also:Sacha Leroy, Un maitre de la peinture française Paul Leroy (1860-1942), Sa vie et son œuvre, Catalogue de ses principaux tableaux, 1974.Léonce Bénédite, La Peinture française au XIXème siècle, Flammarion, p.205.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 86
An early 1980's Benny Steinberg, Slovitt & Kaslo gold coloured brooch in the form of shafts of wheat at harvest time together with a Christian Dior gold tone open chain necklace and one other, 2 faux pearl necklaces, a Monet silver coloured brooch and bangle, a silver locket stamped with the makers initials T.W with the monogram AMD on an open white metal chain and a sterling silver tie clip in a Murray Ward box, together with 3 ladies watches to include Smiths, Rowley Knowle and Lorus all housed in a modern blue Chriatian Dior fabric jewellery box.
Loading...-
3412 item(s)/page