WW2 Bomber veterans multiple signed colour 10 x 8 photo of two Lancasters over East Kirby. Signed by 14 including F/O Jeff Brown 576, 149 Sqn Aircraft flown in were, Anson, Martinet, Wellington, Lancaster, B 29, Oxford and Tiger Moth. He flew 5 Operation Manna sorties to Rotterdam and Hague, and one Operation Exodus to Brussels with 576 squadron, Flt Sgt Jack Cook 100, 104 sqn flew Domine, Proctor, Anson, Wellington and a Lancaster, W/O James Flowers 50, 44 sqn Lancasters, Flt Lt Sydney Grimes 103, 617 sqn, Flt Lt Frank Hogan 622 sqn, Flt Sgt Alan McDonald 50 sqn, Flt Sgt Ron Needle, W/O Reg Payne 50 sqn, F/O Doug Petty 429 Sqn, W/O Sam Thompson 9/103 sqn, W/O Frank Tolley 625 sqn, F/O Jack Warner DFM 428 sqn, W/O Colin Wood 106, 83 Sqn, F/O Ray Worrall 44 sqn. Good condition est.
We found 175434 price guide item(s) matching your search
There are 175434 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
175434 item(s)/page
Archibald Boyd, DSO, DFC, 600 sqn WW2 Battle of Britain Pilot, Hand Signed Letter dated 12th September 1975 with outlining the role during B O B. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
James Bond Jack Lord signed City National Bank of Beverley Hills cheque dated 18th Aug 1962. John Joseph Patrick Ryan December 30, 1920, January 21, 1998, best known by his stage name, Jack Lord, was an American television, film and Broadway actor, director and producer. He starred as Steve McGarrett in the CBS television program Hawaii Five O, which ran from 1968 to 1980. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Ossip Zadkine 1890–1967 Torse de femme, 1935/57 Bronze auf Plinthe signiert, nummeriert und Giesser-Stempel O. Zadkine 3/8 BROTAL Mendrisio H 36,5 cm Provenienz: Erker-Galerie, St. Gallen (11.12.1993 erworben)Privatsammlung, Schweiz Literatur: Sylvain Lecombe, Ossip Zadkine, L'œuvre sculpté, Paris, Ed. Paris Musées, 1994, S. 312, Nr. 273 b.Ein Fotozertifikat von Franz Larese sowie die Rechnung vom 11.12.1993 sind vorhanden.
Gustave Loiseau 1865–1935 Moret-sur-Loing, Öl auf Leinwand unten rechts Signatur-Stempel G. Loiseau 65,4 x 92 cm Provenienz: Durand-Ruel, ParisAuktion Hôtel Drouot, Paris, 17.1.1951, o. Nr.Marcel Prudhomme, Paris (bei obiger Auktion erworben)Auktion Germann, Zürich, 26.3.1981, Los 58Stiftungssammlung, Schweiz Das Werk wird in das sich in Vorbereitung befindende Werkverzeichnis von Gustave Loiseau, das von Didier Imbert verfasst wird, aufgenommen. Cette œuvre sera incluse dans le catalogue raisonné de l'artiste en préparation par Didier Imbert.In Moret-sur-Loing zeigt sich Loiseaus persönliche Weiterentwicklung hin zur en treillis-Technik, mit der er heute stark in Verbindung gebracht wird. Dabei wird die Farbe mittels Kreuzschraffur auf die Leinwand aufgetragen, wodurch die dargestellten Szenen sehr lebhaft wirken. Die helle Farbpalette passt zum gewählten Bildausschnitt, in welchem der Betrachter einen Blick auf den Loing – einen in die Seine mündenden Fluss – wirft und im Hintergrund die Stadtkulisse und die Hallenkirche Notre-Dame- de-la-Nativité zu sehen sind. Die romantische Kleinstadt und die von Loiseau gewählte Szene waren auch bei anderen Künstlern sehr beliebt, etwa wie bei Alfred Sisley, der sich dort 1889 niederliess und bis zu seinem Tod dort lebte.Moret-sur-Loing est peint selon la technique personnelle et très reconnaissable de l’artiste appelée en treillis à laquelle il est fortement associé aujourd’hui. Dans cette technique, la peinture est appliquée sur la toile au moyen de hachures croisées, ce qui donne aux scènes représentées un aspect très vibrant. Dans une palette de couleurs claires, Loiseau dépeint le Loing (une rivière qui se jette dans la Seine) ainsi qu’une partie des habitations avec l’église Notre-Dame-de-la-Nativité à l’arrière-plan. Cette petite ville romantique de Seine-et-Marne fut très appréciée par les peintres et notamment par Alfred Sisley qui s’y installa en 1889 et y résida jusqu’à sa mort.
Francis Picabia 1879–1953 Talamus, 1938–1939 Öl auf Hartfaserplatte oben rechts bezeichnet Talamusunten rechts signiert Francis Picabia 75,2 x 52,2 cm Provenienz: Olga Picabia, ParisLouison Bobet, Frankreich (1973)Pascal Robaglia, ParisGalerie Gérard Lasés, Paris Ausstellung: Francis Picabia, Classique et Merveilleux, Vence, Château Notre-Dame des Fleurs, Galerie Beaubourg, Juli–Oktober 1998, S. 130, 222, Nr. 130.Abstrakt, Zürich, Galerie Haas, 29.10.–2.12.2013.Salon der Angst, Wien, Kunsthalle, 6.9.2013–27.6.2015.Francis Picabia, Paintings 1909–1950, Zürich, Galerie Andrea Caratsch, 24.9.–20.11.2015, Nr. 9. Literatur: Abstrakt, Ausstellungskatalog Zürich, Galerie Haas, 2013, o. S.Francis Picabia, Ausstellungskatalog, Berlin, Galerie Michael Haas, 2015, o. S.Ein Echtheitszertifikat vom Comité Picabia, Paris, vom 13.5.2009 mit der Registrierungs-Nr. 1846 liegt vor.Die Arbeit wird in das sich in Vorbereitung befindende Werkverzeichnis aufgenommen.Francis Picabia gehört zu den herausragenden Künstlern des 20. Jahrhunderts. Er pochte auf absolute künstlerische Freiheit und schuf dementsprechend ein sehr heterogenes Werk, das zahlreiche Stilrichtungen umfasst.Das Gemälde Talamus ist ein wunderbares Beispiel für seine Auseinandersetzung mit der Abstraktion. Sein Schaffen in dieser Kunstrichtung gilt als sehr bedeutend. Orange, rot, blau und grün leuchten die Farben. Der Pinselduktus ist dynamisch und fliessend. Prägnant und geheimnisvoll sind schwarze Flächen und Zeichen ins Bild gesetzt. Ein vor Spannung vibrierendes Werk.Picabia frönte nicht nur der Vielfältigkeit von Stilen, sondern auch der von Medien. Er ist auch als Grafiker, Lyriker, Essayist und Drehbuchautor in Erscheinung getreten. Mit Lust setzte er sich über eng gesetzte Grenzen des Kunstbetriebs hinweg. Nur natürlich erscheint es da, dass er sich als einer der wichtigsten Avantgardisten etablierte. Er pflegte häufigen und engen Kontakt zur Kunst- und Kulturprominenz seiner Zeit. Pablo Picasso, Gertrude Stein, Jean Cocteau, Fernand Léger und Marcel Duchamp sind nur einige der schillernden Namen, mit denen er Umgang pflegte.«Unser Kopf ist rund, damit das Denken die Richtung wechseln kann» – das berühmte Bonmot des Künstlers steht exemplarisch für die Begeisterung und den Schwung, die in seiner Kunst spür- und erlebbar sind.
Giorgio Domenico Duprà (1689-1770)Prince Francisco of Braganza, Infante of Portugal, 7th Duke of Beja and Great-Prior of the Order of Malta in PortugalOil on canvas Ca. 1730125x93 cm Special Notes:GIORGIO DOMENICO DUPRÀComing from the circle of artists that surrounded the Duke of Savoy Vítor Amadeo II (1666-1730), Domenico Duprà was born in 1689 in the city of Turin, as the son of Giuseppe Duprà and Spirita Crossatti and the older brother of the painter Giuseppe Duprà (1703-1784). In 1709, when he reached the age of twenty, he moved to the city of Rome, with a certificate authenticated by Archbishop Miguel António Vibo, which testifies to his early relationship with the Portuguese circle. In that city he was a disciple of the Italian painter Francesco Trevisani (1656-1746) – author of the large canvas on the main altar of the Basilica of the Convent of Mafra – and it was in this workshop that he met Francisco Vieira Lusitano (1699-1783) who was in Rome as a boarder of King D. João V (1689-1750). In 1719, he was awarded the title of Academic of St. Lucas, which ensured the notoriety he enjoyed in the artistic society of that city. In that same year he arrived in Lisbon, following the invitation made by the 1st Marquis of Fonte, D. Rodrigo de Sá Almeida e Meneses (1676-1733) on behalf of the King D. João V. He arrived accompanied by the architect Filippo Juvarra (1688-1736) and the painter Vieira Lusitano, joining the Brotherhood of S. Lucas on October 22nd. From the records at the Brotherhood, we learn that he lived on the balconies of Terreiro do Paço, which means that he was nominated by D. João V as a Royal painter. Duprà's career in Portugal was almost exclusively dedicated to court painting. In 1719, he painted the portraits of the King's four sons and the portrait of the Monarch with the background of the Cape of Battle of Matapão (today in the collection of the National Museum of Ancient Art). In 1720, he began the cycle of celebration of the Dukes of Bragança, on the ceiling of the Tudescos room of the Paço Ducal in Vila Viçosa. These paintings, whose format adapts to the ceiling partitions, were made from pre-existing models, with three natural portraits (that of D. João V, Infanta D. Maria Bárbara, and the Prince D. José). This was followed, five years later, by the portrait of D. João V for the library of the University of Coimbra and those of the King's children, Infanta D. Maria Bárbara (1711-1758) and D. José Príncipe do Brasil (1714-1777), today in the Prado Museum and in the Palacio do Oriente, due to negotiations with the King of Spain for marriages with Spanish infants. In 1727, he painted the portrait of the 1st Duke of Cadaval. In Duprà's work we find the influence of painter Trevisani combined with French taste in the manner of painters such as Hyacinthe Rignaud (1659- 1743) and Jean-Marc Nattier (1685-1766), which opens a new phase in the portuguese court official portrait. In addition to portraiture, he dedicated himself to the elaboration of engravings and religious paintings. On this last theme there is a Blessed Christ, signed and dated (Dos. Dupra Pintor de Retratos de S. M. Portº o fez em Roma 1733) that was in the King D. Luís Painting Gallery in Ajuda Palace and that was lost in the fire of September 1974. In 1731, diplomatic relations with the Holy See is restored, and after eleven years working in Portugal, the painter returned to Rome and created the portrait of the new cardinal Vicenzo Bichi (known for the engraving by Rocco Pozzi) and another portrait of King D. João V. It was in this period (when it was cast in the context of Roman painting) that he began his relations with the house of the exiled Stuarts. It was in this period (when it was cast in the context of Roman painting) that he began his relations with the house of the exiled Stuarts. From then on, his orders to Portugal became part of a panorama of international orders and, in addition to the already mentioned, Christ lost in 1974, he made a portrait of Father Évora and a self-portrait, also acquired by D. João V. In the following years, there were no new Portuguese commissions, but it should be noted that his extensive production, not always datable with certainty, and sometimes attributed to his brother, is often identified by recorded reproductions. In 1750, he left Rome for Turin, where he was appointed painter at the court of King Charles Emanuel III of Sardinia (1701-1773) and ended up making a series of paintings of the royal house of Savoy, including the portraits of the Dukes of Savoy, Vítor Amadeu III (1726-1796) and his wife D. Maria Antonieta of Spain (1729-1785). The painter died in the city of Turin in the year 1770.The iconography of the Infante D. Francisco, Duke of Beja (1691-1742) The brother of King D. João V requires an in-depth study of his iconography. There are few portraits of him that are known. only one engraved and another identified by Professor Ayres de Carvalho, who is in the Palácio do Oriente, by Jean Ranc (1674-1735), made in 1739 on the occasion of the preparations for the episode of the exchange of princesses on the river Caia. It was through the comparative analysis of this painting, now brought to auction, with that one by Jean Ranc, that at the exhibition “JOANNI V MAGNIFICO: A pintura em Portugal ao tempo de D. João V” it was noticed the physiognomic characteristics of the infant are the same in the two paintings (the oval shape of the face, the same mouth, and the eyes). The good-natured look of the infant, as characterized in the respective catalogue, which appears in these portraits of D. Francisco hides the true personality of the ambitious Duke of Beja. And it is with a portrait painted by Duprà, when he was no longer in our country, that links are established with what is now up for auction. In 1745, when the painter was in Rome working for the exiled House of the Stuarts, he portrayed the pretender to the crown of England in full length. Unfortunately, the location of this painting is unknown, but the engraving opened by N.S.B. of Polly. The similarities in terms of composition and pose of the subjects stand out. The way the characters' left-hand rests on the waist, closing and leaving only the index finger to stand out, as well as the volumetry of the draperies and even the entire placement of the body facing the spectator, are strictly the same in the two portraits. If these common points do not exist, we could continue to attribute this portrait to Domenico Duprà due to the strong lighting effects that open his color palette and underline the vivid realism that seems to want to overcome the simple visuality in the detail of some physiognomic aspects which often led him to represent the dark shadow of clean-shaven male faces. A characteristic that in the 18th century was not much appreciated, but which the painter did not abdicate because he felt strongly linked to a commitment to fidelity to reality.TIAGO FRANCO RODRIGUESExhibitions: “JOANNI V MAGNIFICO - A Pintura em Portugal ao tempo de D. João V”, Lisboa, Portugal, 1994. Proveniência/Provenance: Etiqueta no verso com a inscrição: "Quadro que veio da quinta do Calhariz. Escolhido pª ficár no palácio de Lisbôa" Etiqueta de inventário nº 325 da colecção do Duque de Palmela Literature: A. de Carvalho – A galeria de Pintura da Ajuda e as Galerias do Século XIX, Lisboa, 1982. AA. VV – “JOANNI V MAGNIFICO - A Pintura em Portugal ao tempo de D. João V”, Lisboa, 1994. M. Calado – “Domenico Duprà” in Dictionário do Barroco em Portugal, Lisboa, 1989.
A wall mounted donations boxPainted wood Polychrome decoration depicting souls in purgatory and the Crucified ChristInscribed to front: “COM VOSSA ESMOLA E O RASAO VOS LEMBRAI DAS ALMAS DO PURGATORIO QUE EM TANTAS PENAS ESTAO ANNO D 1805”Portugal, 19th century(minor losses and faults)44x19,5x21 cm
A portrait of Luiz da CunhaBlack ink on paper drawingEngraved by Gregório Francisco de Queirós (1768-1845)Inscribed: "A Sua Excellência o Ill.mo. e Ex.mo Senhor Duque de Palmela se offerece o Retrato do Sábio Político D. Luiz da Cunha feito fielmente segundo o Painel que deste Retrato se acha na rica Gallaria de Pinturas do mesmo Excellentíssmo Senhor"Portugal, ca. 184124x16,5 cm
António Manuel da Fonseca (1796-1890)An Allegory dedicated to Queen Maria IICharcoal drawing, chalk and gold on paperInscribed "A SUA MAGESTADE A RAINHA A SENHORA D MARIA II, DEDICA RESPEITOZAMENTE O PINTOR DE SUA REAL CAMERA ANTONIO MANOEL DA FONCECA, O PREZENTE DECENHO ALEGORICO AO 1º DIA DO CORRENTE ANNO DMDCCCXLV"Signed and dated 184547x36 cm
D. Carlos de Bragança, Enrique Casanova, Comandante Pinto BastoA group pf 16 drawingsDrawings and watercolours on paperDedication to back: "A MARIA DEL MAR E MANUEL EM LEMBRANÇA DE MAIS DE 50 ANOS DE AMIZADE E CARINHO PILAR BADAJOZ"EMENTAS PINTADAS POR EL REI DOM CARLOS E QUE A MINHA AVÔ LUISA (CUNHADA DEL REI) GUARDOU. DEPOIS A MINHA MÃE SEMPRE TEVE O QUADRO ASSIM EM CASA, ATÉ QUE ME CHEGOU A MIM. PILAR"53x68,5 cm
John Simpson Atribb. (1782-1847)A portrait of King Pedro IV of PortugalOil on canvas c. 183478x63 cm Special Notes:A PORTRAIT OF KING PEDRO IV OF PORTUGALPainter John Simpson was born in the city of London in the year 1782 and was a student at the Royal Academy and for a few years was an assistant to Sir Thomas Lawrence, eventually achieving some success as a portraitist. Late-nineteenth-century biographer Sidney Lee suggests to us that Simpson was "more a skilled portraitist than an artist and that his portraits were not without force but lacked in instinct and penetration." In 1807 he began to exhibit regularly at the Royal Academy and continued to do so until his death at Carlisle House, Soho, in the year of 1847. In 1830, he painted the portrait of King D. Pedro IV (1798-1834), halflength, three-quarters, in pose on the left. The King appears in the uniform of Generalissimo and bears the band of the Four Orders (Christ, Avis, Torre and Espada and Santiago) and the respective commendation, as well as the Commendation of the Military Order of Nossa Senhora da Conceição de Vila Viçosa and the insignia of Fleece of Gold. With his right arm advanced, he holds the bicorne, while his left hand rests on the hilt of the sword suspended in his belt. His face is framed by a short beard and wild hair, whose glassy look accentuates the serious character of his personality. The background, in dark brown, is tinted with red and yellow in the lower half of the screen, accentuating the lighting effects. This painting, which is part of the collection of the National Museum of Ancient Art in Lisbon (Inv. No. 361), and which can be seen at the National Coach Museum, was donated by the Queen of Sweden and Norway, D. Josefina de Leuchtenberg ((sister and heiress of Amélia de Leuchtenberg, Empress of Brazil and widow of King D. Pedro IV of Portugal). The Art Historian Herstal, to whom we owe the most exhaustive comparative study of the various portraits of D. Pedro IV, claims that twelve canvases with this same design were found, attributed by different sources to different authors: Simpson, Gant, Steegman and João Baptista Ribeiro. Of all, the only one that belongs to the MNAA is signed by John Simpson. The same author compares it with the others and states that “what is most similar in its technique to that of John Simpson is the painting from the National Museum of Soares dos Reis” and that, although it is a susceptible idea, “it cannot be categorically eliminated the possibility of being a replica, executed by the same artist”. Of variable plastic quality, the similarity in the figuration of the portraits indicates a unique model of which the painting we are now bringing up to auction is another example. John Simpson, also painted, in 1834, the young Queen D. Maria II, daughter of D. Pedro IV. In this portrait, which is part of the National Coach Museum collection, we find formal and stylistic similarities with the portrait of the 1st Duchess of Palmela, D. Eugénia Telles da Gama, also painted by Simpson and part of the Casa de Bragança Foundation collections (Inv. No. 2877).TIAGO FRANCO RODRIGUESBibliografia: AA.VV. - Exposição D. Pedro de Alcântara de Bragança (1798-1834). Queluz: 1987. AA.VV. - Portugal e o Reino Unido - A Aliança Revisitada. Lisboa: Fund. Calouste Gulbenkian, 1994, p. 250-251. AA.VV. – Exposição A Vida Castrense e as Artes. Figueira da Foz: 1979, p. 33. Catá E. Soares; H. F. de Lima – Retratos de Portugueses e de Estrangeiros em Relações com Portugal, Dicionário de Iconografia Portuguesa, 5º vol. Lisboa: Instituto para a Alta Cultura, 1960, p. 457 Ó. Paxeco – O Palácio de Queluz na História do Brasil in Diáro da Manhã. Lisboa: 24 de Abril de 1955, pág. - PINTO, A. C. Pinto – Museu Nacional dos Coches - Guia do Visitante (Ilustrada). Lisboa: 1948, pág. 39
CARTIER ART DECO GOLD, TORTOISESHELL AND SUEDE CLUTCH BAG, CIRCA 1935 Rectangular outline in black suede, with a 18K gold clasp surmounted by a square pyramidal blond tortoiseshell. The clasp opens with a « swing » movement, by moving it first to one side then to the other side. Black leather mirror inside. signed on the inside ‘Cartier Made in France’ and numbered 3236 maker’s mark Paul Pillard French assay mark Eagle’s head for 18K gold dimensions: 23 x 16 cm In original fitted Cartier case. With expertise N° BC2007-3 by O. Bachet and A. Cartier This clutch bag was made by the Pillard workshop, located in the second arrondissement, one of the traditional goldsmith’s production districts in Paris. Provenance: Private collection, France
Mixed Lot: 9ct gold seed pearl ring, line set with five small seed pearls, each individually claw set in a pierced gallery, size M; a modern 375 stamped multi-gem set ring, the scroll open work design set with small rubies, sapphires and emeralds, size O, together with a vintage 9ct gold coral bead dress ring, the oval shaped cabochon in a multi-claw cut down setting raised between pierced leaf shoulders, size L (3)
Loading...-
175434 item(s)/page