We found 360406 price guide item(s) matching your search
There are 360406 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
360406 item(s)/page
Lot 106
MANUEL TERÁN (Chile, 1974). "Tribute to Kusama and Velázquez". Tribute to genius series, 2022.Oil on panel.Slight damage to the frame.Signed in the lower right corner. Signed, dated and titled on the back.Measurements: 101 x 82 cm; 133 x 114 cm (frame).In the catalogue of the exhibition "Tribute to the Geniuses", it is stated that "Terán tries to postulate the return of painting as a symbolic strategy. His tributes, which take the form of pastiches, are not. The artists he chooses to pay tribute to are admired by him (Francis Bacon, Banksy, Marc Chagall, Jean Dubuffet, Lucio Fontana, Francisco de Goya, Lucian Freud, Keith Haring, David Hockney, Robert Indiana, Jaspers Johns, Yves Klein, Kusama-Velázquez, Roy Lichtenstein, René Magritte, Roberto Matta, Joan Miró, Pablo Picasso, Jackson Pollock, Joaquín Sorolla and Andy Warhol). The list could not be more heterogeneous. It does not follow any order. He pays homage to the artists he admires, even if his own work bears no relation to theirs. The heterogeneity of his preferences is patent and proves E. Gombrich right, for whom there is no art but artists. This extreme nominalism leads him to ignore aesthetic categories, as well as chronologies".A Chilean artist living in Spain, with a degree in Fine Arts, Manuel Terán has developed his creative work in the field of the plastic arts and new technologies applied to art. Since he made his name in 1995 at the Salón de Otoño del Círculo de Bellas Artes in Santiago de Chile, he has held solo exhibitions and participated in group shows and fairs in Latin America and Europe. He has been awarded prizes such as that of the Real Academia de San Carlos de Valencia (2004).
Lot 123
VÍCTOR NÚÑEZ VAYA (Seville, 1942)."Venice", 2017.Oil on panel.Signed and dated in the lower right corner.Measurements: 40 x 40 cm.Trained at the School of Art and Artistic Trades in Seville, Víctor Núñez broadened his knowledge of drawing and painting with the professor Miguel Gutiérrez Fernández in his native city, as well as on his travels in Italy. Throughout his career as an artist he has won numerous prizes and awards, among them: Honourable Mention from the Royal Academy of Fine Arts (Santa Isabel de Hungría in Seville in the National Autumn Exhibition, 1989-1996); First Prize from the Royal Academy of Fine Arts (Santa Isabel de Hungría in the National Autumn Exhibition of 1991); Royal Maestranza de Caballería Prize in Seville in 1991; Third International Painting Prize (Ron Bacardi) 1994; First Prize Ramón Areces Foundation, within the Andalusian Contest of Fine Arts, 1995; Finalist in the Ramón Areces Foundation Prize 1996; First Prize of the Carnival Poster (Carmona, Seville) in 2000 and Honourable Mention of the City Council of Seville, Gustavo Bacarisa Prize. He has exhibited in different centres of the Corte Ingles (he was a director of the same).
Lot 124
VÍCTOR NÚÑEZ VAYA (Seville, 1942)."Venice", 2017.Oil on panel.Signed and dated.Measurements: 40 x 40 cm.Trained at the School of Art and Artistic Trades in Seville, Víctor Núñez broadened his knowledge of drawing and painting with the professor Miguel Gutiérrez Fernández in his native city, as well as on his travels in Italy. Throughout his career as an artist he has won numerous prizes and awards, among them: Honourable Mention from the Royal Academy of Fine Arts (Santa Isabel de Hungría in Seville in the National Autumn Exhibition, 1989-1996); First Prize from the Royal Academy of Fine Arts (Santa Isabel de Hungría in the National Autumn Exhibition of 1991); Royal Maestranza de Caballería Prize in Seville in 1991; Third International Painting Prize (Ron Bacardi) 1994; First Prize Ramón Areces Foundation, within the Andalusian Contest of Fine Arts, 1995; Finalist in the Ramón Areces Foundation Prize 1996; First Prize of the Carnival Poster (Carmona, Seville) in 2000 and Honourable Mention of the City Council of Seville, Gustavo Bacarisa Prize. He has exhibited in different centres of the Corte Ingles (he was a director of the same).
Lot 51
FRANCISCO RODRÍGUEZ RUIZ (Zujar, Granada, 1982)."GR 6107-E".Acrylic on panel.Signed in the lower left corner, titled on the back.Measurements: 101 x 140 cm.This is a painter with a realistic technique but who takes his inspiration from dreams and memory, as he himself states: "Sometimes I go back to familiar landscapes that sleep inside me, the dream of memory. And it is childhood with its games full of everyday and fantastic objects. And it is the longing for that which I have left behind and which appears to me more vivid than ever in the landscape of memory". Self-taught, Francisco Rodríguez Ruiz studied at the School of Arts and Crafts in Terrassa, and Aerography at the School of Joso. Solo exhibitions (selection): 2014 Paisatges de la memoria, Auditori municipal Montcada i Reixac, 2013 Galeria Nova-3, Intel-lecte Sabadell, 2012 Galeria Nova-3, Intel-lecte Sabadell Aguilart Galeria d'art, Castellar del Vallés, 2011 "De vegades... Somnis" Galeria ART 7, Manresa "Sueños y Recuerdos" Galeria Aguilart, Castellar del Vallés, 2005 "Perspectiva desde la mirada", Casa Soler y Palet, Terrassa. 2002 Joan Costa Foundation, Hospital de Terrassa 2000 Sala de cultura, Zújar Town Hall, Granada. Group exhibitions (selection): 2018 Acquisition of work, Castellar del Valles City Council; Spring Collective, Granadacapital Gallery, Granada; Collective of hyperrealist painters, Subex Gallery, Barcelona. 2017 Something more than realism, Artelibre Gallery, Zaragoza. Collective exhibition of hyperrealist painters Galeria Subex Barcelona.
Lot 38
John Crome (1768-1821) Lane scene near Beccles, Suffolk Oil on panel Provenance: Christie's, South Kensington, 1985; the collection of Surgeon Vice Admiral Godfrey Milton-Thompson. Exhibited: John Crome Memorial Exhibition, Norwich, 1821, no. 5, painted in 1814. Literature: N L Goldbery 'John Crome the Elder', pub. New York University Press. Dimensions: 10.5 in. (H) x 15.75 in. (W)
Lot 45
Circle of J. M. W. Turner River landscape with a figure Oil on panel Extensively inscribed, verso, with provenance details, including: "This is to certify that this little panel landscape came from Syl (?) Lodds (?) Sale at Broadstain (?) of sale of ... .... and sons as a ... with an authenticity from the executors (?) as a ... ..." [Signed extensively] Dimensions: (Frame) 10 in. (H) x 12 in. (W) (Panel) 6 in. (H) x 8 in. (W)
Lot 53
Property of a Gentleman Circle of Thomas Lawrence (1769-1830) Portrait of George IV (1822) Oil on board Gilded frame Label verso: 'THE ONLY MANUFACTORY FOR GENUINE FLEMISH GROUNDS ON PANEL AND MILLEBOARDS, Patronised by Sir Thos. Lawrence, President of the Royal Academy, ESTABLISHED 1795, BY R. DAVY, COLOURMAN TO ARTISTS, 83, Newman Street, London. Improbed Oil Grounds, On Panel and Millboards, to any tint or texture, with every requisite for Oil Painting of the best quality' Dimensions: (Frame) 17.75 in. (H) x 15 in. (W) (Board) 12 in. (H) x 9 in. (W)
Lot 57
Property of The Daughters of the Cross Follower of Fra Angelico (1395-1455) Christ the Child Oil, tempera, and applied gold on poplar panel Provenance: Algar Labouchere Thorold (1866-1936), son of Anthony Thorold, Bishop of Winchester (1825-1895). Acquired by Algar whilst living at the Villa Christina, Florence. Amongst Algar’s inner circle of friends was the art historian Bernard Berenson, from whom this painting seems to have been acquired. Gifted to The Daughters of the Cross. Dimensions:
Lot 62
Circle of Cornelius Janssens van Ceulen (Johnson (1593-1661) Portrait of Mary Villiers, Countess of Buckingham, née Beaumont (1570-1632) is perhaps best known as the mother of the royal favourite Sir George Villiers, 1st Duke of Buckingham. She was the daughter of Anthony Beaumont of Glenfield, Leicestershire, a direct descendant of Henry de Beaumont, and his wife Anne Armstrong, daughter of Thomas Armstrong of Corby Oil on panel With old Ackermann's label verso 'C7477' Provenance: Ackermann and Johnson; sold to Sir Christopher Ondaatje Dimensions: 30.75 in. (H) x 23 in. (W)
Lot 7
Alexander 'Skunder' Boghossian (Ethiopie, 1937-2003)The Devil and the Crescent1970signé et daté 'Skunder 70' en bas à droite; titré au revershuile sur panneau signed and dated 'Skunder 70' lower right; titled on the reverseoil on panel47 x 41 cm. 18 3/4 x 16 1/4 in.Footnotes:ProvenanceAcquis auprès de l'artiste en 1971The Art Lending Service of the Museum of Modern Art, New York, de avril 1971 à mai 1972Collection privée, Etats-UnisVente: Bonhams, Londres, Africa Now, 20 mai 2015, lot 22Collection privée, FranceExpositionNew York, African-American Institute, African Art Today: Four Major Artists, du 14 mai au 31 aout 1974, no. 701-717.Skunder Boghossian grandit en Éthiopie, mais passe la majeure partie de sa carrière à Washington DC, aux États-Unis. Après avoir suivi une formation artistique en Europe, Skunder retourne en Éthiopie entre 1966 et 1969, période durant laquelle il travaille aux côtés du célèbre artiste contemporain (et autre 'pionnier' de l'art éthiopien) Gebre Kristos Desta, en tant que professeur à la prestigieuse école des beaux-arts d'Addis-Abeba. De nombreuses œuvres réalisées à cette époque ont contribué à ce que l'on appelle « la Renaissance du printemps d'Addis », une incroyable période de créativité et de fécondité pour l'art éthiopien, grâce à l'introduction de nouvelles influences et aux apports de ceux qui avaient étudié à l'étranger. Au cours de ces années, l'œuvre de Skunder s'est avérée incroyablement populaire et a été exposée dans trois studios à Addis-Abeba.De nombreux élèves de Skunder ont ensuite suivi ses traces, soit en émigrant aux États-Unis pour continuer de suivre son enseignement, soit en s'inspirant de ses expérimentations artistiques pour devenir les figures de proue d'un nouveau modèle d'art éthiopien contemporain. Cette aura auprès de la jeune génération d'artistes lui valut le titre de 'père des arts éthiopiens'. La renaissance du printemps d'Addis sera malheureusement cruellement réprimée en Éthiopie à l'époque du Derg, tandis que des artistes comme Skunder - qui choisirent d'émigrer – purent exprimer leur désillusion et leur déception à distance. Skunder est le premier artiste éthiopien à voir ses œuvres exposées au Musée d'Art Moderne et au Smithsonian.The Devil and The Crescent (Le Diable et le Croissant de lune) est datée 1970, trois ans après qu'il reçut le Prix des Beaux-Arts de l'Empereur Hailé Sélassié I et le Prix allemand des peintres africains contemporains, à Munich. Les motifs complexes et les couleurs tranchées représentent parfaitement l'influence croissante au début des années soixante-dix des motifs ouest-africains et coptes dans ses œuvres, ainsi que des recherches artistiques menées par les avant-gardistes internationaux Paul Klee, Max Ernst et de l'artiste cubain Wilfredo Lam.Skunder Boghossian was brought up in Ethiopia, but lived in Washington DC, USA for the majority of his working life. Following a European art education, Skunder returned to Ethiopia between 1966 and 1969, during which time he worked alongside renowned contemporary artist (and fellow 'father' of Ethiopian art) Gebre Kristos Desta, instructing at the prestigious Addis Ababa School of Fine Arts. Many works executed at this time contributed to what has been called the 'Addis Spring Renaissance', an incredible period of creativity and fecundity for Ethiopian art responding to the introduction of new influences and inspiration from those who had studied abroad. During these years, Skunder's work proved incredibly popular and was exhibited in as many as three studios in Addis Ababa at any one time.Many of Skunder's students would go on to follow in his footsteps either by emigrating to the USA and continuing as his pupils, or by taking inspiration from his innovations to become the leading figures in a new mode of contemporary Ethiopian art. This has earned him the title 'father of Ethiopian arts'. Unfortunately, the 'Addis Spring Renaissance' would be cruelly repressed in Ethiopia during the era of the Derg, whilst artists such as Skunder - who chose to emigrate - were free to express their disillusionment but only from a distance. Skunder was the first Ethiopian artist to have works exhibited in the Musée d'Art Moderne and the Smithsonian.The intricate patterning and delicately intertwined figuring of The Devil and the Crescent gives the impression of an incredibly organic work, foreshadowing Boghossian's works of the 1970s, which demonstrate the growing influence of West African and Coptic motifs in his works as well as the international influences of Paul Klee, Max Ernst and the Cuban artist Wilfredo Lam.For further information on this lot please visit Bonhams.com
Lot 106
Painted on each face in the Qianjiang style alternating a scene of characters with inscriptions; a monkey is depicted on the neck on the central panel, and two pomegranate-shaped handles are applied to the sides. At the base of the neck and on the foot there are two bands with plant motifs in underglaze blue.
Lot 1
A CHARLES II EMBROIDERED STUMPWORK PANEL 17TH CENTURY The ivory ground finely embroidered in coloured silks and metal threads with a raised work noble family to the centre, beneath a raised and padded work mansion, and above a mermaid bathing amongst sea creatures in a watery grotto, all surrounded by large raised and padded work flowers, domestic and wild beasts, birds, insects the panel approximately 32 x 45.5cm, the later glazed frame 45 x 59cmProvenance:Property of a deceased estate in Merseyside. Probably originally hung at Balls Park, Hertford, the property of Sir Lionel Faudel-Phillips. This lot belongs to a small but distinct set of mid-17th century stumpwork panels characterised by the inclusion of a small scene of a mermaid bathing. Often, as with this lot, they illustrate the mermaid regarding herself in a hand-mirror. This motif seems to have been drawn from bestiaries and earlier psalters- with the suggestion that as 'femme fatales' the mirror is present as the mermaid grooms herself to appear more comely to approaching sailors.For similar please see an example (with a tail-less mermaid) in the Art Design and Fashion gallery, National Museum of Scotland. Also Metropolitan Museum, tortoiseshell framed embroidered mirror depicting Jael and Barak C.1672, Mrs. Thomas J. Watson Gift, 1939 (Accession Number: 39.13.2a).Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. The frame is partially sealed to the reverse- corner lifting has indicated that the stumpwork has been wrapped around a panel, with some later edge banding visible to margins, and tacked to the edges.The panel with colour muting and some browning to silk field. In some areas the field has pulled revealing criss-cross weave- and with small areas where field is not taught and has sagged. There are some small scattered holes- indicative of old insect wear. Small spot and insect stains. Stumpwork still raised- and with raised leaf detailing scattered throughout. Some small pulled loose threadsThe glass underside is very dirty and frame tired and with lossesPlease see additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
Lot 15
A GEORGE II OAK DRESSER BASEMID 18TH CENTURY78cm high, 182cm wide, 50cm deepProvenance: Private Collection, Grade II listed Manor, WirralCondition Report: Marks, scratches and abrasions comensurate with age and use.Old chips and splits. some old repairs. There are additional old dark marks and indentation to the top as expected. (see images). Some old nails used to secure elements (see images) The lower edge of the right hand drawer appears to have been previously detached at a relatively straight crack/ break or was possibly constructed that way. There is some evidence of glue there and the colour of the smaller element is faded/ pale. Careful polishing by a restorer could easily improve the appearance of this. The locks to the two side drawers are later alterations or additions. Lacking keysThe handles and escutcheons are likely original. The rear panel of the central drawer lining and a section of the floor of another drawer lining are later.The legs do not appear to have been broken or spliced ever. A charming feature of the rear legs is that they are carved 17th century elements. The carving is visible to the length of each upright from the reverse (see images) Good colour and patina overall with some fading as expected for age and use.Please refer to additional images for visual reference to condition. Condition Report Disclaimer
Lot 22
A VERDURE TAPESTRY PANEL PROBABLY FLEMISH, LATE 17TH CENTURYFragment from a larger example with animals hunting on the ground and in the trees155.5 x 169.5cm overallProvenance: Private Collection, East SussexCondition Report: Wear to surface as per age, handling and use, colour muting and signs of old stitch repairs notably to upper section. Details have become a little lost- possibly has had a wash at some stage- possibly when rebacked and borderedPlease refer to additional images for visual references to condition which forms part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
Lot 253
A FIGURED MAHOGANY LIBRARY BOOKCASECIRCA 1815 AND LATER The cupboards opening to shelved interiors, the lower section incorporating ten neatly fitted drawers228.5cm high, 135cm wide, 38cm deepFor a bookcase of similar form and dimensions but without the impressively figured timber panel doors to the upper section, see Christie's, New York, 500 Years: Decorative Arts Europe including Oriental Carpets, 19th April 2012, Lot 324 ($30,000). Condition Report: Bookcase with marks, knocks, scratches and abrasions commensurate with age and use. Some old splits, chips and losses. Some small old veneer repairs in places. Impressive figuring to timbers of doors and drawers. Lock plates are old replacements and vary from one another. A lock plate to the side drawer is detached but present. Several keys present but they do not operate all locks. Some locks may requires some attention to operate. Some screws to locks and hinges are lacking. Escutcheon lacking to one small drawer. Some later screws to hinges. Two shelves to the interiors of the side doors with cut-out sections to the front mouldings. Two glazed panels with cracks. Some glazed panels are possibly old replacements. The element of moulding to one side of the cornice to the central bookcase element is detached but present.One hinge to the central lower doors is detached. It is lacking three screws ands the area where it was previously attached has losses. Some strips of later tape applied to backboards. Some minor evidence of old worm. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
Lot 287
A PAIR OF GEORGE IV MAHOGANY BEDSIDE CUPBOARDSCIRCA 1825Each with a panel door flanked by scrolled pilasterseach 77cm high, 52cm wide, 53cm deepCondition Report: Both with the marks, knocks, scratches and abrasions commensurate with age and use. Some old splits and chips. A key is present and operates both locks. Later magnetic catches fitted to the insides of both doors. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
Lot 37
A QUEEN ANNE WALNUT AND FEATHER BANDED BUREAU CABINET CIRCA 1705The mirror panel doors opening to a shelved interior, the fall front opening to an arrangement of small drawers and pigeon holes above a tooled leather inset writing surface171cm high, 61cm wide, 48cm deep overall A very closely related bureau cabinet is listed on the website of Mackinnon Fine Furniture, St James's, London. The related example has provenance to the Hague Collection, The collection of Sir Harry and Lady Lily Hague, The Chantry, Elstree, Hertfordshire, Sotheby's London, Catalogue of Highly Important English Furniture including the Property of Lady Hague,... 23 June 1961, Lot 117. Condition Report: Marks, knocks, scratches, abrasions consistent with age and useOld splits and cracks, some chips and losses,The handles appear to be the originals, the lock to the cupboard and the fall operate with the same key, the drawers appear to have later locks, and there are no keys to operate at time of report The mirror plates are smoked in appearance and not overly reflective, they do appear to be original - the catalogue and online images appear to be a fair reflection of their appearance The shelves to the interior are laterOverall solid and stablePlease refer to additional images for visual reference to conditionCondition Report Disclaimer
Lot 400
A FRENCH AMBOYNA AND ORMOLU MOUNTED CENTRE TABLEBY HENRY DASSON, CIRCA 1881The underside stamped twice 'HENRY DASSON, 1881', the ormolu to one side of the under tier inscribed 'Henry Dasson. 1881', with Granito verde top and chinoiserie decorated lacquer panels, the blind frieze drawer released by a button to the underside78.5cm high, 109.5cm wide, 65cm deepFor two tables by Henry Dasson, that are near identical to the example shown here, see Christie's, London, 500 Years: Decorative Arts Europe, 23rd September 2010, Lot 329 (£12,500), and Christie's, Paris, The Decorative Arts Sale, 1st July 2010, Lot 725 (€20,000). Condition Report: There are marks and abrasions consistent with age and use.Restorations and observations include: the marble cracked and repaired, difficult to distinguish the crack from the top of the marble; stains to the oak carcase, a metal button release to spring the frieze drawer; some rubbing and ageing to the finish of the ormolu; some wear to the lacquered panel; some veneer chips and small repairs; the lacquered panel of the under tier has craquelure.Please see the additional photographs as a visual reference of condition.Condition Report Disclaimer
Loading...-
360406 item(s)/page