There are 367336 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeA yellow metal, pearl and rose-cut diamond ring, set three graduated pearls alternating with two pairs of rose-cut diamonds (yellow metal assessed as 18ct. gold), size UK O 1/2 (gross weight 3.4g), together with a 14ct. gold pearl bar brooch, set row of ten pearls, length 32mm (gross weight 3.0g), a Victorian 9ct. gold band, Chester 1879, size UK M 1/2 (1.9g), and two Georgian yellow metal and hair plait decorated memorial rings. (condition varies). (5)
A collection of antique and vintage costume jewellery, to include: a continental openwork necklace, fashioned from alternating lions mask and faceted red paste set links, suspending a detachable lozenge form pendant/brooch, length 50cm, pendant/brooch height 4cm, together with a pink coral necklace, length 44cm, a yellow metal, spinach green jade and baroque pearl necklace, length 36cm, garnet set cluster earrings, screw back fitting and cultured pearl necklaces et al. (qty)
An 18ct. gold, platinum, sapphire and diamond cluster ring, the lozenge mount set French cut sapphire to centre bordered by twelve pave set eight-cut diamonds, size UK U 1/2 (gross weight 3.3g), together with a Victorian 9ct. gold, pearl and sapphire ring, set central mixed oval cut sapphire bordered by ring of six pearls, size UK K 1/2. (pearls abraded, gross weight 1.5g). (2)
A white metal mounted carved oval shell cameo pendant/brooch, depicting a profile bust of Medusa, height 42mm, together with a gilt metal mounted cameo brooch, height 44mm, profile bust portrait, a gilt metal and pearl heart pendant locket, set central single pearl, height exc. bail 21mm, and two others. (4)
A Victorian yellow metal, pearl and rose-cut diamond set pendant/brooch, the circular mount fashioned as an open flower, set single pearl to centre surrounded by ring of twelve rose-cut diamonds bordered by graduated pearls to petal border, verso with removable brooch fitting and hinged pendant bail, engraved inscription verso "2nd September 1880", (yellow metal assessed as 14ct. gold), width 31mm (gross weight 14.5g), in associated box.
A vintage 9ct yellow gold, sapphire, seed pearl and diamond pendant - Sheffield hallmarks, 1970s-80s, the openwork, trefoil-shaped pendant set with three oval cut sapphires and a central brilliant-cut diamond, within a border of half seed pearls, suspending a further oval cut sapphire drop, on a foliate bale, overall drop 34mm., on a 9ct gold curb link chain, 47cm. long, gross weight 7.9g.
A Victorian mahogany Scottish-style chest of drawers: the full-width ogee top drawer over two short drawers to the left and a deep drawer to the front with faux cupboard and drawer fronts, over three long graduated drawers beneath with turned mahogany and mother-of-pearl handles, flanked by barleytwist columns, on a plinth base with outset corners, 131 x 60cm, 120cm high.
Hans Unger 1872 Bautzen - 1936 Dresden Akt mit Paradiesvogel. Wohl um 1908. Öl auf Holz. Verso auf dem Schmuckrahmen mit diversen Ausstellungetiketten, handschriftlich bezeichnet und nummeriert sowie mit dem Brandstempel mit Künstlernamen. 170 x 140 cm (66,9 x 55,1 in). PROVENIENZ: Sammlung John Knittel (1891-1970), Schweiz (seither in Familienbesitz). AUSSTELLUNG: Künstlerbund Hagen, Wien, 1912, Nr. 668 (auf dem Schmuckrahmen mit Etikett). Kunstpalast Düsseldorf, Nr. 2568 (auf dem Schmuckrahmen mit Etikett). Leipziger Kunstverein, Nr. 8.627 (auf dem Schmuckrahmen mit Etikett). Große Berliner Kunstausstellung, 12.5.-31.8.1926, Nr. 897. Hans Unger gehört zu den zentralen, wenn auch bisher weniger beachteten Vertretern des Symbolismus und Jugendstils in Deutschland um die Jahrhundertwende. Ursprünglich als Dekorationsmaler am Königlichen Hoftheater Dresden ausgebildet, nimmt er daselbst ein Studium an der Kunstakademie in der Landschaftsklasse Friedrich Prellers auf, nach dem er auf seinen Reisen durch Italien und im Austausch mit der Goppelner Schule mit der aufgehellten freien Palette des Impressionismus Bekanntschaft macht. Ungers künstlerische Tätigkeit fasziniert durch die Vielzahl an Techniken und Materialien, mit denen er sich zwischen Symbolismus, Impressionismus und Jugendstil beschäftigt, darunter Plakatkunst, Illustrationen für Zeitschriften wie 'PAN' und 'Jugend', Bühnenvorhänge und Mosaiken. 1897 kauft die Dresdner Gemäldegalerie sein Werk 'Die Muse', mit dem er größere Bekanntheit als Maler erlangt. Im selben Jahr begibt sich Unger nach Paris, um dort ein halbes Jahr an der Académie Julian zu studieren. Prägend dürfte der Kontakt mit Werken der Maler des französischen Symbolismus gewesen sein, wie Pierre Puvis de Chavannes und Gustave Moreau, deren traumverlorene, sinnende Frauengestalten auch Ungers Schaffen in Zukunft beeinflussen. Dabei inszeniert Unger diese oftmals in allegorischem Kontext, etwa als die Sonne, der Frühling oder die Natur. Elemente impressionistisch-pastoser Lichtmalerei, die Schönlinigkeit weiblicher Formen im Jugendstil sowie exotistische Anklänge vereint Unger im vorliegenden Gemälde auf großem, wandfüllenden Format. Der reduzierte Bildinhalt mit den großen Flächen des Körpers und des Himmels wird durch äußerst lebendige, irisierende Farbsplitter zusammengesetzt. Rätselhaft mutet die ihr Haar richtende Frauengestalt auf der marmornen Terrasse an, in Zwiesprache mit ihrem Spiegelbild, bewundert von dem mit langen eleganten Federn ausgestatteten Paradiesvogel. Der mit perlmuttschimmernden Intarsien versehene Hocker mag auf Inspirationen durch Ungers Reise nach Ägypten zurückzuführen sein. Überlebensgroß gewinnt die exotische Venus bei ihrer Toilette einen erhabenen, monumentalen Charakter. In Ungers Werk sind die Frauengestalten keine Individuen, sondern stets Sinnbilder für die Kraft und Rätselhaftigkeit des Weiblichen. [KT] Aufrufzeit: 09.12.2023 - ca. 15.00 h +/- 20 Min. Dieses Objekt wird differenzbesteuert, zuzüglich einer Einfuhrumsatzabgabe in Höhe von 7 % (Ersparnis von etwa 5 % im Vergleich zur Regelbesteuerung) oder regelbesteuert angeboten (N).ENGLISH VERSIONHans Unger 1872 Bautzen - 1936 Dresden Akt mit Paradiesvogel. Wohl um 1908. Oil on panel. With several exhibition labels, inscribed and numbered, as well as with the artist's stamp on the reverse. 170 x 140 cm (66.9 x 55.1 in). PROVENANCE: John Knittel Collection (1891-1970), Switzerland (ever since family-owned). EXHIBITION: Künstlerbund Hagen, Vienna, 1912, no. 668 (with the label). Kunstpalast Düsseldorf, no. 2568 (with the label). Leipziger Kunstverein, no. 8.627 (with the label). Große Berliner Kunstausstellung, May 12 - August 31, 1926, no. 897. Hans Unger is one of the central, albeit hitherto less recognized, representatives of Symbolism and Art Nouveau in Germany at the turn of the century. Originally trained as a decorative painter at the Royal Court Theater in Dresden, he began to study at the Academy of Fine Arts in Friedrich Preller's landscape class, after which he became acquainted with the brighter and free palette of Impressionism on his travels through Italy and in exchange with the Goppeln School. Unger's artistic activity is fascinating for the variety of techniques and materials he employed between Symbolism, Impressionism and Art Nouveau, including poster art, illustrations for magazines such as 'PAN' and 'Jugend', stage curtains and mosaics. In 1897, the Dresden Gemäldegalerie bought his work 'Die Muse', which earned him greater fame as a painter. In the same year, Unger went to Paris to study at the Académie Julian for six months. His contact with the works of French Symbolist painters such as Pierre Puvis de Chavannes and Gustave Moreau, whose dreamy, contemplative female figures would also influence Unger's work in the future, was probably formative, too. Unger often staged them in an allegorical context, for example as the sun, spring or nature. In the present painting, Unger combined elements of impressionist, pastose light painting, the beauty of female forms found in Art Nouveau and exotic echoes in a large, wall-filling format. The reduced pictorial content with the large areas of the body and the sky is composed of extremely lively, iridescent splashes of color. The female figure straightening her hair on the marble terrace appears enigmatic, in dialog with her reflection, admired by the bird of paradise with its long, elegant feathers. The stool with its shimmering mother-of-pearl inlays may have been inspired by Unger's trip to Egypt. Larger than life, the exotic Venus gains a sublime, monumental character. In Unger's work, the female figures are not individuals, but always symbols of the power and mysteriousness of the feminine. [KT] Called up: December 9, 2023 - ca. 15.00 h +/- 20 min. This lot can be subjected to differential taxation plus a 7% import tax levy (saving approx. 5 % compared to regular taxation) or regular taxation (N).
Lovis Corinth 1858 Tapiau/Ostpreußen - 1925 Zandvoort (Niederlande) Stillleben mit Blumen in Vase, Muschel und Obst. 1902. Öl auf Leinwand. Berend-Corinth 248. Links oben signiert. Verso auf dem Keilrahmen mit fragmentiertem alten Etikett. 33,5 x 41,3 cm (13,1 x 16,2 in). [KT]. • Corinth ist neben Liebermann der bedeutendste deutsche Impressionist. • In seinen Stillleben entfaltet sich seine ganze malerische Kraft. • Zusammenarbeit mit seiner Frau Charlotte, ebenfalls Malerin: am 12. Oktober von Charlotte komponiert und aufgebaut und am nächsten Tag von Lovis gemalt. • Wundervolle, leichte Komposition, die mit dem pastellenen Glanz von Rosen und Perlmutt spielt. Mit einer Expertise von Prof. Hans-Jürgen Imiela (1927-2005), Mainz, vom 30. April 1994. PROVENIENZ: Sammlung Dr. Ferdinand Mainzer, Berlin/Los Angeles (seit spätestens 1932, wohl bis 1943). Familienbesitz Mainzer, Los Angeles (bis 1993: Hauswedell). Privatsammlung Bayern. LITERATUR: Hauswedell & Nolte, Hamburg, Auktion 10.6.1993, Los 172 (m. Abb.). 'Es ist recht traurig, daß es Dich so gepackt hat, mein liebes Kerlchen, aber es wird schon besser werden..Das Stillleben bleibt so stehen; morgen werde ich es wohl malen. Mach' nur, daß Du bald malen kannst. Das Stillleben ist gut angelegt und verspricht was zu werden, es ist eine schöne Kunst, wenn mann sie kann..Dein Herr Lehrer grüßt Dich und bleibt Dein Luke.' Lovis Corinth in einem Briefwechsel mit Charlotte Berend am 12. Oktober 1902. Als Schülerin von Corinth hatte Berend ein Stillleben im Atelier aufgebaut und wohl auch eine Studie danach begonnen. Sie kam nicht dazu, das Bild zu beenden. Stattdessen malte Corinth das Bild dann selbst. Aufrufzeit: 09.12.2023 - ca. 17.31 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONLovis Corinth 1858 Tapiau/Ostpreußen - 1925 Zandvoort (Niederlande) Stillleben mit Blumen in Vase, Muschel und Obst. 1902. Oil on canvas. Berend-Corinth 248. Signed in upper left. With fragments of an old label on the stretcher's reverse. 33.5 x 41.3 cm (13.1 x 16.2 in). [KT]. • Next to Liebermann, Corinth was the most importnat German impressionist. • His painterly strength can fully unfold in his still lifes. • Collaboration witrh his wife Charlotte, likewise a painter: composed by Charlotte on October 12 and painted by Lovis the next day. • Mavelous airy composition that plays with the pastel shine of roses and mother-of-pearl. Accompanied by an expertise from Prof. Hans-Jürgen Imiela (1927–2005), Mainz, dated April 30, 1994. PROVENANCE: Collection Dr. Ferdinand Mainzer, Berlin/Los Angeles (since 1932 the latest, presumably until 1943). Mainzer family, Los Angeles (until 1993: Hauswedell) Private collection Bavaria. LITERATURE: Hauswedell & Nolte, Hamburg, auction on June 10, 1993, lot 172 (with illu.). 'It is sad to hear that it got you so badly, my darling, but it'll get better. The still life will stay as it is, I think I'll paint it tomorrow. You just make sure you'll paint again soon. The stil life is well composed and quite promising, it's a fine art, if you are capable of it. Dear greetings from your teacher.' Lovis Corinth in a correspondence with Charlotte Berend on October 12, 1902. As student of Corinth, Berend had set up a still life in a studio and began to make a study. Since she didn't get down to finish it, Corinth painted the pciture instead. Called up: December 9, 2023 - ca. 17.31 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.
A Birmingham three piece part condiment set comprising a oval mustard with liner and a pair of matching salts with glass liners, Birmingham 1924, a Birmingham silver pepperette of octagonal form, Birmingham 1939, a three glass miniature condiments with silver tops and a various mother of pearl and silver spoons, (A lot) 157g
Michael Rondot, (20th century), Constant Endeavor, Artisit Proof no. 47, signed by the artist with various other crew signatures, 43 x 60cm, together with Dru Blair, Pearl Harbour 0755... While the Giant Sleeps, signed limited edition print no. 295/1941, 51 x 66cm, Philip West, Silver Kite 211, signed limited edition print no. 294/750, 57.5 x 69cm and Atilla Hejja, Lightship, signed print, 56.5 x 71cm. (4)
Gold Tone WL 250 five string banjo, bearing the maker's oval sticker to the inside pot wall inscribed Gold Tone, Model WL-250, ser. no. 21412507, with mother of pearl cloud inlay to the fretboard and stamped with the maker's name to the shaped head, with 11" skin and 26.50" scale length, hard case
The Cammeyer Vibrante five string banjo, with satinwood and burr wood banded resonator, fine geometric foliate engraved mother of pearl inlay to the fretboard, inscribed Alfd D. Cammeyer to the side of the heel, bearing the maker's trademark shield to the open peg box and stamped ser. no. 412826 to the reverse, with 9" skin and 27" scale length, within a tanned leather tooled case
Good Vega Artist Tenor banjo, with segmented satinwood inlaid resonator, foliate carved heel and fine engraved geometric mother of pearl inlay to the fretboard and shaped head, bearing the Vega trademark inlaid logo to the back of the peg box, with 11" skin and 23" scale length, original hard case
Paramount Style A tenor banjo, bearing the maker's trademark rectangular plaque screwed to the inside pot wall, with inlaid banded maple resonator, geometric mother of pearl inlay to the fretboard and head inscribed WM.L Lange, Paramount, Style A to the shaped head, with 11" Perspex resonator and 23" scale length, hard case
Unusual five string instrument with flat back oval banded body perforated with small sound holes, the fretboard inlaid with opposing mother of pearl diamond markers with similar inlay to the shaped head, 25" long; also two other unusual similar four string instruments with guitar shaped bodies, fretted necks and Stauffer style heads with foliate engraved brass machine heads and bone tuning pegs (3)
Unusual Neapolitan style twelve string mandolin in need of restoration, labelled Francesco Olivieri..., with fluted bowl back, chevron and mother of pearl banded spruce table, attractive inlaid guard plate and tailpiece, with mother of pearl abalone overlaid fretboard, soft case - *These makers established workshops in Paris in the early 1930s and the premises were regularly frequented by Django Reinhardt
Old flatback pear shaped mandolin in need of restoration, unlabelled; also a Neapolitan mandolin labelled Gennaro Maglioni..., and a five string banjo with solid wooden mahogany body, electric pickup and volume control, 11" diameter body, geometric mother of pearl inlay to the fretboard and abalone kite shaped inlay to the shaped head (3)
Loading...
