We found 173487 price guide item(s) matching your search
There are 173487 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
173487 item(s)/page
Lot 304
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.
Lot 4
A late 19th to early 20th century naturalistically modelled Goldscheider terracotta bust - bearded Moor wearing hat and a string of four gold-bronze coloured medallions; tapering square plinth base with vertical fluting; the inside of the base with incised 'Goldscheider', '391' and '12' marks and impressed 'Vervielfältigung Vorbehalten' mark. (32 cm high).
Lot 184
Fritz Koenig 1924 Würzburg - 2017 Ganslberg Magdalena. 1993. Eisen. Clarenbach 972. Auf der Plinthe mit dem Monogramm. Eines von 2 Exemplaren in Eisen. Zudem noch ein Exemplar in Bronze, bemalt. 75,5 x 38,5 x 20,5 cm (29,7 x 15,1 x 8 in). [JS]. • Sehr selten. Eines von nur drei Exemplaren. • Besonders ausdrucksvolle Arbeit in der für Koenigs Œuvre charakteristischen, maximal reduzierten Figuration. • Seit den 1980er Jahren nimmt die Todesthematik in Koenigs Schaffen einen besonderen Raum ein, es entstehen seine berühmten Epitaphien sowie die Werkgruppen 'Paolo und Francesca' und 'Ikarus'. • In 'Magdalena' vereint Koenig das erotische Paarmotiv früherer Arbeiten mit der christlichen Ikonografie der Kreuzabnahme. • Erstmals auf dem internationalen Auktionsmarkt angeboten. • Koenigs Skulpturen befinden sich in zahlreichen bedeutenden Sammlungen, darunter das Museum of Modern Art, New York, die Guggenheim Collection, Venedig, und die Pinakothek der Moderne, München. PROVENIENZ: Fritz-und Maria-Koenig-Stiftung, Landshut. LITERATUR: Dietrich Clarenbach, Fritz Koenig. Skulpturen. Werkverzeichnis, München 2003, WVZ-Nr. 972 (m. ganzs. Abb., S. 77, 240 u. 241). Aufrufzeit: 08.12.2023 - ca. 14.52 h +/- 20 Min. Dieses Objekt wird regelbesteuert angeboten (R).ENGLISH VERSIONFritz Koenig 1924 Würzburg - 2017 Ganslberg Magdalena. 1993. Iron. Clarenbach 972. Plinth with monogram. One of 2 copies in iron. Additionally another copy in bronze, painted. 75.5 x 38.5 x 20.5 cm (29.7 x 15.1 x 8 in). [JS]. • Very rare. One of only three copies. • Particularly expressive work in the maximally reduced figuration characteristic of Koenig's oeuvre. • Since the 1980s, the theme of death has occupied a special place in Koenig's work, resulting in his famous epitaphs as well as the groups of works 'Paolo and Francesca' and 'Icarus'. • In 'Magdalena', Koenig combines the erotic motif of earlier works with the Christian iconography of the Descent from the Cross. • For the first time offered on the international auction market. • Koenig's sculptures are in numerous important collections like the Museum of Modern Art, New York, the Guggenheim Collection, Venice, and the Pinakothek der Moderne, Munich. PROVENANCE: Fritz-und Maria-Koenig-Foundation, Landshut. LITERATURE: Dietrich Clarenbach, Fritz Koenig. Skulpturen. Catalogue raisonné, Munich 2003, no. 972 (full-page illu., p. 77, 240 and 241). Called up: December 8, 2023 - ca. 14.52 h +/- 20 min. This lot can only be purchased subject to regular taxation (R).
Lot 359
Franz von Stuck 1863 Tettenweis - 1928 München Verwundeter Zentaur. 1891-93. Bronze mit schwarzer Patina. Auf der Langseite der Plinthe mit der Signatur 'Franz von Stuck'. An der oberen schmalen Kante des Sockels mit dem Gießerstempel 'Guss C. Leyrer München'. Gesamt (mit Sockel): 63 x 34 x 17,5 cm (24,8 x 13,3 x 6,8 in). Guss nach 1906 (1906 wurde Franz von Stuck geadelt). PROVENIENZ: Privatsammlung Saarland (vor 1994 erworben). AUSSTELLUNG: (in Auswahl, jeweils anderes Exemplar): Münchner Kunstverein: Gipsmodell, München 1891. Internationale Kunstausstellung, Münchner Secession, München 1899, Nr. 287. Deutsche Kunstausstellung Berliner Secession, Berlin 1899, Nr. 302. Sünde und Secession. Franz von Stuck in Wien, Unteres Belvedere, Wien, 1.7.-9.10.2016, S. 207 (m. Abb.). LITERATUR: (in Auswahl, jeweils anderes Exemplar): Otto Julius Bierbaum, Stuck, Bielefeld/Leipzig 1899, S. 133, Abb. 142. Fritz von Ostini, Franz von Stuck: Gesamtwerk, München 1909. S- 140 (m. Abb.). Franz von Stuck. Maler-Graphiker-Bildhauer-Architekt, Ausst.-Kat. Museum Villa Stuck, München 1982, S. 183 (m. Abb.). Thomas Raff, 'Die Kraft des Mannes und die weiche Schmiegsamkeit des Weibes': Franz von Stuck: Das plastische Werk, Ausst.-Kat. Franz von Stuck Geburtshaus Tettenweis 2011, S. 30-33 (m. Abb.). Aufrufzeit: 09.12.2023 - ca. 14.48 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 VERSIONFranz von Stuck 1863 Tettenweis - 1928 München Verwundeter Zentaur. 1891-93. Bronze with black patina. Plinth with the signature 'Franz von Stuck'. Upper narrow edge of base with foundry mark 'Guss C. Leyrer München'. Total (incl. base): 63 x 34 x 17.5 cm (24.8 x 13.3 x 6.8 in). Cast after 1906 (Franz von Stuck was ennobled in 1906). PROVENANCE: Private collection Saarland (acquired before 1994). EXHIBITION: (Selection, each a different copy): Münchner Kunstverein: plaster model, Munich 1891. Internationale Kunstausstellung, Münchner Secession, Munich 1899, no. 287. Deutsche Kunstausstellung Berliner Secession, Berlin 1899, no. 302. Sünde und Secession. Franz von Stuck in Wien, Unteres Belvedere, Vienna, July 1 - October 9, 2016, p. 207 (fig.). LITERATURE: (Selection, each a different copy): Otto Julius Bierbaum, Stuck, Bielefeld/Leipzig 1899, p. 133, fig. 142. Fritz von Ostini, Franz von Stuck: Gesamtwerk, Munich 1909. p. 140 (illu.). Franz von Stuck. Maler-Graphiker-Bildhauer-Architekt, ex. cat. Museum Villa Stuck, Munich 1982, p. 183 (fig.). Thomas Raff, 'Die Kraft des Mannes und die weiche Schmiegsamkeit des Weibes': Franz von Stuck: Das plastische Werk, ex. cat. Franz von Stuck Geburtshaus Tettenweis 2011, pp. 30-33 (fig.). Called up: December 9, 2023 - ca. 14.48 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).
Lot 362
Franz von Stuck 1863 Tettenweis - 1928 München Faun und Nixe. Um 1918. Bronze mir brauner Patina. Vorne auf der Plinthe mit der Signatur 'Franz von Stuck'. Im Inneren der Plinthe Einritzung 'MODEL'. 53,5 x 13 x 9 cm (21 x 5,1 x 3,5 in). • Sehr selten auf dem Auktionsmarkt verfügbares Motiv aus dem plastischen Werk Stucks (Quelle: artprice.com). • Emblematische Figuren aus Stucks Werk: Faune und Nixen prägen seine individuelle Mythologie. • Zentrales Motiv: Faun und Nixe widmet er Gemälde, Zeichnungen und Raumdekorationen seiner Münchner Villa. PROVENIENZ: Privatsammlung Saarland (vor 1994 erworben). AUSSTELLUNG: (in Auswahl, jeweils anderes Exemplar): Münchner Kunstausstellung im Glaspalast, München 1925, Nr. 2434. Große Berliner Kunstausstellung am Lehrter Bahnhof, Berlin 1925, Nr. 988. Sünde und Secession. Franz von Stuck in Wien, Unteres Belvedere, Wien, 1.7.-9.10.2016, S. 234 (m. Abb.). LITERATUR: (in Auswahl, jeweils anderes Exemplar): Franz von Stuck. Maler - Graphiker - Bildhauer - Architekt, Ausst.-Kat. Museum Villa Stuck, München 1982, S. 188 (m. Abb. anderes Exemplar). Franz von Stuck. Gemälde, Zeichnung, Plastik aus Privatbesitz, Ausst.-Kat. Städtische Galerie Rosenheim u. a., Salzweg 1994, Nr. 78 (m. Abb. anderes Exemplar). Thomas Raff, 'Die Kraft des Mannes und die weiche Schmiegsamkeit des Weibes': Franz von Stuck: Das plastische Werk, Ausst.-Kat. Franz von Stuck Geburtshaus, Tettenweis 2011, S. 98-101 (m. Abb. anderes Exemplar). Aufrufzeit: 09.12.2023 - ca. 14.52 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 VERSIONFranz von Stuck 1863 Tettenweis - 1928 München Faun und Nixe. Um 1918. Bronze with brownish patina. With the signature 'Franz von Stuck' on th efront of the plinth. 'MODEL' scratched inside the plinth. 53.5 x 13 x 9 cm (21 x 5.1 x 3.5 in). • Copies of this motif from Stuck's sculptural oeuvre are very rare on the auction market (source: artprice.com). • Emblematic figures from Stuck's creation: Faun and mermaid are typical figures in his mythology. • Key motif: Fauns and mermaids appear on many paintings, drawings and decorations in his Munich villa. PROVENANCE: Private collection Saarland (acquired before 1994). EXHIBITION: (Selection, each a diffeent copy) Münchner Kunstausstellung im Glaspalast, Munich 1925, no. 2434. Große Berliner Kunstausstellung am Lehrter Bahnhof, Berlin 1925, no. 988. Sünde und Secession. Franz von Stuck in Wien, Unteres Belvedere, Wien, July 1 - October 9, 2016, p. 234 (illu.). LITERATURE: (Selection, each a diffeent copy) Franz von Stuck. Maler-Graphiker-Bildhauer-Architekt, ex.cat. Museum Villa Stuck, Munich 1982, p. 188 (illu.). Franz von Stuck. Gemälde, Zeichnung, Plastik aus Privatbesitz, ex. cat. Städtische Galerie Rosenheim et al, Salzweg 1994, no. 78 (illu.). Thomas Raff, 'Die Kraft des Mannes und die weiche Schmiegsamkeit des Weibes': Franz von Stuck: Das plastische Werk, ex. cat. Franz von Stuck Geburtshaus Tettenweis 2011, pp. 98-101 (illu.). Called up: December 9, 2023 - ca. 14.52 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).
Lot 363
Franz von Stuck 1863 Tettenweis - 1928 München Feinde ringsum (Siegfried). 1916. Eisen, bronziert, mit schwarz-brauner Patina. Auf der Plinte mittig 'Franz von Stuck'. Vorne an der Plinthe bezeichnet 'Feinde ringsum'. Durchmesser Plinthe: 28,5 cm (11,2 in). Gesamt: 72 x 41 cm (28,3 x 16,1 in). PROVENIENZ: Privatsammlung Saarland (vor 1994 erworben). AUSSTELLUNG: Sünde und Secession. Franz von Stuck in Wien, Unteres Belvedere, Wien, 1.7.-9.10.2016, S. 226 (m. Abb., anderes Exemplar). LITERATUR: (in Auswahl, jeweils anderes Exemplar): Franz von Stuck. Maler-Graphiker-Bildhauer-Architekt, Ausst.-Kat. Museum Villa Stuck, München 1982, S. 187 (m. Abb.). Franz von Stuck. Gemälde, Zeichnung, Plastik aus Privatbesitz, Ausst.-Kat. Städtische Galerie Rosenheim u.a., Salzweg 1994, Nr. 75 (m. Abb.). Thomas Raff, 'Die Kraft des Mannes und die weiche Schmiegsamkeit des Weibes': Franz von Stuck: Das plastische Werk, Ausst.-Kat. Franz von Stuck Geburtshaus Tettenweis 2011, S. 92-97 (m. Abb.). Sünde und Secession. Franz von Stuck in Wien, Ausst.-Kat. Unteres Belvedere Wien, München 2016, S. 226 (m. Abb.). Aufrufzeit: 09.12.2023 - ca. 14.54 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 VERSIONFranz von Stuck 1863 Tettenweis - 1928 München Feinde ringsum (Siegfried). 1916. Iron with black-brown patina. 'Franz von Stuck' in center of the plinth. Inscribed 'Feinde ringsum' on the plinth's front. Diameter of the plinth: 28.5 cm (11.2 in). Total: 72 x 41 cm (28.3 x 16.1 in). PROVENANCE: Private collection Saarland (acquired before 1994). EXHIBITION: Sünde und Secession. Franz von Stuck in Wien, Unteres Belvedere, Vienna, July 1 - October 9, 2016, p. 226 (fig., diffeent copy). LITERATURE: (selection, each a different copy): Franz von Stuck. Maler-Graphiker-Bildhauer-Architekt, ex. cat. Museum Villa Stuck, Munich 1982, p. 187 (fig.). Franz von Stuck. Gemälde, Zeichnung, Plastik aus Privatbesitz, ex. cat. Städtische Galerie Rosenheim et al, Salzweg 1994, no. 75 (fig.). Thomas Raff, 'Die Kraft des Mannes und die weiche Schmiegsamkeit des Weibes': Franz von Stuck: Das plastische Werk, ex. cat. Franz von Stuck Geburtshaus Tettenweis 2011, pp. 92-97 (fig.). Sünde und Secession. Franz von Stuck in Wien, ex. cat. Unteres Belvedere Vienna, Munich 2016, p. 226 (fig.). Called up: December 9, 2023 - ca. 14.54 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).
Lot 106
G Borthwick, Scottish, Commedia dell' Arte Pierrot in carnival mask, engraving highlighted with colour, 9/30 signed and dated 90, in oak glazed mounted frame,(H x 9 cm x W x 6 cm) and a MDF cutout front elevation of Ely Cathedral with painted front raised on plinth base, (H x 36 cm x 26 cm) (2)
Lot 500
A captive bred taxidermy Socorro Dove (Zenaida graysoni), mounted upon a branch and naturalistic base, beneath a glass dome on an ebonised plinth, h.43cm.The Socorro dove is a dove that is extinct in the wild. It was endemic to Socorro Island in the Revillagigedo Islands off the west coast of Mexico. The last sighting in its natural habitat was in 1972 and it only survives in captivity.
Lot 4004
Pair of bronze figures of Bacchanals, 19th Century, she holding a cymbal and wearing a pelt, he holding an urn, on sienna marble base, 32cm high (2) Condition Report: The bronzes are in good condition. Both plinths have small nicks to their edges. The corners to the lower base sections even more so, with dirt having made them stand out. The figure with the cymbals has a chip to one lower rear right plinth corner, approx. 0.5cm. The other figure has noticeable scratches to the marble at the rear of the upper plinth section.
Lot 4230
Pair of Cararra marble portrait busts of a lady and gentleman, 19th Century, both classically draped, on green serpentine marble socles, 45cm high (2)Condition Report: Female bust. Small chip to rear of her hair, a chip to rear edge under shoulder, approx. 10mm. The opposite side has some small nicks. There is a large chip to the rear of the plinth base, approx. 5cm by 3cm. There is a shallow chip to the front left edge, 20mm. Chip to rear right edge and other small nicks to edges.Male bust. Nick to lower area of the drapery at the front, 10mm chip. Left side has nibbles to the edge of the drapery. Minor nibbles to the rear edge. The lower square plinth is detached from the socle. The base has chips to its top and there is a 10mm chip to one side, one chip to the top edge of the socle, approx. 10mm. Most of the chips and nicks are to the plinths.
Lot 4358
Victorian mahogany kneehole desk the top with a central writing slope with insert leather enclosed by pedestals with small drawers and a central gallery, below are three drawers and pedestals with a further three drawers, the twin pedestals each with three drawers, on plinth bases, H116 x W152 x D76
Lot 4432
A Victorian mahogany side cabinet, 1840s, the upper drawer flanked by scroll terminals, the two panel doors on a plinth base, H94, W107, D40cmsProvenance: Purchased at Peter Jones antique department.Condition Report: Overall in good restored condition. The cabinet did formerly have a superstructure. There is good colour to the front, the top is darker in colour. There is a very small veneer loss to the edge of the base to the rear left corner.
Lot 70
JOSEPH WINDMILLS OF LONDON: AN EARLY 18TH CENTURY INLAID WALNUT LONGCASE CLOCK the 28cm square brass dial with spandrels and matted centre, with subsidiary seconds dial and calendar aperture to the eight day two train movement striking on a bell, the case with fine floral marquetry, the hood with three ormolu ball finials and quadruple split turned columns, the trunk with lenticular glass, on plinth support, 235cm highProvenance: The Estate of the late Sir George Dowty (1901-1975, inventor, engineer and businessman) and Lady Marguerite Dowty thence by family descent.Joseph Windmills (c1640-1724)Joseph Windmills was an eminent London watch- and clockmaker who, with his son Thomas, produced outstanding timepieces between 1671 and 1737.Joseph was born around 1640/1650 and his origins are uncertain. In his first years as clockmaker, his workshop was located in St Martin's Le Grand, and his house was in Blow Bladder Street, before moving to Mark Lane End in Tower Street in 1687. In 1699 he was elected as the youngest Warden of the Clockmakers' Company, and sat on committees alongside Thomas Tompion, preceding him as Master of the Company in 1702, as well as alongside Charles Gretton (Master of the Company in 1700). His son Thomas completed his apprenticeship, subsequently working as a journeyman, he later served as Master of the Company, in 1718. The partnership J & T Windmills also took over Thomas Tompion's clock maintenance contract at the Tower of London and at Woolwich and other Crown contracts.Windmills was regarded as one of the finest clockmakers in seventeenth century London, producing a large number of lantern clocks, bracket clocks, longcase clocks and pocket watches. His earliest watch, displayed in the British Museum, was made before 1680 and did not make use of a balance spring. Thomas Tompion's sprung balance transformed the pocket watch from ornamental item into an accurate timepiece. Joseph's last recorded attendance at the Court of the Clockmakers' Company was on 24 October 1723, ending a membership of more than thirty-two years. He died in 1724, having spent fifty-two years at his trade. Thomas then ran the company until his death in 1737. Thomas died childless and thus was the last of the Windmills' male line.
Lot 342
ASSORTED SILVER & PLATE, including large Walker & Hall silver trophy goblet, 22.5cms h on plinth, two other small silver trophies, large and small plated oval biscuit boxes, 19.5 & 17.5cms wide, plated salt and mustard, two pewter tankards (one with 'The last Drop' engraved glass base), two plated tankards, plated gobletProvenance: private collection MonmouthshireComments: general wear, some dents
Lot 422
LLADRO PORCELAIN 'RICKSHAW RIDE', no. 1383, modelled by Salvador Debon, issued 1978-2005, on wooden plinth, 38cm long; together with Lladro 'Timid Geisha' no. 4990 29cms, and another with parasol (3).Provenance: private collection Vale of GlamorganComments: thumb of rickshaw passenger broken.
Loading...-
173487 item(s)/page