We found 3205 price guide item(s) matching your search
There are 3205 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
Lot 945
Wanduhr mit CloisonnéschildFrankreich, 19. Jh., römische Stunden auf Emaillekartuschen und arabische Minuterie eingraviert auf dem Messingziffernblatt, bez. P.CARON/QUIMPER, Platine nicht gemarkt, Schlag auf Glocke, Pendel, Messinggehäuse mit großem Cloisonnéschild verziert mit Phönix und blühendem Rosenstrauch, H: 43 cm. Nicht auf Funktion geprüft. Uhrenglas lose anbei, kleine Fehlstelle im Cloisonné.
Lot 239
Ceramic stoneware, meticulously hand-painted in France, featuring charming depictions of folk people adorned in cultural attire. The plate measures 10.25" in diameter, while the pitcher measures 7"L x 4.75"W x 8"H. Henriot Quimper backstamp. Issued: 20th centuryManufacturer: Henriot QuimperCountry of Origin: FranceCondition: Age related wear.
Lot 291
* ALEXANDER GOUDIE RP RGI (SCOTTISH 1933 - 2004), ODALISQUE oil on canvas, signedframed image size 85cm x 120cm, overall size 104cm x 139cm Provenance: We are grateful to Lachlan Goudie, artist, writer, broadcaster and the leading authority on the work of his father, for authenticating "Odalisque" and confirming that "Yes, I know this canvas very well. It’s one of my father’s finest nude paintings, a tribute in many ways to his artistic heroes Manet and Velazquez. The subject is my mother, Marie Renee Goudie, who was a muse for my father throughout his career. It’s a supremely confident piece of virtuoso painting, designed to create an impression of sensuality and exoticism. A wonderful work". Note 1: The loose meaning of Odalisque in the world of art is “a reclining nude, female figure”. The word is French in form and Originates from the Turkish work “Odalik” meaning “Chambermaid” One of the earliest examples of a painting of this subject matter was Jean Auguste Dominique’s Ingres work painted in 1814 and titled “Grande Odalisque”. The painting was commissioned by Napoleon’s sister, and Ingres apparently drew inspiration upon the classical works of Dresden Venus by Giorgione and Titans Venus of Urbino. Since then the subject has been painted by many great artists such as Francois Boucher, Jules Joseph Lefebvre and More. Great Twentieth Century artists such as Matisse ,1926 (Metropolitan Museum) and Picasso’s “The Great Odalisque” painted in 1907 have visited this subject, as have Scottish artists, John Bellany and Goudie. Most of these artists have used their lovers or muses as the subject and Goudie’s picture is no different In Goudie’s painting the artist has used his wife as the model. Her reclining figure shown from the front looking sideways as if to tease the artist with her beauty. Her naked curves against a rich scarlet, Vermillion background arouse a strong sexuality. The flowers and drapery seek to soften the composition and create a colour contrast which clearly demonstrates a deep love between the artist and model. It has to be said that many nude painting are often rebuffed by a Traditionally Calvinistic Scottish art world, but in this picture Goudie has created a masterful work, of great passion to match the age old subject matter.Note 2 : Alexander Goudie was born in 1933 at Paisley and, as a child, showed a prodigious talent for drawing. He studied at Glasgow School of Art when William Armour was head of drawing and painting and David Donaldson was the ubiquitous influence. Goudie, as a student at Glasgow, demonstrated his extraordinary ability. He received the Somerville Shanks Prize for Composition and, later, his draughtsmanship and sense of colour was recognized with the award of the Newbery Medal. As a young artist, he grew up admiring three great masters, Sir John Lavery, George Henry and James Guthrie; all artists who had bridged the gap between Glasgow and Paris. It was these artists’ glorious virtuoso control of oil paint that appealed to Goudie, as well as their genre and realist subject matter. Alexander Goudie was elected a member of the Glasgow Art Club in 1956 and a member of the Royal Society of Portrait Painters in 1970. He painted a portrait of the Queen for the Caledonian Club, London (1992/93), and exhibited widely, showing at Harari and Johns, in London, the Fine Art Society, Glasgow, and the Musee de la Faience, in Quimper. Sir Timothy Clifford, former Director of the National Galleries of Scotland, wrote: ''At his best, Goudie could draw better than any of his rivals in Scotland. There was magic and vision in his art and, I expect, history will be kind to him.'' Collections: 79 of Goudie's paintings are held in UK public collections including at Glasgow Museums & Galleries, The Hunterian, Rozelle House Galleries, Paisley Museum & Art Galleries and The Fleming Collection (London). Numerous prestigious corporate collections in the UK and France and in private collections around the world.
Lot 195
* ALEXANDER GOUDIE RP RGI (SCOTTISH 1933 - 2004), TWO BOATS gouache on paper, signedmounted, framed and under glassimage size 62cm x 88cm, overall size 86cm x 109cm Note: Alexander Goudie was born in 1933 at Paisley and, as a child, showed prodigious talent for drawing. He studied at Glasgow School of Art when William Armour was head of drawing and painting and David Donaldson was the ubiquitous influence. Goudie, as a student at Glasgow, demonstrated his extraordinary ability. He received the Somerville Shanks Prize for Composition and, later, his draughtsmanship and sense of colour was recognized with the award of the Newbery Medal. As a young artist he grew up admiring three great masters, Sir John Lavery, George Henry and James Guthrie; all artists who had bridged the gap between Glasgow and Paris. It was these artists’ glorious virtuoso control of oil paint that appealed to Goudie, as well as their genre and realist subject-matter. Alexander Goudie was elected a member of the Glasgow Art Club in 1956 and a member of the Royal Society of Portrait Painters in 1970. He painted a portrait of the Queen for the Caledonian Club, London (1992/93), and exhibited widely, showing at Harari and Johns, in London, the Fine Art Society, Glasgow, and the Musee de la Faience, in Quimper. Sir Timothy Clifford, former Director of the National Galleries of Scotland, wrote: ''At his best, Goudie could draw better than any of his rivals in Scotland. There was magic and vision in his art and, I expect, history will be kind to him.'' Collections: 79 of Goudie's paintings are held in UK public collections including at Glasgow Museums & Galleries, The Hunterian, Rozelle House Galleries, Paisley Museum & Art Galleries and The Fleming Collection (London). Numerous prestigious corporate collections in the UK and France and in private collections around the world.
Lot 16
Walter Frederick Osborne RHA (1859 - 1903)Early Morning in the Markets, Quimperlé (1883)Oil on canvas 40.6 x 31.8cm (16 x 12 ½ “)Signed, inscribed and dated 1883Provenance: By descent from the owner’s great grandmother, who was a friend of the painter.Exhibited: Dublin, Royal Hibernian Academy, 1884, cat no 256; Dublin, National Gallery of Ireland, The Irish Impressionists, Irish Artists in France and Belgium, 1850 – 1914, Oct/Nov 1984, cat no 69; Belfast, The Ulster Museum, The Irish Impressionists, Irish Artists in France and Belgium, 1850 – 1914, Feb/Mar 1985, cat no 69. Limerick, The Hunt Museum, Lavery and Osborne: Observing Life, May 2019Literature: Jeanne Sheehy, Walter Osborne, Ballycotton 1974, no 71; J. Sheehy, ‘Walter Osborne in Quimper (sic) and Pont Aven, 1883’, in Old Limerick Journal, vol.25, summer 1989, p.28, illustrated; K. McConkey, ‘Early Morning in the Markets’ in ‘Lavery & Osborne, Observing Life’, 2019, p.84-85, illustrated; Dr Julian Campbell, The Irish Impressionists, Irish Artists in France and Belgium, 1850 – 1914, NGI, p.212Early Morning in the Markets, Quimperlé is an attractive Continental street scene such as Walter Osborne loved to paint. It shows several Breton figures at a small market, with a colourful display of vegetables, in Quimperlé on a sunny day. After completing his studies in Antwerp in 1883 Osborne headed south west to Brittany to paint ‘en plein air’. He worked in Dinan, Pont Aven and at Quimperlé, often together with fellow former students from Ireland and England. Early Morning in the Markets, Quimperlé, set in the lower part of Quimperlé, is a companion piece to Osborne’s best-known Breton painting Apple Gathering, Quimperlé, 1883, (NGI), set in the upper town, both pictures featuring a church, and both being inscribed ‘Quimperlé’.Quimperlé had developed around the confluence of the rivers Elle and Isole, which combined to form the river Laita. The church of Ste-Croix was founded in the 12th century, based on the plan of the Holy Sepulchre of Jerusalem. It was famous for its magnificent apse, and became one of the most important spiritual centres in Brittany.(1) In the upper part of the town, the church of St Michel, Notre Dame de l’Assomption dated from the 13th and 15th centuries. Quimperlé was a peaceful Finistère town, with a wooded river valley, apple orchards and mild climate, narrow streets cutting down to the lower quarter, bridges, and old houses with gardens by the river. The arrival of the railway line in 1862 made the town much more accessible to visitors. The establishment of schools in the 1870s and 1880s encouraged the education of local girls and boys. (2) Although less well-known as an artist’s colony than Pont-Aven and Concarneau, Quimperlé had a thriving community of British and Irish painters there from the 1880s to the early 20th century, notably Stanhope Forbes, Henry La Thangue, George Clausen, Osborne, J.M.Kavanagh, Blandford Fletcher, Charlotte Benson and Norman Garstin, as well as Norwegian Fritz Thalow.(3) Forbes had moved to tranquil Quimperlé because Pont-Aven and Concarneau had become too crowded, and because studios were cheap. It is possible that Osborne may have done so for the same reasons.Early Morning in the Markets, Quimperlé features several figures: a girl and elderly woman, a boy, a woman shopping and a stall holder. The cheerful whites and blues of the Breton costumes and the green canopy in sunlight attract our attention. In the foreground a young girl and woman are seated behind a colourful array of vegetables, waiting for customers. The cheerful rosy-cheeked child contrasts with the elderly woman, whose headdress casts a shadow on her face. The woman at the stall with white bonnet and collar, faded garments and shopping basket, viewed from behind, is an archetypical Breton figure by Osborne. To her right is a boy in dark Breton hat, face in profile, and smock. Behind them the market woman stands under the green sunlit canopy; although in shadow, her face has a smiling Oriental calmness. The edge of another stall can be seen to the left, perhaps with another stall-holder present.Early Morning in the Markets, Quimperlé is set in front of the east door of the church of Ste-Croix. It is a fine example of Osborne’s early Realism. He applies loving detail to every part of the picture – not just to the figures, but to the freshly picked vegetables arranged along the pavement, the wickerwork baskets, earthenware jar and weighing scales, cobblestones and weathered stone and woodwork of the church, even to a few scattered cabbage leaves. The textured brushwork and variety of delicate colours: blues, beige, white, pinks, greens, russets and ochres, bring the surface of the canvas alive. Yet, together with the meticulous Realism, a narrative element is present: the theme of youth and age, the ‘conversating piece’ between the woman at the stall and the youth looking on and reaching out his arm. The difference in postures suggest that Osborne may have based his figures on preliminary pencil drawings, then assembled them together in the painting. (4)Osborne rarely identified the location of his pictures, so the fact that he inscribed the name of ‘Quimperlé’ on both Early Morning in the Markets, Quimperlé and Apple Gathering indicates the importance which he attached to these paintings. Early Morning in the Markets, Quimperlé was exhibited at the RHA in 1884 and has remained in the same Co Dublin family collection since, or almost since, the artist’s lifetime.Julian Campbell, April 20241. Emmanuelle Yhuel-Bertin, Quimperlé en Images, Quimperlé 2008, p.132. Quimperlé en Images, 2008, p.173. see: Michel Colardelle, Denise Delouche et al, La Route des Peintres en Cornouaille, Briec-de-L'Odet, 1997; C. Puget and J. Campbell, Peintres Irlandais en Bretagne, Musée de Pont-Aven, 1999; C. Puget and J. Campbell, Peintres Britanniques en Bretagne, Musée de Pont-Aven, 2004; and Andre Carion and Beatrice Rion, Les Peintres de Quimperlé, 1850 – 1950, 20044. Similar Breton women and a boy are featured in, for example, Osborne’s Pont-Aven painting, Driving a Bargain, (sold in these rooms, May 2002), and in a small sketch, (Osborne’s sketchbook, NGI, cat.no.19,201, p.21
Lot 24
Collection of Continental pottery and porcelain, 19th century and later, including a Sevres-style turquoise ground inkwell, cover and liner on fixed stand, painted with a heart-shaped cartouche in landscape, gilt crowned N mark to reverse, two Quimper flasks, one heart-shaped, the other decorated with a clock face, a French pottery two-handled tin glazed vase, painted with a bird and foliage above sponged ornament (4)
Lot 339
Very large collection of mainly 20th century French Quimper hand painted pottery items to include: a service decorated in blue, service decorated in pink and green, large quantity of traditionally decorated items: Teapots, sauce tureens, bowls, figures an unusual, probably 19th century Quimper pottery hand painted letter rack and a similar, probably 19th century, D Shaped flower holder. Over 120 pieces. together with single volume Quimper Pottery, a guide to origins, styles and values by Adela Meadows, published by Schiffer. (12) NO POSTAGE PLEASE. (B.P. 21% + VAT)
![Divers aardewerk en porselein; w.o. theekommen, Quimper dekseldoos en pauwenschotel. [ds]](https://cdn.globalauctionplatform.com/e6e392f8-59b7-4c0b-a482-b15300bfdd6c/06b8524c-57b0-4ae9-a23e-b154012f7b85/468x382.jpg)
Lot 108
An early 18th Century Delftware dish, the centre painted with a windmill with foliage and rockery within double concentric framing, blue, green and red colourway, possibly English, approx 22cm diam (chips and nibbles to border, crazing and pitting to reverse) together with a 19th Century Quimper style scalloped plate decorated with a potatoe picker with floral border, approx 24.5cm diam (pitting to glaze to front and back, hairline crack and scratches (2)
Loading...