We found 186094 price guide item(s) matching your search
There are 186094 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
186094 item(s)/page
Lot 22
SARAH PICKSTONE (b. 1965) 'William Shakespeare, 2019' Oil on panel, 40 x 30 cms Guide £1,000- £1,500Sarah PickstoneLives and works in London. Winner of the John Moores Painting Prize in 2014. A recipient of the Rome Scholarship, at the British School at Rome. Residencies in New York and Italy. She shows internationally, most recently in Shanghai, Seoul, New York, Italy and throughout the UK. She studied at the University of Newcastle upon Tyne and the Royal Academy Schools, London.Pickstone makes large-scale paintings in watercolour with oil and draws extensively. She has a particular interest in the contribution made by women artists and writers to visual and literary history and their creative processes. Recent work includes An Allegory of Painting, a commissioned site-specific painting for the Royal Academy collection space and the entrance hall of Burlington House, celebrating the work of Angelica Kauffman.
Lot 26
STUART SEMPLE (b. 1980) 'If I Die Tonight, 2013' Watercolour, acrylic, vegetable dye transfer, safmat film & vinyl on Saunders Waterford paper In artist frame,76 x 56 cms Guide £3,500Stuart SempleAfter a near death experience as a teenager Stuart Semple quit art school to become an artist. Although diverse in it’s presentation, his body of work orbits around a handful of recurring themes; anxiety, society, cultural history, technology, connection, community and freedom. Born in 1980.Working across painting, sculpture, happenings and online, Semple’s works have been exhibited at numerous solo and group exhibitions, fairs and biennials and at institutions including The Barbican, ICA London, Goss Michael Foundation, Denver Art Museum and The Whitworth. He has created large-scale public projects for cities including Melbourne, Dublin, London, Moscow, Manchester and Denver.
Lot 2
CHARLES AVERY (b.1973) 'Untitled (Two Guys Poolside), 2016' Pencil, acrylic, watercolour and ink on paper mounted on linen, 41.4 x 29.7 cms Guide £3000 - £6000Charles AveryBorn Oban, 1973. Lives and works in London and Mull. Since 2005 Avery has dedicated his practice to the description of a fictional island, which he continually elaborates, describing its population, customs and philosophies, nature and architecture, expressed in the form of large-scale drawings, sculptures, installations and texts. Known only as ‘The Island’, Avery’s wave-lapped realm is not only a vividly realised fiction, teeming with sights both strange and strangely familiar, it also operates as a petri dish in which the artist tests ideas from the fields of epistemology, aesthetics, mathematics, economics, anthropology, architecture, and beyond.
Lot 263
Marklin HO scale model 29845 premium digital double train starter set, including two digital locomotives, seven rail cars, one transformer, one control unit, straight and curved tracking rails, and two batteries.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
Lot 351
One large Chinese Han Dynasty (202 BCE-220 CE) funeral tomb duck. Low fired earthenware. Of unusually large size and well potted. Much of the original polychrome survives on the surface. The full body and well balanced proportions in combination with the scale make this an extremely rare example of fine Han pottery.Provenance: Christie's London, 11 July 1996, lot 530; Collection of Bruce Dayton & Ruth Stricker Dayton, Minnesota.Height: 15 in x width: 14 in x depth: 9 in.Good condition; age appropriate surface wear.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Height: 15 in x width: 14 in x depth: 9 in.
Lot 437
Chinese metal scale in a wooden scale box. Scale connected to a wooden rod with string.Provenance: Collection of Bruce Dayton & Ruth Stricker Dayton, Minnesota.(In Case); Height: 12 in x width: 3 in x depth: 1 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.(In Case); Height: 12 in x width: 3 in x depth: 1 in.
Lot 36
† PLEYEL, A 6 1/2 OCTAVE TRANSPOSING KEYBOARDCIRCA 1875In original case127cm wide Catalogue Note:"We know that transposition on a keyboard is a difficult operation. When sightreading a complicated accompaniment only the most experienced accompanists and skilful musicians can transpose it into the right key for the singer. For a long time, pianos have been made where the keyboard can move by one or two semi-tones in order to remedy this issue. However, this movement in the keyboard hinders the precision in the mechanism of the piano and compromises the structural integrity of the instrument. Furthermore, the options on offer are inadequate and are no answer to the registers of different voices. Consequently, piano makers have almost universally abandoned this system.It is by another means that M A Wolff, the head of the Pleyel company, Wolff and Company, tried to resolve the problem of the automatic transposition of the piano. He invented a movable keyboard (see dia.) which fits instantaneously and easily on top of the piano keyboard, sliding onto these keys and then allowing the transposition of all the keys in the scale. We read and play the music as it's written on the upper keyboard and the lower keyboard reproduces it in another key. This section of music complete, if necessary, the transposer keyboard can very easily be removed as it's small and lightweight, - and then the pianist is free to resume playing the main keyboard which has not been subject to any change.Initially, you would think that to slide one keyboard on top of another seems like a very simple idea and not posing any undue issues. However, upon reflection, you quickly realise that the mixture of the unequal lengths and heights of the black and white keys needing to apply different pressures on the black and white keys of the keyboard below makes the construction of this little device complicated. Let's just state that thankfully, these difficulties were resolved. Pleyel's Wolff and Company transposer more than achieved the aim of the inventor. We believe this practical and inexpensive instrument is hailed to become the piano accessory for most music lovers."As described by a French advertisement at the time 普萊耶爾, 一架 6 1/2 八度變調鍵盤約 1875在原來為寬127cm目錄注解:我們知道鍵盤變調是一項困難的操作。在視奏複雜的合奏時，只有最有經驗的伴奏者和熟練的音樂家才能把它轉換成適合歌手的音調。長期以來，為解決這個問題，鋼琴的鍵盤可以調節一個或兩個半調。然而，鍵盤的這種操作阻礙了鋼琴機構的精度，損害了樂器的結構完整性。這是另一種方法。MA沃爾夫是普萊耶爾公司的負責人，沃爾夫與公司一起嘗試解決有自動變調問題的鋼琴。他發明了一種可移動的鍵盤(見直徑)，它可以瞬間輕鬆地安裝在鋼琴鍵盤上，滑動到這些鍵上，然後進行音階中所有鍵的移位。我們可以閱讀播放寫在鍵盤上的音樂，而下麵的鍵盤則以另一個鍵再現它。如果有必要，這部分音樂完整的轉換到鍵盤可以很容易地移除，因為它小並且輕量，鋼琴家可以自由地繼續演奏主鍵盤，這沒有任何改變最初，你可能會認為把一個鍵盤放在另一個鍵盤上似乎是一個非常簡單的想法，不會造成任何不必要的問題。然而，經過思考，你很快就會意識到，由於黑白鍵的長度和高度不等，需要對下面鍵盤的黑白鍵施加不同的壓力，這就使得這個小樂器的構造非常複雜。我們可以說，謝天謝地，這些困難都解決了。普萊耶爾的沃爾夫和公司的變調器超過了發明者的預期目標。我們相信，這種實用而廉價的樂器將成為大多數音樂愛好者的鋼琴配件。 † indicates that VAT is payable by the purchaser at the standard rate of 20% on the hammer price as well as being charged on the buyers' premium. Condition Report: In working order. The outer protective case shows some signs of wear. No restoration history.Condition Report Disclaimer
Lot 14
William Etty, RA (British, 1789-1849)Sabrina, from Milton's 'Comus' 'Sabrina fair, listen where thou art sitting'.oil on canvas63 x 78cm (24 13/16 x 30 11/16in).Footnotes:ProvenancePurchased from the artist by Sir Francis Freeling.Anon. sale, Christie's London, 15 April 1837, lot 79 (bt. Farrer).The Collection of Thomas Baring M.P.The Collection of F. E. Sidney.Anon. sale, Christie's London, 10 December 1937, lot 35 (bt. Martin).Anon. sale, Christie's London, 20 September 1945, lot 31 (bt. Seton).Anon. sale, Sotheby's London, 12 March 1980, lot 79.Property of a deceased's estate.ExhibitedLondon, Royal Academy, 1831, no. 170.London, British Institution, 1832.Society of Arts, 1849 (CIV)International Exhibition, 1862, no. 264.LiteratureThe Examiner, 8 May 1831: 'No. 170 would make us ample amends even had his large work been wholly a failure, for a more pleasing group has rarely met our gratified eyes, nor has Mr Etty often presented us with a finer specimen of his peculiar powers. [...] They are delicious pieces both.'The Spectator 14 May 1831: 'Sabrina (170) is a poetical and beautiful design; though the nymph has rather too much colour for a Naiad; her foot, shown through the transparent sea-green drapery, is a pretty touch of fancy. The figure of the nymph, seen in profile, has a rather ungraceful effect, on account of the strong light thrown along the whole length of one limb.'La Belle Assemblee, June 1831: 'Decidedly the best of Etty's pieces, this year, is his Sabrina, from Milton's 'Comus' (170). It is vigorous, and highly poetical.'A. Gilchrist, Life of William Etty, London, 1855, vol. I, p. 323, Vol. II, p. 337.D. Farr, William Etty, London, 1958, p. 153, ill. 38b. Farr records that there is also 'a later variant of the 1831 composition. There are no figures in the top right-hand corner, and the background appears to be darker. Wass also owned another version, painted in 1840 and only exhibited at the Society of Arts, 1849 (XLIII). A 'study' for Sabrina, canvas, 21 x 25 1/2, was in the Northbrook collection until 1929.'The Arts Council Exhibition catalogue, Great Victorian Pictures, London, 1978, p. 39.Sarah Burnage (ed), William Etty, Art & Controversy, London, 2011, p. 144.The subject for the present lot is taken from Milton's epic poem 'Comus'; Sabrina, a goddess who defends the chaste and virginal, is shown to be slowly stirring, awoken by a magical song in order to rescue a virginal Lady from the lusty Comus. As Sarah Burnage comments, when shown at the Royal Academy in 1831, the work 'won almost universal plaudits from contemporaries who appreciated the work's moral subject matter and the supposedly chaste depictions of naked female flesh'. One critic noted that it was 'impossible not to be pleased' by the work.1.The present lot is an earlier version of the work entitled Sabrina and her Nymphs, 1841, in the collection of the Leicester Museum and Art Gallery. The two works are very similar in terms of tone and composition, although the Leicester version omits the group of figures in the upper right corner.As Beatrice Bertram comments, 'The water nymph Sabrina sits centrally, her bottom half covered in diaphanous drapery, gently cradling a string of white flowers. Her pose is one that Etty often replicated and is reminiscent of previous pictures (see, for instance, York's Venus and Cupid (c.1830). The quartet of nymphs form the focus of the image, their pale, shapely silhouettes set against a hazy, indistinct backdrop - this sketchy setting serves only to further highlight their creamy flesh, exposing the artist's groundwork, undertaken in the studio. The canvas showcases Etty's beautiful flesh tones for which he became so famous in his day. Small-scale, appealing canvases such as this attracted purchasers who appreciated the artist's mastery of colour and flesh painting.'1 Burnage (ed), William Etty, Art & Controversy, London, 2011, p. 144.We are grateful to Dr Beatrice Bertram, York Art Gallery, for her assistance in cataloguing this lot.For further information on this lot please visit Bonhams.com
Lot 430
The Cyril Kempshall Fairground Collection: A working 1/17th scale model of Racing Gallopers, hand-built and painted by Cyril Kempshall, father-in-law of the vendor, built in the 1980s over a period of years. The mechanisms within the ride are similar to that of a full size model upon base. Measuring approx. 75cm x 70cm at its widest points, and 45cm at its highest point. The item also comes with a fitted wooden box.
Lot 432
The Cyril Kempshall Fairground Collection: A working 1/17th scale model of the Cake Walk, hand-built and painted by Cyril Kempshall, father-in-law of the vendor, built in the 1980s over a period of years. The mechanisms within the ride are similar to that of a full size model upon base. Measuring approx. 100cm length x 42cm at its widest points, and 35cm at its highest point. The item also comes with a fitted wooden box.
Lot 590
A Corgi Vanguards die cast DGB 50th Anniversary Set, scale 1:43, MG1002, together with further Corgi Vanguards and Oxford die cast sports and vintage cars, including James Bond 007 Aston Martin DB5, Goldfinger Rolls Royce III, Sedance De Ville, further Aston Martin DB5, all boxed, together with a scale model of a 1923 Class A3 locomotive Flying Scotsman No 4472, blister packed. (a quantity)
Loading...-
186094 item(s)/page