We found 216134 price guide item(s) matching your search
There are 216134 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
216134 item(s)/page
Lot 77
Lieut. William Elliott, R.N. (active 1784-1795)The Battle of the Saintes, 12th April 1782 indistinctly signed (lower left)oil on canvas156 x 264.5cm (61 7/16 x 104 1/8in).Footnotes:Lord Rodney's glorious victory over the French fleet off Guadeloupe on 12th April 1782 is known to history as the Battle of the Saintes. Towards the end of the American War of Independence, by which time both France and Spain had allied themselves to the colonists' cause in the hope of gaining territory at England's expense, the French campaign in the Caribbean had already been disturbingly successful. When, in the spring of 1782, the French made ready to mount an offensive against Jamaica, Admiral Lord Rodney realised that a full-scale fleet action was his only means of stopping them. The French fleet, under the Comte de Grasse, weighed from Fort Royal, Martinique, on 8th April; Rodney intercepted it and a partial engagement took place the following day. Outwardly De Grasse had the advantage but soon lost it and the battle developed into a running fight which lasted three days. On the morning of 12th April, Rodney brought the French to action off Les Saintes, a group of small islands in the channel between Guadeloupe and Dominica. Initially adopting the traditional strategy, Rodney then bewildered the French by piercing their line of battle in two places and threw them into utter confusion. Before long their flagship, the 104-gun Ville de Paris, was surrounded and forced to strike her colours, and even though a number of ships managed to escape, it was nevertheless a decisive defeat for the French which saved the valuable island of Jamaica from invasion.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 213
* JOHN MACLAUCHLAN MILNE RSA (SCOTTISH 1885 - 1957),CAFE, PARIS oil on board, signed image size 25.5cm x 34cm, overall size 46.5cm x 54.5cm Framed and under glass. Label verso: Thomas Murray & Sons, Dundee.Provenance: Private collection, Edinburgh.Note: A rare Paris painting from between 1920 and 1922 when Milne lived in the French capital. Seeing Cezanne's work for the first time was a eureka moment for Milne who until then had painted much like his father in a sedate and traditional style. He discovered a completely new freedom and walked the streets and sights of Paris painting what he saw, en plein air and with rapid, bold brush strokes. Above all, he discovered ''colour''. This very distinct Paris period saw Milne producing some of his most spontaneous and desirable work and usually on smaller scale artist boards. By 1922/3 he had moved to the French village of Lavardin and by 1924 he was in Cassis with Peploe, Cadell and Duncan Grant. Milne is often referred to as ''the fifth Scottish Colourist'' and yet his quality is at least the equal of much of the output of the other four. As well as enjoying the company of the Scottish Colourists and exhibiting alongside them, Milne shared many of their patrons. William Boyd, the Managing Director of Keiller’s marmalade firm, became one of his most important patrons. In Boyd’s home at Claremont, several works by William McTaggart, Peploe, Hunter and Milne were displayed. His collection of French paintings included Monet, Sisley, Van Gogh, Matisse, Bonnard, Vuillard and de Segonzac. Alexander Keiller, head of the marmalade firm, was another important patron. He paid Milne a stipend – so that he could spend the summers in France – in return for paintings. The collector, Matthew Justice, was a close friend of George Leslie Hunter as well as being his agent during the 1920s. Justice owned around a dozen of Milne’s paintings; his sitting-room was hung exclusively with works by Peploe and Milne and his drawing-room contained eleven Peploes, three Marchands, one Hunter and five Milne’s. The Justice collection also included works by Vuillard, de Segonzac, Moreau and Matisse. Justice was friends with William Boyd and James Tattersall, another important patron of Milne. Even though Milne's paintings were widely exhibited in his lifetime at the very best venues to great success, it's probably because he never established a long term relationship with any one gallery or dealer that his paintings have been undervalued for many years. It took until 1987 before the first Milne painting reached the £20,000 mark at auction when ''Busy Paris Street Scene with Figures (1922)'' was sold by Christie's, Glasgow (lot 664, 28th April 1987 £20,000 hammer). The John Maclauchlan Milne Estate is now represented by Tom Hewlett's Portland Gallery (London) and unsurprisingly, his profile and values have been growing. A major exhibition ''Milne And The Colourist Connection'' was staged at Portland Gallery (London) 21st September -13th October 2017. On 30th August 2017 we sold "A Paris Scene (a 35cm x 26.5cm oil on panel) for £25,000 (hammer) and in The Scottish Pictures Auction of 24th September, 2021 lot 2005 (Green Pool, Iona) sold for £29,000 (hammer).
Lot 28
HAMILTON & CO: GOLD, LAPIS LAZULI AND TURQUOISE BROOCH AND PENDENT EARRING SUITE, 1832Each naturalistic tricoloured gold drop with engraved leaves and buds and a central pansy with carved lapis lazuli petals, accented by turquoise cabochon forget-me-not flowers, the brooch of matching design, one lapis lazuli petal deficient, lengths: earrings 8.7cm, brooch 6.0cm, fitted maker's caseFootnotes:Accompanied by a portrait miniature on ivory of the original owner, identified as Alice Edye, and the original receipt from Hamilton & Co., dated 24th January 1832.Please note, it is not possible to export ivory to the United States.A play on the French word, 'pensée', meaning 'think of me', pansies became a popular floral motif representing love and remembrance in jewellery, together with forget-me-nots, rendered here in turquoise. The vogue for naturalistic tricoloured gold jewels with realistic surface features arose in the 1830s and the scale of such pieces increased dramatically in the 1850s (see C. Gere and J. Rudoe, 2010, 'Jewellery in the Age of Queen Victoria', The British Museum Press, London, p.172, figs 128-129). These features were achieved with a variety of lifelike chasing, engraving and matting techniques and the use of several coloured gold alloys in a complex structure of soldered appliqué.Robert Hamilton (1772-1848) arrived in India and started work in Calcutta in 1808, establishing premises producing jewellery and silver at 5 Tank Square under licence from the East Indian Company. Three years later, he opened a shop on Old Court House Street where the business remained until its closure in 1973. In 1817, Robert Hamilton ceased his interest in the company but the business continued under a succession of new partnerships including Henry and James Glazbrook who joined the business in 1811. The business grew steadily and employed some of the best artisans in the country. New branches followed in Bombay (1833-36 and from 1868), Delhi and Shimla (from 1865 onwards). The business continued beyond the Independence of India in 1947, until finally closing its doors in 1973.This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com
Lot 32
TWO 17TH CENTURY ROYALIST PORTRAIT MINIATURE JEWELSThe first depicting King Charles I, the Martyr (1600-1649), standing before his crown, wearing the sash and badge of the Order of the Garter over a suit of armour, the second depicting William III (1650-1702) holding an orb with Mary II (1662-1694) before a skull, both painted on vellum in pie-crust mounts, the reverse of the mount holding William and Mary engraved with initials, JM, lengths: 1.9cm - 2.3cm (2)Footnotes:After the death of King Charles I in 1649, commemorative jewellery in the form of rings, lockets and slides, was produced in great numbers. The jewels were worn by Royalists in memory of Charles I. A few had concealing lids, as many supporters of the royalist cause wished to keep their allegiance secret. Some were presented by the exiled Queen Henrietta Maria to Royalist supporters in appreciation of their continuing loyalty and financial backing.The tradition for wearing images of Stuart monarchs remained popular during times of political and religious uncertainty, periods of national mourning and also celebration, such as the Restoration of the Stuart monarchy in 1660 when these jewels could be worn more openly. The miniatures were not painted from life but derived from earlier full-scale oil portraits. The miniature of Charles I in his suit of armour derives from Sir Anthony Van Dyck's circa 1638 portrait in the Hermitage Museum (inventory no. ГЭ-537).Prince William of Orange married Charles I's grand-daughter, Mary Stuart, the Princess Royal, in 1677. The couple were happily married and anointed joint sovereigns in 1689. Devastated by Mary's death, William ruled alone until his own death in 1702 from a riding accident. The skull in this Restoration portrait has been placed behind Mary to represent her early death from smallpox while William can be seen holding an orb in reference to his continuing reign. The image of William in a suit of armour and lace cravat derives from his circa 1685 portrait by Willem Wissing (Royal Collection inventory no. RCIN 405644). While a different colour, the design of Mary's dress, jewelled corsage and ermine cloak relate closely to her circa 1692-94 portrait attributed to Jan van der Vaart, which is held by the National Portrait Gallery (inventory no. NPG 197).For further information on this lot please visit Bonhams.com
Lot 9
POL BURY: LIMITED EDITION 'TIGES SUR UN CARRÉ' RING, 1974The square plaque set with kinetic batons, signed Pol Bury, numbered 4/30, French assay marks, ring size IFootnotes:Provenance:A Private Collection of 20th Century JewelleryPol Bury (1922-2005) was a Belgian sculptor who began his artistic career as a painter. The focus of Bury's art shifted in 1952 after he attended an exhibition of Alexander Calder's work. The movement in Calder's mobiles greatly inspired Bury and he began producing kinetic sculptures. While investigating metal and movement in his sculptures and public fountains, Pol Bury began exploring these themes on a much smaller scale. Working with GEM Montebello in Milan and Galerie Maeght in Paris, he produced a series of limited edition gold jewels, many of which were successfully exhibited at Cartier in New York in 1971, attracting the attention of the press. 'He thinks the rings, bracelets and medallions should be sold with their own cubes... when they are not being worn they could be set on the cubes like a miniature sculpture. He may be starting more than he thinks...' (Sheppard, E., 'Inside Fashion', New York Post, Monday 12 April 1971). Pol Bury was one of a select number of artists to successfully translate their work into jewellery. Unusually for artist jewellery at this time, Bury's limited edition jewels often sold out upon exhibition. His 'Tiges sur un Carré' ring was made by Gennari for Galerie Maeght in an edition of 30.For further information on this lot please visit Bonhams.com
Lot 137
WW1 British Map, covers printed with “FRANCE SHEET 51c EDITION 2” scale being 1/40,000; partial map being linen backed with printed to the centre “ENEMY ORGANISATION 21-8-18”; 1915/1916 linen backed map of St Quentin France, scale 1/100,000; small section of a linen backed map of the western front with hand drawn lines and trench systems? To the centre. (4 items)
Lot 677
A Fine Scale 'Gauge 1' BR 'Duchess of Hamilton' 4-6-2 Steam Locomotive No.46229. This model is a 2 Rail electrically powered in 1/32nd Scale. Finished in BR maroon lined livery. A well executed example, made predominantly from brass and die cast detail parts. The tender features coal-pusher detailing to top. The locomotive features good livery application, blackened wheels and cab detailing.
Lot 114
A LATE GEORGE III BRASS INLAID EBONISED BRACKET CLOCK, by James McCabe (1748 - 1811), Royal Exchange, London, the case surmounted with an ormolu pineapple, the sides with brass fish-scale panels and carrying handles, the front with inlaid brass floral motifs within fielded panels and raised on brass ball feet, signed and numbered (2923) on dial and also engraved on the back plate. 29 x 17.5 x 51.5cm high
Lot 250
MANNER OF TIEPOLO (16TH/17TH CENTURY) Figures with a chest Pen, ink and brown wash Inscribed number 207 within a blue stamp Mounted; together with another Old Master drawing of a figural group Ink and brown wash Inscribed lower left Mounted and framed Giovanni Battista Tiepolo was a Venetian painter and printmaker of the Rococo period. He was known as one of the main artists of the 18th century working in the idealised style of the Grand Manner of the High Renaissance. His work was theatrical, celebrating artistic imagination and fantasy in creating compositions filled with characters from ancient mythology. He was equally respected for his draughtmanship, creating highly skilled drawings and oil sketches and enjoyed a very successful career as a printmaker. Drawings of this kind were very common in the period, often acting as preparatory pen and ink sketches for larger scale compositions. Artists drew on subject matter of classical mythology, depicting stories of gods and goddesses particularly known for their drama and eroticism. This work potentially tells the story of Diana and Actaeon, the latter who stumbled upon Diana while she was bathing and, in her surprise, and fear she splashed him with water transforming him into deer. Depicting the nude body, particularly that of female figures was a skill honed through the act of drawing. and these mythological subjects offered ample opportunity to practice. In this work it appears that we have interrupted her in the act of bathing with the shallow pool of water at her feet and attendants on hand, removing water jugs from the trunk to help wash her. The look on her face as she turns to stand is one of surprise or of shock, potentially caused by the arrival of an unknown figure, a hunter visible through the archway in the top right corner. She attempts to protect her modesty with arms raised to cover her breast while she and her attendant struggle to drape her with a robe. As work it is filled with excitement and movement, sketched quickly by the artist, depicting the moments before the action, filled with anticipation and high drama.
Lot 83
CIRCLE OF GASPER VAN WITTEL, CALLED IL VANVITELLI (ROME, 1653-1736) View of Palermo Oil on canvas, 59 x 94cm Gaspar Van Wittel, known in Italian as Il Vanvitelli, was a Dutch painter and draughtsman who had a lengthy career in Rome. He played a pivotal role in developing the genre of Veduta, or topographical views, which became a painterly specialism in Italy in the 17th and 18th centuries. This work of the View of Palermo, showing the cultural and historical capital of the island of Sicily, reflects these highly detailed and large-scale compositions. In the painting we can see the monumental city gate, Porta Nuova, to the left-hand side, which represents the entrance to the Cassaro, the main thoroughfare and most ancient street in the city. It was built to commemorate Charles V's conquest of Tunis and his subsequent visit to the Sicilian capital. The gate is formed with a typical central triumphal arch flagged by four telamone sculptures of Moorish figures, referencing Charles V’s defeat over the Ottoman Empire. The buildings adjoining to this are the Royal Palace of Palermo, or Palazzo dei Normanni, originally constructed in the 9th century by its Islamic rulers, and then subsequently taken over by the Norman conquerors who established it as the main residence for future Kings. The foreground is dominated by the heavy castellated city walls projecting and receding along the boundaries of the capital and drawing our eye to the buildings in the background on either side. The cityscape is the main focus of the work, with the artist paying particular attention to the architectural features of the differing Norman and Italian styles of building. The vantage point chosen by the artist seems to be from a hill looking down towards the city, which is reflective of the position of the Palace at the highest point of the ancient centre of Palermo. The gate and the palace stood on the traditional western side of the city. The foreground is enlivened with the steady stream of horse drawn carriages coming to and from the main gate. The trees are in full bloom, with thick luscious green leaves while in the far distance there is a small glimpse of the blue sea and a view of what is probably the hill of Monte Pellegrino. There is a distinct mix of individuals represented by the artist, courtiers, ordinary citizens, workers and travellers, reflecting the diverse range of classes populating this 17th century port city.
Lot 291
MINIATURE SUIT OF ARMOUR. An English Heritage 1/3 scale replica medieval suit of armour. Height 67cm. IMPORTANT...SHIPPING OF EDGED WEAPONS, PISTOLS, MUSKETS & MILITARIA… Our in-house postal shipping service is NOT available for edged weapons, pistols, muskets, heavy, fragile or large multi-lot purchases from the Militaria section of this auction. We can only offer our in-house postal shipping service for items suitable or accepted by Royal Mail or ParcelForce services. Our recommended alternative carrier is MBE Plymouth on 01752 257224 or info@mbeplymouth.co.uk or a specialist edged weapons & militaria carrier PDQ Freight who should be contacted direct on +44 (0)1784 243695 or info@pdq.uk.com. Collection in person or by a buyer's own carrier is possible, but advanced notice by telephone is required for items to be made ready for collection.
Lot 592
A Beaulieu R16B Automatic 16mm Cine Camera, serial no 671914, body F-G, speed range switch scale missing, metre film ASA scale detached, with a P. Angenieux 17-68mm f/2.2 Reglomatic power zoom lens, viewfinder clear, motor and metre untested, with battery and non-battery grips, a Beaulieu sync pulse generator, instruction booklet, R16 brochure, price list, a 50mA charger and a heavy-duty charger and two boxed 200 ft (60m) film magazines
Loading...-
216134 item(s)/page