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 29
This is A SET COMPRISING THREE BERGHOF WAITERS DRESSED IN WHITE MESS JACKETS WITH BLACK TROUSERS ONE CARRYING THE FUHRER'S FAVOURITE CHOCOLATE CAKE made by KING AND COUNTRY as part of their BERLIN '38 range. Comes complete and unused in original packaging. 1:30 Scale. A very high quality historical miniature.
Lot 706
ZULUItalian 4-Fogli (55" x 78"); Style AFine+ Folded; Artist Enzo Nistri Paramount, 1964A bright and colorful poster with fold wear including tiny tears, chipping, and some separation and some sporadic tanning in areas.Filmed on location in Natal National Park in South Africa, Zulu is an epic film told in an appropriately grand scale, and notable as well for providing Michael Caine's first major screen role. The story is based on the historical Battle of Rorke's Drift in 1879, in which 139 British troops successfully defended a lone outpost against more than 4,000 Zulu warriors.This lot will be auctioned on Friday, December 8th. The auction will begin at 9:30am PST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on December 7th.
Lot 40
RAOUL DUFY (1877-1953)Nature morte aux fruits cachet de l'atelier de l'artiste (en bas à droite)aquarelle, gouache et fusain sur papier stamped with artist's atelier stamp (lower right)watercolour, gouache and charcoal on paper39.5 x 56 cm. 15 9/16 x 22 1/16 in.Footnotes:L'authenticité de cette œuvre a été confirmée par Madame Fanny Guillon-Laffaille et Monsieur David Guillon. ProvenanceCollection particulière, France.Collection particulière, France (acquis auprès de celle-ci). Raoul Dufy a apporté une contribution significative au monde de la mode et des textiles à travers ses collaborations avec des maisons de couture renommées. A partir de 1905, Dufy chercha à transposer depuis la peinture, son esthétique à différents supports. Il élargit alors son éventail de techniques avec une maîtrise virtuose : gravure, illustration, céramique, décors de théâtre, décorations murales, tapisserie, ou encore textile, soulignant un attrait particulier pour les arts décoratifs. A ce titre, la création textile constitua une partie importante dans sa production artistique qui fut marquée par des collaborations prestigieuses avec le célèbre couturier Paul Poiret et avec la maison de soierie Bianchini-Férier. C'est à partir de 1910 que Paul Poiret et Raoul Dufy s'associèrent et fondèrent ensemble « La petite Usine », un modeste atelier artisanal boulevard de Clichy où l'artiste réalisait l'ensemble des étapes de la création : le dessin, la gravure sur bois puis l'impression sur tissu. Cette collaboration fut un tremplin pour Dufy qui poursuivit ses créations textiles à l'échelle industrielle avec la manufacture Bianchini-Férier. Il s'exprima « Me voilà donc amené à la décoration et à la mode, non par délassement ou par amusement mais pour une expérience sérieuse. Que d'échos cette période de ma vie ne réveille-t-elle pas en moi ! Grâce à Poiret et à Bianchini-Férier, j'ai pu réaliser cette relation de l'art et de la décoration, surtout montrer que la décoration et la peinture se désaltèrent à la même source. » Ses motifs floraux aux couleurs audacieuses transposées sur des tissus imprimés, contribuèrent à la création de textiles luxueux et élégants. Le style de Dufy, reconnaissable à ses couleurs vives, ses lignes fluides et des motifs inspirés de la nature, a été particulièrement bien adapté au monde de la mode. Ses œuvres ont été intégrées dans la conception de robes, foulards et accessoires, marquant une influence artistique dans ce domaine. Son esthétique joyeuse, vibrante et sa capacité à capturer le mouvement ont ajouté une dimension artistique aux vêtements et aux textiles, faisant de lui un artiste prisé dans le contexte de la haute couture.Raoul Dufy made a significant contribution to the world of fashion and textiles through his collaborations with renowned couture houses.Starting from 1905, Dufy sought to translate his aesthetic from painting to various mediums. He expanded his range of techniques with virtuoso mastery, including engraving, illustration, ceramics, theatre set design, murals, tapestries, and textiles, emphasising a particular attraction to decorative arts. In this regard, textile creation played a significant role in his artistic production, marked by prestigious collaborations with the famous fashion designer Paul Poiret and the silk house Bianchini-Férier.It was from 1910 that Paul Poiret and Raoul Dufy partnered and together founded 'La petite Usine', a modest artisan workshop on Boulevard de Clichy where the artist carried out all stages of creation: drawing, wood engraving, and fabric printing. This collaboration served as a stepping stone for Dufy, who continued his textile creations on an industrial scale with the Bianchini-Férier manufacture. In his own words: 'So here I am led to decoration and fashion, not for relaxation or amusement, but for a serious experience. What echoes this period of my life awakens in me! Thanks to Poiret and Bianchini-Férier, I was able to realise this connection between art and decoration, especially to show that decoration and painting draw from the same source.'His bold, colourful floral motifs transposed onto printed fabrics contributed to the creation of luxurious and elegant textiles. Dufy's recognisable style, characterised by vibrant colours, fluid lines, and nature-inspired motifs, was particularly well-suited to the world of fashion. His works were integrated into the design of dresses, scarves, and accessories, marking an artistic influence in this field.His joyful, vibrant aesthetic and ability to capture movement added an artistic dimension to clothing and textiles, making him a sought-after artist in the context of haute couture.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 655
KEULEN, Johannes van (1654-1715) & Gerard van KEULEN (1678-1726). Nine hand-coloured charts from the Zee-Fakkel showing the coasts of Ireland, Scotland, English Channel and the Bay of Biscay. Please see the full listing below. (9)KEULEN, Johannes van (1654-1715) & Gerard van KEULEN (1678-1726). Nine hand-coloured charts extracted from the Zee-Fakkel depicting the coasts of Ireland, Scotland, English Channel and the Bay of Biscay, with decorative title and scale cartouches, compass roses, galleons, etc. [Amsterdam: c.1695-1704]. The charts comprise: 1. Paskaert van Cales tot Cadix als mede een gedeelte van Engelandt, 517 x 602mm.; 2. Pas Caart van de Bocht van Vranckryck Biscaien en Gallssen Tusschen Heyssant en C. de Finisterre, 507 x 585mm.; 3. Pascaert van de Canael Tusschen Engelandt en Vrancryck, van Cales tot C. de la Hagu, als meede van Doever tot Poortlant, 506 x 570mm.; 4. Pas-Caert van de Canael, Tusschen Englandt en Vranckryck, van Pleymuyen tot aen de Sorlinges, als mede van Portbimel tot aen Heyssant, 500 x 560mm.; 5. Nieuwe Pas-Kaert Vande oost Kustvan Yrland, Beginnende van de hoeck van Waterfoort tot aen de Mayds. Alsmede de west Kustvan Engeland, 509 x 580mm.; 6. Pascaart van de Noortcustvan Yrland Als meede de Westcust van Schotland En een gedeelte van de Lewys Eylanden, 502 x 578mm.; 7. Pascaert, Vande Westkust van Schotlant, Als mede een gedeelte van de Lewys Eylanden, Van S.Patricius to Navry, Nog t'.Roda ofte Barre en t'I.S. Kilda Met at syn diepten en droochten, 504 x 585mm.; 8. Paskaart vande WestCust van Yrlandt Beginninde van Klady Tot aen de Blasques, 508 x 583mm.; and 9. Nieuwe Pafcaert, vande Suyt syde van Yrlandt Beginnende van Blasques tot ande Hoeck van Waterfoort, 503 x 583mm.; all unframed. Provenance: The Mopelia Collection. (9)
Lot 125
§ CHARLES OPPENHEIMER R.S.A., R.S.W. (BRITISH 1876-1961) ON THE GRAND CANAL, VENICE Signed, oil on canvas Dimensions:76cm x 76cm (30in x 30in) Note: Though his name is inextricably linked with the Kirkcudbright School of artists, the half-German, Manchester-born-and-raised Oppenheimer did not in fact settle in this region until the end of World War One. Over time he became a respected stalwart of the Scottish art world and a Royal Scottish Academician. His oeuvre is firmly and famously associated with the depiction of Galloway. Less well known perhaps is the fact that, as his biographer Euan Robson puts it, “Italy was as much his muse as Galloway”. As a body of work, they are much less frequently seen outside private collections comparative to his Scottish subject matter. Lyon & Turnbull are therefore delighted to offer a scarce and significant Italian painting by the artist, the most monumental in scale and sophistication to be seen on the market for some years.Oppenheimer’s love affair with Italy was a long and enduring one. In 1896 at the age of 21 he won a funded prize to travel to Florence and Venice. A deep passion for the country began. He was, in fact, retracing the steps of his father Ludwig Oppenheimer, a diversely talented individual who reputedly studied mosaic design and manufacture in Venice in the 1860s. It is thought the artist and his wife Connie travelled to Italy on honeymoon in 1903 and continued to do so frequently after the interlude of WW1, visiting throughout the 1920s and 30s. Verona and Venice were his main destinations of choice. This makes great sense: Oppenheimer was a master of depicting water and the play of light and shadow, and Venice especially with its canals and densely arranged architecture would have provided endless compositional inspiration to tempt his brush.In 1913 Oppenheimer exhibited Italian pictures at Doig, Wilson and Wheatley gallery on George Street, Glasgow, as well as at the RSA. It was a significant exhibition and he received numerous positive reviews. The Glasgow Herald’s critic remarked: “Mr Oppenheimer’s work impresses by way of its distinguished draughtsmanship and a refined sense of colour…[The painting]…possesses exhilarating sparkle and there is a subtle restraint in colouring: there are none of those lurid splashes which give some pictures of Italy the effect of mere garishness.”These words could quite easily be applied as a descriptor to the later painting of c.1928, On the Grand Canal, Venice, that we offer now for sale. Here we have a tranquil depiction of Venice’s most famous waterway, quiet and calm in the afternoon heat, the only sounds evoked being the lap of water against stone. Redolent, as the critic would have it, “…[of]…the drowsy felicity which belongs to life in these pleasant places.” The water is masterful; ripples and reflections rendered with comprehensive realism and skill. The light and heat of the day glare and glance off the stone walls whilst darkened alcoves and interiors coolly and enticingly recede into cleverly described shadow. Oppenheimer, as the Herald critic alluded, did not have a hyperbolic artistic vocabulary. This is attested to by the subtle tonalities of the palette here, which allow Venice to weave its romantic magic simply and on its own terms, free from excessive artistic licence.Oppenheimer’s artworks were sketched en plein air, indeed sometimes painted outdoors too before finishing in the studio from earlier studies. One certainly senses that immediacy here; the plein air approach almost certainly responsible for rendering this painting so very transportive and truthfully evocative. One such working sketch for this painting is recorded in Robson’s monograph of the artist (Euan Robson, Charles Oppenheimer: From Craftsman to Artist, Atelier Books, Edinburgh, 2012, p.73, pl.s39), a watercolour c.1928, held now in a private collection.The subject, Palazzo Contarini Fasan, is an unusual 15th-century Venetian gothic structure. It is also known as Casa di Desdemona for its famed associations with Shakespeare’s Othello. Legend has it that Nicola Contarini, a famous heroic leader in the wars against the Turks in the 1500s, once lived in the palazzo. He was said to have had dark skin, subsequently nicknamed "Moor". Contarini's wife, Palma Querini, was the inspiration, possibly, for the character of Desdemona. Exhausted by the brutal jealousy of her husband, she fled the marriage to return to her family. Furthermore, John Ruskin wrote in his The Seven Lamps of Architecture that the palazzo was "the most elaborate piece of architecture in Venice." Little wonder then, that the romanticism of the building’s legendary history and its unusual and beautiful façade captured the attention of Oppenheimer, who afforded it a substantially sized stretch of canvas.
Lot 144
◆ SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1871-1935) LUXEMBOURG GARDENS, PARIS Signed, oil on board Dimensions:26cm x 21cm (10.25in x 8.25in) Provenance:Provenance: The Scottish Gallery, Edinburgh, where purchased by Ion R. Harrison and thence by descent to the present ownerExhibited: The Scottish Gallery, Edinburgh, Paintings and Drawings by S. J. Peploe RSA, 18 August - 13 September 1947, no.68 (as 'Paris')McLellan Galleries, Glasgow, Pictures from a Private Collection, 2 - 27 March 1951, no.15 (as 'Luxembourg Gardens with Figure') Note: Luxembourg Gardens, Paris reveals Peploe’s love of the French capital, which began as a student attending the Académie Julian in the 1890s, continued whilst a resident between 1910 and 1912 and was the location of inter-war group exhibitions which resulted in the acquisition of the paintings Paysage – Iona and La Forêt for the French national collection in 1924 and 1931.As Frances Fowle has explained: ‘Peploe had a lifelong love of France…we can tell from Peploe’s letters that in his own mind he associated France and the French with creativity, openness and flair…Peploe firmly believed that France somehow unlocked the creative, expressive side of his temperament. Above all, he adored Paris.’ (Frances Fowle, ‘Peploe in France: A Suitable Milieu’ in Alice Strang et al, S. J. Peploe, National Galleries of Scotland, Edinburgh, 2012, p.43)This image of Paris’s celebrated Jardin du Luxembourg encapsulates the affection Peploe felt for the city, its chic citizens, sophisticated lifestyle and outstanding beauty. In a sun-dappled leisurely scene, an elegant lady is observed strolling along a path, surrounded by trees and carefully cultivated plants. The free application of paint, by way of a thickly-loaded brush, expresses areas of indicative form, shadow and perspective. A palette of mainly unmixed colours is based on tones of green and brown, with highlights of colour used to pick out the flowers and to provide structure when used in single, defining brushstrokes.Luxembourg Gardens, Paris is painted on an intimate scale, on a board which was easy to transport and to use whilst working en plein air. This approach allowed for an immediacy and freshness of response to subject matter which Peploe was to maintain to the end of his career. It was acquired by the celebrated collector of the Scottish Colourists’ work, the Glasgow ship-owner Ion Harrison. In 1950 he recalled ‘It was through Cadell that I first met Peploe and it was when Cadell was starting to paint a portrait of my wife that Peploe joined us at Croft House for a weekend. This was a very great privilege for us, for Peploe did not care for visiting people unless he knew them very well. It was a very happy weekend indeed and Peploe was pleased to see his pictures hanging together in their surroundings.I held him in great esteem and regarded him as a very great artist.’ (Ion Harrison, ‘As I Remember Them’ in T. J. Honeyman, Three Scottish Colourists: Peploe, Cadell, Hunter, Faber and Faber Ltd, London, 1950, p.123)
Lot 250
A group of Victorian Derbyshire slate and inlaid specimen marble objects, late 19th century, comprising: a table thermometer with resin scale, 15.5cm high; a framed plaque depicting flowers, 14 x 9.5cm; and two paperweights, 8.8 x 12.8cm and 6.7 x 10cm; together with six Indian inlaid marble items, including two dishes, the largest dish – 39.5cm diameter (10)
Lot 316
Joseph Gott, British, 1786-1860, a terracotta group of a seated greyhound with her three young pups, second quarter 19th century, the oval base signed J. GOTT FT., 12cm high, 11.4cm wide, 10.2cm deepProvenance: By repute, purchased at Phillips, London. The Property of the Late Reverend John Watson. Footnotes: Note: Joseph Gott was born in 1785 in Calverley near Leeds, the son of Benjamin Gott, a wool manufacturer who was Mayor of Leeds from 1799. Joseph studied under John Flaxman in London from 1798-1802, and entered the Royal Academy Schools in 1805, winning a silver medal in 1806. In around 1822 he went to Rome, encouraged and sponsored by Sir Thomas Lawrence and was based there for the rest of his life, sending works back to Britain to be entered in the Royal Academy. Rather than the austere neo-classicism of many of his contemporaries, he adopted a more romantic style. Although he did execute sculpture on a monumental scale, his most effective work was in small-scale terracotta and marble groups.In 1823-4 the Duke of Devonshire commissioned Gott to make a group of A Greyhound with her two Puppies suckling (Chatsworth House, see Liverpool, Walker Art Gallery, Joseph Gott, 1786-1860, Sculptor, T. Friedman and T. Stevens eds., 1972, plate 54) finished in 1825.
Lot 179
An Attic miniature black-figure Panathenaic amphora Attributed to the Bulas Group, circa 400 B.C.9.3cm highFootnotes:Provenance:Kuizenga collection, the Netherlands, acquired in Dortmund 17th September 1990.Small-scale versions of Panathenaic amphorae were a speciality of the Bulas Group, which always depict an armed Athena on one side (emphasising her role as protector of Athens), and often an athlete on the other. The Panathenaia was the most important festival celebrated in Classical Athens, and honoured the city's patron goddess, Athena Polias. Every four years the Great Panathenaic festival was held, which comprised several days of athletic, poetry and musical competitions. The victors at these prestigious games were awarded huge amphorae, containing one metretes (over ten gallons) of olive oil from the goddess' sacred grove. It is thought that miniature Panathenaic vases were made in the early 4th Century as either souvenirs, toys, or for dedication in temples; they were decorated in the black-figure technique in imitation of the traditional style (J. Boardman, Athenian Black Figure Vases, London, 1974, p. 179).For a closely related example, also from the Bulas Group, see the Metropolitan Museum, New York, acc. no. 41.162.53 (Beazley Archive no. 332215). For one that also features an athlete running with a torch, see an example in the State Hermitage Museum, St Petersburg, Beazley archive no. 8382.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 612
Early 19th century mahogany twin fusée bracket clock with pull repeat, Barrauds, Cornhill, London, No. 563, the signed 7-inch break-arched painted Roman dial with Strike / Silent ring to the arch, the chain fusée movement numbered and engraved to backplate, having shouldered plates with scroll borders, the case with carry handle and moulded arch over brass fish-scale side frets and pull repeat cord on brass ogee bracket feet, 38cm high (handle down), sold with original engraved adjustable pendulum, and two windersPaul Philip Barraud (d. 1820) was Master of the Clockmakers Company in 1810 & 1811. His sons Frederick Joseph (free 1806), John (free 1813) and James (free 1815) continued the family business and their clocks were signed 'Barraud & Sons' after 1813.
Lot 335
Timpo Railway Series Group of Passengers - to Include Set No.800 (containing 7 x various large scale figures, but unable to confirm if this mix of figures is correct for this set) - generally Fair to Good apart from Sailor which is Good Plus to Excellent, in Fair faded & stained box with split to 1 side of lid, complete with original inner backing card; along with 11 x further unboxed Timpo & John Hill Railway Passengers (see photo) - Fair to Good Plus. (12)
Lot 340
John Hill Group of Large Scale American Railway Figures - these export issues were manufactured exclusively for US Toy Railroad Company Lionel - comprising Conductor, Engineer (missing hand), Businessman, Pullman Sleeping Car Porter; along with Newspaper Boy - a rare set of figures to find in any condition - Fair. (5)
Lot 341
Charbens & F.G. Taylor Large Scale Street Furniture - to Include Charbens Board of Trade Compulsory "All Cars Stop Here" Tramway Sign; General Omnibus Stop Sign; LPTB (London Passenger Transport Board) Bus Stop; along with F.G. Taylor 3 x Lamp Standards with bollards & Keep Left Sign with Bollards - Fair to Good. (7)
Lot 378
Mixed large scale group (1) ERTL American Muscle1/18 1962 Corvette Convertible - silver (2) Highway 61 1/161974 Chevy Custom Van (3) Corgi 1/18 MGF - dark green (4) Tonka Polistil 1/16 Maserati 250F - red (5) Tonka Polistil Ferrari 500 F2 - red. Near Mint to Mint in Good to Excellent boxes. (5)
Lot 380
Mixed 1/18th scale group (1) 92768 Road Signature Lotus Elite - white (2) Chrono H1040 Triumph 1970 Spitfire Convertible - white (3) Revell Triumph TR4 Rallye - blue (4) Maisto Jaguar Mark II - cream (5) Mercedes Benz 300 SLR Targa Florio 19955 - Near Mint to Mint in Good Plus to Excellent Plus boxes. (5)
Loading...-
186094 item(s)/page