There are 185385 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeA set of 19th Century Victorian cased ' Standard Scale ' Avery hanging brass balance scales to weigh 56 lbs. Originally made for the Borough of Wolverhampton and likely the Dept of Weights & measures duty section. The beam scale also stamped for Borough of Wolverhampton. Cased within a large mahogany case with leather strap carry handles to side and plaque with notation to the top marked for the Borough of Wolverhampton. Measures 36cm x 98cm x 41cm.
Abdoulaye Diarrassouba 'Aboudia' (Côte d'Ivoire, né en 1983)Sans titre, 2014 techniques mixtes sur toilemixed media on canvas298 x 399cm.117 5/16 x 157 1/16in.Footnotes:ProvenanceGalerie Cécile Fakhoury, Abidjan, Côte d'IvoireCollection privée, FranceExpositionAbidjan, Nouchi City : Aboudia à la Galerie Cécile Fakhoury, du 26 septembre au 15 novembre 2014Né en 1983 en Côte d'Ivoire, Abdoulaye Diarrassouba entâme des études au Centre technique des arts appliqués de Bingerville à l'âge de 15 ans, et obtient le diplôme de l'Institut des arts d'Abidjan en 2005.Travaillant aujourd'hui entre son Abidjan natal et Brooklyn à New York, Aboudia reconnaît l'influence durable de l'imagerie visuelle qu'il a rencontrée en grandissant dans le centre urbain de la Côte d'Ivoire : « Les enfants dans la rue écrivaient leurs rêves avec des crayons de couleur, du sable, des pierres, des tuiles - tout ce qu'ils pouvaient trouver. Certains dessinaient des maisons et des voitures, d'autres des salles de classe, des jardins et des familles - maman et papa. Toutes les choses qui m'avaient manquées dans la vie. Et je me suis dit que j'allais emprunter les écrits - et je dis bien emprunter - ils appartiennent aux enfants de la rue. J'avais besoin de délivrer leur message dans les salles d'exposition pour sensibiliser le public à ces enfants errants de la rue» (cité dans Todd Bartell, 2017).Créée en 2014, la présente œuvre incarne l'interprétation idiosyncrasique d'Aboudia, nourrie d'images associées à la culture jeune d'Abidjan. Ainsi, des foules de figures enfantines se bousculent pour attirer l'attention au milieu de la circulation. Aboudia conçoit ces figures comme les représentations abstraites de la prochaine génération d'enfants ivoiriens, qu'il estime essentielle à la réussite future du pays. Les expressions des enfants sont ambiguës - quelque part entre un sourire et une grimace - témoignant des nombreuses difficultés qu'ont engendré les violences de la guerre civile en Côte d'Ivoire. Aboudia considère son utilisation de la couleur et du graphisme comme un antidote à ces défis : « Je veux que la vie soit belle, alors je traite la tristesse avec bonheur. Je parle de quelque chose de triste, mais cela vous rend heureux lorsque vous regardez le tableau. Boum ! Il y a de la lumière. Il y a de la couleur. J'utilise la couleur pour transformer la tristesse en bonheur ». (cité dans Todd Bartell, 2017).Monumentale par son échelle, la présente œuvre sur toile a été présentée lors de la première exposition personnelle d'Aboudia à Abidjan ; Nouchi City : Aboudia à la Galerie Cécile Fakhoury (26 septembre - 15 novembre 2014). Il explique que la taille de l'œuvre n'est pas uniquement motivée par le désir de créer une impression visuelle imposante. Il note plutôt que 'les peintures de grand format me permettent de penser aux rêves dans la grandeur et dans les mêmes couleurs que ces jeunes qui errent dans les rues, peignant sur les grands murs que nous trouvons tout autour de nous' (cité dans Orlando Reade, 2013).En effet, l'application spontanée de pigments et le format à grande échelle privilégiés par l'artiste rappellent à la fois les graffitis muraux d'Abidjan et les expérimentations avant-gardistes qui occupent une place centrale dans le canon occidental, tel que l'ont exprimé Cy Twombly et Jackson Pollock. Deux artistes dont Aboudia a beaucoup admiré les œuvres lors de sa visite de la collection permanente de la Tate Modern, à Londres. Reconnaissant cette présence de diverses références culturelles et artistiques dans son travail, Aboudia nomme son approche stylistique Nouchi - un terme plus typiquement utilisé pour décrire l'argot parlé dans les centres urbains de Côte d'Ivoire, qui fusionne les vocabulaires ivoirien et français.Aujourd'hui, les œuvres exubérantes d'Aboudia ont entraîné une série de résultats records aux enchères. Depuis 2007, Aboudia a été largement exposé dans le cadre d'expositions individuelles et collectives internationales. Ses œuvres font également partie de grandes collections, notamment celles de la Saatchi Gallery (Londres), du Nevada Museum of Art (États-Unis) et de la Collection Jean Pigozzi d'art africain. Au début de cette année, Aboudia a bénéficié de sa première exposition personnelle à Paris à la Galerie Cécile Fakhoury (19 février - 12 mars 2022), démontrant ainsi sa présence à l'avant-garde du paysage artistique européen.BibliographieTodd Bartel, 'Aboudia – Light & Dark', The Cambridge School of Weston, 3 September 2017, en ligneOrlando Reade, 'How to Paint Ghosts', Africa Is a Country, 4 October 2013, en ligneAbdoulaye Diarrassouba, widely known as Aboudia, has risen to the attention of the international artworld with his dynamic renderings of the street culture of his native Abidjan, Côte d'Ivoire. Born in 1983, Aboudia left home at the age of 15 to study at the Centre Technique des Arts Appliqués in Bingerville before graduating from the Abidjan Institut des Arts in 2005. Now working between his native Abidjan and Brooklyn, New York, Aboudia recognises the enduring influence of the visual imagery he encountered when growing up in the urban centre of the Côte d'Ivoire:'Kids in the street would write their dreams using crayons, sand, rocks, tiles – whatever they could find. Some drew houses and cars, others drew classrooms and gardens and families – mom and dad. All the things I had missed in life. And I said to myself that I would borrow the writings – and I mean borrow – it belongs to the kids in the street. I needed to deliver their message to exhibition halls to raise public awareness of these roaming children of the street' (quoted in Todd Bartell, 2017).Created in 2014, the present work epitomises Aboudia's idiosyncratic interpretation of these images associated with the youth culture of Abidjan. Crowds of childlike figures, outlined in vibrant oil stick, jostle for attention among traffic. The artist conceives of these figures as representative of the next generation of Ivorian children that he believes to be essential to the future success of the country. The children's expressions are ambiguous – somewhere between a smile and a grimace – to evidence the hardships faced by many following the violence that erupted in Côte d'Ivoire associated with the civil war. Aboudia sees his use of colour and graphic style as an antidote to these challenges: 'I want life to be good – so I treat sadness with happiness. I speak of something sad, but it makes you happy when you look at the painting. Boom! There's light. There's color. I use color to transform sadness into happiness' (quoted in Todd Bartell, 2017).Monumental in scale, the present work on canvas sat at the heart of Aboudia's first solo show in Abidjan; Nouchi City: Aboudia at Galerie Cécile Fakhoury (26 September – 15 November 2014). The artist explains that the size of the work is not solely motivated by the desire to create an imposing visual impression. Rather, he notes, '[l]arge format paintings allow me to think of dreams in the largeness and in the same colours of those youth who roam the streets, painting on the large walls we find ... For further information on this lot please visit Bonhams.com
LADY'S TAG HEUER PROFESSIONAL STAINLESS STEEL QUARTZ WRIST WATCH,the round silvered dial with applied lume filled hour markers, outer seconds track in black, date aperture at 3, unidirectional bezel with count up scale, 29mm case including crown guards, on a stainless steel bracelet with foldover clasp, in box, with outer box and information bookletMOVEMENT: Not ticking at present. WEAR: Worn condition. DIAL: Good condition. CRYSTAL/ACRYLIC: Good condition. HANDS & MARKERS: Intact. CROWN: Intact - hands changing. BRACELET/STRAP: Generally scuffed. CLASP: In working order.
IMPRESSIVE GENTLEMAN'S BREITLING PREMIER B25 DATORA STAINLESS STEEL AUTOMATIC WRIST WATCH,model number AB2510, the copper dial with applied Arabic hour markers, with subsidiary apertures detailing the day, date, month and moonphase, outer seconds and tachymeter scale in black, Super-LumiNova vintage style hands, 42mm case, sapphire crystal skeleton back, on a brown crocodile strap with yellow leather interior and signed folding buckle clasp, in box, with outer box, bag, papers and original purchase receipts dated 2nd November 2021, warranty valid until 2nd November 2026, along with a Breitling watch roll in pouchThe vendor reports that this watch is virtually unworn and has been worn once.MOVEMENT: In full working order. WEAR: Virtually unworn. DIAL: Good condition. CRYSTAL/ACRYLIC: Good condition. HANDS & MARKERS: Intact. CROWN: Intact - in working order. CHRONOGRAPH: In working order BRACELET/STRAP: Good condition. CLASP: Good condition. Some very minor marks.
England & Wales.- Saxton (Christopher) and Abraham Ortelius. Anglia regnum si quod aliud in toto Oceano ditissimum et florentissimum, fine map with large decorative cartouche and strapwork mileage scale, additional strapwork cartouche paying tribute to Christopher Saxton and a maritime vignette commemorating the attack of the Spanish Armada, engraving with full hand-colouring, on laid paper with crossed arrows watermark, platemark 390 x 485 mm (15 1/4 x 19 1/8 in), German text verso, central vertical fold as issued with faint parallel crease, minor surface dirt, framed and glazed, [Antwerp, Vrients, 1603].
Yorkshire.- Teesdale (Henry) To the Nobility, Gentry & Clergy of Yorkshire, this map of the county constructed from a survey commenced in the year 1817 & corrected in the years 1827 & 1828 is respectfully dedicated by the proprietors, large scale county map in 3 sections, engravings with original hand-colouring, each section approx. 1830 x 750 mm (72 x 29 1/2 in), each section dissected and mounted on linen and edged with green linen, some missing, scattered spotting and browning some off-setting, minor surface dirt, folding with marbled ends into green morocco slipcase, gilt, very worn, 4to, 1828.
Tune Guitar Technology Japan five string bass, with ebony fingerboard, the maple headstock and body are capped with Indian Rosewood on top of a black veneer spacer, gold plated hardware. 34" Scale length.The bass is generally in good order with no damages or repairs. The body has some light marks and scratches around the edges of the lower bouts, as well as some scratches and very shallow dents to the tip of the headstock. Non of these marks are deep or defacing. There is clothing marks to the back of the body. The gold hardware is tarnished and some places worn slightly. The neck is straight and the action low, perhaps too low for some tastes and could perhaps do with raising to loose some fret buzz from the lower strings. The electrics have not been checked as we do not have an amplifier.
Clifford Essex Paragon five string banjo, 67cm scale length, the ebony fingerboard and headstock veneer inlaid with engraved pearl scrollwork, maple and walnut laminate neck with sunburst finish, the resonator with marquetry inlay, the neck extension with Essex branded labels, and 15A Grafton Street London address, stamped with serial number 1605. Together with a modern hard case.
Lehmann-Gross-Bahn (LGB) G Scale track, accessories and more to include 50118 transformer, 55105 MZS-Starter Set 2 (55005p + 55016p), 3x 50500 street light, 10310 buffer stop with lamp, 10090 adjustable track, 50600 truss bridge, 50010 fluid, 50650 crossing gates, 19902 station track set, 10210 rack rails and 10610 straight track (6 pieces), all items boxed or bagged. A loose 5012N green signal box, a loose 1030 track buffer bumper stop. Also, a boxed Massoth roller test-bed set for LGB and two bags of Hillmans Rail Clamps (332-015 and 332-01). Three Model Power G scale black iron fences in packaging, three bags of brown plastic pylons. Not all phQty: 12
14 boxes of Preiser (x9) and Pola G (x5), G scale figures and sets of workers, farmers, cyclists etc. to include Preiser 45070, 45007, 45067, 45006, 45019, 45037, 45020, 45008, 45045. Pola G 1828, 952, 916. Pola G Mr Speedy 1831 and 1830. cyclists, workmen, telephone box, labourers, passengers and more.Qty: 14
Preiser 36 boxed 1:22,5 scale figures to include 45503, 47020, 45090, 45103, 45109, 45052, 47000, 45003, 47024, 45503, 45102, 45093, 47004, 45039, 45069, 45023, 45038, 45079, 45157, 45504, 45102, 47063, 47003, 47080, 45067, 45028, 45086, 45069, 45063, 47077, 45207, 45059, 45085, 45008, 45068, 45208. All boxed.Qty: 36
Large collection of 25 boxed Pola G scenery in G scale (1:22, 5) to include 331602, 331601, 987, 1764, 989, 331754, 331937, 331734, 1829, 331933, 1827, 331826, 331954, 331955, 331937, 966, 331755, 1875, 1874, 331821, 331929, 331928, 331728, 331877, 1877 and a PIKO 62021 'Fred's Snack Bar' and bagged 62246 PIKO outhouse. All boxed.Qty: 27
Pola G, Vollmer and Piko, G scale boxed buildings kits to include Pola G 1840 Mountain Top Chapel kit, Pola G 1709 Switching Station kit, Pola G 331947 Gatekeepers House kit, Pola G 1721 Alpine Inn kit, Pola G 331753 Timber Storage Building kit, Pola G 330944 Water Tower Kit, Pola G 957 Arch Bridge Kit, Vollmer 1200 Neuffen Station kit, PIKO 62034 BayWa Warehouse kit.Qty: 9The kits have not been checked to see if they are complete however most of the kits are in original packaging with components wrapped in paper or in cardboard compartments. Vollmer kit components are in plastic bags. We do not guarantee that the kits are complete.
Loading...
