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Louis Le Brocquy HRHA (1916-2012)Study towards an Image of W.B. YeatsWatercolour, 22 x 17.5cm (8¾ x 7'')Signed with initials and dated (19)'75Exhibited: The Dawson Gallery (Label verso); 'Louis le Brocquy’, Arts Council of Northern Ireland, Belfast, January - February 1976, where purchased by the current owners; ‘Louis le Brocquy: A Recherche de Yeats’, Musée d’Art Moderne de la Ville de Paris, October - November 1976, Etude 73; ‘Louis le Brocquy: Edinburgh Festival Exhibition’, 1977, Richard Demarco Gallery.Yeats, the most varied mind of the Irish race, the last - and perhaps the only - Romantic poet in English to manage a full career. Le Brocquy, the most dedicated Irish painter since Yeats’ brother died, with an intuitive sympathy for literature and mythology, an increasingly rare reverence before the human. Their meeting has an aspect of inevitability. In the last decade le Brocquy has reinvented for himself the idea of portraiture, moving through family and friends to contemplate master spirits of his country, like Joyce and Beckett. As he says ''simply because by their works I know them, and am drawn to peer through their familiar, ambiguous faces which mask and at the same time embody - the great worlds of their vision''. And now Yeats, whom le Brocquy knew as a boy. Fascinatingly, the ideals and techniques of the two artists have much in common. One of the foolishnesses of modern psychology is to believe that we have only a few, usually warring, selves. But a Prospero, like Yeats, may live many lives, inhabit many faces, while achieving a unity in variety. At an early stage, he began to play with his doctrine of the Mask, the anti-self, as a discipline for spiritual or physical plenitude. ''I call to my own opposite'', he says, ''all / That I have least looked upon''. Let us examine his selves, as they pass before us, in slow procession. There is the dreamy young man who pressed himself to the earth of Sligo and Howth, like a lover. He wanted to go and live on an island, or in a cave, like Shelley's Alastor, a young man burdened with dreams. But dreams can be harnessed and that young romantic, a cowslick of hair carefully plastered over his brow, is a more wily customer that he seems. George Moore might wickedly compare his cawing voice to a crow's, his solemn poet's robes to an umbrella left behind at a picnic, but he also testified to his intellectual strength. It took a masterful man to found and manage the Abbey Theatre, to propagandise for an Irish Literary Renaissance. So the tuneless crow becomes a sacerdotal heron, a high priest of the arts. And the gaunt celibate becomes a great lover, who kneels before Maud Gonne, the English army captain's daughter who was his personification of Ireland, as Petrarch did before Laura, Homer before Helen. Love has as many allotropes as carbon - from soot to diamond - and Yeats weathered all the stages, crying out in frustration for the bosom of his ''faery bride'', swearing friendship with Olivia Shakespeare, collaborating with Lady Gregory, achieving a profoundly psychic exchange in his marriage with his medium wife. For Yeats was a trained mystic, a member of the Order of the Golden Dawn, who did not play with, but actually practised magic. Technically, le Brocquy's method is akin to that of certain noble poems of Yeats where he names and numbers his friends, living and dead, or sets different aspects of himself to dialogue, even to dance. So the painter invokes faces of the poet, public and private, to challenge and exchange. Compare earlier and later visages. The short-sighted sighing inventor of the Celtic Twighlight is now a ''smiling public man'' (No. 5). The right eye sharp, the left hooded, he exudes a satisfied power, like a replete bird of prey, ''the lidless eye that loves the sun''. The cowslick becomes a crest, a ruffled plumage, and the wide black riband, falling from the tortoise-shell- rimmed glasses, is set like a bar across his face. Significantly le Brocquy moves towards whiteness, the full majesty of paint, as the poet moves towards wholeness, definition. But with friends, Yeats could still display the full battery of his moods, changing from rage to affection, from solemnity to boyishness, in a single instant, like sun chasing shadow across a West of Ireland field. For behind the silver-haired Senator, the majestic black hatted Nobel Prize winner, with his carefully rehearsed gestures, is still the young poet, the spiritual fanatic in search of truth. Crow, heron, eagle, scarecrow, le Brocquy dwells with wonder on the changing roles of Yeats; but my supreme favourite among these psychic portraits, these attempts to show how the spirit speaks and shines through the casket of the brain, the exposed or retreated eye, the chosen regalia, is one which combines the earlier and later selves (No. 3). The eyes are lifted triumphantly above the glasses, the lips are widening to smile, the hair is in disarray; this man has lived a strenuous life of achievement, has glimpsed truth and is not afraid of death: his ''ancient glittering eyes are gay''. We acknowledge our thanks to the late John Montague who had granted us permission to reproduce his preface to catalogue ‘Louis le Brocquy. A Ia Recherche de Yeats’ which had included this piece.
SPENCER FAMILY An antique George I Britannia Silver tablespoon by Jane Lambe, London 1722. In Hanoverian pattern, engraved verso to the terminal with the Spencer family crest. Together with a Hanoverian pattern tablespoon by Thomas Wallis, London 1771. Length 20cm / 8". Silver weight 119g / 3.85 troy oz. Provenance - The Althorp Estate, Christie's South Kensington Sale 5467 7th July 2010 'The Althorp Attic Sale'.
An antique late 19th Century German Silver ice bucket / wine cooler stamped 800 of tapering cylindrical form with acanthus decoration at the base and a bound reeded border at the rim, chased with neoclassical style depictions of two ladies in profile within borders of garlands and swags. with gryphon's heads handles. Height 22cm / 8.5". Silver weight 1168g / 37.6 troy oz.
An antique 18th Century Imperial Russian Silver beaker / stopka marked S F in cyrillic (name unknown), Moscow 1787. Retailed by Aleksei Alderman Kosyrev, and assayed by Andrei Titov. Of tapering cylindriccal form, the body chased with repousse decoration depicting birds cavorting atop foliate scrolls. Height 8cm / 3.25". Silver weight 79g / 2.55 troy oz.
SPENCER FAMILY A pair of Antique George III Sterling Silver tablespoons by Thomas & William Chawner, London 1762. In Hanoverian pattern, each engraved verso with the Spencer family crest. Length 20.5cm / 8". Silver weight 159g / 5.1 troy oz. Provenance - The Althorp Estate, Christie's South Kensington Sale 5467 7th July 2010 'The Althorp Attic Sale'.
A pair of Antique hunting stirrup cups probably German with import marks for London 1899. Each cup of tapering cylindrical form, chased with high relief foliate scroll patterns, surmounted by a realistically modeled horses head. Height 15.5cm / 6". Silver weight 518g / 16.7 troy oz.
An antique 17th Century Swiss Parcel gilt Silver wine cup / goblet maker's mark LK or LR under a crown, probably from provincial French speaking Switzerland circa 1650-1680, with later French control mark c1870. In the form of a chalice, the hexagonal bowl with rounded base and chased decoration, on a stem with foliate scroll decoration, atop a domed circular base. Height 19cm / 7.5". Silver weight 155g / 5 troy oz.
An antique 17th Century German Silver dish Augsburg circa 1680 maker's mark FK. Oval form with a plain border, the body chased with repousse decoration depicting a scene with a card being lead by horses, surrounded by a border of foliage featuring various figural motifs. Diameter 29cm / 11.5". Silver weight 392g / 12.6 troy oz.
An antique George III Sterling Silver salver / tray by William Pitts, London 1810. Of octofoil form, with a shell and scroll border, raised on four scrolling feet, the surface engraved and chased with high relief depictions of flowers, fruits and berries, among scrolling patterns. With a blank central rocaille cartouche. Diameter 45.5cm / 18". Silver weight 2324g / 74.75 troy oz.
SPENCER FAMILY A pair of antique George II Sterling Silver tablespoons by Paul Hanet, London 1733. In Hanoverian pattern, each engraved verso to the terminal with the Spencer family crest. Length 20cm / 8". Silver weight 4.75 troy oz. Provenance - The Althorp Estate, Christie's South Kensington Sale 5467 7th July 2010 'The Althorp Attic Sale'.
A set of six antique Victorian Sterling Silver napkin rings by Williams Ltd, Birmingham 1901. With bright cut engraved foliate scroll decoration, each engraved with a crest and numbered 1-6. In a fitted leather presentation case. Diameter 4.5cm / 1.75". Silver weight 146g / 4.7 troy oz.
A pair of Antique American Sterling Silver scent bottles / flasks by Tiffany & Co of New York circa 1895. The rounded body of each bottle chased with high relief depictions of cherubs among foliate, embellished by further floral decoration and scrolling borders, with locking hinged lids with cork stoppers for storing perfume. Height 19.5cm / 7.75". Gross weight 903g / 29 troy oz.
An unusual antique George V Scottish Sterling Silver sauce tureen / vessel by 'D BRS', Glasgow 1928. Modeled as a boat on a base of swirling water, the sides with chased depictions of men swimming, surmounted by a cast model of a male diver in motion. Height 26.5cm / 10.5". Silver weight 619g / 19.9 troy oz.
An antique George III Sterling Silver coffee pot London 1764, maker's mark '?W'. Of baluster form on a raised circular foot, with scrolling wooden handle, the body with contemporary chasing depicting flowers and foliage among vines, the domed hinged lid surmounted by a bird with its wings displayed. Height 28cm / 11". Gross weight 932g / 30 troy oz.
A set of four antique George II Sterling Silver sauceboats by John Jones I, London 1751. Of bombe form, each on three twisted feet and with gadrooned borders and scrolling handles, each body engraved with contemporary coat of arms. Length 19cm / 7.5". Silver weight 1550g / 49.9 troy oz.
Two pairs of Sterling Silver commemorative coins one pair for the 50th anniversary of racing horse Red Rum and the other pair for the 80th anniversary of the Flying Scotsman train, both pairs sealed and in lacquered presentation cases. Together with a Sterling Silver crown coin commemorating the 800th anniversary of the Magna Carta. Silver weight 163g / 5.25 troy oz.
A mixed lot of silver jewellery to include two sterling silver necklaces and two bracelets, a child's bracelet with ten heart charms on, a locket, an 835 standard bangle, and a Baltic silver pill box set with an amber cabochon in the lid, together with a white metal pendant and miniature fob watch, and two silver coins (a 2014 silber quadriga and a 1985 proof silver 20 dollar coin celebrating the 1988 Calgary winter olympics). Total silver weight 210g.
An antique late Victorian diamond brooch in 15ct yellow gold, set with three rose cut diamonds, together with two antique yellow gold brooches set with seed pearls and red paste stones, a 9ct yellow gold and silver riding crop brooch, a bar brooch set with seed pearl and a pair of antique pearl and diamond earrings, boxed.
An antique George III Sterling Silver canteen of cutlery by Eley, Fearn & Chawner, London 1810. In Old English pattern, for twelve place settings, comprising dinner forks, dessert forks,tablespoons, dessert spoons and teaspoons, with a dozen each of later silver handled dinner knives and dessert knives by Roberts & Belk. Weighable silver 2390g / 77 troy oz.
Four antique Queen Anne Britannia Silver dessert spoons London 1715, maker’s marks rubbed. In Hanoverian pattern with rat tails, each crested with a pair of gloved, cubit arms atop a coronet, holding a leopard’s head. Together with two similar, slightly smaller dessert spoons, each marked only with Britannia and lion’s head erased, similarly crested after marriage. Length 16.5cm / 6.5â€. Silver weight 200g / 6.45 troy oz.
An antique German Silver cigarette case stamped 900, of rounded rectangular form with a large panel of painted enamel decoration depicting a capercaillie / wood grouse calling from a tree branch with a forest scene in the background. Length 9cm / 3.5". Gross weight 136g / 4.4 troy oz.
An antique William IV Sterling Silver snuff box by William Simpson, Birmingham 1835. Of rectangular form, the lid with high relief cast decoration featuring a hunting scene with dogs and birds among foliage, within a cast foliate border, the sides of the box with reeded decoration and the underneath engine turned with a blank cartouche. Diameter 7.5cm / 3". Silver weight 91g / 2.95 troy oz.
An antique Victorian Sterling Silver table snuff box by Nathaniel Mills, Birmingham 1847. Of rectangular form with serpentine edge, the body decorated with finely engraved scrolling decoration, the hinged lid with applied high relief scrollwork decoration. Diameter 10cm / 4". Silver weight 215g / 6.9 troy oz.
A rare antique Victorian Sterling Silver gentleman's razor strop by George John Richards, London 1841. The ivory handled leather / suede body for sharpening razor blades, in a rectangular silver sheath / scabbard, engraved with Gordon clan / family crest and motto 'Higher'. Length 29cm / 11.5".
An antique George V Sterling Silver and gold sliding cigarette case by Asprey & Co Ltd, London 1924. Of rectangular form with engine turned engraving to the body, featuring a riveted yellow gold monogram. The case with a sliding locking mechanism rather than the usual thumbpiece, Patent 21914. Length 11.5cm / 4.5". Silver weight 163g / 5.2 troy oz.
An antique Qing dynasty Chinese export Silver dragon bowl by Wang Hing & Co of Hong Kong circa 1890. Of exceptional quality, the circular body raised on a spreading foot, and with applied dragon decoration, with further pierced dragon and scroll decoration to the rim. Diameter 21cm / 8.25". Silver weight 1073g / 34.5 troy oz.
A spectacular Russian 84 Zolotnik Silver bowl and cover marked A Kuzmichev in Cyrillic, and stamped 1880. Of flattened circular form on a domed foot, with similarly domed lid surmounted by a cast twin headed Imperial eagle, the body decorated with vari-coloured polychrome cloisonne enamel in floral and geometric patterns within borders of white cloisonne enamel beads. Height 30cm / 12". Gross weight 1530g / 49.2 troy oz.
A magnificent antique Indian Colonial Silver trophy bowl by T Lutchmiah Chetty & Sons of Bangalore circa 1928, of campana form atop a spreading foot with chased scrolling foliate decoration, the body with acanthus leaf decoration and scrolling handles, with presentation inscription for the Royal Calcutta Turf Club racing cup, won by 'Birkenhead'. Accompanied by a photograph of Birkenhead, the winning horse. Diameter 48.5cm / 19". Silver weight 2340g / 75.3 troy oz.
An Antique Colonial Indian Sterling Silver twin handled tea tray circa 1900. Of oval form with cast twin handles, chased in high relief to depiction traditional scenes depicted around a blank central cartouche surrounded by a scrolling border. Diameter 53.5cm / 21â€. Silver weight 1251g / 40.25 troy oz.
An Antique Colonial Indian Sterling Silver tea set circa 1900. Comprising three pieces, teapot, sugar bowl and milk / cream jug, the bodies all finely chased with decoration depicting traditional domestic and hunting scenes over stippled backgrounds, featuring elephants, lion and deer. Silver weight 1130g / 36.3 troy oz.
An antique Art Deco Ceylon / Sri Lankan Silver tea set stamped P S & Co Ceylon circa 1940. Comprising teapot, lidded sugar bowl and milk / cream jug, each with a geometric body of tapering square form on four feet, with plain sides featuring borders of chased foliate scroll decoration. Gross weight 905g / 29.1 troy oz.
A set of six antique 19th Century silver gilt Viennese enamel salt cellars by Ilov & Pollitzer, Vienna circa 1840. Of circular, cauldron form, each on a spreading foot, the bodies and insides with beautiful enamel depictions of traditional scenes including landscapes and figural scenes. Diameter 4.5cm / 1.75".
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2466194 item(s)/page