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Three dress rings, comprising a 9ct gold black bloodstone set signet ring, size I½, a rose gold and paste stone set dress ring, yellow metal with rubbed hallmarks, believed to be 9ct, size P½, and a 9ct white gold and silver cluster ring, lacking stones, size N½, 5.3g all in. (3)
1 Paar BolsJapan, ca. 1900. Porzellan. Kutani, Email cloisonné imitierend. Am Boden in Silver bemalt. Signiert Kutani, Hayashiya zou. Innen mit Blumenrankendekor. Äussere Wandung mit Darstellung gehender sowie fliegender Stockenten. Lippe mit umlaufendem Blütenfries. H 9,5/10 cm. D 14/13,5 cm.
ELÍAS GARRALDA ALZUGARAY (Lesaka, Navarre, 1926-2012)."Zeanuri, Vizcaya".Oil on canvas.Signed in the lower left corner. Signed and titled on the back.Restored pieceMeasurements: 80 x 100 cm; 97 x 116 cm (frame).A landscape painter, Elías Garralda began his training at the Pamplona School of Arts and Crafts, and also with the painter Jesús Basiano. As a result of the outbreak of the Civil War he settled in France between 1937 and 1939, specifically in Bayonne, where he was taught by the painter René Barnalin. On his return to Spain Elías Garralda settled in Olot, completing his training at the local art school, then directed by Martí Casadevall. He exhibited for the first time in 1947, in the Sala Armengol, and since then he has developed an intense activity that has led him to show his work on more than a hundred occasions in Barcelona, Girona, Bilbao, Valencia, Vigo, Madrid, Castellón, etc. He is reluctant to take part in artistic competitions and contests, but has been awarded the Silver Medal of the Olot School of Fine Arts. His most recent exhibitions include the one held at the Arizkunenea cultural centre in Elizondo (Navarre) in 2009.
MAMERTO SEGUÍ ARECHAVALA (Bilbao, 1862 - 1908)."Venice".Oil on panel.Signed and located in the right margin.It presents losses in the pictorial layer.Measurements: 13 x 20,5 cm; 32 x 39 cm (frame).Mamerto Seguí immortalizes in this work a corner of Venice that moves away from the bustle and the classic ducal buildings that the painters of this time used to paint. Instead he depicts a secluded scene with a group of children playing by the canal.A painter of landscapes, mansions, genre and oriental themes, Mamerto Seguí studied at the Schools of Fine Arts in Madrid and Barcelona, and subsequently travelled to Rome on numerous occasions. He combined his artistic practice with painting, which he practised first as a teacher of ornamental drawing at the Bilbao School of Arts and Crafts (1887) and from 1891 in different schools and official institutes. In 1903 he temporarily took over the classes of his colleague Anselmo Gómez, who was to finish the ceilings of the Palacio de la Diputación. Throughout his career Seguí took part in the following official exhibitions: the Provincial Exhibition of Vizcaya, held in Bilbao in 1882, and the National Fine Arts Exhibitions of 1884, 1887, 1890, 1897 and 1901. In the Vizcaya Provincial Exhibition his painting "Zamácola dictando a sus escribientes" ("Zamácola dictating to his scribes") won him a silver medal, and he was also awarded a silver medal in the National Exhibition: third medal in the 1884 exhibition for "Idilio", and he won the same award again later for "La preferida" ("The Preferred"). His work "Una boda" ("A Wedding") was also awarded a prize at the Basque festivals in Guernica, a canvas that was later exhibited at the Salón Velasco in Bilbao. In recent years, Mamerto Seguí's work has taken part in exhibitions such as the Basque art exhibition held at the Sala Garibai-Kutxa in San Sebastián in 1995. He is currently represented in the Museum of Euskal Herria.During the second half of the 19th century, Spanish painters achieved a position in Rome never before attained by any other type of artist. The presence of Eduardo Rosales and Mariano Fortuny in the Eternal City, from 1857 and 1858 respectively, was a milestone in the development of Spanish painting. The technical advances made by these two painters from the 1860s onwards, as well as their international successes, encouraged their peers and artists of the following generations to move to Italy. According to a prominent Italian critic of the time, Diego Angeli, in "Le cronache del Caffè Greco", the Spaniards, during the period 1865-1885, were the arbiters of the Roman painting scene, to the extent that the most exclusive salons opened their doors to them.It was they who monopolised most of the foreign art market, to the point of encouraging Italian artists to create new schools to counteract Spanish success. The so-called "Spanish School of Rome" was one of the most brilliant periods of Spanish art.
KARL HAGENAUER (Austria, 1898 - 1956)."Horse".Sculpture in darkened brass. Wooden base.The base is damaged and has marks of use.Measurements: 22,5 x 30 x 5 cm; 4,5 x 40 x 14,5 cm (base).Son of the goldsmith Carl Hagenauer, Karl studied at the School of Arts and Crafts in Vienna, where he was taught by Josef Hoffmann and Oskar Strnad and imbued with the spirit of the Wiener Wekstätte. After obtaining his diploma in architecture, he did military service between 1917 and 1919, and on his return he began to work as an architect and in his father's studio. During these years he created numerous pieces in silver, brass, copper, enamel, ivory, stone and wood. In 1928, after his father's death, he took over the management of the workshop and was responsible for the expansion of the firm, extending production to cabinetmaking and opening shops in Vienna and Salzburg. Since then he has exhibited his best pieces both in Austria and abroad, was twice awarded the gold medal at the Milan Triennale and was made a member of the Austrian Werkbund and the Werkstätte. His works are now in collections all over the world, including the Victoria & Albert Museum in London, the MoMA and the Jewish Museum in New York, the Casa Lis in Salamanca and many others.
Roy Lichtenstein (1923-1997)Fish and Sky, from Ten from Leo Castelli (Corlett 50) Screenprint on silver gelatin photographic print mounted on three-dimensional lenticular offset lithograph, 1967, on white composition board with window mount (as issued), signed and numbered 49/200 in pencil (there were also 25 lettered proofs A-Y), published by Tanglewood Press, Inc., New York, with their ink stamp on the reverse, the full sheet, framedImage 282 x 357mm. (11 x 14in.); Sheet 604 x 508mm. (23 3/4 x 20in.)For further information on this lot please visit Bonhams.com
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