We found 49464 price guide item(s) matching your search
There are 49464 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
49464 item(s)/page
Lot 485
A collection of plated items, including a pair of Victorian cylindrical beakers, a spirit kettle-on-stand, a small entrée dish, cover and handle and an oval tea caddy.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 321
A George V silver trophy goblet, the ovoid bowl on a beaded knop stem and circular foot, London 1914 by Francis Stebbings, height 16.5cm, and a silver double spirit measure, each ovoid bowl united by a knop stem, unmarked, height 13.2cm, total weight 269g.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 872
An early 19thC glass spirit decanter and stopper, of graduated seven ring form, 22cm high, together with a late 19thC cut glass claret jug, with a triple ring collar and mushroom shape stopper, 26cm high, further cut glass claret jug and stopper, and a Victorian silver plated cruet stand, containing three jars and stoppers, a jar with plated hinged lid and a pair of glass bottles. (4, AF)
Lot 409
Sven BERLIN (1911-1999)'Incomplete Everest Text & Drawings Without Typescript of Poem - Also Carbon Copy TS' and 'Everest Handwritten Text & Drawings Incomplete'Two folders including typescript, various photocopied pages, handwritten text and some original drawings relating to 'Everest'.Also included within one of the two folders is a collection of Berlin's poems named 'Six Great Men As Artists', signed and dated 1997. Artists mentioned include Picasso, Dante, Homer, Michaelangelo, and Van Gogh.As described in Berlin's 1994 book, 'Coat of Many Colours', the influence for 'Everest' was Berlin's second cousin, scientific explorer Sven Hedin. Berlin states that 'although I never met him, he was a major influence on my early life'. He admired his emblematic spirit and confessed that 'Although I was early to realise I could not become an explorer I was led by Hedin's influence to discover the ancient tombs of the mind which visual images awakened in me and with which their secret chambers are filled. The living Gods and Goddesses who guard them in those ruined cities through which my tiger has led me down the years have taught me to weave them into the fabric of daily life through rare and extraordinary processes of art.' Although Berlin did not climb Mount Everest, Sven Hedin did, and he documented this feat in his 1923 book, 'Mount Everest', which Berlin read as a child. Although Berlin was not a typical 'physical' explorer, influences such as Hedin's inspire exploration of creativity, rather than that of physical place.
Lot 120
BEATRIX KOLB Paar extravagante Ohrhänger mit Citrin Trapezen, L: 2,6 cm, 2 Amethyste im Spirit Sun Schliff ca. 8 mm, GG 18K, 21,9 g, Anfang 21. Jh., leichte Tragespuren, NP: 5.230 € (2020).BEATRIX KOLB pair of extraordinary drop earrings, 2 trapeze-cut cirines, L: 2.6 cm, 2 spirit sun cut amethyst ca. 8 mm, 18K yellow gold, 21.9 g, early 21st century, minor signs of wear, PP: 5,230 € (2020).
Lot 69006
Othon Coubine (Czech, 1883-1969)Bouquet of lilacs in a vase, 1929Oil on canvas25-3/4 x 21-1/2 inches (65.4 x 54.6 cm)Signed lower right: Coubine PROVENANCE:Galerie Théophile Bríant, Paris;Private collection, Switzerland;Max Müller, Switzerland, acquired from the above, 1930s;Thence by descent to the present owner, 1973.We are grateful to Dr. Rea Michalová, art historian/curator and specialist on the art of Othon Coubine, for his enthusiastic endorsement of the present work and for preparing this thoughtful catalogue essay.Bouquet of lilacs in a vase is an outstanding example of the floral still lifes painted during the 1920s by Otakar Kubín (known in France as Othon Coubine), the most famous and consistent representative of Czech neoclassicism, an art movement known in France as the "retour à l'ordre". The painter's distinctive, lyrical conception of the motif is characterized by a shimmering sense of atmosphere and near-color harmonies that impart a strong emotional vibration to his work. Coubine's attachment to the neo-realist current reflected his personal sensibilities, his response to the post-war atmosphere, and his particular inspiration from the work of French artists Ingres and Corot—all of which combined to earn him considerable fame in France, where he lived permanently from 1912. The abundance of articles and publications written about his work by French and German art historians and critics not long after his arrival in France was a testament to his rapidly growing reputation. The first monograph on Coubine was published in 1922 by the editors of the Italian magazine "Valori plastici" (Plastic Values), which grouped him together with such luminaries as Carlo Carrà, Giorgio Morandi, Arturo Martini, and Gino Severini. Written by Maurice Raynal, a French theorist associated with a group of artists around Galerie de l'Effort Moderne's Léonce Rosenberg, one of the most influential art dealers of the twentieth century, the monograph laid out the philosophy of this group which sought to create a modern, new classicism. Coubine was thus situated directly in the center of this new European movement.The declaration of war [in 1914] dealt a dramatic blow to the artist. He was sent to an internment camp in Bordeaux and, after his release, material misery deprived him of the opportunity to paint in oil. He thus devoted himself during this period to the study of theoretical and philosophical writings at the Bibliothèque Nationale in Paris. In Blaise Pascal's treatise L'Esprit du géometrie ("Spirit of Geometry"), he discovered a justification for his new artistic inclinations. He frequented the Louvre, where he admired the Italian masters of the Quattrocento. It is in his drawings that his transition to classicism is reflected for the first time.The present painting, Bouquet of lilacs in a vase, shows Coubine, in a quest for ideal beauty, "adjusting" nature into configurations that do not naturally occur in it. On a wooden chest of drawers, he placed a simple, undecorated gray-white vase crowned with an expansive arrangement of a beautiful single-species bouquet of lilacs, plants of the olive family, which growing naturally both in France and abundantly in the Czech Republic. Their powerful perfume would doubtless have had an intensely sensory-emotional significance for the artist.Coubine was repeatedly inspired by the enchanting lilacs. For example, the National Gallery, Prague owns Coubine's Bouquet in a vase of 1924, in which the lilacs form a part of a multi-species bouquet; the Moravian Gallery in Brno owns a Bouquet of lilacs which is supplemented by a marigold, the bridal veil and iris.Against a neutral, silvery-gray background (a color tone inspired by the work of Corot), Coubine centrally placed a charming symphony of pastel-purple tones, conjuring the lilac blossoms with an impressionist "staccato," in contrast to the bottle-green heart-shaped leaves. Not only the bouquet itself, but especially the motif of the yellow drapery, which nonchalantly covers the right part of the chest of drawers, expresses the painter's fascination with the "uncanny" in everyday life that permanently surrounds us. HID12701242017
Lot 373
Dennis Oppenheim, Appliance Spirit #2Aquarell, Pastell und Graphit auf Karton 126,5 x 97 cm. Unter Glas gerahmt. Signiert, datiert, betitelt und beschriftet 'APPLIANCE SPIRIT #2 FIBERGLASS SILKSCREENED VIDEO STATIC COPPER WIRE Dennis Oppenheim 1988'. - Mit Atelier- und leichten Altersspuren.ProvenienzGalerie Yvon Lambert, Paris (1989) (mit rückseitigem Aufkleber); Privatsammlung, Belgien
Lot 396
Georg Karl Pfahler, Spirit of Reality, FrolÖl und Farbkreide auf Leinwand 101 x 110 cm. Mit Atelierleiste gerahmt. Signiert und datier 'Pfahler 1962'. Rückseitig auf der Leinwand signiert, datiert und betitelt 'G.K.Pfahler SPIRIT OF REALITY FROL 1962' sowie mit der Adresse des Künstlers und beschriftet 'KVF Freiburg 1965'. - Mit leichten Altersspuren.Wir danken Florian Pfahler vom Georg Karl Pfahler Archiv, Berlin, für die freundliche Bestätigung der Authentizität dieser Arbeit.ProvenienzGalerie Neher, Essen; Galerie Schlichtenmaier, Gräfenau (mit rückseitigen Aufklebern)AusstellungenGrafenau 1996 (Galerie Schlichtenmaier), Georg Karl Pfahler, Wege zur Farbform, 1956-1970, Ausst.Kat.Nr.49, S.81 mit Farbabb.
Lot 36
Barry Flanagan (1941 - 2009)Horse on Anvil (2001)Bronze, 55.2 x 50.8 x 21cm (21¾ x 20 x 8¼")Incised with the artist's monogram and stamped by the foundry on the base. No. 4 from and edition of 8 plus 4 artist's proofsProvenance: Private Collection, DublinBarry Flanagan’s Drummer, a monumentally elongated figure of a striding hare beating a bodhrán, resplendently located in the Royal Hospital Kilmainham, is the Irish Museum of Modern Art’s unofficial mascot. As part of IMMA and the Hugh Lane’s joint retrospective of his work in 2006, several more bronze hares were installed along O’Connell St in Dublin. There were comparable installations of hares elsewhere, including New York City. Flanagan, a genuinely anarchic presence, was by then firmly associated with the hare, which had become for him a playful alter ego, but horses, cougars and elephants are also important members of his personal bronze menagerie. Horse sculptures by him are prominently sited in Cambridge and Montreal, for example.Even as he altered and distorted the various animals’ literal appearance in his elaborately anthropomorphic works, the elegantly fluent sculptures retain an uncanny fidelity to the source creatures and, vitally, their individual personalities. Flanagan’s approach is encapsulated in his often cited statement explaining that, for him, each subject reveals itself to his “sculptural awareness” and, it should be said, anyone who spent time with him attested to the extraordinary intensity of his attention. He first turned towards animal sculptures in the late 1970s, he said, when he saw a hare bounding across the Sussex Downs: a free spirit. That idea, the animal and by extension the human as free spirit, shines through all of his animal figures. In 1979 he saw the touring exhibition The Horses of San Marco at the Royal Academy. Some of the most remarkable equine sculptures ever made, believed to be from Constantinople, they top the facade of San Marco in Venice (now in facsimile form). These sculptures had a comparably energising effect on Flanagan. In his horse sculptures he takes the horse as a standard component of classical statuary, usually supporting some illustrious rider and, as with the majestic San Marco horses, restores to it its independence, imbuing it with qualities of playful irreverence, nobility and energy. This is particularly true of his kouros horses, which refer to classical Greek sculptural figures and also, subtly, incorporate aspects of the hares in their lean, elongated forms. Here the animal’s lively, buoyant energy plays against the weight and density of the anvil. Flanagan began his artistic life a long way from representational bronze sculpture, using such materials as rope, sand and flax, bound by fabric supports, in installations that resonated with elements of conceptual and land art, and the arte povera movements (he collaborated with Yoko Ono at one point). Yet Flanagan was always an independent force following his own line of development. His oft acknowledged enthusiasm for Alfred Jarry, the iconoclastic writer known for his singular drama Ubu Roi and his invention of pataphysics - a kind of alternative, imaginary physics - gives a good indication of the flavour of Flanagan’s imagination.Born in North Wales to Irish-Welsh parents, he steadily built an international reputation, exhibiting extensively and representing Britain at the Venice Biennale in 1982. He became an Irish citizen around the turn of the century. A restless spirit, he saw himself as essentially an itinerant artist and spent considerable time in Ibiza, Dublin, Amsterdam, Barcelona and elsewhere.Aidan Dunne, May 2022
Lot 1715
A Hollands clear glass spirit decanter, circa 1800, of square shape with canted corners, inscribed 'HOLLANDS' above a ribbon tied laurel wreath, opposing an engraved rose and flanked by thistle to each side, height 18cm, together with seventeen other spirit decanters, each with engraved or cut decoration, one inscribed 'BRANDY', another 'CALEDONIA', together with two plated decanter labels (minor faults).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1729
A silver mounted clear glass decanter, Birmingham 1876, the Prussian shaped body with frosted base, detailed 'BARTON & CO REG No 216578 ST JAMES ST S.W', height 20.5cm, together with a pair of moulded spirit decanters, marked 'BUGGINS BIRM', height 16cm, a novelty decanter with musical base and a group of other decanters (faults).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 258
A 1965 Churchill medal in 22 carat gold retailed by B.A. Seaby Ltd, No233/500, medal depicting Churchill, left, with the date 1945 over V for Victory beside the word Churchill, below the engravers name A.Loewental-Lincoln above OB, 24th Jan 1965, R, showing a hand holding a flaming torch with inscription either side "we will fight on land on sea and in the air until Victory is won" and legend reading "unflinching indomitable his spirit saved Britain and so the world" 50mm 118g, in a red presentation case, together with similar silver medal in red presentation case along with a bronze medal in red card box
Lot 146
Cricket Neil Taylor and Bill Athey signed Cricket Leaders of the World FDC pm Nukulaelae Tuvalu 8 Aug 1984. Neil Royston Taylor (born 21 July 1959 in Farnborough, Kent), is a former cricketer who played first-class and List A cricket for Kent and Sussex for 20 seasons between 1979 and 1998. Charles William Jeffrey Athey (born 27 September 1957)[1] is a retired English first-class cricketer, who played for England, and first-class cricket for Gloucestershire, Yorkshire[2] and Sussex; he also played a solitary one-day game for Worcestershire. His bulldog spirit was exemplified by the Union Jack tattooed on his arm. He played in 23 Test matches between 1980 and 1988, but scored more than 50 runs only five times in 41 innings. In 1990, Athey joined the rebel tour to South Africa. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Lot 405
A Victorian EPNS teapot, of globular form with chased and repousse floral decoration, with lily finial and scrolling handle, upon four acanthus feet, by Shaw & Fisher, Sheffield, a Victorian EPNS spirit kettle, with chase and engraved scrolling foliate decoration, the rim frilled, and a stag horn handled EPNS fish server (3) Condition Report:Available upon request
Lot 77
Ovid Sculpturesque nudes L'art d'aimer. Lausanne, Gonin 1935. - Eines der großen französischen Malerbücher des 20. Jahrhunderts - Mit Orig.-Graphiken von Aristide Maillol 'The sculpturesque nudes of Maillol's lithographs are closely related in style and spirit to his monumental carved figures' (Eleanor Garvey) Persönliches Künstlerexemplar für den Verleger Philippe Gonin, mit dessen eigh. Vermerk und angereichert mit zwei zusätzlichen Folgen (davon 1 in Rot) der Holzschnitt-Illustrationen Maillols; im zweiten Druckvermerk auch vom Künstler signiert. - 'Édition très recherchée. Tirage unique, tous sur pur chanvre Canson' (Carteret). 'In these pure masterpieces, which recall by their technique the best work of Renaissance artists under the spell of antique beauty, the majesty of classic form blends with the modern sense of line' (Lejard S. 118). - Druck auf Maillol-Bütten, Typographie und Druck des Textes und der Holzschnitte durch Philippe Gonin. Druck der Lithographien durch E. Desjobert. Die Übersetzung stammt von H. Bornecque. EINBAND: Lose Lagen in Orig.-Broschur und Orig.-Halbpergamentdecke mit Rückentitel, in Schuber. 39,5 : 29 cm. - ILLUSTRATION: Mit 12 Orig.-Lithographien, 11 Orig.-Holzschnitten und 4 Holzschnitt-Initialen von A. Maillol sowie 2 zusätzlichen Suiten der Holzschnitte. - PROVENIENZ: Privatsammlung Nordrhein-Westfalen. LITERATUR: Guérin 64-75 und 307-318. - Monod 8794. - Artist and the Book 173. - Strachan S. 337. - Skira 215. - Rauch 140. Personal copy - exemplaire d'artiste - for the editor Philippe Gonin. - Publisher's imprint signed by the artist and the publisher. With 12 orig. lithographs, 11 orig. woodcuts and 4 woodcut initials by A. Maillol and 2 extra suites of all woodcuts. Loose sheets and wrappers in card bord cover and slipcase. - Wrappers, edges and the end of the text vol. slightly foxed, the suites not affected and clean. Fine copy with broad margins. Dieses Objekt wird regel- oder differenzbesteuert angeboten.
Lot 193
Y A GEORGE III MAHOGANY AND SATINWOOD BANDED PEMBROKE GAMES TABLEATTRIBUTED TO GILLOWS, CIRCA 1790The frieze drawer opposing a removable games drawer with a two division tooled leather interior for backgammon, the underside of the drawer as a marquetry chequerboard 70.5cm high, 108cm wide, 83.5cm deepFor a closely related example see Susan E. Stuart, Gillows of Lancaster & London, 1730-1840, Antique Collectors Club, 2008. See Lindsay Boynton, Gillow Furniture Designs, 1760-1800, The Bloomfield Press, 1995 (Plate no. 64) for a further related example. For a Pembroke table of the period incorporating a games drawer but without the fine satinwood inlay seen on this table, see Christie's, South Kensington, Christie's Interiors - Style & Spirit, 23rd September 2008, Lot 69 (£2,375).Condition Report: Marks, knocks, scratches, abrasions consistent with age and useThe tooled leather backgammon board with marks and scuffs consistent with age and use, the chess board also with some old splits and cracks, the colour of the chessboard side is darker and obviously has received less UV exposure than other areas of timberThe handles all appear to be original throughout, the lock also, there is a key which is operating at time of report.Some fading and colour variationPlease refer to additional images for visual reference to condition Condition Report Disclaimer
Lot 65
* JOHN BELLANY CBE RA HRSA (SCOTTISH 1942 - 2013), THE FINNON SMOKER oil on board, signed, further signed verso image size 183cm x 122cm, overall size 186cm x 125cm Framed. Provenance: Acquired at the railings outside the Royal Scottish Academy in Edinburgh during John Bellany's outdoor protest exhibition with Alexander Moffat during the 19th Edinburgh International Festival in 1965. See additional images. Note: It is extraordinary to contemplate that Bellany was only in his early twenties (22/23) when he painted these exceptional works about which London Standard art critic Brian Sewell later commented ".... in the 1960s (Bellany) painted such pictures as to make us think him as a painter with Rembrandt". The Bellany/Moffat outdoor exhibition was a watershed for Scottish art in two ways: they proved that it existed, and they showed the way for a radical new direction. The works included "Allegory", later acquired by the Scottish National Gallery of Modern Art, "The Gospel Spreaders" "The Finnon Smoker" and only six other stunning tableaux, now mostly in public collections. "We were rebellious characters," remembers Moffat. "That was the period when our generation did make a stand. There was very little representation of Scottish art at the festival ... (we thought] if we can't get in the official festival, we'll put it into the streets. Scottish art didn't really exist. It existed in the studios of Edinburgh College of Art, but it didn't exist in the arts establishment, which was completely Anglicised, I believe. There has been an enormous sea-change. It's almost impossible to measure, but I think we had a hand in the beginning of that, the turn of the tide." The works were hammered together on Rose Street (where Bellany lived) before they put them up on the railings; the nail holes can still be seen. "They were mighty things, we could hardly carry them," says Moffat. "They were so big, they had to be painted in parts. You are talking about his early masterpieces ... they are priceless. It meant Port Seton, it meant fishermen, it meant working people – that had never been painted before. People had painted fishing boats, but nobody had ever painted about the life of people who did the fishing. That was John's fantastic contribution. "His place in Scottish art is defined by the Port Seton thing. That's really his life's work, the way he has mythologised the life of the fisherman. The fears, the spirit, the whole thing, the way he found the special imagery, that had never been done before, to say all those things – that puts him into the history books forever." Keith Hartley, senior curator at the Scottish National Gallery of Modern Art, agrees. "What he was doing in the mid-1960s in many ways changed the course of Scottish painting. It was like a manifesto: I don't want to do paintings for Edinburgh drawing rooms, I want to do something which moves people, about ordinary people's lives. It was very much a protest." John Bellany's very early work is highly prized by collectors and their appearances at auction are ever rarer. The "railings paintings" are the holy grail to Bellany purists and so far as we can ascertain, "The Finnon Smoker" is the first with documented provenance to be offered at auction anywhere for many years. Fresh to the market, never loaned or exhibited since 1965, the same family collection and completely in original condition. The frame is "basic" and has splashes of paint on it. The nails show through in places and thankfully, the owners have never reframed it or had it restored in any way. The frame and the nail holes are part of DNA of "The Finnon Smoker" and fundamentally, it's exactly how John Bellany painted it, exactly as he framed it and exactly how he exhibited it against the railings outside the Royal Scottish Academy in 1965.
Loading...-
49464 item(s)/page