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 111
Charles Robinson Sykes (British, 1875-1950) SPIRIT OF ECSTASY bronze on marble base signed 21 by 13 by 14in. (53.3 by 33 by 35.6cm) A large version of the famous 'Spirit of Ecstasy' Rolls Royce hood ornament after the original by Charles Sykes. On a circular marble base. These scarce statues were displayed in Rolls Royce agents' showrooms, and rarely appear for sale.
Lot 52
Louis le Brocquy HRHA (1916-2012) REACHING. HOMAGE TO JOHN MONTAGUE, 1968 oil on canvas; (hexaptych) each canvas signed and dated on reverse; also with various notes regarding presentation 33 by 40in. (83.8 by 101.6cm) Christie's, The Irish Sale, 22 May 1998, lot 194; Private collection In his catalogue essay 'Jawseyes', for an exhibition of portraits by Louis le Brocquy (1916-2012), the poet John Montague (1929-2016) referred to the images as "manscapes", and what he saw as "le Brocquy's re-invention of the portrait". (1) Montague could write from personal experience as the subject of Reaching. Homage to John Montague (1968). Montague has described how he came to know the artist best during the 1960s, when he was Paris Correspondent with the Irish Times. (2) le Brocquy and his wife, artist Anne Madden, lived in the south of France and regularly visited Paris, and Montague relates how they socialised with fellow artists and writers, or visited exhibitions of le Brocquy's work on show there. The interest was mutual with the artist providing the cover illustration for Montague's collection A Chosen Light published in 1967, the year before the portrait. Montague reminisced about exploring art with Louis le Brocquy at major collections, describing the artist's responses to the finer points of display, the positioning of artworks or the way they were mounted. That same attention to detail is evident in this example. Reaching comprises six panels arranged in two rows of three within an enclosing frame; the central two panels with dark, textured grounds, and the four flanking panels with white. While particularly reductive in method, comprising sparse surfaces punctuated with impastos of paint applied to suggest embodiment rather than illusionistic description, smudges and layers are scraped to reveal both human frailty and resilience, through symbolic bone and flesh. The portrait in the upper centre is a brooding study evoking deep immersion in thought, surrounded by a suggestion of metaphorical hands reaching for something elusive, barely within grasp. The Head Series, to which this painting relates, emerged in 1964 inspired by a visit to the museum of anthropology in Paris and continued for a number of years until the artist took on the very different challenge of the images for Thomas Kinsella's The Táin, published in the year following the Homage portrait of Montague. As with his portraits in general, this one alludes to the head as a container of the spirit and imagination, with the face as a kind of veil, both revealing and shrouding. In this exceptional example, the expression and the language of gesture evoke the fugitive processes of creativity and its hard-won achievement. Dr Yvonne Scott January 2018 1. Louis le Brocquy, Studies Towards an Image of James Joyce, Galleria d'Arte San Marco dei Giustiniani, Genoa, 1977. Texts by le Brocquy and by John Montague. See Anne Madden Le Brocquy, Louis Le Brocquy: Seeing His Way, Dublin: Gill & MacMillan, p.210. 2. John Montague, "Poet John Montague on Louis le Brocquy", Irish Times, 26 April 2012.
Lot 76
Louis le Brocquy HRHA (1916-2012) IMAGE OF SAMUEL BECKETT, 1994 watercolour signed and dated in pencil lower left; titled and with artist's archival number [W1313] on Taylor Gallery label on reverse24.50 by 18.50in. (62.2 by 47cm)Acquired directly from the artist by the present ownerLouis le Brocquy's friendship with Samuel Beckett (b.1906) endured until the writer died in December 1989. His respect was lifelong. Beckett was a decade older, came from a similar background and found his voice after leaving Ireland to live in France, as le Brocquy would later. France's congeniality for Irish artists and writers masks the radical cultural climate it gave to such first- and second-generation exiles. Intellectual and emotional attachments formed there sustained cutting-edge ways of thinking and seeing that were not available or, sometimes, allowed back home.In 1989, having returned to live in Ireland, le Brocquy designed the Gate Theatre Dublin's classic production of Waiting for Godot, with Beckett's support. Then, after Beckett's death, he began to reinterpret writer and man through the formal medium of his Heads series. Initially provoked by Polynesian objects seen in Paris, the Heads series had gained a deeper significance for him after he learned that Celtic tribes had viewed the head image ""as a kind of magic box that holds the spirit…"". (1) For him, the Celtic way of seeing had survived almost uniquely in Ireland, which connected it to writers and artists such as Joyce and Beckett, whom he saw as pathfinders for him as an Irish artist. Writing of Joyce whom he never met he said, for example, ""[To] a Dublin man, peering at Joyce, a particular nostalgia is added to the universal 'epiphany' and this perhaps enables me to grope for something of my own experience within the ever-changing landscape of his face.""(2) Here, le Brocquy interprets Beckett as writer, man and friend and challenges himself to reveal something of Beckett's spirit that resonates for him. What emerges is a sense of personal warmth embracing the focus and stamina that being a serious artist takes.1. Michael Peppiatt, ""Interview with Louis le Brocquy"", Art International, Lugano, Vol. XXIII/7, October 1979, reproduced in Pierre le Brocquy, introduction, Louis le Brocquy, The Head Image (Kinsale: Gandon Editions, 1992, pp. 22-23.) 2. Dorothy Walker, Louis le Brocquy, Dublin: Ward River Press 1981 p. 59.
Lot 484
Good example of a Georgian sampler with foliate decorated border. Alphabet at top with Verse below ' The morn of life will quickly pass away, and youth shall lose its vigour and its bloom, Mortals are ever tending to decay, And every step leads downward toward the tomb. Saviour divine thy sacred spirit send reveal thy love and seal me for thy own. Reach my young mind my precepts to attend and let thy merits for my guilt alone. Then when death bids me from this world retire, his auful voice shall cause no sad surprise. Sweetly on Jesu's bosom I'll expire and wing my way to mansions in the skies' Below depicts the mansion in the verse with winged creatures upon potted trees. Matilda Adams June 12. Condition - some wear to the ground fabric.
Lot 178
A watercolour depicting a seascape entitled Spirit Sail Barge by Colin Baldry, signed by the artist lower right, mounted and framed under glass, image size 31cm x 47cm - This lot MUST be paid for and collected, or delivery arranged, no later than close of business on Tuesday following the auction.
Lot 576
A SELECTION OF NOVELTY SPIRIT ACCESSORIES comprising; a Harrod's Carltonware "Doorman" jug, a Glenmorangie Single Highland Malt Whisky water jug, a 5cl Glenmorangie miniature Single Highland Malt Whisky in tube, XXX gun metal barrel cask, British Nav y Pusser's Rum 5cl ceramic ship's decanter and a Jewsbury Brown ceramic paste pot and cover
Lot 686
Seven boxed collectors aircraft, to include Corgi Aviation Archive Club Exclusive models 1:72 Hawker Hurricane Mk 1A, AA32018, Junkers Ju87 R-2, AA32513 & Hawker Typhoon 1a, AA36507 (all with collectors certificates), Oxford Diecast DH 89 Dragon Rapide 72DR002, 1:48 Armour Collection Tornado ART 98064, Armour Collection Harrier B111B 609 & 1:32 Danbury Mint Spirit of St Louis, unchecked
Lot 1018
Fine mahogany and inlaid five glass banjo clock barometer signed V. Silvani & Co, Brighton on a silvered rectangular spirit level plaque to the base, the 12" principal silvered dial under a 6" cream clock dial, thermometer and dry/damp dials, within a flame mahogany case banded with satinwood and surmounted by a swan neck pediment and brass urn finial, 51" high With pendulum movement - see images
Loading...-
49464 item(s)/page