A quantity of assorted airship related toys and other items. A Revell snap-together Good Year Blimp kit, a Life Like Racing Good Year HO scale electric racing car set, Ron-109 Blimp Phone. A Buddy L Good Year Blimp, 2x Hot Wheels airships, a fabric covered hot air balloon with basket. A number of modern Christmas ornaments, TV Sports Blimp. Plus a Piatnik 2000 piece jigsaw puzzle featuring a view of the Graf Zeppelin over New York harbour, brand new still sealed. 2x small cast alloy Graf Zeppelins. 2x airship style Whitmans Chocolate tins, pack of cards, plus sundry other items, small airships etc. Most GC-VGC
We found 77111 price guide item(s) matching your search
There are 77111 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
77111 item(s)/page
AIKA BROWN, 20th Century French Art AIKA BROWN (French, 20th Century) Still Life Oil and collage on paper laid on board 20 x 26 inches / 50.8 x 66 cmFrame: 33 x 27 1/2 inches. Signed and dated verso: Aika Paris 63 Provenance: Private collection, Carmel CA Included in lot: 6 booklets and print by AIKA (numbered 21/250)
[Blount (E.)] NOTES ON THE CAPE OF GOOD HOPE 8vo (195 x 125 mm) Made during an excursion in that colony in the year 1820. 207 pages, half brown morocco titled and decorated gilt on the spine, brown cloth sides, top edge gilt, bookplate on the front paste-down endpaper and a corresponding small stamp below the date on the title page, a very good copy. Mendelssohn (S.) South African Bibliography, 1.290. The anonymous author evidently did not remain long in the Cape, but he gives an interesting account of the state of the country at the time of his visit. He remarks on the opposition of the `Dutch Boers` to the settlement of the Cape by Europeans, and observes, `With still greater animosity and alarm do they contemplate the extensive plan of colonisation now about to be carried out by the British Government.` Much is related concerning the habits of the Dutch, whose manners, it is stated, `are prepossessing to travellers`, although in other respects their habits are severely criticised. Some parts of the country are recommended to settlers who possess substantial sums of money with which to commence farming, and the Knysna district, in particular is well spoken of for this purpose. Mendelssohn, writing in 1910, mentions the anonymous author. Alfred Gordon-Brown, in Africana Notes & News, volume I, Number I, December 1943, describes how he was able to identify the author as Edward Blount. He continues, Though Theal said that the book was not of any particular value, it has considerable interest for its description of social life at the Cape and the early days of the 1820 settlers. It contains a chapter on Hints to Emigrants, and, in fact, belongs to that interesting group of books prepared to take advantage of the market created by public interest in the 1820 Settler movement. Good London John Murray 1821
various All Our Yesterdays 1890-1970 Royal Quarto (262 x 345mm) A pictorial review of Rhodesia`s history from the best of Illustrated Life Rhodesia, 201pp. (including 2p. index); containing a wide cross-section of articles taken from above periodical, including articles on: Rhodes, The Boer War, biographies of important persons such as Kingsley Fairbridge, Leander Starr Jameson, Archibald Colquhoun, Rider Haggard, Roland Welensky, as well as Harold Wilson, The Commonwealth, Ian Smith, etc..etc.. Condition: laminated wrappers in a fairly worn state, corners and edges creased, rear fore-edge more heavily so, contents sunned, tape removal marks on inside covers, otherwise the binding is still tight and the contents good. good Salisbury Graham Publishing 1978
19th Century Continental School-Pair of oils on canvas-Still-life with urns and flowers, unframed and lacking stretchers, 128cm x 38cm Condition Report: Extensively scuffed, removed from stretchers and has been rolled for many years, therefore we would recommend viewing in person - ** General condition consistent with age
‡Roger Marcel Limouse (French 1894-1990) Still life Signed, also signed and dated 1945 verso Oil on canvas 85 x 73.5cm; 33½ x 29in Provenance: Crane Kalman Gallery, April 1969 ++Light bloom, one small patch of minor lifting, a little minor paint separation, would be enhanced by a light clean
* FALK, ROBERT (1886-1958) Boy with a Cap, Sitting on a Chair, double-sided composition with two oil paintings Fisherman Smoking and Wild Flowers on the reverse. Oil on canvas, 122.5 by 75 cm. Boy with a Cap, Sitting on a Chair executed c. 1910–1911. Fisherman Smoking executed in 1938. Wild Flowers executed in 1945. Provenance: Private collection, Europe. Fisherman Smoking: Previously in the collection of Professor N. Gershovich, Leningrad, until 1988. Authenticity certificate from the expert Yu. Didenko. Exhibited: Fisherman Smoking: Robert Fal’k, Tsentral’nyi dom rabotnikov iskusstv, Moscow, Autumn 1939. Literature: Fisherman Smoking: Exhibition catalogue, Robert Fal’k, Moscow, 1939, No. 142, listed as Rybak iz Simeiza. Krym. Yu. Didenko, compiler of Polnyi katalog zhivopisnykh proizvedenii R.R. Fal’ka// D. Sarabianov, Yu. Didenko, Zhivopis` Roberta Fal`ka. Polnyi katalog proizvedenii, Moscow, Elizium, 2006, p. 656, No. 952, listed. Boy with a Cap, Sitting on a Chair and Wild Flowers will be included in the forthcoming supplement to the catalogue raisonné of the artist’s work being prepared by Yu. Didenko and D. Sarabianov. Robert Falk’s sensational canvas Boy with a Cap, Sitting on a Chair dates from 1910–1911 and the time of the first exhibition by the Jack of Diamonds group, of which Falk was a founding member. The work belongs to a series of portraits of children that Falk created between 1908 and 1911. These number several depictions of children in armchairs and sitting on chairs: Goga (1908), Little Girl in an Armchair (1909), Portrait of a Girl (1909), Girl in a Chair (1909) etc. To judge by a number of stylistic criteria, Boy with a Cap may be dated to the artist’s early Jack of Diamonds period. The portrait undoubtedly contains features of Primitivism, a style to which Falk was drawn for a short while in the years 1910–1911: the black outline round the figure, the generalised modelling of forms, and a certain flattening of the silhouette. The work that most resembles this painting is the 1911 portrait Boy in Blue against a Green Background. Many similarities can be discerned: the subject itself – a barefoot child, the sculptural rendering of the soles of the feet, the way both boys’ hands are placed on their knee, and the outlining of the figure. It is interesting that Boy in Blue is also painted on the other side of a later work and is of a similar size (92.5 by 82 cm) to Boy with a Cap, which is larger than his other canvasses of children. There is a clearly discernible tone in this painting, and this is typical of Falk’s work at the start of the 1910s. The predominant blue-grey in this case is thematically connected with the whitewashed wall and the towel hanging on it, interwoven as it is with other tones (pink, lilac, green and ochre) whose interaction creates a subtle surface vibrancy of hue. Boy with a Cap also marks Falk’s first testing of the principle he had developed as early as 1912–1913 of complex structuring of the painted surface through interplay between the shadows cast by a figure and the unique aura around it, but also the responding interplay of highlights and reflections on the surface of the figure. Double-sided oil paintings were characteristic of Falk’s creative process from the 1900s. When he needed a clean canvas he often showed no sympathy for a previous work and turned canvasses over to paint on the blank side. The upper part of the reverse side of Boy with a Cap is the portrait Fisherman Smoking. This work was created in 1938, after Falk’s return to Russia from Paris, during a trip to Alupka with his friend and pupil A.B. Yumashev, aviator and Hero of the Soviet Union. The portrait is painted in an easy, loose, almost sketchy manner in the smoky colours typical of Falk’s Parisian work, based on the most subtly nuanced grey, pale blue, lilac and light-ochre tones. For a long time this work was in the collection of the famous Leningrad collector Professor N.G. Gershovich and his family. It is also known to have been exhibited in 1939 at Falk’s one-man exhibition in Moscow. Lastly, the lower part of the reverse side is the still life Wild Flowers. This work dates to Falk’s late period (the 1940s and 1950s), which was the time of his greatest artistic achievements. The canvas was painted in the village of Sofrino near Zagorsk, not far from Moscow, at the dacha of Falk’s female pupil A.M. Tsuzmer, where he spent the summer of 1945 with his wife, Angelina Shchekin-Krotova, who gathered flowers in the surrounding fields and knew how to arrange bouquets for her husband’s still lifes. Later she recalled: “For Falk it was no simple matter to gather a bunch of flowers and paint it. He needed some particular idea that perhaps even he did not fully understand. He was looking for music in colour, an essential tonality”. We are grateful to Yulia Didenko, art historian and author of the catalogue raisonné on the artist, for providing additional catalogue information.
*§ LARIONOV, MIKHAIL (1881-1964) Still Life with Flowers, signed, also further signed on the reverse. Tempera on canvas, 92 by 65 cm. Provenance: Leonard Clayton Gallery, New York, before 1977 (label on the stretcher). Authenticity of the work has been confirmed by the experts A. Kiseleva and Yu. Rybakova. Exhibited: Art Russe, Ancien et Moderne, Palais des Beaux-Arts, Brussels, May–June 1928, No. 782 or 783 (label on the stretcher). Literature: Exhibition catalogue, Art Russe, Ancien et Moderne, Brussels, Palais des Beaux-Arts, 1928, p. 76, No. 782 or 783, listed. Mikhail Larionov’s Still Life with Flowers from the 1920s is one of the most poetic compositions of his Parisian period. Here, as in other works of this time, the artist moves away from the physical quality of his still lifes from the previous decade. Bright colours are replaced by a spare, almost monochrome palette and all the diversity of the objective world is reduced to a set of three or four choice constituents, used with striking aesthetic impact. Most of his still life compositions from this time are a restrained brown, yellow or pale blue, featuring time and again the lineaments of a simple wooden table, the white of a napkin, a glass goblet, and a twig in bloom in a transparent jug. The eye is drawn especially to the nude that hovers above the table, in picturesquely narrowed perspective. This nude is one of Larionov’s gouaches, placed within the still life as a joint backdrop with the striped wallpaper familiar from so much of the artist’s work from these years. The device of a picture within a picture, where the artist’s own work is used as essential background detail and constitutes a figurative entity integrated with the overall composition, became a trademark feature of his still lifes of the 1920s. In these paintings Larionov reproduces his large works on paper, with their laconic lines, as objects actually present in the still life, whereas by contrast the real things – jug, glass, table – become almost ethereal, taking on incorporeal forms rendered in a diaphanous and fragile texture. According to a vivid description by G. Pospelov, who dedicated an entire section of his book on Larionov to these works, “the draughtsmanship – light as air – reinforces the impression of a tracery of bare twigs reaching upward from the translucent jug”. The elegiac mood of this exquisite monochrome painting and the technical virtuosity of the delicate, almost ephemeral, touch of the brush place Still Life with Flowers on a par with such expressive compositions as Still Life with Standing Figure and Still Life with Twigs in a Glass Jug from the collection of the State Tretyakov Gallery.
* KUZNETSOV, PAVEL (1878-1968) Still Life on a Grand Piano with a Portrait of E. Bebutova, titled in Cyrillic and numbered "341" on the reverse. Oil on canvas, 99 by 78 cm. Provenance: Collection of the artist’s family. Acquired from the above by the present owner. Authenticity of the work has been confirmed by the expert V. Petrov. Pavel Kuznetsov is one of the finest and most sensitive Russian painters of the first half of the 20th century. The colours in Still Life on a Grand Piano with a Portrait of E. Bebutova are rich and deep and are based on an astonishingly beautiful interplay of cool tones with warmer highlights. Kuznetsov’s efforts to explore and understand colour provided inspiration for several generations of Russian artists. His name was connected with the legendary Blue Rose and Mir iskusstva groups which became symbols of Russian figurative art’s Silver Age. Kuznetsov’s work is often characterised by the masterly way he conveys reflected light to create a special, captivating atmosphere. The narrative of the objects depicted is no accident. The exercise book on the lid of the grand piano containing a score by Scriabin, a composer Kuznetsov loved and revered, the familiar vase that is in much of his work and the reproduction of Portrait of Bebutova on the wall are all indoor trappings from the world of the artist. The whole tenor of the painting is extraordinarily musical. The essence of the mood conveyed in Still Life on a Grand Piano with a Portrait of E. Bebutova defines the general character of the artist’s work: deep and philosophically considered.
* MAKOVSKY, KONSTANTIN (1839-1915) Children by the Lake, signed. Oil on canvas, 47 by 64 cm. Authenticity of the work has been confirmed by the expert V. Petrov. Konstantin Makovsky’s Children by the Lake is a fine example of the artist’s late work from a time when his painting was influenced by French Impressionist experiments and in particular the palette and stylistic manner of Auguste Renoir. As early as the 1880s Makovsky typically applied paint in agile, undulating brushstrokes to imbue all the space in his pictures with a special, atmospheric grace. In the last years of his career, the painter practically repudiates umbrous dark undertones, freeing up his palette for pure colour, which had a beneficial influence on the generally more elevated mood of his pictures. Their delicate pastel colours gave an almost weightless feel to the paintings of landscapes, still life and small genre scenes on which Makovsky lavished such love throughout his entire life.
* KOROVIN, KONSTANTIN (1861-1939) Still Life With Fish, signed, inscribed "Paris" and dated 1930. Oil on canvas, 60.5 by 73.5 cm. Provenance: Commissioned for a charity evening in aid of the veterans of the Russian Volunteer Army in 1930. Galerie-librairie Sialsky, Paris. Acquired from the above by the present owner in 1999. Private collection, USA. Authenticity of the work has been confirmed by the expert V. Petrov. Exhibited: Faces of Russia, Palm Beach Fine Art and Antique Fair, Florida, 3–11 February 2007. Literature: Exhibition catalogue, Faces of Russia, Florida, Palm Beach Fine Art and Antique Fair, 2007, p. 23, illustrated.
§ KIKOINE, MICHEL (1892-1968) Still Life with Fruit and a Pot, signed. Oil on canvas, 50 by 61 cm. Provenance: Acquired by Jonas Netter, Paris, before 1946. Jonas Netter was an art lover of limited means. He focused his attention on works by little-known young painters whose canvasses he purchased through the art dealer Leopold Zborowski. His collection included nearly hundred artworks by Soutine, over thirty by Modigliani, and others by Kisling and Kikoine.
§ RABIN, OSCAR (B. 1928) Still Life with Paint and Parizhskaya Vodka, signed and dated 1997, also further titled in Cyrillic, numbered "1201" and dated on the reverse. Oil and collage on canvas, 73.5 by 100 cm. Provenance: Mimi Ferzt Gallery, New York. Acquired from the above by the present owner in 1998. Private collection, USA. Authenticity of the work has been confirmed by the artist. Exhibited: Oscar Rabin, Mimi Ferzt Gallery, New York, 1998. Literature: Oskar Rabin, St Petersburg, Palace Editions, 2007, p. 212, illustrated, incorrectly dated 1999. The work will be included in the forthcoming Oscar Rabin catalogue raisonné being prepared by A&C Projects, Michèle and Marc Ivasilevitch.
A PRESENTATION EQUESTRIAN MANTEL CLOCK WITH MUSICAL CHIME LYUBAVIN, ST. PETERSBURG,1904, 84 STANDARD Height 45 cm, base 40.5 by 25 cm. The green-grey hardstone chiselled to imitate a rocky outcrop, centred with a circular white dial with black Roman numerals within plain silver bezel and applied with dedication plaque “For distinguished conduct in Russo-Turkish war of 1877–1878”, Roman and Arabic numerals “XXV” and “1863.1888» and the badge of the Order of St. George and enamelled epaulettes, mounted with a silver cast and finely chased figure of a horse with mounted artilleryman; the wooden base containing musical movement with a commemorative plaque engraved in Cyrillic “From colleagues and comrades-in-arms of the Life-Guards of the 1st Artillery Squadron and Field Artillery Battalion” and a list of sixty officers. This fine clock with an equestrian figure was presented to an unnamed distinguished officer who served in the Life-Guards of the 1st Artillery Squadron and Field Artillery Batallion. The red and white colours of the enamel epaulettes on the clock correspond to the colours of the wrist-cuffs and welts of the uniform of this military unit. The clues to the identity of the officer can be found in the names of his colleagues listed on the plaque. Among them: General-Major M. Meklenburg-Strelitskii (Commander of the Squadron 1903–1908), Colonels V. Lekhovich, N. Demidov, E.Smyslovskii and N. Il’kevich, Captain G.Veshnyakov and Staff-Commander N. Belyaev. The military register proves that these officers at some point in their military career all served in the Life-Guards of the 1st Artillery Squadron. The majority of them were still serving in that Squadron in 1904 when the clock was presented. The Life-Guards unit of the 1st Artillery Squadron was founded in 1796 and participated in the Russo-Turkish war (1877–1878) and World War I; the Field Artillery Battalion was founded in 1898 and disbanded in 1918. Both units were based in St. Petersburg. The dedication plaque “For distinguished conduct in Russo-Turkish war of 1877–1878” indicates that the officer to whom the clock was presented, also participated in that war and was awarded the Order of St. George. Research into the Order’s knights who would match these criteria has produced only one name – that of Colonel Alexander Onoprienko. Alexander Onoprienko (1827 – after 1917) was awarded the 4th Class Order of St. George in 1878. By 1904, he was the Commander of the Life-Guards 1st Artillery Squadron for 25 years (from 1879), and in 1888 he also took command of the 2nd Artillery Squadron. He participated in the suppression of the Polish rebellion in 1863 and was in charge of the St. Petersburg military district from 1895. Onoprienko resigned from this post on the 12th August 1904. Therefore, it is reasonable to assume that the present lot was a leaving present from his colleagues. The history of the Russian army and the dramatic events of the first quarter of the 20th century are all reflected in this clock, which makes it not only a remarkable timepiece and work of art, but above all a historical artifact of particular importance to collectors.
-
77111 item(s)/page