There are 77111 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeManner of Edward Ladell - Still Life with Black and White Grapes, Plums and Rummer, 20th century oil on canvas, 22cm x 30cm, within a swept gilt composition frame.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.
Louis Burleigh Bruhl - 'The Teme Valley', early 20th century watercolour, signed recto, titled label verso, 25cm x 34cm, within a gilt composition frame, together with a landscape watercolour, a 20th century still life oil on board of a Staffordshire ceramic, and three 18th century monochrome ink and wash drawings of Sussex views.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.
ROWLAND BERGER (1943) TWO TRADITIONAL STYLE STILL LIFE STUDIES, comprising cherries and a ceramic bowl with gilt rim, signed bottom right, oil on board, approximate size 12cm x 14cm, together with a study of two beetroot with ceramic bowl with gilt rim, oil on board, approximate size 12cm x 14cm, Condition: beetroot has a spot of paint loss top left above the bowl (artist resale rights apply)
20TH CENTURY OILS ON CANVAS AND BOARD, comprising A. G Horner 'Low Tide, St Osyth Creek' depicting boats at low tide, approximate size 30cm x 40cm, John T. Sayer still life flower study, 'Marmoloda mountain, Dolomites' alpine scene, indistinctly signed (some paint loss), sailing boats beside a quayside signed A Davy, buildings reflected in the water indistinctly signed, Charles Benolt 'poppy field', Charli Chin still life flower study, Doreen Wilson harbourside scene and a Paul Roberts river landscape, largest size approximately 104cm x 69cm
Year: 19th CenturySize: 50cm x 40cmMedium: OilDescription: Fine 19th Century Scottish still life of pink and white roses, oil on board by George Houston. Excellent quality and condition example pf the famous Scottish painter work in exceptional condition. Presented din its original frame. Measurements: 50cm x 40cm framed approx
Year: 18th CenturySize: 43" x 35" Medium: OilDescription: Fine large circa 1800 French School old Master still life of flowers in a vase upon a mantle accompanied by Goldfinches, oil on canvas. Magnificent large scale study by an accomplished hand similar to the works of Jan Van Os in subject and its technical application. Would be significantly enhanced with a professional clean. framed Measurements: 43" x 35" unframed approx
1967 Velocette Vogue, 192cc. Registration number FXG 741E. Frame number 467/37 not confirmed. Engine number 8394/3 not conformed.The Vogue first appeared at the Earls Court Show in 1962, based on the L.E. The body was constructed from fibreglass hung on a new main frame structure composed of a large backbone from the head stock to a cross tube above the rear fork pivots. Twin side by side headlights were provided and a wind shield was an option. Performance was not good, and when tested in 1964, 60 mph was just achievable but dropped to 40 mph on small gradients. The Vogue was expensive at £246, and up to £272 if a windscreen, indicators and panniers were fitted. The Ariel Leader, its rival, sold for £225 and gave a better performance.Velocette only sold 381 examples and about 83 are believed to still be in existence.FXG is stated on the V5C as having 2 former keepers but nothing is known of its life until 2021, when it was acquired from a long term owner. It appears to have been restored at some point in the past.Sold with the V5C, it will require light recommissioning due to the fuel tap leaking, but it is in working order.
HUNTO,PLEASANT CONVERSATION,Ink pen and pencil on paper, signed and dated,17cm x 12cm,OriginalHunto is an Italian artist whose style is reminiscent of Cubism, one of the most important art movements of the 20th century. Through his own visual language, he gives the movement a new, street life. The themes he explores are human relationships and eroticism, and his style includes using strong, vibrant colors, bold shapes. Creating new pieces is a sort of spontaneous urge he obtained while he was still a child.
§ William Gear R.A., F.R.S.A., R.B.S.A. (British 1915-1997) Still Life with Bottle, 1955 signed and dated (lower right), signed, titled and dated 'Aug. '55' (to reverse), oil on canvasDimensions:49cm x 59.5cm (19 1/4in x 23 3/8in)Provenance:Provenance:Private Collection, London, acquired directly from the artist circa 1985.Note: William Gear was relatively rare amongst British artists of the 1950s in his being a fully paid-up member of a European avant-garde movement: in his case, CoBrA, named after the three key sites of affiliation: Copenhagen, Brussels and Amsterdam.Gear had spent the years immediately after the war in Paris, still just about the centre of the art world (before New York began to draw artists across the Atlantic) and had become entwined in what was known as the Ecole de Paris, where European painting started its own journey towards abstraction. In the French capital, he became friends with Nicholas de Staël and there is a definite confluence between the two artists' work in the early 1950s, as can be seen in Still Life with Bottle. An image that is nominally figurative (depicting objects in a three-dimensional space) but which is really about abstract values – the interplay of colour and form, creating a procession for the eye to travel around the painting, which in turn asserts its own flatness – its artificiality – in the heavy slabs of colour applied with a palette knife. The abstract nature of the work is further enhanced by its loose orthogonal structure, a Giorgio Morandi distilled through Piet Mondrian, so it could – if one wanted – be read as entirely abstract, the direction of travel for Gear himself and his work of the 1960s.Gear’s palette in the mid-50s is often dominated by these steely blues, flat greys and blacks – close harmonies of tone through which Gear creates subtle shifts of mood. Here his work comes close to another friend from the Ecole de Paris, Pierre Soulages, himself a master of the emotive oscillation between black and blue.
§ Sir Eduardo Paolozzi R.A., H.R.S.A. (British 1924-2005) Sculptor's Chair, 1987 beech, birch plywood, rope, linen, nylon cord, hammer, metal hooks and nails, together with the handmade wooden maquette, with miniature Christmas cracker plastic tools, contained within a panelled wooden boxDimensions:The chair: 108cm high, 63cm wide, 57cm deep (42 1/2in high, 24 3/4in wide, 22 1/2in deep); the maquette 14.5cm wide (5 3/4in wide)Provenance:Provenance:Collection of Zeev Aram, London.Note: "It is a chair, it is a toolbox, I made it from orange crates. The backrest hangs on the wall to make shelves. The boxes pull out for a bed." Eduardo Paolozzi Sculptor’s Chair, created from shipping crates salvaged from the back of the Aram Design store in London, is a significant example of one of the founders of British Pop Art’s use of found objects and collage, elements that had been continuously present in Paolozzi's work since the 1940s.Paolozzi drew his own observations in the catalogue for the show that celebrated the 23rd anniversary exhibition of Aram Designs in 1987, where Zeev Aram had commissioned various designs by the likes of Peter Blake, Allen Jones, Norman Foster and Jasper Morrison:“A room without furniture, an empty house, a desert island – starting from scratch with a few packing cases. In any of these situations the sculptor, after a lifetime of improvising, will reach for his tools. They are contained in a shallow box with a linen hinge and a rope handle. Another box contains the essentials of life – soap & salt, a towel and two mugs. To hand these minimal items on the wall a grill is made with the same dimension as the boxes. The grill also acts as a backrest for the boxes now transformed into a chair. Being geometric these boxes may evolve into a bed or, with additions stack to become a major storage unit. Like the raw material itself, each part has a strength and individual identity and peculiar honesty, like Shaker furniture. Using basic box wood, an improvised look with the woodwork bearing the stamps of its travels or provenance, one is reminded of early still life constructions of Picasso or Rodchenko.” (Eduardo Paolozzi) In his use of found objects Paolozzi's Sculptor’s Chair is a reaction to the branding, advertising and mass-market consumerism prevalent at the time and is suggestive of a simpler existence.
A small wool carpet with an image of Princess Soraya, Iran, mid-20th century, of rectangular form, with fringing to edges, 64 x 54cm. Brought up between Europe and Persia, Princess Soraya was born on 22 June 1932 in Isfahan, hailing from an ancient aristocratic and nomadic family of central Persia. Having seen portrait photographs of Soraya, the Shah was captivated by her beauty and requested to meet her. She was first introduced to the Shah in October 1950 and shortly afterwards they were officialy engaged. During her married life, the Princess devoted her time to many charities. Sadly the marriage was overshadowed by a lack of children and thus the dynasty's future was at stake. Consequently the couple decided to part, although still very much in love and Soraya took leave of Iran in February 1958.Please refer to department for condition report
Loading...
