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
Lot 403
Royal Crown Derby Superb Pair of Hand Painted Cabinet Plates. The Central Panels with Hand Painted Floral Still Life on White Ground. The Shaped Cobalt Blue and Gold Painted Border Set with Beautiful Applied Decoration Over the Cobalt Blue and Embellished In Gold. Date Mark for 1899. Each Cabinet Plate 8.5 Inches - 21.25 cms Diameter. Each Plate 1st Quality and Mint Condition.
Lot 593
Josef Reinhardt (Flemish, b. 1918) - A mid 20th Century still life oil on canvas painting study depicting bouquet of centrepiece flowers having a dark finished background drawing attention to the colourful arrangement. Set within a decorative gilt frame. Signed by the artist J. Reinhardt to the bottom. Measures approx; 77cm x 69cm.
Lot 146
JOSEP SERRASANTA (Buenos Aires, Argentina, 1916 - Valldoreix, Barcelona, 1998)."Fishing village".Oil on canvas.Signed in the lower left corner.Size: 60 x 80 cm; 85 x 105 cm (frame).Born in Argentina although of Catalan parents, Josep Serrasanta lived in Catalonia since his childhood. There he studied at the School of Arts and Crafts of La Lonja, and completed his training as a disciple of Francesc Gimeno. Although he also tackled other themes such as still life, he soon achieved fame thanks to his beautiful landscapes of small abandoned villages, and also for his popular types, such as his famous gitanillas de Barcelona ("little gypsies of Barcelona"). He also cultivated mural painting, producing in this field in tempera, fresco and oil decorations in various Catalan churches. Particularly noteworthy are the admired murals he painted in the church of Santa Maria de Castelldefels (1950-58), as well as the paintings of the three domes of Lleida Cathedral. He had solo exhibitions in Tarrasa and later in the Augusta galleries in Barcelona in 1950. He also held personal exhibitions on several occasions in Madrid, Bilbao, Valencia, Paris and various cities in the United States and Japan. His work, which is traditional in concept, is notable for its energetic use of the palette knife and vibrant chromaticism. In 1964 he won the Grand Prix International de Cannes, and later the French government awarded him the Grand Croix du Commandeur au Mérite National Française. He is currently represented in various public and private collections, mainly in Catalonia.
Lot 114
IGNACIO GIL SALA (Barcelona, 1913 - 2003)."Mother and daughter".Oil on canvas.Signed in the lower right corner.Size: 33,5 x 25,5 cm; 55,5 x 47,5 cm (frame).After beginning his artistic training when he was only nine years old, Ignacio Gil Sala entered the School of Fine Arts in Barcelona, where his teachers were Félix Mestres and Vicente Borrás. In 1930, while still an apprentice, he was awarded the School's bronze medal, and in 1936 he won a scholarship for a study trip to Spain. Throughout his life Gil Sala devoted himself to travelling both on the Peninsula and in various Islamic and Latin American countries. He exhibited his work in Spain, France, the Philippines, Switzerland, the United States, Canada and Colombia, among many other countries, and his solo exhibitions were held in the galleries Costa (Palma de Mallorca, 1940), Augusta (Barcelona, exhibiting periodically since 1940), Lars Laine (Palm Springs, 1952), Toisón (Madrid, 1956), Cano (Madrid, exhibiting biannually since 1958) and Cézanne (Cannes, 1956 and 1966). From 1997 until his death, he showed his work regularly in the galleries of the Grup d'Art Escolà, which dedicated several tribute exhibitions to him after his death. Artistic and human recognition has been constant, although not as much as he deserved, such as the street dedicated to him by the town of Castelldefels, where he lived, or the fact that the Island Council of the Balearic Islands awarded him a prize for the numerous times he immortalised the lands, people and sea of Ibiza. An extraordinary draughtsman, agile with pencil and charcoal, Gil Sala immortalised landscapes from all over Spain, Mediterranean fishing ports, different European cities, etc., all captured with a resounding brushstroke and studied colouring. His awards include the Silver Medal of the Barcelona School of Fine Arts (1930), the First Medal at the International Exhibition in Palma de Mallorca (1941), the prize at the National Exhibition in Barcelona (1944), and two first prizes and an extraordinary first prize at the Painters of Africa Exhibition (1955, 1960 and 1961). Likewise, after his death, several tributes were paid to him, including the exhibitions held at the Terra Ferma gallery in Lleida in 2004 and the Salduba gallery in Zaragoza in 2007, both belonging to the Escolà Group.
Lot 100
Dutch school; last third of the 19th century."Maternity".Oil on canvas.It has restorations.It has an illegible frame in the upper right corner.Label on the back of the framing and gilding.It shows an informative label on the back.Measurements: 49 x 39 cm; 72 x 62 cm (frame).It was undoubtedly in the painting of the Dutch school that the consequences of the political emancipation of the region, as well as the economic prosperity of the liberal bourgeoisie, were most openly manifested. The combination of the discovery of nature, objective observation, the study of the concrete, the appreciation of the everyday, the taste for the real and the material, the sensitivity to the apparently insignificant, meant that the Dutch artist was at one with the reality of everyday life, without seeking any ideal that was alien to that same reality. The painter did not seek to transcend the present and the materiality of objective nature or to escape from tangible reality, but to envelop himself in it, to become intoxicated by it through the triumph of realism, a realism of pure illusory fiction, achieved thanks to a perfect, masterly technique and a conceptual subtlety in the lyrical treatment of light. As a result of the break with Rome and the iconoclastic tendency of the Reformed Church, paintings with religious themes were eventually eliminated as a decorative complement with a devotional purpose, and mythological stories lost their heroic and sensual tone in accordance with the new society. Portraits, landscapes and animals, still lifes and genre painting were the thematic formulas that became valuable in their own right and, as objects of domestic furniture - hence the small size of the paintings - were acquired by individuals from almost all social classes and classes of society.
Lot 147
JOSEP SERRASANTA (Buenos Aires, Argentina, 1916 - Valldoreix, Barcelona, 1998)."Popular types".Oil on canvas.Signed in the lower left corner.Measurements: 65 x 92 cm; 85 x 112 cm (frame).Born in Argentina although of Catalan parents, Josep Serrasanta lived in Catalonia since his childhood. There he studied at the School of Arts and Crafts of La Lonja, and completed his training as a disciple of Francesc Gimeno. Although he also tackled other themes such as still life, he soon achieved fame thanks to his beautiful landscapes of small abandoned villages, and also for his popular types, such as his famous gitanillas de Barcelona ("little gypsies of Barcelona"). He also cultivated mural painting, producing in this field in tempera, fresco and oil decorations in various Catalan churches. Particularly noteworthy are the admired murals he painted in the church of Santa Maria de Castelldefels (1950-58), as well as the paintings of the three domes of Lleida Cathedral. He had solo exhibitions in Tarrasa and later in the Augusta galleries in Barcelona in 1950. He also held personal exhibitions on several occasions in Madrid, Bilbao, Valencia, Paris and various cities in the United States and Japan. His work, which is traditional in concept, is notable for its energetic use of the palette knife and vibrant chromaticism. In 1964 he won the Grand Prix International de Cannes, and later the French government awarded him the Grand Croix du Commandeur au Mérite National Française. He is currently represented in various public and private collections, mainly in Catalonia.
Lot 132
CANALS STUDIO (Catalonia, 1925-1995)."Alicia", 2001.Oil on canvas.Presents signature with anagram, date and title on the base.Measurements: 41 x 50 cm; 52 x 62 cm (frame).Child portrait on a neutral background that focuses all the attention on the girl's face and her innocent posture on the table. The piece recovers to some extent the atmosphere of the Spanish still life of the 17th century, which can be seen in the background, and the completely sober horizontal wooden table.Estudio Canals was an artistic group created in Barcelona in the 1970s. It was a small group of painters who took their inspiration from the classics, thus bringing the painting of the great masters closer to modernity. Its greatest representative was the painter Miguel Canals, a great connoisseur of techniques and languages from different periods. He bequeathed us a huge variety of works inspired by the Renaissance, the Baroque, Impressionism... Seurat's bathers, Monet's water lily pond, Pissarro's landscapes, Degas's dancers, English hunting scenes, Venetian capriccios, Van Gogh's igneous fields, Quattrocentist virgins... Canals, with his virtuosity and versatility, made a name for himself among art history collectors. Although he did not try to copy, but to create a kind of symbiosis with the original. A connoisseur of ancient techniques, he sometimes gave his paintings a period patina, but without intending to deceive; rather, as he said, he wanted future experts to know that it was a contemporary work.
Lot 228
BRITISH SCHOOL (20TH CENTURY) STILL LIFE WITH WHITE FLOWERS Oil on board Signed with initials (lower right) 24.3 x 19cm (9½ x 7¼ in.) Condition Report: Work appears to be in overall good condition. Inspection under UV reveals no visible signs of restoration or repair. Condition Report Disclaimer
Lot 288
λ CRAIGIE AITCHISON (BRITISH 1926-2009) STILL LIFE WITH BIRD VASE Silkscreen printed in colours, 2004, on Saunders Waterford 356 gsm paper produced and co-published by Advanced Graphics, London Signed in pencil, numbered 87/300 and dated 2004 28 x 22cm (11 x 8½ in.) Unframed Together with original sleeve and Timothy Taylor/Waddington Galleries book titled Craigie Aitchison 'Pictures' with numbered card attached within.
Lot 45
EDWIN STEELE (BRITISH 1837-1898) STILL LIFE OF FRUIT, A PAIR Oil on canvas Signed (lower right) 32 x 41cm (12½ x 16 in.) Condition Report: Both under glass and unexamined out of frame. With plum: Stretcher marks and a slight bulging of the canvas lower right. Some paint loss around the edges from contact with the frame, another speck of paint loss below the grapes lower right. UV reveals no signs of damages or restorations. With pears: Visible stretcher marks. Matted areas in the varnish. Some paint loss around the edges from contact with the frame. UV reveals no signs of damages or restorations. Condition Report Disclaimer
Lot 46
OLIVER CLARE (BRITISH 1853-1927) STILL LIFE OF GREENGAGES, GRAPES, GOOSEBERRIES, PLUMS, PEACHES, RASPBERRIES Oil on canvas Signed (lower right) 34.7 x 45cm (13½ x 17½ in.) The proceeds of this lot will be donated to the Ukraine Crisis Appeal Condition Report: Canvas appears recently cleaned and restored. Inspection under UV reveals retouching mainly in the upper half of the canvas, including a large area in the upper left corner and in the upper centre above the grapes. Condition Report Disclaimer
Lot 429
An older restoration to a show standard, this delightful 400 would make a fast and stylish entry in next year's Mille Miglia.Imitation is said to be the most sincere form of flattery, however, it seems a little unlikely that BMW's engineers felt particularly gratified when the Bristol Car Company obtained the rights to their automotive designs as part of Germany's post-WW2 reparations. Although there was undoubtedly a significant input from the bright aeronautical engineers at Bristol, the 400, which commenced production in 1947, was effectively a synthesis of three pre-war BMW designs, with a chassis derived from that of the 326, an engine from the 328 sports car and an aerodynamic bodyshell similar to that of the 327 coupé. The 1,971cc six-cylinder engine of the BMW 328 featured an ingenious new cylinder head, designed by Rudolf Schleicher, incorporating hemispherical combustion chambers and inclined valves without recourse to overhead, or twin camshafts. Instead, the Type 319 engine's single block-mounted camshaft and pushrod valve actuation were retained, thus avoiding an expensive redesign. Two rocker shafts were employed, one situated above each bank of valves, giving the engine an external appearance almost indistinguishable from that of a twin-overhead-cam design. Downdraft inlet ports contributed to the motor's deep breathing, and its tunability made it a popular choice for British racing car constructors, most notably Cooper, during the 1950s. Externally, Bristol's Type 85A clone of the BMW motor differed little from the German original, the most obvious difference being the adoption of SU, rather than Solex, carburettors part way through production. The most significant changes made by the Bristol designers were metallurgical, their utilisation of the highest quality materials contributing to increased engine life. A maximum output of 80bhp at 4,200rpm was claimed, which was good enough for a top speed of around 95mph.The 400's aerodynamically efficient body was constructed of steel panels on a wooden frame, with the doors, bonnet and boot-lid skinned in aluminium. Beneath the skin, the chassis boasted independent front suspension by single upper wishbones and lower transverse leaf-springs, whilst torsion bars located within the chassis members controlled the live rear axle. Contrasting with the exterior's modern appearance, the traditional wood-embellished interior was reminiscent of an earlier age. In total, 474 Bristol 400s were made between 1947 and 1950 with, it's believed, around 120 still on the road. Dating from 1948, Chassis number #460-180, on offer here, is indeed one of those original cars. It has recently benefitted from a full bodywork refurbishment with any corrosion and rust being fully addressed and removed prior to being finished to a very high standard in a lovely shade of light metallic green (an Aston Martin colour we believe possibly California Sage). The interior has been refurbished with the same attention to detail as the bodywork and looks simply spectacular in fresh Biscuit hide piped in Chocolate with matching door cards, headlining and a new carpet. The wooden dash has been removed and refinished, all instrumentation is period and in good working order and a full tool kit is in its appointed place in a box in the engine bay. The boot has also benefitted from all this attention and looks splendid with new Cinnamon carpets edged in Chocolate.For over a decade, this lovely 400 has been the property of a well known Morgan dealer's family and has been properly looked after and fettled as required to a far higher standard than one might expect from less fastidious owners. In our vendor's words "You simply have to drive it to experience how good the taut handling is and how well the motor pulls though the lovely synchromesh gear box. It feels more like 1970 than 1948."Mille Miglia eligible, this car would make a stylish, fast and comfortable entrant to the famed event. This is undoubtedly the best example of a 400 we have seen and, although prepared to a show standard, JYM II remains a practical and versatile post-war classic.SpecificationMake: BRISTOLModel: 400Year: 1948Chassis Number: 460-180Registration Number: TBATransmission: ManualEngine Number: 850 1238Drive Side: Right-hand DriveMake: RHDInterior Colour: Biscuit LeatherClick here for more details and images
Loading...-
77111 item(s)/page