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 444
Modern fiction, first editions, signed by authors, collection including: BOYD (William) An Ice Cream War, 1982; Stars and Bars, a litle toned, 1984; School Ties; Restless; GIBSON (William) The Peripheral; Spook Country; All Tomorrows’ Parties; Virtual Light; DRABBLE (Margaret) The Middle Ground; The Waterfall; A Natural Curiosity; The Radiant Way; The Pure Gold Baby; BYATT (A S) Angels and Insects; Babel Tower; The Virgin in the Garden & Still Life; others by Robert Coover, Roddy Doyle, Alsion Bruce, etc. Also first editions (unsigned) by Anthony Burgess (c.60 vols.)
Lot 29
Ludwig Deutsch (Austrian, 1855-1935)Calling the Faithful signed and dated 'L. Deutsch Paris 1893' (lower right)oil on panel49.5 x 31.7cm (19 1/2 x 12 1/2in).Footnotes:ProvenanceIrving Putnam Rexford (1884-1955).Olive Edna May Carson Rexford (1888-1977).Thence by family descent.Private collection, Canada.In 1893, the Société des Peintres Orientalistes Français was created in Paris to reinvigorate a genre that had begun to stale after half a century of dominating the European art world. Many of the giants of Orientalism had passed away or become interested in subjects beyond the Middle East, while the most influential artist in the field, Jean-Léon Gérôme (1824-1904), was now focusing almost exclusively on sculpture, often with classical themes. There were some Orientalist painters, however, who were still captivated by the region, and whose works proved that Orientalism had something left to give. Ludwig Deutsch was one of them, and his pictures from the 1890s were among the finest of his career, with themes that would become the most recognisable and coveted in Orientalist art. His meticulously painted images of Arab men at prayer or, as here, silhouetted or placed just in front of the doorway of an Egyptian religious school or mosque, were particularly successful, finding ready buyers in Paris, London, New York, and Cairo - markets that continue to embrace Deutsch's works today. In the present painting, completed just one year after winning a gold medal at the 1892 Paris Salon, Deutsch demonstrates the power of the art he created during these pivotal years. Specific yet iconic, topical yet timeless, the subject and site of Calling the Faithful reappear often in Deutsch's oeuvre, like stills from a sweeping cinematic series. The setting, in fact, was a favourite of the artist, and was likely visited in person during one of his many trips abroad (see fig 1). The distinctive bronze medallions adorning the wooden doors of the late 14th century Fatimid Mosque of al-Barquq, located in Cairo's Al-Moez Street, had been appreciated by scores of other artists as well, notably Pascal Xavier Coste (1787-1879) and Owen Jones (1809-1874). Jones reproduced similar medallions, decorative details, and architectural elements in his epic The Grammar of Ornament, published in London in 1856 and frequently used by Deutsch as an aide memoire for his Orientalist compositions. Deutsch's extensive collection of Orientalist photographs served much the same purpose. The jewel-like tones and miniaturists' technique, however, as well as the creative reconfiguration of historically accurate parts, were Deutsch's own, unique contribution to the field. The male figure in the composition, clad in a red striped qumbaz and a white turban, holds his index finger to his left ear. This gesture – performed during the call of Adhan, or invitation to pray - allowed him to project his voice with the appropriate control, modulation, and force, while also protecting his hearing. His outer robes and scarf feature metallic gold threads, suggesting that they may have been woven in the nearby village of Kerdassa, famous for its luxurious striped textiles. Such ethnographic touches were typical of Deutsch, and contributed to the astonishing realism of his art. Ironically, given this level of precision and clarity, the details of Deutsch's own life remain obscure, with only the most basic biographical information being known. It is left to his pictures to reveal who he encountered during his wide-ranging travels, what intrigued him about Egypt specifically, how he chose to paint it, and why. We are grateful to Emily M. Weeks, Ph.D. for writing the catalogue note. The painting will be included in Dr. Weeks's concise catalogue of Deutsch's works, currently in progress.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 62
Hippolyte Pierre Delanoy (French, 1849-1899)Still life with Fiqh signed and dated 'Hp pierre Delanoy/1880' (lower right) oil on canvas60 x 115cm (23 5/8 x 45 1/4in).Footnotes:Hippolyte-Pierre Delanoy was born in Glasgow in 1849. Delanoy studied under Charles Gleyre and also worked with Antoine Vollon who trained him in the art of still life painting; in particular he became renown for his skill in depicting armour. He exhibited between 1863 and 1887, both in Lyon and at the Salon in Paris. Several works were purchased by the French state and his work is held in a number of permanent collections in France, including the Musee d'Orsay in Paris and the Musee des Beaux-Arts in Lyon. He died in Paris in 1899, aged only fifty.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 147
FRANÇOIS VERWITT (ca. 1623, Rotterdam - 1691). "Gallant Scene in an Interior. Oil on panel. Signed. With label of the Sala Parés (Barcelona) on the back. Measurements: 62,5 x 88,5 cm; 78,5 x 104 cm (frame). Author belonging to the German Golden Age, he was the son of the painter Adriaan Verwilt of Antwerp and was apprenticed to Cornelius van Poelenburgh (1586-1667) in Utrecht together with Jan van der Lijs, among others. Verwilt became a versatile painter in many genres, including historical, mythical and biblical landscapes, genre works, portraits, still lifes and contemporary interiors of agriculture and middle-class urban life . He is considered part of the "Poelenburch school of landscape painting". His colours range from the style of Poelenburgh in his landscapes to the chiaroscuro of Rembrandt in depictions of contemporary Dutch life. His paintings are represented in many museums, including those in Amsterdam, Rotterdam, Haarlem, Budapest, Leningrad, Mainz, Osnabrück, Paris, Vienna and elsewhere. There are no biographies or monographs of his works. This painting brings together the most valued attributes of Flemish painting, which during the Baroque period was able to perpetuate the refined technique of masters such as Van Eyck in the treatment of detail, while at the same time domestic scenes gained in naturalness, as we see in this lively interior. An informal gathering seems to be taking place, a meeting of aristocrats enlivened by the music of violinists. A lady is practising her singing, a servant is pouring wine, a noble couple are exchanging confidences.... The ochre and earthy tones of the room act as a chromatic counterpoint to the gauze and velvet cloaks worn by the guests. The glazes of the glass, the collars and breastplates of fine lace, the pleating of the sleeves, the faces alight with conversation..., the precious detailing is combined with the general capture of a warm, welcoming atmosphere. Although Brussels was the political centre of Flanders, Antwerp was the city where the most important artistic activity had been centred since the 16th century. Antwerp had enjoyed a prominent position in Europe during that century, as its port had been the busiest in the Netherlands, and the Netherlands had prospered as a maritime power. Antwerp retained its pre-eminent position as an artistic centre for much of the 17th century, so that when Jan Brueghel, Rubens and Van Dyck were appointed court painters to the Archduchess Elisabeth, they imposed the condition that they could continue to maintain their workshop in Antwerp, rather than going to reside with the court in Brussels. Genre works, or scenes from everyday life, were very common in the 17th century. Many artists followed Pieter Bruegel the Elder's tradition of depicting lower-class peasant scenes, although elegant upper-class subjects were also common, with elegantly dressed couples at balls or in love gardens. Adriaen Brouwer, whose small paintings often show peasants brawling and drinking, was particularly influential on later artists. Paintings of elegantly dressed couples in the latest fashion, often with underlying themes such as love or the five senses, were commonly painted by Hieronymous Francken the Younger, Louis de Caulery, Simon de Vos, David Teniers the Younger and David Rijckaert.
Lot 69
Circle of BLAS DE PRADO (Camarena, Toledo, around 1545- Madrid, 1599)."St. Jerome.Oil on canvas.Relined.Frame of the XVIII century.Size: 130 x 108 cm; 140 x 120 cm (frame).In this canvas the theme of St. Jerome penitent in the desert is approached through a scenographic and open composition, with a silver illumination that succeeds in the way of enhancing the pathos of the scene. The painting is attributed to Blas de Prado, whose work was characterized by his monumental figures, skillfully modeled with a contrasting light, as is the case here. The saint appears full-length, chiseled by the chiaroscuro, his torso being naked and the muscles of his legs partially covered by the draped mantle, of intense crimson tone. The saint appears in a rocky environment, open to a nocturnal landscape with a waterfall. Next to him we see the lion, lying at his feet, the skull and a crucifix, all enveloped in a nuanced penumbra.Blas de Prado was a painter of whom we have, so far, little biographical information. He worked mainly in Toledo, where there are some contracts located in the surroundings of the city and where contemporary sources mention him. It is also known that he worked at the court, earning the appreciation of Philip II.It is known that he painted portraits, Francisco Pacheco considers him as the introducer of the still life in Spain (he was Juan Sánchez Cotán's teacher) and, besides knowing the Italian production by his works in El Escorial, there are those who defend the possibility of a trip to Italy that would allow him to know the works first hand, influenced, above all, by Michelangelo in several conserved works.At present, it is possible to appreciate his painting only in outstanding private collections and institutions such as the Prado Museum in Madrid, the Museum of Santa Cruz in Toledo, the Cathedral of Valencia, the Collegiate Church of Santa Maria la Mayor in Talavera de la Reina (Toledo), in the Palace of Liria (Madrid), drawings in the Uffizzi Gallery in Florence, the Louvre Museum in Paris, etc..
Lot 87
BRUEGHEL family; Second half of the sixteenth century."Landscape."Oil on oak panel. CradledPresents frame following ancient models.Measures: 36 x 18 cm; 70 x 54 cm (frame).With a relatively high horizon, where the sky composed by a gradation of blue tonalities, hardly occupies space, the author, grants the protagonism of the scene to the landscape. A costumbrist view conceived through successive planes. In the center of the scene, two figures hold a conversation. However, their small dimensions indicate the artist's interest in capturing the landscape. By theme and style it is very close to the painting developed by the important dynasty of Dutch painters, the Brueghels. The meticulous and expressive drawing characterizing the characters and their vivid behaviors is combined with a freer brushstroke in the representation of the landscape, also splendid, working in different levels of depth, assuming bluish tones in the horizon.During the 17th century, the Flemish school experienced great splendor and artistic development. The strategic location of the area, and the presence of one of the most important ports of the time, gave rise to the proliferation of a new social class, composed of merchants, who possessed a large capita. This new society enjoyed the advantages of their economic position, however, they did not have the aristocratic titles, so they began a race for social position through culture. In addition, due to the rupture with Rome and the iconoclastic tendency of the reformed Church, paintings with religious themes ended up being eliminated as a decorative complement with a devotional purpose, and mythological stories lost their heroic and sensual tone, in accordance with the new society. Thus, portraits, landscapes and animals, still life 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 of almost all classes and social strata: The tandem formed by Peter Paul Rubens and Jan Brueghel the Elder, the one composed by Hendrick van Balen and Jan Brueghel de Velours, or the one comprising the figures of Jan Brueghel the Younger and Pieter Van Avont, are proof of the success of this type of contributions in 17th century Flanders.
Lot 16
ALBUM: A concertina-style album of 51 prints of Japan. (Japan, 1904). a single album, comprising of 51 black and white hand-coloured prints, red-brown lacquered boards decorated with scenes of mountains and a man pulling a woman on a rickshaw, overall 100 x 200mm, the prints pasted down, (photographs appearing on both sides), mostly one image per page, each image with a manuscript ink caption below in a contemporary hand, most original tissue-guards still present, varying sizes from 78 x 79mm to 91 x 132mm; The album compiled by someone possibly serving in the Navy on a tour of Japan, to be sent to someone they know at home and telling them about their experiences of Japan, 'the views in this album & what I have written concerning them, will I hope give you an idea what life in Japan is like'. They noted purchasing the album in a bazaar, it is unclear whether the images were hand-coloured before or after purchase. The album seems to be split into two halves, one half depicting Japanese girls and women in traditional dress carrying out activities such as studying, eating, and trimming flowers, while the other half presents scenes of a number of Japanese cities. Images include scenes of Yokohama and Nagasaki harbours, tea gardens, the ladies' swimming pool in Nagasaki and Mount Fuji amongst others. There are a number of captioned images depicting ships including 'Japanese Man of War', the 'Albion', the 'Glory', and the 'Blenheim', with the compiler referencing a time when 'the British & Japan fleets reciprocated friendships & commemorated the Anglo Japan alliance'. a reference to an 'H.B.M.S. Albion' can be found in the Directory & Chronical for China, Japan, Corea, Indo-China, ... published by the Standard Life Office in 1904, as part of a list of foreign residents in the region. (1) Condition Report: upper board detached, corners and edges a little rubbed with some chipping and loss to lacquer, spotting to some leaves and tissue-guards, Condition Report Disclaimer
Lot 583
Candleholders and Gimbals Removed from Adolf Hitler’s Personal Yacht Aviso Grille by Richard Thomas Smith Royal Navy in 1945, pair of uncleaned heavy steel candlesticks with one having the remains of a candle still in place. Unscrew from the base to reveal a coiled spring inside. Accompanied by a matching pair of Gimbals in the same design as the candlesticks. Accompanying the items is a typed statement with the following details, “The vendor purchased these items from a gentleman in Newmarket. He had them in his garden shed for over 20 years and they are in an original and uncleaned condition. They were recovered from the Grille by his grandfather Richard Thomas Smith R.N. NO LT/KK 106756 who resided in Lowestoft. He was discharged from service on the 30th August 1945. Mr Smith has been selected to bring back the Grille from Norway to Britain (Hartlepool) because of his expertise with steam engines. This was his last job in the RN before returning to civilian life and recommencing his lifetime occupation as a fisherman in Lowestoft. Previously Richard had served on a Minesweeper that was torpedoed by a UBoat. Richard’s ship was severely damaged but did not sink and Richard sustained severe burns which hospitalised him for a year. He received a gallantry award for helping to save two men in the engine room but declined the award. Richard was an acting Chief Petty Officer, 1909-1985.” Grille was an aviso built in Nazi Germany for the Kriegsmarine in the mid-1930’s for use as a state yacht by Adolf Hitler and other leading individuals of the Third Reich. The ship received a light armament of three 12.7-centimeter (5 in) guns and was fitted to be capable of serving as an auxiliary minelayer. Completed in 1935, her experimental high-pressure steam turbines, which were installed to test them before they were used in destroyers, required significant modifications and the ship finally entered service in 1937. Over the next two years, she was used in a variety of roles, including as a training vessel and a target ship, in addition to her duties as a yacht. After the start of WW2 in September 1939, Grille was used as a minelayer and as a patrol vessel in the Baltic Sea, tasked with searching for enemy merchant vessels. She collided with a German transport ship in January 1940 and after repairs, resumed minelaying duties in the North Sea, thereafter being used as a gunnery training ship. She was briefly assigned to the minelaying unit tasked with supporting Operation Sea Lion in September before the planned invasion of Britain was cancelled, and she was reassigned to the Baltic during Operation Barbarossa in June 1941. Gunnery training duties followed from August 1941 until March 1942, when she was reduced to a headquarters ship for the commander of naval forces based in occupied Norway; she served in this capacity for the rest of the war. She was seized by British forces as war reparations in 1945.
Lot 293
Elsie Wright Still life studies with pots Royal Drawing Society entrance, from Maida Vale High School, pencil on paper drawing with vases by Aller Vale of Brannam, mounted, 'Utrecht' an engraving by Margery Alexander, 'Esther', 1924 an engraving by Christopher Hughes, a photographic portrait and two other prints, original label to front, 58 x 42cm (frame), (6)
Lot 109
BERNARDÍ ROIG (Palma de Mallorca, 1965). "Homage to Jan Gossaert", 1995. Oil on canvas. Frame made by the artist himself in wrought iron as a tray. Signed, dated and titled on the back. Size: 75 x 135 cm; 81 x 150 cm (frame). The work presents a composition that alludes to the Flemish painter Jan Gossaert (Maubeuge, ca. 1478 - Antwerp, 1532), better known by the pseudonym of "Mabuse". Vanitas becomes a recurring theme in Jan Gossaert's work, with works featuring skulls, the quintessential symbol of vanitas, accompanied by objects alluding to wealth, knowledge and military power, all of which disappear with death. On this occasion Bernadí offers a modernised composition in which the skull is accompanied by plants, a candelabrum and a vase, as well as a "+" sign that reinforces the symbolism of the vanitas. The Latin term "vanitas" designates a particular category of still life, of high symbolic value, featuring objects that allude to the fragility and brevity of life, the passing of time and death. Vanities denounce the relativity of knowledge and the vanity of mankind, subject to the passing of time and death. It is a genre that was particularly popular during the Baroque period, and its title and conception are related to a passage from Ecclesiastes: "vanitas vanitatum omnia vanitas" ("vanity of vanities, all is vanity"). The message it conveys is the futility of worldly pleasures in the face of the certainty of death, encouraging the adoption of a sombre view of the world. In the 17th century, these moralising still lifes became very frequent as an indispensable complement to preaching and devotion in Europe, in forms and with slightly different intentions in Catholic and Protestant areas. One of the most interesting young artists on the Spanish scene, Bernardí Roig has been awarded important prizes such as the Special Prize of the Fundació Pilar i Joan Miró, the Sotheby's Prize, the Egypt Biennial in 2001 and the official prize of the XXI International Biennial of Graphic Art in Slovenia. Since the mid-1990s, he has held solo exhibitions in leading galleries, museums and art centres such as the Miró Foundation (1995), the Totem il Cannale gallery in Venice (1996), the Museum of Contemporary Art and Design of San José in Costa Rica (1997), the Ludwig Foundation in Havana (1999), the Museo Jacobo Borges in Venezuela (2000), the Museo de Bellas Artes in Oviedo (2000), the Max Estrella Gallery in Madrid (2000), the Adriana Schmidt Gallery in Cologne (2000), the Claire Oliver Gallery in New York (2002) and the Ludwigsburg Museum in Stuttgart (2002). He has also taken part in the Venice Biennale (2001), the Egypt Biennale (2001) and the Arco fair in Madrid. He is currently represented at the AENA, Miró and La Caixa foundations, the Jacobo Borges and Sofía Imber museums in Venezuela, the Ministry of Culture in Mallorca, the Saikade Museum in Japan, the Gille Collection in Belgium, the Ludwig Foundation in Cuba and the Museum of Contemporary Art in Costa Rica.
Lot 136
° CALAMY, Edmund (‘the Historian’, 1671-1732) Original Manuscript – ‘An Historical Account of my own Life, with Some Reflections on the Times I have live (sic) in ‘;written in three folio volumes, earlier 18th cent. half calf & paper boards; paged as: vol. 1 pp. 1-348; vol. 2 pp. 349-517; vol.3 pp. 1-274. In a large and flowing 18th cent. hand (but at vol. 2, p.125 changes to a smaller & thicker script); numerous additional marginal notes, some pencilled page headings, some underlining, some use of square brackets enclosing crossed through text (? for excision). As the work was not published until the nineteenth century (edited J.T. Rutt, 2 vols., 1829) these additions, alterations etc. could be possibly in the hand of an earlier, presumptive editor (? his son, also Edmund). The author, well-known nonconformist minister and historian, was grandson of Edmund Calamy (‘the Elder’) presbyterian and member of the Westminster Assembly of Divines. Sometime after ordination he succeeded Vincent Alsop as pastor at Tothill Street, Westminster (1703). He wrote at length on the Ejectments of 1662, including additions to Richard Baxter’s writings; his friendship with Daniel Williams (becoming his legacy trustee) led up to the founding of the former’s Charity, and the Dr. Williams’s Library – still happily with us in London’s Gordon Square
Loading...-
77111 item(s)/page