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 209
Edward Ladell, English (1821-1886) Antique Still Life Oil on Panel "Fruits of Summer" Dated 1858. Artist name and title on tag, original Windsor & Newton company label En Verso. Minor varnish wear to corners otherwise good condition. Measures 10" H x 8" W, frame measures 17" H x 15" W. Shipping $85.00 (estimate $1000-$1500)
Lot 18
1984 Porsche 911 Carrera 3.2 Sport - UK supplied car, original under boot sticker and space saver spare wheel- Warranted 99,800 miles from new, engine overhauled less than 1,500 miles ago- Recently recommissioned by M R Performance Cars of SalisburyThe 911 Carrera 3.2 made its debut at the 1983 Frankfurt Motorshow. Estimated to be 80 percent new, the model's 3164cc (hence '3.2') flat-six engine was credited with developing some 231bhp and 209lbft of torque. Allied to a five-speed transmission, it proved both rev-happy and flexible. Capable of 0-60mph in 5.3 seconds and 153mph, the Carrera 3.2 was progressively refined and updated over the course of its six-year production run. From 1984, those looking for that little bit extra in terms of poise and road presence could opt for the 'Sport' package (later known as 'Sport Equipment') which included a deeper front valance, 'tea tray' rear spoiler, Bilstein dampers and 16-inch Fuchs forged alloy wheels.Originally finished in Grand Prix White with Navy Blue pinstripe upholstery and a sunroof, this particular example was supplied new to Mr Jacobs of Henley-on-Thames. The presence of eight service stamps up to 73,657 miles not to mention a wealth of accompanying MOT certificates mean that the vendor is happy to warrant the current odometer reading of 99,800 miles as representing the total covered from new. Treated to an engine overhaul less than 1,500 miles ago before being dry stored for nigh-on a decade, the Porsche was recommissioned by M R Performance Cars of Salisbury just a few months ago at a cost of some £3,055.68. As well as a thorough service, attention was paid to the 911's brake system, fuel system, sensors, engine mounts and washer pump etc. Driven over 1,000 trouble-free miles since then, the Carrera 3.2 has also benefited from a partial repaint. Still sporting its original under boot specification sticker and unused space saver spare wheel (the latter complete with tie-on factory warning label), 'B890 OPJ' appears to have led something of a charmed life. Offered for sale with service book, sundry invoices and MOT certificate valid until 18th October 2017.
![KEITH VAUGHAN [1912-77]. Still Life, 1951. Pencil drawing. Studio stamp initials on reverse. 9.3 x 14 cm. Provenance: artist'](https://cdn.globalauctionplatform.com/53ce49d5-9502-499b-b8e7-a6b8009bb0b6/66777b87-2628-433e-d227-b1062862aa8e/468x382.jpg)
Lot 522
A COMPOSITE SOUTH GERMAN LIGHT FIELD ARMOUR, CIRCA 1600-20 comprising burgonet with rounded one-piece skull rising to high medial comb, projecting forward at the brow to an obtusely-pointed integral peak struck at the front with the maker's mark 'HR' in a rectangle and the fir-cone mark of the city of Augsburg, flanged outwards at the rear to receive an obtusely-pointed one-piece neck-guard (pierced its centre with a pair of later suspension-holes) and fitted at each side with a hinged cheek-piece (the hinge of the right broken) flanged outwards at its lower edge to serve as a continuation of the neck-guard and pierced at its centre with six small auditory holes in rosette-formation; 'Almain' collar formed of a single deep plate front and rear, in each case flanged upwards at the neck-opening and fitted to either side with a spaudler of five lames (the upper two of the right associated with the lower three); one-piece breastplate of 'peascod' fashion, flanged outwards at its lower edge to receive a fauld of one lame that has been laterally extended at each end, probably during working life, and is cut at the centre of its lower edge with a shallow arch separating a pair of short square tassets each of four lames, attached to it in each case by a pair of turning-pins; one-piece backplate with a shallow neck-opening flanged outwards at its lower edge to form a short integral culet; and a pair of long gauntlets (not a pair) each formed of a tubular elbow-length cuff with a separate inner plate, a wrist-plate, five metacarpal-plates, a knuckle-plate, the left decorated with a roped transverse rib, and the right formed with a low boss over each knuckle, a shaped finger-plate and scaled finger and thumb-defences (the last of the left missing), the main edges of the armour formed with inward turns, roped in the case of the gauntlets and plain elsewhere, and its surfaces retaining the greater part of their original black-from-the-hammer finish (refreshed with paint and partly oxidised; the collar and tassets disarticulated in places) See note at the front of catalogue for information concerning stands The HR mark on the burgonet has been tentatively identified as that of either Hieronymus Ringler the Younger (born 1583, still living 1626) or Hans Roth (recorded 1613-42). See Thomas 1980, p. 88.
![William Hough [1819-1897]-Still life of peaches, grapes and rose hips:-signed bottom left watercolour17 x 26cm.](https://cdn.globalauctionplatform.com/b9b56a23-8d5c-44b7-a7f1-a6c800f5a5c2/6b92496f-90cb-413a-8674-649fd8fa14b8/468x382.jpg)
Lot 40
Nikitas GRISPOSGreek, 1873-1974Waiting for the enemyoil on canvassigned lower left58 x 36 cmPROVENANCEprivate collection, AthensLITERATUREΛεξικό Ελλήνων Καλλιτεχνών, Εκδοτικός Οίκος Μέλισσα, Αθήνα, 1997, p. 321 illustrated Nikitas Grispos was born on the island of Amorgos in 1873. He studied painting at The School of Fine Arts, Athens under Nikiforos Lytras, Spyridon Prosalentis and Constantinos Volanakis. During this time he also studied sculpture. His themes included landscape, still-life, portraiture and symbolism. His painting was in keeping with the academic tradition but also employed an impressionistic feeling. Between 1920 and 1940 he taught in secondary education and at the newly founded Art School in Volos (1926). He held a number of solo shows and participated in prestigious group exhibitions such as the 1939, 1948, 1952, 1960, 1963, 1967, 1971 and 1973 Pan- Hellenic Exhibition. His work is found in many public and private collections in Greece, notably: The National Gallery, Athens, The Athens Municipal Gallery, The Volos Municipal Gallery and The Koutlides Collection.
Lot 2
Nikiforos LYTRAS Greek, 1832 -1904 The sleeping lady pencil on paper signed lower right7 x 14 cm PROVENANCE private collection, Athensacquired by the present owner in 1976 from the son of Constantinos Maleas, Fotinos Maleas, as a set of three drawings in one frame. The original frame bears an inscription on the reverse.these drawings were verified by Dr Nelli Missirli. Other works from the same collection by Nikiforos Lytras are illustrated in the book of Lytras by Dr Nelli Missirli. Nikiforos Lytras was born on the island of Tinos in 1832.At the age of eighteen he moved to Athens to study at The School of Fine Arts, where he completed his studies in 1856. Later in 1860 on a scholarship from the Greek government he went to Munich to study at The Royal Academy of Fine Arts. There, he was taught by Karl von Piloty. During that period Lytras focused on historically themed paintings. His subjects were inspired by Greek Mythology and history.In the summer of 1865 before returning to Greece he met Nicholaos Gysis in Munich and together they studied the masterpieces of German Museum collections.On his return to Athens, Lytras became a professor at The Athens School of Fine Arts in the department of painting, a position he held for the remainder of his life.Together with Nicholaos Gysis, he travelled to Asia Minor in 1873 and Paris in 1876.After returning to Greece, Lytras worked on portraiture, still life and everyday scenes. Lytra’s paintings on everyday life correspond with the ideology against the ruling class at the time. His trips to Asia Minor and Egypt informed his paintings in depicting children of colour and other elements of Anatolia. During the final period of his life he painted many scenes that explored aging, loneliness and fear of death.In 1879 he married Irene Kyriakidi, the daughter of a tradesman from Smyrna, together they had six children.Lytras was one of the greatest Greek painters. His contribution in almost forty years of teaching was also of great importance, as he not only influenced younger generations, but was involved in the school’s restructuring. Lytras died at the age of 72 (in 1904), after a brief illness that is believed to have been caused by chemicals found in paint.
Lot 13
Charles Brady HRHA (1926-1997)Artist's Studiooil on canvas signed upper centre left 91½ x 61cm (35 x 24in)Provenance: Private CollectionCharles Brady was born in New York in 1926 but spent most of his life in Ireland. In 1948 he entered the Art Students League of New York and took a yearlong course. After art school he continued to paint, beginning to exhibit in the early 1950s. He had his first solo exhibition in the Urban Gallery in 1955. The following year 1956 saw him travel by ferry to Ireland and it was here he began painting the Irish countryside. He returned to New York in 1958 but in 1959 he moved back to Ireland and settled there for good. Poverty forced him to paint on small pieces of cardboard and small pictures became typical; he began to value the intimacy, and affordability, of small paintings. In the 1960s he began painting still lives of everyday objects such as envelopes and tickets and this also became typical. These small, modest, compositions allowed him to refine a spare almost mystical style.
Lot 125
Maurice MacGonigal PPRHA (1900-1979)Fetching Milk in the Farmyardoil on board signed lower left 35.60 x 46cm (14 x 18in)Provenance: Private CollectionMacGonigal was born in Dublin in 1900. As a young man he worked as an apprentice in the ecclesiastical design studios of his uncle, Joshua Clarke, alongside his cousin, the renowned stained glass artist, Harry Clarke. A portrait, still life and landscape painter, he attended the Dublin Metropolitan School of Art (DMSA) on a scholarship and was also awarded the Taylor Scholarship in painting in 1924. In 1937 he was appointed Assistant Professor of Painting at the National College of Art (NCA) and became Professor from 1954-69. MacGonigal was also interested in stage design and book illustration. His work was influenced by Sean Keating and an early interest in social realism. While teaching at NCAD, MacGonigal was commissioned to paint a mural for the New York World's Fair of 1939 - a 10.5 metres high panel representing Liberty, America, and thirty Irish-born makers of American history. He was assisted by in this project by fellow DMSA alumni Harry Kernoff and Micheál de Burca. A profoundly influential teacher, he exhibited regularly at the Royal Academy of Arts, London, The Royal Scottish Academy, Edinburgh, and the RHA, Dublin. He was a member of the Board of Governors and Guardians of the National Gallery of Ireland as well as the Keeper of the Academy from 1936-1939 and President from 1962-1977. His work is held in all the major collections in Ireland including the National Gallery, Dublin City Gallery the Hugh Lane, the Crawford Municipal Art Gallery and the Ulster Museum. His last one-man exhibition took place in the Taylor Galleries, Dublin in 1979.
Lot 73
George Campbell RHA (1917-1979)Still Life With Many Thingsoil on board signed lower right and titled on reverse 91¾ x 104cm (35 x 41in)Provenance: By descent from the artist; De Veres, Dublin 27th June 2000, Lot 27; Private CollectionBorn in Arklow, Campbell began painting during the Blitz in Belfast and held his first solo exhibition in Dublin with Victor Waddington, 1946. Receiving stained glass commissions from the Church in the early 1960's marked a turning point in the artist's career. Prizes followed which attracted positive press coverage leading to more demand for his work. Fascinated with Spain from childhood, Campbell visited Spain in 1951 with his wife, Madge and Gerard Dillon, and returned to Andalusia annually for the winter months till the late 1970's. It's likely Campbell made a sketch of this work while in residence in Spain and transferred it to an oil painting in Ireland as "many things" were sourced from a beach. "Jorge" Campbell as his Spanish friends knew him was a fluent Spanish speaker and an accomplished Flamenco guitarist. By the 1960's music in Ireland and Spain became intertwined in his life and it affected his painting. Influenced by Braque, Campbell's still life paintings are never rigid or set in formal surroundings. Flashes of colour, shifting forms and emerging shapes permeate the surface adding mystery, vitality and movement. Campbell painted still life from the early 1950's often with a window view from his apartment and he revisited the subject throughout his career but his approach to it changed over a thirty year period. Never wishing to wait for inspiration, he usually worked on a few paintings at the same time, employing a variety of techniques with contrasting colour to achieve variations of form. Pale and strong colour is combined with dark and warm browns resulting in a coherently balanced composition. Versatile, Campbell did not confine himself to easel painting. He wrote articles for "The Artist magazine and published Eyeful of Ireland, 1974, a comic interpretation of history in Ireland. He illustrated for W.J.Hogan's "Out of Season", 1978, designed setting for the theatre, and contributed to television programmes on Ireland, Spain and Flamenco music. A romantic, Campbell stated that painting was part of his "whole fabric, part of breathing and reading and eating and sleeping and walking and moving." Kenneth Jamison remarked in his foreword for the artist's Arts Council exhibition, 1966 that Campbell had an "intuitive feeling for life-and for art as essential element of living, that makes George Campbell in both his person and his painting, so exciting to be with." Karen Reihill
Loading...-
77111 item(s)/page