We found 400830 price guide item(s) matching your search
There are 400830 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
400830 item(s)/page
Lot 84
Rowan Gillespie (b. 1953)Peace II (1998)Bronze 78cm (30¾")Signed, inscribed and dated on the base No. 9/9Provenance: With The Solomon Gallery, Dublin, where purchased by the present owners.Literature: Roger Kohn, Rowan Gillespie Looking for Orion, O'Brien Press, 2007, illus. p. 97Female figures are quite prominent in Gillespie’s work, with his depiction of the body often acting as a celebration of female liberty and the vitality of life. They are not treated in the same way as a classical sculpture in which the female form was often depicted as an object of beauty. Instead Gillespie strives to create thoughtful expressions of the free-spirited and independent nature of modern women.Freedom is a constant thread in Gillespie’s work, something his sculptures seem to always be striving towards, whether they are scaling the side of a building, Aspiration (1995) or perched on a window ledge, Birdy (1997). His figures seem to affect an act of defiance in the face of gravity. While Gillespie’s sculptures are often struggling under the weight, literal and metaphorical, of the base, elemental forces of life there is also a lightness, a joy found within his depictions of the human form.There is a visual link between the outstretched arms in Peace II and the Blackrock Dolmen (1987), although on this occasion the figures are not supporting the heavy weight of the stone. Instead with their arms outstretched, reaching upwards towards an imaginary light, one is reminded of his respective large-scale public commissions in Italy and Dublin, Leta della donna (2009) and The Age of Freedom (1992). On both occasions the figures stand, similar to the present work, naked, offering some form of thanksgiving to the sun. The two figures in Peace II, seem to grow upwards from the same source, their bodies intertwined with one another. It is an expression of gratitude, a gesture of sublimation and hope.While he is known for his emotionally arresting Famine memorial, here there is a delicacy to the treatment of the material which seems to hark back to his earlier investigations into the human form. The finish of the bronze in this work is the antithesis of the cracking, raw patinas of his Famine figures. However, once again he has created a visual as well as physical connection to the raised arms of his Jubilant Man (2007) sculpture in Irelands Park, Toronto, who upon safe arrival in Canada is utterly overcome with emotion.Niamh Corcoran, May 2023
Lot 23
Gerard Dillon RHA RUA (1916-1971)Norah and Johnny Conneely RestingOil on board, 61 x 77cm (24 x 30")Signed; inscribed with title versoNora and Johnny Conneely Resting is a stunning oil painting on board by Dillon, featuring an idyllic, intimate snapshot into life in the west of Ireland. Both figures sit with their legs stretched out on the field after what appears to be a long day working. Johnny Connelly sits smoking a cigarette with his back against a dry stone wall, which is synonymous with rural Ireland, along with the cottages that appear in the background of the painting. The figure of Nora Conneely fills the front of the composition, framing her partner and the wheat field to the right of the painting. She chews upon the stem of a wheat stalk taken from the field they are working in, her forlorn expression in contrast to that of Johnny’s, who gazes directly at the viewer. The west of Ireland represented a place of wonder and awe for Dillon, who spent many periods there, observing, sketching and painting. Born in Belfast, and living in London from the age of 18, the west of Ireland offered Dillon a sanctuary away from the red brick cities. For many artists, the west of Ireland was alluring. Due to the isolated, hard-to-reach nature of the west, the people here developed their own way of life through their sense of dress, history and mythology, and so forth, which lent itself to the appeal of outsiders. Dillon, along with many other artists, saw this region and its inhabitants as a true representation of what it meant to be Irish. The west of Ireland became a recurring theme in Dillon’s oeuvre, featuring in many of his paintings from the 1940s onwards, such as West of Ireland Landscape (1945) and The Cottage Gable (c. 1950). Even when he began to experiment visually, with paintings such as The Brothers (1968), Dillon often included visual motifs or reminders of the west of Ireland, like the stone cottages found throughout the region, not unlike the one in our picture. Dillon’s application of paint is quite striking, which makes the painting all the more intriguing. Johnny Conneely’s clothes and the grass which the figures sit upon have been painted with thinned layers of oil paint, giving them a translucent appearance and quality. This is in striking contrast to Nora Conneely’s dress, which has been painted with a deliberate thickness and heaviness, not dissimilar to the texture of the stone wall. Similarly, the sky itself is painted in a similar manner, in a flat cool blue colour. Dillon’s application of the paint is interesting, it is almost as if he is carving out, with paint, the contours of the cottages and the dry stone wall. There is a deliberateness to the marks Dillon makes, doing so in such a quick and confident manner. The bundles of wheat stems to the right of Johnny give an insight into the realities of the west of Ireland, as agriculture played a massive role in the way of life in this region, in particular the Aran Islands, where Dillon was known to travel and spend time there. Dillon often depicted similar scenes of daily life in this part of the world, a seen in such scenes as Potato Pickers (1944) or Island People (c. 1950). Patrick HickeyMay 2023
Lot 136
Gerda Frömel (1931-1975)Head (c. 1972/73)White marble, 36cm (14¼") highOn a rectangular steel base, 20.2 x 26.5cm (8 x 10¾")Provenance: With The Dawson Gallery, Dublin, May 1973, where purchased, thence by descent to the present owners; The Estates of Dr. John & Mary Esther O’Driscoll, KildareBorn in Czechoslovakia in 1931, Greda Frömel was the eldest of four children born to German parents. When she was 14 the family moved to Vienna. Three years later she was attending the Stuttgart Academy of Art and Design studying sculpture, winning in 1949 the Scholarship for Young Artists. In 1953 she spent a year in Ireland, and while there met Werner Schürmann, a young German sculptor and musician, whom she married in 1955. It was in Ireland that she began to exhibit her work in earnest. By 1954 she had begun to exhibit in the Irish Exhibition of Living Art (IELA) and continued to show there regularly, while in 1962 and ‘63 she exhibited at the Independent Artists, also exhibiting at the Oireachtas, where in 1973 she won the Gold Medal. In 1964 and 1970 she had solo exhibitions with Leo Smith in The Dawson Gallery in Dublin, and had a joint show there with Michael Scott in 1967. Frömel’s work achieved critical acclaim and with it many important commissions, including in 1970 her polished stainless steel work entitled Sails for P.J.Carroll and Son, Dundalk. This was, at the time, the largest private sculptural commission in Ireland. Frömel also worked in stained glass for churches in Ireland and Germany, including a stained glass-window at St Brigid’s Cathedral, Kildare. Prof. Paula Murphy noted that Frömel brought several influences to bear in her work, “from Brancusi, in her smooth ovoid forms worked in stone”, (as in the present work), “and Giacometti, in her seemingly melting, textured bronze sculptures, to the Henry Moore circle, notably Hepworth and Ben Nicholson, in her abstract discs and rectangular forms.”Frömel died in a drowning accident, while on holidays with her children in Co. Mayo, at the age of 44. The following year a major retrospective exhibition of her work, organised jointly by the Arts Council and the Goethe Institute, was held at Dublin’s Hugh Lane Gallery.
Lot 150
Joanna Lumley Signed James Bond Movie Prop 1000 Dollar Bill. Joanna made her film debut in 1969 in On Her Majesty's Secret Service, playing one of Blofeld's Angels of Death. Later, she recorded abridged audio book versions of Casino Royale, Live and Let Die and Diamonds Are Forever. She then returned to Bond, 45 years after her Bond film debut to star in the BBC 4 radio drama adaptation of the same novel. She played the part of Irma Bunt. Joanna is also best known for her roles of Purdey in The New Avengers, Sapphire in Sapphire and Steel and Patsy Stone in the popular BBC comedy Absolutely Fabulous as well as its 2017 movie. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10.
Lot 236
Star Wars Episode IV A New Hope 8x10 photo signed by actor David Stone as Wioslea. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10.
Lot 106
Joanna Lumley James Bond actor signed 10 x 8 inch colour 007 Photo snow ski scene from the movie. Joanna made her film debut in 1969 in On Her Majesty's Secret Service, playing one of Blofeld's Angels of Death. Later, she recorded abridged audio book versions of Casino Royale, Live and Let Die and Diamonds Are Forever. She then returned to Bond, 45 years after her Bond film debut to star in the BBC 4 radio drama adaptation of the same novel. She played the part of Irma Bunt. Joanna is also best known for her roles of Purdey in The New Avengers, Sapphire in Sapphire and Steel and Patsy Stone in the popular BBC comedy Absolutely Fabulous as well as its 2017 movie. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10.
Lot 175
Star Wars A New Hope 8x10 photo signed by Eileen Roberts and David Stone. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10.
Lot 174
Star Wars Return of the Jedi photo signed by B-Wing pilot David Stone. Signed 10 x 8 inch colour photo. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10.
Lot 232
Star Wars 8x10 photo signed by NINE actors who have been in the films, Michael Henbury, Eileen Roberts, Bill Westley, Richard Stride, David Stone, Eileen Roberts, Richard Oldfield, Christopher Muncke and John Coppinger. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10.
Lot 124
Beautiful statement ring for a special occasion or an everyday wear in style. Has a square shape with wavy edges. Central stone is an 1.75ct emerald that is 8.15 x 5.42 mm, surrounded by 70pc baguette cut 3ct diamonds. Weight 8.08 grams. Size 7.75. Tested 14K Gold. Retail price $8,400.00 Condition: Very good.High Res Image 1High Res Image 2High Res Image 3High Res Image 4
Lot 139
An elegant ladies ring for a special occasion or an everyday wear in style. Central stone is a large beautiful oval opal 7.20ct weight, surrounded by 18pc round cut diamonds. Weight 6.46 grams. Stamped 14K. Size 8. Retail price $2,800.00. Condition: Very good.High Res Image 1High Res Image 2High Res Image 3High Res Image 4
Lot 324
This Vintage necklace features two delicate faux-pearl strands completed with a central emerald-like cabochon and crystal stone pendant. Closes with 2 ring silver filigree box clasps. Issued: c. 1930Dimensions: 15.75"LCondition: Good, minor age related wear.High Res Image 1High Res Image 2High Res Image 3High Res Image 4
Lot 351
Gorgeous and unique mid-century handcrafted sterling silver with green stone. The bracelet is signed ACE 925 Hecho en Mexico Guadalajara. The total weight of the bracelet is 38 grams. Issued: 20th CenturyDimensions: 7"L x 1.25"W x 0.75"HCountry of Origin: MexicoCondition: Good, minor age related wear.High Res Image 1High Res Image 2High Res Image 3High Res Image 4
Lot 96
GANDHARAN HEAD OF BUDDHA GANDHARA, 4TH - 5TH CENTURY A.D. dark grey stucco, Buddha is depicted with a serene countenance, his almond-shaped eyes half closed and mouth set with a gentle smile, the hair rises in waves to form a bun-shaped ushnisha, the earlobes characteristically elongatedDimensions:19.8cm high excl. standProvenance:Provenance:With Spink & Son Ltd. from at least July 1989Private Japanese Collection, kept in Switzerland, acquired from the above on 27th July 1989With David Aaron Ltd., London, since 23rd December 2010. Imported from Switzerland to London in February 2011Private Collection of Mr. L., acquired from the above on 30th August 2017 (D2083)Note: Note: For a similar example please see Victoria and Albert Museum, London, accession number IM.3-1931 The substitution of stucco and terracotta for the traditional grey schist of earlier Gandharan sculptures allowed for greater artistic innovation and creative freedom. The use of these raw materials allowed for sculptures to be moulded and sculpted while still malleable, rather than requiring intensive chiselling from hard stone, drastically reducing production times. This masterfully crafted sculpture, depicting the Buddha as a young man and originally part of a large-scale figure carved in high-relief, exhibits a wonderfully evocative image. Excavations at various archaeological sites throughout Gandhara have uncovered examples of moulds for similar Buddha heads, suggesting that they were created at the monasteries where they were installed. The Gandhara kingdom, located in the Peshawar Valley and the Potohar Plateau, was a deeply Buddhist province with strong ties to the teachings of the Buddha since his death in 480 B.C. This ancient province was a melting pot of Greco-Roman, Chinese, Indian, and Central Asian influences, resulting in the evolution of a diverse yet idiosyncratic form of Buddhist art. The Kushan Empire, which ruled Gandhara from 30-375 AD., was skilled at assimilating cultures, ruling trade routes, and maintaining close diplomatic ties with the Roman, Chinese, and Sasanian Empires. This sculpture, along with other opus of Kushan Buddhist art from the area, can be dated to between the 4th and 5th centuries A.D. and depicts a fusion of Hellenistic motifs with Orientalist traditions, resulting in a new form of Buddhist iconography where western stylistic signatures such as curled hair and heavy drapery begin to appear prevalent on eastern-like forms.
Lot 97
OLMEC MASQUETTE MEXICO, 900 - 400 B.C. carved and polished green serpentine, the distinctive features displaying a subtly downturned mouth, broad nose and narrowed eyes framed by a frowning brow, the ears pierced, raised on a bespoke mountDimensions:10.5cm tall (unmounted)Provenance:Provenance:Ex Samuel Dubiner Collection, Canada (1960s)Barry Kernerman, TorontoOrtiz Collection, MiamiNote: Note: The Olmec civilization, which thrived in the Gulf Coast region of Mexico from approximately 1400 - 400 BC, is renowned for its remarkable artistic achievements, among which serpentine masks such as the present example are particularly noteworthy. Crafted from the distinctive deep green stone, they were characterised by intricate carvings that depicted human visages with exaggerated features, such as downturned mouths, almond-shaped eyes, and broad noses. The masks also incorporated serpentine imagery in the form of coiled snakes or serpent-like figures that surrounded the faces or extended from the top of the masks. It is believed that serpentine masks were utilised in ceremonial and ritual contexts, likely in conjunction with funerary practices or religious festivals, and were probably worn by priests or other elite members of society during these events. The masks also held symbolic value as status symbols, owing to their valuable materials and the skilled craftsmanship required to create them. The Olmec civilization has had a profound impact on the development of modern art, particularly during the early 20th century, when Western artists rediscovered the art of ancient cultures, including that of the Olmec. This renewed interest in Olmec art influenced the emergence of modernist art movements such as Cubism and Surrealism. Olmec sculptures' stylised, geometric forms, such as the iconic "colossal heads," served as sources of inspiration for artists such as Pablo Picasso and Henry Moore, while the Olmec's use of negative space and abstraction was influential in the development of modernist sculpture. In addition, the Olmec's fascination with the natural world, particularly the serpent, inspired Surrealist artists such as Salvador Dali and Max Ernst, who integrated serpent imagery into their works. The Olmec's use of jade and other precious materials also influenced modernist jewellery and decorative arts. Today, the Olmec's legacy remains a significant source of inspiration for contemporary artists who continue to draw on its bold forms and use of negative space.
Lot 46
BACTRIAN STONE FEMALE "PRINCESS" IDOL BACTRIA-MARGIANA, C. LATE 3RD - EARLY 2ND MILLENNIUM B.C. carved chlorite and limestone, the figure formed of two parts, shown seated, the voluminous dress enveloped with layered kaunakes, the arms and hands hidden within the folds, the entire garment is covered with hatching, tufts can be seen at the shoulders, the head formed of carved limestone, the figure wears a serene expression with a subtle smileDimensions:10cm tallProvenance:Private collection, Mr. D.S., United Kingdom, originally acquired between 1985 - 1990Private collection, London, United Kingdom, acquired from the above 2014Note: Note:Amongst the most striking examples of figural sculpture surviving from the Oxus (Bactrian-Margiana) Civilisation of ancient Central Asia, these enigmatic figures known as “Princess Idols” were clearly of significance, yet their exact purpose remains unclear. Seals found further to the southwest engraved with similar likenesses confirm the clear relationship between these Bactrian statuettes and Elamite art. One such seal even depicts a queen wearing the same characteristic kaunakes garment. The elaborate dress and grandeur of the Bactrian statues have long led scholars to believe they may depict women from the aristocracy. However, there is no conclusive evidence to support this theory. Another possibility is that these figures represent goddesses who maintained the balance of natural forces. Despite the enigmatic nature of their meaning, these statues are considered among the most aesthetically pleasing remains of the Oxus civilisation. Muscarella (2003:368) writes, "attempts have been made to interpret these figures as deities or prominent humans, but insufficient information exists to permit a satisfactory conclusion. There is no doubt, however, that they are charged beings, physically massive but projecting a calm power and authority."
Lot 32
BACTRIAN ALABASTER DISC IDOL BACTRIA–MARGIANA, C. LATE 3RD/EARLY 2ND MILLENNIUM B.C. carved and polished alabaster, the cream stone shaped with rounded edges, bisected by a shallow grooveDimensions:31.2cm diameterProvenance:Provenance:Private collection, formed 1960s - 1970s, thence by descentNote: Note:With a powerful simplicity of form, these enigmatic stone idols were produced by artisans of the Bactrian (or Oxus) culture, an ancient civilization that flourished between the 3rd and 2nd millenniums B.C., occupying a large area between India and Afghanistan.Their original use is a matter of modern debate, though many scholars believe the earliest such “idols” were in fact counterweights used for pounding the agricultural produce that was the backbone of the Oxus economy. Their use may have subsequently developed to the purely ritual, as later examples are found to be less appropriate for practical use.Regardless of their original purpose, these stone idols have an element quality that speaks to a modern aesthetic.
Lot 35
BACTRIAN STONE COLUMN IDOL BACTRIA–MARGIANA, C. LATE 3RD/EARLY 2ND MILLENNIUM B.C. carved green marble, standing on a rounded base, cylindrical form, gently tapering at the neck, with a shallow groove at the topDimensions:23.1cm tallProvenance:Provenance:Acquired Gallery Rosen, Tel Aviv, 1960. Subsequently in the K.M. Collection, London.
Lot 34
Islamic Republic of Iran - Mohammad Reza Pahlavi (1941-1979), gold 750 Rials, dated 1971 depicting the Cyrus Cylinder 'Stone of Cyrus II' to commemorate the 2500th Anniversary of the Iranian Kingdom/Persian Empire, in a secure plastic holder, graded NGC PF 68 ultra cameo, certification number 4461627-002Location:
Lot 82
Mixed medals and badges to include a George VI For Faithful Service medal engraved Arthur Henry Pearce along with a print-out copy of The London Gazette 13th September 1938 where he is mentioned 'For Faithful Service in the Special Constabulary' medal with 'The Great War 1914-18' clasp and bar with silver rosette engraved 'James Stone', and others to include Prayer book for Jewish sailors and soldiers, enamel badges and RAF examplesLocation:
Loading...-
400830 item(s)/page