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BURRANDAY (CIRCA 1914-1970s) Untitled (Crucifixion Study) (circa 1963) natural earth pigments and charcoal on eucalyptus bark 87.5 x 60.5 cm PROVENANCE Painted at Milingimbi, Central Arnhem Land Yarrandoo Australia, Cairns Private Collection Aboriginal Art, Sotheby`s Australia, Melbourne, 25 July 2005, lot 220, illustrated Private Collection, New South Wales The painting incorrectly bears the artist`s name `Lipundja` [sic] and catalogue number 329 verso. Burrunday was one of the painters of the Milingimbi Easter Panels, one of which now hangs in the National Gallery of Australia (see Franchesca Cubillo and Wally Caruana (eds.), Aboriginal & Torres Strait Islander Art: Collection highlights, Canberra: National Gallery of Australia, 2010, pp.124-5.) The paintings were inspired by the Church Panels that were made in 1963 to hang either side of the altar in the mission church at Yirrkala. The community on the island of Milingimbi had decided on making the Easter Panels as a backdrop for a pageant organised by the Methodist Church, and they were not intended for permanent display. The only support material available on Milingimbi at the time was a table-tennis top. One half of the table was painted by artists of the Yirritja moiety this is the panel in the National Gallery`s Collection. The second panel was painted by Dhuwa artists, including Burrunday. Untitled (Crucifixion Study), c.1963, appears to be a study for the finished Dhuwa panel which featured Jesus Christ on the cross surrounded by his family and Roman soldiers. Arnhem Land bark paintings depicting Christian subjects are rare. Mawalan Marika (1908-1967), a major contributor to the Yirrkala Church panels is known to have painted the death of Christ. One version of his, Crucifixion, c.1968, is in the collection of the Museum and Art Gallery of the Northern Territory, Darwin (illustrated in R. Crumlin and A. Knight, Aboriginal Art and Spirituality, Melbourne: Dove Publications, 1995, p.29, pl.9). The Crucifixion of Jesus, 1964, by Thomas Nandjiwarra Amagula (c.1926-1989) from Groote Eylandt is also illustrated in Crumlin and Knight, p.31, pl.10. Wally Caruana
A Victorian walnut and floral marquetry games table, the rectangular top inlaid with chequerboard and floral marquetry over a frieze drawer, raised on lyre shaped scrolled end supports, united by a turned stretcher on cabriole legs, the lock stamped West 37 Old St Road, 56x41x68cm.
A late Victorian/Edwardian Sheraton Revival painted satinwood centre table , the square top with shaped rounded corners painted with scrollling foliate design, the centre painted with a basket of flowers tied with a ribbon, raised on circular tapering supports united by a shaped X stretcher with central circular platform, 77 x 77 x 70cm h (split to top).
A late 19th Century Chinese ivory inlaid ebonised hardwood low table, the circular shaped top with moulded edge inlaid with pavillions, figures flying kites and cormorant fishermen within a border with scrolling drangons, butterflies and bats, above a pierced frieze with ivory turned spindles, raised on five curved legs with scrolled feet (some minor losses), 58cm diameter x 46cm h.
An early 20th Century brass bound eight spoke oak ships wheel adapted as a coffee table, the brass binding cast 'Rosebank Ironworks Edinburgh Brown's Patent Telemotor & Wilson Prime Steering'. Mounted with circular glass top on baluster supports and octagonal base, 81cm diameter, 56cm h.
Heals. A 1960's white enamel brass low coffee table, the enamel top brass bound and raised on square legs. Purchased from Heals, London in 1962 by current vendor as a promotional piece utilising new materials, by repute a pre-production piece of furniture, 107 x 46 x 31cm h.
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