We found 1181390 price guide item(s) matching your search
There are 1181390 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
1181390 item(s)/page
A marble and gilt Rococo console table, the moulded serpentine top over a pierced scallop shell and floral frieze, raised on scroll and floral cabriole legs united by shell and floral stretcher, 110cm wide x 83cm high x 42cm deep, with floral and acanthus pediment over elaborate pierced acanthus frame enclosing bevelled mirrored plate, 135cm high
A mahogany twin pedestal dining table, the rounded rectangular top over plain frieze raised on gun barrel turned column reeded sabre legs, terminating in brass claw caps and castors, including three additional leaves, 75cm high x 200cm long x 110cm wide (350cm extended)
2x 1961 Tennis Banquet & Ball signed menu, guest list, Wimbledon Finals programme and City Press photographs - held in Honour of Angela Mortimer and signed profusely to both menu and guest list by 130 guests – The banquet was held on 10th. November 1961 at The Palace Hotel in Torquay to celebrate her success in the Wimbledon Ladies Singles Championship earlier that summer and other Grand Slam achievements, In the centre is a 4-page guest list card of those who sat at the top-table. The programme is autographed by; Teddy Tinling, John Barrett (her husband from 1967), Duncan Macaulay, F.H. Lowe, Charles Applethwaite, Clarence Jones, Pat Hird, John Ballantine, Colonel W J Legg (Wimbledon Referee), Duncan Macauley, Pat Hughes, and about 120 other guests plus a fine unmarked copy of the 1961 (75th. Anniversary Meeting) Wimbledon Programme from the twelfth day - Ladies` finals day together with 2 City Press photographic cards of both Mortimer and her opponent in the final, Miss Christine Truman. Angela Mortimer was inducted into the International Tennis Hall of Fame in 1993.(4)
FALK, ROBERT 1886-1958 Woman in Red. Portrait of Lyubov Georgievna Popesku , signed. Oil on canvas, 71.5 by 91 cm. "Provenance: A gift from the artist to Nina Lurie, Moscow. Thence by descent.Collection of Olga Dvoretskaya, Moscow, until 1975. Private collection, Moscow, until 1994.Private collection, UK.Exhibited: Robert Falk, Tsentral’nyi dom rabotnikov iskusstv, Moscow, 1939.Literature: D. Sarabianov, Yu. Didenko, Zhivopis’ Roberta Fal’ka. Polnyi katalog proizvedenii, Moscow, Elizium, 2006, p. 572, No. 801, illustrated.The portrait of the artist Lyubov Georgievna Popesku, marked the final stage in the creative evolution of Robert Falk’s images of women.Falk first met Lyubov Popesku in the Crimea in 1916, where he painted her in a notable Nude, now in the collection of the Tretyakov Gallery. The next meeting between artist and model was 15 years later, in a totally different time and place. By this time, having initially arrived in Paris on a short trip, Falk was already more firmly settled in France. His previous enthusiasm for Cézannism during the Jack of Diamonds period had now given way to an ever more intense quest for a unified environment, saturated with colour and with light enveloping people and objects. Seeing Popesku in Paris in 1930, Falk painted her portrait In a Red Turban, as a traditional psychological study and, two years later, Woman in a Blue Beret. The picture Woman in Red occupies a special place in this series.The pose — in which the artist Popesku sits at a table — was quite random. The fragile female figure is shown as slightly alienated, as if seized by a fleeting moment of melancholy. A distinctive feature of the composition is its circular movement, which dictates the direction of our gaze and leads us from her left hand, placed on the table, up to the slightly bowed head and hat, making the painting harmonious.According to Falk, the portrait was created as a study for the monumental canvas Old Women. Loneliness which was conceived as a definitive summation of life. This female figure, still young and with traces of her former beauty, conveys much more clearly than other protagonists might the true meaning of the work. D. Sarabianov, speaking of this work, ascribed a special significance to the figure of Popesku. “Turned slightly sideways, away from the centre of the canvas, she is lost in this space, in this world, among other people. The figure of the woman was particularly important to Falk’s intention, demonstrating that the subject of his picture is not simply suffering from old age... It is the expression of emotional fatigue, anxiety, burn-out; in other words, of universal qualities born of the contemporary world — or perhaps intrinsic to mankind.”"
BOGDANOV-BELSKY, NIKOLAI 1868-1945 The Teacher`s Guests , signed. Oil on canvas, 80.5 by 102 cm. Provenance: Private collection, UK.The work will be included in the book on N. Bogdanov-Belsky being prepared by A. Kouznetsoff.The Teacher’s Guests by Nikolai Bogdanov-Belsky is the artist’s reworking of his celebrated work The Teacher’s Name Day. Executed with impeccable skill, it presents a significant departure from his earlier works painted at the turn of the century and bears witness to the creative strides made during his later period.The idea of a work on the theme of village children invited to tea with their teacher was first conceived of by Bogdanov-Belsky in 1908, when visiting the estate of a landowner named Ushakov, in Tver Province. There he executed a sketch entitled Visiting the Teacher from which, two years later, he painted the large-scale work that brought him celebrity in Europe. Sadly, it has been lost and is known only from reproductions. The artist, however, carefully preserved the sketch itself and used it as the basis for several variations which would have been well-known by his contemporaries, including The Teacher’s Name Day, The Teacher’s Birthday and Visiting the Teacher.When Bogdanov-Belsky left Soviet Russia for Latvia in 1924 he took the sketch with him, and it is today preserved in the Art Museum in Riga. As an émigré he again turned to the theme of children having tea in a garden, always composed from fresh sketches drawn from life and never forfeiting the principles of Impressionism, which for him were still relevant. Thus his protagonists change from picture to picture and this large work, The Teacher’s Guests, is a splendid demonstration of this. Painted while the artist was living in Latvia, this work continues to focus on the theme of a happy village childhood, which allowed him to address the creative problems of light and colour that interested him. By arranging his figures within their landscape and using lively, vivid, vibrant colours, the artist fills the picture with the fleeting movement of foliage trembling in the wind and with the sense of a glimpse of real life. The composition is imbued with the desire to convey artistically the link between man and nature and to suffuse the canvas with light and air.It was most likely local youngsters who posed for this picture, alongside the artist’s young wife, who often modelled for Bogdanov-Belsky’s portraits and genre works. Incidentally, many of the teacher’s guests can also be seen in his other works of the time. We can, for example, recognise the little girl in the flowered headscarf and striped top, drinking tea from a saucer, as the protagonist in the romanticised work Inspiration, and the two urchins sitting at the end of the table nearest to us as the young visitors to an artist’s studio in the painting Guests.
* A FABERGÉ SILVER FLATWARE SERVICE MARKS OF KARL FABERGÉ IN CYRILLIC, MOSCOW, 84 STANDARD, 1899-1908 Length of a table knife 27 cm, of the fish slice 32 cm, wooden box 50 by 60.5 cm. Related literature: For the Devyatnins family arms, see Obschiy Gerbovnik Dvoryanskih Rodov Vserossiyskoy Imperii (Complete Armorial of the Noble Families of the Russian Empire), started in 1797, part 6, no. 88.Comprising 134 pieces: twelve table knives, twelve fish knives, twelve knives, twelve dessert knives; twelve table spoons, twelve dessert spoons, twelve tea spoons, twelve coffee spoons; twelve table forks, twelve fish forks, twelve dessert forks; one fish slice, one cheese knife; the handles cast and chased with a monogram inside laurel wreath and arms of the Devyatnins noble family on the reverse, in a large new wooden case with two drawers, made upon the model of the original case.
AN ASTON & SON TABLE SNUFF BOX OF MILITARY INTEREST, bright cut engraved scrollwork throughout, the lid with Kings Own 2nd Staffordshire Militia insignia in high relief, gilt interior, the base engraved presentation inscription `Presented to the 2nd Staffordshire Militia by Capt R.J.K. Levett, Feb 1st 1858`, Birmingham 1857, (approximately 310g)
-
1181390 item(s)/page