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◆ SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1871-1935) STILL LIFE WITH ROSES Signed, oil on canvasDimensions:46cm x 40.5cm (18in x 16in)Provenance:Provenance: MacConnal-Mason & Son Ltd, LondonNote: Note: In 1929, Peploe declared ‘There is so much in mere objects, flowers, leaves, jugs, what not – colours, forms, relation – I can never see mystery coming to an end.’ This reveals the inspiration he found in the still life genre throughout his distinguished career, as can be seen in Still Life with Roses.As Roger Billcliffe has explained:Peploe set himself as a target the perfect still-life painting…His temperament made him ideally suited to the task. His calm reasoning and thoughtful manner enabled him to make a careful analysis of the problems which face the still-life painter and he set about resolving them in a series of works which includes many of his most satisfying paintings. (Roger Billcliffe, The Scottish Colourists, London, 1989, p.51)This lyrical painting is likely to have been created in Peploe’s studio at 54 Shandwick Place in Edinburgh’s West End, which he occupied from 1918 until 1934. His niece, Margery Porter, recalled visiting him there:How well I recollect my Mother and myself climbing those steep stairs and arriving panting at the top to ring his bell in fear and trembling lest our climb had been in vain. But usually he would usher us in wearing a white painting coat and a crownless hat…The studio was a large one, round which I would prowl entranced, after strict warnings not to disturb the still-life group which would almost inevitably be covering the table. My uncle would arrange and re-arrange these groups for perhaps three days before he was satisfied that the balance and construction were perfect, then he would paint them quite rapidly. (quoted in Alice Strang et al, S. J. Peploe, Edinburgh 2012, p.23)Peploe assembled a cast of objects which recur in his paintings like trusted friends, often crowned by the roses with which he is particularly associated and which he would often buy from the flower and fruit stalls of Princes Street; they were able to hold their shape long enough to satisfy his painstaking working process. The length of patterned fabric, be-ribboned black fan and platter in Still Life with Roses were all familiars by which he strove to create images of beauty and balance.The depiction of stems in water, seen through glass, was a painterly challenge from which Peploe did not shy away. Indeed, as can be seen here, it was often a way in which to show his mastery of applying oil paint to canvas in order to convey reflection, transparency and refraction. Works of this period show a relaxing of his technique from the tight control of the early 1920s, to a freer and more expressive approach to depicting form and light. Black and white provide the structural basis of the composition and a contrast to the decorative qualities and rich colour of other passages. Viewed from above and at an angle, Peploe seamlessly leads the eye from foreground to background, with particular attention paid to the variegated tones of the flower heads, their petals realised in thick, short brushstrokes.Peploe exhibited and sold still lifes regularly throughout his career and it is for his achievements in this genre that he is most celebrated as one of Scotland’s leading artists of the twentieth century.
ARABIAN OIL MAPMap of Arabian Oil. Kharīṭat al-batrūl al-ʻArabī, large colour-printed map, text and captions in English and Arabic, three inset maps (Qatar and Bahrein; Eastern Desert and Sinai Peninsula; coast of Saudi Arabia and Kuwait), table listing 'Crude Oil Production (1962 in Barrels)' and index of terms, old folds, a few short tears in blank margins, image 61 x 1040, sheet 690 x 1080mm., [Egypt], Secretariat General of the League of Arab States. Department of Petroleum Affairs, [c.1963]Footnotes:Rare map issued by the Department of Petroleum Affairs at the League of Arab States, to demonstrate the distribution of oilfields, pipelines, refineries and exploration wells throughout the Gulf States, Saudi Arabia and North Africa.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
PONTING (HERBERT GEORGE)'Captain Scott's Last Birthday Dinner, 1911. (Officers' Table.)', toned silver bromide print, on card, captioned in ink on the original Fine Art Society label on verso, contemporary oak frame [FAS 1913, No. 51], 480 x 515mm., [1911, printed 1913]Footnotes:Fine photograph of the Scott and his officers seated for dinner to celebrate his forty-third birthday on 6 June 1911 in Antarctica. 'It shows that they ate very well and that this special occasion they took great care with the presentation of the meal... There is a strong patriotic atmosphere: a Union Jack is laid on the table and behind Scott we see sledge flags belonging to the team' (D. Hempelman-Adams, S. Gordon and E. Stuart, The Heart of the Great Alone. Scott, Shackleton and Antarctic Photography, 2009, p.113).The Fine Art Society mounted the first public exhibition of Ponting's photographs at their gallery in New Bond Street, London on 4 December 1913, displaying 146 images, and generating some 680 orders. They were available in four sizes, the present sample being the third largest exhibition format. Landscapes proved the most popular, with comparatively few portrait ordered (for example just thirteen orders were received for the special set of large photographs of the polar party), with the present image rare and one of the few images Ponting developed as toned silver bromide prints.Provenance: Fine Art Society label (captioned in ink 'Capt. Scotts Birthday Dinner / 1911. / 51' on the reverse), with pencil name 'Jeffreys L.' beneath in pencil. On the backing board of the frame is a trade label of Richard Jeffreys, picture dealer and framer, Liverpool.For further information on this lot please visit Bonhams.com
A Matched Part Set of German Cutlery, stamped crescent and crown mark, "800" and "Schroder", including six table forks, four table knives (two blades stamped "Oskar Jahn Stahlwarenhaus Halberstadt", five teaspoons (stamped "Friedlander"), initialled, etc; A Decorative Set of Five Table Spoons, of textured foliate finish, initialled, stamped "750". (22)
A c.XIX Century Decorative German Part Canteen of Cutlery, including table knives and forks (12 each), table spoons (12), fruit knives and forks etc, handles double struck and stamped crescent and crown mark, "800" "L.Grabowski", knife blades stamped "J.A. Henckels Solingen Zwillingswery", part initialled (damages). (80)
A Part Canteen of Matched Hallmarked Silver Fiddle Thread and Shell Pattern Cutlery, United Cutlers, Sheffield 1993, 1994, handles double struck, comprising 6 table knives, 8 table forks, 8 smaller knives, 8 smaller forks, 6 table spoons, 8 dessert spoons, 7 soup spoons, 7 teaspoons, 8 fish knives and forks (total weight excluding knives 4235grams), contained in a modern canteen case.
A Chinese cinnabar lacquer and porcelain table screen and slotted stand, early 20th century, the rectangular screen inset with a famille verte porcelain panel, moulded in relief with two figures beside a pavilion and trees, the reverse carved with bird and peony, the frame and stand carved with scrolling tendrils, height 36cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A Chinese hardwood altar table, modern, the rectangular panelled top with scroll ends above a carved and pierced dragon scroll frieze, on pierced legs united by stretchers, length 157cm, depth 38cm, height 92cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A Japanese antimony vase, early 20th century, cast in relief with chrysanthemum, height 19.2cm, together with a Chinese famille rose hexagonal table lamp, modern, painted with figural scenes, height 38cm, with a wood stand and fittings.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A Chinese lacquered and carved giltwood offering box (chanab), late 19th century, of hexagonal form, the sides with carved and pierced giltwood panels of figures and flowers, the galleried stand with pierced apron and base, height 29.5cm (converted to a table lamp and some faults).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
An early 20thC oak extending dining table, raised on turned supports with X shaped stretcher, 74cm high, the top 102cm x 126cm, together with six associated slat back chairs, with leatherette drop in seats. Lots 3501 to 3596 are available to view and collect at our additional premises SALEROOM NINE, Unit 9 Chandlers Yard, Grantham, NG31 6PG. For more details please call the office on 01476 565118. All collections for this section must be done Monday 12th and Tuesday 13th June.
An Edwardian Wedgwood Deep Blue Dip Jar and Cover with silver rim (full hallmarks). Decorated with classical scenes. Very good condition. Measuring 19 cms in height. Together with - Wedgwood Blue Jasper/Ronson Table Lighter - Silver Jubilee 1952 - 1977 with box and instruction manual. Also - A Wedgwood Blue Jasper HM The Queen Silver Jubilee Plate, 1952 - 1977. In original box. Together with Wedgwood Green Jasper Oblong Dishes ( 4 ) In Total. All with Original Boxes. All In As New Condition. Also Wedgwood Pair of Jasper Plates. Comprises 1/ White on Pale Blue Jubilee Plate. 2/ Pale Blue on White Coronation of the Silver Jubilee 1953 - 1978. Both With Original Boxes.
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1181390 item(s)/page