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Susanna Coffey EST. Sunflowers 1, 2020 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) "These watercolours were made in one day last week. Lately I've had to change location a few times, and am often confused about where I am and what I should be doing. That grey September day, confined to my tiny NYC apartment, I was wondering what to paint. AND I was reading, first Colette, then Proust on Chardin, and thinking about the beauty of prosaic things, longing for the pastoral. While dithering over what kind of work to make for you, I finally noticed the jug of sunflowers and my box of watercolours on the table which is now my studio. What else could I do? Both so luminous, colourful and well known. The blue vase, yellow flowers and a feeling of autumn gardens had me picking up my brushes and before I knew it I was painting." Susanna Coffey's portraits are investigations of the iconic human head. The work is driven by questions about what a portrait image can mean. What is a beautiful appearance? Why do conventionally gendered images involve caricature? Can inchoate feeling-states be adequately portrayed? Meticulously observed, most works show her in many guises and locations: under dramatic lighting, highly costumed, inside a studio, within landscapes, foliage, places of fiery devastation, and amidst phantasmagoric patterns. Some portraits seem almost entirely abstract with only the barest suggestion of a human face. Coffey's artwork has been exhibited in many museums including The Weatherspoon Art Museum, The Aldrich Museum, The Hood Museum, The American Academy of Arts and Letters. Her work is in the collections of The Yale University Art Gallery, The Art Institute of Chicago, The Minneapolis Museum of Art, The National Portrait Gallery, Washington D.C., The Karamay Museum of Art, Xinjiang China and Museum of Contemporary Art, Seville, Spain, among others. Among her awards are The John Simon Guggenheim Memorial Foundation Fellowship, and the Louis Comfort Tiffany Award. Susanna Coffey lives and works in New York City. Susanna Coffey's work is represented by Steven Harvey Fine Arts Projects in New York City, Alpha Gallery in Boston and Galeria Isabel Ignacio in Seville, Spain.
Susanna Coffey EST. Sunflowers II Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) "These watercolours were made in one day last week. Lately I've had to change location a few times, and am often confused about where I am and what I should be doing. That grey September day, confined to my tiny NYC apartment, I was wondering what to paint. AND I was reading, first Colette, then Proust on Chardin, and thinking about the beauty of prosaic things, longing for the pastoral. While dithering over what kind of work to make for you, I finally noticed the jug of sunflowers and my box of watercolours on the table which is now my studio. What else could I do? Both so luminous, colourful and well known. The blue vase, yellow flowers and a feeling of autumn gardens had me picking up my brushes and before I knew it I was painting." Susanna Coffey's portraits are investigations of the iconic human head. The work is driven by questions about what a portrait image can mean. What is a beautiful appearance? Why do conventionally gendered images involve caricature? Can inchoate feeling-states be adequately portrayed? Meticulously observed, most works show her in many guises and locations: under dramatic lighting, highly costumed, inside a studio, within landscapes, foliage, places of fiery devastation, and amidst phantasmagoric patterns. Some portraits seem almost entirely abstract with only the barest suggestion of a human face. Coffey's artwork has been exhibited in many museums including The Weatherspoon Art Museum, The Aldrich Museum, The Hood Museum, The American Academy of Arts and Letters. Her work is in the collections of The Yale University Art Gallery, The Art Institute of Chicago, The Minneapolis Museum of Art, The National Portrait Gallery, Washington D.C., The Karamay Museum of Art, Xinjiang China and Museum of Contemporary Art, Seville, Spain, among others. Among her awards are The John Simon Guggenheim Memorial Foundation Fellowship, and the Louis Comfort Tiffany Award. Susanna Coffey lives and works in New York City. Susanna Coffey's work is represented by Steven Harvey Fine Arts Projects in New York City, Alpha Gallery in Boston and Galeria Isabel Ignacio in Seville, Spain.
Susanna Coffey EST. Sunflowers III, 2020 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) "These watercolours were made in one day last week. Lately I've had to change location a few times, and am often confused about where I am and what I should be doing. That grey September day, confined to my tiny NYC apartment, I was wondering what to paint. AND I was reading, first Colette, then Proust on Chardin, and thinking about the beauty of prosaic things, longing for the pastoral. While dithering over what kind of work to make for you, I finally noticed the jug of sunflowers and my box of watercolours on the table which is now my studio. What else could I do? Both so luminous, colourful and well known. The blue vase, yellow flowers and a feeling of autumn gardens had me picking up my brushes and before I knew it I was painting." Susanna Coffey's portraits are investigations of the iconic human head. The work is driven by questions about what a portrait image can mean. What is a beautiful appearance? Why do conventionally gendered images involve caricature? Can inchoate feeling-states be adequately portrayed? Meticulously observed, most works show her in many guises and locations: under dramatic lighting, highly costumed, inside a studio, within landscapes, foliage, places of fiery devastation, and amidst phantasmagoric patterns. Some portraits seem almost entirely abstract with only the barest suggestion of a human face. Coffey's artwork has been exhibited in many museums including The Weatherspoon Art Museum, The Aldrich Museum, The Hood Museum, The American Academy of Arts and Letters. Her work is in the collections of The Yale University Art Gallery, The Art Institute of Chicago, The Minneapolis Museum of Art, The National Portrait Gallery, Washington D.C., The Karamay Museum of Art, Xinjiang China and Museum of Contemporary Art, Seville, Spain, among others. Among her awards are The John Simon Guggenheim Memorial Foundation Fellowship, and the Louis Comfort Tiffany Award. Susanna Coffey lives and works in New York City. Susanna Coffey's work is represented by Steven Harvey Fine Arts Projects in New York City, Alpha Gallery in Boston and Galeria Isabel Ignacio in Seville, Spain.
Susanna Coffey EST. Sunflowers IV, 2020 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) "These watercolours were made in one day last week. Lately I've had to change location a few times, and am often confused about where I am and what I should be doing. That grey September day, confined to my tiny NYC apartment, I was wondering what to paint. AND I was reading, first Colette, then Proust on Chardin, and thinking about the beauty of prosaic things, longing for the pastoral. While dithering over what kind of work to make for you, I finally noticed the jug of sunflowers and my box of watercolours on the table which is now my studio. What else could I do? Both so luminous, colourful and well known. The blue vase, yellow flowers and a feeling of autumn gardens had me picking up my brushes and before I knew it I was painting." Susanna Coffey's portraits are investigations of the iconic human head. The work is driven by questions about what a portrait image can mean. What is a beautiful appearance? Why do conventionally gendered images involve caricature? Can inchoate feeling-states be adequately portrayed? Meticulously observed, most works show her in many guises and locations: under dramatic lighting, highly costumed, inside a studio, within landscapes, foliage, places of fiery devastation, and amidst phantasmagoric patterns. Some portraits seem almost entirely abstract with only the barest suggestion of a human face. Coffey's artwork has been exhibited in many museums including The Weatherspoon Art Museum, The Aldrich Museum, The Hood Museum, The American Academy of Arts and Letters. Her work is in the collections of The Yale University Art Gallery, The Art Institute of Chicago, The Minneapolis Museum of Art, The National Portrait Gallery, Washington D.C., The Karamay Museum of Art, Xinjiang China and Museum of Contemporary Art, Seville, Spain, among others. Among her awards are The John Simon Guggenheim Memorial Foundation Fellowship, and the Louis Comfort Tiffany Award. Susanna Coffey lives and works in New York City. Susanna Coffey's work is represented by Steven Harvey Fine Arts Projects in New York City, Alpha Gallery in Boston and Galeria Isabel Ignacio in Seville, Spain.
George Little Table Clip, 2020 Pencil and China Wax Marker Signed verso 15 x 10cm (5¾ x 3¾ in.) George Tormod Little was born in Hammersmith, London, UK, in 1988. He lives and works in London. His recent solo exhibitions include shows at CO2 Gallery in Rome, Italy; Mother Space, Shoreditch, London, UK; Elephant and Castle - Winter projects, London, UK and Ana Cristea Gallery, New York, USA. His works were shown in groups shows at the Lion and Lamb Gallery, Shoreditch, London, UK; Fell Space, London, UK; the Saatchi gallery, London, UK. His work is in the collection of the Saatchi Gallery, London.
George Little Table for One, 2020 Watercolour, Pencil, and China Wax Marker Signed verso 15 x 10cm (5¾ x 3¾ in.) George Tormod Little was born in Hammersmith, London, UK, in 1988. He lives and works in London. His recent solo exhibitions include shows at CO2 Gallery in Rome, Italy; Mother Space, Shoreditch, London, UK; Elephant and Castle - Winter projects, London, UK and Ana Cristea Gallery, New York, USA. His works were shown in groups shows at the Lion and Lamb Gallery, Shoreditch, London, UK; Fell Space, London, UK; the Saatchi gallery, London, UK. His work is in the collection of the Saatchi Gallery, London.
Imam Raad Gaze (Oranges on Turquoise Table), 2020 Acrylic on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Iman Raad (Mashhad, Iran 1979) received his MFA in Painting and Printmaking from Yale University (2017), and was the Shandaken Projects' Paint School fellow (2017-18). He is currently a resident at the Queens Museum Studio Program, and an adjunct faculty at The Cooper Union School of Art. He lives and works in New York City. Iman Raad works across a variety of media, including painting, drawing, embroidery, graphic work and performance lectures. In these diverse works, he draws on influences such as Persian painting, Mughal painting, South-Asian Truck painting and internet image culture. He combines these local references with contemporary subject matter to create his mural-like installations. Using a vivid, high key palette, altered perspective, and repetition that mimics digital glitches, the result is a riot of colour and movement that is both seductive and unsettling. Traditionally ornamental elements such as birds, fruits and flowers are recalibrated into subjects that carry narrative import and are given animate, unnatural presences. These are intertwined with social events and historical moments rendered in fantastical ways to draw in the viewer. Aside from painting, Raad is also an internationally acknowledged graphic designer, included in The Phaidon archive of five hundred designs that matter, representing the contemporary Persian graphic design movement. His recent solo exhibitions include Sargent's Daughters Gallery, New York (2021 -forthcoming), In Her Sweetest, Saddest Plight, Dastan Gallery at Frieze New York (2020), Tongue Tied, Sargent's Daughters Gallery, New York (2017) and Forty Drawings and So, Dastan Gallery, Tehran (2016). 
Recent exhibitions include group show at The Flag Art Foundation in New York (Sep 2018), Standing Still, Lying Down, As If at the Museum of Contemporary Art Detroit (MOCAD) (Oct 2018), the 9th Asia Pacific Triennial of Contemporary Art at QAGOMA Brisbane, Australia (Nov 2018), Contemporary Art from Asia, Australia and the Pacific at the Centro Cultural La Moneda, Santiago, Chile (Aug 2019), and Reflections: contemporary art of the Middle East and North Africa at the British Museum, London, UK (Dec 2020).
BEYEREN, ABRAHAM HENDRICKSZ VAN BEYEREN, ABRAHAM HENDRICKSZ VAN 1620 Den Haag - 1690 Overschie Titel: Stillleben mit Fischen. Technik: Öl auf Leinwand. Montierung: Doubliert. Maße: 65 x 77cm. Bezeichnung: Monogrammiert mittig auf der Tischkante: AB f. Rahmen/Sockel: Rahmen. Provenienz: Privatbesitz, Deutschland. Erläuterungen zum Katalog Abraham Hendricksz van Beyeren Niederlande Niederländische Schule 17.Jh. Originale Fische Malerei Küchenstück BEYEREN, ABRAHAM HENDRICKSZ VAN BEYEREN, ABRAHAM HENDRICKSZ VAN 1620 The Hague - 1690 Overschie Title: Still Life with Fish. Technique: Oil on canvas. Mounting: Relined. Measurement: 65 x 77cm. Notation: Monogrammed middle of the edge of the table: AB f. Frame/Pedestal: Framed. Provenance: Private ownership, Germany. Explanations to the Catalogue Abraham Hendricksz van Beyeren The Netherlands Dutch School 17th C. Old Masters Fish Painting Kitchen Scene
English, dated 1844, signed to top of the limb 'Powell & Lealand, Makers, London', standing on typical Powell & Lealand tripod with large trunnions supporting body, large plano-concave mirror on Powel single-sided support, fully mechanical stage with X-Y control with substage accessory mount, triangular bar with rack and pinion focusing, limb with struts supporting back of the body tube, fine focus wheel to side of limb, also with an unusual mahogany stand, accessory case includes: A pre-RMS threaded 1in objective Lieberkuhn & can. A pre-RMS threaded 1/2in objective & can. A 1/8in empty can. A camera lucida eyepiece. A complex substage achromatic condenser with integral stops and aperture. A low power eyepiece A medium power eyepiece. A high power eyepiece. A set of 3 dark wells. A bar tool. A live box. An eyepiece polariser. A substage analyser. Stage forceps. Stage condenser. all in fitted French polished mahogany cabinet which also includes; a large microscope stage, a frog/fish plate, a bodytube with an erector lens and a large table bullseye, case height 41cm
English, c.1800, the engraved paper laid on mahogany table, trade cartouches Designed for the New Portable Orreries by W Jones, and Made and Sold by W&S Jones 30 Holborn London graduated with days of the month and of the houses of the Zodiac with names, signs and pictures, compass directions and degrees of amplitude and azimuth, table of principal affections of the planets dated ‚'Jany 1st 1794 Published as the Act directs by W. & S. Jones‚' giving details for each of the six planets nearest the sun for the year 1794, , also with tables for the revolutions and distances of the satellites of Jupiter and Saturn, with a diagram entitled The Solar System with positions for each of the planets and dated from 1796 to 1810, the 1¬Î©-inch globe made up of 24 hand-coloured engraved gores, signed Bardin London with graduated equatorial, ecliptic and one meridian, Tasmania as a peninsula in New Holland, mounted with brass twilight pointer and held above an angled ring to alter the height of the ivory moon, a secondary ring graduated with the signs for the houses of the Zodiac, and a disc showing the phases of the moon, on multi-wheeled geared mechanism, at the centre the brass sun mounted on the central axis, with planet arms for the ivory Mercury and Venus, the mechanism driven by a cranked handle in original oak case with brass oil lamp which can be fitted as alternative to the brass ball sun, table diameter 32.3cm. Condition Report:The mahogany table is sound with no losses or shrinkage cracks, the engraved paper is complete, without paper losses but faded with some wear and some stains (please see images, the third online image shows the largest stain). The Bardin globe appears in good condition with no losses. The brass clockwork mechanism is complete and fully functioning with very little wear and retains much of the original lacquer. However, the brass nut securing the mechanism to the table is missing. The pointer is missing and the ring adjusting the altitude of the moon and the zodiac ring appear to have been repaired. There appear to be no other repairs or replacements, assuming the ivory ball representing Mercury has been cleaned rather than replaced.
Italy.- Swinburne (Henry) Travels in the Two Sicilies, 2 vol., first edition, half-title in vol.2 only, folding engraved map, 2 plans, 20 plates (2 folding) and one folding letterpress genealogical table, some foxing, short tear to map, bookplate of James Frampton, contemporary tree calf, gilt, a little rubbed and scratched but overall a very handsome copy, 4to, 1783-85.
Turkey.- Knolles (Richard) The Generall Historie of the Turkes from the first beginning of that Nation to the rising of the Othoman Familie, third edition, engraved title, 32 engraved illustrations in text (31 portraits and 1 battle scene), woodcut initials, lacking A1 (blank), Table misbound at beginning, scattered manuscript corrections or underlining, contemporary manuscript quote to final leaf verso, 7pp manuscript notes loosely inserted, occasional tiny marginal worming (G1-M6; 2O4-2V6; 3X1-4D6), ink stain affecting text (R4), short marginal tear (3Q6), short tear affecting text (K6), occasional faint spotting, one or two tiny rust holes, bookplate, contemporary panelled calf, rebacked, a little rubbed, slight bumping to corners and extremities, [STC 15053], folio, Adam Islip, 1621.
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1181390 item(s)/page