There are 39442 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeA quantity of Liliput style miniature cottages, a Saalheimer limited edition cottage, a collection of character teapots to include Royal Worcester Crownware, early 20th century decorated opaque glass vases, a Sadler green vase, ceramic basket of fruit, and mid twentieth century tapestry of two children fishing ( framed ) (3 boxes plus)
YVES BRAYER (1907-1990), engraving, "Camargue Horse" 20th Century, French. Signed in the lower right corner painting - Yves Brayer. On the reverse is a tag reading "YVES BRAYER Camargue Horse". Yves Brayer (18 November 1907 Ð 29 May 1990) was a French painter known for his paintings of everyday life. He was born in Versailles. He studied in Paris at the academies in Montparnasse starting in 1924, and then at the ecole des Beaux-Arts with Lucien Simon. Although he was independent and never belonged to a school, he was friends with Francis Gruber, the founder of the Nouveau Realisme school. He first exhibited in the salons of 1927, and then traveled to Spain, where the masterpieces in the Prado Museum had a profound influence on him. After a stay in Morocco, he went to Italy, where he won the Grand Prix de Rome in 1930. He settled back in Paris in 1934, organizing his first solo exhibition. He remained in occupied Paris during World War II. After the war, he traveled widely to Mexico, Egypt, Iran, Greece, Russia, the United States and Japan, trying to capture the light and colors of each country. He was interested in the techniques of copper plate engraving and lithography and produced illustrations for editions of such authors as Charles Baudelaire and Paul Claudel. He also created murals and wall ornamentations, tapestry cartoons, maquettes, sets, and costumes for the The‰tre Franais and the operas of Paris, Amsterdam, Nice, Lyon, Toulouse, Bordeaux, and Avignon. In 1954 Brayer was awarded to the Grand prix des Beaux-Arts de la Ville de Paris, and he was elected to the Academie des Beaux-Arts in 1957. He was president of the Salon d"Automne for five years. In 1977 he was made curator of the Musee Marmottan in Paris, a position he held for 11 years. Brayer died in Paris in 1990.Height: 33cm; Width: 47cm;
Good Quantity of 12 inch records including Pink Floyd, Led Zeppelin II and III, Stone Roses, Tracy Chapman, Credence Clearwater Revival, Kid Creole and the Coconuts, Rolling Stones, Elvis Costello Armed Forces, Van Morrison, Rod Stewart, Carole King Tapestry, Paul Simon, Roy Orbison, Dire Straits, Billy Joel, Stevie Wonder. (a lot)
Antique Brussels tapestry The Triumph of Apollo made in the first quarter of the 18th century after the model of Jan van Orley (1665 - 1735) et Augustin Coppens (1668 - 1740) which was supposedly created in the workshop of Reydams-Leyniers and Van der Borcht.This beautiful hand-woven tapestry depicts Apollo holding a lyre against the sky. He left his cart visible on the left. Apollo is crowned by a winged figure with the sun, and on earth beautiful female images symbolize Music, History and Writing. The characteristic features of the characters and the harmony of colors make this work unique. The tapestry is made of fine weaving on a wool base (8-9 threads per centimeter) with the addition of wool and silk threads. The tapestry has retained its vibrant colors. The overall condition of the tapestry can be described as good, with the exception of a few minor old restorations. Previously, the tapestry was reduced in size, presumably being part of the Triumph of the Gods series woven in the famous workshop of Reydams-Leyniers and Van der Borcht.. Reference: A similar tapestry with the plot `The Triumph of Apollo` is described in detail in the book of a professor at Levin University and editor of publications in the field of the history of Flemish tapestry 17-18 centuries ` Contextual study of the Brussels tapestry 1670-1770` Brussels 204 p. 554. A second similar tapestry was published in the book `Triumphs of the Gods` Guy Delmarcel, 1999 - La Tapisserie flamande, 1999 pp. 321 to 327 Width: 197cm, Height: 270cm, Depth: 1cm, Weight: 10kg, Condition: Good, Material: WoolChoose Color
Queen Matilda's tapestry long folding, paper back pages 1 58. Approx. Size 11.5x4 Inch. 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
Mario Prassinos (GREEK/FRENCH, 1916-1985)Romeo et Juliette, 1961 tapisserie156 x 230cm (61 7/16 x 90 9/16in).Réalisée pour l'Atelier Goubely – Gatien, Aubusoson, France.tapestryFootnotes:ExpositionsParis, Galerie La Demeure, Mario Prassinos Ouevre Tissé, June 7-30, 1961 (illustrated in the exhibition catalogue, pp. 44-45). Ermoupolis, Syros, Cyclades Art Gallery - Municipal Cultural Centre, Mario Prassinos Retrospective 1935-1985, Ermopouleia 2008, August 2 - September 3, 2008 (illustrated in the exhibition catalogue, p. 121).Athens, Benaki Museum, Weavings. Painting and Tapestry in Greece from 1960 to the Present, November 21, 2019 - February 16, 2020 (illustrated in the exhibition catalogue, p. 174).LittératureEikones magazine, no. 297, June 30, 1961, p. 51 (illustrated).Saleroom notices:Please note the following cataloguing correction:Réalisée par l'atelier Goubely-GatienThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Yiannis Moralis (Greek, 1916-2009)Printemps signé en grec et daté '64' (en bas à droite); signé et daté 'Yannis MORALIS/1963-65' (au revers)technique byzantine sur carton36 x 89cm (14 3/16 x 35 1/16in).Peint en 1964.signed in Greek and dated (lower right); signed and dated (on the reverse)egg tempera on cardboardFootnotes:ProvenanceThe artist's collection, Athens. D. Fotopoulos collection, Athens.Private collection, AthensExpositionsAthens, Benaki Museum, I.Moralis, Angels, Music, Poetry, October 24 - November 30, 2001, no. 152 (illustrated in the exhibition catalogue, pp. 124-125).Athens, Benaki Museum, The World of Dionyssis Fotopoulos, December 21, 2005 - March 19, 2006, no. 620 (illustrated in the exhibition catalogue, p. 334).Andros, Y. Moralis, Traces, Museum of Contemporary Art - Basil and Elise Goulandris Foundation, June 29 - September 28, 2008, no. 16 (catalogued, p. 233, discussed by the artist, p. 66, and illustrated in the exhibition catalogue, p. 67). Athens, Benaki Museum, Yannis Moralis, September 20, 2018 - February 10, 2019.Athens, Benaki Museum, Weavings. Painting and Tapestry in Greece from 1960 to the Present, November 21, 2019 - February 16, 2020 (illustrated in the exhibition catalogue, pp. 66, 164).LittératureV. Fotopoulos ed., Yannis Moralis, Commercial Bank of Greece Group of Companies edition, Athens 1988, no. 145, p. 145 (illustrated).T. Spiteris Archive, Tellogleion Art Institute, Thessaloniki, c. 1980s, no. GR TITSpit f636_40, p. 5 (illustrated).C. Christou, Moralis, Adam editions, Athens 1993, no. 81 (illustrated).C. Christou, Greek Painting in the Twentieth Century, Association for the Dissemination of Beneficial Books edition, vol. 1, Athens 2000, p. 228 (mentioned). Y. Bolis, Yannis Moralis, K. Adam editions, Athens 2005, pp. 77-78 (discussed), p. 77 (illustrated).Y. Bolis, Yannis Moralis, Contemporary Greek Painters, Ta Nea editions, Athens 2007, pp. 62-64 (discussed), p. 62 (illustrated).Lexi magazine, no. 200, April-June 2009, p. 269 (illustrated).Discussing this work, Moralis noted: 'It's the spring. It's this air one feels all around, which I experienced when going to the island of Aegina just before Easter, during Holy Week ... On the left is the church we'd go to, to listen to the twelve gospels, with the girl that stoops to kiss the bier of Christ.'1 Printemps revives the archetypal universe of an Ionian frieze. The architectural motifs that echo fragments of an ancient Greek temple or a neoclassical Athenian mansion, the shallow compositional depth, reminiscent of sculptural relief, and the austerity of the horizontal and vertical lines set up a perfectly balanced geometric edifice from which the human form emerges. The symbolic figure of the young woman, the loving embrace of the couple at the far right, the angel on the upper part, and the luminous patches of blue indicative of the sea and the clear skies, compose a symphony of poetic images, a universe of classical rhythm and human scale. Magnificent in its simple grandeur, this striking work echoes the timeless values of ancient Greek art.1 As quoted in Y. Moralis, Traces, exhibition catalogue, Museum of Contemporary Art - Basil and Elise Goulandris Foundation, Andros 2008, p. 66.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Constantinos Parthenis (Greek, 1878-1967)Pin signé 'C.Parthenis' (en bas à droite)huile sur toile54.5 x 60cm (21 7/16 x 23 5/8in).signed (lower right)oil on canvasFootnotes:ProvenancePrivate collection, Athens.ExpositionsAthens, Zappeion Hall, Parthenis Exhibition, January-February 1920 (based on an exhibition photograph published in E. Matthiopoulos, The Life and Work of Costis Parthenis, K. Adam editions, Athens 2008, p. 65).The music of colours, first introduced by Klimt,was taken up only by Parthenis among Greek artists. Pinakothiki journal, January 1904.1Parthenis was one of the first artists to infuse the forces of renewal in Modern Greek painting, distancing it from academic pictorial formulas and turning it towards liberal artistic movements and avant-garde trends. Reviewing the artist's legendary 1920 Parthenis retrospective at the Zappeion hall, Athens National Gallery Director Z. Papantoniou noted: 'Parthenis masterfully applies the innovative technique of 'optical mixture' in which pigments instead of being mixed on the palette are directly applied on the canvas to be mixed by the spectator's eye at a certain distance from the picture.'2 This pulsating pointillism is perfectly evident in Pine Tree, producing a shimmering effect and charging the picture with vibrant energy. Throughout, Parthenis used his distinctive parallel strokes and sharp vertical touches with great confidence and freedom to capture the power and variable pulse of the landscape. The viewer's eye follows the darting movements of his brush, as successive touches of colour are seized upon and added to the picture surface.Moreover, the elegant shapes, sinuous lines and wonderful rounded tree forms that instantly bring to mind the handling of foliage in his famous Slope at the National Gallery in Athens, show how the painter exploited the expressive nature of his formal repertoire to offer a poetic, idealised experience of the landscape. As noted by Z. Papantoniou, 'Parthenis's landscapes take us to the world of ideas. His eye sees into the ideal, as ours does into the natural. The humblest of his trees reveals a thought.'3 The work should be dated from the early 1900s, just before or after the artist's return to Athens following his seven-year stay (1897-1904) in Vienna.4 In this great centre of European modernism Parthenis became familiar with Viennese Jugendstil and especially the work of Gustave Klimt. The poetic atmosphere, subtle colour harmonies, absence of human figures, solemn remoteness and sharp brushstrokes that transform the canvas into a gleaming tapestry of colour touches, leave no doubt that Parthenis had assimilated the achievements of the great Viennese symbolist5 (compare G. Klimt, Roses under trees, c. 1905, Musée d'Orsay, Paris). 1 See also E. Mathiopoulos, 'The reception of Parhtenis' Work' in Art Grows Feathers in Pain [in Greek], Potamos editions, Athens 2005, pp. 574-594. 2 Z. Papantoniou, 'The Art of Parthenis' [in Greek], Patris daily, January 19, 1920.3 Ibid.4 Compare C. Parthenis, Misty lake, sold by Bonhams, Greek Sale, May 15, 2007, lot 83.5 The square format Parthenis used here played a central role in Viennese Jugendstil and perfectly suited Klimt's search for peace and balance. It was also used by Monet to increase the feeling of tranquillity, and to direct attention on the orchestration of the colours and harmonies within the painting. See S. Koja, Gustave Klimt Landscapes, Prestel editions, New York 2006, p. 61.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Pair of Victorian heavily carved ebonised oak armchairs, in 17th Century style, with light brown floral tapestry stuffover seat and pad arms, height 143cm, width 60cm (Please note condition is not noted. We strongly advise viewing to satsify yourself as to condition. If you are unable to view please request a condition report, which will be provided in writing).
A MODERN TAPESTRY CARPET AND AN INDIAN BOKHARA RUG (2)The sage green field with four rows of three compartments each with a bouquet of flowers, a floral garland border, 203 x 163cm, modern and one other - the madder field with three columns of thirteen guls, supporting crosses; a sunburst border and diamond skirt ends, 193 x 127cm, 1970sCondition: Good
A George III Chippendale style mahogany elbow chair, with pierced vase shaped splat, scrolled terminals over a drop-in tapestry seat, upon legs of square section, seat height 45cm, height 95cm (at fault), along with a pair of late 19th century mahogany Chippendale style dining chairs, with swept top rail, interlaced splat over a drop-in seat, upon legs of square section united by an 'H' cross stretcher, seat height 46cm, height 100cm (3)Condition reportAll chairs appear firm with little or no play in the joints, carver chair has some rubbing wear to the front right leg, later blocks added to the underside.All chairs with general minor rubbing wear and scuffs commensurate with age and use.
A set of five mahogany Hepplewhite style dining chairs, early 20th century, each with an openwork urn design splat back, over a tapestry drop-in seat upon channelled front legs, plain back swept rear legs united by an 'H' cross stretcher, to include one carver, seat height 47cm, height 104cm (5)
A good green leather cased necessaire early 19th Century with typed note of provenance, the grained green leather rectangular case with elaborate part enamelled catch opening to reveal a silk interior with silver lace borders, a mirror (cracked), a pair of glass scent bottles, a notebook, a needle flannel with compartments for additional items, 12 x 7 x 3cm. † With a typed note of provenance - Lady's necessaire, Circa 1830 in a tapestry bag of slightly later date (now lacking). It was handed down by the mother of the Bishop of Woolwich's wife to her daughter in 1855. From a Connoisseur's Collection
Point de Loiselles after William Morris (1834-1896) a large machine woven 'tapestry' wall hanging by Point de Loiselles of two birds perched in bold swirling foliage, framed by a leafy branch and paper twist design border, together with a burnished metal hanging rail; with a label for Point De Loiselles, Design 1032: Les Oiseux235cm x 180cm
Loading...
![A heraldic tapestry on display stand, 143 cm (h), a wash bowl and jug and Old English Sheepdog figures. [3]. [W]](https://cdn.globalauctionplatform.com/01db7b49-e043-4982-8dac-b07600ce68c1/e6df6e96-97c5-4f5e-9fe1-b0bc0105310b/468x382.jpg)
