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Geoffrey Baxter - Whitefriars - A collection posy vases, to include pattern 9471, to include two Flint, two Sea Green, one Midnight Blue and one pattern number 9732 in Arctic Blue, together with soda glass flared vase, height 30cm, and two pattern 9599 vases in Amethyst and Shadow Green, heights 17.5cm. (11)
Whitefriars - A collection of vases, to include a Footed Swag vase, pattern number 9358 in Gold, height 15cm, a Dimpled - Single Row vase, pattern number 9860, in Sky Blue, height 14.5cm, an FLC vase, pattern number 9864 in Gold, height 20cm, and two lobed bowls, pattern number 9335 in Sea Green and Gold. (5)
Geoffrey Baxter - Whitefriars - A collection of vases, to include three Optic Ribbed Ovoid vases, pattern number 9586 in Ruby, Kingfisher Blue and Green, heights 13.5cm, a small ovoid vase pattern number 9518 in Ruby, height 10.5cm, a Crispie Dented vase, pattern number 9633 in Blue, height 19.5cm, and a mixer jug, pattern number 9508 in Ruby, height 22.5cm. (6)
Michael Andersen and Sons - A post war stoneware jug, shape 5991, of low shouldered cylinder form with tapering neck and loop handle, decorated with a band of repeated diamonds below the light blue glaze, impressed marks, together with another similar small jug, shape 5929, with a band of impressed ovals, and a stoneware vase, shape 6135, panels of impressed designs depicting the industry around Ronne, by the same hand, impressed marks, tallest height 22cm. (3)
Berte Jessen - Royal Copenhagen - A cylindrical Fajance vase decorated with a stylised tulip in tones of blue with flowers and foliage behind with red flower heads against a white ground, printed marks, height 26cm, together with a Tenera Series bottle vase, designed by Kari Christensen, with abstract floral decoration, printed marks, height 18cm. (2)
Nils Thorsson - Royal Copenhagen - A post war Fajance dish of square form with sgraffito decoration in the form of sunbursts and squares, in tones of brown, printed marks, width 26.5cm, together with a bottle vase designed by Nils Thorsson in the fish mosaic design, printed marks, height 14cm. (2)
Ellen Malmer - Royal Copenhagen - A post war large dish, shape 3293, of circular form, decorated to the interior with stylised floral sprays in tonal browns, printed marks, diameter 33cm, together with a Royal Copenhagen BACA Series slab vase, shape 2942 decorated with abstract bird mosaic pattern designed by Nils Thorsson, printed marks, height 15cm. (2)
Irma Stern (South African, 1894-1966)Magnolias signed and dated 'Irma Stern/ 1946' (lower left); further signed and inscribed 'Irma Stern/ Cape Town' (verso)oil on linen85 x 85cm (33 7/16 x 33 7/16in).(framed)Footnotes:ProvenanceAcquired directly from the artist by Gina Schnabl;By direct descent to the current owner;A private collection.ExhibitedParis, Galerie de Beaux Arts, 1947.Rotterdam, Kunstaal van Eeck.Johannesburg, Gainsborough Galleries, 1957.Christopher Peter, the former Director of the Irma Stern Museum, wrote enthusiastically of the artist's still lifes: 'For me, Irma's Still Life works immediately evoke her studio! Her canary yellow studio!' (Life Force, exh. cat., 2018: pp. 24-25). The brilliant yellow background of this and other paintings takes one imaginatively to the very site of her creativity. The Chinese stoneware vase in the painting recalls examples held in her collection (Irma Stern Trust Collection, nos. 530 and 534). The unusual striped textile that is folded beneath the vase would seem to represent a woven palm-leaf mat, most likely acquired during Stern's Zanzibar trip the year before in 1945. Although not identical to that depicted in the present work, several examples survive in her museum, while others feature both in her paintings and in the exhibition installations that her companion Dudley Welch designed for her at this time.Family tradition holds that the present work was purchased circa 1951 in an extraordinary and undocumented exhibition at the home of the purchaser in what was then Salisbury, Southern Rhodesia, having been exhibited in the Netherlands at some time before that. The painting returned to South Africa when the owners relocated to Johannesburg in 1988. Although there is not direct confirmation of this narrative in the Irma Stern archives, it is certainly plausible.Two records from 1951 in the archive could indicate the present work. In April that year, Stern exhibited Magnolias listed as no. 13) at the Gainsborough Galleries, Johannesburg, at the considerable price of 175 guineas. The exhibition catalogue provides neither the date nor the dimensions of the painting. Stern's cashbook for May 1951 records 'Johburg Nr.13 – difference in (words illegible) L117.5'. No buyer's name is recorded and the difference between this price and the catalogue price seems to indicate that an earlier deposit had been paid: the present work was paid for by the owner's family in instalments. It is possible that the Salisbury exhibition staged by the present owner's family was negotiated by the Gainsborough Galleries.Alternatively, Stern's cashbook for December 1951 records a payment of L124.19.6 for an unspecified still life sold via a M. Jacobsohn to a client in Rhodesia. Her list of expenses of the same time records a 'Commission on picture sold to Rhodesia' of L18 which, at approximately 10% would indicate a very substantial picture. These records seem to confirm the existence of the Salisbury exhibition but may, of course, refer to a separate painting. Both entries would allow for the painting to have been exhibited in the Netherlands, as family tradition believes, for Irma Stern had a large show at the Kunstzaal Van Eeck in Rotterdam in 1948. This exhibition comprised of most of the work from the prestigious exhibition at the Galerie des Beaux-Arts in Paris in October 1947 which, according to the catalogue, included a work titled Magnolias (no. 16). While the installation photographs of this exhibition held in the Irma Stern archive show less than half of the oil paintings known to be on view and no picture of magnolias is apparent, it is probable that the present lot was exhibited in both Paris and the Netherlands.BibliographyLife Force: The Still Lifes of Irma Stern, exh. cat., RMB Turbine Art Fair, Johannesburg, 2018.We are grateful to Michael Godby for his compilation of the above footnote.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
James Fullarton (British, born 1946)Flowers in a blue vase signed 'Fullarton' (lower right)oil on canvas51.5 x 61 cm. (20 1/4 x 24 in.)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
George Leslie Hunter (British, 1877-1931)Tulips inscribed by Arthur Leyden 'By Leslie Hunter/about 1910' (verso)oil on canvas38.2 x 30.8 cm. (15 1/16 x 12 1/8 in.)Footnotes:ProvenanceArthur Leyden and thence by descentArthur's purchase of Tulips helped keep Hunter going as he was barely making ends meet. It would be three years before the commercial success of his first exhibition at art dealer, Alexander Reid's prestigious Glasgow gallery, La Société des Beaux-Arts in 1913.According to his friend, New York artist Tom Hunt, Hunter was in complete sympathy with all that was new after his first visit to Paris in 1903 (T.J. Honeyman, Introducing Leslie Hunter, Faber & Faber Ltd, London, 1937, pp.61-62). French modernist, Édouard Manet (1832-1883) was an early hero. Manet broke ranks from the traditional practice where layers of dark varnish were applied to the canvas to model form. On Hunter's return to Scotland in 1906, he was utilising what he understood from Manet's technique to help progress his own. In Tulips, the flowing opaque brushstrokes on a light ground applied in one go, model the form of the vase and flowers. Hunter was not concerned with the strength or effect of light on still life, a characteristic he upheld throughout his life and one which differentiates him, even from his fellow Colourists.In Tulips he focused on the simple shape and direct presence of the vase and flowers. By using sketch-like passages with occasional black outlines similar to those he observed in Manet's later still life, he animates the flowers, captures their natural state and ultimately produces a still life elevated beyond the ordinary.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Frederick Victor Bailey (1919-1997)Still life - a vase of mixed flowers with grapes and nut alongside, upon a table ledge, signed and dated 1979, oil on panel, 71 x 53cmCondition good. Colours bright and vibrant. The frame with minor knocks and scratches. Very fine hairline crack to panel upper left more discernible from viewing closely and in a raked light.
MAURICE UTRILLO (FRENCH 1883-1955)VASE DE FLEURS Gouache on paperSigned and dated Juin 1935 (lower right)61 x 48cm (24 x 18¾ in.)The authenticity of this work has been confirmed by Gilbert Pétridès and Jean Fabris.Provenance:Collection Jean Dypréau-van den Abeelen, Linkebeek, BelgiumSale, Guy Loudmer & Hervé Poulain, Paris, 28 May 1975, lot 144Galerie Philippe Kozak, Valenciennes, FranceAcquired from the above by the present owner in 2016 Literature:Paul Pétridès, L'oeuvre complet de Maurice Utrillo, Paris, 1966, vol. IV, no. AG 371, illustrated p. 325
A selection of glassware to include a Whitefriars strap vase in sea green, Murano glass clown, and small gondola shaped bowl, pair of green tall vases with mottled decoration, and an early 20th century glass vase with wrythen swirl strapwork, amber top running to clear glass, shaped and crimped rim, probably WhitefriarsLocation:
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