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Lot 73

A collection of three Rosenthal porcelain ornaments and a Kaiser W. Germany bisque porcelain rabbit. The vintage Rosenthal porcelain vase with a peacock image by iconic designer Bjorn Wiinblad, W12cm, mint condition, late 20th century. (4) Provenance: N & L Karantokis Estate.

Lot 74

Molly Hillam (1942-1990) - FULNECK ceramics - one porcelain bowl with pierced rim c1980 and one similar vase H26cm, mint condition. (2) Provenance: N & L Karantokis Estate.

Lot 76

A collection of vintage Rosenthal white bisque porcelain ornaments, comprising of a vase H18cm designed by Danish artist Uta Feyl, a lighter and two oval ashtrays with bas relief decoration, mint condition, late 20th century. (4) Provenance: N & L Karantokis Estate.

Lot 78

A collection of Rosenthal white porcelain ornaments comprising of a vase H28cm by artist Lis Muller titled the 'Rendezvous', a round lidded box and an ashtray both with bas relief decoration designed by Tapio Wirkkala, mint condition, mid to late 20th century. (4) Provenance: N & L Karantokis Estate.

Lot 80

A modern flambe ceramic vase of a cylindrical form, probably by DM pottery - Australia, H30cm, mint condition, late 20th century. Provenance: N & L Karantokis Estate.

Lot 37

Kate Malone (British, 1959)Wide Mouthed Snap Dragon Vasesigned and dated 'Kate/Malone/2012' (on the underside)stoneware with green and yellow glazes 30.5 cm. (12 in.) highFootnotes:ProvenanceThe Artist With Adrian Sassoon, London, 2013, where acquired by the present owner Private Collection, U.K.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

Lot 10

Italian school; Mid-18th century."Allegory of sleep.Oil on canvas. Re-drawn,It presents faults in the frame.Measurements: 75 x 98,5 cm; 87 x 110 cm (frame).Scene of allegorical character, where the author has portrayed two little angels in the foreground. While one of them is asleep and lying on the right side of the canvas, the other angel kneels beside him and looks directly at the spectator and questions his attention by making a gesture of silence. This feature creates a contextual connection between the work and the viewer. Furthermore, the character increases this idea of complicity by showing the spectator directly the crab he holds in his hand with the intention of using it to interrupt and disturb his companion's sleep. This element brings an anecdotal and innocent sense to the piece, which involves the spectator beyond aesthetic judgement, thus showing a dynamic and markedly scenographic character, with classical subject matter and expressiveness. As has already been mentioned, the artist arranges the angels in the foreground on a flat surface that is barely visible and is largely covered by a canvas, which shows detailed attention to the qualities of the different materials. In an indeterminate background, as it is not clear whether it is an exterior or interior, behind the angel on the left, a large structure can be seen that may be a vase. This is linked to the variety of flowers that have been portrayed, and which are held by the little angel who is asleep.This "Allegory of Sleep" has a series of details that clearly place it within the Italian school of the Baroque period, as can be seen in the painter's treatment of the chromatic range. Another notable element is to be found in the choice of subject matter: the choice of two little angels, whose conception can be related to the classical tradition, although not a feature of the choice of main themes, indicates the degree and taste of decorativism in painting at the time. Allegorical paintings emerged in the Middle Ages with the intention of exalting the qualities and situations of life. This type of portrait was used to exalt the qualities of a particular personage, such as kings, or well-known personalities. In fact, during neoclassicism, this trend came back into vogue. In this particular case, it is not a portrait of a well-known figure, but the painter wanted to reflect the initial concept of the use of allegory in pictorial art.

Lot 91

Italian School. 17th century. A putto holding a vase and pouring water. Red chalk on paper. Bears inscription in biro lower right.  Property of a Gentleman. Dimensions:  (Framed): 17 (H) x 15 in. (W) (Paper): 9.75 (H) x 7.75 in. (W)

Lot 54

Kumme. zwei Vasen und zwei AscherMeissen Porzellan. Goldstaffage. Bunte Blumendekore. Blaue Schwertermarken, eine Vase 2. Wahl. Tlw. best.. H. 24 cm und 14 cm. D. 9 cm.

Lot 837

Gabriele Münter1877 Berlin - 1962 Murnau/OberbayernTigerlilie. 1932Links unten signiert "Münter 1932". Auf dem Keilrahmen betitelt und datiert und mit der Werknummer im Kreis 76/32 wohl eigenhändig bezeichnet. Öl auf Leinwand.55 x 38 cm. Rahmen (85 x 64 cm). Gabriele Münter war selbst nach heutigen Maßstäben eine moderne Frau. Ihrer Selbstständigkeit und Kreativität wurden jedoch noch enge Grenzen gesetzt, so durfte sie als Frau in München nicht an der Kunstakademie studieren, sondern ging an die Damenakademie des Künstlerinnen-Vereins. Später wechselte sie in das Atelier der Grafiker Heinrich Wolff und Ernst Neumann. In einer Malklasse begegnet sie Wassily Kandinsky. Zwei Künstler, die wenig später, jeder für sich, aber gerade aus der Entwicklung der gemeinsamen Schaffenszeit heraus, Kunstgeschichte schrieben. Zunächst, und beinahe 15 Jahre lang, wurde Gabriele Münter lediglich als dessen Lebens- und Weggefährtin wahrgenommen. Heute ist Gabriele Münter als eigenständige Vertreterin des Expressionismus und Wegbereiterin der Moderne anerkannt - wofür sie lange kämpfen musste. Nach Jahren des Reisens lassen sich Münter und Kandinsky 1909 in Murnau nieder. Oft malen sie den Blick aus dem Fenster ihres Hauses zur Kirche und zum Schloss sowie zur Bergkette. Franz Marc, der in dem nahe gelegenen Sindelsdorf wohnt, Alexej von Jawlensky, Marianne von Werefkin, August Macke und Arnold Schönberg kommen oft zu Besuch. Im Oktober 1911 finden auf dem idyllischen Anwesen die Arbeitssitzungen zur Vorbereitung des Almanachs "Der Blaue Reiter" statt. Zwei Tage nach Ausbruch des Ersten Weltkriegs setzen sich Münter und Kandinsky in die Schweiz ab, wo sich ihre Wege kurze Zeit später trennen. Ihn zieht es in seine Heimat Russland, Gabriele Münter lebt von 1915 bis 1920 in Schweden und Dänemark. 1920 kehrt Gabriele Münter nach Deutschland zurück und durchlebt eine lange Schaffenskrise, findet aber auch ihren eigenen künstlerischen Weg. Nach unruhigen Jahren lässt sich Gabriele Münter 1931 dauerhaft in Murnau nieder. Wie zu Zeiten des Blauen Reiter konzentriert sich Gabriele Münters Malerei in dieser Zeit auf Motive aus dem häuslichen und landschaftlichen Umfeld. Vielfach dienen die Blumen aus dem Garten als Inspiration für Stillleben. Ihr 1932 zu Beginn dieser zweiten großen Schaffensphase entstandenes Ölgemälde "Tigerlilie" zeigt ein typisches Stillleben dieser späten Jahre. Die Lilien sind in einer kleinen blauen Vase auf einem Tisch arrangiert. Blüten und Zweige bilden die Komposition im Vordergrund. Sie heben sich durch Form und Farbe leuchtend von der Murnauer Landschaft im Hintergrund ab. Mit der an die frühen Jahre anknüpfenden Vereinfachung und der fast arabesken Stilisierung verdeutlicht das vorliegende Gemälde Gabriele Münters künstlerische Neuorientierung. Das Gemälde wird in das von der Gabriele Münter- und Johannes Eichner Stiftung herausgegeben Werkverzeichnis der Gemälde aufgenommen. Provenienz: Kunsthandel Wittrock, Düsseldorf. Nordeutscher Privatbesitz Vgl. Gabriele Münter. Ausstellungskatalog Städtische Galerie Bietigheim Bissingen, 1999. S. 161.

Lot 11

BechervaseMeissen, um 1730 Porzellan. Nach untenhin napfartig geweitet, auf eingezogenem Rundfuß. Bunter indianischer Blumendekor: frontal zwei Vögel in einer Päonienstaude, rückseitig fliegender Vogel in Purpur-Camaieu, verstreut kleine Blüten und Insekten. Blaue Augustus-Rex-Marke, Formerzeichen x (vielleicht für George Kittel d. Ä.). Rest. H. 24 cm. Porzellane der Meissener Manufaktur mit der Marke "AR" (Augustus Rex) in Unterglasurblau wurden ausschließlich für August den Starken gefertigt. Diese wurden Bestandteil seiner privaten Sammlung oder dienten als Geschenk für internationale Fürsten- und Königshäuser bzw. hochgestellte Persönlichkeiten. Vgl. Rückert, Rainer, Meissener Porzellan. München (BNM) 1966, S. 40, 43. Eine ungemarkte, sehr ähnliche Vase befindet sich im Victoria & Albert Museum, London (Inv. Nr. C.331-1928). Provenienz: Ehemals Sammlung Dr. Andreina Torré, Zürich. - Auktion Christie's, Genf 16. November 1992, Lot. 177. Vgl. Rückert, Rainer, Meissener Porzellan. München (BNM) 1966, Nr. 275. - Ders., Biographische Daten der Meissener Manufakturisten des 18. Jahrhunderts. München (BNM) 1990, S. 83.

Lot 118

VaseLalique, France Glas, dickwandig. Konische Wandung. Geschnittener Dekor: Rosenzweige. Mattiert. Wandung bez. Lalique, France. H. 24 cm.

Lot 135

Vase China Porzellan. Vierseitige Balusterform mit seitlichen Griffen. Blau-rote Laufglasur. Siegelmarke Da Qing Qianlong Nian Zhi. H. 30 cm.

Lot 595

Watcombe terracotta vase in the manner of Dresserwith painted enamel flower band, impressed mark 19cm high, a Wedgwood teapot, 17cm high, a similar candlestick, 18cmand a Victorian painted octagonal jug, 15cm (4)Small chip to the base of the candlestick and the teapot is cracked.

Lot 633

Three Chinese style table lamps including a large sang de boeuf style example on a hardwood stand, 46cm high including stand and fitting, a smaller similar example 38cm high overall including the stand and fitting, and a tea dust glazed vase and cover (attached) example, 59cm high approx overall (3)At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a full condition report.

Lot 637

Collection of studio glasscomprising of: Mdina, Isle of Wight small cylindircal glass vase, Siddy Langley green and blue glass paperweight, signed to the base, Phoenician and Maltese glass, Ian McCulloch 'The Rock' paperweight signed and dated 2005, etc (15)The small blue iridescent vase at the middle right has a very tiny chip to the base. All have generale wear and scratches, most notably to the base, otherwise seems ok. Would require cleaning.

Lot 638

Group of cloisonne vasescomprising of a pair of black ground vases decorated with birds and flowers, on wooden stands, 24cm high overall including the stands, a pair of large vases on blue ground decorated with flowers, 26cm high, a pair of red ground vases, decorated with flowers, 18cm high, and one other vase with panel decorated with a female, the other panel with a tree, 21cm high overall (7)At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a full condition report.

Lot 640

Japanese Arita polychrome vase and cover18th Century, with underglaze decoration in blue and raised dogs of fo, blossom and peonies, 36cm high and 46cm high including the lamp fittings.Fitted for a lamp, and with a hair crack to the lid.

Lot 647

Turquoise ground porcelain jardiniereChinese, 20th Century, painted in the Canton style with figures, 37cm diameter x 30cm high and a similar Chinese vase painted with bats, peaches and other auspicious subjects, 21cm high (2)At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a full condition report.

Lot 648

Spode Copelands ChinaPeacock and parsley pattern vase and cover with gilded finial and decoration, marked to the base, 28cm high overall, on an unassociated Chinese carved wooden stand, 11cm x 5cm overall (2)Stand with overall wear and some marks. The lid has very tiny chips. The vase is restored.

Lot 654

Jun type small vaseChinese, the ovoid vase with an irregular drip type glaze to the base, 13.5cm high, together with a group of four small chargers, Japanese, early 20th Century, to include a pair of plates painted with courtesans, 31cm, an Imari dish and one other with painted fruit, 31cm (5) Jun type vase has possible loss to the bottom of one of the dripped glazes.Plates have scratches and some glaze faults to all. The plates with figures have large hairline cracks and one of them also has suspected restoration to the rim. Gilt and paint worn in places throughout.

Lot 124

A late 17th century brass candlestickHaving a tall socket, of waisted form with central fillet, vase-shaped stem, and dished octagonal-shaped base, height 20.5cm

Lot 247

A George III brass ejector chamberstick, circa 1780Having a vase-shaped socket with flared rim and slotted stem, peened over into a dished circular pan fitted with a carry handle fixed with copper rivets, 12.5cm high, 15.3cm diameter 

Lot 371

A 16th century oak coffer, Flemish The hinged lid with four fielded and raised moulded panels, the front with three panels, each carved with a paired mythical beast's head issuing from a fruit-filled and gadrooned vase, along with floral scrolls, the top rail carved with similar motifs, the front stiles and muntin rails stop-fluted carved, interior lidded till, 135cm wide, 56cm deep, 68cm high

Lot 104

A CHINESE RU STYLE CELADON BOTTLE VASE, 16cm high.

Lot 11

A CHINESE CANTON FAMILLE ROSE PORCELAIN VASE, with moulded twin handles and painted with panels of figures in a courtyard, further decorated with panels of birds and native flora, 35.5cm high.

Lot 119

A CHINESE BLUE AND WHITE PORCELAIN MALLET FORM VASE, painted with a buddhistic figure and children in a garden, 18cm high.

Lot 12

A CHINESE RELIEF CARVED JADE VASE mounted to a hardwood base, the side carved with cherry blossom, 15.5cm high.

Lot 121

A CHINESE TURQUOISE GROUND GILDED TWIN HANDLE VASE, with blue and turquoise ground and raised archaic style decoration, the base with six-character mark, 17cm high.

Lot 122

A CHINESE GREEN GLAZE PORCELAIN VASE, 19cm high.

Lot 123

A CHINESE RIU WARE CELADON VASE with incised characters to the body and to the base. 25.5cm high

Lot 142

A CHINESE BLUE AND WHITE PORCELAIN YUHUCHUNPING VASE, painted with large flower heads and scrolling vine. Six-character mark to base. 24cm high

Lot 150

A CHINESE BLUE AND WHITE PORCELAIN BULBOUS VASE decorated with exotic birds and carved floral decoration, the shoulder with six-character mark. 28cm high

Lot 152

A CHINESE BLUE, WHITE, AND UNDERGLAZE RED PORCELAIN YUHUCHUNPING VASE, with relief decoration depicting a dragon. 30cm high

Lot 159

A CHINESE FAHUA PORCELAIN VASE with moulded twin handles and raised decoration depicting ducks and aquatic flora. 32cm high

Lot 160

A CHINESE BLUE, WHITE, AND UNDERGLAZE RED PORCELAIN DOUBLE GOURD VASE, painted with various fruits, with two Greek key bands, bearing a six-character mark to the body. 31cm high

Lot 164

A CHINESE UNDERGLAZE RED AND WHITE PORCELAIN YUHUCHUNPING VASE decorated with various fruit blossoms, bearing a six-character mark. 25.5cm high

Lot 165

A CHINESE TWIN HANDLE JIAN WARE VASE. 25.5cm high

Lot 166

A CHINESE BLUE, WHITE, AND UNDERGLAZE RED PORCELAIN MEIPING VASE painted with a dragon and phoenix amongst lotus and vine, above a band of waves, the shoulder with six-character mark. 28cm high

Lot 167

A FAMILLE NOIR TWIN HANDLED VASE, the body decorated with warriors on horseback, with moulded lion drop ring handles, six-character mark to base. 39cm high

Lot 168

A LARGE CHINESE BLUE AND WHITE OCTAGONAL FORM PORCELAIN MEIPING VASE, decorated with four relief panels infants amongst foliage, with underglaze red highlights. 48cm high

Lot 170

A CHINESE MING COPPER RED PORCELAIN YUHUCHUNPING VASE. 31cm high

Lot 177

A LARGE CHINESE BLUE AND WHITE PORCELAIN MEIPING VASE painted with fruit and leaves. 41cm high

Lot 178

A LARGE CHINESE BLUE AND WHITE PORCELAIN YUHUCHUNPING VASE, painted with various motifs and scrolling vine. 31cm high

Lot 179

A SMALL CHINESE BLUE AND WHITE PORCELAIN DOUBLE GOURD VASE, decorated with gourds and vine, base with six-character mark. 18.5cm high

Lot 186

A CHINESE BLUE AND WHITE PORCELAIN VASE, painted with two figures either side of a giant urn, 30cm high.

Lot 2

A JAPANESE KUTANI PORCELAIN VASE, painted with birds and flora with fine gilt highlights, inscribed to base, 15cm high.

Lot 20

A LARGE CHINESE FAMILLE NOIR PORCELAIN VASE, painted with large flower heads and scrolling vine, 45.5cm high.

Lot 201

A LARGE CHINESE CORAL RED GROUND TWIN HANDLE PORCELAIN VASE LAMP, painted with panels of birds and native flora, further decorated with objects, butterflies and floral motifs, the handles moulded as chilong, vase and cover with brass mounts and mounted to a fitted base, 58cm high.

Lot 24

A CHINESE CLOISONNE HEXAGONAL FORM LIDDED VASE / POT, 11.5cm high.

Lot 255

A LARGE BRONZE VASE, with relief dragon coiled around the body, 31.5cm high.

Lot 261

A CHINESE CRACKLE GLAZE MEIPING VASE, painted with flora and birds, 25cm high.

Lot 270

TWO LARGE CHINESE CARVED HARDWOOD VASE STANDS, fitting a base of 14cm diameter, the other 13.5cm diameter.

Lot 341

A JAPANESE IMARI PORCELAIN DISH, decorated in blue and white with central vase of flowers. 27cm diameter.

Lot 342

A TALL CHINESE CANTON PORCELAIN VASE AND COVER painted with panels of seated figures and further decorated with smaller panels of figures, the shoulder with floral and butterfly decoration. 40.5cm high overall (AF)

Lot 461

A 19TH CENTURY BLACK ENAMELLED BRASS CALLIGRAPHIC VASE. 21cm high, together with AN ISLAMIC ENGRAVED BRASS LIDDED BOWL. 22cm high (2)

Lot 47

A SMALL CHINESE FAMILLE ROSE PORCELAIN VASE, painted with a sage holding a string of beads beside a tree, the base with Daoguang mark, 15cm high.

Lot 470

A LARGE 19TH CENTURY PERSIAN QAJAR TINNED COPPER VASE, engraved with decorative roundels of animals and other motifs, 39.5cm high.

Lot 51

A CHINESE POWDER BLUE GLAZE DOUBLE GOURD VASE, with raised decoration all over depicting gourds and vines, the base with six-character mark, 33cm high.

Lot 52

A CHINESE YELLOW GROUND TWIN HANDLE VASE, painted with a dragon to each side with moulded lion dog handles, six-character mark to base, 20cm high.

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