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WED. N.S.A. BRANTJES & CO., DUTCH ART NOUVEAU POTTERY VASE, CIRCA 1900 of bottle form, decorated with stylised foliage in blue, brown, pale and olive green, to speckled yellow ground, painted marks to base35cm highCondition generally good. Network of glaze crazing throughout, with further minor manufacturing flaws including frit and pin pricks. No evident chips or cracks. Additional images now available.
FREDERICK RHEAD FOR WOODS & SONS, ELER'S WARE ART NOUVEAU VASE, CIRCA 1913 of twin-handled baluster form, tubelined with stylised foliate designs, mark's to base21cm high; no apparent chips, cracks or restoration; there are small glaze scratches to body and a small glazing imperfection to foot where the colour has not applied and there is a small white patch
FORNACE MIAN, MURANO GLASS VASE, CONTEMPORARY sculptured ovoid form, frosted finish, etched Fornace Mian to base26cm highDoes display some small chips and further nicks/flea bites to the raised edges of the body with some further minor marks, abrasions and blemishes; additional images available
Georgios Gounaropoulos (Greek, 1889-1977)Vase avec des fleurs signé 'G. Gounaro' (en bas à gauche)huile sur toile72 x 59cm (28 3/8 x 23 1/4in).signed (lower left)oil on canvasThis 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)La Romance daté '2001' et signé en grec (en bas à droite); signé, situé, daté 'Yiannis Moralis/Athènes/Grèce/2001' (au revers)huile sur toile180 x 180cm (70 7/8 x 70 7/8in).Peint en 2001.dated and signed in Greek (lower right); signed, located and dated (on the reverse)oil on canvasFootnotes:ProvenanceZoumboulakis Galleries, Athens. Private collection, Zurich.ExpositionsAthens, Zoumboulakis Gallery, Moralis, March 1-30, 2002, no. 11 (illustrated in the exhibition catalogue).LittératureY. Bolis, Yannis Moralis, K. Adam editions, Athens 2005, p. 115 (illustrated).Y. Bolis, Yannis Moralis, Contemporary Greek Painters, Ta Nea editions, Athens 2007, p. 95 (illustrated).From the 1970s to the 21st century, Moralis had consistently adhered to the principles of geometric abstraction, exploring its mystical pathways and taking his place among its leading exponents.1 As noted by D. Papastamos, former Director of the National Gallery in Athens, 'this, more advanced stage of his geometric abstraction is distinguished by dynamic rhythm and expressive movement. It seems to me that these are the artist's happy moments, depicted in a beautiful environment of luminous colour and irresistibly erotic humanity.'2Highlighted by the poetry and eroticism of the curved line, La Romance recapitulates the artist's long preoccupation not only with the suggestively rendered human form, but also with the musical resonance generated by the combination of varied types, shapes and colours. The stark juxtaposition of the fair-skinned female figure with the dark male form in the foreground—which ingeniously alludes to Attic black-figure vase painting—charges the composition with a vibrant rhythm and endows it with a classical sense of structure and balance. As Nobel laureate O. Elytis once said of Moralis's work, 'the body of a young girl emerges with the dampness of the sea, like a magnified fragment of an ancient Greek vase or a miniature fresco from a bygone place of worship.'3 By sacrificing all descriptive detail, rejecting the illusion of space, avoiding tonal gradations and emphasising only the essential structural elements, Moralis expresses what is permanent and universal. The tone is set by gently flowing curvilinear themes underscored by an austere compositional grid of verticals and horizontals and complemented by the expressive sensibility of his palette. The engaging forms of his figures seem to have a light of their own, the same eternal light of Byzantine art which does not come from a specific source but emanates from within.4 1 K. Koutsomallis, 'The Painting of Yannis Moralis, a Tentative Approach' in Y. Moralis, Traces, Museum of Contemporary Art - Basil and Elise Goulandris Foundation, Andros 2008, p. 30.2 D. Papastamos, 'Yannis Moralis the Artist', in Yannis Moralis, Commercial Bank of Greece, Athens 1988, p. 26.3 O. Elytis, preface to the Moralis exhibition catalogue, Iolas-Zoumboulakis Gallery, Athens 1972. 4 See M. Chatzidakis, 'Yiannis Moralis', Zygos magazine, no. 80, July 1962, p. 6.This lot is subject to the following lot symbols: * AR* VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Alecos Fassianos (Greek, 1935-2022)Nicola e il fantasma/ Les passants/ Le spectacle signé 'A. Fassianos' (en haut à gauche)huile sur toile162 x 130cm (63 3/4 x 51 3/16in).Peint en 1972.signed (upper left)oil on canvasFootnotes:ProvenanceIolas Gallery, Milan (based on labels on the reverse). Private collection, Athens.ExpositionsVenice, XXXVI Esposizione Biennale Internationale d'Arte, Greek Pavilion, Fassianos, Mytaras, Panourgias, Piladakis, June 11 - October 1, 1972 (based on label on the reverse). LittératureFassianos, Kedros editions, Athens 1980, p. 104 (listed), p. 47 (illustrated), back dust jacket (illustrated).T. Spiteris, Art in Greece after 1945, Odysseas editions, Athens 1983, no. 25 (illustrated).Erourem nagazine, no. 4, March 1996, pp. 131, 171, 177, 194 (details) (illustrated).Mandragoras magazine, no. 28, September 2002, p. 17 (illustrated).Full of life and vibrancy, monumental yet familiar, universal yet quintessentially Greek, Fassianos's ubiquitous rider looks as immobile and eternal as a relief sculpture on an Doric metope, demonstrating the artist's power to seize the eternity of the moment through timeless forms.Captured in sharp profile and set against a solid background, the emblematic rider and the 'passants' below are remoulded into archetypal figures echoing the timeless forms of ancient Greek vase iconography. As noted by French writer J. Lacarriere, 'like in ancient pottery, Fassianos's modern figures are captured in an eternal contre-jour which renders them both precise and timeless. These figures inhabit a land which might well be Greece, a totally luminous and airy land, an Aeolian land. The wind which tosses the hair of Fassianos's figures is the same wind which pervades Homer's epics and fills Odysseus's sails on his way to meet the Sirens.'1 Likewise, Jean-Marie Drot, former Director of the French Academy in Rome notes: 'Fassianos sets out to transform the most elemental aspects of everyday life, the most familiar figures into divinities, retracing, in reverse, the ancient tradition that allowed the great Olympian gods to assume the guise of mortals and mingle with them, talk to them and even seduce them without scaring them.'2 Magnificent in its simple grandeur and utterly characteristic in style and sentiment, this top quality work encompasses the defining elements of Fassianos's unique expressive language, unfolding the qualities that established him as a master of contemporary figurative painting.1 J. Lacarriere, 'A Shadow Play' in Fassianos - Mythologies of Everyday Life, exh. cat., National Gallery - A. Soutzos Museum, Athens 2004, p. 24.2 See Alecos Fassianos, Athlos, Mythos, Eros [in Greek], Kastaniotis editions, Athens 2004, p. 82.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
Andy Warhol (American, 1928-1987)Alexander the Great (F&S. II.291) Sérigraphie en couleurs, 1982, sur carton du Lenox Museum, signée et numérotée « 13/25 » au crayon, imprimée par Rupert Jasen Smith, avec son cachet aveugle, publiée par Alexander Iolas, New York100.3 x 100.3cm (39 1/2 x 39 1/2in).Screenprint in colours, 1982, on Lenox Museum Board, signed and numbered '13/25' in pencil, printed by Rupert Jasen Smith, with his blindstamp, published by Alexander Iolas, New YorkFootnotes:ProvenanceAcquired from Alexander Iolas.Private Collection, Athens.LittératureFrayda Feldman and Jörg Schellmann, Andy Warhol Prints, A Catalogue Raisonné, 1962-1987, Fourth Edition, Milan, 2003, no. II.291Published by Alexander Iolas in cooperation with the Hellenic Heritage Foundation to coincide with 'The Search for Alexander' exhibition at the Metropolitan Museum of Art, New York, October 27, 1982 - January 3, 1983.Throbbing with restless energy fuelled by a spectacle of dazzling colours, Warhol's Alexander the Great captures the radiance, glamour and regal grace of the Macedonian conqueror. The purple ground echoes Van Gogh's luminous backdrops, while the sinuous linear highlights, which trace their origin to the ancient Greek vase painting, reconstruct the young king's face in an expressionist manner akin to Rouault or even the Gothic and Byzantine portraits Warhol himself used to admire. The independence of colour from the confines of the contour energises the entire image, recalling the bold experimentations of such surrealists as Miro and Masson, who dismantled and reassembled the constituent parts of figurative painting. The portrait of the undefeated commander is finally recomposed as an amazing cubist collage which ingeniously oscillates between reality and illusion, underlining Alexander's enduring image as both a historic personality and legendary figure.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
A PAIR OF GEORGE V SILVER CANDELABRA, GEORGE EDWARDS & SONS, SHEFFIELD, 1910 the loaded sticks with circular bases and flared stems, the three-light branches each with central light on baluster stem flanked by a pair of reeded twist arms ending in drip-pans, with vase-shaped sconces and bead and rail borders throughout, complete with eight detachable nozzles and a pair of detachable urn finials, 56cm high, weighable silver 2450g
A DUTCH DELFT BLUE AND WHITE GARLIC-NECK VASE, CIRCA 1700 octagonally faceted, the bulbous body painted in Chinese Transitional style with a band of figures in landscapes between a scroll border and lappet decorated base, red painted collection number 372, 29cm high, rim restoredProvenance: Property of a European Collector; The Counts Raben, Aalholm Slot, Nysted, Denmark, sold Sotheby’s, ‘Aalholm Slot’, 20-23 May 1996, lot 1671
A large Oriental blue and white porcelain vase with a flared neck and three panels one depicting a tiger and baboon,boo, the other with horses in a landscape, the final pane; set with flowers, 49cm high (Unsure whether Chinese or Japanese) CONDITION REPORT: Surface scratches and glaze imperfections, no obvious signs of damage or restoration
An Ottoman Priming-Flask18th/19th CenturyWith walrus-ivory body of ovoidal section curving up to form the nozzle and boldly carved in low relief with palmettes, the base-plate at the rear secured against a dark horn washer by a gold-damascened screw, faceted sprung iron tap decorated with gold-damascening, and two rectangular brass suspension loops carrying a leather strap partly faced in brocade and enriched with gilt-metal vase-shaped mounts each embossed with foliage and dots The flask 17.5 cm. Footnotes:Cf. a related example in the Khalili Collection, David Alexander, The Arts of War, Arms and Armour of the 7th to 19th Centuries, Vol. XXI, 1992, p. 126, no. 71This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the UK, see clause 13.For further information on this lot please visit Bonhams.com
CONTEMPORARY CRYSTAL VASE WITH SILVER MOUNTED STAND, CARR'S, SHEFFIELD 2008 the vase of square section, retailed by Mappin & Webb, boxedthe vase 26cm highSmall chip to one corner of rim and further flea bites, some further light scratches and dirt; base with one small dent and light scratches as well as tarnish
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653833 item(s)/page