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An Art nouveau pewter baluster vase, fitted with a cast female face rising from a flower head, amidst reeds and fish, 42.5cm high; together with a further cast metal figure of a standing girl, a Japanese bronze bottleneck vase and further papier-mache type baluster vase (4)
A collection of Copeland Spode Koro pattern wares comprising coffee pot, milk jug, sugar bowl, six cups and six saucers together with further tea and coffee wares including trios by Paragon, Royal Albert, Foley China, Noritake, etc and also together with a plated coffee pot and a cranberry glass vase, etc
A Victorian papier mache and mother of pearl inlaid tea caddy, the hinged lid enclosing a fitted interior together with a further Chinese lacquered cylindrical box, a Chinese lacquered two tier letter rack, a foreign bone inlaid mirror and a Victorian twin handled vase in the Grecian manner (5)
A collection of small decorative 19th century and later ceramics including a green ground continental two handled vase with iris detail and with silver neck rim, a 19th century Staffordshire figure of a girl holding a watering can, a Coalport mug with robin and holly detail, a miniature Grainger & Co Worcester mug and miniature Royal Worcester basket, etc
A 19th century oriental vase of four sided form with alternating polychrome painted and gilded panels of male and female characters, flowers, trophies, etc, with gilded animal head handles, 31 cm, together with an Imari dish of shell moulded form with flower vase detail and a pair of Cantonese dishes with polychrome floral and insect design
A collection of Royal Copenhagen wares including a blue and white mustard pot and cover, leaf shaped dish and small vase together with a quantity of Royal Copenhagen white glazed soup bowls, covers and saucers with moulded border detail, a collection of orrefores and others glassware including a heavy studio glass vase, an opaque white glass of shaped form, a plated toast rack, etc
A collection of Royal Albert Old Country Roses pattern tea wares comprising a milk jug and sugar bowl, fourteen cups and eleven saucers together with a Royal Worcester Prince Regent pattern rectangular dish and matching circular bowl, a Wedgwood Wild Strawberry pattern vase and an Aynsley Nature's Delights pattern vase
Daniel O'Neill (1920-1974) SUMMER NIGHT oil on canvas signed lower left; titled on Dawson Gallery label on reverse 18 by 24in. (45.7 by 61cm) Dawson Gallery, Dublin; Private collection; Adam's, 28 March 2001, lot 88; Private collection Over the period 1960 - 1971, three exhibitions of work by Daniel O'Neill took place at the Dawson Gallery, Dublin. Reviewing the collection of paintings exhibited in November 1960, 'J.W' wrote in the Irish Times that O'Neill was 'preoccupied with the beauty of womanhood, and many of his sitters recall the eyes'. Continuing, the critic noted that in the works shown, there was 'a sense of pleasure in life which is an affirmation too positive to be regarded as melancholy'. While Summer Night may not have been amongst the paintings on display, the reviewer's sentiments certainly resonate with the subject of this painting. In this work, O'Neill depicts a female figure in a languorous pose; her arms are raised behind her head, and her eyes are closed. By elongating the figure's neck, and by emphasising the shape of her hips, the artist draws attention to the more sensuous aspects of the subject. This is further accented by the silk fabric which covers the woman's arms and part of her torso. Painted in thick impasto of pink, white, and red, the colours of this fabric are echoed in the vase of flowers in the background, and the coverings on the bed. A final exotic detail is introduced through the string of dark green Tahitian pearls, with small dabs of white paint attracting the viewer's eye. As with the colouring of the fabric and flowers, the form of the pearl necklace is reiterated through the inclusion of the moon in the background of the painting. This is one of many nude paintings that O'Neill completed throughout his career, and extant works on paper show his interest in drawing from the model. It is likely that when in Paris in the 1940s, O'Neill saw Édouard Manet's Olympia, and other notable examples of the genre. An earlier treatment of the female figure, The Blue Skirt, 1949 (Ulster Museum), shows a debt to Gauguin's Tahitian nudes in its bold handling, while the present work finds greater expression in the tactile and sensual aspects of the subject. Dr Kathryn Milligan January 2018
A late 19th century, Royal Doulton, Lambeth pottery, tall-necked, vase with a bulbous body decorated in textured shades of gold, turquoise and green rising to a tall neck with a mottled pattern and a wide rim with deep blue interior glaze. In good condition. Stamped on underside with Doulton impressed mark and numbered '672' and '6434'. Height: 18 cm, Width: 10 cm, Dia of rim: 4 cm.
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653833 item(s)/page