We found 653833 price guide item(s) matching your search
There are 653833 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
653833 item(s)/page
Lot 17
A large Moorcroft baluster vase in the Avon Water pattern featuring stylized leaf and floral sprays with bulrushes before a sunrise. This vase has been hand painted and signed to base by Rachel Bishop and Ruby Bishop. Stamped Moorcroft 2007 and limited to 10/200. This ceramic piece comes in it's original box complete with sleeve. Measures 38cms high.
Lot 345
An extensive collection of Wedgwood green and white Jasperware items To include campana urn shaped vases, baluster vases, trefoil trinket dishes, assorted trinket boxes and dishes, a baluster shaped vase moulded in relief with curtain swags, the trumpet shaped vase moulded in relief with classical figures (approx 30).
Lot 12
Magna Graecia, South Italy, ca. 4th to 3rd century BCE. A ceramic volute krater of classic form: handles with molded Medusa mask termini on both sides, decorated overall in white slip, embellished with pink, white, red, and blue details, a female (likely Minerva) head flanked by scrolling flowering foliage on the neck, a register of flowers above and ovalo beneath, the body with opposed mythological warriors on hippocamps, both donning purple cloaks, blue kekryphalos with white pearls, one holding a large shield, all raised on a hollow foot. Size: 16.125" H (41 cm)This remarkably well-preserved vase is a superb example of the Hellenistic polychrome tradition associated with the Canosa. During the 4th century BCE, Canosa was actually a major center of red-figure vase creation; however, by the 3rd century, this tradition was replaced by vessels painted in lively pastel hues on a white ground, like this example. While certain vase shapes, such as the volute-krater, askos, pyxis, and oinochoe, continued to be popular, they became embellished with even more elaborate decoration and figural iconography as we also see here.A similar example sold at Christies New York - 9 December 2010, lot 129 - for $60,000 (http://www.christies.com/lotfinder/Lot/a-canosan-polychrome-pottery-volute-krater-apulia-circa-5385434-details.aspx) Provenance: Ex-private collection of James Farmer, Maryland Condition: Incredibly well-preserved save a few minute nicks here and there and expected encrustation. Overall the pigments and iconography are quite vivid on primary side. The other side may never have been painted. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #120495
Lot 12a
Magna Graecia, South Italy, Campanian, CA Painter school, probably Painter of New York GR 1000, ca. 340 to 330 BCE. A monumental hydria of a pristine form w/ finely executed red-figure compositions featuring a woman standing in a naiskos, donning a chiton with a beaded bandolier, holding a wreath and a mirror. To the left, a standing warrior wearing a classic crested helmet, a breast plate over his tunic, and greaves, holds a spear and shield. To the right is a seated woman, draped in a mantle to her waist, holding a patera, with a kafathos below. Size: 10.5" W x 18.125" H (26.7 cm x 46 cm)Adding to the iconographical program are several characteristic decorative motifs including a large palmette with tendrils below the handle, a band of wave motifs beneath the figurative scene, and vertical frets adorning the neck. Characteristic of Campanian wares, the terracotta is of a comparatively pale shade, and added/fugitive white and yellow pigments are used liberally to highlight jewelry, feet, handheld objects such as mirrors, weapons, wreaths, and pateras, as well as general highlights.Unlike in Athens, almost none of the potters and vase painters in Magna Graecia signed their work, thus the majority of names are modern designations. The Cumae designation emerged around the middle of the 4th century. Its founder is regarded as the CA Painter and there are three main stages, Cumae A, Cumae B, and Cumae C. The general understanding is that from 330 onwards, a strong Apulian influence grew more visible. This vase appears to fall into the late Cumae A group, its iconographical programs and style resulting in an attribution to the Painter of New York GR 1000 whose work like that of the Boston Ready Painter continues the traditions established by the CA painter, and is profoundly impacted by the APZ (Apulianizing) Painter as was the CA painter during the latter part of his career.A bell krater attributed to the Painter of New York GR 100 resides in the Metropolitan Museum of New York collection (accession number 96.18.25 on view in Gallery 161). Another bell krater attributed to this painter is published in A.D. Trendall's "Red Figure Vases of South Italy and Sicily" figures 319-320. A Campanian red-figured bell-krater attributed to the Painter of New York GR 1000 realized $11,875 at Christies, New York - 10 June 2010 - Lot 99 (http://www.christies.com/lotfinder/Lot/a-campanian-red-figured-bell-krater-attributed-to-the-5321801-details.aspx). Keep in mind, that example was a bell krater. The one featured here, being a fine hydria form with a more elaborate painting program is far superior. What's more, our example was listed by Christies with an estimate of $8,000-$12,000 and realized $7,638 way back in 2001! See http://www.christies.com/lotfinder/lot/a-campanian-red-figured-hydria-attributed-to-the-2063471-details.aspx?from=salesummery&intObjectID=2063471&sid=363de9cc-c844-43ae-84ac-e34f12976c2a Provenance: Ex-private collection of James Farmer, Maryland, Ex-Christies, 8 June 2001, Lot 178 (copy of catalogue entry included); Ex-Asian Collection, purchased between 1968 and 1972 Condition: Intact with normal surface wear and pigment loss as shown. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #120492
Lot 12E
Magna Graecia, South Italy, Apulian, attributed to the Strotgen Painter, ca. 340 to 330 BCE. A masterful Apulian red-figure volute-krater (mixing bowl) attributed to the Strotgen Painter, the vase of a monumental scale, presenting an elegant form with extensive iconography and elaborate decoration (see extended description below), all expertly delineated in red-figure technique with additional fugitive white, orange, and red pigments. An exceptional and important work displaying mesmerizing artistry and the utmost technique. Size: 17.5" W at widest point x 31.5" H (44.4 cm x 80 cm) Refined vases like this volute krater were not merely utilitarian pottery, but rather works of art in their own right, highly prized throughout the classical world. Furthermore, virtually no ancient Greek paintings have survived the tests of time. This makes the painted compositions found on ceramic vessels like this example invaluable sources of information about ancient Greek visual art. Red figure pieces in particular allowed for the development of more naturalistic imagery than black figure examples. This innovative technique involved creating figures by delineating them in the natural red of the vase, making it possible for the painter to then enrich the figural forms with black lines to suggest volume, perspectival depth, and movement, bringing those silhouettes and their environs to life. Beyond this, fugitive pigments made it possible for the artist to create additional layers of interest and detail. Side A of this volute krater features two figures delineated in added white pigment within a naiskos; the figure on the right sits upon a crimson mantle, and faces right; however his head is turned in three-quarter view, as he plays a kithara (a seven-string instrument of the lyre family) in the nude. Standing to his left is a youth, partially draped in an orange himation with cascading folds billowing over his physique, who leans upon a knobby staff. Surrounding this pair of figures and the naiskos are four offering bearers, three female and one male. Adorning the neck is a helmeted head, depicted in profile to the left, delineated in added white and orange, emerging from a stylized flower (or possibly patera) and flanked by a verdant surround of flowering sinuous vines, with a register of eight-petaled flowers above and a band of frets on the shoulder below. The volutes boast molded relief mascaroons in the form of frontal facing female heads with curly coiffures and gently smiling faces in added white, orange, and red pigments. Side B features four additional offering bearers, three male and one female, sitting and standing around a stele that is adorned with ivy vines on its base, a register of Greek key at the lower end, a ribbon at the center, and a cap of zigzags, striations, and trios of dots, with elaborate palmettes on the neck, framed by registers of wave, egg-and-dart, and laurel leaves above and a band of frets on the shoulder below. The volutes on this side present molded relief mascaroons in the form of frontal facing female heads of the same likeness as those on the obverse, though painted in black. Adding further interest to this impressive iconographic and decorative program are the elaborate palmettes beneath each handle and four plastic (completely in the round) swan heads emerging from the shoulders and flanking the handles - a pair of white swans above Side A, a pair of black swans above Side B, this black-and-white contrast (also seen in the mascaroons) perhaps symbolizing day and night, good and evil, or life and death. In the Classical world, the swan symbolized grace and beauty, and was oftentimes associated with love, poetry, and music - related particularly with lyres and instruments in the lyre family like the kathara featured on this piece. Furthermore, the swan was regarded as sacred to Aphrodite and Apollo. According to Greek mythology, sacred swans circled the island of Delos seven times when Apollo was born, because it was the seventh day of the month. Zeus showered his son with lavish gifts including a chariot drawn by swans and a lyre. Aphrodite also rode a chariot that is sometimes depicted pulled by swans, though oftentimes by doves, and she is commonly depicted riding a swan. Finally, in the story of Leda and the Swan, Zeus, assuming the form of a swan, famously seduced Leda. A remarkable vase of the so-called Ornate Style by the Strotgen Painter of an impressively grand scale, decorated with an ultra fine hand as well as in an elaborate manner with intriguing scenes and figures as well as a great deal of subsidiary ornament in added colors. A comparable volute-krater, with duck heads on the shoulders and a similar elaborate decorative/iconographic program sold at Christie's for $158,500 (7 December 2011, Christie's Special Exhibition Gallery, Lot 128) - http://www.christies.com/lotfinder/Lot/an-apulian-red-figured-volute-krater-attributed-to-the-5509164-details.aspx. Another example from Royal Athena Galleries, attributed to the workshop of the Baltimore Painter and with an arguably less sophisticated painting technique, is listed for $45,000. Follow this link - http://www.royalathena.com/PAGES/GreekCatalog/Vases/SouthIt/GJP0602R.html Provenance: Ex- Collection of James Farmer, Maryland, collected from major galleries and auction houses between 1995 and 2005; Ex-Christie's New York (7 December 1995, Lot 92); Ex-Leo Mavrovitis collection Condition: Restored from fragments, minor losses, repainting along fractures. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #121212
Lot 13
Magna Graecia, South Italy, Campanian, Cumae B, Nicholson Painter's workshop, ca. 325 to 320 BCE. A monumental calyx krater of a graceful form w/ finely executed red-figure compositions; Side A: two draped females surround and try to impress a seated elite male, holding a sceptor and donning a wreath; Side B: a pair of females, in Lady of Fashion style, flank an offering pedestal, one presents a wreath, the other a precious substance in a vessel. Size: 17.375" in diameter x 21.375" H (44.1 cm x 54.3 cm)Adding to the iconographical program are several characteristic decorative motifs including bands of wave and Greek key patterns, and beneath the rim, a graceful band of laurel leaves. Characteristic of Campanian wares, the terracotta is of a comparatively pale shade, and added/fugitive white and yellow pigments are used liberally to highlight jewelry, clothing, feet, handheld objects such as wreaths, and ribbons/details on the pedestal.Unlike in Athens, almost none of the potters and vase painters in Magna Graecia signed their work, thus the majority of names are modern designations. The Cumae designation emerged around the middle of the 4th century. Its founder is regarded as the CA Painter and there are three main stages, Cumae A, Cumae B, and Cumae C. The general understanding is that from 330 onwards, a strong Apulian influence grew more visible. This vase appears to fall into the Cumae B group, its iconographical programs and style most similar to the workshop of the Nicholson Painter. The work of this second generation of Cumaean vase painters continues the traditions established by the CA painter, but is profoundly impacted by the Apulianizing Group - the figures are delineated on an ampler scale and are not disposed at varying levels on the surfaces of the vase. Provenance: Ex- Collection of James Farmer, Maryland Condition: Two pieces reattached to the rim, foot repaired from approximately six pieces. Some re-painting just over the breaklines. Expected chips and areas of pigment loss as shown. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #120494
Lot 41c
Near East, Iran, Parthian, ca. 1st to 3rd century CE. A striking, wheel-made ceramic vase of a classic amphora form with a globular body, narrow cylindrical neck, flared rim, and twin, triple-reeded strap handles, all upon a short, round foot. The beautiful turquoise glaze presents lovely craquelure, its color, largely due to the presence of copper oxide in an alkaline base in the glaze, was most likely made to imitate Chinese celadon ware. Absolutely stunning! Size: 8.5" in diameter x 12" H (21.6 cm x 30.5 cm) Pottery manufacture has had a long and vibrant history in Iran. Because of its particular geographical position, being at the crossroads of ancient civilizations situated on significant caravan routes, almost every region of Iran was involved in the creation of ceramics and their wares were influenced by those of other locales. Provenance: Ex-private east coast, USA collection acquired in the 1960's; Ex-Christie's, New York, 9 December 2015, Lot 110; Ex-William Froelich, NY, acquired from Boris Mussienko, Upper Marlboro, MD in 1982 Condition: Intact with a bit of encrustation. Glaze shows stunning luster and craquelure. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #120787
Lot 73
Pre-Columbian, Mayan Territories, Late Classic, ca. 550 to 900 CE. A smooth taupe colored limestone maskette pendant in the form of a human head with facial features carved to look aged. This is probably the physiognomy of God L, with the high forehead, closed eyes, furrowed cheeks, sunken and open mouth, and scrolling and pierced ears. It is drilled twice for suspension on the obverse side. Comes with custom stand. Size: 2.25" W x 3.2" H (5.7 cm x 8.1 cm); height on stand: 4.15" (10.5 cm).God L is one of the old, "grandfather" deities of the Maya pantheon. He evinces jaguar traits, particularly at the ears, and is associated with trade. He is represented on a doorjamb in the inner sanctuary of Palenque's Temple of the Cross and also makes an appearance on one of the finest known Maya ceramics, the Princeton Vase, where he is seated on a throne in Xibalba. He is portrayed as a lively old man and the prominent Mayanist Michael Coe wrote in 1973 that, "God L rules the Underworld." This is a wonderfully detailed depiction of his face. Provenance: Ex-Ron Messick Gallery acquired at Sotheby's NYC, Nov 24, 1997, lot 173 Condition: Small areas of surface wear and deposits in lower profile areas; signs of use around drilled holes for suspension. Overall, features and details very vivid. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #120207
Lot 8d
Classical World, Magna Graecia, southern Italy, Apulia, ca. 360 to 325 BCE. This pottery oinochoe (pouring vessel) has a trefoil lip and a delicate rounded handle that curves from the rim to the upper body. A band of orange flowers and vines wraps around the neck, and the upper body has twin thin incised lines giving it further texture. Size: 3.7" W x 5.25" H (9.4 cm x 13.3 cm)Apulian vase painters created this style, Gnathian ware, where the entire vessel was glazed and then fired to achieve a glossy black color. The style was perfected in the town of Gnathia (present-day Egnazia), on the Adriatic coast in Apulia while it was a Greek colony. The black glaze, with its gleaming silvery iridescence, is probably designed to look like bronze. Provenance: ex-Private British Collection Condition: Intact, with excellent silvery iridescence, root marks, and small areas of encrustation. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #121165
Lot 313
George Sidney Shepherd N.W.S. (1784-1862) Still life of holly and mistletoe with a vase Signed and dated 1853 Watercolour with bodycolour and gum arabic on buff paper 19 x 25.5cm; 7½ x 10in Provenance: Martyn Gregory, London General condition report Paper discoloured, one or two minor blemishes, otherwise good condition
Lot 1074
Crested Miniatures - Goss Argentina model, of an Elizabethan Bushel measure; Blackpool Noah's Ark; Goss Warton model, of an ancient bronze kettle; Arcadia Wisbech, of Eddistone Lighthouse; The Somerset Cuckoo baluster vase; others, various; local scenes, including Nottingham, Matlock, Melton; Great Exhibition at Wembley 1924; others
Loading...-
653833 item(s)/page