We found 2912 price guide item(s) matching your search

Silver mounted viola bow, unstamped, the stick round, the ebony frog inlaid with pearl eyes and the adjuster with two silver bands enclosing an abalone band, 69gm

Good English silver mounted viola bow stamped J. & A. Beare, the stick octagonal, the ebony frog inlaid with silver rings enclosing pearl eyes and with a silver overlaid ebony adjuster, 72gm

English viola by and labelled Clive Morris...1985, the two piece back of faint broad curl with similar wood to the sides and head, the table of a medium width grain and the varnish of a reddish-brown colour on a golden ground, 16 13/16", 42.70cm, case

German viola by and labelled Roderich Paesold...1979..., 15 5/8", 39.70cm, bow, case

Interesting old viola d'amore in the style of Villain D'Ascoli, unlabelled, total length 30"; also a contemporary Eastern European viola, bow (2)

German viola by and labelled Ernst Heinrich Roth, Bubenreuth/Erlangen, anno 1985, the two piece back of fine curl with similar wood to the sides and head, the table of a fine width grain and the varnish of a light reddish-brown colour on a golden ground, 16", 40.60cm

Good late 19th century German viola of the Neuner & Hornsteiner School, unlabelled, the two piece back of plainish wood with similar wood to the sides and head, the table of a medium width grain narrowing to the flanks and the varnish of a light reddish-brown colour on a golden ground, 15 1/2", 39.40cm, case

Good English viola by and labelled Made by Laurence Cocker, Derby 1955 - Tertis Model - no. 22, the one piece back of medium curl with similar wood to the sides and head, the table of a broad width grain and the varnish of a reddish-brown colour on a golden ground, 16 7/8", 42.90cm, case *This viola is also sold with a silver mounted cane bow by and stamped L. Cocker

English viola by Michael Connellan, Polstead 1988, 17 1/16", 43.30cm, case *This viola is sold with a purchase receipt from the maker

Good English viola by and inscribed Harold Lester Styles, Bath 1971 to the inner back, 16 13/16", 42.70cm, two bows, case

Contemporary viola labelled Giuseppe Bossi..., 16 1/16", 40.80cm

Viola by and labelled Albert Kapp...1927, Charles Gaillard 1864 copy, 15 3/8", 39.10cm

Gerrit van Honthorst (Dutch 1590-1656) Shepherdess Holding Apples Signed upper right Oil on canvas 78 x 63.5cm; 30½ x 25in Provenance: Catton Hall, Osmaston, Coll. Sir Robert Horton by 1822 Exhibited: Birmingham, 1938, No. 149, as Paulus Moreelse Birmingham, 1953, No. 89 as Dutch School Literature: Davis, 1811, pp.277-279 Waterhouse, 1953 p.306 Judson, 1959, pp.98, note 3, 216, no. 133 Nicolson, CII, 1960, p.81, note 4 Braun, 1966, pp. 211, 212, no 71 Nocolson-Vertova, I, p.127, III, pl.1299 Utrecht-Luxemburg, 1993-1994, p.168 J. Richard Judson & Rudolf E.O. Ekkart, Gerrit van Honthorst (1592-1659), Davaco Publishers, 1999, p.166 Gerrit van Honthorst (Gerard van Honthorst) was a Dutch Golden Age painter who was influenced by the chiaroscuro of Caravaggio, adopting a similar style and becoming a leading portrait painter in the Netherlands. He was particularly noted for his depiction of artificially lit scenes, often painted by a single candle, earning him the nickname of Gherardo delle Notte (Gerard of the Nights). This painting has not been on the market for over 100 years and was in the collection of Sir Robert Horton in the 19th Century at Catton Hall, Osmaston and has come down through the Anson family at Catton Hall in the 20th Century. The painting features in the catalogue raisonnée by J. Richard Judson (Published 1999, p.166) where he notes it has ~the same soft surface quality and physiognomy that one finds in Honthorst~s paintings dating from the years around 1622-1623~. He also suggests that it may be related to a ~lost pendant~, another similar portrait, where she may be offering the fruit to a person, perhaps a Shepherd to her right where her smiling gaze is cast. The roses paired with the snowdrops in her hat are typical of Dutch Golden Age painting; depicting rare petals that could never actually bloom together at the same time and creating a botanical impossibility. The two apples in the hand are held a way that alludes to the erotic, in conjunction with the staff leaning on her shoulder and the revealing décolleté. She symbolises temptation and the apples are a reference to the Eve~s seduction of Adam. In addition to this, apples were often used as symbols of fertility, the beauty of the female form and also to love. The pose, costume and the model clearly hold strong similarities to the famous painting by Honthorst of the young woman playing the viola da gamba. The model recurs in several of his paintings, often holding a musical instrument which at the time were a conventional motif of brothel scenes and it is clear from her suggestive pose in this painting and her provocative dress that she is a courtesan or strumpet. Her warm and appealing smile resulted in her being called ~The Laughing Girl~ by the vendor~s family for several generations.

A viola, labelled Jofredus Cappa Fecit Salutus anno 1686, length of back 40cm, with bow stamped Swiss made and oak case labelled W.E. Hill & Sons, and John & Arthur Beare

6 hand painted Royal Copenhagen 'Flora Danica' plates - Anthyllus Vulneravia D 28.5 cm, Viola adorata D 22.5 cm, Rubus exilis lge, Melandrium dininum, Vaccinium uliginosum v. macrocarpa drej & Lathyrus sylvestris D 25 cm

A 19th century violin or small viola with bow in case, violin signed at end pin 'Sold at Forster's Music Shop, No 348 Strand' in script, bridge and chin piece by WE Hill & Sons, the body is 15" long, no makers label apparent, bow signed Tourte

Eight mixed plants to include Ajuga, Bellis, Viola, Primula, Pansy, Heathers (7)

A Viola da Gamba

A selection of violin bows, traditional violin and viola bow (af)

An H and Co. bisque head doll 'Viola' with sleeping eyes, open mouth and four teeth on jointed composition body.

J.L. LONGSON, STOCKPORT, VIOLA, with 15 7/8" two part back, with printed label hand dated 1880, with bow and ebonised wooden case

A Mittenwald viola circa 1850 and a German nickel bow circa 1920

A Vintage Viola, Missing Strings, Frets etc, 69cm Long

An old viola with 15” two piece back together with a Kidson bow, 29.5” (2)

Tenuta le Querce Viola Aglianico 2001 12 bts OCC

FUNK/SOUL/DISCO/REGGAE/DANCE 12"S. Collection of approx 124 x 12" singles in Ex/Ex+ condition. Artists/titles to include: Various ?– Cultural House, The Whispers, Viola Wills, Bobby Womack, Chi-Lites, Rufus and Chaka Khan, Lenny White, Marshall Jefferson, Armand Van Helden, Change, Aretha, Sly Fox, Sophia George, Sash, Narada Michael Walden, Jocelyn Brown, Donna Summer, 52nd Street, Anita Baker and more. Sleeves are typically VG to VG+.

A Tray Containing Wade Gilt Coffee Set, Viola Pattern Bowl, Carlton Rouge Royale etc

Unmarked Viola, The bridge having the only marking Edward Withers of 22 Wardour Street. Good condition. In original case with a H Kidson bow. Bow Weight 75.2g

An Okra double-gourd glass vase and stopper with iridescent feathered decoration,15cm high, and another entitled 'Atlantis' 15cm high, both boxed and signed 'D. Barras,' together with another 'Viola' signed by Richard Golding and numbered 6/500

NO RESERVE Dalì Salvador - Alighieri Dante. La Divine Comédie. Paris, Editione D'Art Les Heures Claire, [1960].Sei volumi in-folio (mm 330x263). Pagine [2], 183, [5]; [2], 189, [3]; [2], 182, [4]; [2], 204, [12]; [2], 188, [8]; [2], 193, [9]. Cento xilografie a colori su disegni di Salvador Dalì. Legatura editoriale: fogli sciolti in barbe conservati entro brossure con titolo impresso in rosso al piatto anteriore e chemises cartonate con piatti con decorazioni astratte in oro e rosso (Inferno), viola (Purgatorio) e azzurro (Paradiso), eseguite anch'esse su disegni di Dalì. Ogni chemise è inserita in custodia cartonata con simile decorazione. Esemplare in ottimo stato di conservazione, numero 3614 sur vélin pur chiffon de Rives.Prima edizione della celebre Commedia illustrata dal pittore catalano Salvador Dalì (1904-1989). Per la realizzazione di questo ciclo iconografico, commissionato nel 1950 dal governo italiano per commemorare il settecentesimo anniversario della nascita di Dante Alighieri, l'artista lavorò dieci anni. Nel 1960 gli acquerelli originali furono esposti al Musée Galliera di Parigi e trasposti in silografia grazie alle cure del Maestro Stampatore Raymond Jacquet, che impiegò cinque anni per creare i 3500 legni necessari e ad imprimere in progressiva i 35 colori di ogni singola tavola. Immediatamente considerata l'opera grafica più importante mai realizzata da Dalí, questa serie di illustrazioni è caratterizzata dall'eleganza del segno, che si coniuga a un uso magistrale ed innovativo del colore.Six volumes (330x263 mm). [2], 183, [5]; [2], 189, [3]; [2], 182, [4]; [2], 204, [12]; [2], 188, [8]; [2], 193, [9] pages. With 100 woodcut stamped in colour, after Salvador Dalì. Original publisher's binding. Untrimmed loose leaves contained in original cloth-covered boards, and slipcases decorated with abstract motifs with different colouring (Inferno gold and red, Purgatory in purple, Paradise in blue). An excellent copy, no. 3614 on vélin pur chiffon de Rives.The first edition of the celebrated deluxe Commedia illustrated by the Catalan artist Salvador Dalí. (1904-1989). The publication was first commissioned to him by the Italian government in 1950, in celebration of the 700th anniversary of Dante's birth. Between 1951 and 1960 Dalí created a set of 101 watercolours, which however was not considered appropriate for a publication financed by the Italian State. These watercolours were finally exhibited in Paris in 1960, at the Musée Galliera, and then issued by the publisher Les Heures Claires. The 'Maestro Stampatore' Raymond Jacquet spent five years for cutting the ca. 3,500 woodblocks necessary for transfer Dalí's watercolours to engravings in thirty-five different colours. These woodblocks were destroyed after the printing. The Commedia is generally considered the most relevant and impressive graphic work realized by Dalí.

Viola 15 3/4'' two piece back, with ebony fingerboard, width upper bout 7 7/8'', middle 5 3/8'', lower 9 3/8'', depth of ribs 1 3/8'', with maker's label 'David Lindsey Violin & Violin Bow Maker, Gateshead', with silver mounted bow stamped 'Hart' with ebony frog and some Mother of Pearl inlay (cased)

VICTORIA CHINA VIOLA TEASET

Delaport Viola (Brownie) Downing (1924-95) (4) including 4 unframed images, including 'Chubby the Picaninny Lives in the Bushland,' ink and pencil, unsigned, (20cm X 17.5cm approx); Portrait of a Girl, pencil on paper, signed lower left, (18cm X 13.5cm

Delaport Viola (Brownie) Downing (1924-95) ' Tinka and His Friends,' watercolour , unsigned, (attributed in hand writing verso). (23cm X 19cm approx).

Three various viola cases with outer zipper covers; also a mahogany two tier circular Pirastro sixteen section revolving string stand (4)

Eastern European viola circa 1930, 16", 40.60cm, bow, case

Contemporary Continental viola, 16 1/16", 40.80cm, bow, case

Three contemporary student violins with cases; also a contemporary viola (4)

Viola labelled Francois Barzoni, Manufacturer Speciale de la Maison Beare et Fil ? Londres, fecit anno 1953, also stamped F.B on the button, 16 1/8", 41cm, bow, case

Ten various violin cases and two viola cases (12)

Good German silver mounted viola bow by and stamped *Albert Nurnberger*, the stick octagonal, the ebony frog inlaid with silver rings enclosing pearl eyes and the ebony adjuster with two silver bands, 70gm

French nickel mounted viola bow of the Peccatte School, unstamped, the stick round, the ebony frog inlaid with pearl eyes (one missing) and the ebony adjuster with two nickel bands, 58gm (without hair and lapping)

Late 19th century German viola of the Neuner & Hornsteiner School, unlabelled, the one piece back of faint medium curl with similar wood to the sides and head, the table of a broad width grain and the varnish of a plum red colour on a golden ground, 15 9/16", 39.50cm, with a nickel mounted bow, indistinctly stamped, case

Interesting early 19th century viola in need of restoration, unlabelled, the two piece back of faint medium curl with similar wood to the sides, the head of plainish wood, the table of a medium width grain and the varnish of a golden brown colour, 15 3/8", 39.10cm, case

Contemporary viola labelled Alfredo Contino..., 16", 40.60cm

French viola bearing a label signed Thibouville Lamy, the two piece back of faint medium curl with similar wood to the sides and head, the table of a medium/fine width grain and the varnish of a golden-brown colour, 16 9/16", 42cm, bow, case

Contemporary viola labelled Giuseppe Vignali..., 15 7/8", 40.30cm

Viola labelled Claudi Monteverdi, Luteria Artistica, the two piece back of faint medium curl with similar wood to the sides and head, the table of a medium width grain and the varnish of an orange-brown colour, 16 1/16", 40.80cm

Good English viola by and labelled James Cole fecit, Manchester Anno 1880, the one piece back of medium/broad curl with similar wood to the sides and head, the table of a broad width grain and the varnish of a light brown colour on a golden ground, 15 3/4", 40cm, case

Large contemporary English viola by and labelled David Buchanan, Eynsham 1989, 17 1/8", 43.50cm, case *This viola is sold with a silver mounted viola bow stamped Siegfried Finkel (with later nickel button adjuster)

English viola circa 1840, with inked purfling, the two piece back of plainish wood with similar wood to the head, the sides of medium/fine curl and the varnish of a plum red colour on a golden ground, 15 7/8", 40.30cm

English viola by and labelled Dennis G. Plowright, 22 Murray Road, Northwood, Middlesex, no. 89, 1981, 16", 40.60cm, with nickel mounted viola bow stamped R. Paesold and case

Rustic viola, unlabelled, probably amateur work, possibly late 18th century, painted purfling, length of back 417mm., with box of parts

Epiphone Viola Bass guitar, ser. no. U5xxxxx0; Finish: cherry sunburst; Fretboard: rosewood; Frets: good; Electrics: working; Case: hard case; Overall condition: good

A VIOLA, modern, with 16" long one piece back, notched 'F' holes, ebony tuning pegs, inscribed "The Denning"(?), and bears label "... George Craske...", 25 3/4" overall length, cased (2) (Est. plus 21% premium inc. VAT)

Signed Royal Doulton Tableware "Viola D'Amore" porcelain figurine, copyright 1975. HN 2797, Limited Edition, 555/750. Modeled by Peggy Davies. Dimensions are: 6 1/2" tall. All measurements are approximate. Condition: No noted damage. Excellent.

Hand painted with viola tricolor l. Dimensions are: 9" long, 5 1/2" tall, 6 1/2" wide. All measurements are approximate. Condition: No noted damage. Excellent.

VIOLA PUSHKAROVA (UKRAINIAN B. 1929)Two Ivans and Oksana, 1964oil on canvas108 x 164.5 cm (42 1/2 x 64 3/4 in.)PROVENANCEJurii Maniichuk and Rose Brady CollectionEXHIBITEDNew York, Brooklyn Museum, Russian Modern, 2011-2016New York, Ukrainian Institute of America, December 2016-April 2018.LITERATUREJurii Maniichuk, Realism and Socialist Realism in Ukrainian Painting of the Soviet Era (Kiev: LK Maker, 1998), p. 191 (illustrated) LOT NOTESViola Oleksiivna Pushkarova is a genre and still-life painter. In 1958, Pushkarova graduated from the Kharkiv Art Institute, where she studied under Leonid I. Chernov, Oleksandr P. Luibimskiy, Oleksandr A. Khmelnitskiy, et al.Two Ivans and Oksana serves as both a still life study and an authentic genre scene - the exhausted father dozes off at the table while his two children play on the floor. Pushkarova enriches the piece with details such as the milk bottle, placed precariously close to the sleeping man, and the overboiling pot on the stove in the upper right corner. The surface is remarkably textured - from the curving strokes on the walls to the richly patterned carpet, the image seems to pulsate, embodying the spirit of spontaneous verisimilitude. The concise, soft modeling of the children's faces, though mostly hidden from view, is reminiscent of that of Mary Cassatt, particularly in her mother-daughter scenes, and exemplary of Pushkarova's technical prowess.The following lots come from the collection of the Ukrainian-born American lawyer Jurii Maniichuk (1955-2009), who amassed nearly 150 large-scale pieces of Ukrainian Socialist Realism of the 1950s-1980s. Maniichuk acquired these paintings (primarily from working artists or their heirs) while working in Kiev as a legal consultant for the World Bank in the 1990s, and brought them to the U.S. in 1999. With UkraineÕs newfound independence from the USSR in 1991, Socialist Realism fell out of favor with most collectors and curators. Recognizing their historical value and aesthetic appeal, Maniichuk made it his preeminent goal was to preserve the paintings for future study and appreciation. As part of that effort, his widow, Rose Brady, now the collectionÕs owner, lent nearly half of the collection long-term to the Ukrainian Institute of America in New York (2012-2018). Select works have also been featured at the Brooklyn Museum (Russian Modern, 2011-2016), at East West Fine Art (formerly known as Gallery on Fifth) in Naples, Florida (We the People. Everyday Life in Post-Soviet Union and modern-day Southwest Florida, November 29-December 20, 2014; Rescued from the Flames, Soviet Era Social Realist Paintings from the Collection of Jurii Maniichuk and Rose Brady, December 2013-January 2014), and at Florida Gulf Coast University in Fort Myers, Florida (Ukraine: The Maniichuk-Brady Collection of Socialist Realist Art, August 27-December 4, 2015).

A set of four Spode 'Garden Flowers' porcelain cabinet plates to include 'Tulip', 'Meadow Cranebill', 'Viola' and 'Foxglove, all signed D. Emery, together with a Royal Worcester porcelain 'Sandringham' patterned plate and a Royal Worcester 'Royal Garden' cake plate, (6)

A ¾ size violin case and bow with viola case, bow and chin rest, length of back excluding button 34cm