There are 166044 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeA collection of 8 x bottles of French red wine comprising of 2x 2000 Chateau Bagnols Saint-Emilion Grand Cru, 2x 2002 Domaine De Chamont Cabernet Sauvignon Merlot, 1x 2000 Chateau Du Paradis Saint-Emilion Grand Cru, 1x 1998 LaTour Du Pin Figeac Saint-Emilion Grand Cru, 1x 2000 Chateau R. Christopher Saint-Emilion Grand Cru and 1x 2000 Domaine De Telarie.
A mixed case of 12x bottles of Spanish wine comprising: 4x bottles of 2005 Castillo De Jumilla Monastrell, 2x 2000 Monasterio De Tentudia, 3x 2005 Vina Labarta Rioja Cosecha, 2006 Monastrell Jumilla Vino Tinto, Moscatel De Chipiona, 2005 Vega Robledo La Mancha. All bottles appear good with good seals and labels present. Great collection.
A collection of 8x bottles of French white wine comprising: 2x bottles of 1983 Michel Remon Chablis Premier Cru Vallons, 2x Vin De Bourgogne Rully Cloux L'Ouvrier, 1990 Muscat, 1994 Chablis Premier Cru Vaillon, 1986 Moulin Touchais and a bottle of 1995 Daniel Barraud Pouilly. All appearing to have good seals. Some labels worn. Great collection.
A 19th century Victorian antique silver plated Elkington & Co adjustable champagne / wine bottle holder with engine turned decoration. The circular formed base having an upright support and flower screw adjuster fixing the position of the sweeping handle and bottle neck holder. Silver plate marks and number 7067 to base dating 1891. Measures; 25.5cm - 36cm.
A mixed case of 12x bottles of French red wine comprising: 2005 Cous Du Roy Saint Emilion Dourthe, 2004 Bourgogne Pinot Noir, 1995 Chateau Le Bourg Du Cauze , 1999 Bordeaux St Emilion, 2005 Cotes Du Rhone Saint Jean reserve, 2000 Cuvée De L'an Bourgogne (1997), 2004 Caves Saint-Pierre ( Saint Pierre ) Châteauneuf Du Pape, 1998 Domaine Lucien Barrot Et Fils Chateauneuf Du Pape and two bottles without labels (pair). All appearing good most having good labels. Seals appear good. Great collection.
A mixed case of 12x bottles of French red wine comprising: 3x 2004 & 2x 2005 La Chasse Du Pape Cotes Du Rhone, 2x 2006 Le Grand Caillol Merlot, 2006 Seigneur D' Albert Medoc, 2005 Labouré Roi Nuits Saint Georges and 2001 Grand Gaillard.All bottles appear good with good seales and most with good labels. Great collection.
A mixed case of 10x bottles of French white wine comprising: 2x 2007 Grand Gaillard Sauvignon Blanc (one label worn but present), 2x 2005 Ramon Roqueta Macabeo Chardonnay Pla De Bages, 2x 2004 Domaine Marguerite Dupasquier Rully, 2x 2006 La Croix Des Cabustines Chardonnay, 2004 Bouchard Aine Fils Bourgogne Pouilly Fuissé ( Pouilly-Fuisse) and 2006 Pont Du Milieu Pouilly Fume. All bottles appear good with good labels and seals. Great collection.
The central column modelled with grapes, acanthus and vine leaves surmounted with an interchangeable candle holder, a putto at the base holding a wine cup surrounded by roses and daffodils, another above holding a bunch of grapes, five scrolling acanthus cast arms terminating in acanthus and scrolling nozzles and sconces, a detachable pierced bowl modelled with grapes and vine leaves, lacking glass liner, the base cast with tulips, on three scrolling feet70,5cm high, 8200g all inJohn Samuel Hunt (1785-1865) was a nephew of Paul Storr, the London silversmith best known for the quality of his workmanship. Philip Rundell of the silver retailer Rundell, Bridge and Rundell was largely responsible for Storr's success, and Storr joined the firm in 1807. Feeling creatively stifled, Storr opened his own shop in 1819, however his nephew had already joined him as a chaser in 1811. In 1822 the firm became Storr and Mortimer and after Storr's retirement in 1838, the firm became Mortimer and Hunt. John Mortimer retired in 1843 and Hunt brought Robert Roskell and Charles Hancock in as partners. The business was known as Hunt and Roskell until 1899 and traded from 156 New Bond Street. The business was sold to J.W. Benson in 1889 and after World War II the firm became part of Mappin and Webb, who in turn were acquired by Asprey and Co. in 1990.
signed, dated '86 and titled on the reverse acrylic on canvas with marble dust PROVENANCEFrom the Blaauklippen Collection. Purchased from João Ferreira Fine Art 176 by 235cm We are privileged to offer three monumental works by South Africa’s leading abstractionist Kevin Atkinson. The works were formerly exhibited at Blauuwklippen Wine Estate in Stellenbosch where they graced the vast indoor spaces. The influential and much loved teacher of the University of Cape Town’s Michaelis art students, most notably Marlene Dumas, died suddenly in 2007 after the passing of his artist wife Patricia Pierce Atkinson (1942 - 1994)“In 2013 the Iziko South African National Gallery, in collaboration with the Kevin and Patricia Atkinson Trust, hosted the retrospective exhibition Opening ‘Plato’s Cave’: The Legacy of Kevin Atkinson (1939 - 2008), curated by Hayden Proud and Stephen Croeser. Drawn from Atkinson’s underground studio named Plato’s Cave, the exhibition was both a posthumous tribute and an attempt to come to a greater understanding of the impressive contribution that he made to South African art.SMAC gallery presented Kevin Atkinson: The Arena Paintings. This served as a prelude to the exhibition, Re-opening ‘Plato’s Cave’: the Legacy of Kevin Atkinson, which traces Atkinson’s creative trajectory throughout his life. With the re-opening of Plato’s Cave the curators discovered works that have never been exhibited before – finely etched aluminium panels and paintings that parallel the magnificent works in the Arena series.Kevin Atkinson was a powerful and inspirational force in South African art, both as a controversial artistic personality and academic. Although better known as a painter and printmaker, he experimented with sculpture, installation, land and performance art. He embraced a vast range of approaches to painting, moving from geometric abstractions in the 1960s, through the severe yet sensuous contrasts between geometric and organic form in the 1970s, to the forcefully expressionistic gestural works of the 1980s. A witty and incisive voice, Atkinson tried to address complex issues, ranging from the attitudes of American and European expressionist movements to writings on language, semiotics, phenomenology and philosophy. He translated psychic energies into the visual language of a painted or drawn surface and remained an abstractionistand intermittent conceptualist till the end.”From the introduction to the exhibition Re-opening ‘Plato’s Cave’: the Legacy of Kevin Atkinson curated by Marilyn Martin and Jo-Anne Duggan, Iziko SANG 2013.
signed and dated '81 oil on board PROVENANCEPFP Fundraising auction (1980s) 29 by 39cm In 1978 Cecil Skotnes moved his family home from Johannesburg to Cape Town. Here he became enmeshed with the Cape vineyard culture, and he was much in demand to execute murals and commissions for wine farms. The Skotnes Bar at the Norval Foundation Museum is a fitting nod to this history. In 1981 the artist’s first Cape Town solo exhibition Passage Through an Alien Land, was held at the Wolpe Gallery. During this time Skotnes stopped working in wood and returned to painting, harking back to his early experiments and interest in landscapes. The artist shared:“Down here the first few pictures I made, thirty to forty little pictures which I calledPassage through an alien land were shown at the Wolpe Gallery, 6.5. The discovery ofcolour and painting started there, and there was a justification for it. Somehow or other,once I got on to the woodcut, then the woodblock – that sort of world – I realised thatI had to extricate myself from it at a certain point. I didn’t care about being repetitive. Icannot find anything in any artist in the whole history of the world that didn’t becomerepetitive. But everything such as human relationships, people that one loves dearlybut has to get away from, your peers at college or pre-college days who became yourpatrons (mainly because they went into professions that were more lucrative) have theexpectation that one should continue to do what one did. And when I realised this ittook me two or three years to come to terms with it and come to the Cape. Here all ofa sudden I was freed from all those beautiful people and their thought processes andI could make pictures again, I could paint. And then slowly, once I had made a wholeseries of pictures, I suppose a hundred, I began to reintroduce the things that built thetechnique of block-making and I could begin to combine the two.”The series of small acrylic works on board included a body or work entitled Figures in an Alien Landscape from which this work comes. Deep African colours of russets, gold and olive designate an abstracted landscape populated with ovoid figures, creating a dreamlike, otherworldly quality. -C.K.Dubow, Neville. 1996 Landscapes of the mind. In Harmsen, F. (ed.). Cecil Skotnes. Cape Town: South African Breweries. 111–128
6 bottles of red wine to include 1994 Perrin Reserve, La Vieille Ferme, Cotes de Rhone, 75cl; 1969 Domaine Du Val D'Arenc, Bandol, 75cl; 1983 Chateau La Tour Carnet, Haut-Medoc, 75cl; Chateau Chasse-Spleen, Moulis-en-Medoc, 75cl; 2011 Chateau Cantemerle 'Les Allees de Cantemerle', Haut-Medoc, 75cl; and 1982 Chateau Vieux Robin, Cru Bourgeois Medoc, 75cl (6)
Loading...
