We found 166820 price guide item(s) matching your search
There are 166820 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
166820 item(s)/page
Lot 275
Thirty-six bottles of mixed table wine, 1950s and later, to include 11 x 75cl bottles of Othello Vintage 1959 Cyprus Table wine (KEO ltd), 10 x 75cl bottles of Domaine d'Ahera, (KEO ltd), 2 x 730ml bottle of Chateau La Tourette 1974, 1 x 738ml 'it's time 1972 Victory Claret, 2 x 730ml Chateau Molin de Legur 1973, 2 x 730ml Moulin De Maucaillou 1976, 2 x 730ml Chateau La Tuilerie 1976, 2 x 730ml Chateau La Tournerie 1970, 1 x 730ml Chateau Ferran 1975, 1 x 730ml Entre-Deux-Mers 1975, 1 x 730ml Chateau Redon 1976
Lot 204
A Late 19th century/early 20th-century "Suruhani Garden" Shirvan rug with four rectangular medallions on a central pole on a ground of geometric device. Within wine glass and calyx borders. 225 cm x 120 cmFootnote: For a very similar example see the late Ian Bennett's book, Oriental Rugs Vol1 Caucasian, page 223.Condition report: Evidence of small repairsWear and tear commensurate with ageSee images showing back and front of rug
Lot 296
A mixed case of wine, twelve bottles in shipping case, comprising: Chateau Margaux Grand Vin 1994 (x2), Grand Vin de Chateau Latour 1994 (x2), Chateau Mouton Rothschild 1994 (x2), Chateau Lafite Rothschild 1994 (x2), Chateau Cheval Blanc 1994 (x2) and Chateau Haut Brion 1994 (x2).Private collection.
Lot 205
A late 19th century/ early 20th-century dark blue ground Caucasian possibly Gendje carpet runner. With an all-over pattern of geometric tile pattern within a knopped wine glass and calyx border. 363 cm x 104 cmCondition report: Some wear, down to the foundation in some spotsSee images and short video to see the damage /wearhttps://drive.google.com/drive/folders/19EkRD52xshYg88CDwZnHRRWIWT5SDxY0?usp=sharing
Lot 127
Theofilos Hadjimichael (Greek, 1871-1934)Célébrant le nouveau millésime de cognac à Pirée signé en grec et daté '1930' (en bas au centre) et inscrit en grec (eu haut)pigments naturels sur toile72.5 x 81cm (28 9/16 x 31 7/8in).signed in Greek and dated (lower centre) and inscribed with description in Greek (upper part) natural pigments on textileFootnotes:ProvenanceConstantinos Koumbas collection, MytileneInherited from the above by the present owner.ExposéMytilene, Tourist Pavilion, The Painter Theofilos on Mytilene, October 7-30, 1962, no. 23 (listed in the exhibition catalogue).LittératureTheofilos, Commercial Bank of Greece edition, Athens 1966, no. 103 (illustrated).The Greek Painters - From the 19th to the 20th Century, vol. 1, Melissa editions, Athens 1974, p. 460 (mentioned).A. Hadjiyannaki, Theofilos, K. Adam editions, Athens 2007, p. 116 (illustrated).P. Zoitopoulos, Theofilos, the Ingenious Looney, Armos editions, Athens 2008, p. 44 (listed), p. 58 (discussed), fig. 15 (illustrated).M.G. Moschou, Theofilos Hadjimichael Self-Biographed, doctoral dissertation, University of Athens, Athens 2005, Annex, vol. I, p. 12 (listed), fig. I-65 (illustrated).A. Hadjiyannaki, Theofilos, K. Adam editions, Athens 2007, p. 67 (illustrated).E. Nikolaidou, Z. Papageorgopoulou, Andreas P. Kambas, Patriarch of Mesogaia, and the Art of Wine, Eleftheroudakis editions, Athens 2012, pp. 96-97 (illustrated).Vima newspaper, e-edition, February 19, 2012 (mentioned).https://slideplayer.gr/slide/2399136 (illustrated).https://paletaart3.wordpress.com/2014/10/24/ theofilos-chatzimichail (illustrated).*Veuillez noter qu'en raison de la réglementation grecque, ce lot ne peut pas être exporté de Grèce et sera disponible pour consultation et inspection à Athènes sur rendez-vous ou lors de l'Athens Preview, du 10 au 13 novembre 2021. Cette œuvre restera à Athènes pendant la vente aux enchères.*Please note that due to Greek regulation, this lot cannot be exported from Greece and will be available for viewing and inspection in Athens either by appointment or during the Athens Preview, 10-13 November 2021. This work will be located in Athens during the auction.In 1926-27, following a forty-year odyssey, Theofilos returned to his native island of Mytilene, where he enjoyed a very creative and prolific period, during which he painted some of his best works.1. As noted by G. Samourkas, 'the artist's Mytilene period, which lasted eight years until his passing in 1934, was his most mature; his designs became more confident, his colours warmer, his compositions more structured, his backdrops more embellished and his colour combinations more elegant.'2 As described in a lengthy inscription on the top3, this extraordinary picture shows a gathering of farmers in traditional fustanella kilts4 celebrating the arrival of the new vintage brandy. High-spirited men and women escort a horse-driven cart carrying a barrel with the precious eau de vie, while on top of it an old man posing as God Dionysus seems to preside over the bacchanalian revelry. All participants raise their glasses to the health of landowner and winemaker Andreas Kambas5 and his wife, who are shown on the upper left.Filtered through the artist's rich imagination, imbued with a spirit of untutored simplicity and handled with compositional discipline, confident brushwork and vibrant colour, the whole scene is transformed into the enthusiasm sparked in him by the joyous event. Every part of the picture, from the charming group of women in the extreme foreground to the stately winemaking facility in the distance, is an integral part of the whole, evoking a sense of home and domesticity. Everything seems to grow right out of the landscape, allowing the painter to express an overall feeling based on pure vision and emanating from life itself.The painter O. Kanellis, one of the first to discover the work of Theofilos, made the following insightful remark: 'Without realizing it, Theofilos sought to illuminate the truth of Greek nature with man being part of it. His paintings are fields of shapes and patches of colour that are integral to the natural environment, helping him express an overall feeling emanating from life itself, a feeling based on pure vision and the observation of nature. When we see an outdoor scene by Theofilos we hardly think that we see the landscape from a distance, but rather that we live in it, that we actually walk through it. Only Bonnard and Theofilos were able to convey this feeling.'6 1 N. Matsas, The Tale of Theofilos [in Greek], Estia publ., Athens 1978, p. 153.2 G. Samourkas, Twelve Folk Painters [in Greek], Athens 1974, p. 90.3 Although the inclusion of written text reflects the artist's desire to provide a full description and leave nothing obscure, his fascination with the subject outrivals his insistence on topographical accuracy. (The celebration takes place in Kantza, rather than in Piraeus). See E. Nikolaidou, Z. Papageorgopoulou, Andreas P. Kambas, Patriarch of Mesogaia, and the Art of Wine, Eleftheroudakis editions, Athens 2012, p. 96.4 The same highland garb the painter himself wore when he left Smyrna for Athens to voluntarily enlist in the 1897 campaign against Turkey and which eventually became his signature attribute.5 The legendary 'patriarch' of Greek viniculture, Andreas Kambas was the first to introduce the French distillation knowhow to Greece by bringing over advanced distillation equipment from Bordeaux in 1880. 6 O. Kanellis, 'The Painter Theofilos' [in Greek], Tachydromos magazine, no. 379, 15.7.1961.Dans sa Mytilène natale, où il est revenu en 1926-27 après une odyssée de quarante ans, Theofilos a connu une période très créative et prolifique, pendant laquelle il a peint certaines de ses meilleures œuvres. Comme l'a fait observer G. Samourkas, « la période où Theofilos a vécu à Mytilène, qui a duré huit ans jusqu'à son décès, a été celle de la maturité ; ses dessins sont devenus plus aboutis, ses couleurs plus chaudes, ses compositions plus structurées, ses arrière-plans plus embellis et ses combinaisons de couleurs plus élégantes.» Comme le décrit la longue inscription figurant en haut du tableau, cette œuvre extraordinaire représente un groupe de fermiers vêtus de la fustanelle traditionnelle, célébrant l'arrivée du nouveau millésime de cognac. Des hommes et des femmes pleins d'entrain escortent une charrette tirée par un cheval, transportant une barrique de la précieuse eau de vie, tandis que le haut de la toile représente un vieil homme posant tel le dieu Dionysos, qui semble présider des bacchanales. Tous les participants lèvent leurs verres à la santé du propriétaire foncier et vigneron Andreas Kambas et de son épouse, représentés en haut et à gauche de la toile.Filtrée par l'imagination foisonnante de l'artiste, empreinte d'une simplicité naïve, traitée avec une grande maîtrise de la composition et de la touche, et animée par des couleurs vibrantes, toute la scène respire l'enthousiasme que cet événement joyeux inspire à l'artiste. Chaque partie de la toile, depuis le charmant groupe de femmes au premier plan jusqu'à la majestueuse exploitation vinicole au loin, forme partie intégrante de l'ensemble, évoquant un sentiment d'amour du terroir. Tout semble sortir directement du paysage, permettant ainsi au peintre d'exprimer un sentiment global fondé sur une pure vision et émanant de la vie... For further information on this lot please visit Bonhams.com
Lot 72
Nikos Engonopoulos (Greek, 1907-1985)Le retour de Bessarion signé en grec et daté '54' (en bas à droite)huile sur toile65 x 46.5cm (25 9/16 x 18 5/16in).Peint en 1954.signed in Greek and dated (lower right)oil on canvasFootnotes:ProvenanceN. Gonatas collection, Athens.Private collection, Athens.ExposéAthens, Zappeion Hall, X Panhellenic Art Exhibition, July 15 - October 20, 1969, no. 134 (listed in the exhibition catalogue under the title Euclid, according to Cat. Rais.). Athens, Portalakis Collection venue, The search of Modernity - the Transition to Greekness, January 22 - July 31, 2007 (mentioned, p. 11, and illustrated in the exhibition catalogue, p. 103).LittératureD. Vlachodimos, Reading the Past in Engonopoulos, Indiktos editions, Athens 2006, p. 269 (listed), pp. 236-239 (discussed), fig. 67.1 (illustrated).K. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural, exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, no. 505, p. 287 (illustrated), p. 448 (catalogued and illustrated).N. Chaini, The Painting of Nikos Engonopoulos, doctoral dissertation, National Technical University of Athens, 2007, pp. 378-379 (discussed), p. 380, fig.138 (illustrated).N. Engonopoulos, Man: the Measure, Ypsilon/Books editions, Athens 2007 (listed and illustrated).'Unfortunately, I never owned an Engonopoulos. Gonatas, instead, has managed to buy one or two of his paintings.'Miltos Sachtouris1 Inspired by the nobility of bygone times and drawing from the vast storehouse of Greek history and tradition, Engonopoulos pays homage to Bessarion (1403-1472), a great Byzantine Greek scholar and humanist and later Catholic Bishop and titular Latin Patriarch of Constantinople. A student of the celebrated Neoplatonist Gemistus Plethon, Bessarion contributed to the dissemination of Greek letters in the 15th century and fought for the liberation of the Ottoman-occupied territories of the Hellenic world. His palazzo in Rome was a virtual Academy for the studies of new humanist learning, and a center for Greek exile scholars and diplomats. As noted by historian E. Glykatzi-Arhweleir, Bessarion was a major contributor to the Italian Renaissance. 'Thanks to the intellectually challenging environment he found in Venice, he brightened the Greek name. The spirit of Greece traveled to the West only to triumphantly return later, by way of Crete and the Ionian Islands, to the enslaved metropolis.'2 Engonopoulos portrays Bessarion as an elegant male nude reminiscent of Minoan frescoes or El Greco's saints.3 He is standing on a cobblestone pavement in front of a stately Renaissance-style palazzo, probably his Rome residence and the centre of his celebrated Academy. The mansion's wine-red façade is adorned with a niched statue and a pair of wall-mounted fragments of ancient sculpture, while a cluster of adjacent palm trees suggests the existence of a lush garden hidden behind the tall brick wall on the foreground. Engonopoulos's Bessarion wears a heraldic galero rosso, the scarlet broad-brimmed hat with tasselated strings reserved for Catholic cardinals.4 He is holding a stringed instrument (lute)5 in his right hand and a bow (or a sword) in his left to keep an approaching giant scarab at a safe distance. As noted by scholar D. Vlachodimos, 'the handling of the subject clearly speaks about Bessarion's contribution to the beginning and evolution of the Renaissance movement. Isn't the lute a symbol of poetry, music and art? Shouldn't the scarab, this ancient Egyptian symbol of eternal life and the human soul, be interpreted as a direct reference to Platonic philosophy, which Bessarion was largely responsible for disseminating to the West? What's more, aren't the palm trees in the mansion's garden, along with the symbolic overtones of the ancient sculpture on its walls, an indirect, yet clear, reference to the East? Ultimately, doesn't Bessarion represent the combination of eastern and western elements, which, in short, is the essence of the Renaissance?'6 1 As quoted in M. Sachtouris, 'A Wonderful Man', interview [in Greek], Lexi magazine, no. 179, p. 47.2 See E. Glykatzi-Arhweleir, Why Byzantium [in Greek], Greek Letters editions, Athens 2009, p. 75.3 See M. Lambraki-Plaka 'The Timeless Pantheon of Nikos Engonopoulos' [in Greek], Filologiki quarterly, no. 101, October-November-December 2007, p. 9.4 Similar hats worn by Greek patriarchs are depicted in 16th c. representations (see History of the Hellenic Nation, Ekdotiki Athinon editions, vol. X, pp. 98, 119).5 Compare N. Engonopoulos, Apparition de Rigas Pheraios en Eubée, sold by Bonhams, Greek Sale, May 18, 2010, lot. 38.6 D. Vlachodimos, Reading the Past in Engonopoulos [in Greek], Indiktos editions, Athens 2006, p. 239.« Malheureusement, je n'ai jamais possédé une œuvre d'Engonopoulos. Gonatas, au contraire, a réussi à acheter une ou deux de ses toiles.» - Miltos Sachtouris Inspiré par la noblesse des temps anciens et puisant dans le vaste patrimoine historique et culturel grec, Engonopoulos rend hommage à Bessarion (1403-1472), grand érudit et humaniste gréco-byzantin, puis évêque catholique et patriarche latin de Constantinople. Élève du célèbre néo-platonicien Gemistus Plethon, Bessarion a contribué à la diffusion des lettres grecques pendant le 15ème siècle et lutté pour la libération des territoires du monde hellénique occupés par les Ottomans. Son palais à Rome était pratiquement une Académie d'études du nouvel humanisme, et un centre pour les étudiants et les diplomates grecs en exil. Comme l'a fait observer l'historien E. Glykatzi-Arhweleir, Bessarion a apporté une contribution majeure à la Renaissance italienne. « Grâce à l'environnement intellectuellement stimulant qu'il a trouvé à Venise, il a fait rayonner le nom de la Grèce. L'esprit de la Grèce n'a voyagé vers l'ouest que pour en revenir triomphalement plus tard, via la Crète et les îles ioniennes, et regagner la métropole en esclavage.» Engonopoulos portraiture Bessarion comme un homme élégant, qui rappelle les fresques minoennes ou les saints du Greco. Il se tient sur un sol pavé en face d'un majestueux palazzo de style Renaissance, probablement sa résidence de Rome et le centre de sa célèbre Académie. La façade lie-de-vin de la demeure est ornée d'une statue dans une niche et d'une paire de fragments de sculptures antiques adossés au mur, tandis qu'un ensemble de palmiers adjacents suggère l'existence d'un jardin luxuriant caché derrière le haut mur de briques au premier plan.Le Bessarion d'Engonopoulos porte un galero rosso héraldique, le chapeau écarlate à large bord et glands réservé aux cardinaux de l'église catholique. Il porte un instrument à cordes (luth) dans sa main droite et un arc (ou une épée) dans sa main gauche, afin de tenir un scarabée géant qui s'approche à bonne distance. Comme le note le Pr. D. Vlachodimos, « le traitement du sujet parle clairement de la contribution de Bessarion à la naissance et à l'évolution du mouvement de la Renaissance. Le luth n'est-il pas un symbole de la poésie, de la musique et de l'art ? Le scarabée, qui symbolisait la vie éternelle et l'âme humaine dans l'antiquité égyptienne, ne doit-il pas être interprété comme une référence directe à la philosophie de Platon, que Bessarion a largement diffusée en Occident ? Qui plus est, les palmi... For further information on this lot please visit Bonhams.com
Lot 634
A GROUP OF NINE WINE LABELS (BOTTLE TICKETS) all with chains, comprising: a silver set of five oblong with shell and foliate rims inscribed for WHISKEY, GIN, PORT, BRANDY and SHERRY, EP&Co, Sheffield, 1962; another pair of the same pattern but plated and both for CLARET; a George III silver cut-cornered rectangular example for CLARET, William Ellerby, London, 1819; and a similar but plated example for VIN DE GRAVE
Lot 613
A VICTORIAN SILVER "TEMPERANTIA" BASIN (VENUS ROSEWATER DISH), ELKINGTON & CO., BIRMINGHAM, 1872 electrotyped after a basin following designs by Francois Briot (1545-1620), the central raised medallion with Temperance holding a wine cup surrounded by a band with cartouches of the four classical elements with herms and strapwork between, the outer border with cartouches of the seven Liberal Arts and one of their patron Minerva between further strapwork and masks, with ovolo rim 46.5cm diameter, 2035gr (65oz) The Temperantia Basin (also known as the Temperance Dish) is one of the most copied and adapted pieces from the Renaissance period (Victoria and Albert Museum No.2063-1855). The same Elkington silver electrotype model, commonly known by the misnoma the Venus Rosewater Dish, is especially renowned when held aloft annually by the Wimbledon Ladies Singles champion.
Lot 22
A CHINESE DOUCAI WINE CUP, GUANGXU MARK AND PERIOD (1875-1908) slightly flared rim, the exterior painted to each side with sprouting narcissi flanking a rock; together with another pair of wine cups, Guangxu mark and period (1875-1908), similarly decorated in blue and white; all in fitted box with Johnson-Hill collection labels 4.5cm high (3) Provenance: The K.A. Johnson-Hill Collection, Hong Kong
![A rare silver wine label for 'Sherry'. Chester 1832. By George Lowe. [Jacksons page 401]. Approx. 11 grams. Est. £150 - £200.](https://cdn.globalauctionplatform.com/05e469f3-e34a-432e-a6a2-adc200c382a2/2bd4f49c-d53c-4ad2-b5ed-ade500b66d0f/468x382.jpg)
Loading...-
166820 item(s)/page