There are 67499 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeGroße Glasskulptur, Licio Zanetto, Murano, um 1960, farblose Glasskulptur in Form eines Delfins, am Boden signiert, der Glaskünstler ist berühmt für seine Skulpturen, ca. 29.5 x 36 cm, ca. 3234gLarge Glass sculpture, Licio Zanetto, Murano, around 1960, colorless Glass sculpture in shape of a Dolphin, signed at the bottom, famous artist for his glass sculptures, approx. 29.5 x 36 cm, approx. 3234g
SCHEIB, HANS (geb. 1949), "Junge und Fisch", Holzskulptur, farbig gefasst (Nadelholz behauen, beschnitzt und polychrom bemalt), 2005, H: ca. 93 cm. Trocknungsrisse. PROVENIENZ: Atelier Laubbach, Ostrach (Rg.kopie von 2006 mit Preis € 6.500 liegt bei).| SCHEIB, HANS (born 1949), "Boy and Fish", wooden sculpture, colored (softwood carved, carved and polychrome painted), 2005, H: approx. 93 cm. Drying cracks. PROVENANCE: Atelier Laubbach, Ostrach (copy from 2006 with price € 6,500 is included).
Niederländischer GegenwartskünstlerZwillinge. Skulpturenpaar aus roséfarbenem Marmor, partiell poliert. Unsigniert. Abstrahierte, bogige Formen, sich einander zu- oder abwendend aufstellbar. H je 47 cm. Netherlandish contemporary artist. Twins. Sculpture couple from soft pink coloured marble, partially polished. Unsigned. Abstracted, curvy forms - to be placed looking at or from each other.
Vandewege, RikZugeschrieben Kegelobjekt. Keramik, farbig gefasst in Blau und Ocker. Künstlersignet (?) am unteren Rand. Konischer Boden, der die Figur zum Schwingen bringt. H 42 cm. Attributed. Cone object. Ceramics, coloured in blue and ocre. With artist's signet (?) on lower margin. Conical base that gives a swing to the sculpture.
20th c. Chinese carved stone sculpture of Guanyin with a baby, Songzi or Child-giving Guanyin. Delicately carved, Guanyin is depicted cross-legged holding a book on one knee and a child on the other.Provenance: From the collection of William Atkins, Minnesota.Height: 11 in x width: 6 in x depth: 5 in.
Chris Navarro (American, b. 1956). Bronze sculpture titled "Cold Beans and a Wet Saddle" depicting a dejected cowboy eating next to his horse. Signed and numbered 5/90 along the reverse. The sculpture rests on a wooden base.(Including wooden base) Height: 18 in x width: 23 in x depth: 20 in.
Allan Houser (American (Apache), 1914-1994). Bronze shield sculpture depicting a scene of dancers in low relief. With detached leather cords and feathers, which attach to the sides of the shield. Incised signature and editioned 3/24 along the lower edge of the shield.Diameter: 14 1/2 in x depth: 1 1/4 in.
Jacques Coquillay (French, b. 1935). Bronze sculpture depicting a nude woman lying on her back, drawing her knees toward her chest. Signed, numbered 1/8, and with an impressed foundry mark along the figure's hip.Provenance: Collection of Bruce Dayton & Ruth Stricker Dayton, Minnesota.Height: 7 in x width: 15 in x depth: 6 in.
Jacques Coquillay (French, b. 1935). Bronze sculpture depicting a nude woman leaning forward on all fours. Signed and numbered 4/8 with an impressed foundry mark along the leg.Provenance: Collection of Bruce Dayton & Ruth Stricker Dayton, Minnesota.Height: 14 1/2 in x width: 7 in x depth: 13 in.
CHROMA (American, b. 1953). Pair of beaded vinyl sculpture titled "Pinocchio" and "Jiminy Cricket" from CHROMA's "Alterations" series, depicting Pinocchio and Jiminy Cricket in the style of KAWS' collaboration with Disney, beaded in the Huichol style. Signed, dated 2021, and numbered TP PIN .0010 along the underside. With a certificate of authenticity signed by the artist.Pinocchio; Height: 11 in x width: 5 in x depth: 4 in. Jiminy Cricket; Height; 2 1/4 in x width: 1 in x depth: 1 1/4 in.
CHROMA (American, b. 1953). Beaded resin sculpture titled "Pointer" from CHROMA's "Alterations" series, depicting a balloon dog in the style of Jeff Koons, half beaded in the Huichol style. Signed, titled, dated 2021, and numbered TP 0024 along the underside. With a certificate of authenticity signed by the artist.Height: 16 in x width: 17 in x depth: 6 in.
§ Attilo de Luca (twentieth century), 'Lotta Greco Romana', hollow bronze sculpture of Greek wrestlers on marble plinth, based on the Uffizi Wrestlers. Inscribed 'A de Luca' towards base. Height: 60cm approx. Provenance: originally purchased by the vendor at Winston Harris Galleries Ltd, 157 West 57th Street, New York, 16th December 1999. Please note that Artists Resale Right may be additionally payable on top of the hammer price for this lot, where the price is above the threshold of Euros 1,000, up to a maximum of 4% of the hammer price, visit www.dacs.org.uk for more information. Condition Report: § Generally good condition, with some surface scratches and general wear.
Collection of 7 duplicate exhibition posters, 'Royal Academy 20th Summer Exhibition of Contemporary Paintings, Engravings, Sculpture and Architecture' (1975), designed by Peter Blake, poster size 50 x 76cm, with artist's proofs of the same posters. With collection of duplicate posters for the Tate Liverpool exhibition: 'Peter Blake: About Collage' (April 2000-March 2001).
ENRIQUE MARTINEZ CUBELLS (Madrid, 1874 - Malaga, 1947)."Marina".Oil on canvas.Signed in the lower right corner.Size: 37 x 44 cm; 58 x 63 cm (frame).Son of the Valencian painter Salvador Martínez Cubells, he began his training in his father's workshop, to later continue his studies at the School of Arts and Crafts in Madrid and at the Special School of Painting, Sculpture and Engraving in the same city. His style was freed from his father's influence following a trip to Europe in 1898. His admiration for German modern art led him to settle in Munich for four years, followed by stays in Venice, Paris and Amsterdam. During his travels around Europe, Martínez-Cubells was greatly influenced by European realist trends, at a time when his Spanish contemporaries were still making history paintings. His personal style was characterised by bold, synthetic brushstrokes, in addition to his great interest in the luminous aspects. More Nordic and austere than his Spanish colleagues, his conception of light is restrained and intimate, far removed from the blinding force of Sorolla. On his return to Spain, he was appointed professor at the Schools of Arts and Crafts and San Fernando in Madrid. He took part assiduously in the National Exhibitions of Fine Arts, winning third medals in 1897, second in 1899 and 1901, and first in 1904 and 1912. The works that earned him these first medals were "Work, Rest and Family", in 1904, and "The Return from Fishing", in 1912. Subsequently, he was awarded a first medal at the Buenos Aires International Exhibition in 1910, as well as a grand prize at the Panama Exhibition in 1916. He later became a member of the Royal Academy of Fine Arts of San Fernando in Madrid. Between January and March 2003 Ibercaja presented the first anthological exhibition dedicated to this painter in Zaragoza. Enrique Martínez-Cubells worked mainly on genre themes with a social content, often of a fishing and maritime nature, although he also showed a predilection for urban landscapes, interiors and rural peasant scenes. He is represented in the Museo del Prado, the Museo Carmen Thyssen in Malaga and the Fine Arts Museums of Valencia, La Rioja, Malaga, Álava and San Sebastián, among others.
Italian school, ca.1900."Woman crossing the river".Alabaster.Measurements: 80 cm. high.Modernist sculpture representing a young woman who, with bare feet, steps on some stones on which she crosses the rapid waters of a river. With a gentle gesture, she gathers her dress, revealing her graceful, shapely legs, which harmonise with the delicacy of her smooth bust and her fine features. In a manner typical of modernist art, the carver plays with the curved forms of the folds of the dress, which in turn dialogue with the sinuous fall of the wavy hair.
Bronzeskulptur, Frankreich um 1870, wohl Darstellung einer Marianne, fein grav., H. ca.15 cm, Boden verdellt, nicht störend, sign. H. ChailusBronze sculpture, France approx. 1870 , probably presentation of Marianne, fine engraved, h. approx. 15 cm, bottom dented, undisturbed, signed h. Chailus
'The Aerial Atlas of Ancient Crete.' Original boards, large format, colour photos throughout, University of California Press, 1992, vg; 'The Historical Atlas of the Bible,' by DR IAN BARNES, original cloth, unclipped dj, colour maps and pictures throughout, Cartographica, 2006, fine; With two other books on Anglo-Saxon stone sculpture in Yorkshire and Rievaulx Abbey, also in Yorkshire. (4) Dr Rob Senior arrived in West Cornwall from his native Yorkshire in the early 1960’s where he took up his vocation as a young GP and served the local community for 40 years.At the age of 12, Rob bought a book on Cacti. It was his first book, and established the twin passions of his life, books and plants. His library is a fabulous, eclectic collection of books, largely on plants and horticulture, but also nature and many other subjects, all brought together by a man with a curious and inquisitive mind.
'The Observer's Book of....' The first 50 of which nineteen are first editions, including 'British Wild Flowers,' 'Butterflies,' 'Dogs,' 'Geology,' 'British Insects,' 'Mosses and Liverworts,' 'Flags,' 'Lichens,' 'Modern Art,' 'Furniture,' 'Sculpture,' 'Basic Aircraft,' 'Postage Stamps,' 'Cathedrals,' 'Zoo Animals,' 'House Plants,' 'Association Football,' 'Cricket,' and 'London'. (56)
ART INTEREST. 'Raffaello: The Paintings, The Drawings,' unclipped dj, Grange Books, Itay, 1998; 'Michelangelo: The Complete Sculpture, Painting, Architecture,' by William E. Wallace, Beaux Arts Edition, 1998; 'David Hockney by David Hockney.' Unclipped dj, Thames and Hudson, 1976; with five other books including 'Robert Lenkiewicz,' signed by the author Keith Nichols. (7)
Wedgwood glass bird paperweights, including a woodpecker, heron, pheasant, Canadian goose, kingfisher, duck, Sandpiper, swan and falcon, together with a Mats Jonasson lead crystal and glass sculpture depicting a kingfisher, signed and nr 3296 together with a Dartington Crystal lead crystal paperweight depicting beavers.
A CIZHOU 'FLORAL' BOWLChina, Yuan Dynasty (1279-1368) to Ming Dynasty (1368-1644). Rising from a short straight foot to an everted rim. Carved through the creamy-white slip with a central lotus bloom borne on a leafy stem, within a band of stylized leaves, reserved against a combed ground and covered with a cream glaze over a white slip, stopping unevenly above the foot and revealing the buff body.Condition: With old wear and firing flaws, some chipping to rims as well as few glaze flakes, the interior with iron red staining. Overall good condition consistent with age. Provenance: From a German private collection assembled between 1975 and 2002. Acquired at Nagel Auktionen in Asian Art on 6-7 May 2016, lot 765.Weight: 1055 g Dimensions: Diameter 26 cmAuction result comparison: Compare a related cizhou bowl at Christie's New York in The Collection of Robert Hatfield Ellsworth Part IV - Chinese Works of Art: Metalwork, Sculpture and Early Ceramics on 20 March 2015, lot 859, sold for USD 7,500.
A LARGE DEHUA PORCELAIN SCULPTURE OF GUANYINChina, 20th century. The heavily potted figure with a thick ivory-white glaze, depicting the mother goddess seated in lalitasana upon a rocky plinth, holding a ruyi scepter in her left hand, with a censer as well as a praying child as the accompanying figure next to her, the deity dressed in an elegant long flowing robe and elaborate jewels, the hair fashioned in plaited locks gently falling over her shoulder. The Dehua mark to the backside.Condition: Very good condition with hardly any traces of wear and age. Provenance: German private collection. Weight: 4.7 kg Dimension: Height 44.2 cm
A QINGBAI SCULPTURE OF GUANYINChina, Late Qing Dynasty to Republic period (1880 - 1930s). The Bodhisattva finely modeled in porcelain, seated on a double lotus base, the robe falling neatly over the base, the hair covered by a cowl. Coated with a lustrous glaze of very pale blue, the unglazed base with a mark.Condition: Excellent condition with minor wear. Provenance: German private collection, acquired from an old French private collection c. 2010.Weight: 270.3 g Dimensions: Height 14.5 cm
A MONUMENTAL 'SILVER EAGLE' OCTAGONAL BRONZE VASEJapan, early Meiji period (1868-1912)The elegant body of the vase is applied with a massive, layered and craggy bronze rock, traversed by branches of silvered and gilt cherry blossoms, on which a majestic eagle has just landed. Below we find two sparrows, neatly inlaid in silver, gold, shakudo and shibuichi. The feathers of the eagle are cleverly incised to create a dramatic movement, his claws with punched details and gilt. The eyes and talons are finely inlaid in shakudo. Condition: Superb condition with some old wear, a fine naturally grown chocolate-brown patina overall, minor traces of wear and shallow surface scratches, small casting flaws. Faint traces of verdigris to bronze rock.Provenance: Property from a collection in the United Kingdom.HEIGHT 68.5 cm WEIGHT 21.6 kgIn this remarkable portrayal of an eagle's fierce spirit, the artist distilled the soul of the Japanese nation in the second half of the 19th century, which was - at the onset of westernization - exerting itself as an international power. In addition to his regal presence, the 'king of the skies' represents unhesitating, even ruthless action, an indispensable quality during these turbulent times. Determined to break the mold of traditional East Asian sculpture, the artist augmented the vivacity of his subject with youthful audacity, dramatically varying contrasts of light and dark within the plumage. With an increased degree of realism, almost brutal naturalism, the final abandonment of the classical Edo aesthetic becomes apparent in this masterpiece of Japanese metalwork.Auction comparison: Compare the manner of the eagle to a silvered bronze okimono of an eagle by Masatsune sold by Bonhams, Fine Japanese Art, 5 November 2020, London, lot 288 (sold for 11,312 GBP).
A VOLCANIC STONE STELE OF DURGA SLAYING THE BUFFALO DEMON, 11TH-13TH CENTURYIndonesia, East Java. Standing bare-breasted on a buffalo, the eight-armed goddess grasps the demon by his hair and holds various attributes such as sword, conch and dharmachkra. Her torso is contoured and adorned with a heavy necklace, the face with a benign expression and crowned by a diadem and elaborate headdress. She is clad in a batik sarong fastened with several beaded belts, two rosette clasps and pendant festoons, her hair tied in a high chignon with tresses flowing to the sides, backed by a halo and with the stele forming a torana around her.Provenance: From the personal collection of the grandfather of the present owner, acquired c. 1960 in Italy, and thence by descent in the same family.Condition: Excellent condition with extensive weathering and wear, areas of erosion, some structural cracks and losses, minor dents and nicks here and there, all commensurate with the age of this statue. Good natural patina.Weight: 123 kgDimensions: Height 90.5 cmRepresentations of the goddess Durga killing the buffalo demon are celebrated throughout India. Transmitted to Southeast Asia, the theme appears in Indonesian and especially Javanese art as well as in the early sculptures of Thailand and Cambodia. When the gods were defeated by the lord of the demons, Mahisha, they pleaded with Durga, the incarnation of female energy, to defend the universe. Having been given a weapon by each of the gods and thus possessing all of their powers, she defeated first the demon's armies and then Mahisha himself, who had taken the form of a buffalo. In this sculpture, Durga stands on the corpse of the vanquished beast. The demon, having already left it, stands next to her and tries to defend himself in a last, desperate and - as we know - futile move.Expert's note: Especially due to its superb state of preservation, this unusually large sculpture remains one of the most imposing images of this theme.Literature comparison: Compare with an earlier version of the same subject, 9th century, also carved from volcanic stone, at the Metropolitan Museum of Art, New York, accession number 1988.160.
A RARE ANDESITE STATUE OF BUDDHA, CENTRAL JAVA, 9TH CENTURYStanding on a rectangular base, backed by a large, towering aureole and halo. His right hand is raised toward the chest and the left is lowered and holding the hem of his long flowing robe. The serene face with full lips and heavy-lidded downcast eyes below gently arched eyebrows centered by an urna, flanked by long pendulous earlobes. The hair arranged in tight curls with an ushnisha.Provenance: La Balaustra, Archeologia Classica Orientale e Precolombiana, Bologna, 1980. An important Italian private collection, acquired from the above.Condition: Superb condition, commensurate with age. Expected losses, erosion, wear and extensive weathering.Weight: 73.3 kg Dimensions: Height 80.5 cmA Buddha image of ineffable quiet and stillness has been carved from rough volcanic rock. The profile and dome of the head are broad, allowing for a round tapering of the forehead, cheeks, and chin that, once finished with a polish, produce an overall impression of smoothness, belying the porous nature of the stone, which has resisted over a millennium of weather exposure with a stunning ease. The sculptors working on the great stone monuments of 9th century Central Java produced some of the most beautifully proportioned Buddhist sculptures of any period or medium.The present statue is almost certainly from Borobudur or a related temple site, such as Sewu or Ngawen in Central Java. Built by the Shailendra dynasty around 825 CE, Borobudur is one of the greatest Buddhist monuments of all time, having one of the largest and most complete ensembles of Buddhist narrative relief panels in the world. Structured as a mandala of stacked platforms representing the three planes of existence in Mahayana cosmology (the world of desire, the world of forms, and the world of formlessness), Borobodur invites pilgrims circumambulating its didactic panels and sculpture to shuck the trappings of their perceived reality and realize their true inherent formlessness.Literature comparison: Three examples in the British Museum collected by Sir Thomas Stamford Raffles in the early 19th century demonstrate that not all Borobudur heads were created equal (1859,1228.175; 1859,1228.176; & 1859,1228.177). Some have softer, more delicate brows while others show harder features and more pronounced monobrows. Some have spire-like ushnishas, while others are broader and more pleasing. Of the three British Museum heads, it is the most celebrated and widely exhibited one (1859,1228.176) that bears the closest resemblance to the present lot, illuminating its quality.Auction result comparison: Compare a related andesite statue of Buddha, from Borobudur, dated to the 9th century, and of similar size, sold in these rooms, in Fine Chinese Art, Buddhism and Hinduism, on 25 April 2020, lot 461, for EUR 30,000.
A RARE QINGBAI 'GRANARY' VESSEL, SOUTHERN SONG TO YUAN DYNASTYChina, 1127-1368. The bulbous body of this rare funerary grain storage vessel rises from a spreading foot to a domed top with a prominent bud finial. The front with a rectangular aperture surrounded by applied strap work, covered in a thin and finely crackled straw glaze stopping unevenly above the foot, revealing the buff ware.Provenance: From a private collection in Phoenix, Arizona, USA, by repute acquired at a local estate sale.Condition: Good condition with minor wear and firing flaws, small losses to strap work on the cover and around the opening, significant glaze flakes to some areas, one side with prominent soil encrustation. Presents well and overall commensurate with age.Weight: 2,290 gDimensions: Height 33 cmLiterature comparison: Chinese Ceramics Song-Yuan, Taipei 1997, p. 388. Song Ceramics from the Kwan Collection, Hong Kong Museum of Art, Hong Kong 1994, no. 96, p. 229.Auction result comparison: Compare with a closely related Longquan shrine at Christie's New York on March 22, 2019, in Fine Chinese Ceramics & Works of Art, lot 1618, sold for USD 18,750. Compare also a related Qingbai-type model of a granary and cover, also dated Southern Song to Yuan dynasty and with a similar bud finial, at Christie's New York in The Collection of Robert Hatfield Ellsworth Part IV - Chinese Works of Art: Metalwork, Sculpture and Early Ceramics on 20 March 2015, lot 839, sold for USD 37,500. 南宋至元罕見青白釉糧倉 中國，1127-1368年。極爲少見的喪葬糧食儲存器皿，球根狀體，底足外撇，圓頂。 正面有一個矩形孔，周圍可見飾帶，全身覆蓋著一層薄薄且開片的褐色釉，底足露胎。 來源：美國亞利桑那州鳳凰城私人收藏，據説購於當地遺產轉賣。 品相： 品相良好，有輕微的磨損和燒製缺陷，蓋子和開口周圍的裝飾帶有小缺損，一些區域有明顯的釉面剝落，一側有明顯的土壤結殼。 狀況很好，整體上與年齡相稱。重量：2,290 克 尺寸：高33 厘米 拍賣結果比較：一件相似的龍泉龕見紐約佳士得2019年3月22日 Fine Chinese Ceramics & Works of Art lot 1618, 售價USD 18,750. 同樣是南宋至元的青白釉糧倉見紐約佳士得 The Collection of Robert Hatfield Ellsworth Part IV - Chinese Works of Art: Metalwork, Sculpture and Early Ceramics 于2015年3月 20日 lot 839, 售價USD 37,500。
TWO 'MYTHICAL BEAST' MARBLE PANELS, FRAGMENTS OF A FUNERARY STRUCTURE, TANG TO JIN DYNASTYChina, 618-1234. Each rectangular fragment chiseled in relief with mythical beasts striding among plants, including a chilong, two bixie, and another hybrid creature with hooves, scales, and a phoenix head, all above a gently curving, stylized leafy vine forming an outline reminiscent of a mountain range. (2)Provenance: From an English private collection in Buckinghamshire, acquired in the 1980s and thence by descent.Condition: Condition commensurate with age. Extensive wear, losses, signs of weathering and erosion, nicks, scratches, and encrustations.Weight: 13.5 kg and 15.2 kgDimensions: Size 81.7 x 25.5 cm and 88 x 25 cmBoth with massive cast iron fittings for wall suspension, probably dating to the earlier 20th century.The present two stone fragments were likely once segments of a funerary structure, possibly decorative panels of the walls or door to a sarcophagus. The walls of the sarcophagus of Li Shou, Prince Jing of Huai'an, now housed in the Xinjiang Uygur Autonomous Region Museum and illustrated in Angela Falco Howard, et. al, Chinese Sculpture, 2006, Beijing, fig. 2.39, feature relief carvings of beasts and stylized clouds related to the present example on its walls and around the tomb door. The tomb of Li Shou, a cousin of Tang emperor Gaozu, was erected in 631 within the emperor's Xianling necropolis.It is also worth considering a funerary stele erected for Xiao Hongtian, illustrated in Yao Qian and Gu Bing, Nan chao ling mu shi ke, [Tomb Carvings of the Southern Dynasties], Beijing, 1981, pls. 55 and 56. Xiao was conferred as ruler of the Linchuan region in the year 502, and perished in 526. The main face of the stele comprises eight square panels with relief-carved striding mythical beasts among cloud wisps, within foliate borders.Literature comparison: Compare a related but larger marble relief, dated to the Jin dynasty, and carved with figures, in the collection of the Victoria and Albert Museum, accession number A.59-1937.Auction result comparison: Compare a related but more elaborate marble panel (Size 40.6 x 50.2 cm) dated to the early Tang dynasty, carved with a mythical beast striding on clouds, at Sotheby's New York in Junkunc: Chinese Buddhist Sculpture on 12 September 2018, lot 4, sold for USD 300,000 (for a single panel).
Loading...
