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Benjamin Robert Haydon (1786-1846) after William Wordsworth (1770-1850). Sonnett addressed to B.R. Haydon by W. Wordsworth - Dec 27, 1815. Manuscript transcript in Haydon’s hand, of the poem High is our calling, Friend!, headed as above, with a drawing of a hand below. Pen and ink on wove paper. Unframed 18 x 11.5cm (7 x 4 1/2 in). This sonnet was one of three dedicated by Wordsworth to Haydon. It was originally written on December 21st, 1815, and Haydon later wrote in his autobiography, “Now, reader! was not this glorious?” During this period, he was also the recipient of four poems by Keats and one by Elizabeth Browning, amongst others. This transcript by Haydon, written within days of receiving the original (present whereabouts unknown), was found in an album belonging to his friend Elizabeth Dufresne (see preceding lots). The hand represented below may be Wordsworth’s, as Haydon drew it on other occasions, or his own. Or possibly simply the hand of ‘Creative Art’.
Paul Musurus Bey (c.1840-c.1927). An album of sketches and studies. Over 250 drawings, most after old masters or contemporary artists, a few original compositions, with a signed carte de visite photograph of the artist mounted as frontispiece. Almost all in pen and ink, many with monochrome wash, a few others in pencil, watercolour and gouache. All mounted on album leaves, with several Als between a previous owner and several museums in the 1930s, including A.M Hind at the British Museum, these loosely inserted, cloth-backed marbled boards, folio, mid 19th century. Paul (Paulaki) Musurus Bey was the son of Constantine (Kostaki) Musurus Pasha, long-serving Turkish ambassador to the court of St James, from 1851 to 1885. Paul Musurus moved to London with his father as a youth and, apart from occasional light, and very junior, diplomatic duties, seems to have lived the life of a dilettante artist and poet. But the undoubted quality and significance of the drawings, reflecting as they do much of the pervading influences of the day in French and British art, are testified to by the enthusiastic reception of several drawings donated in the 1930s to the Department of Prints an Drawings at the British Museum, the Ashmolean Museum and the Birmingham City Museum and Art Gallery.
Sidney Mackenzie Litten (1887-1949). Some Etchings of Poynters Hall. Etchings, pictorial title and set of 10 plates. Most c.19.5 x 24.5cm (7 3/4 x 9 3/4 in), but three each 17 x 29.5cm (6 3/4 x 11 1/2 in), or the reverse. With 3 etchings of Essex and County Durham by W.G. Tennick (14)Litten was a pupil of Sir Frank Short at the R.C.A., and went on to become Senior Master at St. Martin’s School of Art.
Dennis J. Hanceri, RSMA (20th century). Channel Contrasts. Watercolour and gouache. Signed and dated 1974 at lower left, with Guildhall Art Gallery label on the verso. 37 x 58.5cm (14 1/2 x 23 in). With a signed etching of a similar composition of sail boats and steam ship, by W.L. Wyllie
* JACK VETTRIANO OBE (Scottish Born 1951-) The Oyster Gatherers Oil on canvasboard, signed "Hoggan" 41cm x 30.5cm Note : Jack Vettriano was born Jack Hoggan, the son of a Scottish father and Italian mother. He eventually adopted his mothers maiden name but his early work shows the artist using the signature `HOGGAN`. The majority of his early works were pastiches of the impressionists after admiring and studying paintings at the Kirkcaldy Museum and Art Gallery. The record price for a Hoggan signed work is £13,145 achieved by Christie`s (Edinburgh) 28th October 2004 lot 294 "Summer Breeze" an oil on canvasboard. It is believed that paintings by John Singer Sargent were the inspiration for both "The Oyster Gatherers" and "Summer Breeze".
* GEORGE DONALD RSA RSW A Short Poem in Sanskrit Mixed media, signed, 1986 76cm x 57cm; and Feint Memories Mixed media, signed, 1986 76cm x 57cm (2) Note : Exhibits regularly at the Open Eye Gallery in Edinburgh, the Royal Scottish Academy and the RSW. His work can be seen in public and private collections in the UK and abroad including the V&A in London, Aberdeen Art Gallery, City Art Centre in Edinburgh, Miro Foundation in Spain, University of Edinburgh, Leeds City Council, University of Central Florida, ICI and the BBC.
* ALESSANDRO NOCENTINI (Italian b 1949-) Fiore (1983) Watercolour, signed 83cm x 61cm Note : Since 1973 Alessandro Nocentini has shown his work in Gallery`s and museums in Europe, the United States and Japan, earning praise from critics and the public throughout the international art world. Alessandro Nocentini was born in l949 in Florence, where he continues to live and work.
HANNAH FRANK (1908-2008) In Thoughts from the Visions of the Night, 1930 Original: Hunterian Art Gallery, Glasgow University. Exhibited Royal Glasgow Institute, 1930. Published Glasgow University Magazine, February 1931 Signed Al Aaraaf within the plate and signed `Hannah Frank` in pencil 40cm x 26cm Note : HANNAH FRANK, GLASGOW ARTIST, 1908-2008. Hannah Frank was born in Glasgow in 1908, and studied at Glasgow University and the Glasgow School of Art. She produced her hallmark black and white drawings, with their elongated structures, medieval romanticism and often melancholy air from the age of 17 in 1925. Between 1927 and 1932 the GUM, the Glasgow University Magazine, rarely came out without a drawing by `Al Aaraaf`, her chosen pen name. From the 1940s, after her marriage to mathematics teacher Lionel Levy, Hannah`s drawings became light-filled and exuberant. Hannah Frank turned to sculpture in 1952, studying with Benno Schotz, at the Glasgow School of Art. Hannah`s haunting drawings are resonant of he Art Nouveau period with a hint of Aubrey Beardsley and Jessie King. Hannah`s drawings, and her later sculptures, have been exhibited in the Royal Glasgow Institute, the Royal Academy, and the Royal Scottish Academy. Many Glasgow folk will be familiar with the drawings from when they were on show in the Frank family camera shops in the Saltmarket and in Queen Street in the 1950s and 1960s. From 2004 Hannah`s drawings and sculptures were exhibited throughout the UK and the USA in a tour which finished at Glasgow University in a retrospective exhibition which started on her 100th birthday, 23rd August 2008. In 2009 Hannah Frank became the first person ever to receive a posthumous honorary doctorate from Glasgow University, which was received on her behalf by her niece, Fiona Frank. A total of 17 of Hannah`s 75-plus black and white drawings were reproduced in the 1960s and 1980s to satisfy demand from admirers. Although the artist signed an unrecorded number of each print, only one-Dream, 1952-was numbered (edition of 250). Hannah`s ambition was, in the words of the poet Henry Wadsworth Longfellow, to `leave footprints on the sands of time`. All proceeds from the sale of these prints and sculpture, which are being auctioned by Hannah Frank`s niece Fiona Frank, will go towards the mission to keep Hannah Frank`s name alive, through her website, future exhibitions, books and scholarly articles.
A Meissen garniture de chiminee of three baluster vases and covers and two beaker vases, painted with chinoiserie panels of oriental figures within bold brown and gilt ombrierte cartouches in the manner of P.E. Schindler, each surrounded by scattered sprays of deutsche Blumen, the central vase and cover, 54cm high, blue crossed swords marks (cover finial repaired), the two smaller baluster vases and covers, 45cm and 46cm high, blue crossed swords marks (one finial restored and one with restored area to neck rim), the beaker vases, 41.5cm and 42cm high, probably late 19th century. On the instructions of the Administrators of Partridge Fine Art Ltd (in Administration).
A rosewood and faux ivory banded humidor by Dunhill and Co., late 20th century, of rectangular form with bracket feet, the hinged lid opening with guages for temperature and humidity, 12cm high, 25cm wide. On the instructions of the Administrators of Partridge Fine Art Ltd (in Administration).

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