* LADY LUCINDA MACKAY (SCOTTISH b. 1941), THE OLD MILL INN PITLOCHRY watercolour on paper, monogrammed, titled label versomounted, framed and under glassimage size 27cm x 37cm, overall size 40cm x 50cm Handwritten artist's label versoNote: Artist and teacher, notably a draughtsman and painter of portraits, born in Sunninghill, Berkshire, brought up in the family home, Glenapp Castle, Ayrshire. Lady Mackay was the daughter of the 3rd Earl of Inchcape, chairman of the shipping line P&O who also ran Inchape PLC and was director of many other companies. Lucy Mackay was educated in Switzerland, Cambridge and at Edinburgh University and Edinburgh College of Art, 1960–5, under David Talbot Rice and William Gillies, graduating with a master’s honours degree in fine art. In 1973–4 she completed a postgraduate illustration studies year at the Central School of Art and Design. She settled in Edinburgh where she studied advanced botanic illustration at the Royal Botanic Garden, and where as a member of the Scottish Arts Club from 1983 she regularly attended life studies. Mackay began her extensive teaching career in 1966 as art assistant at Edinburgh Academy for Boys; from 1968–76 taught art, design and pottery at schools in the London area; then again in Edinburgh at the Salisbury Centre, 1981–2. In 1999 she joined the register of Angus County’s artists-in-residence for primary schools, serving at several schools. After winning first prize in a portrait painting competition run by the magazine Nursery World, 1953, and exhibiting a prize painting in the Daily Mail competition to celebrate the opening of the Forth Road Bridge, 1964, Mackay took part in many group shows, including the RSA. Among later solo exhibitions were The Italian Institute, Edinburgh, 1991; Torrance Gallery, Edinburgh, 1995, 1998 and 2005; and The Forum, Ocean Terminal, Leith, in aid of the Bethany Trust, 2004. She travelled extensively in several continents with paints and sketch-book. As well as a series of self-portraits Mackay completed many portraits, including Ronald Fletcher, broadcaster, 1968; the Queen’s Counsel Lionel Daiches, 1979–80; singer Ian Caddy, 1980–1; Professor David Daiches with his brother Lionel, 1988–9; the composer and conductor Emre Araci, 1997; and cellist Harriet Johnson, 2000. Her work was held by collections including the Scottish National Portrait Gallery; London College of Music; Royal Over-Seas League; Scottish Arts Club; Barlinnie Prison; and Geffrye Museum.
We found 81449 price guide item(s) matching your search
There are 81449 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
81449 item(s)/page
* LADY LUCINDA MACKAY (SCOTTISH b. 1941), WALLFLOWERS, MENAGGIO, ITALY acrylic on canvas, signed, titled and dated '17 versoframedimage size 41cm x 51cm, overall size 49cm x 59cm Exhibition label verso: 1 - 15 September 2018, The Torrance Gallery, EdinburghNote: Artist and teacher, notably a draughtsman and painter of portraits, born in Sunninghill, Berkshire, brought up in the family home, Glenapp Castle, Ayrshire. Lady Mackay was the daughter of the 3rd Earl of Inchcape, chairman of the shipping line P&O who also ran Inchape PLC and was director of many other companies. Lucy Mackay was educated in Switzerland, Cambridge and at Edinburgh University and Edinburgh College of Art, 1960–5, under David Talbot Rice and William Gillies, graduating with a master’s honours degree in fine art. In 1973–4 she completed a postgraduate illustration studies year at the Central School of Art and Design. She settled in Edinburgh where she studied advanced botanic illustration at the Royal Botanic Garden, and where as a member of the Scottish Arts Club from 1983 she regularly attended life studies. Mackay began her extensive teaching career in 1966 as art assistant at Edinburgh Academy for Boys; from 1968–76 taught art, design and pottery at schools in the London area; then again in Edinburgh at the Salisbury Centre, 1981–2. In 1999 she joined the register of Angus County’s artists-in-residence for primary schools, serving at several schools. After winning first prize in a portrait painting competition run by the magazine Nursery World, 1953, and exhibiting a prize painting in the Daily Mail competition to celebrate the opening of the Forth Road Bridge, 1964, Mackay took part in many group shows, including the RSA. Among later solo exhibitions were The Italian Institute, Edinburgh, 1991; Torrance Gallery, Edinburgh, 1995, 1998 and 2005; and The Forum, Ocean Terminal, Leith, in aid of the Bethany Trust, 2004. She travelled extensively in several continents with paints and sketch-book. As well as a series of self-portraits Mackay completed many portraits, including Ronald Fletcher, broadcaster, 1968; the Queen’s Counsel Lionel Daiches, 1979–80; singer Ian Caddy, 1980–1; Professor David Daiches with his brother Lionel, 1988–9; the composer and conductor Emre Araci, 1997; and cellist Harriet Johnson, 2000. Her work was held by collections including the Scottish National Portrait Gallery; London College of Music; Royal Over-Seas League; Scottish Arts Club; Barlinnie Prison; and Geffrye Museum.
* LADY LUCINDA MACKAY (SCOTTISH b. 1941), THE RED TREE, PITLOCHRY watercolour on paper, monogrammed, titled label versomounted, framed and under glass image size 28cm x 38cm, overall size 40cm x 50cm Handwritten artist's label versoNote: Artist and teacher, notably a draughtsman and painter of portraits, born in Sunninghill, Berkshire, brought up in the family home, Glenapp Castle, Ayrshire. Lady Mackay was the daughter of the 3rd Earl of Inchcape, chairman of the shipping line P&O who also ran Inchape PLC and was director of many other companies. Lucy Mackay was educated in Switzerland, Cambridge and at Edinburgh University and Edinburgh College of Art, 1960–5, under David Talbot Rice and William Gillies, graduating with a master’s honours degree in fine art. In 1973–4 she completed a postgraduate illustration studies year at the Central School of Art and Design. She settled in Edinburgh where she studied advanced botanic illustration at the Royal Botanic Garden, and where as a member of the Scottish Arts Club from 1983 she regularly attended life studies. Mackay began her extensive teaching career in 1966 as art assistant at Edinburgh Academy for Boys; from 1968–76 taught art, design and pottery at schools in the London area; then again in Edinburgh at the Salisbury Centre, 1981–2. In 1999 she joined the register of Angus County’s artists-in-residence for primary schools, serving at several schools. After winning first prize in a portrait painting competition run by the magazine Nursery World, 1953, and exhibiting a prize painting in the Daily Mail competition to celebrate the opening of the Forth Road Bridge, 1964, Mackay took part in many group shows, including the RSA. Among later solo exhibitions were The Italian Institute, Edinburgh, 1991; Torrance Gallery, Edinburgh, 1995, 1998 and 2005; and The Forum, Ocean Terminal, Leith, in aid of the Bethany Trust, 2004. She travelled extensively in several continents with paints and sketch-book. As well as a series of self-portraits Mackay completed many portraits, including Ronald Fletcher, broadcaster, 1968; the Queen’s Counsel Lionel Daiches, 1979–80; singer Ian Caddy, 1980–1; Professor David Daiches with his brother Lionel, 1988–9; the composer and conductor Emre Araci, 1997; and cellist Harriet Johnson, 2000. Her work was held by collections including the Scottish National Portrait Gallery; London College of Music; Royal Over-Seas League; Scottish Arts Club; Barlinnie Prison; and Geffrye Museum.
A George II silver tea caddy; inverted baluster form on an oval foot; the domed pull-off cover with cast artichoke finial. The body chased with rocaille scrolls and burgeoning foliage around vacant scroll cartouches. Marked to base, the lid unmarked. London 1746 by Samuel Taylor. 13cm high. 10.3 oztThe lip of the pull off cover is misshapen.
Rautenförmige Teedose. Porzellan. H 15,5 cm. Jede Fläche der Wandung mit einer einzelnen Frau bemalt. Boden mit kleinen Eckfüßchen. Originaler Deckel, innen kleiner Chip. Aufrufzeit 24. | Okt. 2024 | voraussichtlich 14:42 Uhr (CET)Diamond-shaped tea caddy. Porcelain. H 15.5 cm. Each surface of the wall painted with a single woman. Base with small corner feet. Original lid, small chip inside. Aufrufzeit 24. | Oct. 2024 | voraussichtlich 14:42 Uhr (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Barocke Teedose und Tasse. Closter Veilsdorf. Blaumarke CV, 1760-1795. Polychrom bemalt, goldstaffiert. Teedose (H 9,5 cm), Tasse (H 4,5 cm) und Untertasse (Ø 13,5 cm). Rechteckige Dose mit angeschnittenen Ecken und Deckel sowie Tasse mit originaler Untertasse. Alle bemalt mit einem schleifenbekrönten Medaillon und Blumenfestons. Gold berieben, Hals und Deckel der Teedose restauriert, Haarriss in der Tassenwandung. Aufrufzeit 25. | Okt. 2024 | voraussichtlich 11:03 Uhr (CET)Baroque tea caddy and cup. Closter Veilsdorf. Blue mark CV, 1760-1795. Polychrome painted, decorated in gold. Tea caddy (h 9.5 cm), cup (h 4.5 cm) and saucer (Ø 13.5 cm). Rectangular box with cut corners and lid and cup with original saucer. All painted with a bow-crowned medallion and floral festoons. Gold rubbed, neck and lid of the tea caddy restored, hairline crack in the cup wall. Call time 25 | Oct. 2024 | presumably 11:03 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Barocke Teedose mit Landschaftsmalerei. Fürstenberg. F-Marke, 2. H. 18. Jh. Polychrom bemalt, goldstaffiert. H 13 cm. Rechteckige Dose mit ergänztem Knaufdeckel. Allseitig gemalte Landschaften mit Architekur und teils Personenstaffage. Unterseitiger kleiner Chip, teils kleine Chips an den Kanten. Aufrufzeit 25. | Okt. 2024 | voraussichtlich 11:11 Uhr (CET)Baroque tea caddy with landscape painting. Fürstenberg. F mark, 2nd half 18th century Polychrome painted, decorated in gold. H 13 cm. Rectangular box with added knob lid. All sides with painted landscapes with architecture and partly with people. Small chip to the underside, some small chips to the edges. Call time 25 | Oct. 2024 | probably 11:11 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Teedose im Wiener Stil. Imitierte Bindenschildmarke, 2. H. 19. Jh. Polychrom bemalt, goldstaffiert. H 16 cm. Prunkvoll gestaltete, rechteckige Dose mit gewölbter Schulter und ergänztem Metalldeckel. Bordeauxfarbener Teilfond mit reicher floral-ornamentaler Reliefgoldmalerei. Beidseitig eine Ovalkartusche mit qualitätvoller Figurenmalerei, unterseitig bezeichnet "Horaz und sein Genius" und "Ariadne". Goldabrieb am Hals. Aufrufzeit 25. | Okt. 2024 | voraussichtlich 12:18 Uhr (CET)Tea caddy in Viennese style. Imitated bandage mark, 2nd half 19th century Polychrome painted, decorated with gold. H 16 cm. Magnificently designed, rectangular box with domed shoulder and added metal lid. Bordeaux-colored partial background with rich floral-ornamental relief gold painting. On both sides an oval cartouche with high-quality figure painting, inscribed on the underside "Horaz und sein Genius" and "Ariadne". Gold wear to the neck. Call time 25 | Oct. 2024 | probably 12:18 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Teedose im Wiener Stil. Imititerte Bindenschildmarke, 2. H. 19. Jh. Polychrom bemalt, goldstaffiert. H 16 cm. Prunkvoll gestaltete, rechteckige Dose mit Deckel. Hellblauer Teilfond, reiche ornamentale Goldreliefmalerei, allseitig sowie auf Schulter und Deckel Figurenmalerei. Deckel restauriert. Aufrufzeit 25. | Okt. 2024 | voraussichtlich 12:18 Uhr (CET)Tea caddy in Viennese style. Imitated bandage mark, 2nd half 19th century Polychrome painted, decorated with gold. H 16 cm. Magnificently designed, rectangular box with lid. Light blue partial background, rich ornamental gold relief painting, figure painting on all sides as well as on shoulder and lid. Lid restored. Call time 25 Oct 2024 | probably 12:18 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
A group of mixed silver to include a tea caddy spoon hallmarked London 1826, along with a pair of sugar tongs and others, along with some silver plated items to include a pair of sugar tongs and a butter knife, total weight of silver only 145.6g Location:If there is no condition report shown, please request
A WALNUT LONGCASE CLOCK BY JOSEPH SMITH OF BRISTOL (act. 1725-1778) the eight day two train movement striking on a bell, the brass face with subsidiary second dial, date aperture and a rocking Father Time aperture bordered by script, 'Tempus Fugit Momento Mori', the case with a caddy top hood and a stepped plinth base, 235cm high x 53cm wide x 26cm deepProvenance: The Les Watts Collection.
A GEORGE III OAK LONGCASE CLOCK BY RICHARD HARDWICK OF ASHWICKthe eight day two train movement striking on a bell, the brass dial with Roman numerals, subsidiary second dial and date aperture, the case with a caddy top over a gilt tooled red leather frieze, a slender trunk above a stepped plinth base, 217cm high x 50cm wide x 24cm deep
AN IRISH MAHOGANY BRACKET CLOCK BY PHILIP GLASCO & SON OF DUBLINlate 18th century, the two train fusee movement striking on a bell, the back plate engraved with the makers name, the brass dial with silvered chapter ring and Roman numerals, the case with a single brass handle to the caddy top and a moulded plinth base, 41cm high x 25cm wide x 20.5cm deep
A MEISSEN STYLE PORCELAIN CUP AND SAUCER Qianlong, decorated with harbour scenes, the cup exterior with two quatrefoil panels of figures, building and boats, reserved against a sea green ground, the interior with a floral spray and gilt scroll border, the conforming saucer painted with a large quatrefoil panel of figures around a harbour, enclosed by an elaborate design of plants, objects and figures, with a gilt scroll border, the exteriors of both enamelled in sea green, the cup 4cm high, the saucer 11.4cm diameterProvenance: Purchased from Roger Keverne Ltd. London 13th June 2006, formerly in the collection of Robert & Gertrude Anderson, Florida.The collection of the late Anthony du Boulay FSA (1929- 2022).Note: The finely painted harbour scenes on this cup and saucer are taken directly from Meissen porcelain in the style of Christian Friedrich Herold. See a set dated c.1730-1735 illustrated in Chen, Emerson & Gates, Porcelain Stories from China to Europe, 2000, p.111, pl.9.7. A Chinese tureen with this design is illustrated in Beurdeley, M., Porcelain of the East India Companies, 1962, p.196, no.197. The turquoise ground is very rare. For a Chinese tea caddy with floral panels in this colour see Jorg, C., Chinese Ceramics in the Collection of the Rijksmuseum, Amsterdam: The Ming and Qing Dynasties, 1997, pp.271-2, no.316.
A Victorian mahogany cased Ladies Vanity Box, with lift top and fitted interior with various accoutrements, the top with inset names "Helen"; together with a Victorian walnut domed top Tea Caddy with brass mounts, and a Georgian period rectangular Tea Caddy with fitted interior on brass paw feet, as a lot. (3)
A large rectangular Tea Caddy, c. 1880, with plain sides and double wire border, having an electroform panel to the front and on the lid of a group of three horses with two huntsmen, and surrounded by floral and leaf decoration, fitted with a lock and a dividing compartment, 4 1/" x 6 1/2" x 4 1/2", hinge requiring repair. (1)
Tea caddy, metal strap bucket, two stools and a metal coal bin.Condition report:The metal hoops around the bucket are oxidised in places, with damage to the middle hoop. The handle shows no damage and appears well connected. This would take considerable weight.The four-legged stool has two slightly loose legs on opposite sides, and some wear around the feet. The three-legged stool also has wear around the feet. Additional photos have been added.
A collection of silver-pated ware and assorted cutlery, Queen Anne style coffee pot; egg cruet; two pierced baskets; small bell; a pair of mother-of-pearl and metal knife rests; chamber stick; coffee spoons; tea knives; mother-of-pearl handled sardine knives and forks, ornate tea caddy with Willow pattern embossed design, flatware.
A mixed lot of silver items,comprising: a George IV Irish silver dish by James Scott, Dublin 1826, diameter 14.5cm, a cased pair of napkin rings, a cigarette holder case, a wine label, a tea caddy and a regimental vesta case, engraved with the regimental badge of Her Majesty's Reserve Regiment of Lancers, total approx. weight 16.1oz. (7)
A collection of five antique silver caddy spoons, including: a George III one, by Joseph Taylor, Birmingham 1807, pierced bowl, engraved lattice and Greek key decoration, a Victorian one by Aldewinckle and Slater, London 1888, the bowl engraved with a squirrel, a Victorian one with a ropework handle, by Henry Holland, London 1867, one by Robert Hennell, London 1830, fluted bowl, and one other, London 1821, approx. total weight 2.2oz. (5)Provenance: A Private Collection.
A small mixed lot of silver items,various dates and makers,comprising: a George IV miniature chamberstick, by the Mathew Boulton Plate Company, Birmingham 1820, shell bowl, foliate handle, with a snuffer, plus a Victorian mug, by Henry Holland, London 1870, inscribed, and a George III silver shovel caddy spoon, by Josiah Snatt, London 1803, approx. weight 7.4oz. (3)
A small mixed lot of flatware,comprising: an unmarked Onslow pattern sifting spoon and cream ladle, with a hanging hook and with a crest, another sifting spoon, a Scottish caddy spoon with a figural handle, a German caddy spoon, plus a strainer, a Portuguese caddy spoon, one with a shovel bowl, and three electroplated caddy spoons, approx. weighable 6oz. (11)
A collection of five 19th century Scottish silver caddy spoons, including: one by George Booth of Dundee, Fiddle pattern handle, shell bowl, plus four others, approx. weight 2oz. (5)Provenance: A Private Collection. Purchased from Woolley and Wallis, Salisbury, The John Norie Collection of Caddy Spoons- Part II, 28 July 2004, lot 375.
A collection of five antique silver caddy spoons, including: a George IV one by Joseph Taylor, London 1824, shovel form, engraved with fruit on a textured background, plus one by John Linwood, Birmingham 1810, engraved decoration, fish-tail motif, shell bowl, plus a Fiddle, Thread and Shell pattern spoon and two others, approx. total weight 1.3oz. (5)Provenance: A Private Collection.
A matched six-piece silver and electroplated tea set,part-fluted decoration, comprising: an oblong teapot, cream jug and sugar bowl by Mappin and Webb, Sheffield 1898, a hot water pot and stand with a burner, London 1897, by T. Bradbury, wooden handle and finial, engraved with crests, and an oval tea caddy by William Hutton and Sons, London 1898, plus an electroplated kettle on stand with a burner, approx. weighable 62.9oz. (6)
A mixed lot of flatware,comprising: a set of six George III mother-of-pearl handled silver dessert knives maker's mark worn, London 1817, a set of five George III Irish silver dessert knives, two fish servers, three dessert forks, three sauce ladles, six teaspoons, two sugar tongs, a caddy spoon, a set of six teaspoons, a cased set of six dessert knives, and a cased set of six fruit knives and forks, plus an electroplated pair of fish servers, a caddy spoon, a baby pusher, and spoon, and a pair of grape scissors, total approx. weighable 48oz. (qty)
A George III silver caddy spoon, by Thomas James, London 1814, rounded square bowl, engraved decoration, Old English pattern handle with a fish-tail motif, length 10cm, approx. weight 0.5oz.Provenance: A Private Collection. Purchased from Bonhams, New Bond Street, Fine Silver, 29 November 2002, lot 389.
A collection of five George III silver caddy spoons, by Josiah Snatt, London 1802-1814, various designs, one with engraved decoration and two initialled, approx. weight 1.7oz. (5)Provenance: A Private Collection. Purchased from Woolley and Wallis, Salisbury, The John Norie Collection of Caddy Spoons- Part II, 28 July 2004, lot 426.
A collection of eight mother-of-pearl caddy spoons, the majority 19th century, various designs, some with pierced and engraved foliate decoration. (8)Provenance: A Private Collection. Purchased from Woolley and Wallis, Salisbury, The John Norie Collection of Caddy Spoons- Part II, 28 July 2004, lot 343.
A collection of five antique silver caddy spoons, including: a William IV King's Husk pattern one, by Jonathan Hayne, London 1830, one by William Pugh, Birmingham 1811, fluted bowl and terminal, plus one with grapevine decoration, Birmingham 1852, and two Bright-cut examples, approx. weight 2oz. (5)Provenance: A Private Collection.
A collection of electroplated and base metal caddy spoons, various designs and makers, including an Arts and Crafts one and one with a handle modelled as Prince of Wales Feathers. (20)Provenance: A Private Collection. Purchased from Woolley and Wallis, Salisbury, The John Norie Collection of Caddy Spoons- Part I, 20 April 2004, lot 124.
Loading...-
81449 item(s)/page