There are 9737 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeE Gambier Parry (of Highnam Court Gloucestershire interest) pencil drawing of a leaf detail on wood or stone carving, monogramed and dated 81, 28 x 38cm, coloured etching of the Passage, Arlingham River Severn, and seven further sketches and etchings to include F.H.White pen and ink study of Exeter
Scrap album. A scrap album containing 50 tipped-in illustrations, comprising: 33 hand-coloured aquatint plates after Thomas Rowlandson, taken from The English Dance of Death, 1815-1816, each trimmed and tipped-in, pencilled title to lower edges, some edge-chipping, some generally minor spots, marks, or surface abrasion, a few plates with (generally closed) tears, one plate with long central tear and laid down on thin card, pencilled verse couplet beneath each plate; 11 prints (3 by or after Jacques Callot, Jan Both and Adriaen van Ostade); 5 pencil drawings (including a sheet of hand studies); 1 pen & brown ink and brown wash copy of a 17th century English School drawing; 1 watercolour lakeside scene, various conditions, support leaves discoloured from adhesive, contemporary black half morocco, worn with loss to spine, 4to, together with: a second scrap album, with decorative title in pen & black ink and wash: 'Reis langs den Ryn, Frankfurt, Heidelberg, Munchen, Weenen, Tyrol, Salzburg, Dresden en de Sächsische Schweiz', 25 tipped-in views comprising: 3 watercolours (one two-tone), one sepia watercolour (with another to verso), 2 sepia watercolours over pencil, 19 pencil sketches, most views with pencilled title, some dated 1856, also one engraved view (spotted), and 4 albumen prints, contemporary cloth, front cover with date '1856', worn with some stains and marks, 4to, plus another album containing approximately 280 illustrations taken mainly from issues of The Weekly Freeman (1880-1886), a few from The Sphere (1910-1912), and a commemorative issue of The Sphere (May 28, 1910)Qty: (3)
Bagster (Samuel, 1772-1851). Publisher and author. A pair of half-plate daguerreotypes of Samuel Bagster and his wife Eunice (1777-1877), c. 1845-1850, the first showing Samuel and Eunice seated at a small table with some needlework in front of Eunice, the second similarly set with some blue tinting showing Samuel and Eunice full length and seated with their eldest daughter Eunice (1804-1878) standing next to her mother, Samuel reading a book, Eunice junior using knitting needles while her mother looks on, the first image with a little marginal solarisation, visible image area of each 132 x 94 mm, matching elliptical brass mats, glazed, original leather-covered hinged boards with bevelled edges and clasps, both somewhat scuffed, velvet pad to first daguerreotype missing from inside lid, together with a pair of one-sixth plate near-identical daguerreotypes of Mary Ellen & Cornelia Susannah Bagster (1844-1921 & 1846-1913), 1851, both portraits showing the two girls and a doll, both with some speckling and spider mould on plate and glass, bevelled wall frames with eye hooks [?Richard Beard studio], one with contemporary identification inscription to label at rear, 'Mary and Cornelia, taken 1851' and later inscription noting that the photograph of 'Mother and Aunt Cornie' was taken in Regent Street, London, 1851, plus 4 one-ninth plate daguerreotypes of Bagster family members, mid-1840s to early 1850s, including one in a wall frame with hook (with 'Beard Patentee' stamp) and pencil identification of subject as Aunt Emma Bagster [Emma Maria Dyson, 1814-1888; married Benjamin Bagster, 1812-1891], one of an unidentified Bagster woman and one of a younger girl, both with lids detached, the one of the girl with gilt stamp of 'Mayall, Argyll Place, 224 Regent Street' to base, the last ninth-plate daguerreotype of a young man, [1843?], possibly John Bagster (1802-1843, second son of Samuel the Elder and Eunice), his personal business card for S. Bagster & Sons (partly folded and split) with a lock of hair attached found loosely inserted in the caseQty: (8)Footnote:These are possibly the only two extant photographs of Samuel Bagster the Elder. The National Portrait Gallery owns a portrait of Bagster by John Linnell, drawn from life at Windsor, c. 1852, itself an 'improved' version of a sepia ink sketch still in the Bagster family collection. Another drawing with watercolour acquired by the NPG in the same lot at the Linnell Sale (Christie's, 15 March 1918, lot 82) was sold by the NPG Trustees to Sir John Lane. The family photographs in the following two lots all date from after Samuel's death in 1851 and therefore include no more images of him.
*Sir Jacob Epstein (1880-1959)Sketch for 'Day'signed 'Epstein' l.l., pencil, ink and wash57 x 42.5cmProvenance: The Redfern Gallery(?);Lady Epstein (Kathleen Esther Garman);with Obelisk Gallery, London, c.1965:Anon, Bonham's, London, 29 November 2005, lot 69.Sketch for 'Day' is a preparatory drawing of c.1929 for the monumental sculpture 'Day' commissioned along with its pair 'Night' for London Transport HQ (55 Broadway, a Grade 1 listed building close to St James's Park, London). The sculptures, completed in 1929, are amongst Epstein’s most celebrated and, at the time, controversial public works. On their unveiling, there was outcry over the explicit nudity of the boy, which led to the offer of resignation from the Managing Director of London Underground (UERL), which had commissioned the works. In the end, Epstein made a compromise - shortening the boy's penis - and the uproar was forgotten. The inscription verso, in (the elderly) Lady Epstein’s hand on an Obelisk Gallery label, states it was exhibited in 1927 at The Redfern Gallery - but this could be inaccurate as the commission for 'Day & Night' was received in 1928, and other 'Day' related studies are dated '28 or '29. See related Epstein studies in 'Jacob Epstein Sculpture and Drawings'. Leeds City Art Galleries, 1987, pp.224-5. (Lot 47, Modern and Contemporary Art - 05/04/2022).*Artist's Resale Right may apply to this lot.Condition report: overall: 89.5 x 70cm
Robert Driessen - Art Forger - Banksy - An ink on paper drawing / painting of Banksy's 'Flower Bomber' graffiti street art. Signed in pen to the lower edge 'Made By R. J. C. Driessen In The Style Of Banksy'. Unframed with slight staining to the paper. Artwork measures approx; 560mm x 380mm. Robert Driessen was born in Arnhem in the Netherlands. Like many artists he struggled to sell his own work, but found he could easily copy any other artists style. Over the last 20 years he became one of the most successful art forgers in the world. He has fooled museums, galleries and every major auction house. He came to specialise in the work of Alberto Giacometti. Robert emigrated to Thailand where he opened a small restaurant and moved away from the world of art. He has recently taken up the brush and sculptors tools once again, producing original reproductions, all of which are signed by Robert Driessen.
MARGARET LEE THOMPSON (BRITISH, 20TH CENTURY) (4)The crane and the fox from Aesop's fablessigned 'M Lee Thompson' (lower left)pen and ink15 x 10cmTogether with a pen and ink drawing of elephants watering by the same hand; a sketch by Dacres T C Belgrave and one further advertising sketch(4)
Daniell (Thomas, 1749-1840) and William Daniell (1769-1837). Mausoleum of Sultan Purveiz, near Allahabad, pencil worked up with watercolour, on laid paper with watermark of a Strasbourg lily, countermarked 'IV', and with the artist's characteristic ruled black ink border, sheet 413 x 630 mm (16 1/4 x 24 3/4 in), under glass, some signs of careful restoration to old handling creases and abrasion, faint exposure lines visible at extreme edge, framed, [circa 1790]Engraved:T. and W. Daniell, aquatint engraving, for Oriental Scenery, 1805, vol. 1, no. 22Literature:cf. Archer, Mildred, Early Views of India, The Picturesque Journeys of Thomas and William daniell 1786-1794, 1980, no. 68⁂ 'The remains of Sultan Purveiz, the son of the Emperor Jehangire, were here deposited about the year 1626. The simplicity of the general design of this Mausoleum, with its judicious and well-executed decorations, rank it among the the most correct examples of Indian architecture' [The Journal of William Daniell, c. 7, November 1789]An excellent example of a "field drawing" produced by Thomas Daniell and his nephew William while on their journey through India. The distinctive pencil under-drawing would have been produced on the spot, and then once back in England the two artists would have worked up the drawing in watercolour and brush and ink. For a comparative example showing the same handling of pencil cross-hatching and jagged delineation of foliage, see the watercolour 'Main Entrance of the Jami Mosque, Jaunpur' held in the Yale Centre for British Art (acc. no. B1977.14.6140, - with images here: https://collections.britishart.yale.edu/catalog/tms:9224].An aquatint based on the drawing was published as Plate 22 in the first volume of Oriental Scenery in 1798. The aquatint was published with the imprint that it was 'Drawn and Engraved by Thos. Daniell', however the nature of the under-drawing suggests his nephew William was closely involved; as with many of their finished watercolours, it is difficult to distinguish their individual contributions.
Pablo Picasso, 1881 Málaga – 1973 MouginsBUSTE DE FEMME Tuschzeichnung. 33,5 x 56,5 cm. Hinter Glas in vergoldetem Rahmen.Beigegeben eine handschriftliche Echtheitsbestätigung des Sohnes und Nachlassverwalters Claude Ruiz-Picasso auf Foto vom 21. September 2015. Tuschzeichnung mit handschriftlicher Widmung von Pablo Picassos an „Monsieur Georges Huguet“. Ferner mit Signatur „Je le peint de -Picasso“. Auf dem chamoisfarbenen Karton mehrere braune Schnipsel von Packklebestreifen. A.R.Anmerkung: 1957 schuf Picasso ein Litho-Poster in einer Auflage von 55 Originalexemplaren, mit Portrait von Manolo Huguet, den spanischen Bildhauer und Freund Picassos, gedruckt im Atelier Mourlot, anlässlich der Ausstellung im Musée D‘Art Moderne in Céret, Frankreich. Darüber hinaus fertigte Picasso ein weiteres Lithografie-Kopfbildnis „Huguet, Georges; Non vouloir“. Bei Georges Huguet handelt es sich wohl um den surrealistischen Autor, der am 25. Juni 2019 verschied. (1300555) (11)Pablo Picasso,1881 Málaga – 1973 MouginsBUST OF A WOMANInk drawing.33.5 x 56.5 cm.Handwritten certificate of authenticity by the son and executor of the estate Claude Ruiz-Picasso on photo dated 21 September 2015 is enclosed. Ink drawing with handwritten dedication by Pablo Picasso to “Monsieur Georges Huguet”. Also signed “Je le peint de -Picasso”. Several snippets of brown packing tape on the chamois-coloured cardboard.Notes:In 1957 Picasso created a limited edition lithograph poster of 55 originals, with a portrait of Manolo Huguet, the Spanish sculptor and his friend, printed by Atelier Mourlot for the exhibition at the Musée D’Art Moderne in Céret, France. In addition, Picasso made another lithograph head portrait “Huguet, Georges; Non vouloir”.
A RARE FLORENTINE SCAGLIOLA PANEL BY LAMBERTO CRISTIANO GORI SIGNED AND DATED EITHER 1752 OR 1782 A Scagliola panel of an Italianate harbour scene, the foreground with merchants and portside figures, castle tower with soldiers beneath, ships beyond, signed to the side of a box slightly indistinctly, "Lambertus Cristianus Gori, Fec: Florenze Anno Dom 1782 (or 1752?)", ink inventory (?) number to reverse, in a later swept gilt frame, provenance as per handwritten note to versovisible panel 37 x 54.5cm, the frame 53 x 71cmProvenance:The collection of His Royal Highness Prince Georg of Denmark 1975Lamberto Cristiano Gori (1730-1801) was apprenticed to the monk Don Enrico Hugford of Vallombrosa, regarded as one of the leading exponents of the art of scagliola in the 18th century. John Fleming in his article 'The Hugfords of Florence' (Connoisseur, October 1955) writes that Hugford's work displays "technical brilliance, his hand revealed by the charming but unvarying colour scheme of salmon pink, pale blue, light sandy brown and smokey grey, which gives his panels the appearance of gouache paintings under thick glass, their surfaces being exceptionally smooth and translucent". In his technical mastery Gori rivalled his master but, unlike him, his work tended to be less inspired by known observable landscapes and more by a leaning toward capricci- freer extemporizing interpretations of the scenes around him.In his article 'Masters of the Art of Scagliola', Country Life, September 29, 1994, Jonathan Cook suggested that Gori was drawing more on the painterly styles of artists such as Vernet and Pannini. The imaginary Mediterranean view of this panel shows similarities in the soft colouring and in the treatment of the figures with the central scene on a pair of scagliola table tops at Woburn Abbey (Bedfordshire) dated 1762 and made also by Lamberto Cristiano Gori and commissioned by the Marquess of Tavistock, eldest son of the 4th Duke of Bedford. For a pair of harbour scenes with similar treatment of the water and buildings, signed by Lamberto Gori, see lot 39 from the "The Collection of Prince and Princess Henry de la Tour d'Auvergne Lauraguais" sold Sotheby's, London, 3 May 2012, £27,500.Condition Report: There are some marks, scratches, knocks, chips, and abrasions consistent with age and use.The later frame with losses, damage and repairs.The panel with what appears to be a slightly discoloured wash- pale yellow tea coloured. There are small areas where a whiter undercolour is visible - possibly from surface abrasion. Traces of prior framing evident from traces of gilding to edges of panel. Edges also showing nibbling and small loss- most noticeable to lower right hand corner that has section approx 1cm replacedPlease see the additional photographs as a visual reference of condition and which form part of this condition report.Condition Report Disclaimer
Y A GEORGE IV MAHOGANY DESK OR WRITING TABLEIN THE MANNER OF GILLOWS, CIRCA 1825Veneered to all sides, the front panel enclosing recesses and drawers, the frieze drawer with a writing slope and fittings125cm high, 110cm wide, 58cm deepSee Susan Stuart, Gillows of Lancaster and London 1730-1840, Volume I, 2008, Plate 6, for the design of this writing table, first published in the Lancaster firm's General Sketch Book 1810 and then reproduced in A C Loudon's Cottage, Farm and Villa Furniture published in 1833.A drawing by Gillows for a closely related 'secretaire-cabinet' or desk from 1818 is held in the Westminster City Archives. Please note: the handles of this item are ivory and therefore this lot should be marked for CITES and may be subject to CITES regulations.Condition Report: Marks, scratches and abrasions comensurate with age and useSome old repairs, some minor old losses. Old splits and chips. Some additional indented marks. There is a partial dark ring mark to the top surface. Careful polishing by a restorer could likely improve the appearance of this. Some of the pigeon holes to the interior bear old ink inscriptions (see images) probably of 19th century date. The leather insets with marks, abrasions and some discoloration. The main central leather panel with some untidiness and losses at the edges and some lifting (see images) Some staining to drawers interiors including some old ink stains(see images) The main writing drawer with evidence of a split to the floor of the drawer. (see image)Some fairly straightforward attention appears likely to be required (by a restorer) to the fitting/ fixture of the sliding top above the writing surface and the section of timber above it. None are damaged or broken but may need simple adjustment/ re-fixing in order to operate entirely satisfactorily. The drawer handles to the interior all appear to match and be original. They are generally in fair original condition. They are ivory. Lacking keys but the lock is open. The lock appears original. The desk/ writing table is finished very well on all sides so can be a free-standing piece of furniture if required. Please refer to all additional images for visual reference to condition. Condition Report Disclaimer
Y A TORTOISESHELL, BRASS 'BOULLE' MARQUETRY AND GILT METAL MOUNTED BUREAU PLATFIRST HALF 19TH CENTURYThe frieze contra partie, the legs premiere partie marquetry, the masks to the central drawers with shell cast tops each with a hinged section to cover the keyhole, incorporating ebonised elements throughout 77cm high, 176cm wide, 120cm deepProvenance: North Mymms Park, Hatfield, Hertfordshire For a closely related bureau plat, see the Royal Collection, inventory number RCIN 35830. The Royal Collection example bears remarkable similarity to this desk. See Hugh Roberts, For The King's Pleasure, The Furnishing and Decoration of George IV's Apartments at Windsor Castle, The Royal Collection, 2001; p.186, Fig. 218, 'French, in the style of A.-C. Boulle, Bureau plat, c.1700 and later (RCIN 35830)'. The Royal Collection bureau plat was part of the group of furniture and furnishings restored between 1827 and 1829 for George IV by the partnership of Morel & Seddon for The Secretary's Room, room 208, Windsor Castle.Nicholas Morel had formerly worked for the Prince of Wales, later George IV, on Carlton House and the Royal Pavilion at Brighton. Subsequently, Morel was commissioned to design and furnish Wyatville's newly built apartments for the Kind at Windsor Castle. In order to fulfil the contract Morel entered into partnership with George Seddon III whose family had large and long established furniture workshops in Aldersgate Street in the City of London.See pp. 180-181 for Morel & Seddon colour room designs. There were furniture changes from the original room drawings, the furniture variously supplied by Morel & Seddon, or from other royal residences including Brighton and Carlton House, although no record can be found for the Royal Collection bureau plat on Carlton House inventories. The Morel & Seddon 1829 account book lists the work to the Royal Collection bureau plat 'To thoroughly repairing a large Buhl and tortoiseshell writing table, adding sundry new parts to the Buhl work, relaying, cleaning and highly polishing the whole, restoring the ormoulu (sic) edges, feet etc'.The design for this bureau plat derives from an original pen, black ink and brown wash drawing attributed to André-Charles Boulle, now in the Museé des arts décoratifs, Paris, inv. 723 B2.See Wilson, Bremer-David, Considine, Weaver and Heginbotham, French Furniture & Gilt Bronzes: Baroque and Regence: Catalogue of the J. Paul Getty Museum, p.141, pl.12-h for a related bureau plat attributed to André-Charles Boulle. Also p.138, pl.12-a for related corner mounts of bearded satyrs with pointed ears and horns, and pl. 12-d for a related mount of a bearded satyr crowned with vine leaves and bundles of reeds and backed by a shell.For bureaux of related form, date and gilt metal mounts see:Christie's, Paris, Le gout Francais, 23 April 2013, lot 215 (€49,500)Christies, Paris, Le gout Francais, 4 May 2016, lot 158 (€37,500)Condition Report: Marks, scratches and abrasions comensurate with age and use.Old splits and chips, various old wear and some small losses. Some old repairs, replacements and restorations. Some scratching and indentation to the mounts. Some cracking/ splitting to veneer. The bureau plat has previously been cleaned overall. The ebonised surfaces also appears to have been refreshed throughout. All metal mounts and metalware are present. Some of the small nails or screws are lacking from the mounts, some or all are likely replacements. Some of the mounts are slightly loose (mainly the corner mounts of the top) and have caused some abrasion to adjacent surfaces from movement. Some possible minor casting faults to the mounts (The Additional images illustrate some of these areas but are not exahaustive)The hinged catch (covering the key hole) to the male mask mount has previously been broken/ detached and is now secured by crudely applied wire. Some replacements to the tortoiseshell elements (some of which are a different tone of colour (see additional images) some old losses also. The leather inset surface is a later replacement. There are some minor faults/ untidiness in a small number of positions. The drawer locks appear original. Some screws are lacking to secure them. Lacking keysThe floor elements of some drawers with minor seperation to the elements due to shrinkage. (see images) The fittings of the castors may have been mishapen over time to a degree (due to use/ weight being applied to the top of the bureau plat) Please refer to additional images for visual reference to condition. Condition Report Disclaimer
BEN KELLY (born 1949); ink drawing of a blackbirds perching in trees, initialled lower right, 19 x 13.5cm, framed and glazed. (D)Additional InformationThe paper is slightly rippled. Minor knocks, scratches and scuffs to the frame.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
An Italian late 17th/early 18th century giltwood console tableof Venetian origin, the simulated marble decorated top of a later date The shaped simulated marble decorated top with a reverse ogee moulded edge, on two angled and projecting oversize S-scroll supports carved with flowers, fruit and acanthus foliage, flanking a central winged cherub holding a scroll aloft, below a fruiting floral swag (one segment missing) with conforming carving to the waved and scrolled stretchers, on moulded faux marble decorated plinth bases, the top probably 19th century, 144cm wide x 53cm deep x 95cm high, (56 1/2in wide x 20 1/2in deep x 37in high)Footnotes:PurchasedSotheby's, London, 10 June 1999, Important Continental Furniture and Tapestries, lot 61.A related design by the renowned and virtuoso wood carver Andrea Brustolon (1662-1732) for a console table, which is similar to the offered lot, appears illustrated in both E. Colle, Il Mobile Barocco in Italia, 2000, Milan, p. 308 and A. Gonzalez-Palacios, Il Tempio del Gusto, Le Arti Decorative in Italia fra Classicismi e Barocco, La Toscana e l'Italia Sttentrionale, 1986, Milan, fig. 760, p. 362. Brustolon's drawing, which is housed in the Musei Civici de Belluno, is a pen, ink and watercolour work executed on paper, however unfortunately it was evidently not dated.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
LOUISE HILL (BRITISH, B. 1968) Donated by Louise Hill 'Chinoiserie in Aquamarine & Powder Blues' Hand finished in gold ink Limited Edition of 100 Framed. 81cm high x 125cm wide. White frame Printed on to 350gsm Hahnemuhle German Etching Paper, this print is signed, numbered and stamped with a Louise Hill Design ‘blind embossing stamp’ on the front. Each print also includes a 'Certificate of Authenticity' sticker sealed with gold foil logo, embossed stamp, signature and edition number attached to the back of the frame. Louise Hill is a creative graphic designer and multimedia artist with a passion for her work. Having lived for many years in Shanghai, Hong Kong and now Singapore, her love for Asia shines through in her highly detailed, colourful and vibrant prints. You will find her either working at her computer or drawing board, or walking the streets with her camera on the lookout for vintage props and imagery, planning her next artwork. www.louise-hill-design.com/chinoiserie-in-powder-blues RRP $2,425.00 SGD 107 cm wide x 62 cm high (unframed) Condition: No obvious condition issues
10 Graphiken mit Markthändlern und Schaustellern, ab 1772 1) Lithographie von Fritz Reuter, 1881, "Jahrmarkt", gedruckt von C. Hacker's Institut, Berlin, Maße 23 x 33 cm. - 2) Tuschezeichnung von Theodor Grätz, um 1920, "Zirkuselefant", für die Fliegenden Blätter, Maße 29 x 37 cm. - 3) 4 Kreidelithographien von Lou Albert-Lasard, um 1925, aus der Serie "Montmatre", jeweils signiert, erschienen im Kiepenheuer-Verlag, Potsdam, Maße jeweils 37 x 48 cm. - 4) Lithographie nach Johan Fredrik Martin, London 1772, "The Sausage Woman, or a Scene in Covent Garden", gedruckt für Robert Sayer, Maße 25 x 35 cm. - 5) Kupferstich nach Karel Dujardin, "Les Charlatans", Maße 31 x 26 cm. - 6) Lithographie, um 1840, "Der Hühnermarkt in Frankfurt am Main", Maße 50 x 34 cm. - 7) Bleistiftzeichnung von J Schultz-Dahl, 1927, "Blumenverkäuferin, Druck Nr. 17/50, unten rechts handsigniert, Maße 25 x 32 cm. Start Price: EUR 240 Ten Prints of Market Traders and Showmen, 1772 onwards 1) Lithograph by Fritz Reuter, 1881, "Fair", printed by C. Hacker's Institut, Berlin, 23 x 33 cm. - 2) Ink drawing by Theodor Grätz, c. 1920, "Circus elephant", for the Fliegende Blätter, 29 x 37 cm. - 3) Four chalk lithographs by Lou Albert-Lasard, c. 1925, from the series "Montmatre", signed, published by Kiepenheuer-Verlag, Potsdam, 37 x 48 cm. - 4) Lithograph after Johan Fredrik Martin, London 1772, "The Sausage Woman, or a Scene in Covent Garden", printed for Robert Sayer, 25 x 35 cm. - 5) Copper engraving after Karel Dujardin, "Les Charlatans", 31 x 26 cm. - 6) Lithograph, c. 1840, "Der Hühnermarkt in Frankfurt am Main", 50 x 34 cm. - 7) Pencil drawing by J Schultz-Dahl, 1927, "Blumenverkäuferin", print no. 17/50, signed by hand on lower right, 25 x 32 cm. Start Price: EUR 240
12 Original-Graphiken mit Markt- und Schaustellerszenen 1) Eugen Nanz (1887-1958), handkolorierter Andruck, um 1915, vom Künstler selbst signiert, Nr. 1331C, für die Meggendorfer Blätter, 16 x 16,5 cm. - 2) Hugo Frank (1892-1962), aquarellierte Tuschfederzeichnung, 1922, "Signore Bambino", Verso mit Verlagsstempel, 22 x 16 cm. - 3) Aquarellierte Tuschfederzeichnung, unsigniert, um 1925, "Jahrmarktsbuden", 24 x 32 cm. - 4) Pahr, kolorierte Bleistiftzeichnung, um 1920, "Moritatensänger", 13,5 x 18 cm. - 5) Hugo Frank (1892-1962), Tuschfederzeichnung, 1943, "Dieses Universalmittel hilft", für die Fliegenden Blätter, Verso mit Verlagsstempel, 10,5 x 7,5 cm. - 6) Siegfried Böck (1887-1958), Tuschfederzeichnung, 1923, "Flohmarkthandel", Nr. 1681/7904, für die Meggendorfer Blätter, Verso mit Verlagsstempel, 18,5 x 19 cm. - 7) R. Zink, Tuschfederzeichnung, um 1915, "In Liebe", für die Meggendorfer Blätter, Verso mit Verlagsstempel, 14 x 12 cm. - 8) Adolf Oberländer (1845-1923), Andruck, um 1923, "Kaufmann und Spitzbuben", für die Fliegenden Blätter, 31 x 20 cm. - 9) Martin Claus (1892-1975), Bleistiftzeichnung, signiert, 1932, "Hippodrom", für die Fliegenden Blätter, Verso mit Verlagsstempel, 19 x 21 cm. - 10) Hugo Frank (1892-1962), Tuschfederzeichnung, um 1935, "Wurfbude", für die Fliegenden Blätter, Verso mit Verlagsstempel, 13 x 10 cm. - 11) Josef Mauder (1884-1969), Tuschfeder- und Pinselzeichnung, 1934, signiert, "Die Dame ohne Unterleib", für die Fliegenden Blätter, 22 x 16,5 cm. - Und: 12) Johann Baptist Maier (1881-1957), handkolorierter Andruck, um 1920, "Beim Trödler", für die Meggendorfer Blätter, 17 x 22 cm. Start Price: EUR 180 Twelve Original Illustrations of Market and Fairground Scenes 1) Eugen Nanz (1887-1958), hand-colored proof, c. 1915, signed by the artist, no. 1331C, for the Meggendorfer Blätter, 16 x 16.5 cm. - 2) Hugo Frank (1892-1962), watercolor pen-and-ink drawing, 1922, "Signore Bambino", publisher's stamp on verso, 22 x 16 cm. - 3) Watercolor pen-and-ink drawing, unsigned, c. 1925, "Fairground stalls", 24 x 32 cm. - 4) Pahr, colored pencil drawing, c. 1920, "Moritatensänger", 13.5 x 18 cm. - 5) Hugo Frank (1892-1962), pen-and-ink drawing, 1943, "Dieses Universalmittel hilft", for the Fliegende Blätter, publisher's stamp on verso, 10.5 x 7.5 cm. - 6) Siegfried Böck (1887-1958), pen-and-ink drawing, 1923, "Flohmarkthandel", no. 1681/7904, for the Meggendorfer Blätter, verso with publisher's stamp, 18.5 x 19 cm. - 7) R. Zink, pen-and-ink drawing, c. 1915, "In Liebe", for the Meggendorfer Blätter, publisher's stamp on verso, 14 x 12 cm. - 8) Adolf Oberländer (1845-1923), proof, c. 1923, "Kaufmann und Spitzbuben", for the Fliegende Blätter, 31 x 20 cm. - 9) Martin Claus (1892-1975), pencil drawing, signed, 1932, "Hippodrom", for the Fliegende Blätter, publisher's stamp on verso, 19 x 21 cm. - 10) Hugo Frank (1892-1962), pen-and-ink drawing, c. 1935, "Wurfbude", for the Fliegende Blätter, publisher's stamp on verso, 13 x 10 cm. - 11) Josef Mauder (1884-1969), pen, ink and brush drawing, 1934, signed, "Die Dame ohne Unterleib", for the Fliegende Blätter, 22 x 16.5 cm. - And: 12) Johann Baptist Maier (1881-1957), hand-colored proof, c. 1920, "Beim Trödler", for the Meggendorfer Blätter, 17 x 22 cm. Start Price: EUR 180
Robert Driessen - Art Forger - Banksy - An ink on paper drawing / painting of Banksy's 'Girl With A Blue Bird' graffiti street art. Signed in pen to the lower edge 'Made By R. J. C. Driessen In The Style Of Banksy'. Unframed with slight staining to the paper. Artwork measures approx; 560mm x 380mm. Robert Driessen was born in Arnhem in the Netherlands. Like many artists he struggled to sell his own work, but found he could easily copy any other artists style. Over the last 20 years he became one of the most successful art forgers in the world. He has fooled museums, galleries and every major auction house. He came to specialise in the work of Alberto Giacometti. Robert emigrated to Thailand where he opened a small restaurant and moved away from the world of art. He has recently taken up the brush and sculptors tools once again, producing original reproductions, all of which are signed by Robert Driessen.
Robert Driessen - Art Forger - Banksy - An ink and watercolour on paper drawing / painting of Banksy's 'Bomb Hugger' graffiti street art. Signed in pen to the lower edge 'Made By R. J. C. Driessen In The Style Of Banksy'. Unframed with slight staining to the paper. Artwork measures approx; 560mm x 380mm. Robert Driessen was born in Arnhem in the Netherlands. Like many artists he struggled to sell his own work, but found he could easily copy any other artists style. Over the last 20 years he became one of the most successful art forgers in the world. He has fooled museums, galleries and every major auction house. He came to specialise in the work of Alberto Giacometti. Robert emigrated to Thailand where he opened a small restaurant and moved away from the world of art. He has recently taken up the brush and sculptors tools once again, producing original reproductions, all of which are signed by Robert Driessen.
Robert Driessen - Art Forger - Banksy - An ink, watercolour and acrylic on paper drawing / painting of Banksy's 'Kissing Coppers' graffiti street art. Signed in pen to the lower edge 'Made By R. J. C. Driessen In The Style Of Banksy'. Unframed with slight staining / colour run to the paper. Artwork measures approx; 560mm x 380mm. Robert Driessen was born in Arnhem in the Netherlands. Like many artists he struggled to sell his own work, but found he could easily copy any other artists style. Over the last 20 years he became one of the most successful art forgers in the world. He has fooled museums, galleries and every major auction house. He came to specialise in the work of Alberto Giacometti. Robert emigrated to Thailand where he opened a small restaurant and moved away from the world of art. He has recently taken up the brush and sculptors tools once again, producing original reproductions, all of which are signed by Robert Driessen.
Robert Driessen - Art Forger - Banksy - An ink on paper drawing / painting of Banksy's 'Balloon Girl' graffiti street art. Signed in pen to the lower edge 'Made By R. J. C. Driessen In The Style Of Banksy'. Unframed. Artwork measures approx; 560mm x 380mm. Robert Driessen was born in Arnhem in the Netherlands. Like many artists he struggled to sell his own work, but found he could easily copy any other artists style. Over the last 20 years he became one of the most successful art forgers in the world. He has fooled museums, galleries and every major auction house. He came to specialise in the work of Alberto Giacometti. Robert emigrated to Thailand where he opened a small restaurant and moved away from the world of art. He has recently taken up the brush and sculptors tools once again, producing original reproductions, all of which are signed by Robert Driessen.
Robert Driessen - Art Forger - Banksy - An ink on paper drawing / painting of Banksy's 'Floating Balloon Girl' graffiti street art. Signed in pen to the lower edge 'Made By R. J. C. Driessen In The Style Of Banksy'. Unframed. Artwork measures approx; 560mm x 380mm. Robert Driessen was born in Arnhem in the Netherlands. Like many artists he struggled to sell his own work, but found he could easily copy any other artists style. Over the last 20 years he became one of the most successful art forgers in the world. He has fooled museums, galleries and every major auction house. He came to specialise in the work of Alberto Giacometti. Robert emigrated to Thailand where he opened a small restaurant and moved away from the world of art. He has recently taken up the brush and sculptors tools once again, producing original reproductions, all of which are signed by Robert Driessen.
Robert Driessen - Art Forger - Banksy - An ink on paper drawing / painting of Banksy's 'Vomiting Hearts' graffiti street art. Signed in pen to the lower edge 'Made By R. J. C. Driessen In The Style Of Banksy'. Unframed. Artwork measures approx; 560mm x 380mm. Robert Driessen was born in Arnhem in the Netherlands. Like many artists he struggled to sell his own work, but found he could easily copy any other artists style. Over the last 20 years he became one of the most successful art forgers in the world. He has fooled museums, galleries and every major auction house. He came to specialise in the work of Alberto Giacometti. Robert emigrated to Thailand where he opened a small restaurant and moved away from the world of art. He has recently taken up the brush and sculptors tools once again, producing original reproductions, all of which are signed by Robert Driessen.
Dame Laura Knight, DBE,RA,RWS (1877-1970) "Bath Time," pen and ink with gouache highlight, approx. 25cms x 18cms (10" x 7") signed lower left mounted and framed. (1) Provenance: Originally owned by Lady Yarrow (née Eleanor Barnes) a leading promoter of the Arts and Crafts Revival, this drawing was gifted to the McDonnell family of Dalguise in Monkstown, Co. Dublin.
Alex Graham, British (1908-1940) A group of three original Pen and Ink Drawing Cartoons for 'Punch' Magazine entitled: * "Shutting him in the kitchen was your Bright Idea," * Anyway, It Makes a Change from Cats up Trees," * "Wasting Time," each approx. 16cms x 22cms (6" x 9") signed in uniform metal frames. (3)
Harry Clarke Studios- Richard King (1907-1974) "For a St. Francis of Assisi Window, c 1945," ink, watercolour and gouache on paper, 59" X 94" high (150 x 238cms). (1) In this large ink and watercolour study for a stained glass window, a decorative pattern of flowers and leaves, birds and animals, has been interwoven into a complex design that centres on the figure of St. Francis. A celebrated 12th century mendicant, famed for his penitential lifestyle and love of nature, St. Francis is shown standing, arms upraised, ready to receive the ?stigmata?, or wounds to his hands. At the base of the drawing, gathered close to the robes of the saint, are a wolf and a lamb, while swallows, kingfishers, thrushes and other birds cluster on the ground near St. Francis?s bare feet, or fly, wings outspread, in a spiral pattern around his figure. The background is heavily patterned, with curving branches of foliage and flowers forming stylised elements. The circle is divided into small panels, many of which have sunburst or abstract motifs. Beside the saint?s head hovers a dove, while on the lower right is a shield or crest bearing the image of a Cross, with crossed arms and hands. The whole design is framed with a decorative border composed of small squares, some tinted red and yellow. The design is one of the most accomplished to have been produced by the Harry Clarke Studios, which continued to operate after the death of Harry Clarke. Born in Dublin in 1889, Clarke came from a family of talented artists. Like the artisan family from Yorkshire who founded the Watson Studios in Youghal, Harry?s father Joshua Clark had migrated from England to Ireland in the latter half of the nineteenth century, to obtain work in church-building in Ireland; Harry?s mother was Brigid MacGonigal. Educated at Belvedere College, Harry then attended the Metropolitan School of Art in Dublin where, between the years 1911 and 1913, he won several prizes for stained glass designs. In 1915-17 he produced stained glass windows for the Honan Chapel at UCC and over the following two decades created brilliant stained glass for churches and private residences, as well as extraordinary watercolour and ink illustrations. In 1931, after Clarke?s death from TB in Switzerland, the workshop was taken over by his son Terence and his niece Ann. Initially the business prospered but with changes in fashion and decrees minimising church decoration, the studio finally closed in the early 1970?s. While inspired by the designs of Harry Clarke himself?many of which were in the workshop at the time of his death?the design for St. Francis of Assisi was produced by the artistic team that took over the studios after his death. Led by Charles B Simmonds, that team included Richard King, William Dowling and other artists. The St. Francis of Assisi design can be compared to work carried out in the churches such as St. Charles at Gosforth, St. John the Baptist at Knock, St. Thomas?s in Callow (a window made in 1943), and St. Patrick?s in Newport. Dr. Peter Murray, 2022
NIGHTINGALE (FLORENCE)Series of fifteen letters, comprising eleven autograph, two in another hand (one signed, with autograph subscription), one postcard and a printed facsimile, signed variously ('Florence Nightingale', 'F.N.', 'F. Nightingale'), to her good friend Jessie Lennox ('My dear Miss Lennox'), one of the original Nightingale Nurses, in pencil and ink, some marked 'Private' or 'Most Private', written in the fondest terms and taking a great interest in her work ('...I give you joy that you have made this a life-work, a 'calling' in the true meaning of the word...'), rejoicing at the progress already made in the profession ('...God has granted such an immense change during the last 30 years to Hospitals & Infirmaries & Districts in trained nursing...'), asking for her advice and discussing at length over several letters the duties required of a matron who would take charge in an 'Industrial Boys' Home' ('...It will not be a nurse to a hospital but rather to prevent the boys having to go into Hospital; to look after them & mother them... A Matron in the sense that each house at say Rugby School has a matron...'), voicing her expectations ('...I do not expect that we should succeed in getting a lady...'), but wishing for a 'mother to all these boys – especially to the younger ones', emphasising 'As in a hospital, the most important part of a Matron is to mother & care for all the nurses, body & soul', to 'have such charge of under clothing & of cleanliness of the boys & of their little ailments... and of – what? And of – what?...', mentioning the difficulties of persuading 'a man-Committee' to grant them a woman Matron ('...the man-Committee does not seem to think a woman has any business in the Barrack huts at all... In fact I do not expect to get her at all...'), the work of the District Nurses ('...not only to nurse but to teach the families how to nurse... cleanliness & ventilation... Sick Cookery... sick appliances, bedding, warm clothing...'), offering her a present ('...would you not like... some large, some Medical book?...'), making arrangements and sending gifts ('...a packet of cards for the little ones...'), 63 pages, dust-staining and marks, the majority 8vo (c.178 x 114mm.), Claydon House and 10 South Street, Park Lane, W., 9 September 1883 to 7 June 1896 (15)Footnotes:'THE MAN-COMMITTEE DOES NOT SEEM TO THINK A WOMAN HAS ANY BUSINESS IN THE BARRACK HUTS AT ALL': Florence Nightingale 'the mother of modern nursing' on pastoral care, difficulties with male committees and the role of the district nurse.Florence Nightingale is widely acknowledged as 'The Mother of Modern Nursing' and here she writes to one of her acolytes, Jessie Lennox, in a long correspondence discussing the ideal role of the matron she wishes to appoint to take over the care of some 500 poor boys in an 'industrial boys home'. The matron, she writes, should embody the practicalities of a trained nurse with a mother's care for her charges, with an emphasis on good diet, warm clothing and good shoes. She cites the story of Ella Pirrie, the Lady Superintendent of the Union Infirmary, Belfast, who persuaded a child struck dumb to speak by adopting this more gentle approach when harsher means had failed. She asks Lennox's advice in drawing up a set of requirements to put forward in the clearest possible terms to the 'man committee' as she puts it. Her frustration with such committees is evident, even for an influential person such as herself, but she recognises the enormous progress that has already been made in changing the status of nursing into a highly trained respectable profession. She goes on to speak of the role of the district nurse in the community ('...if the nurse has really that influence which she ought to have in the Patient's family, do they not become ashamed of letting her see the man or the woman drunk again? And does not that exercise a reforming influence?...'). Also included in the lot is a facsimile letter dated May 1900 addressed to all her nurses ('My dear children') in which she recognises her role as the Mother of Nursing ('...You have called me your mother-chief, it is an honour to me & a great honour, to call you my children...'), speaking too of advances in medicine and the professionalisation of nursing but ending, however, with a swipe at the suffragists ('...Woman was the home drudge. Now she is the teacher. Let her not forfeit it by being the arrogant – the 'Equal with men'...').The recipient of our letters, Jessie Lennox (1830-1933), was one of the original 'Nightingale Nurses' who trained at the Florence Nightingale School at St. Thomas's Hospital, London in the 1860's. According to her obituary in the British Journal of Nursing of February 1933 she also had the distinction of being a personal friend of David Livingstone, whom she met in Africa whilst working as a missionary and maid to Anna Mackenzie, who accompanied Mary Livingstone when she was reunited with her husband at the Zambezi in 1862. After her nursing training she was one of the first six Army Sisters appointed by the War Office to the Royal Victoria Hospital at Netley, and held the post of matron of the Sick Children's Hospital in Belfast for eighteen years. Her papers are held at the Florence Nightingale Museum. According to Lynn Macdonald, some 29 letters from Lennox to Florence Nightingale are extant (ed. Lynn Macdonald, Extending Nursing: Florence Nightingale Collected Works, 2009) but only a few from the other side of the correspondence are in the public domain. Photographs of her are also held at the Livingstone Family Trust.According to a letter from Jessie Lennox included in the lot, one letter from the series appears to have been sent by her to Dr Lilias Maclay (b.1893) in 1917, seven years after the death of Florence Nightingale: '...her body is at rest but her work is still very much with us...' she writes in a distinctive hand. Maclay's father was Lord Maclay of Duchal House, Kilmacolm, the founder of the Maclay-Macintyre shipping firm. She had enrolled at Glasgow University to study for a medical degree in 1912, passing the course with first class certificates in clinical surgery. During the First War she served with the Royal Army Medical Corps in Egypt and is one of the few females featured in the University's Roll of Honour (see www.universitystory.gl.ac.uk). After her marriage to John Edmund Hamilton in 1926 she practised as a doctor in Glasgow and Edinburgh. A great supporter of equal rights for women, she was the President of the YWCA of Great Britain and was Vice-President of Women's Voluntary Services as well as being an active member of the Women's Suffrage Society. The remainder of the letters were bequeathed to Dr Maclay after Lennox's death in 1933 as a solicitor's letter with the lot confirms (The Hon. Mrs J. E. Hamilton being her married name). Lilas' son Patrick (1934-1988) followed his mother into the medical profession, as did her granddaughter, the present owner of the letters. The correspondence has remained in the family until now.For further information on this lot please visit Bonhams.com
Louis William Wain (1860-1939) Uncle Taking His Revenge, signed lower left, ink drawing, measurements 29 x 36.5cm*At fault, two tears and a loss to paper, stuck down beneath mount.Condition report: The work is an ink drawing on paper. The sheet is attached to the mount and stuck down. There is a tear to the sheet extending from the lower left corner through the signature into the body of the front left kitten and across to the edge of the mount roughly 10 cm. There is a further tear from the lower centre-left edge diagonally through the second kitten's back foot through the back of the third kitten to its tail- roughtly 13.5 cm. There is a loss to the sheet measuring 2 x 1 cm to the lower-centre-right where the mount has been lifted and torn the sheet- the loss remaining stuck down to the mount backing. There is a small drawing-pin sized hole to the upper right corner. The surface otherwise appears stable, with some general signs of ageing (browning) to the paper. There are additional photographs of the damage in our online catalogue to view.
ARTHUR HACKER RA, RI, RP, NEAC, (1858-1919). At the Mosque of Sidi Okbah, Tunisia, pen, ink and watercolour, 7 x 10in. Provenance: with Walker Bagshawe, London. According to a label on the reverse this drawing dates from the artist's honeymoon in North Africa. It depicts the artist and his wife removing their shoes outside the Mosque
Alfred Wainwright (1907-1991), an original pen and ink drawing "The County Fence, Salter Fell", 17 cm x 21 cm, framed, signed. ARR (see illustration). CONDITION REPORT: The pen and ink drawing is in good condition. It is framed with inscriptions and signature to the lower ledge. Not examined outside its frame. No losses or tears visible from the front.
WILLIAM JOHNSTONE [1897-1981]. Landscape. ink drawing. signed with initials. 22 x 15 cm - overall including frame 40 x 30 cm. Provenance: the artist; private collection, Spain; private collection, UK. See lot 94 for cv.[very good condition - unexamined out of frame]. Buyers premium of 20% + vat is payable.
MICHAEL AYRTON [1921-75]. Not to Disturb, 1971. ink drawing; studio stamp signature on the reverse. 20 x 14 cm - overall including frame 34 x 28 cm. Provenance: the artist; private collection, UK. Final drawing for the Murial Spark book etching - a wonderful drawing. [very good condition - unexamined out of frame]. Buyers premium of 20% + vat is payable.
MICHAEL AYRTON [1921-75]. Landscape [Suffolk], c.1950. ink drawing; studio stamp signature on the reverse. 7 x 9 cm - overall including frame 25 x 27 cm. Provenance: the artist; Shell collection; Abbott & Holder Gallery; private collection, UK. [very good condition - unexamined out of frame]. Buyers premium 20% + vat payable.
PETER HOWSON R.A. [1958 - ]. Head Study, 2012. ink drawing; signed. 13 x 20 cm - overall including frame 37 x 44 cm. Provenance: the artist; Cameron Contemporary Art [£850] - label on reverse; private collection, UK. [very good condition - unexamined out of frame]. Buyers premium of 20% + VAT is payable.
Isabel Saul (1895-1982) - An illuminated pen, ink, wash and gilt illuminated drawing, Saint Maurice circa AD287, signed, 18 x 15 cm, mounted framed and glazed - note - Isabel Saul exhibited 14 times at the Royal Academy 1926-40), to/w Lily Morgan - 'Proof', watercolour for prayer-book cover, circa 1900, 21 x 16.5 cm, mounted, framed and glazed, in Art Nouveau style frame (2)
A LARGE QUANTITY OF ART SUPPLIES ETC, to include SAA tins of watercolour paint most appear to be unused, unused Winsor and Newton Cotman watercolour set, desert collection set, Derwent Inktense ink blocks 72 set, Rowney soft pastels, Derwent pastel pencils, SAA folders of unused paint brushes, sketching pads, books and packs of drawing paper, boxed and unboxed wooden table box easels, variscaler in wooden box, watercolour mixing palettes, aluminium cases, and a box of photoframes etc
Terry Challis, (1935-2009), Sailing The Ship Of Team Cambridge, an ink and watercolour drawing of the 1991 Division 3 Championship winning team, the players depicted in the rigging of a sailing ship, signed by the manager John Beck and 22 players to include Dion Dublin and Gary Rowett etc., 78 x 59cm.Terry Challis, born in Watford, was cartoonist at The Watford Observer for 28 years where he became a Hornets legend with his weekly strip and illustrations. See The Times 19th February 2000. His followers have devoted a web site to him stating ‘some people are lucky enough to be born with a god given talent. Terry was blessed with two: he was an incredible artist and a natural funny man
Paul Cadmus (American, 1904-1999). Ink drawing on tan paper depicting a woman with her legs crossed. Signed along the upper right and titled "Susie" along the upper left. The verso with a light sketch of the same composition.Provenance: Estate of Paul Cadmus (d. 1999) afterwards Jon Anderson (d. 2018).Height: 10 in x width: 8 1/4 in.
Jack Youngerman (1926-2020)Abstract Drawing (Maquette for Announcement, Galerie Lawrence Drawing Show)Brush and black ink with white, 1965, initialled in black ink lower right, signed, inscribed and dated in pencil verso, on stiff board, 432 x 355mm (17 x 14in)Provenance:The ArtistAcquired from the above by John Kasmin, LondonExhibited:Paul Kasmin Gallery, New York
Loading...
![WILLIAM JOHNSTONE [1897-1981]. Landscape. ink drawing. signed with initials. 22 x 15 cm - overall including frame 40 x 30 cm.](https://cdn.globalauctionplatform.com/d7f79ef1-f555-4428-bf94-ae3d00f1c25d/8bddafe1-5a15-4c6a-b62c-ae3d00f2decb/468x382.jpg)
![MICHAEL AYRTON [1921-75]. Not to Disturb, 1971. ink drawing; studio stamp signature on the reverse. 20 x 14 cm - overall incl](https://cdn.globalauctionplatform.com/d7f79ef1-f555-4428-bf94-ae3d00f1c25d/29859286-5e28-424b-8cb2-ae3d00f2eee0/468x382.jpg)
![MICHAEL AYRTON [1921-75]. Landscape [Suffolk], c.1950. ink drawing; studio stamp signature on the reverse. 7 x 9 cm - overall](https://cdn.globalauctionplatform.com/d7f79ef1-f555-4428-bf94-ae3d00f1c25d/d773b5f6-6e44-4f44-b076-ae3d00f31fa3/468x382.jpg)
![PETER HOWSON R.A. [1958 - ]. Head Study, 2012. ink drawing; signed. 13 x 20 cm - overall including frame 37 x 44 cm. Provena](https://cdn.globalauctionplatform.com/d7f79ef1-f555-4428-bf94-ae3d00f1c25d/39a84358-c7d1-4f18-972c-ae3d00f49b94/468x382.jpg)
