There are 46080 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeBritish School (19th/20th century) A moonlit scene with figures on a bridge Unsigned, pastel.61.5cm x 74cm (24.25in x 29in)The drawing is in good, original condition. There are some small tears to the paper in the lower right-hand corner of the sheet. The drawing is ornately framed and glazed. The frame has some knocks and losses.
Jean-Michel Atlan (1913-1960), Murailles de Jéricho (Walls of Jericho), signed and dated 'Atlan 59' (lower left) and titled (on the reverse), pastel chalks and gouache on paper, 25x32 cm, Provenance:-Anon. sale, Cornette de Saint-Cyr, Paris, 10 October 1998, lot 23.Acquired from Galerie Lasés, Amsterdam, by the present owner.
Jacob Hendrik Pierneef (South African, 1886-1957)Boomstudies, Waterberg inscribed and dated 'Waterberg Sept 15' (lower left); signed and dated 'J.H. Pierneef. 1915.' (lower centre); numbered '13890' on an Edrich Gallery label affixed to the reversepastel and charcoal on paper32.7 x 43.7cm (12 7/8 x 17 3/16in).(framed)Footnotes:ProvenanceThe collection of the artist's family;Thence by descent to the artist's grandson LiteratureP.G. Nel, ed., JH Pierneef: His life and his work (Cape Town & Johannesburg, 1990), p. 159 (illustrated)Trees recur as a key subject of interest for Pierneef throughout his prolific body of work. He built his painterly and printmaking practices upon accomplished drawing skills which he honed through countless studies of trees, or boomstudies, including the present work. His daughter, Marita Pierneef-Bailey, recalled a favourite saying of her father: 'Work every day, draw every day. The naked line says it all: the depth to which you examined your subject, how capable and skilful you are' (quoted in P.G. Nel, 1990: p. 115). Pierneef would often undertake his study of South Africa's trees en plein air. This practice was motivated by a desire to capture the minute detail of the trees and other varied plant life, as well as the effect of the changing light on the landscape, echoing the principles of the French Impressionists. These studies, which captured isolated elements of the natural world, would then typically be worked up into oil paintings – their component parts knitted together to form larger painted compositions.The inscription to the lower left corner of the present work elucidates the location of the three trees articulated on the sheet as Waterberg. Waterberg is a dry sub-tropical woodland, also known as the Bushveld, located in the Limpopo Province of South Africa. Situated in the north of the country, the Bushveld was a great source of inspiration for Pierneef. He worked amongst the dense clusters of trees and tall shrubs to capture the native plant life of the area.The present study illustrates the masterful handling of line cultivated by Pierneef as he traced the twisting branches of trees encountered on his trips to the Bushveld. His experimentation with non-naturalistic colours, evidenced in the brightly coloured foliage of the trees, illustrates his impetus towards heightening elements of the South African landscape to develop his distinctive approach to the subject.BibliographyP.G. Nell, ed., JH Pierneef: His life and his work (Cape Town & Johannesburg, 1990)For further information on this lot please visit Bonhams.com
Abdoulaye Diarrassouba 'Aboudia' (Ivorian, born 1983)Untitled oil pastel, mixed media and collage on canvas99 x 118.2cm (39 x 46 9/16in).(unframed)Footnotes:ProvenanceAcquired from the Jack Bell Gallery, London, 2013;A private collection.In recent years, the exuberant artworks created by Abdoulaye Diarrassouba (more commonly known as Aboudia) have taken the art world by storm. The Ivorian artist trained at the School of Applied Arts in Bingerville and at the Institut des Arts in Abidjan. However, it is from the street and youth culture of Abidjan that he primarily draws his inspiration. Synthesising these local influences with imagery drawn from traditional West African sculpture and voodoo iconography, Aboudia names his distinctive stylistic approach Nouchi - a term more typically used to describe the language spoken in the urban centres of the Côte d'Ivoire which fuses Ivorian vocabulary with French. He describes himself as a passionate painter, using his work to respond directly to happenings within his urban milieu. The visceral emotion present in Aboudia's canvases has contributed to his international success.A singular depiction of Aboudia's signature ghoulish face dominates the left third of the present canvas. The word 'ART', scrawled in capital letters above the burgundy and black figure, evidences the influence of graffiti on the artist's distinctive aesthetic. The work can be dissected into multiple windowpanes depicting stick figures participating in events of everyday life; driving cars, sitting underneath the shade of an umbrella, or riding a horse. Articulated through Aboudia's energetic application of oil stick stop layers of collaged material, the work provides a lens into life in the capital city of the Côte d'Ivoire. Stating 'my paintings are the Africa of today', the Ivorian artist reclaims control of the representation of the continent as he draws upon the visual language of his urban environment.Today working between Abidjan and Brooklyn, Aboudia has cultivated a dedicated following through his distinctive painterly practice. Since his market debut with Bonhams in 2013, sales of Aboudia's work have grown exponentially, totalling just over £6 million in the last year. His work is held in important international collections, including those of Charles Saatchi and Jean Pigozzi. His international reach is reflected in his timely inclusion in the presentation of work at the Côte d'Ivoire pavilion at the 50th Venice Biennale (on view until November 2022).For further information on this lot please visit Bonhams.com
Joan Eardley R.S.A. (British, 1921-1963)Catterline pastel21.2 x 26.7 cm. (8 3/8 x 10 1/2 in.)Indistinctly inscribed with studio inventory number (verso), possibly ED 1096Footnotes:ProvenanceSale; Lyon & Turnbull, Edinburgh, 28 November 2013, lot 205This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Joan Eardley RSA (British, 1921-1963)Head of a boy with red hair pastel25 x 17.7 cm. (9 13/16 x 6 15/16 in.)Studio inventory no. ED 193Footnotes:ProvenanceWith Roland, Browse & Delbanco, LondonWith The Scottish Gallery, EdinburghThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Joan Eardley RSA (British, 1921-1963)Two Samson Children pastel on glass paper22.5 x 27.5 cm. (8 7/8 x 10 13/16 in.)Studio inventory no. ED 840 (lower left)Footnotes:ProvenanceThe artist's studioWith Aitken Dott & Son, EdinburghPrivate collection, UKSale; Bonhams, Edinburgh, 16 September 2015, lot 68The two children depicted in this pastel are from the Samson family, who lived near Eardley's studio in the Townhead area of Glasgow. They feature in many of her artworks. A sensitive child portraitist, Eardley often explored sibling relationships. She painted and drew the Samson children for seven years or more; 'there are a large number of them, twelve, so I've always had a certain number of children from this family of any age I choose... some children I don't like... most of them I get on with... some interest me much more as characters... these ones I encourage... they don't need much encouragement - they don't pose - they come up and say 'will you paint me?'... they are full of what's gone on today - whose broken into what shop and whose flung a pie in whose face - it goes on and on.' (Fiona Pearson, Joan Eardley, exhibition catalogue for the National Galleries of Scotland, 2007, p.31) This drawing seems to appear in the background of one of Oscar Marzaroli's photographs of Eardley's studio in 1962.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Sir Robin Philipson RA PRSA FRSA RSW RGI DLitt LLD (British, 1916-1992)Women Observed (1978) signed, dated and inscribed to artist's label (verso)pastel37 x 22 cm. (14 9/16 x 8 11/16 in.)Footnotes:ProvenanceWith The Loomshop Gallery, Lower Largo, FifeThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
George Leslie Hunter (British, 1877-1931)A street corner, Paris signed 'G Leslie Hunter/Paris' (lower right) and faintly signed 'G Leslie Hunter' (lower left)pastel32.7 x 28.5 cm. (12 7/8 x 11 1/4 in.)Footnotes:ProvenanceArthur Leyden and thence by descentThe style of signature and inscription is datable to circa 1907. For comparison, see Austerlitz Paris, coloured chalk, signed and dated 1907, Glasgow Museums No.U.121.f.01, one of two dated drawings from the same period.Among the group of young artists who founded San Francisco's California Society of Artists in 1902 were Hunter and his friend, Blendon Campbell (1872-1969). Campbell told Hunter's biographer, Dr T.J. Honeyman of Hunter's enormous energy and industry: 'His passion for making sketches, many of which were intended to serve as notes for more complete pictures, made the others look like playboys. None of them felt that Hunter was wasting his energy, for they sensed something big in his work as well as in his personality.' (T.J. Honeyman, Introducing Leslie Hunter, Faber & Faber Ltd, London, 1937, p.56)Street, Paris, a rare survivor from Hunter's first trip to Paris after his move to Scotland in 1906 appears to be the first purchase Arthur made. Unmistakably it shows that sense of something big in Hunter's work, with its intuitive pictorial harmony, mood and texture.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
George Leslie Hunter (British, 1877-1931)Girl in Striped Dress, study ink, coloured pencil and pastel26.7 x 33 cm. (10 1/2 x 13 in.)Footnotes:Drawn in circa 1927, this sketch is likely to be the study for Girl in Stripped Dress.Jane Isabella Livingstone Graham Cowan, née McCaig (1895-1976), was from the same family that built McCaig's Tower in Oban. Hunter met her in Lower Largo, Fife, where she was on holiday with her husband. Family legend tells of the couple spotting 'a slightly odd man' across the dining room, looking at Jane through a frame made with his forefinger and thumb. When they spoke to Hunter, he asked them if Jane would sit for him. It is believed that this was drawn in Hunter's studio in Dumbarton Road, Glasgow.ProvenanceThe sitter, thence by decent.For further information on this lot please visit Bonhams.com
λ GRAHAM SUTHERLAND (BRITISH 1903-1980)INTERLOCKING HILLSInk, watercolour, pastel and gouacheSigned and dated 1945 (lower left), further signed, titled, dated 1945 and inscribed to backboard (verso)38.5 x 28.5cm (15 x 11 in.)Provenance:John R. Brown, Esq., Private Collection, Stratford-on-Avon, purchased from the 1946 Bucholz Gallery ExhibitionThence by descent to the present owner Exhibited:New York, Buchholz Gallery, Curt Valentin, Graham Sutherland, February-March 1946, no. 20 Condition Report: Unexamined out of glazed frame. Light surface dirt throughout. Pin holes to the lower left and lower right corners. Foxing scattered throughout. Light spots of bleaching to the lower third of the work. A very small patch of skinning to the centre of the lower edge approx. 1cm. Condition Report Disclaimer
λ FRANK DOBSON (BRITISH 1886-1963)PORTRAIT OF A YOUNG WOMAN Red chalk34.5 x 23.5cm (13½ x 9¼ in.)Provenance:The Artist's EstateGillian Jason Gallery, London Condition Report: Executed on white wove paper. There are a few pastel smudges, possibly original and a couple of light handling creases. Otherwise, the work looks to be in good original condition. Under glass and unexamined out of frame.Condition Report Disclaimer
Pictures and Prints - English School (early 20th century), Girl with Dolls, pastel, 49cm x 40cm; Francis Geake, Fingal Bridge, signed, watercolour; English School, Portrait of a Gentleman, signed, watercolour; Victorian prints in gilt oval frames; Continental School, Riverside Village, oil on canvas, 60cm x 130cm, etc, (10)
* Quilt. An early-mid 19th century quilt, English, a large hand-stitched bedcover, with central square composed of 4 8-pointed stars, enclosed by borders of squares, stars, lozenges, and rectangles, using a variety of printed cotton fabrics in predominantly pastel shades and plain ivory cotton, turquoise ink stamp to one edge 'D. Knowks', light toning, some fabrics degraded with consequent small losses, backed in cream cotton, hand-quilted overall in white cotton thread, butted hem, edges worn, 272 x 259 cm (107 x 102 ins) QTY: (1)
* Russell (John, 1745-1806). Portrait of a lady, traditionally identified as Miss Boddington, 1791, pastel, three-quarter length portrait of a lady seated, half-profile to left, her right arm resting on a table beside a silver ink well, an open book in her left hand, wearing a white gown and grey-spotted white shawl, and an elaborate lace-trimmed bonnet, her head apparel and dress adorned with matching pale blue silk bows, against scarlet drapery revealing a distant vista of parkland, signed and dated upper left 'J. Russell R.A. / 1791', 90.5 x 69.7 cm (35 5/8 x 27 1/2 ins), gilt frame, glazed (107.5 x 87.3 cm) QTY: (1)NOTE:Provenance: Believed to be by descent until Mr and Mrs Michael Truell, Somerset, by circa 1957, hence by family descent to the present owner.Literature: N. Jeffares, Dictionary of Pastellists Before 1800, on-line edition: J.64.1192.An impressive work by Britain's foremost pastellist, demonstrating Russell's extraordinary facility for the challenging medium of pastels. The artist is known for his mastery of texture, sympathetic treatment of his subjects, and grasp of complex composition. By the time this work was painted the artist had already been working for three years as Crayon Painter to King George III, an appointment which completed his meteoric rise to fame.
* Bussy (Simon, 1870-1954). Lac de Molveno, Tyrol, no. 1, circa 1910, colour pastel on board, signed lower left, some light surface dirt, mount aperture 19.2 x 15.3 cm (7 1/2 x 6 ins), framed, contemporary blue crayon number 6 to verso, and printed address label of the Carfax Gallery, LondonQTY: (1)NOTE:Exhibited: Pastels by Simon Bussy, Carfax Gallery, London, June 1913, catalogue number 6.
A Susie Cooper Studio Ware jug, pattern M.72, ovoid form, painted with stylised orchid flowers in pastel colours on a cream ground, and a Susie Cooper tea set for two, printed with stars in rust, highlighted in gilt, comprising teapot and cover, milk-jug and sugar basin, two cups, saucers and a side plate printed and painted factory marks, 17.5cm. high (10)
ROBERT CLATWORTHY R.A. [1928-2015]. Head, 1997. acrylic & pastel on thick paper; signed. 38 x 28 cm - frame 48 x 38 cm. Provenance: the artist; private collection, UK. See lot 60 for a brief CV. [very good condition - the paper has a slightly rough texture in the extreme corners, but this is not thought to be damage, but in line with the artist's working methods - unexamined out of frame]. Buyers premium 20% + vat payable..
FRANCIS ROBERT WEST (C.1749 - 1809)Half-length portrait, of Mrs Fulke Greville, (c.1724-1789) née Frances Macartney, Black chalk with red pastel highlights on paper, 22.5 cm diameter Contained in a George III carved and giltwood frame with sanded gilt insertProvenance: the sitter, and by descent to her daughter Frances Anne (1748-1818) who married John, later 1st Baron Crewe (1742-1829); John, 2nd Baron Crewe (1772-1835); Hungerford, 3rd Baron Crewe FSA (1812-1893) who died unmarried, his heir being his sister whose son; Robert Offley Ashburton Milnes (later Crewe-Milnes) (1858-1945), 2nd Baron Haughton, Viceroy of Ireland, succeeded to the estates of his maternal uncle and was created Earl of Crewe (1895) and Marquess of Crewe (1911) and by descent to his youngest daughter Mary Evelyn Hungerford Crewe-Milnes, Duchess of Roxburghe (1915-2014), from whose estate acquired by the present ownerFrances Macartney (1727?-1789), one of the finest female Irish poets of the eighteenth century, was the fifth surviving child of James Macartney (1692-1770) MP for Longford and Granard, and Catherine Coote (d. 1731), niece of the 1st Earl of Bellamont. Her father, co-heir of the earls of Longford, inherited half of the Longford estate around Aungier Street in Dublin. Beautiful, and spirited (with Sarah Lennox she was celebrated in Horace Walpole’s 1746 poem, The Beauties), Frances was known for her witty verses and was part of the fast set revolving round Henry Fox. In 1747 she met Fulke Greville (1717-1806), of Wilbury in Wiltshire (more recently home to Miranda Iveagh), then one of the most accomplished young men in society and they eloped on 26 January 1748. Their daughter, Frances Anne (later, after her marriage to John Crewe, a famous Whig hostess and mistress of Sheridan) was christened on 28 November that year. After her marriage Frances ‘confined her writing to satirical and occasional ephemera for the amusement of the fashionable world, but her growing fame piqued her husband, who had assigned her to “the shade”, and she hid her work from him with the exception of her famous poem, the Ode to Indifference, written either in 1756 or in 1757 in Italy’ (Oxford, DNB). The poem, a critique of the cult of sensibility was extraordinary popular indeed, it ‘became as celebrated as Thomas Gray's Elegy’ (ibid). She also started, but never completed, a novel. Frances Greville's god-daughter, the novelist Frances Burney, described her as ‘pedantic, sarcastic, and supercilious’, and capable of alarming ‘the timid and braving the bold, to whom she allowed no quarter’. Hester Thrale, meanwhile, wrote to Dr Johnson that she had ‘a commanding manner & loud voice’ and ‘is said to have formed her manner upon yours’ (Letters of Samuel Johnson, 2.262) – this was not meant as a compliment.With the breakdown of her marriage, exacerbated by the husband’s chronic gambling, Frances moved home to Ireland from 1783 to 1788, under the protection of the Lennox sisters, the Duchess of Leinster and Lady Louisa Conolly (friends from childhood), and her cousins the Longfords of Pakenham Hall (now Tullynally). By 1788 the couple finally separated and she took a house in London where she died on 30 July the following year.Eldest son of Robert West, the influential Dublin artist and teacher, Francis Robert West’s style is distinctive and always charming, although his work is noticeably rare. His conversation pieces are neatly and accurately portrayed in black charcoal, often with a touch of red highlighting. Virtually all of his surviving works are in oval or circular format and he exhibited chalk portraits such as this at the Society of Artists’ shows in Dublin’s William Street.
David Blackburn (1939-2016)/Untitled/signed and dated 1981/pastel, 69cm x 51cm CONDITION REPORT: In good original condition, mounted and framedARR Artist's Resale Right may apply to the sale of this lot if the hammer price is the equivalent of 1000 Euros or more, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk
Starr Dodd (1870-1944)/Neaera/pastel, 39cm x 9.5cm/in an oak mount and glazed frame/artist's label verso CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
Two Royal Copenhagen vases, one decorated with a swallow and irises, pattern no. 2676/271, 11.5cm high, the other decorated with white sweet peas, pattern no. 2668/2037, 15cm high; Victorian cottage pastel burner and another, spill vase in the form of a castle, 9.5cm and 11cm high; Staffordshire spill vase, 12.5cm high; miniature Doyal Doulton figure "Chloe", M29, 7.5cm high; another miniature Continental porcelain figure of a lady and a Continental circular salt with onion flower decoration. (8).
Loading...
![PAUL BIRKBECK [1939-2019]. Cabin at Night. pastel on paper. 39 x 53 cm - framed. Provenance: The artist's family; Private col](https://cdn.globalauctionplatform.com/2d52b1f3-bf52-438c-97ab-af1200c56b67/e748c774-2040-4b95-8c38-af1200e03e04/468x382.jpg)
![ROBERT CLATWORTHY R.A. [1928-2015]. Head, 1997. acrylic & pastel on thick paper; signed. 38 x 28 cm - frame 48 x 38 cm. P](https://cdn.globalauctionplatform.com/2d52b1f3-bf52-438c-97ab-af1200c56b67/48fd97c1-59f6-4a9a-ab38-af1200e06402/468x382.jpg)
