We found 46298 price guide item(s) matching your search
There are 46298 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
46298 item(s)/page
Lot 661
20TH CENTURY PAINTINGS ETC, comprising Garman Morris watercolour 'Off Yarmouth' fishing boats on the water, initialled bottom right, approximate size 13cm x 38cm, two Harris Brett Egyptian watercolours, signed and dated 1906, approximate sizes 22cm x 59cm, W.S. Ball squared rigged sailing ship, oil on board, approximate size 61cm x 45cm, Ken Brown watercolour of the Household Cavalry and pastel of Monnow bridge, a continental street scene signed Autiero, oil on canvas and a Manet Print 'Le Bar Aux Folies Bergere' (8)
Lot 114
Wilhelm RAAB (1907 - 1989). "Selbstbildnis".Circa 48 cm x 45,5 cm das Blatt. Circa 60,5 cm x 50,5 cm mit Rahmen. Zeichnung. Pastell / Kohle. Wohl 1940er Jahre. Links unten signiert und betitelt. Passepartout.Wilhelm RAAB (1907 - 1989). "Self-portrait".Approx. 48 cm x 45,5 cm the sheet. With frame approx. 60,5 cm x 50,5 cm. Drawing. Pastel / charcoal. Probably 1940s. Signed and titled lower left. Passepartout.
Lot 113
Wilhelm RAAB (1907 - 1989). "Frankfurt a. M. Trümmerverwertung am Ostpark nach dem Krieg"Circa 30 cm x 45 cm das Blatt. Circa 50 cm x 60 cm mit Rahmen. Zeichnung. Pastell. Links unten signiert und datiert 1948. Rückseitig datiert, bezeichnet und betitelt. Passepartout.Wilhelm RAAB (1907 - 1989). "Frankfurt a. M. Ruin Disposal at the East Park after the War".Approx. 30 cm x 45 cm the sheet. With frame approx. 50 cm x 60 cm. Drawing. Pastel. Signed and dated 1948 lower left. Inscribed on the reverse. Passepartout.
Lot 120
Charles Auguste EDELMANN (1879 - 1950). Weiblicher Akt.Circa 43 cm x 53 cm. Circa 60 cm x 71,5 cm mit Rahmen. Zeichnung. Pastell. Rechts unten signiert. Glas beschädigt. Rahmen mit Farbfehlstellen.- Kein Versand durch das Auktionshaus möglich –Charles Auguste EDELMANN (1879 - 1950). Female nude.Circa 43 cm x 53 cm. Circa 60 cm x 71.5 cm with frame. Drawing. Pastel. Signed lower right. Glass damaged. Frame with paint defects.- No shipping possible through the auction house -
Lot 115
Wilhelm RAAB (1907 - 1989). Wohl Selbstbildnis.Circa 33 cm x 25,5 cm das Blatt. Circa 56 cm x 47 cm mit Rahmen. Zeichnung. Aquarell / Pastell. Links unten signiert und datiert 1984. Passepartout.Wilhelm RAAB (1907 - 1989). Self-portrait.Approx. 33 cm x 25,5 cm the sheet. With frame approx. 56 cm x 47 cm. Drawing. Watercolour / pastel. Signed and dated 1984 on the lower left. Passepartout.
Lot 9
SHARA HUGHES (B. 1981)Three Blue Pillows 2008 signed and dated 08; signed, titled and dated 2008 on the reverseacrylic, enamel, ink, oil pastel, crayon, felt-tip pen, coloured pencil, graphite and collage on paper 28.3 by 38.5 cm. 11 1/8 by 15 3/16 in. Footnotes:ProvenanceMuseum 52, LondonMetroquadro, TurinAcquired directly from the above by the present owner in 2009ExhibitedTurin, Metroquadro, Shara Hughes: I knocked. Then without waiting to be asked I went in, 2009, p. 7, illustrated in colour; p. 37, illustrated in black and whiteThis 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
Lot 11
Property from the Marie-Louise von Motesiczky Charitable Trust, LondonMARIE-LOUISE VON MOTESICZKY (1906-1996)Snake charmer oil and pastel on canvas, unframed80.5 x 50.5 cm (31 3/4 x 19 7/8 in) Painted in 1964LITERATURE:I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p. 332, no. 191CONDITION REPORT:Oil and pastel on canvas, unframed. Not lined. Small hole to the canvas above the man's head. Examined under UV: there are no visible signs of fluorescing. Overall, it our opinion that the work is in good original condition.In May 1964 Motesiczky visited Tunisia where she may have come across groups of snake charmers. In the present work a bearded man in purple harem pants, draped with a large snake around his shoulders stands at the centre of the composition, whilst a mysterious yellow dressed figure plays the flute behind him, accompanying his performance. Selected Works from the Marie-Louise von Motesiczky Charitable Trust Motesiczky’s expressive and very painterly style had been formed before the Second World War, in large part influenced and encouraged by Max Beckmann. On first being introduced to Beckmann in 1920 she recalled: ‘A winged creature from Mars could not have made a greater impact on me’. Once in Britain it was Oskar Kokoschka, a family friend from Vienna now similarly exiled, who helped champion her work. Thereafter, and very much on a personal level, it was the writer Elias Canetti (1905-1994) a fellow émigré who exercised a major influence over her artistic output. Marie-Louise von Motesiczky grew up with her parents and her brother Karl in central Vienna. Her mother Henriette came from an illustrious Viennese Jewish banking dynasty. Her maternal grandfather, Leopold von Lieben, was President of the Stock Exchange; her grandmother, Anna, one of Freud’s early patients. She counted the Todescos, and Ephrussis among her family circle, and she, her mother and her brother Karl spent their summers at Villa Todesco in Hinterbrühl, south west of the capital. But over time family tragedy, financial difficulties and the rise of Nazi Germany took their toll. Marie-Louise’s father died at the end of 1909 and after the First World War her mother’s considerable inheritance gradually diminished through high taxation, poor investments, and the financial crash of 1929. Then, with the rise of the Third Reich and the Anschluss in March 1938, when Austria was annexed by Germany, she and her mother fled Vienna for the Netherlands before emigrating to England in 1939. Further distress followed when her brother Karl, who had remained in Austria, was arrested and deported to Auschwitz, dying of typhus there on 25 June 1943. On Motesiczky’s arrival in London Kokoschka ensured her inclusion in a series of group exhibitions, and assisted her in the staging of a solo exhibition at the Czechoslovak Institute in the autumn of 1944. Further group shows followed, and in 1960 she had a second solo exhibition at the influential Beaux Arts Gallery off Bond Street. On the Continent she received acclaim for her work in exhibitions in Amsterdam and The Hague in 1952, one of her canvases being purchased by the Stedelijk Museum. The same decade she exhibited in Munich and Düsseldorf, and in the 1960s was the subject of shows in Germany and Austria, including a one-person exhibition at the Wiener Secession in 1966. In 1985, a full twenty-five years after her work had been shown at the Beaux Arts Gallery, she was the subject of another solo exhibition in London, at the Goethe-Institut, which was widely acclaimed in the press. In 1994 a major retrospective of her work was held in Vienna at the Österreichische Galerie, Oberes Belvedere and in Manchester at the City Art Gallery. In 2006-07 her work was celebrated in a centenary exhibition at Tate Liverpool, travelling to Frankfurt, Vienna, Passau and Southampton City Art Gallery. Also in 2007 Jill Lloyd’s biography of Marie-Louise appeared: The Undiscovered Expressionist. A Life of Marie-Louise von Motesiczky, followed in 2009 by the catalogue raisonné of her paintings by Ines Schlenker itemising over 350 works. Most recently in 2019-20, Tate Britain held an exhibition devoted to her to inaugurate the gallery named in perpetuity as the ‘Marie-Louise von Motesiczky Archive Gallery’ for all future displays of Tate’s archive holdings in general. The work of Marie-Louise von Motesiczky held in public collections Institutions in the UK holding works by the artist include: the Ben Uri Gallery and Museum, the British Museum, Burgh House, Hampstead, Freud Museum, Garden Museum, National Portrait Gallery and Tate in London (which also holds her archive); the Amersham Museum, Fitzwilliam Museum, Cambridge, New Walk Museum and Art Gallery, Leicester, Manchester Art Gallery, National Galleries of Scotland, Edinburgh and the Hunterian Art Gallery, Glasgow. Elsewhere her work is in the National Gallery of Ireland, Dublin; the Stedelijk, Amsterdam; the Boijmans van Beuningen Museum, Rotterdam; the Städel Museum, Frankfurt; the German Literary Archive in Marbach; the Albertina, Österreichische Galerie Belvedere, the Leopold Museum and the Museum Wien in Vienna; the Lentos Kunstmuseum, Linz and the Stanley Museum, University of Iowa, USA. Please find a link to the Catalogue Raisonné for Marie-Louise von Motesiczky: https://www.motesiczky.org/publications/ Marie-Louise von Motesiczky 1906-1996. A Catalogue Raisonné of the Paintings by Ines Schlenker, Hudson Hills Press, New York, 2009. The Marie-Louise von Motesiczky Charitable Trust The Marie-Louise von Motesiczky Charitable Trust, is a company limited by guarantee registered in England and Wales (no. 7572024) and a registered charity (no. 1140890): www.motesiczky.org. The copyright for Marie-Louise von Motesiczky’s paintings, drawings and correspondence or other written work originating from her, her mother Henriette and brother Karl, lies with the Marie-Louise von Motesiczky Charitable Trust.
Lot 18
Property from the Marie-Louise von Motesiczky Charitable Trust, LondonMARIE-LOUISE VON MOTESICZKY (1906-1996)Flavia Grassi oil, pastel and charcoal on canvas, unframed101.7 x 61.4 cm (40 x 24 1/4 in)Painted in 1983LITERATURE:I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p.457, no. 279CONDITION REPORT:Oil on canvas, unframed. Not lined. On close inspection there is evidence of fine lines of craquelure in the maroon pigment of the lady's headress. Examined under UV: there are no visible signs of fluorescing. Overall, it our opinion that the work is in very good original condition.Flavia Grassi was a young relative of Marie-Louise, from the Dutch side of her family. During the 1980s the pair saw eachother regularly, whilst Flavia was studying anthropology in London, and in 1988 Flavia lived with Marie-Louise for two months. Flavia's friendship clearly meant alot to Marie-Louise, numerous photographs of Flavia Grassi have survived in the artist's estate, some even stained with paint from when Motesiczky used them as a reference for the present portrait. References for the final painting can be seen in the photographs, such as Flavia's red wool sweater and floral patterned skirt. In this portrait Flavia stares directly out at the viewer, with her dark eyebrows and partially open mouth, seated in a chair with her legs crossed. The globe which she holds was likely a later addition by the artist and according to Flavia Grassi has no known links with her. Selected Works from the Marie-Louise von Motesiczky Charitable Trust Motesiczky’s expressive and very painterly style had been formed before the Second World War, in large part influenced and encouraged by Max Beckmann. On first being introduced to Beckmann in 1920 she recalled: ‘A winged creature from Mars could not have made a greater impact on me’. Once in Britain it was Oskar Kokoschka, a family friend from Vienna now similarly exiled, who helped champion her work. Thereafter, and very much on a personal level, it was the writer Elias Canetti (1905-1994) a fellow émigré who exercised a major influence over her artistic output. Marie-Louise von Motesiczky grew up with her parents and her brother Karl in central Vienna. Her mother Henriette came from an illustrious Viennese Jewish banking dynasty. Her maternal grandfather, Leopold von Lieben, was President of the Stock Exchange; her grandmother, Anna, one of Freud’s early patients. She counted the Todescos, and Ephrussis among her family circle, and she, her mother and her brother Karl spent their summers at Villa Todesco in Hinterbrühl, south west of the capital. But over time family tragedy, financial difficulties and the rise of Nazi Germany took their toll. Marie-Louise’s father died at the end of 1909 and after the First World War her mother’s considerable inheritance gradually diminished through high taxation, poor investments, and the financial crash of 1929. Then, with the rise of the Third Reich and the Anschluss in March 1938, when Austria was annexed by Germany, she and her mother fled Vienna for the Netherlands before emigrating to England in 1939. Further distress followed when her brother Karl, who had remained in Austria, was arrested and deported to Auschwitz, dying of typhus there on 25 June 1943. On Motesiczky’s arrival in London Kokoschka ensured her inclusion in a series of group exhibitions, and assisted her in the staging of a solo exhibition at the Czechoslovak Institute in the autumn of 1944. Further group shows followed, and in 1960 she had a second solo exhibition at the influential Beaux Arts Gallery off Bond Street. On the Continent she received acclaim for her work in exhibitions in Amsterdam and The Hague in 1952, one of her canvases being purchased by the Stedelijk Museum. The same decade she exhibited in Munich and Düsseldorf, and in the 1960s was the subject of shows in Germany and Austria, including a one-person exhibition at the Wiener Secession in 1966. In 1985, a full twenty-five years after her work had been shown at the Beaux Arts Gallery, she was the subject of another solo exhibition in London, at the Goethe-Institut, which was widely acclaimed in the press. In 1994 a major retrospective of her work was held in Vienna at the Österreichische Galerie, Oberes Belvedere and in Manchester at the City Art Gallery. In 2006-07 her work was celebrated in a centenary exhibition at Tate Liverpool, travelling to Frankfurt, Vienna, Passau and Southampton City Art Gallery. Also in 2007 Jill Lloyd’s biography of Marie-Louise appeared: The Undiscovered Expressionist. A Life of Marie-Louise von Motesiczky, followed in 2009 by the catalogue raisonné of her paintings by Ines Schlenker itemising over 350 works. Most recently in 2019-20, Tate Britain held an exhibition devoted to her to inaugurate the gallery named in perpetuity as the ‘Marie-Louise von Motesiczky Archive Gallery’ for all future displays of Tate’s archive holdings in general. The work of Marie-Louise von Motesiczky held in public collections Institutions in the UK holding works by the artist include: the Ben Uri Gallery and Museum, the British Museum, Burgh House, Hampstead, Freud Museum, Garden Museum, National Portrait Gallery and Tate in London (which also holds her archive); the Amersham Museum, Fitzwilliam Museum, Cambridge, New Walk Museum and Art Gallery, Leicester, Manchester Art Gallery, National Galleries of Scotland, Edinburgh and the Hunterian Art Gallery, Glasgow. Elsewhere her work is in the National Gallery of Ireland, Dublin; the Stedelijk, Amsterdam; the Boijmans van Beuningen Museum, Rotterdam; the Städel Museum, Frankfurt; the German Literary Archive in Marbach; the Albertina, Österreichische Galerie Belvedere, the Leopold Museum and the Museum Wien in Vienna; the Lentos Kunstmuseum, Linz and the Stanley Museum, University of Iowa, USA. Please find a link to the Catalogue Raisonné for Marie-Louise von Motesiczky: https://www.motesiczky.org/publications/ Marie-Louise von Motesiczky 1906-1996. A Catalogue Raisonné of the Paintings by Ines Schlenker, Hudson Hills Press, New York, 2009. The Marie-Louise von Motesiczky Charitable Trust The Marie-Louise von Motesiczky Charitable Trust, is a company limited by guarantee registered in England and Wales (no. 7572024) and a registered charity (no. 1140890): www.motesiczky.org. The copyright for Marie-Louise von Motesiczky’s paintings, drawings and correspondence or other written work originating from her, her mother Henriette and brother Karl, lies with the Marie-Louise von Motesiczky Charitable Trust.
Lot 2
Property from the Marie-Louise von Motesiczky Charitable Trust, LondonMARIE-LOUISE VON MOTESICZKY (1906-1996)Two women on a shipoil on canvassight-size: 40 x 29.2 cm (15 3/4 x 11 1/2 in)Painted in the early 1960sSold with a preparatory study: MARIE-LOUISE VON MOTESICZKY (1906-1996)A study for Two women on a ship charcoal and pastel sight-size: 21 x 18 cm (8 1/4 x 7 1/8 in)Executed in the early 1960sLITERATURE:I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p. 342, no. 198E. Michel, Marie-Louise von Motesiczky 1906-1996, 2003, p. 82(2)Doubtless inspired by a ferry crossing to the continent taken some time in 1963, in the present work Motesiczky portrays two women seated in high-backed red armchairs deep in conversation. The two travelling companions are strikingly different in their appearance; one blonde, blue eyed wearing light clothes of orange and yellow, whilst the other, who dominates the foreground, wears a deep blue robe with shiny dark hair.The pair are framed by a large porthole, indicating that the setting is on board a ship. In the background is the calm, light blue sea set against the setting sunset. Their surroundings are made clearer in the accompanying drawing, most likely executed on board the ship, that is included in this lot. In the sketch some details are more defined such as the fruit on the table, whilst other details are omitted in the final painting, including the light blue shawl of the brunette. Although the exact date of the painting is unknown, according to Schlenker, several facts attribute it to the early 1960s, including the contemporary hairstyles of the ladies. Writing to Elias Canetti, her lover of many years, Marie-Louise wrote of this boat journey that she 'saw wonderful things on deck… there the people really look the way I would love to have them in a portrait.' (J. Lloyd, The Undiscovered Expressionist, London, 2007, p. 181). Indeed, the soft-featured face of the blonde woman shares striking similarities with Iris Murdoch, an author and lifelong friend whose portrait Motesiczky would complete the following year. Selected Works from the Marie-Louise von Motesiczky Charitable Trust Motesiczky’s expressive and very painterly style had been formed before the Second World War, in large part influenced and encouraged by Max Beckmann. On first being introduced to Beckmann in 1920 she recalled: ‘A winged creature from Mars could not have made a greater impact on me’. Once in Britain it was Oskar Kokoschka, a family friend from Vienna now similarly exiled, who helped champion her work. Thereafter, and very much on a personal level, it was the writer Elias Canetti (1905-1994) a fellow émigré who exercised a major influence over her artistic output. Marie-Louise von Motesiczky grew up with her parents and her brother Karl in central Vienna. Her mother Henriette came from an illustrious Viennese Jewish banking dynasty. Her maternal grandfather, Leopold von Lieben, was President of the Stock Exchange; her grandmother, Anna, one of Freud’s early patients. She counted the Todescos, and Ephrussis among her family circle, and she, her mother and her brother Karl spent their summers at Villa Todesco in Hinterbrühl, south west of the capital. But over time family tragedy, financial difficulties and the rise of Nazi Germany took their toll. Marie-Louise’s father died at the end of 1909 and after the First World War her mother’s considerable inheritance gradually diminished through high taxation, poor investments, and the financial crash of 1929. Then, with the rise of the Third Reich and the Anschluss in March 1938, when Austria was annexed by Germany, she and her mother fled Vienna for the Netherlands before emigrating to England in 1939. Further distress followed when her brother Karl, who had remained in Austria, was arrested and deported to Auschwitz, dying of typhus there on 25 June 1943. On Motesiczky’s arrival in London Kokoschka ensured her inclusion in a series of group exhibitions, and assisted her in the staging of a solo exhibition at the Czechoslovak Institute in the autumn of 1944. Further group shows followed, and in 1960 she had a second solo exhibition at the influential Beaux Arts Gallery off Bond Street. On the Continent she received acclaim for her work in exhibitions in Amsterdam and The Hague in 1952, one of her canvases being purchased by the Stedelijk Museum. The same decade she exhibited in Munich and Düsseldorf, and in the 1960s was the subject of shows in Germany and Austria, including a one-person exhibition at the Wiener Secession in 1966. In 1985, a full twenty-five years after her work had been shown at the Beaux Arts Gallery, she was the subject of another solo exhibition in London, at the Goethe-Institut, which was widely acclaimed in the press. In 1994 a major retrospective of her work was held in Vienna at the Österreichische Galerie, Oberes Belvedere and in Manchester at the City Art Gallery. In 2006-07 her work was celebrated in a centenary exhibition at Tate Liverpool, travelling to Frankfurt, Vienna, Passau and Southampton City Art Gallery. Also in 2007 Jill Lloyd’s biography of Marie-Louise appeared: The Undiscovered Expressionist. A Life of Marie-Louise von Motesiczky, followed in 2009 by the catalogue raisonné of her paintings by Ines Schlenker itemising over 350 works. Most recently in 2019-20, Tate Britain held an exhibition devoted to her to inaugurate the gallery named in perpetuity as the ‘Marie-Louise von Motesiczky Archive Gallery’ for all future displays of Tate’s archive holdings in general. The work of Marie-Louise von Motesiczky held in public collections Institutions in the UK holding works by the artist include: the Ben Uri Gallery and Museum, the British Museum, Burgh House, Hampstead, Freud Museum, Garden Museum, National Portrait Gallery and Tate in London (which also holds her archive); the Amersham Museum, Fitzwilliam Museum, Cambridge, New Walk Museum and Art Gallery, Leicester, Manchester Art Gallery, National Galleries of Scotland, Edinburgh and the Hunterian Art Gallery, Glasgow. Elsewhere her work is in the National Gallery of Ireland, Dublin; the Stedelijk, Amsterdam; the Boijmans van Beuningen Museum, Rotterdam; the Städel Museum, Frankfurt; the German Literary Archive in Marbach; the Albertina, Österreichische Galerie Belvedere, the Leopold Museum and the Museum Wien in Vienna; the Lentos Kunstmuseum, Linz and the Stanley Museum, University of Iowa, USA. Please find a link to the Catalogue Raisonné for Marie-Louise von Motesiczky: https://www.motesiczky.org/publications/ Marie-Louise von Motesiczky 1906-1996. A Catalogue Raisonné of the Paintings by Ines Schlenker, Hudson Hills Press, New York, 2009. The Marie-Louise von Motesiczky Charitable Trust The Marie-Louise von Motesiczky Charitable Trust, is a company limited by guarantee registered in England and Wales (no. 7572024) and a registered charity (no. 1140890): www.motesiczky.org. The copyright for Marie-Louise von Motesiczky’s paintings, drawings and correspondence or other written work originating from her, her mother Henriette and brother Karl, lies with the Marie-Louise von Motesiczky Charitable Trust.
Lot 121
Harold Riley (British 1934-) "White Street, Salford", initialled and dated '65, ink, watercolour and pastel.42.5cm x 30cm (16.75in x 11.75in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The drawing is in fair, original condition. The ink and watercolours have faded across the drawing and there are some minor stains across the paper. The drawing is framed and glazed.
Lot 123
D. Fricker (20th century) Designs for the Main Facade and Clock of the Greater Manchester Exhibition, as part of the conversion from Manchester Central railway station, both signed and dated '86, architectural drawings, watercolour and pastel.34.5cm x 29.5cm (13.5in x 11.5in)Qty: 2The drawings are both in very good, original condition with strong colours and no obvious faults to report. The drawings are both framed and glazed. The frames have some minor scuffs and knocks commensurate with age.
Lot 144
Harold Riley (British 1934-) "Wellington Street School, Salford", signed, titled and dated 1972, ink, watercolour and pastel.29.5cm x 30.5cm (11.5in x 12in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The drawing is in fair, original condition. The ink and watercolours have faded across the drawing. The drawing is ornately framed and glazed. The original frame has some minor scuffs and knocks commensurate with age.
Lot 164
Harold Riley (British 1934-) "Dr. Million's Surgery", signed, titled and dated '78, charcoal and pastel.29.5cm x 25cm (11.5in x 9.75in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The drawing is in very good, original condition with no obvious faults to report. The drawing is ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Lot 48
Nicholas Ferenczy (British 1959-) "Before ‘Throwdown’: Middleport Pottery", signed, titled and dated 2015 on verso, hard pastel on cartridge paper.52.5cm x 36cm (20.75in x 14.25in)The drawing is in very good, original condition with no obvious faults to report. The drawing is framed and glazed.
Lot 50
George Thompson (British 1934-2019) "Fleet Street", signed, titled on gallery label - 'Sarah Samuels Fine Paintings, Chester' verso, pastel.31cm x 42.5cm (12.25in x 16.75in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The drawing is in very good, original condition with no obvious faults to report. The drawing is framed and glazed.
Lot 6
Tom Brown (British 1933-2017) "The Bonfire" Signed, pastel.26.5cm x 38cm (10.5in x 15in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The drawing is in very good, original condition with no obvious faults to report. The drawing is ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Lot 60
Tom Brown (British 1933-2017) "The Knocker-Upper", signed, pastel.38.5cm x 26cm (15.25in x 10.25in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The drawing is in very good, original condition with no obvious faults to report. The drawing is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Lot 78
Tom Brown (British 1933-2017) "The Lamplighter", signed, pastel.38.5cm x 26cm (15.25in x 10.25in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The drawing is in very good, original condition with no obvious faults to report. The drawing is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Lot 86
Harold Riley (British 1934-) "View of Jaffa from Tel Aviv", signed, titled and dated '68, ink, watercolour and pastel.14cm x 24cm (5.5in x 9.5in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The drawing is in fair, original condition. The ink and watercolours have faded slightly across the drawing and there is a stain in the centre of the paper. The drawing is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Loading...-
46298 item(s)/page