We found 46300 price guide item(s) matching your search
There are 46300 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
46300 item(s)/page
Lot 18
Monogrammed and dated 10.5.03, dedicated on verso, pastel.27cm x 36.5cm (10.5in x 14.5in)Condition report: The drawing is in very good, original condition with no obvious faults to report. The drawing is ornately framed and glazed. The frame has the odd minor knock and loss commensurate with age.
Lot 43
Pippa Blake Urban Blue I, 2019 Oil and pastel on paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Pippa Blake makes atmospheric paintings about moving through the landscape; the glimpses this reveals and the emotional journeys it triggers. Working in oils, using photographs and film stills as her starting point, she is fascinated by the enigmatic quality of light at dusk, the horizon and what might lie beyond, and the brief snapshots of landscapes experienced whilst travelling. The paintings describe uncanny scenes that are at once familiar but so fleeting that they remain just out of reach.
Lot 44
Pippa Blake Urban Blue II, 2019 Oil and pastel on paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Pippa Blake makes atmospheric paintings about moving through the landscape; the glimpses this reveals and the emotional journeys it triggers. Working in oils, using photographs and film stills as her starting point, she is fascinated by the enigmatic quality of light at dusk, the horizon and what might lie beyond, and the brief snapshots of landscapes experienced whilst travelling. The paintings describe uncanny scenes that are at once familiar but so fleeting that they remain just out of reach.
Lot 45
Pippa Blake Urban Blue III, 2019 Oil and pastel on paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Pippa Blake makes atmospheric paintings about moving through the landscape; the glimpses this reveals and the emotional journeys it triggers. Working in oils, using photographs and film stills as her starting point, she is fascinated by the enigmatic quality of light at dusk, the horizon and what might lie beyond, and the brief snapshots of landscapes experienced whilst travelling. The paintings describe uncanny scenes that are at once familiar but so fleeting that they remain just out of reach.
Lot 127
Ghislaine Howard Father and Son, 2020 Acrylic and pastel on paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Ghislaine Howard is an artist who speaks directly of what it is to be human - how we feel and how we live. She made her reputation with the ground-breaking solo exhibition, 'A Shared Experience' at Manchester Art Gallery in 1993. Her work has been shown at many prestigious venues including the British Museum, Canterbury Cathedral, The Wellcome Foundation and the Foundling Museum in London. Over eighty of her canvases act as the anchoring point for 'Love is a Rebellious Bird', the extraordinary installation/exhibition curated by the internationally acclaimed artists and film-makers, Al and Al. Ghislaine has an amazing ability to express in line and colour a deep and powerful response to the world - its joys, delights and, in her daily 365 paintings for which she is so well known, the events that shape our lives on a domestic, national and international level. Her work is loved by collectors, critics, curators and can be found in many public and private collections including the Manchester and Whitworth Art galleries and the Royal Collection. She is currently working on a series of paintings after the great Titian paintings on show at the National gallery, London and is bringing to completion the final versions of her seven painting cycle of 'The Seven Acts of Mercy'. Her work is the subject of many publications, including Ghislaine Howard: The Human Touch, written by her husband the art historian Michael Howard and published by Manchester Metropolitan University in association with Martin Heaps and Collect Art. Many critics have written about her work, including Sister Wendy Beckett who recognised in her painting 'such passionate excitement in the abstract glories of colour and light; we are swept away by the beauty of the actual paint even before we start to take delight in the image which she is celebrating. Howard clearly loves what she paints, and what she paints is in itself, in a strange symbolic fashion, love also.'
Lot 170
Susie Hamilton Doctor/28, 2020 Acrylic and pastel on paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Susie Hamilton studied at St Martin's School of Art, Byam Shaw School of Art and Birkbeck College, University of London. She lives and works in London and is represented by the Paul Stolper Gallery. Her work focuses on intensely bright light combined with human figures who are melted into light, cast hard shadows in oppressive heat, are exposed in the neon of a supermarket or in the glare of a banquet.
Lot 171
Susie Hamilton Nurse, 2020 Acrylic and pastel on paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Susie Hamilton studied at St Martin's School of Art, Byam Shaw School of Art and Birkbeck College, University of London. She lives and works in London and is represented by the Paul Stolper Gallery. Her work focuses on intensely bright light combined with human figures who are melted into light, cast hard shadows in oppressive heat, are exposed in the neon of a supermarket or in the glare of a banquet.
Lot 172
Susie Hamilton Syringe/2, 2020 Acrylic and pastel on paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Susie Hamilton studied at St Martin's School of Art, Byam Shaw School of Art and Birkbeck College, University of London. She lives and works in London and is represented by the Paul Stolper Gallery. Her work focuses on intensely bright light combined with human figures who are melted into light, cast hard shadows in oppressive heat, are exposed in the neon of a supermarket or in the glare of a banquet.
Lot 218
Halsi Untitled, 2020 Acrylic on paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Halsi's work is contemporarily symbolic for the scattered inner children. Recently leaving his comfortable colourful pastel palette for black and white illustrations that have formed the brand. The human brand of life. His art is a symbol of diversity.
Lot 26
Lee Ellis Trifle Designer, 2020 Oil, ink, acrylic, pastel and spraypaint on paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Lee's paintings convey an emotional and visceral angst within his figures an d portraits. His insatiable le desire to create forces him to try different mediums and subject matters. He never fails to depict the inner turmoil of his characters. He achieves this effect by employing heavy, raw and expressive brushstrokes that make his painting style poignant and immediately affecting.
Lot 273
Olivia Strange All the Palms in the World Might be Enough to Forget our Feelings, 2020 Pastel on paper Signed verso 15 x 10cm (5¾ x 3¾ in.) London based artist Olivia Strange, makes paintings & multimedia installations often using found objects and materials, poetry, sound & video projection. Her works are characterized by a layered narrative which explores the queerness of objects through themes of desire & power-play whilst probing the uneasy intersection between fantasy and reality via a feminist gaze.
Lot 41
ÆŸ Vergil, Georgics III:259-458 and IV:393-564, in Latin didactic hexameter verse, leaves from a decorated manuscript on parchment in situ in an Oxford binding by Dominique Pinart[England, c. 1200] Remains of two bifolia, trimmed at edges with losses to one column on each, each leaf with single column of 48 lines in an early gothic book script, with initials set apart in margin as common for verse, simple red initials with baubles and pen flicks added to their bodies, one dark pastel green initial, contemporary running titles, some contemporary marginalia, modern pencil marks giving textual notes, some staining, scuffing and small holes, else in good condition, each leaf 190 by 100mm.; in situ in binding of a copy of a printed book: William Thomas, The historie of Italie, London: Thomas Berthelet, 1549, binding of blindtooled calf, using rollstamps identified as nos. XII and XVIII in S. Gibson, Early Oxford Bindings, 1903 (see also Ker, Pastedowns in Oxford Bindings, 1955, pp. 210-11), suggesting a binding date of c. 1581 or before, sewn on 3 thongs, by Dominique Pinart, a French immigrant and the principal Oxford binder of this period, skilfully rebacked; with a letter from Neil R. Ker to a "Mr Edwards" dated 21 March 1964, noting that he had "not found Virgil before in Oxford bindings, save in one insignificant late manuscript" Provenance:1. Most probably written and decorated for English scholarly use around the turn of the thirteenth century, probably in Oxford. Later discarded and reused there for binding material at the close of the Middle Ages.2. Various English owners, with ex libris marks from "Peter ...son" in a sixteenth-century hand on the back pastedown, and another partly erased name dated 1676 on the front pastedown.3. William Charles de Meuron, 7th Earl Fitzwilliam (1872-1943): his armorial bookplate on front pastedown; his library sold in the Wentworth Woodhouse sale at Sotheby's, 27 April 1948, doubtless including this volume.4. Quaritch cat. 664 (1949), no. 289.5. Hodgson, 19 March 1964, lot 254, to "Mr. Edwards", an apparent bookseller.6. Quaritch, London, November 1991.7. Schøyen Collection, London and Oslo, their MS 1395, acquired from Quaritch. Text:The celebrated Roman poet, Vergil (70-19 BC.), wrote the Georgicsc. 29 BC. for Maecenas, the ally and political agent of Octavian, to whom it was reportedly read after his return from defeating Anthony and Cleopatra in 31 BC. The text surveys the field of agriculture, namely raising crops and trees, livestock and horses and beekeeping, set within the context of farming as a noble and senatorial pursuit in Roman society. It enjoyed great popularity and had enormous literary impact from its composition onwards, surviving in numerous fifth- and sixth-century manuscripts as well as an explosion of Carolingian witnesses, these demonstrating serious study and careful correction of the text in eighth- and ninth-century France.To view a video of this item, click here.
Lot 43
ÆŸ Leaf from an Atlantic Bible with a large white vine initial, text from Job 1:1-4; 1:7-3:2 with prologue of St. Jerome, in Latin, decorated manuscript on parchment[Italy (Tuscany), first half of the twelfth century] Large cutting from lower part of a once vast leaf, with a large initial 'V' ("Vir erat in terra ...", the opening of Job) in pale red and blank parchment band, intertwined with and enclosing a swirling mass of thin acanthus leaf sprays on pale pastel blue, red, dark green, beige/yellow, brown and perhaps once silver grounds (the latter now oxidised and crystalline with areas of metallic sheen), red and black tall ornamental capitals opening text, remains of double column of 25 lines in a bold proto-gothic bookhand, showing many earlier features such as a ct- and NT-ligature and a 'r' that descends below the baseline, torn at edges, some spots and stains, darkened on reverse, but overall a good initial in bright condition, 300 by 230mm.; in cloth-covered card binding, with Bernard Rosenthal's cataloguing Provenance: 1. Erwin Rosenthal (1889-1981), of Berkeley, California, art historian and antiquarian bookseller; personal gift to his son Bernard Rosenthal (1920-2017) in 1956, "to encourage me in the formation of this collection".2. Quaritch cat. 1147, Bookhands of the Middle Ages V, 1991, no. 12.3. Schøyen Collection, London and Oslo, their MS 668, acquired from Quaritch in June 1990. Decoration:The initial here, with its thin white vine branches that cross the body of the initial in several places, compares closely to other Tuscan examples, such as those in a Passional, probably made in the second quarter of the twelfth century in San Gimignano (now San Gimignano, Bibl. Comunale, cod,1: K. Berg, Studies in Tuscan Twelfth Century Illumination, 1968, fig. 66), another Passional, made in the second quarter of the twelfth century in Florence (Florence, Laurenziana, Mugel. 13: Berg, fig. 74) and a copy of Augustine's commentary on the Gospels, made in Siena in the first half of the twelfth century (Siena, Bibl. Comunale, F.I.2: Berg, fig. 461). However, none of those employ silver alongside their pastel palettes. Silver is notoriously difficult to use in book arts, but had enjoyed some popularity in the Carolingian centuries, and appears in occasional grand Romanesque volumes (cf. the Genesis page of the Bible of St. Mary de Parc which has silver beast masks at its corners and silver interlace around the main initial: reproduced in W. Cahn, Romanesque Bible Illumination, 1982, fig. 90).
Lot 201
Follower of Rosalba Carriera (Venice 1675-1757)Portrait of a lady in a turban as Cleopatra pastel on paper44.5 x 34.2cm (17 1/2 x 13 7/16in).Footnotes:ProvenanceSale, Moser, Luzern and Fischer, 6 September 1945, lot 1347Sale, Galerie Moderne, Brussels, 29 May 2018, lot 208LiteratureN. Jeffares, Dictionary of pastellists before 1800, London, 2006, p. 118, ill. (and online, cat. no. J.21.2659, ill.)For further information on this lot please visit Bonhams.com
Lot 668
George Hayter (British 1792-1871)The sisters: Mrs Stourbridge and Mrs Wilmot-BormleyWatercolour20.5 x 17cm (8 x 6½ in.)Together with a coloured etching of the same watercolour, a pastel portrait of General Sir William Cator KCB (1785-1866,) father of Margaretta Eliza, wife of William Courtney Morland, a second pastel portrait of Lady Caroline Morland, wife of Colonel Charles Morland, and two pastel portraits of Henry Courtenay Morland as a child, various dates and sizes (6)Provenance:Property of the Morland Family, Court Lodge, Kent
Lot 245
Alexander C. Dalzell (1905-1990) pencil on paper, Birds in a Swamp', signed (lower right) 'A. C. Dalzell', 35cm x 44cm, together with a Jonathan Savill pastel on paper portrait of a young woman, signed (lower right) 'Savill', 65.5cm x 46.5cm and a Jonathan Savill watercolour on paper, 'Women at the well-Rajasthan', signed (lower right) 'Savill', 36.5cm x 54cm, all framed and glazed (3)
Lot 1038
(See below for english version)Rapslandschaft. 2002Pastell, Gouache und Deckweiß auf Bütten. 41,8 × 55,5 cm ( 16 ½ × 21 â…ž in.). Unten rechts datiert und signiert: 2002 Fußmann. Rückseitig auf dem Unterlagekarton mit Bleistift gewidmet, signiert, datiert und bezeichnet: Klaus 7.6.05 Grüße!.[3193]Zustandsbericht: Schöner harmonischer Gesamteindruck. Die Blattkanten ohne Einrisse oder Fehlstellen. Die untere rechte Ecke minimal bestoßen. Im Randbereich stellenweise leicht knittrig. In der oberen linken Ecke eine Knickspur (8,5 cm). Unterhalb der Oberkante mittig leichter Oberflächenverlust (0,5 x 0,8 cm). Vereinzelt schwache Bereibungen und technikbedingt schwach gewellt. Rückseitig Atelierspuren. In den oberen Ecken mit Papiermontierungsstreifen auf den Unterlagekarton montiertWir berechnen auf den Hammerpreis 30% Aufgeld.Rapseed Landscape. 2002Pastel, gouache and opaque white on laid paper. 41,8 × 55,5 cm ( 16 ½ × 21 â…ž in.). Dated and signed lower right: 2002 Fußmann. Signed, dated, inscribed, and dedicated in pencil on the mount cardboard on the reverse: Klaus 7.6.05 Grüße!.[3193]Condition report: Fine harmonious overall appearance. The sheet edges without tears or losses. The lower right corner minimally bumped. Slightly creased in places in the margins. A slight crease in upper left corner (8,5 cm). Slight surface loss below the centre upper edge (0,5 x 0,8 cm). Isolated faint scuff marks. Faintly warped due to the artist's technique. Traces from the artist's workshop on the reverse. Mounted on the upper corners with paper mounting strips on the cardboard mountWe charge 30% premium on the hammerprice.
Lot 1052
(See below for english version)Vase mit Blattwerk und Beeren. 1975Bleistift und Pastell auf Papier. 47,8 × 31,7 cm ( 18 â…ž × 12 ½ in.). Unten rechts signiert und datiert: Janssen 75.[3330]Zustandsbericht: Harmonischer Gesamteindruck. Die beiden oberen Ecken mit Fehlstellen (bis zu 2,7 x 1 cm). Das Papier ungleichmäßig gebräunt. An der Oberkante mittig ein restaurierter Riss (ca. 4,7 cm). Die unteren Ecken bestoßen und mit jeweils einem Knick (bis zu 6,5 cm). Das Papier stellenweise etwas fleckig. Rückseitig Atelierspuren und entlang der Blattkanten Reste ehemaliger Papiermontierungsstreifen. An den oberen Ecken sowie in der Mitte der Oberkante jeweils mit Papierklebestreifen auf den Unterlagekarton montiertWir berechnen auf den Hammerpreis 30% Aufgeld.Vase mit Blattwerk und Beeren. 1975Pencil and pastel on paper. 47,8 × 31,7 cm ( 18 â…ž × 12 ½ in.). Signed and dated on the lower right: Janssen 75.[3330]Condition report: Harmonious overall appearance. Both upper corners with losses (up to 2,7 x 1 cm). The paper has irregular time staining. A repaired tear at centre upper edge(approx. 4,7 cm). Lower corners bumped and each have a crease (up to 6,5 cm). The paper is slightly stained in places. Traces from the artist's workshop on the reverse, as well remains from former paper mounting strips along the sheet's edges. mounted on the cardboard mount at the upper corners as well as in the in the centre upper edge with paper tapeWe charge 30% premium on the hammerprice.
Lot 1058
(See below for english version)Flusslandschaft mit Mühle und Fachwerkhaus. 1953Pastell auf Papier. 24,8 × 30,3 cm ( 9 ¾ × 11 â…ž in.). Unten links signiert und datiert: Ida Kerkovius 53.[3330]Zustandsbericht: Schöner harmonischer Gesamteindruck. Unten rechts ein kleiner Riss (0,8 cm). In den Ecken jeweils Montierungslöchlein. Das Papier gebräunt. Im Randbereich stellenweise etwas knittrig. An der Unterkante links minimal bestoßen und eine leichte Bereibungsspur (4cm). Unten rechts ein kleiner Fleck (1,2 x 1,2 cm). Rückseitig an der Oberkante mittig leichte Papierausdünnung. Links oben und unten mit Papiermontierungsstreifen auf den Unterlagekarton montiertWir berechnen auf den Hammerpreis 30% Aufgeld.Flusslandschaft mit Mühle und Fachwerkhaus. 1953Pastel on paper. 24,8 × 30,3 cm ( 9 ¾ × 11 â…ž in.). Signed and dated lower left: Ida Kerkovius 53.[3330]Condition report: Fine harmonious overall appearance. One small tear on the lower right (0,8 cm). Each corner has minuscule mounting holes. The paper has time staining. slightly creased in places in the margins. Minimally bumped and a slight scuff mark on the left lower edge (4cm). One small stain on the lower right (1,2 x 1,2 cm). Minor thinning on the reverse at centre upper edge. Mounted at the top left and bottom left with paper mounting strips on the cardboard mountWe charge 30% premium on the hammerprice.
Lot 1070
(See below for english version)„Kungsträdgården“. Um 1970Pastell und Kohle auf bräunlichem Papier. 20,9 × 29,7 cm ( 8 ¼ × 11 ¾ in.). Unten links mit Bleistift signiert: Lotte Laserstein.[3157]Zustandsbericht: Schöner harmonischer Gesamteindruck. Das Papier ungleichmäßig gebräunt. Die Blattkanten ohne Einrisse oder Fehlstellen. Oben rechts die Kreide minimal verwischt. Unten links und rechts vom Baum jeweils eine schwache Bereibungsspur. Rückseitig in den oberen Ecken mit Papierklebestreifen auf den Unterlagekarton montiertWir berechnen auf den Hammerpreis 30% Aufgeld.„Kungsträdsgarden“. Circa 1970Pastel and charcoal on brownish paper. 20,9 × 29,7 cm ( 8 ¼ × 11 ¾ in.). Signed in pencil lower left: Lotte Laserstein.[3157]Condition report: Fine harmonious overall appearance. The paper has irregular time staining. The sheet edges are without tears or losses. The chalk is minimally blurred on the upper right. There is a faint scuff mark at the tree's lower left and right. Mounted on the reverse in the upper corners with paper tape on the cardboard mountWe charge 30% premium on the hammerprice.
Loading...-
46300 item(s)/page