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 232
English School ( 20th century) - 'Interior', a sunlit kitchen with a blue teapot and flowers on a yellow table, signed Jeanine and dated 89 (1989) also inscribed verso with the title and numbered 10, with the original price of £400, gouache heightened with white, 22" x 26.25"; together with two further pictures, one by Jane Lewis entitled 'The Indian Flute', pastel drawing, 20.5" x 12.75" and finally a pen and ink sketch of the Rialto Bridge, Venice, indistinctly signed David and dated 02 (2002), pen, ink and sepia wash, 6" x 4.75" (3)
Lot 182
Continental School. Portrait of a musician, possibly French, circa 1760-1780, pastel on laid paper (one horizontal join), depicting a young gentleman wearing a flowing blue coat with white frilled collar and cuffs, playing a 12-stringed instrument, faint 14 cm vertical crease and one small unobtrusive water-stain, laid down on canvas, 70 x 55 cm (27.75 x 21.75 ins), framed and glazed (Qty: 1)
Lot 283
Cooke (Edward William, 1811-1880). Tangier, West Barbary, 1864, pastel on pale brown paper, signed E.W. Cooke R.A. to lower left corner, and dated 1864, titled lower right corner, 29.5 x 49.5 cm (11.5 x 19.5 ins), laid down on card, together with Midway (Caroline St. John, 1834-1894). Calton Moor, Derbyshire, July 1869, watercolour on thick wove, partial pencil inscription to lower left corner, with date July 22, and Calton Moor, some toning, 22 x 34.5 cm (8.75 x 13.5 ins), mounted, plus Tobin (J.), Ruins of the Old Church at Walton, Somerset, circa 1776, watercolour on laid paper, unsigned, 19.5 x 28 cm (7.7 x 11 ins), typewritten label below the image, window-mounted (Qty: 3)
Lot 345
Merriott (Jack, 1901-1968). Chioggia, Venice, circa 1950s, pastel on paper, showing a busy waterside scene with bridge over canal with figures and boats, signed lower right, 37 x 53cm (14.5 x 20.75ins), framed and glazed with artist studio label to verso (Qty: 2)NB: To be sold with a copy of Drawing and Painting in Pastel by Jack Merriott, A & C Black, 1963, in which the present work is illustrated facing page 53.
Lot 19
A Copenhagen figure of a faun; A 19th century Pearlware figure ‘Shield of Faith’ together with a 19th century pastel burner of cottage form and money box; an Enoch wood type Pearlware figure of a young sportsman (slight damage); three yellow ground oriental style bottle vases, decorated with flowers;
Lot 34
David KEMP (1945)Pelting Down on the Cornish Coast Pastel Monogrammed and dated '0223 x 29.5cmThis very personal collection of pictures from the painter Rose Hilton's Botallack Moor house are those she kept about her and saw every day. Botallack was her home for 54 years during 10 of which she was married to the older, abstract painter, Roger Hilton. The house with its views across ruined mine workings to the wide sea was formed of a row of miners' cottages that Roger had spotted advertised for sale in The Times, knocked through and modernised to make a home for their young sons Bo and Fergus. Roger brought a few inherited pieces of antique furniture and the austere self portrait painted by his mother as a student at the Slade School of Art. Rose added her own casual decorative touches, described by their friend the poet W.S. Graham as, 'the Beat style.' The artists in this far flung corner of the St. Ives diaspora had always gifted and swapped pieces amongst themselves and as Rose's painting career reignited in the years after Roger's death she began buying and adding to the growing collection at Botallack. The back wall in the little kitchen hung in a stack, edge-to-edge and almost to the ceiling, featured two by Terry Frost, another from Breon O'Casey was above the upright piano, there were landscapes in the bathroom and a 'gallery' corridor wall that she continually rehung with newer works: pieces by Fergus Hilton and her friends Jeremy Le Grice and Frank Phelan, her elder son Bo Hilton (also a painter) and a pair of striking paintings that she had bought as memorials to her old friend the painter Mary Stork. The picture store in the downstairs back room that was Roger Hilton's bedroom cum studio during the last years of his life was full up, too. 'If you're an artist, you're visual, so you usually paint walls white and have flowers and nice materials and things,' Rose said, describing her style.Rose was generous almost to a fault, and when she was not occupied with painting a steady stream of friends, fellow artists and curious visitors filled this hospitable house, art historians, collectors or the regulars of her weekly life drawing classes and older friends who arrived to talk and drink and join in with singing the chapel hymns she knew by heart around the piano that she had bought from the local pub and the fire in the Long Room.
Lot 358
Alexander MACKENZIE (1923-2002)Headland DorsetInk, collage and oilSigned inscribed and dated Aug. 9713 x 16cm irregular(See illustration) Condition report: In good overall condition. Framed in a contemporary glass and white slip frame. Some foxing along lower edge of the mount. No obvious signs of fading or discolouration to the work. Mixed media includes oil pastel, gouache, ink and watercolour. Signed, dated and inscribed to the reverse (images attached).
Lot 54
Mary STORK (1938-2007)Luna Kneeling Ink and pastel on card Signed Further signed to the back26.5 x 17.5cmThis very personal collection of pictures from the painter Rose Hilton's Botallack Moor house are those she kept about her and saw every day. Botallack was her home for 54 years during 10 of which she was married to the older, abstract painter, Roger Hilton. The house with its views across ruined mine workings to the wide sea was formed of a row of miners' cottages that Roger had spotted advertised for sale in The Times, knocked through and modernised to make a home for their young sons Bo and Fergus. Roger brought a few inherited pieces of antique furniture and the austere self portrait painted by his mother as a student at the Slade School of Art. Rose added her own casual decorative touches, described by their friend the poet W.S. Graham as, 'the Beat style.' The artists in this far flung corner of the St. Ives diaspora had always gifted and swapped pieces amongst themselves and as Rose's painting career reignited in the years after Roger's death she began buying and adding to the growing collection at Botallack. The back wall in the little kitchen hung in a stack, edge-to-edge and almost to the ceiling, featured two by Terry Frost, another from Breon O'Casey was above the upright piano, there were landscapes in the bathroom and a 'gallery' corridor wall that she continually rehung with newer works: pieces by Fergus Hilton and her friends Jeremy Le Grice and Frank Phelan, her elder son Bo Hilton (also a painter) and a pair of striking paintings that she had bought as memorials to her old friend the painter Mary Stork. The picture store in the downstairs back room that was Roger Hilton's bedroom cum studio during the last years of his life was full up, too. 'If you're an artist, you're visual, so you usually paint walls white and have flowers and nice materials and things,' Rose said, describing her style.Rose was generous almost to a fault, and when she was not occupied with painting a steady stream of friends, fellow artists and curious visitors filled this hospitable house, art historians, collectors or the regulars of her weekly life drawing classes and older friends who arrived to talk and drink and join in with singing the chapel hymns she knew by heart around the piano that she had bought from the local pub and the fire in the Long Room.
Lot 59
Sharon BRINDLE (1958)Nude Pastel Signed and dated '9336 x 27cmThis very personal collection of pictures from the painter Rose Hilton's Botallack Moor house are those she kept about her and saw every day. Botallack was her home for 54 years during 10 of which she was married to the older, abstract painter, Roger Hilton. The house with its views across ruined mine workings to the wide sea was formed of a row of miners' cottages that Roger had spotted advertised for sale in The Times, knocked through and modernised to make a home for their young sons Bo and Fergus. Roger brought a few inherited pieces of antique furniture and the austere self portrait painted by his mother as a student at the Slade School of Art. Rose added her own casual decorative touches, described by their friend the poet W.S. Graham as, 'the Beat style.' The artists in this far flung corner of the St. Ives diaspora had always gifted and swapped pieces amongst themselves and as Rose's painting career reignited in the years after Roger's death she began buying and adding to the growing collection at Botallack. The back wall in the little kitchen hung in a stack, edge-to-edge and almost to the ceiling, featured two by Terry Frost, another from Breon O'Casey was above the upright piano, there were landscapes in the bathroom and a 'gallery' corridor wall that she continually rehung with newer works: pieces by Fergus Hilton and her friends Jeremy Le Grice and Frank Phelan, her elder son Bo Hilton (also a painter) and a pair of striking paintings that she had bought as memorials to her old friend the painter Mary Stork. The picture store in the downstairs back room that was Roger Hilton's bedroom cum studio during the last years of his life was full up, too. 'If you're an artist, you're visual, so you usually paint walls white and have flowers and nice materials and things,' Rose said, describing her style.Rose was generous almost to a fault, and when she was not occupied with painting a steady stream of friends, fellow artists and curious visitors filled this hospitable house, art historians, collectors or the regulars of her weekly life drawing classes and older friends who arrived to talk and drink and join in with singing the chapel hymns she knew by heart around the piano that she had bought from the local pub and the fire in the Long Room.
Lot 85
Rose HILTON (1931-2019) Reclining Nude Pastel Signed Studio seal to the back 17 x 29.5cmThis very personal collection of pictures from the painter Rose Hilton's Botallack Moor house are those she kept about her and saw every day. Botallack was her home for 54 years during 10 of which she was married to the older, abstract painter, Roger Hilton. The house with its views across ruined mine workings to the wide sea was formed of a row of miners' cottages that Roger had spotted advertised for sale in The Times, knocked through and modernised to make a home for their young sons Bo and Fergus. Roger brought a few inherited pieces of antique furniture and the austere self portrait painted by his mother as a student at the Slade School of Art. Rose added her own casual decorative touches, described by their friend the poet W.S. Graham as, 'the Beat style.' The artists in this far flung corner of the St. Ives diaspora had always gifted and swapped pieces amongst themselves and as Rose's painting career reignited in the years after Roger's death she began buying and adding to the growing collection at Botallack. The back wall in the little kitchen hung in a stack, edge-to-edge and almost to the ceiling, featured two by Terry Frost, another from Breon O'Casey was above the upright piano, there were landscapes in the bathroom and a 'gallery' corridor wall that she continually rehung with newer works: pieces by Fergus Hilton and her friends Jeremy Le Grice and Frank Phelan, her elder son Bo Hilton (also a painter) and a pair of striking paintings that she had bought as memorials to her old friend the painter Mary Stork. The picture store in the downstairs back room that was Roger Hilton's bedroom cum studio during the last years of his life was full up, too. 'If you're an artist, you're visual, so you usually paint walls white and have flowers and nice materials and things,' Rose said, describing her style.Rose was generous almost to a fault, and when she was not occupied with painting a steady stream of friends, fellow artists and curious visitors filled this hospitable house, art historians, collectors or the regulars of her weekly life drawing classes and older friends who arrived to talk and drink and join in with singing the chapel hymns she knew by heart around the piano that she had bought from the local pub and the fire in the Long Room.
Lot 437
ENGLISH SCHOOL CIRCA 1805. Portrait of Mrs John Brett, seated with her two eldest children Elizabeth (b.1800) and her sister Agneswatercolour on card6 1/4 x 5 in (5.8 x 12.7cm)Provenance: The sitters' family, by descentSold together with a mid 19th century pastel portrait depicting James Brett holding a riding crop; two (2)
Loading...-
46300 item(s)/page