We found 46080 price guide item(s) matching your search

David Beer (St.Ives) pastel/acrylic 'Fast Asleep' 21cm x 21cm.

Lucy Dawson (fl. 1936-1958), signed pastel 'Roderick Dhu, July 1921', 47cm x 50cm.

Large Persian style middle eastern floor rug decorated with various floral medallions upon a pastel pink and blue ground, with original purchase label from ABC Carpet and Home priced at £4675, 146" x 109"

A Meissen 'schneeballen' ecuelle, cover and stand, 19th century, encrusted overall with yellow centred mayflower blossoms and applied with yellow canaries in gilt branches and pastel coloured rose blossoms, underglaze blue crossed swords to the bowl and the stand, the stand with incision below the crossed swords and number 1 in green, bowl 11.5cm diameter, stand 22.5cm diameter. (3)Provenance: Apley Castle, Telford

A pair of Sitzendorf porcelain figural candelabra, 19th century, each column as a mother and infant on a rose strewn plinth in pastel shades, chips, 47cm high (2)

A LADIES PASTEL MINK FUR JACKET

A SELECTION OF PICTURES & PRINTS TO INC ORIENTAL WORKS, SHOE MENDER PICTURE, HELTER FRAZER BOTANICAL PASTEL WATERCOLOURS ETC

A pastel painting, by Liz Shallcross - ploughman and a team of horses, signed and dated '77.

A 19th Century pastel portrait of a young woman wearing a blue lace-trimmed dress, in oval frame.

Two unsigned abstract pencil and pastel pictures and other pictures and prints.

Follower of Sir Alfred Munnings, pencil and pastel sketch of a seated female nude, inscribed and bearing signature, in glazed gilt frame, 44cm x 49cm

Audrey Pilkington (1922 - 2015), pastel - Hamburg, signed, inscribed and dated '51, in glazed frame, 42cm x 57cm

Sheila Tyso, pastel depicting poppy in field.

Tony O'Malley HRHA (1913-2003) THE STILL, ENNISCORTHY, COUNTY WEXFORD, 1977 gouache and pastel on paper inscribed [The Still, Enniscorthy, a memory], dated [9/1977] and initialled centre right; titled, dated and initialled along lower edge 20½ x 10¼in. (52.07 x 26.04cm) Collection of George and Maura McClelland Tony O'Malley's work came to the attention of art lovers in Ireland comparatively late in the artist's life. He spent the 1960s painting in Cornwall, absorbing the prevailing aesthetic of abstraction to his own ends. He did exhibit, but much work remained unsold. His creative harvest from the 1970s was magnificent. Marriage to Jane Harris in 1973 led to winters in the Bahamas, where he began painting outdoors on canvas. Sales however remained sporadic. O'Malley's life changed when Northern artists, F. E. Mc William and William Scott, introduced him to Belfast dealer, gallerist and collector, George McClelland in 1979 or 80. In the few but effective years during which he promoted O'Malley's work, George himself acquired a number of fine works. Some were loaned to the Irish Museum of Modern Art and later donated. (1) Others stayed in the family until now.. In Cottage, St Martins, 1972 (lot 66) a figurative work, O'Malley explores the possibilities of French modernism. In Jerpoint, 1977 (lot 68) O'Malley's palette is strong and dark and his shapes highly stylised. This dynamic works well as a response to the Abbey's carved figures eroded over time. The energy of the contours suggests the vital imaginative presence to the artist of these figures from the past.The McClelland collection included some experimental works by O'Malley. The tactile quality of the wool in the tapestries communicates a different but interesting atmosphere to the paintings. October and Black, 1983 (lot 60), woven by Terry Dunne in Wexford, is in fact a very blue work, the intensity of the royal blue recalling stained glass. It attests to O'Malley's abiding interest in the medieval.The superb Night Painter, 1981 (lot 57) is in the tradition of the tall, rectangular works on board in which the artist explores the interior/exterior. Strong, irregular shapes provide the framework for the textured treatment of the surface. Verdigris greens billow around the predominant slate grey rectangle which signifies night. Incised marks reflect the resistance of the board and allow the paint to achieve a variety of effects. Abstracted in form, a small white curtain is tentatively anchored by a red spot. Perhaps there is a suggestion of a tiny self-portrait in one of the richly patterned, rhythmic panels below.Travelling to the Bahamas by plane made canvas the easiest support to manage. A sense of lightness and loveliness characterises Morning Light II, Paradise Island, Bahamas, 1982 (the present lot, 53) a painting at once abstract and based in the real world. In this serene and luminous work, the artist risks using the softest of colours; baby blue and pinks and lemony yellows. He characteristically divides the painting with a central linear spine, creating an open book or butterfly on the wing format. Space on the left is more recessive and still than on the right, where brushstrokes on the blue suggest a flurry of bird life. A feeling of reverence and joy is expressed. Intimate and reflective, many of these works by O'Malley from the Mc Clelland collection are of museum quality.Vera RyanAugust 20161. The Hunter Gatherer - The Collection of George and Maura McClelland, The Irish Museum of Modern Art, Dublin, 2004 P

Tony O'Malley HRHA (1913-2003) NASSAU RED, 1980 gouache, pastel and watercolour on card initialled lower right; dated [3/80] lower left; signed, dated and titled upper right 20¼ x 30½in. (51.44 x 77.47cm) Collection of George and Maura McClelland Tony O'Malley's work came to the attention of art lovers in Ireland comparatively late in the artist's life. He spent the 1960s painting in Cornwall, absorbing the prevailing aesthetic of abstraction to his own ends. He did exhibit, but much work remained unsold. His creative harvest from the 1970s was magnificent. Marriage to Jane Harris in 1973 led to winters in the Bahamas, where he began painting outdoors on canvas. Sales however remained sporadic. O'Malley's life changed when Northern artists, F. E. Mc William and William Scott, introduced him to Belfast dealer, gallerist and collector, George McClelland in 1979 or 80. In the few but effective years during which he promoted O'Malley's work, George himself acquired a number of fine works. Some were loaned to the Irish Museum of Modern Art and later donated. (1) Others stayed in the family until now.. In Cottage, St Martins, 1972 (lot 66) a figurative work, O'Malley explores the possibilities of French modernism. In Jerpoint, 1977 (lot 68) O'Malley's palette is strong and dark and his shapes highly stylised. This dynamic works well as a response to the Abbey's carved figures eroded over time. The energy of the contours suggests the vital imaginative presence to the artist of these figures from the past.The McClelland collection included some experimental works by O'Malley. The tactile quality of the wool in the tapestries communicates a different but interesting atmosphere to the paintings. October and Black, 1983 (lot 60), woven by Terry Dunne in Wexford, is in fact a very blue work, the intensity of the royal blue recalling stained glass. It attests to O'Malley's abiding interest in the medieval.The superb Night Painter, 1981 (lot 57) is in the tradition of the tall, rectangular works on board in which the artist explores the interior/exterior. Strong, irregular shapes provide the framework for the textured treatment of the surface. Verdigris greens billow around the predominant slate grey rectangle which signifies night. Incised marks reflect the resistance of the board and allow the paint to achieve a variety of effects. Abstracted in form, a small white curtain is tentatively anchored by a red spot. Perhaps there is a suggestion of a tiny self-portrait in one of the richly patterned, rhythmic panels below.Travelling to the Bahamas by plane made canvas the easiest support to manage. A sense of lightness and loveliness characterises Morning Light II, Paradise Island, Bahamas, 1982 (the present lot, 53) a painting at once abstract and based in the real world. In this serene and luminous work, the artist risks using the softest of colours; baby blue and pinks and lemony yellows. He characteristically divides the painting with a central linear spine, creating an open book or butterfly on the wing format. Space on the left is more recessive and still than on the right, where brushstrokes on the blue suggest a flurry of bird life. A feeling of reverence and joy is expressed. Intimate and reflective, many of these works by O'Malley from the Mc Clelland collection are of museum quality.Vera RyanAugust 20161. The Hunter Gatherer - The Collection of George and Maura McClelland, The Irish Museum of Modern Art, Dublin, 2004 L

William John Leech RHA ROI (1881-1968) STEPS OF THE COURS oil on panel signed and numbered [2] on reverse; with stamp of 'Librairie / Meynier' [L. Rontani, Succ' / 5 Rue du Palais, 5 & 2, Rue de l'Hôtel de Ville, Nice]; also with a letter relating to the provenance on reverse 9½ x 7¼in. (24.13 x 18.42cm) The letter affixed to the back of this work was sent from Paddington, 23 March 1988, to Dublin, Éire, recipient blacked out. This letter describes how the author's father had worked in Percy Botterell's firm of solicitors in London, and that his aunt had been the nanny to May and Percy Botterell's three children, Jim, Guy and Suzanne and then nanny to Jim and Eileen Botterell's two daughters, Gillian and Bridget, in Burnley, the New Forest and then housekeeper to Percy Botterell in Burnley.The present work, Steps of the Cours, was probably given as a present to the nanny of the Botterell children who gave it to the author of the letter who in turn gave it to D & W, the recipients of the letter.After Leech had painted May Botterell's portrait in 1919, the couple formed a lasting lifetime attachment and the trips that they made together to France for Leech to paint the landscape, was to the area in the South of France, above Nice, in the hillside town of St. Jeannet. Here Leech rented a house for seven years but afterwards he and May continued to visit the area, staying in Cagnes-sur-mer and then in Grasse where he painted Steps of the Cours, Grasse. Leech painted several studies of these steps, which were topped by an urn on a pillar and one of these works he exhibited in the RHA exhibition in 1930. He also exhibited a work in 1932 Steps of the Cours, Grasse, in Derby City Council exhibition, sent from his studio at Hamilton Mews, London, NW8. Perhaps the same work was exhibited in Leech's first solo exhibition at the Dawson Gallery in 1945. Another work, Steps to the Cours (p.78, Ferran, illustrated) was purchased by Mrs E.Murray Fuller, a Wellington art Dealer and exhibited at the Canterbury Society of Arts in May 1936.This work is a freely painted section of the steps to the Cours with focus only on the urn, on top of the pillar but it is painted in the harmonious pastel palette Leech used for this subject matter. It is also painted on the size of small board which Leech used when painting en plein air and which fitted into his carrying box. These quick studies were frequently used to supply Leech with the necessary detail he needed to complete larger works in his studio. Dr Denise FerranAugust 2016 P

Tony O'Malley HRHA (1913-2003) JERPOINT [ABBEY] COUNTY KILKENNY, 1977 gouache and pastel on paper initialled lower left, titled lower centre and dated [7/77] lower right 10¼ x 20½in. (26.04 x 52.07cm) Collection of George and Maura McClelland Tony O'Malley's work came to the attention of art lovers in Ireland comparatively late in the artist's life. He spent the 1960s painting in Cornwall, absorbing the prevailing aesthetic of abstraction to his own ends. He did exhibit, but much work remained unsold. His creative harvest from the 1970s was magnificent. Marriage to Jane Harris in 1973 led to winters in the Bahamas, where he began painting outdoors on canvas. Sales however remained sporadic. O'Malley's life changed when Northern artists, F. E. Mc William and William Scott, introduced him to Belfast dealer, gallerist and collector, George McClelland in 1979 or 80. In the few but effective years during which he promoted O'Malley's work, George himself acquired a number of fine works. Some were loaned to the Irish Museum of Modern Art and later donated. (1) Others stayed in the family until now.. In Cottage, St Martins, 1972 (lot 66) a figurative work, O'Malley explores the possibilities of French modernism. In Jerpoint, 1977 (lot 68) O'Malley's palette is strong and dark and his shapes highly stylised. This dynamic works well as a response to the Abbey's carved figures eroded over time. The energy of the contours suggests the vital imaginative presence to the artist of these figures from the past.The McClelland collection included some experimental works by O'Malley. The tactile quality of the wool in the tapestries communicates a different but interesting atmosphere to the paintings. October and Black, 1983 (lot 60), woven by Terry Dunne in Wexford, is in fact a very blue work, the intensity of the royal blue recalling stained glass. It attests to O'Malley's abiding interest in the medieval.The superb Night Painter, 1981 (lot 57) is in the tradition of the tall, rectangular works on board in which the artist explores the interior/exterior. Strong, irregular shapes provide the framework for the textured treatment of the surface. Verdigris greens billow around the predominant slate grey rectangle which signifies night. Incised marks reflect the resistance of the board and allow the paint to achieve a variety of effects. Abstracted in form, a small white curtain is tentatively anchored by a red spot. Perhaps there is a suggestion of a tiny self-portrait in one of the richly patterned, rhythmic panels below.Travelling to the Bahamas by plane made canvas the easiest support to manage. A sense of lightness and loveliness characterises Morning Light II, Paradise Island, Bahamas, 1982 (the present lot, 53) a painting at once abstract and based in the real world. In this serene and luminous work, the artist risks using the softest of colours; baby blue and pinks and lemony yellows. He characteristically divides the painting with a central linear spine, creating an open book or butterfly on the wing format. Space on the left is more recessive and still than on the right, where brushstrokes on the blue suggest a flurry of bird life. A feeling of reverence and joy is expressed. Intimate and reflective, many of these works by O'Malley from the Mc Clelland collection are of museum quality.Vera RyanAugust 20161. The Hunter Gatherer - The Collection of George and Maura McClelland, The Irish Museum of Modern Art, Dublin, 2004 L

Graham Knuttel (b.1954) GINGER CAT pastel signed lower right 20 x 27in. (50.80 x 68.58cm) L

* CAMPBELL SMITH, RIPPED APART pastel on paper, signed and dated '89 112cm x 89cm Framed

Emile Gastemans (1833-1956). A Monogramed Pastel Drawing of 'Balinese Dancer', 27 ins x 15 ins (69 cm x 38 cms). Mounted in a glazed gilt frame 35½ ins x 23 ins (90 cms x 58.5 cms).

Philip Naviasky (1894-1982). A Framed Pastel Drawing of a sleeping woman, 11½ ins x 10¾ ins (29 cms x 27.5 cms).

Pastel - Portrait of gentleman

Pastel of Fox hound called 'Worry'

20th century pastel portrait of Gentleman (Hamish Lachlan) by Francis Biggin 42 cms x 32 cms F&G

A pastel on paper entitled verso - Lonesome Rider - by Janos Duschanek - 49.5cm x 39cm

John Plumb - Reflections at Ockham II pastel dated 1989 - 91cm x 71cm - entitled verso

A pastel portrait of a Terrier signed Marjorie Cox and entitled 'Doone' 1969 - 39cm x 49cm

AN OLD MASTER OVAL PORTRAIT OF A LADY PASTEL. 28x22cms.

AN 18TH.C.CONTINENTAL SCHOOL PORTAIT OF A YOUNG GIRL HOLDING A DOVE, PASTEL IN PERIOD CARVED GILT WOOD FRAME. 32x25cms

AUBREY PHILLIPS pastel - view of hills from lane, entitled verso 'Black Mountains and River Usk Nr. Crickhowell', signed, 26 x 35.5cms

AUBREY PHILLIPS pastel - river scene with woodland on each bank, entitled verso 'Autumn Mists on the Usk at Abercynrig, signed, 25 x 35.5cms

TWO FRENCH COLOURED ETCHINGS OF PARIS SCENESsigned indistinctly, along with a humourous colour print and a pastel of a young boy (4)

A pastel of wild flowers, framed and glazed, signed lower left, 62cm x 47cm

•GRAHAM MCKEAN (Scottish b. 1962) THE CAPTAIN Pastel, signed, 28 x 20cm (11 x 8")

•JAMES GORMAN (Scottish 1931 - 2005) ROCKS AT IMACHAR Acrylic and oil pastel, signed and dated (19)91, 60 x 90cm (23 1/2 x 35 1/2") Signed and inscribed with title on Artist's label verso

•FRANK MCFADDEN (Scottish b. 1972) TALES OF THE UNEXPECTED Pastel, signed, 35 x 27cm (14 x 10 1/2")

•GEOFFREY SQUIRE ARSA, RSW, PRSW, RGI (Scottish 1923 - 2012) A WISTFUL MOMENT Charcoal and pastel, signed, 26 x 35.5cm (10 x 14")

•GEORGE DEVLIN RBA, ROI, RSW, RGI, RWS (Scottish 1937 - 2014) NEAR CERO GORDO Pastel, signed, 21 x 22cm (8 1/4 x 8 3/4")

•GRAHAM MCKEAN (Scottish b. 1962) AN OLD SEAFARER Pastel, signed, 28 x 20cm (11 x 8")

Robert Leslie Howey (1900-1981) ''Thirlmere'', signed in pencil and inscribed on the mount, pastel, together with a further work by the artist ''Ullswater'', 21cm by 23.5cm and 11.5cm by 14cm respectively (2)

A bronze figure dedicated to Ethel Cuming, as a token of appreciation of helpful service 1914-1919 war together with pastel portrait of Ethel as a child and a small silver flask (3) Figure (bronze) - 26.5cm high, 35.5cm high including plinth. Signed Paul R Montford to side. Possible loss of tip to bayonet. Otherwise overall condition good. Ebonised plinth with chips and general signs of wear. Flask - signs of wear but overall condition good. Portrait - generally in good condition, though frame with damages.

Winifred Joan Ophelia Gordon Bell (1915-1975) A Skye Terrier, signed and dated 1932, watercolour, together with a pastel study of a cat by Sarah Grice, 34cm by 40cm and 35cm by 28cm respectively (2)

D L CLARK "Still life study of flowers in vase", pastel, signed lower right, together with two further still life studies by the same hand

HAZEL SOAR "Study of girl", pastel, signed lower right, together with AFTER PHILIP RAYMOND BARKER "Study of Ann Jenner in Swan Lake", bearing pen inscription "To dear Philip with many thanks and sincere best wishes, love Ann"

Little Sewn Sow by Matt Reeve. Sponsored by Boots. Little Sewn Sow by Matt Reeve is a pastel-coloured pig, inspired by children’s toys and craft. Featuring a patchwork design with polka dot and star detail along with buttons and stitching, this pig looks soft enough to hug!

RENE SELLER A flower piece. Signed. Pastel. 20'' x 24''

RENE SELLER Figure on a boat in stormy seas. Signed. Pastel. 26'' x 21''

RENE SELLER A spray of wild flowers. Signed. Pastel. 18'' x 23''

RENE SELLER Anemones in a vase. Signed. Pastel. 18'' x 24''

RENE SELLER: 20th CENTURY FRENCH A flower piece. Signed. Pastel. 26'' x 20''

RENE SELLER: 20th CENTURY FRENCH A pastel flower piece and a marine oil

RENE SELLER Pastel study of a dancer, pastel flower piece and another in oils

BOB RICHARDSON (born 1939); pastel, "Canal side walk, Bruges", park scene with figures, signed in pencil to lower left, 42 x 54cm, framed and glazed. (D) CONDITION REPORT: This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk.

UNATTRIBUTED; a very large pastel, stylised study of mother and child, unsigned, 176 x 128cm, glazed in broad gilt painted frame. Pastel hung for many years at Afflecks Palace.

...Williams,pastel/charcoal portrait of a gentleman, signed and dated 1845, 18.5" x 14", framed.

Two crayon/pastel drawings circa 1950s, continental town scenes by the same hand, both indistinctly signed, largest 7" x 10", framed, (2).

C A Sharpley,crayon/pastel, studies of a Terrier, signed and dated 1997, 22" x 15", framed.

Attributed to Georgiana Margaret Zornlin [1800-1881]- A portrait of a young man:-, head and shoulders, with short dark hair and wearing a blue neck tie signed with initials and dated 1857 on the reverse pastel drawing 31 x 26cm.

English School Circa 1830- A portrait of a young man:-, head and shoulders with dark wavy hair pastel drawing heightened with white oval, 17 x 13cm.

English School Circa 1850- A portrait of a young lady:-, bust-length seated with dark curling hair, blue eyes and reading a book with black lace gloves, pastel drawing, indistinctly signed and dated Maria Brashier [?] 1850, 30 x 25.5cm, together with a watercolour portrait of The Hon. Mary Cathcart after Gainsborough. [2]