There are 46298 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeP. Esvan (20th century) Figures eating at a table Signed, pastel.74 x 104.5cm (framed 78.5 x 109cm)The painting is in good, original condition. The are some minor surface marks and stains across the painting. The painting is ornately reframed and glazed. The frame has some minor knocks and losses.
Property of a Gentleman. H. D. Hamilton (1739 - 1808), Portrait of Lieutenant William Jeffrey (1793), Pastel on paper. Douglas Hamilton was born in Dublin, the son of a wig maker. He trained at the Dublin Society School of Drawing under Robert West. After leaving the academy, Hamilton set up his business as a portraitist, painting small, oval portraits in pastel or crayon as it was known. His relocation to London by the early 1760s brought commissions from the Royal Family, and in 1779 he was sufficiently wealthy to move to Italy with his wife and daughter. Dimensions: (Paper) 9.5 in. (H) x 7.5 in. (W) (Frame) 12 in. (H) x 10 in. (W)
Property of a Gentleman. Peggy Somerville (1918 - 1975), Suffolk River Landscape Colour pastel on paper. In a modern gilt frame. Born in Ashford, Middlesex to the artist and collector Charles Somerville, Peggy Somerville was a prodigious young artistic talent. At the age of only three, a selection of her drawings were chosen for display at the Royal Society of Drawing. Aged nine, Somerville's first one-woman 'retrospective' was held at the Claridge Gallery, London, which saw her praised across international newspapers and hailed as a 'child genius'. Somerville continued to paint into adulthood, developing the British Impressionist style. She returned frequently to depict the Suffolk landscape, of which the present work is characteristic. Dimensions: (Paper) 11.5 in. (H) x 15 in. (W) (Frame) 20.5 in. (H) x 23.5 in. (W)
Ghislaine Howard (British 1953-) Coastal view Initialled, ink and pastel.12.5 x 22cm (framed 30 x 39cm)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.
Harold Riley (British 1934-2023) "Study of Charlie Chaplin, Switzerland" Signed by both the artist and Charlie Chaplin, titled and dated 1976, pastel.40.5 x 33cm (framed 56.5 x 49cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The drawing is in good, original condition. There are some areas of browning across the paper. The drawing is ornately framed and glazed. The original frame has some minor scuffs and knocks commensurate with age.
Marc Grimshaw (British 1957-) "Mersey Street, Warrington" Signed, pastel.36.5 x 29.5cm (framed 57.5 x 50cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The drawing is in good, original condition. There are some spots of mould under the glass and across the paper and mount. The drawing is framed and glazed.
Brian Nolan (British 1931-2019) "Outdoor" Dalton Street, Collyhurst, Manchester Signed and dated 1963, pastel.29 x 24.5cm (framed 53.5 x 49cm)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 original metal frame has some minor scuffs and knocks commensurate with age.
Joe Wilde (British 20th/21st century) Northern street scene with figure and steps Signed and dated '93, pastel.12.5 x 18cm (framed 28 x 33cm)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.
Martin Dobson (British 1947-) "Goods Train" Signed, titled on verso, pastel.23.5 x 33cm (framed 42.5 x 50.5cm)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.
Harold Riley (British 1934-2023) Female portrait Signed and dated '69, pastel.44.5 x 27cm (framed 67 x 50cm)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.
Bernard McMullen (British 1952-2015) "Albert Square, Manchester" Signed, pastel. 48.5 x 64.5cm (framed 65.5 x 81.5cm) 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.
Elizabeth R. Hunt (British 20th century) "Manchester City Fans" Signed and dated 1985, pastel and pencil.23.5 x 42.5cm (framed 37 x 54.5cm)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 darwing is ornately framed and glazed. The original metal frame has some minor scuffs and knocks commensurate with age.
Brian Nolan (British 1931-2019) "St. Mary's, Mulberry St. From Old Colony House, King St. South, Manchester" Signed and titled, pastel.31 x 24.5cm (framed 53 x 46cm)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 original frame has some minor scuffs and knocks commensurate with age.
Harold Riley (British 1934-2023) "Bjorn Borg, Wimbledon, 1980" Signed by both the artist and Bjorn Borg, pastel.57 x 57cm (framed 79 x 79cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The drawing is in very good, original condition. There are some spots of browning across the sheet. The drawing is ornately framed and glazed.
Harold Riley (British 1934-2023) Self-portrait Signed and dated '70, pastel.55 x 39.5cm (framed 77 x 61cm)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.
Harold Riley (British 1934-2023) "Bridge off Oldham Road, Manchester" Signed, titled and dated 1959, watercolour, pastel and charcoal.15 x 11.5cm (framed 42.5 x 38cm)Bought directly from the artist.Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed and glazed. The original frame has some minor scuffs and knocks commensurate with age.
Harold Riley (British 1934-2023) Muhammad Ali Signed and dated '80, pastel.46.5 x 57cm (framed 62.5 x 73cm)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 original frame has some minor scuffs and knocks commensurate with age.
Harold Riley (British 1934-2023) "Lowry walking in Salford" Signed and dated '72, titled on verso, pastel and charcoal.27.5 x 20cm (framed 47.5 x 37.5cm)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 original frame has some minor scuffs and knocks commensurate with age.
Bob Richardson (British 1938-) Manchester street scene Signed, pastel.31 x 40cm (framed 53 x 62cm)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 sheet has dropped slightly under the mount. The drawing is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Joe Wilde (British 20th/21st century) "St. Michael's, Ancoats" Signed and dated '95, titled on the mount, pastel.27.5 x 35cm (framed 42.5 x 52.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The drawing is in very good, original condition. There are some minor spots of foxing across the paper. The drawing is framed and glazed. The original frame has some minor scuffs and knocks commensurate with age.
* PETER HOWSON OBE (SCOTTISH b. 1958), EROTIC STUDY pastel on paper, signedmounted, framed and under glassimage size 15cm x 13cm, overall size 60cm x 44cmNote: “When the Apple Ripens: Peter Howson at 65" a major retrospective of the work of the artist staged at the City Arts Centre, Edinburgh and organised by Museums & Galleries Edinburgh from May this year until the beginning of October, bringing together over 100 major works from his early years until the present time. The staging of this major exhibition during (and beyond) the Edinburgh International Festival reflects the well documented and longstanding international interest in Peter Howson's work.
* GERARD BURNS (SCOTTISH b. 1961), STUDY OF A GIRL pastel on paper, signedframed and under glassimage size 25cm x 18cm, overall size 55cm x 48cmNote: Gerard Burns is one of Scotland's best known and most successful living artists. He trained at Glasgow School of Art and achieved UK wide acclaim as Winner of the Daily Mail ''Not the Turner'' Competition in 2003 with a £20,000 first prize. His many private collectors include The Malaysian Royal Family, Ewan McGregor, Sir Tom Hunter and numerous celebrities from the worlds of entertainment, sport and politics. Exhibiting Galleries include Thompson's Gallery, London; Contemporary Fine Art Gallery Eton; Richmond Hill Gallery, Loch Gallery, Toronto; Robertson's Fine Art Gallery, Edinburgh. Works in Corporate Collections include Aberdeen Asset Management New York and Aberdeen, RBS Scotland, Standard Charter Bank, West Coast Capital, Accenture, Dublin, Stagecoach Group, Norwood Club, New York. National Public Collections include Hunterian Art Gallery, Glasgow; Kelvingrove Art Gallery, Glasgow; Burns Museum Alloway, Ayr; Scottish National Portrait Gallery (Portraits of former Scottish First Minister Alex Salmond, and author Denise Mina entered into the permanent collection at the Scottish National Portrait Gallery in 2015). The Scottish Parliament (''The Rowan'' hung in the former First Minister Alex Salmond's office for the duration of his tenure and Portrait of Margo McDonald entered into the permanent collection and was installed at the Scottish Parliament in Sept 2016). Glasgow Caledonian University Portrait of Chancellor Professor Yunus installed 2016, Royal College of Physicians and Surgeons Glasgow, portrait of former President Frank Dunn installed April 2016. Recent portraits include Judy Murray, Nicola Sturgeon (First Minister, Scotland), Neil Lennon, Kirsty Wark, Alan Cumming, Billy Connolly, Elaine C Smith, Doddie Weir & Sir Brian and Lady Soutar.Condition is good overall, with no known or visible issues.
* PAT DOUTHWAITE (SCOTTISH 1939 - 2002), UNTITLED pastel on paper, signed and dated '71mounted, framed and under glassimage size 65cm x 47cm, overall size 86cm x 67cm Provenance: The Corrymella Scott Gallery.Note: "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite’s 1993 solo exhibition, made by The Scotsman’s art critic Edward Gage. The ‘maverick’ label is often attached to Douthwaite to encompass a variety of the artist’s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all-encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution. Born in Glasgow in 1934, Douthwaite’s first exposure to creative expression was in the form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite’s creative endeavours. Douthwaite’s ever-present wanderlust quickly took over and she left Glasgow to join an artistic community within William Crozier’s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert Colquhoun, Robert MacBryde and Crozier himself. In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage. Following her death, her popularity continues to increase as ever more collectors are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality. The prestigious Scottish Gallery (Edinburgh) have long promoted Pat Douthwaite's work and her most recent solo show "Pat Douthwaite, On The Edge" was staged by the gallery between 4th and 27th February 2021.
* JEAN B MARTIN RSW (SCOTTISH b. 1947), PORTRAIT OF A YOUNG GIRL pastel on paper, signed, titled label versomounted, framed and under glass image size 63cm x 43cm, overall size 88cm x 68cm Handwritten artist's label verso.Note: Jean B Martin was born in Glasgow in 1947 and trained at the Glasgow School of Art. She was elected a member of the Royal Scottish Society of Painters in Watercolour (RSW) in 2002. Luminosity and depth are the most immediately striking features of Martin's work, achieved by building up layers of glazing and collage, lending the effect of an inner glow to her painting. Her work comprises a diversity of subject matter, from vibrant floral-based still lives to sublime church interiors, and landscapes from golden-hued Venice to the blustery East Coast of Scotland, involving the viewer through evoking the distinct atmosphere of each subject. Jean Martin has won numerous awards and is an important Scottish painter of her generation. Her work is held in many private and corporate collections in the UK, Hong Kong, Singapore, Australia, Canada and America.
* PETER HOWSON OBE (SCOTTISH b. 1958), BURNING SKY pastel on paper, signed framed and under glassimage size 26cm x 20cm, overall size 47cm x 40cmNote: “When the Apple Ripens: Peter Howson at 65" a major retrospective of the work of the artist staged at the City Arts Centre, Edinburgh and organised by Museums & Galleries Edinburgh from May this year until the beginning of October, bringing together over 100 major works from his early years until the present time. The staging of this major exhibition during (and beyond) the Edinburgh International Festival reflects the well documented and longstanding international interest in Peter Howson's work.
* PETER HOWSON OBE (SCOTTISH b. 1958), PORTRAIT OF A MAN pastel on paper, signedmounted, framed and under glassimage size 30cm x 22cm, overall size 56cm x 48cm Note: “When the Apple Ripens: Peter Howson at 65" a major retrospective of the work of the artist staged at the City Arts Centre, Edinburgh and organised by Museums & Galleries Edinburgh from May this year until the beginning of October, bringing together over 100 major works from his early years until the present time. The staging of this major exhibition during (and beyond) the Edinburgh International Festival reflects the well documented and longstanding international interest in Peter Howson's work.
* DONALD MCINTYRE RCA (BRITISH 1923 - 2009), DINAS DINLLE, SNOWDONIA oil on canvas, initialledframedimage size 72cm x 133cm, overall size 89cm x 150cm Note 1: McIntyre was Born in Yorkshire of Scottish parents, he spent the most memorable years of his childhood in the west of Scotland. McIntyre Studied painting under James Wright, R.S.W, at Garelochhead. Qualifying as a dentist in Glasgow, he remained in that profession, working in the army and then in the school service until the age of forty, when he left dentistry to make a living as a full-time painter. In the late 1950's McIntyre moved to North Wales. He was a member of the Pastel Society, Royal Institute of Painters in Watercolour, Royal Society of Marine Artists, and for many years until his death, The Royal Cambrian Academy. Exhibited at The Royal Academy, London; Thackeray Gallery, London; Albany Gallery, Cardiff; The Royal Cambrian Academy, Conwy; The Royal Scottish Academy, Scotland; Racines Gallery, Brussels. Public Collections; H.R.H. The Duke of Edinburgh; The National Library of Wales; Newport Art Gallery; Arts Council of Wales; Welsh Contemporary Arts Society; Kirkaldy Museum and Art Gallery; USA Embassy, London. Note 2: This painting is one of the largest seascapes by McIntyre to come to auction and is a rare opportunity to own a wonderful seascape of the Welsh seascape.
* PAT DOUTHWAITE (SCOTTISH 1939 - 2002), UNTITLED pastel on papermounted, framed and under glassimage size 67cm x 47cm, overall size 86cm x 67cmProvenance: The Corrymella Scott Gallery.Note: "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite’s 1993 solo exhibition, made by The Scotsman’s art critic Edward Gage. The ‘maverick’ label is often attached to Douthwaite to encompass a variety of the artist’s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all-encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution. Born in Glasgow in 1934, Douthwaite’s first exposure to creative expression was in the form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite’s creative endeavours. Douthwaite’s ever-present wanderlust quickly took over and she left Glasgow to join an artistic community within William Crozier’s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert Colquhoun, Robert MacBryde and Crozier himself. In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage. Following her death, her popularity continues to increase as ever more collectors are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality. The prestigious Scottish Gallery (Edinburgh) have long promoted Pat Douthwaite's work and her most recent solo show "Pat Douthwaite, On The Edge" was staged by the gallery between 4th and 27th February 2021.
* PAT DOUTHWAITE (SCOTTISH 1939 - 2002), UNTITLED pastel on paper, signedmounted, framed and under glassimage size 49cm x 39cm, overall size 86cm x 67cm Provenance: The Corrymella Scott Gallery.Note: "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite’s 1993 solo exhibition, made by The Scotsman’s art critic Edward Gage. The ‘maverick’ label is often attached to Douthwaite to encompass a variety of the artist’s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all-encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution. Born in Glasgow in 1934, Douthwaite’s first exposure to creative expression was in the form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite’s creative endeavours. Douthwaite’s ever-present wanderlust quickly took over and she left Glasgow to join an artistic community within William Crozier’s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert Colquhoun, Robert MacBryde and Crozier himself. In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage. Following her death, her popularity continues to increase as ever more collectors are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality. The prestigious Scottish Gallery (Edinburgh) have long promoted Pat Douthwaite's work and her most recent solo show "Pat Douthwaite, On The Edge" was staged by the gallery between 4th and 27th February 2021.
* PETER HOWSON OBE (SCOTTISH b. 1958), THREE DRUMMERS pastel on paper, signedmounted, framed and under glassimage size 25cm x 32cm, overall size 47cm x 53cm Note: “When the Apple Ripens: Peter Howson at 65" a major retrospective of the work of the artist staged at the City Arts Centre, Edinburgh and organised by Museums & Galleries Edinburgh from May this year until the beginning of October, bringing together over 100 major works from his early years until the present time. The staging of this major exhibition during (and beyond) the Edinburgh International Festival reflects the well documented and longstanding international interest in Peter Howson's work.
* PETER HOWSON OBE (SCOTTISH b. 1958), THE PATRIOT pastel on paper, signedmounted, framed and under glassimage size 28cm x 21cm, overall size 50cm x 42cmNote: “When the Apple Ripens: Peter Howson at 65" a major retrospective of the work of the artist staged at the City Arts Centre, Edinburgh and organised by Museums & Galleries Edinburgh from May this year until the beginning of October, bringing together over 100 major works from his early years until the present time. The staging of this major exhibition during (and beyond) the Edinburgh International Festival reflects the well documented and longstanding international interest in Peter Howson's work.Note: “When the Apple Ripens: Peter Howson at 65" a major retrospective of the work of the artist staged at the City Arts Centre, Edinburgh and organised by Museums & Galleries Edinburgh from May this year until the beginning of October, bringing together over 100 major works from his early years until the present time. The staging of this major exhibition during (and beyond) the Edinburgh International Festival reflects the well documented and longstanding international interest in Peter Howson's work.
Hans Hartung, 1904 Leipzig – 1989 AntibesP20-1984-H9Pastell auf Papier.52,5 x 74,5 cm.Verso im Ausschnitt der Abdeckung betitelt.Hinter Glas und Passepartout gerahmt.Das hier angebotene Werk wird in der Fondation Hans Hartung und Anna-Eva Bergman unter Nummer CT.1130-3 geführt. (1371407) (1) (13)Hans Hartung, 1904 Leipzig – 1989 AntibesP20-1984-H9Pastel on paper.52.5 x 74.5 cm.Titled on the reverse in cut out of the cover. Framed with mount under glass.The present painting is listed at the Fondation Hans Hartung and Anna-Eva Bergman under no. CT.1130-3.
Loading...
