We found 216136 price guide item(s) matching your search
There are 216136 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
216136 item(s)/page
Lot 178
*Shawl. A large lam‚ brocade shawl, circa 1920s, scarlet silk brocade shawl with ornate large-scale floral and foliate design, largely picked out in gold, slightly tarnished and marked in a few places, but overall in bright condition, 163 x 163cm (64 x 64ins) A striking shawl with a vivid Art Deco pattern of stylised flowers and leaves. (1)
Lot 251
*Attributed to William Osborne Hamilton (1751-1801). The Triumph of Venus and Cupid, fine large-scale watercolour on paper, several closed tears repaired, including a horizontal closed tear across the whole of the upper portion of the image, but generally without loss, 58.5 x 90 cm (23 x 35.5 ins) mount aperture, framed and glazed Hamilton exhibited a work of this title at the Royal Academy in 1797. (1)
Lot 330
*De Morgan (Evelyn, 1855-1919). Compositional study for By the Waters of Babylon, black & white chalks on blue-grey paper, showing a frieze of seven figures, one with a harp, in a landscape with trees, image size 21.5 x 40cm (8.5 x 15.75ins), sheet size 28 x 42cm (11 x 16.5ins) A preliminary sketch for 'By the Waters of Babylon', Evelyn de Morgan's large scale oil painting, illustrating the Biblical story of the exile of the Jews in Psalm 137. She finished the work in 1882, and it is now held by the De Morgan Foundation ('Evelyn De Morgan, oil paintings', DMF, 1996, plate 11). This early study is typical of the artist's first loose compositional sketches for a work. It is interesting to see that, although two of the main figures present in the oil painting do not yet take their place, the final composition in outline deviates little from her initial concept. (1)
Lot 345
*Heaphy (Charles, 1820-1881, after). Thorndon Flat and Part of the City of Wellington, New Zealand, circa 1840s, oil on canvas, unsigned, 62 x 74 cm (24 x 29 ins), contemporary probably totara or rimu burr veneer frame Provenance: Acquired by Dr Charles Arundel Overbury Fox (1886-1971) from Francis Edwards, London, circa 1935. Fox was an English collector of early New Zealand and Pacific works of art; acquired by the current owner's family from the estate of Dr Fox following his death in Birmingham, England, in 1971. Some brief manuscript notes of provenance in Dr Fox's hand and a letter from Rex Nan Kivell of the Redfern Gallery, London, dated 20 May 1959,are offered with the lot. The letter from Rex Nan Kivell suggests a connection with a lithograph Charles Heaphy and says that he has a painting of the same size that is obviously a copy from the lithograph. An early large-scale painting of the harbour and settlement of Wellington in New Zealand. As a composition, this painting is most similar to that engraved byThomas Allom after the drawing by Charles Heaphy entitled 'Part of Lambton Harbour, Port Nicholson, New Zealand; Comprehending about One Third of the Waterfrontage of the Town of Wellington, April, 1841', published for the New Zealand Company in 1842. Unlike the original watercolour of the same scene which has no figures by the flagpole on 'Flagstaff Hill' from where the scene is observed, two groups of three figures have been added into the engraving, one European and five Maori. The flag in the watercolour is that of the New Zealand Company while the lithograph shows a Union Jack. The painting here offered shows many similar characteristics to the watercolour and print and strongly suggests the artist had knowledge of the print. Charles Heaphy was employed by the New Zealand Company as a draughtsman and drew his watercolour in April 1841. He presented the new settlement in a positive light in order to attract new immigrants and investors, showing cows wandering on the beach, the Maori in the foreground welcoming a European, and the gentle hills suggesting suitability for farming. Heaphy is not known to have painted in oils. The painting here has five figures set in two groups by the flagpole, but also shows European and Maori figures, a man in a straw hat facing the viewer possibly being that of the artist. The flag is that of the New Zealand Company and unlike Heaphy's watercolour and the print after it, is shown furled and not blowing in the breeze. There are fewer boats in the harbour in this painting than in Heaphy's version and while there are no cows on the beach there are various figures in front of the Maori settlement. The tide is out and shows a tongue-shaped spit of sand near identical to Heaphy's depiction; the settlements along the far shore and rising chimney smoke below the hills are very similar too. With thanks for the assistance of Dr Oliver Stead of the Alexander Turnbull Library, Wellington, New Zealand. (1)NB. The frame details given in this lot description have been amended from walnut burr.
Lot 354
*Boissieu (Jean-Jacques de, 1736-1810). Pie VII souverain pontif cedant … l'empressement des Lionnois, 1805, etching on laid paper, together with Le Moulin de Ruysdael, 1774, etching on laid paper, plus other similar large etchings by Boissieu including Entr‚e du Village de Lantilly, 1804, landscapes after Ruysdael, Asselin, Poussin, etc., circa 1773-1804, various plate sizes (8 large-format uncoloured etchings and 7 smaller scale etchings with hand colouring), all by Boissieu, sheet size 40.5 x 58 cm (16 x 22.75 ins) (15)
Lot 385
*Mottram (Charles, 1806-1876). The Plains of Heaven, after John Martin, 1857, large-scale mixed method engraving by Charles Mottram after John Martin, published January 1st 1857 by Thomas McLean, plate size 71 x 103 cm (28 x 40.5 ins), with margins, modern frame, glazed One of three large engravings published by McLean on the 1st January 1857 by Mottram after John Martin's famous paintings which toured Britain and America in the 1850s and 1860s (the other two being The Last Judgement and The Great Day of His Wrath). (1)
Lot 396
*Thomassin (Filippe, 1562-1622). The School of Athens, after Raphael, 1617, reissued 1648, fine large-scale engraving on two conjoined sheets of laid paper, published by Giovanni Jacomo De Rossi, Rome, 1648, light waterstain to extreme lower right corner, plate size 49 x 80.5 cm (19.25 x 31.75 ins), sheet size 60.5 x 90 cm (23.75 x 35.5 ins), framed and glazed (1)
Lot 77
A gentleman's Rolex Oyster Precision stainless steel wrist watch on later non conforming black leather strap, circular brushed silvered dial with silver dagger baton markers, outer minute scale, centre seconds, automatic movement, stamped Registered Design 6424 and 2825 between lugs, in going order
Lot 18
SIR HENRY RAEBURN R.A. (SCOTTISH 1756-1823) HALF LENGTH PORTRAIT OF ROBERT CUNNINGHAM GRAHAM OF GARTMORE AND FINLAYSTON Oil on canvas 75cm x 62cm (29.5in x 24.5in) Provenance:By descent in the Cunningham Graham family Exhibited:On extended loan from Lady Patricia Cunningham Graham to Culzean Castle (National Trust for Scotland) 1982-2016 Reference:David Mackie, Raeburn Life and Art (a complete catalogue of the artist's work in 6 volumes) unpublished Ph.d thesis, University of Edinburgh, no. 340B Note: Robert Cunningham Graham o' Gartmore and Finlayston (1735-1797) was the Receiver General for Jamaica and MP for Stirlingshire from 1794-1796 as well as being Rector of Glasgow University from 1785-7 and a noted poet. The sitter was a supporter of the French Revolution and a leading advocate for political reform. There is a primary version, near full-length, in the Scottish National Portrait Gallery. The portrait on offer is a smaller repetition by Raeburn, showing only the central part of the composition. The primary version of the painting was discussed in a letter of 17 November 1794 from Raeburn to the man who commissioned it, Cunningham Graham's friend, Hugh Innes of Balmacara, Ross-shire. The existence of this part-replica speaks for the success of the portrait with the sitter and his friends. Further evidence for this is suggested by the creation of an enamel copy in miniature of the "A" version by Henry Bone in the collection of the Hunterian Museum, Glasgow. The primary version came to light when included in the 1939 Exhibition of Scottish Art at the Royal Academy. The version offered here, became known when it was lent by the sitter's family to the National Trust for Scotland in 1982, to be hung at Culzean Castle. Neither work features in the Raeburn literature before Mackie's complete catalogue. The "A" version of the portrait was requested by Baroness Thatcher from the SNPG for display at 10 Downing Street, where it hung during her time as Prime Minister. The creation of the version offered here may have been occasioned by the sitter's death in 1797. The extensive use of bitumen suggest that it was painted c.1800 when the artist had developed a new and darker style of painting. Raeburn may have used the original version as his model. This version is just over half the size of the primary version and the reduction in scale has caused some essential changes to the composition: the sitter's left arm is lowered out of sight and the book now appears on the table. Studio assistants working for Raeburn at that early date are not known, and although the involvement of assistants in Raeburn's practice is poorly understood, it seems always to have been limited. In the primary version the leading eye of the portrait has a cast and there is also disparity between the two sides of the sitter's face, created by shadow. Many consider Raeburn's portraits of the 1790s to be his finest. They communicate appearance, character, psychological and emotional state, and mental force. Their skilled and inventive use of pose and lighting give an enduring sense of human presence and human uniqueness. The portrait offered here has been examined by Dr David Mackie and will be included in his forthcoming complete catalogue of Raeburn. We would like to acknowledge the assistance of Dr. David Mackie, St Catharine's College, Cambridge in cataloguing this picture.
Lot 26
ROBERT MCGREGOR R.S.A. (SCOTTISH 1847-1922) GATHERING MUSSELS Signed and dated 1919, oil on canvas 61cm x 101.5cm (24in x 40in) Exhibited: The Fine Art Society 1977 Note: Robert McGregor is renowned for his pioneering approach in the genre of work scenes of rural life. The genre acquired a dramatic popularity in France, where it was represented by Gustave Courbet and Jules Bastien-Lepage, however it hadn't reached Britain until the late 1870s. McGregor's simple pastorals are notable for a unique combination of the French influences on the one hand, and the artist's loyalty to the old traditions of the Scottish painting on the other. Among his most prominent works are The Knife-Grinder (1878), now in the McManus Museum, Dundee, and Gathering Stones (1879) in the Glasgow Art Gallery and Museum. McGregor had no formal art training until his relocation to Edinburgh, where he later attended the Royal Scottish Academy, yet he is believed to have received some artistic instruction from a Frenchman while still in Yorkshire. Once at the R.S.A., McGregor made rapid progress, getting elected an associate in 1882. He became a full R.S.A. member seven years later. Although McGregor never worked in a foreign atelier, his style was influenced by continental painters, including Courbet and Millet. Unlike other Scottish painters, the majority of whom remained loyal to a local palette, in his colourist approach McGregor maintained a distinctively French use of the grey scale, with a light effect similar to that seen in black and white photography. Having adopted an artistic approach derived from the works of Courbet, McGregor frequently reduced the foreground of his paintings in order to increase a sense of the bulkiness of the peasants' figures. A brilliant example of such composition is the present canvas depicting a young woman with a basket. The scene drawn from everyday life is executed in a warm palette, where thicker strokes of the pastel-blue sky in the top left corner are balanced with the deep-blue colour of the water and the girl's jacket. McGregor's use of heavier brushwork is softened by the elaborate lacework of the girl's headscarf. Gathering Mussels belongs to the eponymous series of works depicting peasants gathering clams in the setting of a distinctively Scottish coastal landscape. This large-scale work, executed in 1919, demonstrates the artist's use of grey tonality to create the effect of sunless weather and gives the painting a diffused silvery glow. Therefore, this later work represents one of the best examples of the artist's engagement with French painting techniques in the depiction of Scottish countryside settings.
![[§] JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) THE NATIONAL GALLERY FROM PRINCES STREET GARDENS Oil on board 12cm](https://cdn.globalauctionplatform.com/b4beedbe-1dc3-4e24-ba17-a75900c76850/873b3ba2-30e8-4333-c50c-1d3a88221bb4/468x382.jpg)
Lot 58
[§] JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) THE NATIONAL GALLERY FROM PRINCES STREET GARDENS Oil on board 12cm x 15cm (4.75in x 6in) Provenance:Margaret Morris Neita Woodthorpe Ewan Mundy Fine Art, Glasgow Note:This painting dates from c.1905 John Duncan Fergusson was the most international and political of the four Scottish Colourists. The selection of works by him offered in this sale chart some of the interesting early developments of his career. Largely self-taught as an artist, Fergusson was originally based in Edinburgh, and developed his painterly and observation skills on the sights and population of the capital. At this time, he often worked on a small, portable scale, and on board for ease of transport. In The National Gallery from Princes Street Gardens he captured this key Edinburgh artistic institution and its situation in the very heart of the city with deft brushstrokes and delicate tones, creating a wonderful impression, and a captivating painting.
![[§] JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) SELF PORTRAIT Conté and gouache 32.5cm x 24cm (12.75in x 9.5in) Pro](https://cdn.globalauctionplatform.com/b4beedbe-1dc3-4e24-ba17-a75900c76850/63a4276d-e30b-4349-abba-afd887e02295/468x382.jpg)
Lot 60
[§] JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) SELF PORTRAIT Conté and gouache 32.5cm x 24cm (12.75in x 9.5in) Provenance:Compass Gallery, Glasgow June 1975 Note: John Duncan Fergusson was the most international and political of the four Scottish Colourists. The selection of works by him offered in this sale chart some of the interesting early developments of his career. Largely self-taught as an artist, Fergusson was originally based in Edinburgh, and developed his painterly and observation skills on the sights and population of the capital. At this time, he often worked on a small, portable scale, and on board for ease of transport. Fergusson's flâneur approach to life and painting translated perfectly to Paris, when he decided to move to this artistic centre in 1907. It is from this period that many of his characteristic elegant conté sketches of the figures of Parisian café culture date, as Fergusson participated in this scene and captured the personalities he met and observed there - the elegant ladies in elaborate hats, suited and moustachioed gentleman, even musicians with their instruments. The dynamic Self-Portrait is more worked up, with gouache layered over the initial conté lines. Fergusson was never particularly well-off and by depicting himself he saved the cost of a model, while allowing more time to work into the depiction, beyond the simple lines of a quickly observed sketch. The portrait has a sense of drama, in his strong lines, but also in the way he chooses to depict himself, with a bold hat which frames his face and offers a striking contrast with his angular facial structure. Fergusson was interested in contemporary fashions, often making the effort to include fashionable touches in his female studies, particularly hats, so it is interesting to see him turn this particular focus on himself.
![[§] JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) WOMAN IN A CAFÉ Conté, inscribed verso 20.5cm x 12cm (8in x 4.75in)](https://cdn.globalauctionplatform.com/b4beedbe-1dc3-4e24-ba17-a75900c76850/443915eb-487f-43b8-e202-2411adcb76e3/468x382.jpg)
Lot 61
[§] JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) WOMAN IN A CAFÉ Conté, inscribed verso 20.5cm x 12cm (8in x 4.75in) Note: John Duncan Fergusson was the most international and political of the four Scottish Colourists. The selection of works by him offered in this sale chart some of the interesting early developments of his career. Largely self-taught as an artist, Fergusson was originally based in Edinburgh, and developed his painterly and observation skills on the sights and population of the capital. At this time, he often worked on a small, portable scale, and on board for ease of transport. Fergusson's flâneur approach to life and painting translated perfectly to Paris, when he decided to move to this artistic centre in 1907. It is from this period that many of his characteristic elegant conté sketches of the figures of Parisian café culture date, as Fergusson participated in this scene and captured the personalities he met and observed there - the elegant ladies in elaborate hats, suited and moustachioed gentleman, even musicians with their instruments.
![[§] JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) THE MUSICIAN Conté, inscribed on the backboard by Margaret Morris 2](https://cdn.globalauctionplatform.com/b4beedbe-1dc3-4e24-ba17-a75900c76850/e6a303bb-0a52-4226-91d9-14598a12ba75/468x382.jpg)
Lot 62
[§] JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) THE MUSICIAN Conté, inscribed on the backboard by Margaret Morris 20cm x 12cm (8in x 4.75) Exhibited:Compass Gallery, Glasgow, JD Fergusson - One-man Exhibition 1972, no.85 Note: John Duncan Fergusson was the most international and political of the four Scottish Colourists. The selection of works by him offered in this sale chart some of the interesting early developments of his career. Largely self-taught as an artist, Fergusson was originally based in Edinburgh, and developed his painterly and observation skills on the sights and population of the capital. At this time, he often worked on a small, portable scale, and on board for ease of transport. Fergusson's flâneur approach to life and painting translated perfectly to Paris, when he decided to move to this artistic centre in 1907. It is from this period that many of his characteristic elegant conté sketches of the figures of Parisian café culture date, as Fergusson participated in this scene and captured the personalities he met and observed there - the elegant ladies in elaborate hats, suited and moustachioed gentleman, even musicians with their instruments.
![[§] JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) THE MILLINER Conté 19cm x 12cm (7.5in x 4.75in) Note: John Duncan F](https://cdn.globalauctionplatform.com/b4beedbe-1dc3-4e24-ba17-a75900c76850/26d206fa-7e1b-4e16-b57a-e0fb9608d085/468x382.jpg)
Lot 63
[§] JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) THE MILLINER Conté 19cm x 12cm (7.5in x 4.75in) Note: John Duncan Fergusson was the most international and political of the four Scottish Colourists. The selection of works by him offered in this sale chart some of the interesting early developments of his career. Largely self-taught as an artist, Fergusson was originally based in Edinburgh, and developed his painterly and observation skills on the sights and population of the capital. At this time, he often worked on a small, portable scale, and on board for ease of transport. Fergusson's flâneur approach to life and painting translated perfectly to Paris, when he decided to move to this artistic centre in 1907. It is from this period that many of his characteristic elegant conté sketches of the figures of Parisian café culture date, as Fergusson participated in this scene and captured the personalities he met and observed there - the elegant ladies in elaborate hats, suited and moustachioed gentleman, even musicians with their instruments.
![[§] JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) MEN ABOUT TOWN Conté 21cm x 16cm (8.25in x 6.25in) Exhibited:The Sc](https://cdn.globalauctionplatform.com/b4beedbe-1dc3-4e24-ba17-a75900c76850/d43199a6-a130-4ec9-f55a-087ae1e3f67f/468x382.jpg)
Lot 64
[§] JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) MEN ABOUT TOWN Conté 21cm x 16cm (8.25in x 6.25in) Exhibited:The Scottish Gallery, Edinburgh 2007 Note: John Duncan Fergusson was the most international and political of the four Scottish Colourists. The selection of works by him offered in this sale chart some of the interesting early developments of his career. Largely self-taught as an artist, Fergusson was originally based in Edinburgh, and developed his painterly and observation skills on the sights and population of the capital. At this time, he often worked on a small, portable scale, and on board for ease of transport. Fergusson's flâneur approach to life and painting translated perfectly to Paris, when he decided to move to this artistic centre in 1907. It is from this period that many of his characteristic elegant conté sketches of the figures of Parisian café culture date, as Fergusson participated in this scene and captured the personalities he met and observed there - the elegant ladies in elaborate hats, suited and moustachioed gentleman, even musicians with their instruments.
![[§] JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) DISTINGUISHED Conté 13cm x 11cm (5.25in x 4.25in) Exhibited:The Sco](https://cdn.globalauctionplatform.com/b4beedbe-1dc3-4e24-ba17-a75900c76850/3a5e439b-3e93-4734-b280-bb7321edf42e/468x382.jpg)
Lot 65
[§] JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) DISTINGUISHED Conté 13cm x 11cm (5.25in x 4.25in) Exhibited:The Scottish Gallery, Edinburgh 2014 Note: John Duncan Fergusson was the most international and political of the four Scottish Colourists. The selection of works by him offered in this sale chart some of the interesting early developments of his career. Largely self-taught as an artist, Fergusson was originally based in Edinburgh, and developed his painterly and observation skills on the sights and population of the capital. At this time, he often worked on a small, portable scale, and on board for ease of transport. Fergusson's flâneur approach to life and painting translated perfectly to Paris, when he decided to move to this artistic centre in 1907. It is from this period that many of his characteristic elegant conté sketches of the figures of Parisian café culture date, as Fergusson participated in this scene and captured the personalities he met and observed there - the elegant ladies in elaborate hats, suited and moustachioed gentleman, even musicians with their instruments.
![[§] JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) PORTRAIT STUDY Conté on coloured paper 14cm x 12cm (5.5in x 4.75in)](https://cdn.globalauctionplatform.com/b4beedbe-1dc3-4e24-ba17-a75900c76850/9018d557-05db-4723-bc83-710c3c925b56/468x382.jpg)
Lot 66
[§] JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) PORTRAIT STUDY Conté on coloured paper 14cm x 12cm (5.5in x 4.75in) Note: John Duncan Fergusson was the most international and political of the four Scottish Colourists. The selection of works by him offered in this sale chart some of the interesting early developments of his career. Largely self-taught as an artist, Fergusson was originally based in Edinburgh, and developed his painterly and observation skills on the sights and population of the capital. At this time, he often worked on a small, portable scale, and on board for ease of transport. Fergusson's flâneur approach to life and painting translated perfectly to Paris, when he decided to move to this artistic centre in 1907. It is from this period that many of his characteristic elegant conté sketches of the figures of Parisian café culture date, as Fergusson participated in this scene and captured the personalities he met and observed there - the elegant ladies in elaborate hats, suited and moustachioed gentleman, even musicians with their instruments.
Lot 85
SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1871-1935) BARRA Oil on panel 25.5cm x 31cm (10in x 12in) with a study of a mother and child verso Provenance:Wemyss Honeyman Collection Private Collection, Scotland 1998 Note:It has been variously suggested that this study was painted in 1898 and 1903. Peploe first travelled to the Isle of Barra in the Outer Hebrides in 1894, staying in the studio of his friend Robert Cowan Robertson, and returning on further occasions until 1903. He was accompanied on these trips by his brother W. W. Peploe who was also an artist but better remembered as a poet. Both were inspired by the great beauty of the tiny island, particularly the perfect horseshoe of Castlebay with its stone buildings huddled together against the Atlantic elements, including the tower of the picturesquely titled Church of Our Lady Star. On these trips Peploe worked en plein air and always on a small scale; painting directly onto wooden panels. These works are early in his career, and are astonishing in their modernism. The technique itself is notable - swiftly executed to convey a sense of the wind buffeting the waves in the bay and shaking the grasses on the hills, daubed in fluid, darting brushwork of un-mixed colour and glossy impasto. The style is extraordinary and wild; verging on Post-Impressionism in a manner no other British artist was practising at the time. As historian and critic Duncan MacMillan noted in reference to this particular picture, "There is nothing quite like it in contemporary British art and little enough in France either… it is quite clear from the patterns of brushwork that somewhere Peploe has seen and understood Van Gogh's painting." This early exposure to the great French artist was possibly a result of Peploe's relationship with Alexander Reid, the Glaswegian art dealer and friend of the Van Gogh brothers. Works such as this provide a fascinating and exciting insight into Peploe's development. Even as early as 1894 he was painting in an extremely avant-garde and experimental fashion; on the cusp of developing his friendship with J. D. Fergusson and heading to Paris. His role as an artistic pioneer cannot be overstated.
Lot 576
James Smetham (British, 1821-1889) "The Idle Fisherman" signed lower left "J Smetham" oil on canvas 19 x 50cm (7 x 20in) Provenance: According to an old inscription on the reverse, D Smetham, the artist's grandson and by descent Other Notes: James Smetham was an English Pre-Raphaelite painter and engraver, close to Dante Gabriel Rossetti. He was born in Pateley Bridge, Yorkshire, and attended school in Leeds. He studied at the Royal Academy, beginning in 1843, and painted romantic visionary works, generally on a small scale. His work is in the Tate, the National Portrait Gallery, the Ashmolean and the Birmingham Museum and Art Gallery. Two small old repaired tears. The blacks are coalescing somewhat. 755 canvas maker's number to the reverse.
Lot 593
Follower of François Boucher (French, 1703-1770) Lovers fishing on a riverbank, whilst a maidservant looks on oil on panel, in a French provincial painted frame 49 x 85cm (19 x 33in) Quite dirty and with discoloured varnish. The picture is painted in oil on a canvas support which has been attached to a wooden panel. The paintings has a series of vertical cracks, prominent on the right side of the painting which may suggest it has been rolled up at some point in its history. The painting has small scale flaking in some areas although overall the paint layer does not look unstable. The surface is matte and is possibly unvarnished. The frame has areas of flaking and loss.
Lot 223
A well engineered scale model of the Stuart Triple expansion Marine engine:, conterbalanced drive shaft with heavy flywheel , side reversing wheel on column supports on a red steel base, fitted hand crank and raised in a black plinth base with glazed cover , the engine 20cm x 30cm , the case 23 cm x 29cm x21cm
Lot 228
A waterline miniature scale model of the clipper 'Rosalie' by D A Brogden:, fully rigged and set full sail over detailed decks with wheel house, grates, lifeboats on davits with black painted hull on a green moulded sea base, inscribed 'Clipper Ship 'Rosalie' 1857 Bringing Home the Nation's tea', in a glazed case, the case 23cm x 40cm x 20cm.
Lot 231
A radio controlled scale model of the racing yacht 'Comet':, fully rigged over a simulated plank deck with fixtures and fittings, the moulded fibreglass hull painted white with weighted keel, fully fitted with servos together with two controllers and charge, supported in a wooden cradle base, 266cm high, 188cm long
Loading...-
216136 item(s)/page