We found 77111 price guide item(s) matching your search
There are 77111 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
77111 item(s)/page
Lot 1106
Tim Treagust (b.1958), ''Still Life with Trawler'', initialled, inscribed verso, oil on board, together with a further oil on board by the artist ''Inspiration'', 28cm by 28cm and 21cm by 27cm respectively (2) Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business
Lot 1158
Follower of Dietz Edzard (20th/21st century) Boats off a continental shoreline, bears signature, oil on board, together with Julia Walling, Beach, acrylic on canvas, Maurice Mann, Study of a seated woman, oil on board, Gustave Donnet, Still life, oil on canvas, Eve Clark, ''Tavistock Goosey Fair'' etc... (a collection) Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business Maurice Mann measures 45cm wide and 60cm.
Lot 68
HENDRIX JIMI: (1942-1970) American Rock Guitarist & Singer. Vintage blue ink signature ('Jimi Hendrix') on a page removed from an autograph album, also signed by the drummer Mitch Mitchell with his first name only. Loosely matted in black and white alongside four small reproduction images of Hendrix to an overall size of 14 x 11. A few very light, minor stains and creases, only very slightly affecting the signature, otherwise about VG Provenance: The present signature is accompanied by a lengthy typed statement of provenance signed by Mike Williamson on 8th April 2019 in which he states, in part, 'This statement concerns the circumstances surrounding my attendance at this show and how I came to obtain the autograph of Jimi Hendrix and Mitch Mitchell. In April 1967, I was a Third Year student at Manchester University……There were loads of bars and clubs close to the house we all lived in and we did enjoy the classic students' life…..going to concerts…..seeing Jimi Hendrix remains the greatest single event that I have ever attended…..Jimi was not yet - at least in the provinces - the kind of 'Superstar' he would soon become but we had all heard of him and wanted to see him…..I still recall the TV lights and general feeling of excitement when we were ushered into a very basic building and invited to sit on the floor, facing the stage…..I definitely remember….Jimi. He came out laughing, white Strat in hand, with Mitch and Noel and the volume was immense!.....At some point there was a break in recording and I was part of about 7 or 8 others who immediately ran to where Jimi was to get his autograph. Mitch was next to him, as was Kiki Dee…..I remember him [Hendrix] standing there, enjoying the attention of the girls who were giggling and almost falling over to see him……'
![[WORLD WAR I]: EDWARD VIII (1894-1972) King of the United Kingdom January - December 1936. Later Duke of Windsor. A fine auto](https://cdn.globalauctionplatform.com/be7934e1-901e-4b62-8def-aa8d00c54591/e160a8b9-f381-4632-9d8e-aaa700bfe0e1/468x382.jpg)
Lot 285
[WORLD WAR I]: EDWARD VIII (1894-1972) King of the United Kingdom January - December 1936. Later Duke of Windsor. A fine autograph manuscript, unsigned, four pages, 4to and slightly smaller, n.p. (London), n.d. (July 1919). The boldly penned holograph manuscript, with a number of corrections, is the draft of a speech made by the Prince of Wales at a dinner in honour of Marshal Foch following the end of World War I and states, in part, 'This is an occasion of such unique & historical interest that I find it very difficult to address such a so distinguished an assembly. It is indeed a great honour for me to be presiding here this evening & that it should fall to my lot to propose such a wonderful toast; it is almost impossible for me to find adequate words……to welcome so many famous allied commanders…..At this dinner are gathered together, comrades in arms drawn from many nations…..who have been engaged in a long & desperate (sic) struggle against the most powerful military combination that the World has ever known & who have emerged from the struggle completely victorious……France & Paris have already celebrated peace & our overwhelming victory; the other allied nations & their capitals will doubtless do the same. But just now we are celebrating it all in the British & London way & I feel that yesterdays triumphal pageant was a brilliant success. We feel that it represented the great war, that it represented victory in every sense of the word & that no one who was present could fail to carry away but the proudest & most inspiring memories which will last a life time……To me as one of the younger generation these memories will be specia particularly vivid as during my periods of active service in several theatres of war I often had the priviledge (sic) & good fortune of being closely associated with many of our allied armies army corps divisions & even regiments…….It is obvious that this last greatest of world struggles has broken all records from every point of view but I would venture to point out that never before has so large a number of allies been fighting & working together…..Now that the great war is over & the powerful enemies that have so long disturbed the peace of the World & menaced our freedom are finally overthrown & subdued we all rejoice to welcome here those who have shared with us the perils & sufferings of the trying & strenuous campaign & who now share with us the joy of our victory. Representative of every allied power are present this evening but there is one power whose representative has occupied a unique position. In Marshall (sic) Foch we salute the great captain…..His position as a Supreme C. in C. has no comparison in history either from the point of view of power or responsibility. In this position he has revealed a genious (sic) for war equal to the greatness of his task & the magnitude of his difficulties'. Together with a further selection of holograph notes, unsigned, four pages, oblong 4to and 8vo, n.p. (London), n.d. (July 2019), being the Prince's briefer manuscript notes prepared in composing his speech, with various corrections and the different sections each marked with an ink and blue indelible pencil line, the notes concluding with a passage in French, 'C'est pour moi un tres grand honneur et tres grande joie de vous acceuillir ici au nom du Roi et de boire a la sante des grandes nations allies dont vous etes les representants distingues Je n'ai qu'une pensée ce soir "vive nos braves allies"' and his Toast to Foch, 'The Commanders & representatives of the armies forces of our allies coupled with the name of Marshall (sic) Foch'. A rare manuscript with interesting content. A few slight stains and minor age wear to the preparatory notes, the manuscript speech VG, 2 Ferdinand Foch (1851-1929) French Marshal, a General and military theorist who served as the Supreme Allied Commander from March 1918. The 'triumphal pageant' which the Prince of Wales describes as having taken place the day before in the present manuscript was undoubtedly the Victory Parade Peace Day held in London on 19th July 1919. Although fighting on the Western Front had ceased in November 1918, peace negotiations would continue for many months and the Treaty of Versailles was not signed until June 1919. When negotiations were reaching their conclusion and a 'proper peace' was within sight, a peace committee was founded to decide how Great Britain would publicly mark the end of World War I and acknowledge the widespread feelings of jubilation within the country. With a Bank Holiday having been agreed upon, on the morning of the 19th July thousands of people gathered in London to participate in a spectacle, the likes of which had not been witnessed before. Almost 15,000 troops participated in the victory parade which was led by the Allied commanders Douglas Haig (British Commander-in-Chief), John Pershing (Head of the United States Expeditionary Force) and Ferdinand Foch (Allied Supreme Commander). The latter received the honour of being created a Field Marshal in the British Army on the same day and was evidently honoured at a dinner the next evening when the Prince delivered his speech. A monument to those killed and wounded, designed by Edwin Lutyens, was unveiled in Whitehall to mark the end of the victory parade. Although it was a temporary construction, another made from Portland stone and designed by Lutyens was to replace it in 1920 and, known as the Cenotaph, still stands today.
Lot 231
AUTOGRAPHS: A miscellaneous selection of signed clipped pieces, A.Ls.S., a few T.Ls.S. etc., by a variety of famous men and women, most associated with the Arts, including Muriel St. Clare Byrne, Leslie Hartley, Leon Goossens, Alec Guinness, Arthur Bliss, Thomas Bodkin, Thomas Armstrong, Peter Pears, John Keating, Geoffrey Fisher, Andre Dunoyer de Segonzac, Edward Maufe, William Reid Dick, John Ward, James Fitton, Arnold Machin, Charles Wheeler, Peter Hawkins (stating, in part, 'I was up at the Palace for half of last week making the last two Flower Pot films for the present…..', 8th May 1954), Siegfried Charoux (2), Diana Armfield, Jennifer Dickson, John Ward (stating, in part, 'How very, very kind of you to write about my book. It was fun to do - although I found I could only write sense for about 2 hours a day. I can manage about 4 hours painting a day….I hardly ever get to the R.A. these days - but what fun it was when Sidney was secretary & the place still belonged to the R.A.'s! I have been away painting in Monte Carlo…..'), William Russell Flint, Norman Wilkinson, Yvonne Arnaud, Solomon, Alec Clifton-Taylor (discussing the British art historian and Secretary of the Royal Academy Sidney Hutchison, 1967), Audrey Russell (7; in one stating, in part, 'How nice of you to write about “Going for a Song”. I should have replied long ago & certainly before my resounding defeat at the hands of Spike Milligan. I don't quite know why, but I was very off colour that day, though that is an amateur's excuse - the reason was, as you may have observed, that Spike Milligan knows much more about antiques & their value than I do! I was sorry not to get through as that kind of programme is such marvelous publicity, which I rather need just now. I've never met Milligan before, though he had written to me once or twice about programmes. I liked him - immensely intelligent - & of course amusing, & mad on antiques & with a sort of gentleness unusual in this day & age'). Donald Wolfit, R. F. Delderfield (5), Donald Sinden (stating, in part, 'So delighted you enjoyed This is Your Life: it was quite a traumatic experience - especially when Mai Zetterling came on. I had never met her before!!'), Anna Neagle (2), Andre Tchaikowsky, Kyffin Williams (stating, in part, '….I always feel I am a bit of an outsider in the R.A. John Ward, Bernard Dunstan & Anthony Green are old friends but otherwise, apart from Diana, I am an academic loner….'), Hugh Gaitskell, Ernle Chatfield, Lord Woolton, Alexander of Tunis, Montgomery of Alamein, Frederick Browning etc. G to VG, 78 The majority of the letters in the present lot were written to Margaret Hallett (1928-2018) British Clerk and Assistant Librarian at the Royal Academy of Arts in London 1955-65.
Lot 170
GERTLER MARK: (1891-1939) British Painter. A scarce A.L.S., Mark, to the verso of a colour picture postcard featuring a reproduction of a painting by Rubens, Paris, 1932, to his aunt, Annie Gertler. The artist writes, in full, ‘I heard from Minnie that Harry is better. I am very glad. I hope all goes well still. I will phone when I return to London. Love to all’. Together with an original sepia 4 x 5.5 photograph of Gertler standing outdoors in a full length pose accompanied by the writers and academics Hewy Levy, Walter J. Turner, Edward Arthur Milne, Ralph Hodgson, J. W. N. Sullivan and Samuel S. Koteliansky, who are seated and standing in two rows alongside the artist. The photograph, apparently taken in London in 1928, appears to be signed by several of the individuals to the verso (although not by Gertler himself). Also including a few pieces of unsigned printed ephemera comprising two different invitation cards to exhibitions of Gertler’s works at The Leicester Galleries and Whitechapel Art Gallery in London and a small 8vo catalogue of the New Year Exhibition of Pictures, Drawings and Sculpture by Nineteenth and Twentieth Century Artists at The Leicester Galleries in London, January 1954, featuring works by L. S. Lowry, Ford Madox Brown, Frank Brangwyn, Amedeo Modiglaini, Augustus John, Graham Sutherland, Henry Moore, Stanley Spencer, Wyndham Lewis, Paul Signac, Alfred Sisley, Duncan Grant, Walter Sickert, Terry Frost, John Piper, Ben Nicholson, Edgar Degas and Mark Gertler amongst others. Further including a series of unsigned incomplete autograph letters and notes by Valentine Dobree (1894-1974, Indian-born English Artist, associated with the Bloomsbury Group and the lover of Gertler), four pages, 8vo, Richmond, n.d., to Mark Gertler, in ink and pencil. Dobree commences the first page of one letter ‘Terms like the “aura of my disfigured mentality” and the “rigidity of puritanical labels” occur to me as the memory of my first confused correspondence sweeps into my mind like a dark cloud which flashed thunder……’ further writing ‘I experienced the fever & madness of love, then the idyllic strain of fanciful pleasure, which shocked me out of myself with its sweetness & unrealism. I descended to earth filled with the fright of you’, and also adding a note in the margin, ‘I know I never ought to right (sic) like this to you because you do not love me but you can decide for yourself whether you want me or not’. The other pages state, in part, ‘The unconscious growth of nature creates shapes of life with an unpremidated (sic) spontanity (sic)….The Artist in you is mostly unconscious if it exists at all….sex is definitely unconscious liquid in the mind poisoning the grey matter…..I don’t think anybody else has felt love like I have. It is because I have suppressed myself to such an extent that it has burst upon me…..’Some age wear and creasing, particularly evident to Gertler’s postcard (which also has the postage stamp neatly removed), and a few small tears and areas of paper loss, FR to generally G, 9
![[§] ETHEL WALKER (SCOTTISH B.1941) STILL-LIFE WITH MIXED DAFFODILS Signed, oil on board 39cm x 51.5cm (15.25in x 20.5in)](https://cdn.globalauctionplatform.com/1fbc2d95-bf62-4fb7-9201-aa4900a08149/cba9eed7-408c-4f7c-9cf0-aa8e011300ef/468x382.jpg)
![[§] ALEXANDER GALT R.G.I. (SCOTTISH 1913-2000) STILL LIFE WITH PINK ROSE Oil on board 40cm x 32cm (15.75in x 12.5in)](https://cdn.globalauctionplatform.com/1fbc2d95-bf62-4fb7-9201-aa4900a08149/932dc46c-777c-4a60-aa2c-aa8e01131255/468x382.jpg)
![[§] VICTORIA CROWE O.B.E., R.S.A., R.S.W., A.R.W.S. (SCOTTISH B.1946) ENCLOSED GARDEN Signed, oil on canvas 102cm x 126cm](https://cdn.globalauctionplatform.com/1fbc2d95-bf62-4fb7-9201-aa4900a08149/946092a6-0adb-418d-9017-aa8e0113c614/468x382.jpg)
Lot 49
[§] VICTORIA CROWE O.B.E., R.S.A., R.S.W., A.R.W.S. (SCOTTISH B.1946) ENCLOSED GARDEN Signed, oil on canvas 102cm x 126cm (40in x 49.5in) Exhibited: Royal Scottish Academy, Annual Exhibition, 2006 Note: Victoria Crowe is one of Scotland's most significant living artists. Her ability to skilfully weave together landscape, portraiture, still life, and interiors make her artwork both highly desirable and instantly recognisable. She has achieved international status and recognition due to many high-profile exhibitions and notable commissions, including portraits of poet Kathleen Raine, composer Thea Musgrave, Professor Peter Higgs, a double portrait of the Duke and Duchess of Buccleuch, and HRH Prince Charles. Crowe began her artistic career at the age of 16 when she attended Kingston School of Art, followed by the Royal College of Art, London. Robin Philipson, who was then head of the Edinburgh College of Art, saw her degree show in 1968 and immediately offered her a teaching post in Edinburgh, where she subsequently taught drawing and painting for thirty years. She also took over the botanical drawing class upon Elizabeth Blackadder's retirement. Crowe has noted that she uses plant imagery as 'ciphers and symbols within a greater whole,' which means that her flower paintings operate simultaneously as abstract objects, as depictions of our known environment and as a symbolic language. Her works often begin as observations of the natural, visible world, before becoming layered with symbols and meditations on time, memory, and imagination. Enclosed Garden was exhibited as part of the RSA Annual Exhibition in 2006 and already hints at Crowe's curiosity about our relationship with plants and the settings in which we enjoy them, as well as the timelessness and endurance of nature. The calming, cool blue of the painting shows Crowe's sensitive control of colour and transports the image to an imaginary time and place. The painting is divided between the warmer interior tones on the left and the cold, harsh light of winter's day on the right. Behind the textured surface, we are offered a shaded glimpse at concealed images and decorative details, once again highlighting the painting's variations in depth, both real and illusory. As one of her more layered compositions, Crowe explores the fluidity and the boundaries of physical space, while also capturing the simplicity of symbolic details. On the right side of the painting, wild swirling twigs in a blue vase echo the barren branches of the trees directly behind it. It is as if the man-made vase is attempting to control the natural world it holds within, but chaos erupts like a trumpet blaring. The vegetation almost melds together, challenging the viewer's perception of space and twisting the realms of interior and exterior, reality and illusion. Enclosed Garden can be seen as a gateway painting to her 2007 exhibition Plant Memory. The exhibition was the product of a conversation between Crowe and Professor David Ingram of St Catharine's College, Cambridge (and formerly Regius Professor of the Royal Botanic Garden, Edinburgh) whilst she painted his portrait. The collaborative research project, which saw artist and scientist working together, centred around the use of living and preserved specimens in Botanic Gardens, Museums, Herbaria and Libraries in Cambridge, Edinburgh and Venice. Today, Crowe is represented in a large number of private and public collections. She has recently exhibited extensively, with simultaneous shows at the Scottish National Portrait Gallery and the Scottish Gallery (Edinburgh International Festival) in 2018, followed by a major lifetime retrospective at the City Art Centre in Summer 2019. She divides her time working and living in Venice and the Scottish Borders.
![[§] JANET MELROSE R.S.W. (SCOTTISH CONTEMPORARY) STILL LIFE ON A BLUE GROUND Oil on board, unframed 122cm x 122cm (48in x](https://cdn.globalauctionplatform.com/1fbc2d95-bf62-4fb7-9201-aa4900a08149/08dc6258-f808-41c4-a5d9-aa8e01141946/468x382.jpg)
Loading...-
77111 item(s)/page