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 103
Gerard Dillon (1916 - 1971)A view of Drogheda (1943)Oil on board, 27.9 x 35.5cm (11 x 14)Signed and dated (19)'43, title versoProvenance: With Jorgensen Fine Art, Dublin‘A view of Drogheda’ was most likely painted after Dillon’s visit to the town with Drogheda painter, Nano Reid (1900-1981) in 1943. The two friends may have arranged a sketching holiday after the opening of their group exhibition of watercolours at the Contemporary Picture Galleries in Lower Baggot Street in July, 1943. A Publican’s daughter, Reid was sixteen years older than Dillon but he never viewed their age difference as an obstacle for friendship. Both artists felt strongly about Ireland’s cultural heritage and admitted in interviews to having influenced each other’s work.This work is typical of Dillon’s subjects in the early 1940’s which were largely focused on everyday subjects that were linked to his daily life. His style of painting was still at an early stage of development but this visit to the town and the surrounding area had a lasting impact on him. In 1944 Dillon and Reid showed works from their sketching holiday in their exhibitions in Dublin and Northern Ireland. ‘View of Drogheda’ may be ‘Drogheda’ listed in Dillon’s joint show with George Campbell at John Lamb’s gallery, Bridge St in Portadown in June, 1944 (Cat.22). Opened by John Hewitt, the Portadown News commented that the two artists ‘cover a wide range of subjects and include landscape, the blitz and life in our cities and on things that are avoided by the majority of artists, but which when painted leave a valuable record of our time for future generations.’(1.7.44) Dillon probably didn’t intend to document this scene as a valuable record of the town but his desire to record the town and the architectural heritage in the area before Institutions were set up to protect listed buildings was a ‘valuable record’ for future generations. It has been suggested that this scene is from the south side of the Boyne looking west possibly from the vantage point of Pitcher Hill, Barack Lane or at ‘Butter Gate’. The Church across the river is probably St. Magdalen’s Church known locally as Dominick’s Church.Karen ReihillNovember, 2018(This writer is grateful for the assistance of Declan Mallon for his help in identifying the location of this work.)
Lot 73
Erskine Nicol RSA ARA (1825 - 1904)'It Won't Slip this Time'Oil on canvas, 100 x 70cmSigned and dated 1874Erskine Nicol was a Scottish painter whose frequent visits to and love for Ireland allowed him to slip into our collective of Irish artists. First visiting the country in 1846, Nicol became enamoured by scenes of Irish rural life and continued to paint such subjects for the length of his career. It is interesting to note the difference with which Nicol addressed his Irish subjects compared to the approach used when painting his fellow Scotsman. In the current lot, we are presented with a Scottish fisherman. Despite his flaming red hair, we are immediately alerted to his nationality by the presence of his Balmoral Bonnet, a hat traditionally worn in the Scottish highlands. This differs from the dress of his Irish models that are usually shown with the customary soft ‘top hat’.Unlike hunting and shooting, fishing was a sport for every class and it is fair to assume that this man is of the same social standing as Nicol’s rural Irish subjects. However, the Victorian age was a time in which science was developed and devoured with an insatiable hunger and several theories were spread regarding the evolution of man and its effects on the present physical make up of different races. In particular, physiognomy became popular, a study in which an emphasis was placed on the formation of the head in order to tell someone’s character or race. Still in the grips of a colonial Britain, such ideologies were placed onto the Irish population and, affected by these concepts, Nicol often transferred various attributes onto his depictions of Ireland and her inhabitants. In particular, Nicol would use the angle and size of his subject’s nose in order to portray their social character. A small, upturned nose was seen as denoting an uneducated demeanour and was often falsely applied to an Irish face. In contrast, we see Nicol’s Scotsman as boasting a strong and straight nose, casting him in a more favourable light.Regardless of who he is painting, it is evident, through his work, that Nicol held a genuine fondness and sympathy for those that he illustrated. In this piece, delicate brushstrokes bring his fisherman’s face to life, enabling us to feel the determination with which he works. Such empathy turns a figure into a story and we cannot help but root for his success. Behind him, the wistful rendering of the receding mountains is obscure enough to allow the viewer to place the scene in any mountain pass, bringing a personal romanticism to the piece. In a similar manner, Nicol’s Irish scenes were painted so as to mimic each and every town, their caricatured tenants, as here, easily taking the form of a brother, sister, neighbour or acquaintance.
Lot 174
λLawrence Biddle (British 1888-1968) Still life of pansies and bluebells alongside an ivory carving Oil on board Signed and dated 28 lower right 34 x 47.5cm (13¼ x 18½ in.) Number 135 in the artist's catalogue. Provenance: MacConnal-Mason & Sons, Ltd., London A Cheyne Walk Property λ Indicates that this lot may be subject to Droit de Suite royalty charges. Please see our Terms & Conditions for more information.
Lot 173
λRaymond Campbell (British b. 1956) Still life of wine bottles and cheese Oil on board Signed lower right 41 x 31cm (16 x 12 in.) Provenance: Bourne Gallery, Surrey λ Indicates that this lot may be subject to Droit de Suite royalty charges. Please see our Terms & Conditions for more information.
Lot 422
A Chinese two-panel silk embroidery depicting butterflies and floral mons within a trailing border embellished with bats to a black ground, 70.5 x 31cm, and J Power; oil on canvas, still life study of iris and tulips, signed lower right, artists information verso, 56 x 30.5cm (2). CONDITION REPORT There are no obvious signs of significant damage or repair.
![* Georg Jacobson [1887-1976]- Still life of fruit in a pedestal bowl,:- signed and dated 1959 in pencil in the margin numbere](https://cdn.globalauctionplatform.com/77e39e34-bc64-4c86-bf0c-a98c00d37319/9e662c5c-3042-4a4b-aa90-a99000d3b8fe/468x382.jpg)
Lot 265
‡Dorothy Hepworth (1898-1978)Still life of fruit with a tazza and vaseInscribed on stretcher verso Patricia Preece Moor Thatch Cookham possibly by another handOil on canvas51 x 61cmIt is now believed that Hepworth’s paintings were attributed to Preece as she shunned publicity and preferred to remain anonymous
Lot 284
‡Margaret Maitland Howard (1898-1983)Female nude standing and seatedTwo one signedBoth oil on canvas with further studies verso both unframed91.5 x 51cm and 77 x 56cm With an unframed still life study of a porcelain figure and magnolia flowers 61 x 51cm by the same hand (3)++We would advise viewing this lot
Lot 80
‡Eliot Hodgkin (1905-1987)Three QuincesSigned and dated 13.iii.63Tempera13.5 x 22.5cmProvenance:A. LeverThe Reid Gallery London Fifty Still Life Paintings by Eliot Hodgkin 04/12/1963 - 28/12/1963 No. E.50We are grateful to Mark Hodgkin for his assistance in the cataloguing of this paintingSee also lot 248 by the same handLots 48 to 80 - Property from the Collection of Sir Jeremy Lever KCMG QC MA FRSA++Good condition
Lot 317
‡Evelyn Dunbar (1906-1960)Joseph in prisonSigned with initialsOil on canvas46 x 35.5cmThis painting is the previously lost third painting in Dunbar’s Joseph trilogy. In or around 1938 Dunbar conceived the idea of painting the most significant moments in the Old Testament account of the life of Joseph (Genesis 37-41). The other two paintings in the trilogy are Joseph’s Dream which sold at auction last year and Joseph in the Pit which is in a private collection. World War 2 and Dunbar’s appointment as a war artist interrupted completion of this project but after the war she took it up again completing Joseph in the Pit and Joseph in Prison in 1949-50 when she was living in Enstone Oxfordshire. She sold this painting privately to a Mr L F Herbert (the name inscribed verso and Herbert lent it back to Dunbar for the only solo exhibition of her career at Withersdane Wye (Kent) in December 1953. The label fragments on the frame may have been cut from this exhibition programme. The central figure in red is Joseph himself and he bears some resemblance to the Joseph in the Dream and the Pit. His famous coat of many colours was stolen from him by his brothers but clearly he still has a liking for colourful clothing. Seen from above in quarter-profile he also strongly resembles Dunbar’s husband Roger Folley a horticultural economist then working at Oxford University. Genesis 40: 1-7 tells how Joseph then in Egypt and falsely accused of rape was thrown into the captain of the guard’s prison. He was later joined by Pharaoh’s butler and baker - the two recumbent figures in the painting - and because he had proved himself to be an able and reliable person a ‘trusty’ as one might say the guard captain put him in charge of the butler and baker. Dunbar shows him serving them with sheep’s milk or something similar. She pinpoints the very day: it’s morning (the dawn sky through the window) Joseph comes into their cell and observes that they are sad. He asks why and they tell him they’ve had disturbing dreams and the correct interpretation of these dreams is what enables Joseph’s eventual release. Joseph is equated with providing for mankind something very important in Dunbar’s canon of beliefs and as a devout Christian Scientist. Later in the story he provides for his entire famine-stricken family symbolising the Jewish nation. Dunbar sometimes casts the same mantle of provider on her husband Roger Folley in the context of his profession. It’s not as cleanly finished as the other two Joseph pictures but it has an energy and a lyricism of its own not shared to the same extent by its two predecessors. The signature is virtually identical with the signature on Joseph in the Pit. We are Grateful to Mr Christopher Campbell-Howes for his help in the cataloguing of this lot.
![‡Mary Fedden OBE RA (1915-2012)Still life Lansdowne Crescent [Bath]Signed and dated 1981 also signed and titled on a label ve](https://cdn.globalauctionplatform.com/803f71da-cea8-4f2f-8504-a998012b64af/5d4d8210-00d3-4285-83ee-a99a00a87af5/468x382.jpg)
Lot 412
‡Mary Fedden OBE RA (1915-2012)Still life Lansdowne Crescent [Bath]Signed and dated 1981 also signed and titled on a label versoOil on canvas51 x 61cmSee lots 75104 105 and 413 by the same hand++Unlined some cracking and lifting to paint surface in the white plate and the white jug with one or two tiny flecks of paint loss in the left side of theplate some lighter cracking in other areas
Lot 77
‡Barbara Vanhove (Belgian b.1947)Still life of greengages and a rummerSignedOil on board60 x 50cmLots 48 to 80 - Property from the Collection of Sir Jeremy Lever KCMG QC MA FRSA++A single scratch in the drapery varnish possibly a little yellowed and patchy in places otherwise good condition
Loading...-
77111 item(s)/page