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 300
Vernon Ward (British 1905-1985) 'Still life with red and yellow roses'Oil on canvas, signed, 42cm x 54cm, framed. CONDITION REPORT: Stretcher bar has cracking to the vertical edges Possibly re-varnished, under UV has a patchy green remnants of a natural varnish.Painting has been viewed under UV light, and shows an area of over painting in the top right hand corner.
Lot 1160
Karl Heiner (20th century) Austrian, ''Still life'' and ''Antique Flowers'' each signed, oil on panel, 28cm by 23cm (2) Provenance: Frost and Reed Ltd, LondonEach in an overall good state of preservation. Covered in a thin layer of dirt and discoloured varnish. The example with the variegated tulip to the centre has areas of vertically arranged cracquelure mostly around the centre section. Some light surface dirt and discoloured varnish. Not examined with a UV light.
Lot 212
Mary Rose. The Mary Rose. The Excavation and Rising of Henry VIII's Flagship, by Margaret Rule, 2nd edition, 1983, colour and monotone illustrations and diagrams, title inscribed "For Tim [i.e. Robert Hardy], with every good wish - I'm so sorry that our archer is still struggling against all those kilo newtons - perhaps that's why he has a deformed spine! Margaret Rule", original boards in dust jacket, 4to, together with Mary Rose: Your Noblest Shippe, Anatomy of a Tudor Warship, edited by Peter Marsden, 2009; Weapons of Warre: The Armaments of the Mary Rose, edited by Alexzandra Hildred, parts 1 & 2, 2011; Before the Mast: Life and Death Aboard the Mary Rose, edited by Julie Gardiner with Michael J. Allen, 2005; and For Future Generations, Conservation of a Tudor Maritime Collection, edited by Mark Jones, 2011, together forming volumes 2-5 of the Archaeology of the Mary Rose series, published by Oxbow Books, numerous diagrams and illustrations (some folding), original boards and limp wrappers, folio, together with a duplicate of Weapons of Warfare part 1 and Raising the Dead, The Skeleton Crew of Henry VIII's Great Ship, the Mary Rose, by A.J. Stirland, 2000, monotone diagrams and illustrations, numerous annotations and markings by Robert Hardy, original pictorial boards, 8vo (8)
Lot 239
*Dutch School. Large still life of fruit and a parrot, probably 1675-1700, oil on canvas, depicting a halved melon, peaches, raspberries in a delft bowl, bunches of grapes, oranges, and a half-peeled lemon on a silver platter, with a parrot, moths, a silver tazza, a double-handled lidded vessel, and a silver loving cup, re-lined and restored, with consequent flattening of paint surface, 55.5 x 103cm (21.74 x 40.5ins), later 19th century decorative carved frame, with accentuated corners, and the Hardy crest hand-painted on pediment Provenance: Robert Hardy Collection, 18 April 2015 (lot 168). (1)
Lot 277
*Album. 'Scraps of Friendship' by Elizabeth Ambrose of Hagloe House, Gloucestershire, circa 1825-42, containing approximately 36 original watercolours, 18 original pencil drawings, and 90 various engravings, all mounted on 70 album leaves of differing colours, many with contemporary pencil inscriptions or captions, some signed, contemporary gilt-decorated plum full morocco, rubbed and some wear, with covers detached and backstrip deficient, 4to (30 x 24 cm, 11.75 x 9.5 ins) Attractive album compiled by Elizabeth Ambrose, presumed daughter of William Ambrose (died 1843), who married Elizabeth Thomas (died 1838) in 1810. Hagloe House is located near Blakeney in Gloucestershire in the Forest of Dean, overlooking the River Severn. Watercolours in the album include: a portrait of Miss Ambrose, another of Amy Roberts, a tulip by James Jones, an urn of flowers by A.H., dated February 1832, with 8 lines of handwritten verse, a pink rose with verse by A. Harrison, another of snowdrops, a fruit still life, several other watercolours of flowers and botanical subjects, a watercolour with pencil of a young couple gathering fruit by W. Hardwick, dated 1827, an unsigned view of the Lake District, an unsigned watercolour of a peacock, a watercolour of a girl on a stile, by E.L., dated 1828, two coastal scenes by Captain McArthur [possibly John McArthur, 1791-1862, a sketcher and naval officer who commanded the naval garrison at Port Essington (Northern Territory), Australia, from 1838, and returned to England in 1850], attractive watercolour of the Hagloe Crab (a cider apple regarded in the 18th century as second only to the stire), and a watercolour of smugglers in a cave. Drawings include: Silhouette profiles of the Ladies of Llangollen by A.H., a view of Abe Bridge, by Jno. Coleman, a pencil view of Valle Crucis, a fine miniature calligraphic design of the Lord's Prayer and Apostle's Creed, a moonlight scene of boats and windmill, a study of eggs, another of a yacht, a view of Hagloe, by A.E.E., dated August 10th, 1842, and two further pencil views of an island castle and moor on horseback, a view of Kirkstall Abbey, a landscape sketch by William Varley (1785-1858), dated 1825, presented to Miss Roberts with the artist's respects, June 8, 1825, three small views, probably of Hagloe, and a pencil study entitled The Cousins (on Turnbull's Super Fine London Board). Prints include: a colour lithograph title (published by G. Tregear), a lithographic view of Goodrich Court, published by G. Rowe, Cheltenham, lithographic view of Henbury Church, another of Cardiff Castle, four lithographic views of the River Avon, nine small lithographic views of Blaise Hamlet, a coloured engraving of Spanish peasant boys by J. Rogers after Murillo, published by J. McCormick, and another similar portrait of Napoleon by W. Nicholas after David, two colour lithographs of Indian birds, several Baxter prints, two colour lithographs of game birds, four colour lithographs of deer, etc. (1)
Lot 403
*Roeters van Lennep (Catherine Julia, 1813-1883). Still Life of Fruit and Flowers on a Marble Ledge, 1826, oil on wood panel, signed 'R V Lennep fecit 1826' to centre right margin, with Parker Gallery printed label to verso, 20.7 x 28 cm (8.2 x 11 ins), old gilt moulded frame An early work by the Dutch still life painter Catharina Julia Roeters van Lennep, known as Catharina de Vries after her marriage to the lawyer Jeronimo de Vries in 1836. (1)
Lot 460
*De Morgan (Evelyn, 1855-1919). Male nude playing a pipe, charcoal on paper, full-length seated male nude wearing a loin cloth, with face in profile turned to left, playing a pipe, dusty, damp-stain to upper right blank corner, very small hole above left shoulder, verso with another sketch of a full-length seated male nude, edge-frayed and with pin-holes at corners, sheet size 62 x 46cm (24.5 x 18ins), together with two other similar-sized charcoal drawings on paper of the same model, both full-length, one showing him playing a pipe in a different attitude, the other showing him reclining, both with some dust and water-soiling, and frayed at edges, lower right corner of latter with name of 'Emilie I. Barrington' and 'E. Barrington' in charcoal and pencil in the artist's hand, plus two others similar of different male models These highly accomplished drawings were executed whilst Evelyn De Morgan was a student at the Slade School of Art. Evelyn enrolled at the Slade in 1873 - one of the first three women to enrol - after spending a short time at the South Kensington National Art Training School. Study of the living model was considered of paramount importance to the education of each student at the Slade, and Evelyn's life drawings from this period demonstrate a level of skill and understanding of the human anatomy surprising for one so young. Her skilful draughtsmanship was acknowledged by numerous awards which she received during her time at the Slade, including equal first prize for drawing from life in 1875. The De Morgan Foundation holds a number of similar life drawings by Evelyn. Interestingly they are in similar condition to those offered here, so it seems safe to assume that the drawings were neglected relatively early on in their existence and perhaps whilst still in the possession of the artist (who may have placed little importance on the work of her student days). A forceful and highly-strung woman, Emilie Barrington was an art critic and novelist chiefly remembered for her biographies of G.F. Watts and Frederic Leighton. She was an amateur artist herself, taking drawing lessons from Arthur Hughes, and she quite determinedly assimilated herself into the artistic and literary circles of the day. It is curious that Mrs. Barrington's name appears on one of the studies offered here; there appears to be little known about her relationship with the De Morgans, although we do know that Evelyn, accompanied by the writer Violet Paget, went to lunch at Emilie Barrington's in 1883, after which they visited the studios of Watts and Leighton. (5)
Lot 466
*De Morgan (Evelyn, 1855-1919). Tonal study of Michaelangelo's Dying Slave, charcoal on paper, depicting a male nude sculpture (with strategically placed fig leaf), sheet lengthened slightly (by artist) with additional piece joined to top edge, some minor dust-soiling and small stains, mainly to frayed top and bottom edges, large pencil annotation '1st' to left margin, signed 'E Pickering' lower right, sheet size 66 x 34cm (26 x 13.5ins), together with Tonal study of one of Michaelangelo's Sistine Chapel Ignudi, charcoal on paper, depicting a seated male nude in profile, some soiling, pin holes at corners, right-hand edge unevenly trimmed and frayed, two 2" tears in top edge, sheet size 61 x 41cm (24 x 16ins), plus Study of Michaelagelo's Adam from the Sistine Ceiling, pencil on paper, heightened with charcoal, laid down on two thicknesses of paper, showing Michaelangelo's reclining male nude with outstretched arm, sheet size 38 x 47.5cm (15 x 18.75ins) These astonishingly confident drawings were executed by Evelyn De Morgan when she was still a young student at the Slade School of Art. She would almost certainly have drawn the 'Dying Slave' from Monsieur Toquiere's plaster cast in the V&A, which was made from Michaelangelo's original in 1863. Evelyn was one of the first three women students at the Slade when she enrolled in 1873 aged just 17. Whilst life study was considered of paramount importance, study from the antique as well as from Old Masters was also considered a vital part of the students' education. The De Morgan Foundation holds several such studies of classical sculpture by Evelyn. These drawings display her technical virtuosity, showing her skilful use of texture and shading to create light, shadow and three-dimensional form. Her assured draughtsmanship was acknowledged by numerous awards from the Slade including first prize for her 'Dying Slave'. These early works foreshadow a lifetime preoccupation with studying the human form, the portrayal of which was such a key aspect of Evelyn De Morgan's idiom. (3)
Lot 550
*@Gillchrest (Joan, 1918-2008). Fruit Selection, oil on board, signed with initials lower right, inscribed to verso in pencil 98/59 Fruit Selection, and with handwritten label by the artist to verso 'J G Still life Joan Gillchrest', 26 x 42 cm (10.25 x 16.5 ins), framed and glazed Provenance: Private Collection, Wiltshire. (1)
Loading...-
77111 item(s)/page