A small footed Sèvres bowl (compotier rond), possibly from the 'service Liliacées', dated 1825Decorated with a pale blue-ground band around the rim with a transfer-printed brown border of liliaceous plants and butterflies, below a gilt foliate border interspersed with stylised blue flowerheads and above a gilt Vitruvian scroll band, the centre with a gilt star motif, 18.3cm diam., interlaced LL monogram enclosing a fleur-de-lys above Sevres/25 stencilled in blue, MC 26.mai.25 in gilding, a.n in gilding, 55 Fth in iron-red, incised SD and 20-12Footnotes:The rare 'service Liliacées' was amongst the first at the manufactory to include tranfer-printed borders. It was chosen on 3 January 1820 for King Louis XVIII's table at the Palais des Tuileries and entered the sale records on 17 April 1820 (see T. Préaud, The Sèvres Porcelain Manufactory - Alexander Brongniart and the Triumph of Art and Industry 1800-1847 (1997), pp. 230f, no. 49). Many replacements were provided thereafter. The original design for the border by Jean-Charles-François Leloy can be found in the archives (inv. no. D§51819n°6).The small footed bowl in the present lot is almost identical in decoration to the dessert service pieces of the 'service Liliacées. However, there are subtle differences in the transfer-printed border, such as small butterflies replacing the birds perched on the plants.For further information on this lot please visit Bonhams.com
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Four Meissen groups emblematic of the Senses, 19th centuryAfter the models by J.C. Schönheit from 1772, two of the same model emblematic of Touch, one outside-decorated, the other two emblematic of Smell and Taste, each with a table with their respective attributes, the bases moulded with friezes edged in gilding, 16.5cm - 13.5cm high, crossed swords marks in underglaze-blue, one with - in underglaze-blue, incised model numbers E.2, E4 and E5 to three, impressed numerals, painter's marks to two (some chips) (4)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A Meissen coffee pot and cover, circa 1735Decorated with a large chinoiserie scene on each side within a gilt scrollwork cartouche filled with Böttger lustre and embellished with iron-red scrollwork, swags and trellis panels, depicting on one side, five figures seated around a table, the reverse with four figures watching a monkey holding a bird, further painted with sprigs of indianische Blumen below a gilt foliate scrollwork border around the rim, the cover with three chinoiserie vignettes and a burnished gilt rim and finial, 20cm high, crossed swords mark in underglaze-blue to coffee pot, gilt numeral 12. to both, incised x (for J.C. Pietzsch or J.D. Rehschuh) to coffee pot (2)Footnotes:Provenance:Anon. sale, Sotheby's Zürich, 1 June 1994, lot 98;Anon. sale, Sotheby's New York, 15 October 1996, lot 463;Said and Roswitha Marouf Collection, sold in these Rooms, 5 December 2012, lot 30Literature:Ulrich Pietsch, Passion for Meissen (2010), no. 43Details from the chinoiserie scenes on the coffee pot were taken from the Schulz Codex, plate 37.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A Meissen plate from the 'Brühl'sche Allerlei' service, circa 1746Modelled by Johann Friedrich Eberlein with a pierced rim with alternating panels of trellis and flowers, the latter finely painted in enamels, the well painted with a radish and a turnip and two flower sprays, gilt-edged rim, 26.4cm diam., crossed swords mark in underglaze-blue, impressed 21 (small restuck section to rim)Footnotes:Provenance:Heinrich Graf von Brühl (1700-1763);The Hoffmeister Collection, Hamburg, acquired in 1979;Sold from the above in these Rooms, part III, 24 November 2010, lot 72Literature:D. Hoffmeister, Meissen Porzellan des 18. Jahrhunderts Sammlung Hoffmeister (1999), I, no. 226Exhibited:Hamburg, Museum für Kunst und Gewerbe, 1999-2009The 'Brühlsche Allerlei' service was one of the most magnificent table services made at the Meissen manufactory and is comparable in scale and ambition to the better-known Swan Service. The service has been thoroughly discussed by Johanna Lessmann, Das 'Brühlsche Allerlei' Ein Service für Heinrich Graf von Brühl, in U. Pietsch (ed.), Schwwanenservice (2000), pp. 106-123. The service originally comprised over 2000 pieces, including dinner, dessert and coffee services, and at Brühl's death in 1763, still included 145 soup plates and 269 dinner plates. Most of the modelling work on the service appears to have been done by J.F. Eberlein and J.G. Ehder, whose work records include numerous references to the service.Eberlein's work report for September 1746 notes: 'Einen runden Teller mit dem Gräffl. Brühlischen Dessein zum durchbrechen, zur Gräffl. Brühlischen Conditorey' (a circular plate with Count Brühl's design for piercing, to Count Brühl's Confectionary) (quoted by Lessmann, op.cit, p. 208). One hundred and forty-four such pierced plates from the dessert service were recorded in the inventory of the service after Brühl's death (Lessmann 2000, p. 107). Another dessert place from the service was sold in these Rooms from the Hoffmeister Collection (no. 225), 26 May 2010, lot 64.Saleroom notices:Please note, there are two professionally restuck sections to the pierced rim. Please see full condition report online.For further information on this lot please visit Bonhams.com
A large Dutch Delftware plaque, circa 1740-60The shaped oval cartouche with four medallions depicting two men standing beside a large baluster vase, leaning over a table with teawares and a pipe, in conversation with two seated ladies, alternating with two oval medallions of oriental flowers against a floral scrollwork border, the central medallion with a chinoiserie scene after a Chinese Kangxi example of two long Eliza figures near a small boy, one holding a rabbit, a man looking out at them from a window, 43cm high (typical minimal chips to the rim)Footnotes:For an identical scene on a Delft plaque in the Musée Art et Histoire Bruxelles (formerly the Musée du Cinquantenaire) see F. Hudig, Delfter Fayence (1929), plate 205, p.213.For further information on this lot please visit Bonhams.com
Debbie Urquhart Flower and Eggs, 2023 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About The starting point for me is always nature. I select from the colours and shapes that I see and I make paintings.it is a process that I have been working on my whole life and it is always evolving towards the simplification and abstraction of what I see. Education Newcastle University, graduating in 1995 Select Exhibitions/Awards Windsor and Newton young artist award 2001 and 2002. Solo exhibitions at the Nine British Art gallery, 20th Century Gallery, Messum's and the Redfern gallery. Many mixed exhibitions, with plans to exhibit work next year at the Portland gallery, London Statement about AOAP Submitted Artwork These paintings are images of a pink primula on a table with a bowl of eggs. This is a very familiar subject matter for me. I enjoy the colours and design that the objects lend themselves to. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Chris Stevens Young Blood, 2023 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Chris Stevens studied Fine Art at the University of Reading. He is a figurative painter who has exhibited regularly since graduating in 1978. His studio is in the South of France where he spends most of his time. His solo exhibitions include the PM Gallery, London, Smelik & Stokking and Galerie Rademakers in Amsterdam, the GlynnVivian Museum & Art Gallery, Swansea and the Howard Gardens Gallery, Cardiff. Group shows include REALITY, with artists such as Lucien Freud, David Hockney and Walter Sickert, Fussball in Der Kunst, with Andy Warhol and Marcus Lupertz in Germany, the BP Portrait Award at the National Gallery London, and Heads at Flowers East, London. He has been a prize winner in the BP Portrait Award, 50 over 50 and more recently in the Painted Faces exhibition organised by the Saatchi Gallery. He has also undertaken Arts Council residencies at Sunderland Football Club and Birmingham International Airport. He has work in public and private collections including the Victoria & Albert Museum, The National Gallery of Wales, Unilever, Galerija Portreta, Bosnia & Hertzegovena and many private collections in UK, South Africa, USA and Europe. Education University of Reading, Fine Art Select Exhibitions/Awards 2022. Art Contemporain, EXPO Internationale Maison Gramont, Fanjeaux, France Amplitudes, Maison de la Chartité, Caunes Minervois, France Affinities, L'Ecurie, Caunes Minervois, France La Table Des Vignirons, Trausse Minervois, France 2021. Painting of the year, EuropArtFair, Westergas, Amsterdam Major Figures, Saatchi Art. 2020 du 9 à Caunes, Caveaux de l'Abbaye, Caunes Minervois, France You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Laurence Noga Soft Green Filtered Red 2/-, 2023 Acrylic, Vintage papers and collage on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About I am interested in peripheral associations and imperfect colour relationships interplayed through an industrial and geometric aesthetic. Personal themes and undercurrents and a sense of history comes from collective and individual memories. Many of the elements in my work are from my father's collection of objects and memorabilia in his garage - hundreds of tools, sheet music, packets, washers, menus, books and photographs. Their selection and use activates an open approach reliant on the environment and experimentation, alongside a human response to the mysterious, and forgotten items and their poetic sense of history. A long term interest in the "Bauhaus' particularly Moholy Nagy, Josef Albers and Paul Klee drives the unpredictability/predictability of the colour handling. These relationships aim to disorientate the viewer, as surface facture is used translucently, or with a sudden density. The colour is often disbursed, or used in compartments, to create a deliberate, and odd depth of field. Education Wimbledon College of Art in 1981 - 4, Byam Shaw (Central St Martins) 1990 -1. Select Exhibitions/Awards 2023 Die Wat Spaart Die Wat Heeft - Robert Drees Gallery Hanover The New Accelerator Ruskin Gallery Cambridge (Co - Curated project), A little Closer the Bindery Aleph Contemporary London. 2022 Strange Windows (the found and forgotten) Solo Show, Standpoint Gallery London, Small is Beautiful Flowers Gallery London, The aesthetics of enchantment in abstract art Aleph Contemporary The In and Out Club London, Tension Gallery Paste Table London, Saturation Point Projects Sunday Salon 21 Solo Show London. 2021Aleph Contemporary at Home House, April - September London. RA Summer show 2021, 'The poetics of obsolescence' with Aleph Contemporary London, Shape Chroma Tension Gallery 2021 London, Then and Now, Terrace Gallery, London, 2020: Covimetry an international exhibition of current trends in geometric art - BWA Gallery, Ostrowiec Swietokrzyski, Poland 4/12 - 31/12/20, Multilayer vision 20/20 curated by Juliane Rogge and Ivo Ringe - Raum Schroth, Museum Wilhelm Morgnet Soest. 11 /10 - 31/1/21. 2019 Possible Architectures Stephen Lawrence Gallery, University of Greenwich, London, Collision Drive 3 RMIT Gallery Melbourne Australia, Panel paintings 3 : Diptych, Eagle Gallery London, Playtime (2019) curated by Sharon Hall at Arthouse 1 London. 2018 John Moores Painting Prize Walker Art Gallery Liverpool Gallery Representation Aleph Contemporary London Statement about AOAP Submitted Artwork Layers of acrylic, collage, and found items, are combined in grids and pattern in a semi intuitive process. I am exploring a personal iconography and phenomenology and how that can be important within both memory and place: such as the look and feel of my mother's musty sheet music collection from her time as a jazz vocalist in clubs and dance bands, or the crumpled menus (some with hand written changes) from the Caprice restaurant that my father worked at for many years. The colour is built up through close colour tones in an intimate and personal way, through transparency and opacity allowing the surface of the paint to permeate structure. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Debbie Urquhart Primula and Eggs, 2023 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About The starting point for me is always nature. I select from the colours and shapes that I see and I make paintings.it is a process that I have been working on my whole life and it is always evolving towards the simplification and abstraction of what I see. Education Newcastle University, graduating in 1995 Select Exhibitions/Awards Windsor and Newton young artist award 2001 and 2002. Solo exhibitions at the Nine British Art gallery, 20th Century Gallery, Messum's and the Redfern gallery. Many mixed exhibitions, with plans to exhibit work next year at the Portland gallery, London Statement about AOAP Submitted Artwork These paintings are images of a pink primula on a table with a bowl of eggs. This is a very familiar subject matter for me. I enjoy the colours and design that the objects lend themselves to. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Chris Stevens Adams, 2023 Oil on linen Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Chris Stevens studied Fine Art at the University of Reading. He is a figurative painter who has exhibited regularly since graduating in 1978. His studio is in the South of France where he spends most of his time. His solo exhibitions include the PM Gallery, London, Smelik & Stokking and Galerie Rademakers in Amsterdam, the GlynnVivian Museum & Art Gallery, Swansea and the Howard Gardens Gallery, Cardiff. Group shows include REALITY, with artists such as Lucien Freud, David Hockney and Walter Sickert, Fussball in Der Kunst, with Andy Warhol and Marcus Lupertz in Germany, the BP Portrait Award at the National Gallery London, and Heads at Flowers East, London. He has been a prize winner in the BP Portrait Award, 50 over 50 and more recently in the Painted Faces exhibition organised by the Saatchi Gallery. He has also undertaken Arts Council residencies at Sunderland Football Club and Birmingham International Airport. He has work in public and private collections including the Victoria & Albert Museum, The National Gallery of Wales, Unilever, Galerija Portreta, Bosnia & Hertzegovena and many private collections in UK, South Africa, USA and Europe. Education University of Reading, Fine Art Select Exhibitions/Awards 2022. Art Contemporain, EXPO Internationale Maison Gramont, Fanjeaux, France Amplitudes, Maison de la Chartité, Caunes Minervois, France Affinities, L'Ecurie, Caunes Minervois, France La Table Des Vignirons, Trausse Minervois, France 2021. Painting of the year, EuropArtFair, Westergas, Amsterdam Major Figures, Saatchi Art. 2020 du 9 à Caunes, Caveaux de l'Abbaye, Caunes Minervois, France You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Christie Bird Fruit Bowl I, 2023 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Christie Bird was born in 1970 in the British Virgin Islands. This tropical childhood formed her earliest influences including watching her mother paint large, water colour still lives on the kitchen table. After Art Foundation at the School of Museum of Fine Arts in Boston, U.S.A., Christie moved to London to work as a muralist and set painter. She now paints full time from her home near the sea in Freshwater Bay, Isle of Wight. Christie's gesso-based still lives are easily influenced by the shingle beach and fields of wildflowers nearby, but perhaps the light and colours of her childhood on Tortola remain her most important influence. Education Art Foundation at the School of Museum of Fine Arts in Boston, U.S.A. Select Exhibitions/Awards Sunday Times Watercolour Exhibition 2016 RWS Contemporary Watercolour Exhibition 2014, 2016, 2017, 2018 Royal Academy Summer Exhibition 2014 Royal Academy Summer Exhibition 2008, 2009, 2011 Sunday Times Watercolour Exhibition 2010 Awards RWS Exhibitions Award 2018 Elected associate member of the Royal Watercolour Society 2018 You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Christie Bird Fruit Bowl I, 2023 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Christie Bird was born in 1970 in the British Virgin Islands. This tropical childhood formed her earliest influences including watching her mother paint large, water colour still lives on the kitchen table. After Art Foundation at the School of Museum of Fine Arts in Boston, U.S.A., Christie moved to London to work as a muralist and set painter. She now paints full time from her home near the sea in Freshwater Bay, Isle of Wight. Christie's gesso-based still lives are easily influenced by the shingle beach and fields of wildflowers nearby, but perhaps the light and colours of her childhood on Tortola remain her most important influence. Education Art Foundation at the School of Museum of Fine Arts in Boston, U.S.A. Select Exhibitions/Awards Sunday Times Watercolour Exhibition 2016 RWS Contemporary Watercolour Exhibition 2014, 2016, 2017, 2018 Royal Academy Summer Exhibition 2014 Royal Academy Summer Exhibition 2008, 2009, 2011 Sunday Times Watercolour Exhibition 2010 Awards RWS Exhibitions Award 2018 Elected associate member of the Royal Watercolour Society 2018 You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Laurence Noga Soft Grey Filtered Red (Ronnie Hilton), 2023 Acrylic, Vintage papers and collage on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About I am interested in peripheral associations and imperfect colour relationships interplayed through an industrial and geometric aesthetic. Personal themes and undercurrents and a sense of history comes from collective and individual memories. Many of the elements in my work are from my father's collection of objects and memorabilia in his garage - hundreds of tools, sheet music, packets, washers, menus, books and photographs. Their selection and use activates an open approach reliant on the environment and experimentation, alongside a human response to the mysterious, and forgotten items and their poetic sense of history. A long term interest in the "Bauhaus' particularly Moholy Nagy, Josef Albers and Paul Klee drives the unpredictability/predictability of the colour handling. These relationships aim to disorientate the viewer, as surface facture is used translucently, or with a sudden density. The colour is often disbursed, or used in compartments, to create a deliberate, and odd depth of field. Education Wimbledon College of Art in 1981 - 4, Byam Shaw (Central St Martins) 1990 -1. Select Exhibitions/Awards 2023 Die Wat Spaart Die Wat Heeft - Robert Drees Gallery Hanover The New Accelerator Ruskin Gallery Cambridge (Co - Curated project), A little Closer the Bindery Aleph Contemporary London. 2022 Strange Windows (the found and forgotten) Solo Show, Standpoint Gallery London, Small is Beautiful Flowers Gallery London, The aesthetics of enchantment in abstract art Aleph Contemporary The In and Out Club London, Tension Gallery Paste Table London, Saturation Point Projects Sunday Salon 21 Solo Show London. 2021Aleph Contemporary at Home House, April - September London. RA Summer show 2021, 'The poetics of obsolescence' with Aleph Contemporary London, Shape Chroma Tension Gallery 2021 London, Then and Now, Terrace Gallery, London, 2020: Covimetry an international exhibition of current trends in geometric art - BWA Gallery, Ostrowiec Swietokrzyski, Poland 4/12 - 31/12/20, Multilayer vision 20/20 curated by Juliane Rogge and Ivo Ringe - Raum Schroth, Museum Wilhelm Morgnet Soest. 11 /10 - 31/1/21. 2019 Possible Architectures Stephen Lawrence Gallery, University of Greenwich, London, Collision Drive 3 RMIT Gallery Melbourne Australia, Panel paintings 3 : Diptych, Eagle Gallery London, Playtime (2019) curated by Sharon Hall at Arthouse 1 London. 2018 John Moores Painting Prize Walker Art Gallery Liverpool Gallery Representation Aleph Contemporary London Statement about AOAP Submitted Artwork Layers of acrylic, collage, and found items, are combined in grids and pattern in a semi intuitive process. I am exploring a personal iconography and phenomenology and how that can be important within both memory and place: such as the look and feel of my mother's musty sheet music collection from her time as a jazz vocalist in clubs and dance bands, or the crumpled menus (some with hand written changes) from the Caprice restaurant that my father worked at for many years. The colour is built up through close colour tones in an intimate and personal way, through transparency and opacity allowing the surface of the paint to permeate structure. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Four pieces of George III and later silver, comprising a George III silver table spoon, with initial to handle, rubbed maker's marks, possibly Peter & William Bateman, London 1807, 21.7cm long, a George III pair of sugar nips, with bright cut decoration with initial 'ET', rubbed maker's marks, London 1809, 13.7cm long, a William IV pair of sugar nips, Benoni Stephens, London 1834, 14cm long, and a small Victorian milk jug, 7cm high. (1 bag)
An Egyptian painted wood anthropoid coffin for the lady Irtwrw Third Intermediate Period-Late Period, circa 25th-26th Dynasty, circa 747-525 B.C.173cm highFootnotes:Provenance:with Jacques Schulman N.V., Amsterdam.Bodo Bleß (1940-2022) collection, Berlin, acquired from the above on the 2nd September 1965.The gilded face of the coffin links the deceased with the sun god and regeneration. Below there is a large elaborate collar with a sun disc beneath.The front of the coffin: The upper register is painted with a central seated Osiris, with text reading: 'Words spoken by Osiris, great god, lord of Rostjau'. To the right the Four Sons of Horus are depicted on a lotus, with the falcon-headed soul of Pe behind. Behind Osiris over an offering table there is another winged disc protecting the god and also protecting him is his wife, Isis, with text reading: 'Words spoken by Isis'. Behind her is Nephthys, with a red cloth over her arm, with text reading:'Words spoken by Nephthys, given life'. Behind is the jackal-headed soul of Nekhen. Both Pe and Nekhen are named in the register below.The second register shows a seated falcon-headed deity wearing a sun disc, named as Osiris. He is flanked by winged goddesses and wedjats on a basket: both the goddesses are named as Isis. On the right she is 'given life', on the left called 'the great'. To the right a standing falcon-headed god with arms in gesture of jubilation with text reading: 'Words spoken by the Soul of Pe,given life, stability, all dominion, health for ever'. On the left a standing jackal-headed god in a mirror posture, named as 'Soul of Nekhen, given life, stability, dominion, health'. They are the protective deities of Lower and Upper Egypt respectively.In the third register Anubis tends the mummy on a lion-headed funerary bed with the deceased woman's name below, 'Irtwrw'. To the right stands winged Isis, named as 'the great land divine mother', and to the left there is another winged Isis with a wedjat on a basket, named 'the great [...]'.The lowest panel shows a winged Wadjyt and winged Nekhbet flanking a central column of text. The cobra-headed Wadjyt is named as 'Wadjyt of Dep and Pe (the double capital of Lower Egypt), mistress of per-nw (a Lower Egyptian sanctuary), given all life, stability, dominion, dominion forever'. Nekhbet is represented with a cobra head, with text naming, 'The White One'; the other epithets are missing. The central text reads: 'An offering which the king gives to Osiris foremost of the West, invocation offering of bread and beer for the Osiris'.The back of the coffin is decorated with the standing winged figure of the goddess Nut, with the three hieroglyphs naming her in front of her face. The goddess wears a long close-fitting sheath dress and bracelets, and holds maat feathers in her hands. The field is filled by palm fronds.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
* ETHEL WALKER (SCOTTISH b. 1941), BLACK TULIPS AND SILVER oil on board, signed, further signed, titled and dated 2008 labels versoframedimage size 42cm x 42cm, overall size 60cm x 60cm Handwritten artist's label versoLabel verso: The Gatehouse Gallery, Glasgow Note: Ethel Walker was born in Ayrshire, Scotland, in 1941. She graduated from the Glasgow School of Art in 1964 where she had been taught by David Donaldson, once the Queen's portrait painter. Beginning her career as a teacher, by the age of twenty-seven she was a full-time artist. Walker is one of the most successful female painters working in Scotland today. Her talent in capturing the ever-changing light of the Scottish landscape is outstanding, and her subtle but strong still life paintings are highly-prized. Work is held in many public and corporate collections worldwide, including the Royal Bank of Scotland and Sara Lee Holdings. In The Scottish Contemporary Art Auction of 12th September 2021 "The Silver Table" (lot 562), a large mixed media by Ethel Walker sold for £2600 (hammer)
Umberto Mascagni Coffee Table. 1950s Italian cream vinyl clad glass topped coffee table, of rectangular form, on tapering black cylindrical legs, purchased in Harrods. Measures 42" x 18" x 16". Together with matching nest of three tables, largest measures 23" wide x 20" high x 15.5" deep.
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