John Rosser, 'Across the beach before Bournemouth', signed gouache, 50cm x 60cm. Provenance: collection consigned directly from the artist. John Rosser: Rosser trained at the Watford School of Art and went on to paint in London with the Francis Bacon as his mentor. As a distinguished member of the Royal Institute of Oil Painters, he has exhibited widely at the Royal Academy and Paris Salons. Rosser has a national following of collectors and is widely known for his en plein air style of painting outdoors. He works in a variety of mediums from pen and ink to oil, acrylic, gouache and watercolour, varying from landscapes to seascapes and figurative. This collection features a wide variety of his works spanning his lifetime including the darker more abstract works of the 1940s and 1950s, as well as the later and brighter more Impressionistic works and seascapes from his current home in Poole. His work was exhibited in the recent retrospective 'John Rosser - Sleeping With Francis Bacon' held at the Ebury Galleries in London in 2009.
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John Rosser, 'Beach Polo', signed and dated 14', gouache, 39cm x 38cm. Provenance: collection consigned directly from the artist. John Rosser: Rosser trained at the Watford School of Art and went on to paint in London with the Francis Bacon as his mentor. As a distinguished member of the Royal Institute of Oil Painters, he has exhibited widely at the Royal Academy and Paris Salons. Rosser has a national following of collectors and is widely known for his en plein air style of painting outdoors. He works in a variety of mediums from pen and ink to oil, acrylic, gouache and watercolour, varying from landscapes to seascapes and figurative. This collection features a wide variety of his works spanning his lifetime including the darker more abstract works of the 1940s and 1950s, as well as the later and brighter more Impressionistic works and seascapes from his current home in Poole. His work was exhibited in the recent retrospective 'John Rosser - Sleeping With Francis Bacon' held at the Ebury Galleries in London in 2009.
John Rosser, 'Interior with figure and the Edge with Roses', signed and dated 2015, gouache, 19cm by 26cm. Provenance: collection consigned directly from the artist. John Rosser: Rosser trained at the Watford School of Art and went on to paint in London with the Francis Bacon as his mentor. As a distinguished member of the Royal Institute of Oil Painters, he has exhibited widely at the Royal Academy and Paris Salons. Rosser has a national following of collectors and is widely known for his en plein air style of painting outdoors. He works in a variety of mediums from pen and ink to oil, acrylic, gouache and watercolour, varying from landscapes to seascapes and figurative. This collection features a wide variety of his works spanning his lifetime including the darker more abstract works of the 1940s and 1950s, as well as the later and brighter more Impressionistic works and seascapes from his current home in Poole. His work was exhibited in the recent retrospective 'John Rosser - Sleeping With Francis Bacon' held at the Ebury Galleries in London in 2009.
John Rosser, 'Windy Day, Sandbanks', signed dated 2014, gouache, 49cm x 60cm. Please Note - Lot Number in printed catalogue is incorrect.Provenance: collection consigned directly from the artist. John Rosser: Rosser trained at the Watford School of Art and went on to paint in London with the Francis Bacon as his mentor. As a distinguished member of the Royal Institute of Oil Painters, he has exhibited widely at the Royal Academy and Paris Salons. Rosser has a national following of collectors and is widely known for his en plein air style of painting outdoors. He works in a variety of mediums from pen and ink to oil, acrylic, gouache and watercolour, varying from landscapes to seascapes and figurative. This collection features a wide variety of his works spanning his lifetime including the darker more abstract works of the 1940s and 1950s, as well as the later and brighter more Impressionistic works and seascapes from his current home in Poole. His work was exhibited in the recent retrospective 'John Rosser - Sleeping With Francis Bacon' held at the Ebury Galleries in London in 2009.
John Rosser, 'From the Shaw Nearby', unsigned gouache, 20cm by 30cm. Provenance: collection consigned directly from the artist. John Rosser: Rosser trained at the Watford School of Art and went on to paint in London with the Francis Bacon as his mentor. As a distinguished member of the Royal Institute of Oil Painters, he has exhibited widely at the Royal Academy and Paris Salons. Rosser has a national following of collectors and is widely known for his en plein air style of painting outdoors. He works in a variety of mediums from pen and ink to oil, acrylic, gouache and watercolour, varying from landscapes to seascapes and figurative. This collection features a wide variety of his works spanning his lifetime including the darker more abstract works of the 1940s and 1950s, as well as the later and brighter more Impressionistic works and seascapes from his current home in Poole. His work was exhibited in the recent retrospective 'John Rosser - Sleeping With Francis Bacon' held at the Ebury Galleries in London in 2009.
John Rosser, 'Bandstand a pier Brighton' signed gouache 20cm x 26cm. Provenance: collection consigned directly from the artist. John Rosser: Rosser trained at the Watford School of Art and went on to paint in London with the Francis Bacon as his mentor. As a distinguished member of the Royal Institute of Oil Painters, he has exhibited widely at the Royal Academy and Paris Salons. Rosser has a national following of collectors and is widely known for his en plein air style of painting outdoors. He works in a variety of mediums from pen and ink to oil, acrylic, gouache and watercolour, varying from landscapes to seascapes and figurative. This collection features a wide variety of his works spanning his lifetime including the darker more abstract works of the 1940s and 1950s, as well as the later and brighter more Impressionistic works and seascapes from his current home in Poole. His work was exhibited in the recent retrospective 'John Rosser - Sleeping With Francis Bacon' held at the Ebury Galleries in London in 2009.
John Rosser, Five life studies all circa 1950, gouaches, the largest 55cm x 35cm. Provenance: collection consigned directly from the artist. John Rosser: Rosser trained at the Watford School of Art and went on to paint in London with the Francis Bacon as his mentor. As a distinguished member of the Royal Institute of Oil Painters, he has exhibited widely at the Royal Academy and Paris Salons. Rosser has a national following of collectors and is widely known for his en plein air style of painting outdoors. He works in a variety of mediums from pen and ink to oil, acrylic, gouache and watercolour, varying from landscapes to seascapes and figurative. This collection features a wide variety of his works spanning his lifetime including the darker more abstract works of the 1940s and 1950s, as well as the later and brighter more Impressionistic works and seascapes from his current home in Poole. His work was exhibited in the recent retrospective 'John Rosser - Sleeping With Francis Bacon' held at the Ebury Galleries in London in 2009.
John Rosser, 'figures ' unsigned gouache, circa 1949/50, 33cm x 53cm. Please Note - Lot Number in printed catalogue is incorrect.Provenance: collection consigned directly from the artist. John Rosser: Rosser trained at the Watford School of Art and went on to paint in London with the Francis Bacon as his mentor. As a distinguished member of the Royal Institute of Oil Painters, he has exhibited widely at the Royal Academy and Paris Salons. Rosser has a national following of collectors and is widely known for his en plein air style of painting outdoors. He works in a variety of mediums from pen and ink to oil, acrylic, gouache and watercolour, varying from landscapes to seascapes and figurative. This collection features a wide variety of his works spanning his lifetime including the darker more abstract works of the 1940s and 1950s, as well as the later and brighter more Impressionistic works and seascapes from his current home in Poole. His work was exhibited in the recent retrospective 'John Rosser - Sleeping With Francis Bacon' held at the Ebury Galleries in London in 2009.
D.S. PREZEPORIA (b.1944) OIL PAINTING FISHING BOATS DRAWN UP Signed and dated (19)72 7" x 10" (17.8 x 25.4cm) ROBIN MULLEN 20TH CENTURY MINIATURE WATERCOLOUR DRAWING HEAD OF A DALMATION DOG Signed 2" x " (5 x 5cm) and VENCENT DUCKWORTH PAIR WATERCOLOUR DRAWINGS COASTAL SCENES Heightened in white Signed 6" x 8" (15.2 x 20.3cm) (4)
GERTRUDE MARTINEAU (BRITISH 1840 - 1924), HEATHER NEAR AVIEMORE watercolour on paper, signed and titled verso 15cm x 26cm Mounted, framed and under glass Label verso: The Modern Gallery, London exhibition label; Aviemore Highlands Exhibition 1906, Catalogue No. 102, dated on label 15/3/06 Note: The watercolourist and woodcarver Gertrude Martineau, along with her younger sister Edith (1842-1909), were members of a small group of female artists associated with the Pre-Raphaelites. Although Gertrude spent much of her time in London she often visited the family's summer home in Rothiemurchus, near Aviemore, Scotland, spending her time there painting as well as teaching art and woodcarving.
JOHN DUNCAN "Wild geese", watercolour, signed bottom right CONDITION REPORTS Some yellowing and discolouration, some splashes, some wear and scuffs, thunderflies under glass, some warping to mounts, some smudging and possible re-painting where picture and mounts have become damp, appears to have had some repairs/over-painting to the picture possibly due to stains or damp, approx. size of picture 33 x 50 cm.
Japanese School, 19th Century - female figure picking prunus blossom in fenced garden, signed Genki 源琦, bearing two seals: "Genki-no-in (the seal of Genki)" and "Shion" 源琦之印、子轀, watercolour on buff paper, 21.5cm x 15.5cm, framed The painter Komai Genki (1749-1794). was a Japanese painter of the Maruyama school who lived in Kyoto. he was known to be one of Maruyama Okyo's best ten pupils. Genki specialized in painting flowers and animals. He was also celebrated for his beautiful painting of women in Chinese dress, known as "court-lady pictures", which was influenced by the then contemporary Chinese style.
A quantity of 19th century and later pictures and prints including a watercolour of an extensive mountainous landscape with figure, a coloured print of a 19th century view of the River Avon with the Clifton Suspension Bridge, 19th century oil painting on canvas of Highland Cattle in a winter landscape signed G Calvary, further pair of oil paintings of Highland cattle watering, etc
A portfolio containing a quantity of pictures and prints including a modern coloured print of a Johnny Walker Whisky advertising poster showing a 19th century style golfer, a black and white engraving after David Wilkie - The Rent Day, a study in sepia tones of a grinning child holding a lizard, etc together with a framed poster from an exhibition of the work of The Whittington Press 1979 showing an 1848 Columbian Press, a watercolour of a boxer dog, etc, further framed pictures and prints including a small oil painting of a landscape by Roy Hewish, inscribed verso - The Windmill, Kingscote, a pastel of a garden terrace signed Mary Pingle, etc
Chinese School - Watercolour/gouache on pith paper - Chained man being led before a seated dignitary, 12.5ins (312mm) x 16.25ins (412mm), framed and glazed Note : This painting has been annotated in a European hand in ink to the upper left corner - "A Chinese Padre before the Magistrate. N.B. The shorn head and full vest bespeak the condition of the culprit and his judge."
THOMAS PATERSON (19TH/20TH CENTURY) Landscape with two resting figures, a cottage in the middle distance, signed, watercolour, 35.5 x 49.5cm; and companion, a pair, 35.5 x 48cm (note size difference) (2) The latter painting with label verso for John Mathieson & Co, 48 Frederick Street, Edinburgh
Two advertising mirrors, one "Marcella Cigars, All Ranks Smoke" and a "Lorne Whiskey Greenlees Brothers Distillers" and an advertising print for "Addlestones Cider", also a small watercolour of an English country cottage and a small snow scene painting on tinfoil, signed lower right hand corner "Iris Burton, Isle of Man".
STUCKEY, Great watercolour on board painting of two WW2 Hurricane aircraft in flight, signed to bottom right and mounted. Notation by artist to rear. 36cm x 46cm incl mount. From the extensive portfolio of artist Peter J Stuckey. The entire sale featuring watercolours / oils / sketches / inks / prints and other paintings. Known for his studies of planes, ships and cycles, the sale also features graphic design artwork from his time at Westingate House. Stuckey also designed many greetings cards and some packaging (usually for auto spares) His illustrations also featured as technical drawings and blueprints during his long career. POSTAGE; UK £12.99+VAT, EUROPE £15.99+VAT, WORLDWIDE SEE WEBSITE OR CONTACT US FOR QUOTE. COMBINED POSTAGE AVAILABLE.
3 monochrome drawings and 1 watercolour painting all signed by STUCKEY, various scenes including a windmill and castle. 38cm x 26cm. From the extensive portfolio of artist Peter J Stuckey. The entire sale featuring watercolours / oils / sketches / inks / prints and other paintings. Known for his studies of planes, ships and cycles, the sale also features graphic design artwork from his time at Westingate House. Stuckey also designed many greetings cards and some packaging (usually for auto spares) His illustrations also featured as technical drawings and blueprints during his long career. POSTAGE; UK £12.99+VAT, EUROPE £15.99+VAT, WORLDWIDE SEE WEBSITE OR CONTACT US FOR QUOTE. COMBINED POSTAGE AVAILABLE.
The first attempt at an air to air study by Peter John Stuckey (aged 12 years). This was the first time he had ever seen an aircraft at close quarters. Watercolour on card painting monogrammed P.J.S. and the sky was completed by his father, talented military artist Sidney John Stuckey (1881-1934). 18cm x 21cm. From the extensive portfolio of artist Peter J Stuckey. The entire sale featuring watercolours / oils / sketches / inks / prints and other paintings. Known for his studies of planes, ships and cycles, the sale also features graphic design artwork from his time at Westingate House. Stuckey also designed many greetings cards and some packaging (usually for auto spares) His illustrations also featured as technical drawings and blueprints during his long career. POSTAGE; UK £12.99+VAT, EUROPE £15.99+VAT, WORLDWIDE SEE WEBSITE OR CONTACT US FOR QUOTE. COMBINED POSTAGE AVAILABLE.
Frederick Beauclerk (19th Century), Ship off a coastline in a typhoon, the frame inscribed “Loss of Louisa Cutter, Island of Iy-Loo, China, Commanded by Lord A. W. Beauclerk with Sir Gordon Bremer and W. Elliott (Plenipotentiary) on board”, signed and dated 1843, watercolour heightened in white, 15 x 24cm. Similarly inscribed on verso of painting. The backboard bears a newspaper cutting describing the wreck of the vessel in a typhoon in July 1841, the capture of the crew, officers and plenipotentiaries by natives, and the bravery of Lord Aurelius Wentworth Beauclerk in saving the others by offering himself as hostage during which time he was tortured and beaten. For this he was promoted to Lieutenant.
A rare panoramic set of twelve 19th century Chinese watercolour on silk scroll paintings Guangxu period (1875-1908), signed by the artist Yin Zhao and dated 1884, the twelve scrolls joining to form a panorama depicting the Emperor, Empress and attendants in a palace (possibly the Palace of Nine Perfections) with other palace buildings in an extensive wooded landscape, with figures on foot and horseback from the surrounding regions converging with offerings and gifts for the Emperor, contained in three late 19th century metal canisters with old paper labels for Peter Boode, Chinese Works of Art, The Hague, 25 Bazarstraat, overall length per scroll 84in. (213.5cm.), width 22¾in. (57.75cm.). * Provenance: Purchased from an auction sale in Jersey c.1978. ** Condition: 1. Some brown foxing spots to the cream border down left side. An area of black spotting towards the top of the scroll at right of centre approx. 6 in. (15.2 cm.) long x 2 in. (5.0 cm.) at widest and more sparsely spread towards the left. Also another area, lower on the right side 3 in. (7.7 cm.) long and a third area towards the bottom of the scroll 3 1/2 in. (8.8 cm.) long. See images 2. An area of damp staining across most of the top border, which extends down onto the painting on both sides. Visible on the left side down approx. 26 in. (66 cm.) and approx. 7 in. (17.8 cm.) wide at the top. On the right side it is noticeable approx. 11 in. (28 cm.) x 5 1/2 in. (14 cm.) at the top, then narrowing to approx. 1 1/2 in. (3.8 cm.). See images 3. Some faint foxing to the top border. This may extend down onto the sky but because of the colours used, it is virtually indistinguishable. One small spot of black on the right pink door, 20 1/2 in. (52 cm.) down from the top. A diagonal scratch to the paint surface of the tree at the right side 21 in. (53 cm.) down from the top extending approximately 1 in. (2.5 cm.) A small area of brown discolouration approx. 1 in. (2.5 cm) high and the same wide and 4 in. (10 cm.) in from the left side, in part of the roof. Also some small spots of paint smudging at the left edge in the same part of the roof. See images. 4. Some foxing in the top border extending down into the sky. Some areas of smudged paint in the purple clouds above the trees on the right of centre, also on the balustrade seen through the hole in the rock on the left of centre and a few small water spots towards the base of the same rock. There is a line of slightly faded paint approx. 1 1/4 in. (3 cm.) wide, down much of the right edge, which appears to be where the adjacent scroll of the set overlapped. Another small water mark on the rock at the bottom right. See images. 5. Some foxing marks in the top border extending down onto the sky and clouds. Some small water spots on the large fronds of the plant at left of centre, approx. half way down the scroll and approx. 2 1/2 in. (6.5 cm.) below these, a horizontal scratch to the paint surface approx 5 in. (12.7 cm.) at centre and another approx 1 in. (2.5 cm.) below this approx. 4 in. (10 cm.) long, to the left. As with the previous scroll (no. 4) there appears to be a 1 in. (2.5 cm.) wide line down the right edge, of slightly altered colour. 6. Some foxing to the top border extending down into the sky and clouds. A few water spots in the green roof and red edging tiles. A fine crease horizontally through the ladies above the balustrade on the right, approx. 5 in. (12.7 cm.) long and another 1 1/2 in. (3.8 cm.) below this towards the centre, approx. 4 in. (10 cm.) long. Some water spots in the balustrade. A line of slight discolouration approx. 1 1/2 in. (3.8 cm.) wide down the left side (from overlapping scroll?) A brown foxing mark on the bottom edge of the green dragon tile in the centre of the scroll, approx. 1 cm. x 0.5 cm. and another small spot approx. 4 1/2 in. (11.4 cm.) to the right of the two men carrying covered plates of food. See images. 7. Some areas of foxing in the sky but because of the background colouring, this is hardly distinguishable. Also around the leaves of the tree to the right of centre. Some areas of damp discolouration down either edge. Some repainting of the roof at the lower right edge. See images. 8. Some slight discolouration in the sky, although this is hardly discernible. A horizontal scratch across the roof of the tea-house, approx. 8 1/2 in. (21.6 cm.) long. As with previous scrolls, there is some discolouration down either edge. (Overlapping?) Small areas of damp in the roof of the building at the bottom of the scroll. See images. 9. Many areas of loss of the fine surface silk, which has resulted in restorative over painting to the slightly coarser backing silk, mostly in the top two-thirds of the scroll but also some restoration to the lower section. See images. 10. Areas of overpainting in the sky at the right above the clouds and to the rocks to the right of the figures at the top tree - also to the rocks at the bottom of the scroll. See images. 11. Some discolouration in the sky and clouds. Some restorative painting and overpainting of the rocks in most areas of the scroll. Overlap discolouration on both edges of the scroll, approx 1 1/2 in. (3.8 cm.) wide. See images. 12. A tear near the top of the scroll, at the left edge extending approx. 6in. (16.5 cm.) towards the centre. A horizontal scratch across the width, approx. 11 1/2 in. (29.2 cm.) below the tear. Areas of brown discolouration to the background. A second scratch across through the top of the top tree and a third, approx. 8 in.(20.3 cm.) below this - the full width of the painting. An overlap line down the left edge of the scroll. See images
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11462 item(s)/page