We found 11510 price guide item(s) matching your search
There are 11510 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
11510 item(s)/page
Lot 551
RONALD MADDOX (1930-2018) 'TOPIARY GARDEN , LEVENS HALL', a depiction of the Elizabethan house and gardens, signed bottom right, watercolour on paper, label for Lichfield Festival 2001 verso, approximate size 67cm x 49cm, frame size 94cm x 71cm, Condition Report: painting is in good condition, chips to corner edges of the frame with scratches in places (Artist resale rights apply)
Lot 80
‡ HYWEL HARRIES (1921-1990) oil on board - entitled verso, 'Salem Revisited', signed and dated '73, 59 x 75cmsProvenance: the Welsh art collection of award-winning television producer, the late Pat Llewellyn (1962-2017), by descentAuctioneer's Note (Prof. Robert Meyrick):Hywel Harries’ Salem Re-visited is an interpretation of Salem, a 1908 watercolour by Sydney Curnow Vosper. It is a reminder of the historic significance of chapel-going in Wales and the centrality of Nonconformist Christianity in Wales. An art teacher, painter and cartoonist, Harries understood the cultural reference in Vosper’s painting, which shows the interior of Capel Salem Cefncymerau near Harlech. Purchased by industrialist William Hesketh Lever, the image became familiar through mass-circulated reproductions advertising Sunlight Soap.In October 2019, Rogers Jones successfully brokered the purchase by the National Library of Wales of Vosper’s second version of the painting. Vosper painted Salem in the wake the 1904-05 Welsh Revival, which saw a resurgence of religion. Once a national icon, emblematic of religious piety among the rural poor in Wales, Salem’s ubiquity depended on that context. In the intervening years it was distributed through Urdd Gobaith Cymru, reproduced as covers for Cymru Fydd calendars, and used by nationalists and Welsh language activists. As art historian Peter Lord points out, framed prints of Salem are nowadays consigned to ‘folk memory,’ a curious relic of times past. Carmarthenshire born, Harries trained at Llanelli School of Art until 1941, when his studies were interrupted by RAF service. After resuming his studies at Cardiff Technical College in 1947, he held teaching posts at Ealing and Machynlleth before his 1954 appointment as Head of Art at Ardwyn Grammar School (later Penglais Comprehensive School) at Aberystwyth, a position he held until his retirement in 1981.Harries is best known for his paintings of Aberystwyth townscapes and the landscape of Ceredigion. He developed a distinctive handling of layered dry paint using a soft warm palette. His landscapes often explored spatial effects and the decorative flattening of interlocking planes of colour, pattern and form, while his townscapes deploy a narrower tonal range and muted colours. Harries’ Salem Re-visited paintings were a rare dalliance with abstraction. Fellow Welshman Ceri Richards had likewise sought contemporary responses to familiar subjects when he made paintings after Rubens’ The Rape of the Sabine Women in the National Gallery, London, in 1946. Harries would also have been aware of Pablo Picasso’s abstracted translations of paintings by Cranach, Velázquez, and Ingres.Salem portrays the 71-year-old widow Siân Owen Tŷ’n y Fawnog taking her pew before the start of a service. Even in 1908 the scene depicted by Vosper was something of an anachronism. Stove-pipe hats were rarely worn then; in fact, only one such hat could be sourced for the women to model. In 1938, Vosper recalled the names of his sixpence-an-hour models; among them were a local carpenter, farmer, shopkeeper and a tailor’s dummy he named Leusa Jones. In Salem Re-visited, Harries has lettered their names on or alongside each character. The popular belief is that the devil lies in the detail of the folds of Siân Owen’s richly patterned paisley shawl, even though Vosper refuted that the likeness was intentional. There is no ambiguity in Harries’ flat monochrome rendering of the shawl as the profile of a demonic face in contrast to its colourful surroundings. Uncharacteristically for Harries, the act of painting appears on this occasion to be more important than representation or narrative. The illusion of pictorial space being abandoned, the relative position of the congregation becomes unclear. The jigsaw arrangement of overlapping shapes allude to the fragmentary nature of appearances in momentary glances. Peter Lord described this approach as a ‘Cubist-cum-patchwork quilt oil painting.’For Harries, there was an additional resonance in Vosper’s Salem. He was himself a man of faith and a staunch chapel-goer. He was an elder at Capel Salem (later to become Capel Morfa) in Aberystwyth. Always smartly presented in jacket, collar and tie, there was nothing bohemian about him. Indeed, Harries looked every bit the chapel deacon. Founding Ceredigion Art Society in 1963, Harries placed his knowledge, experience and enthusiasm for art into the service of the community. He was Vice-President of the Royal Cambrian Academy and chaired the Art and Craft Committee of the Council of the National Eisteddfod. In retirement, he authored several books, among them Cymru’r Cynfas: Pymtheg Artist Cyfoes [Wales on Canvas: Fifteen Contemporary Artists] (1983).Prof. Robert Meyrick, art historian, curator and educator, until recently Professor, Head of Aberystwyth University’s School of Art and Keeper of the School of Art Museum and Galleries. Comments: framed, ready to hangDelivery: complimentary delivery can be arranged for all purchases over £4000 in this Welsh Sale auction (England and Wales only) please contact brj@rjauctions.co.uk for further details
Lot 62
*JOHN NORTHCOTE NASH (1893-1977) 'Britannia in Winter Quarters' signed and dated 1938 lower left, watercolour, 38cm x 55cmExhibited: Contemporary Exhibition, 1939, Thomas Agnew & Sons Ltd., Old Bond Street, LondonProvenance: Purchased from the above by Michael B. Harman Esq. and thence by direct descentJohn Nash first visited Bristol in the 1920s after a recommendation from Edward Wadsworth, who had been sent there during World War I to supervise the painting of ships with 'dazzle camouflage'. Nash then returned in November of 1938, bringing with him friend and fellow artist Eric Ravilious (1903-1942). The pair sat side by side at Bristol Docks painting the paddle steamers laid up in winter berths. On one occasion where Ravilious had ventured out alone drawing outside after dark, and was working intently on his picture of a paddle steamer, he had suddenly heard a grinding noise and a voice calling out, 'lucky for you I saw you, old cock, or you'd have been a box of cold meat.' Eric had set up his easel, without noticing it was on the tracks of one of those light railways that are used in the docks (Helen Binyon). Both Nash and Ravilious produced views of P & A Campbell's steamer Britannia, seen from the same spot on Mardyke Wharf, giving fascinating insight into the methods of each artist, both the similarities in understated colour and tonal range, and the differences in composition and choice of detail.The paddle steamer Britannia depicted in the present work was stationed at Bristol Quay, and was requisitioned by the Royal Navy at the outbreak of the war and renamed HMS Skiddaw. She was a fast ship and she still holds the Bristol Channel speed record for a trip to Ilfracombe to Weston with a time of one hour and fifty six minutes. She was sold for scrapping in 1956 after sixty years as a favourite steamer.Framed dimensions: 68cm x 83cm
Lot 1533
Robert A Keith (Cumbria, Contemporary)"Bamburgh Castle, Northumberland", a broad, blissful, coastal study of the castle sat atop a rocky mound before a cove full of figures frolicking on the sandy beach, watercolour, signed, titled on label verso, in double card mount and moulded gilt frame under glass, 37 cm x 44 cm overall[Keith is a local artist whose works resonate with the landscapes of Cumbria and Northumberland, painting in watercolour over graphite and evoking a sense of serenity and a connection to nature.]
Lot 1534
Robert A Keith (Cumbria, Contemporary)"Coble at Boulmer, Northumberland", a calm, nautical study of two fishermen tending to a coble beneath hovering gulls and blue skies, watercolour, signed, titled on label verso, in double pen-lined card mount and parcel gilt frame under glass, 35 cm x 43 cm overall[Keith is a local artist whose works resonate with the landscapes of Cumbria and Northumberland, painting in watercolour over graphite and evoking a sense of serenity and a connection to nature.]
Lot 62
CHARLES EDWARD DIXON (BRITISH, 1872-1934)A coastal stranding, with local inhabitants on the foreshore trying to assistSigned ‘Chas Dixon 88.93’ (lower right) counter-signed in margin (lower right)Watercolour heightened with white23 x 34½in. (58.5 x 87.5cm.)Wreck scenes are very rare within the oeuvre of Charles Dixon and it is worthy of note that not a single such work is listed or mentioned in the only book on the artist, namely Charles Dixon And the Golden Age of Marine Painting by Stuart Boyd, published in 2009.Time stained overall. The brown is the acid from the paper coming through. Will likely restore well.
Lot 150A
Indian Company School, a watercolour on paper, with black margins, of the tomb of Itimad Ud-Daula at Agra and the interior,10 x 17cm, framed,together with two watercolours of Agra Fort,10 x 17cm, and the Delhi Gate at Agra Fort,3 x 7cm (4)Condition ReportAll with paper discolouration throughout.All with the occasional light spot of foxing.All appear to have some form of writing verso, of various lengths, which show through.A little light surface dirt to all.Both drawings of the exteriors cockled.The individually framed one has thunder bugs under the glass.The Delhi Gate painting has a rip centre top and top right.None seen out of frames.
Lot 142
Cyril Wood (English school) - a Victorian 19th century watercolour painting on paper depicting a country scene. Depicting two cottages, one in the foreground and one in the background, amidst spring wildflowers. Signed lower right hand corner Cyril L. Wood. Mounted, framed and glazed. Measures approx. 74cm x 56cm including frame.
Lot 496
A BOX AND LOOSE MAPS AND PRINTS ETC, maps include a map of Massachusetts, Connecticut and Rhode Island published 1832, approximate size 20cm x 26cm, various 18th & 19th century Staffordshire including Meeting places of the Hoar-Cross Hunt, Thomas Gardner road maps Bristol to West Chester and Oakham to Richmond, John Ogilby road map London to Holy Head, with John Carey maps of Hampshire and Dorsetshire dated 1818, C.S. Smith maps of Northumberland, Cumberland and Westmoreland dated 1801, pictures include an architectural study of bridge houses by Joseph Moussa, watercolour on paper, approximate size 16cm x 23cm, a limited edition print depicting Timoleague Friary by Nevil Swinchatt, an etching of a street in Hong Kong, Indian painting on fabric depicting three elephants, reproduction cigarette cards etc. (1 BOX + loose)
Lot 215
† HAROLD RILEY DL DLITT FRCS DFA ATC (1934-2023); watercolour, 'Sacred Trinity Church, Salford', unsigned, bears label verso, sketch study for an oil painting of Sacred Trinity Church, Salford, commissioned by R Greenhalgh, presented by H Riley 23rd September 1977, 21 x 25cm, framed and glazed.
Lot 399
A collection of four portrait miniatures including a Portrait of a lady, said to be Madame Recamier, in the manner of Jean-Baptiste Jacques Augustin, watercolour on ivory, approximately 7cm high (4)Madame Recamier (Juliette) was an icon of Neoclassicism in France.The French chaise longue or "recamier"is named after the renowned Jacques Louis David painting of her in the Louvre This Lot is offered for sale in accordance with the Ivory Act 2018 under a group registration reference XYVI5NAG.
Lot 144
Taxidermy: A Cased Gyr Falcon (Falco rusticolus), captive bred, dated 2023, by Carl Church, Taxidermy, Pickering, Nth Yks, a superb high quality full mount adult female in resting pose with left foot raised, looking slightly off to the right, perched atop a large faux rock protruding from soil and grit covered groundwork, enclosed within a large high quality lead framed five-glass table display, raised upon an ebonised base, 46cm by 40.5cm by 81.5cm, bearing taxidermist's ivorine circular trade plaque to case side, mounted to emulate an original Archibald Thorburn watercolour painting of a similar positioned Gyr Falconwith CITES Article 10 (non transferable) licence no. 24GBA10CFWR7C Imported from United Arab Emirates - 22/10/2009. Permit no 08MEW2570. Bearing closed ring to leg no. UAEGOV393X
Lot 80
Taxidermy: A Cased European Eagle Owl (Bubo bubo), captive bred, dated 2023, by Carl Church, Taxidermy, Pickering, Nth Yks, a superb large high quality full mount adult male in resting pose with head turning to the left, perched atop an old dry tree stump, amidst natural pine leaves, set above soil covered groundwork beneath, enclosed within a large high quality lead framed five-glass table display, raised upon an ebonised base, 46cm by 40.5cm by 81.5cm, bearing taxidermist's ivorine circular trade plaque to case side, mounted to emulate an original Archibald Thorburn watercolour painting of a similar positioned Eagle Owlwith CITES Article 10 (non transferable) licence no. 24GBA10CZV91S died in captivity of natural causes, with attached captive breeding closed ring no - IBR49888Z
Lot 405
Signed and dated 2000, watercolour and pencil 18.5 x 7cm. Provenance: The family of the artist Exhibited: Bedford, Art Centre Gallery, October 2000 Eric Seeley was born in Luton in 1951. From 1970-1973, he studied painting and printmaking at Kingston Polytechnic and then attended The Royal Academy Schools for three years. He began to show at the RA in 1974 (aged just 23) and pursued further studies at Goldsmiths College, London University, for one year. Seeley established his career in Bedfordshire and exhibited widely before moving to Somerset where he continued to show his work. He died in 2021. *CR Very good.
Lot 901
Harry Scully RHA (c.1863-1935) - Windmill - 1909 - An early 20th century 1909 landscape watercolour on paper painting of windmill. Signed & dated bottom left. Framed & glazed. Watercolour measuring approx. 40cm x 30cm. Born in Cork, Harry Scully studied in both London and Cork. Travelling widely throughout his career to artistic centres such as Newlyn, Normandy and Florence, Scully still found time to teach.
Lot 311
RONALD MADDOX (1930-2018) 'TOPIARY GARDEN , LEVENS HALL', a depiction of the Elizabethan house and gardens, signed bottom right, watercolour on paper, label for Lichfield Festival 2001 verso, approximate size 67cm x 49cm, frame size 94cm x 71cm, Condition Report: painting is in good condition, chips to corner edges of the frame with scratches in places (Artist resale rights apply)
Lot 164
mixed media on paper, signed, titled label verso mounted, framed and under glass image size 50cm x 62cm, overall size 71cm x 82cm Label verso: The Glasgow Art Club Note: Bill Wright's talent first became evident when he was a boy, drawing endlessly for amusement while bedbound with illness. He went on to study painting at Glasgow School of Art and became an award-winning watercolourist, constantly inspired by was seascape and ever-changing sky on the Kintyre peninsula where he had a second home. Glasgow-born Wright, the son of a shipyard plater, was brought up in Partick and started his schooling at the city’s Dowanhill Primary before being evacuated to Dunoon during the Second World War. After returning home he attended Hyndland Senior Secondary and despite being discouraged by his parents, who would have preferred him to have a “proper job”, in 1949 he began his studies at Glasgow School of Art. They were interrupted by national service – a duty he felt hindered the progression of his art career. He served at Catterick army garrison but was a pacifist who abhorred war and dismissed the opportunity to be promoted to Sergeant as an army career held no interest. His first teaching post was at East Park School in Glasgow’s Maryhill. He then moved in 1965 to St Patrick’s High School in Dumbarton where he spent two years before becoming art adviser for the area at the age of 36. Over the next two decades he fostered the idea of instilling a cultural interest in art among pupils. He formed working groups to reform teaching of first and second-year students, encouraged forward-looking principal teachers and recruited many young teachers. His ethos was that teachers were not just there to create artists but to give all children a good art experience. He also established a residential art course for school children, at the Pirniehall residential educational facility at Croftamie in Dunbartonshire, where youngsters from different backgrounds could investigate the idea of furthering an art career through experiencing a range of different mediums in an art camp environment. And he is said to have been instrumental in encouraging the implementation of Scotland’s Standard Grade art and design qualification. However, he suffered from the chronic arthritic condition ankylosing spondylitis which, by the age of 55, forced him to take early retirement from his post in the education department of Strathclyde Regional Council. Meanwhile, as he had strived to enthuse youngsters with his own passion for art, he had been elected, in 1977, to the Royal Scottish Society of Painters in Watercolour. A member of the Glasgow Arts Club for many years, he was also an elected member of the Glasgow Institute of Fine Arts and Paisley Art Institute, served as president of the Scottish Artists’ Benevolent Association for 14 years and was a Scottish Arts Council lecturer, touring the country discussing art. But perhaps his own greatest inspiration was the view from a cottage he stumbled upon half a century ago, seven miles from Campbeltown on the Mull of Kintyre. He rented the property at Bellochantuy and set up a studio there where he drew on the vistas stretching 180 degrees, encompassing sea, beach, rocks and sky. He was utterly smitten by the area and was ultimately bequeathed the cottage by the owner who had become a close family friend. Over the years he came to know the area intimately and was fascinated by the constantly changing moods of the sea and light of the sky which formed the majority of his output. One large body of work, "Towards Islay", focused on the view from the back of the cottage. He captured the patterns and waves of the sea, sometimes adding a bird, limpit, mermaid’s purse, rock lines or some seaweed. But at times his works were very abstract and symbolic, concentrating on themes of nature and transience. He was hung in all the major shows in Scotland and in galleries across the country from Aberdeenshire to Edinburgh, Glasgow and south of the border. His work also features in public collections of Stirling and Strathclyde Universities, HRH The late Duke of Edinburgh and the Educational Institute of Scotland. And he was recognised with The Laing Prize for Landscape and Seascape and the RSW’s Sir William Gillies Award.
Lot 431
Gordon Browne (British, 1838-1952), watercolour and two books, one with this painting illustrated. Watercolour with initials lower right, 27.5cm x 19cm, framed and glazed. The first book: Charles Reade, The Cloister and the Hearth, A Tale of the MIddle Ages, pub. W&R Chambers, London, 1919, illustrated by Gordon Browne, where this painting is illustrated on page 413, titled 'Now good youth, thou art Count Detstein', the second: RD Blackmore, Lorna Doone, pub. W&R Chambers, London, 1911, illustrated by Gordon Browne.
Lot 26
***John Duncan Fergusson (1874-1961) - Watercolour – “Spring in Kelvin”, signed and dated 1942, 7ins x 5.75ins, in gilt frame and glazed Provenance: Duncan R. Miller Fine Arts, 17 Flask Walk, Hampstead, London, NW3 1HJ Selected pictures from the Peter Barkworth Collection Neither painting is signed - images are available within the attached Dropbox linkhttps://www.dropbox.com/scl/fo/cc8wtjei82swhc98i3zk1/h?rlkey=riakpioia295jyv8un9z9uvu7&dl=0
Lot 31
Graham Clilverd (British 1883-1959) "St. James Palace, Changing the Guard" Signed and titled, watercolour and pen.17.5 x 23cm (framed 37.5 x 43.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is ornately reframed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Lot 70
M. Schafer (British 19th/20th century) "Notre-Dame, Rouen, Normandy" Signed and titled, watercolour and pencil.24.5 x 20cm (framed 45.5 x 38.5cm)The painting is in very good, original condition with no obvious faults to report. The painting is ornately reframed and glazed. The frame has some minor scuffs and knocks.
Lot 42
James Fenwick Lansdowne (Canadian 1937-2008) "Barn Owl" Signed and dated 1961, titled on gallery label - 'The Tryon Gallery Ltd., London' verso, watercolour and gouache.36 x 30cm (framed 56.5 x 48.5cm)The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Lot 4
Dominic M. Serres (British fl.1778-1804) A Figure in a Landscape with a Ruin on a Hill Unsigned, titled on gallery label - 'Michael Spratt, Surrey' verso, watercolour. 27.5 x 39.5cm (framed 48 x 60cm) By family descent to the great-great-great grandson of the artist.Michael Spratt, Surrey.Private collection, UK. The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Lot 11
David England (British 20th/21st century) "Two Greater Spotted Woodpeckers" Signed, titled on verso, watercolour.47 x 38cm (framed 67 x 56.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Loading...-
11510 item(s)/page