We found 11513 price guide item(s) matching your search
There are 11513 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
11513 item(s)/page
Lot 16
RAMÓN BARNADAS FÁBREGAS (Olot, Girona, 1909 - Vic, Barcelona, 1981)."Landscape with figures".Oil on canvas.Signed in the lower left corner.It presents some faults in the painting.Measurements: 50 x 65 cm; 67 x 81 cm (frame).A precocious painter, at the age of ten Ramón Barnadas entered the School of Fine Arts in Olot and made his individual debut in 1929, in the Layetanas Galleries in Barcelona. Only six years later he was appointed professor at the School of Fine Arts in his native city. He exhibited his work in Spain, Mexico and Switzerland, and won first prizes at the National Exhibition of Madrid and the International Exhibition of Palamós, the national landscape prize of the Estrada Foundation and the Ricardo Portabella prize. Barnadas, with his sketchy style, went beyond the lessons learned from realism and impressionism, becoming part of the evolutionary avant-garde of Catalonia at the time. This painter was able to establish his own language of landscape painting, seeking out and adopting new pictorial concepts. However, his work also encompassed the human figure, animal themes, still lifes, gypsy families and bathers, all depicted with the same inimitable talent as his landscapes. Throughout his career Barnadas showed his work at various exhibitions, notably those held at the Galerías Layetanas in 1927 and 1928, and at the Sala Barcino in 1933, 1924, 1935 and 1936, both in Barcelona. He was also awarded first prize for watercolour in the 9th Provincial Art Competition organised by the Diputació de Girona for his work "Gallinas" (Hens). After his death, his work continued to be shown to the public; in 2006 the Fontana d'Or cultural centre in Girona hosted a retrospective exhibition dedicated to him on the occasion of the twenty-fifth anniversary of his death, and in the same year another exhibition, organised by the Caixa de Girona, was dedicated to him. Between December 2008 and January 2009, the Les Voltes gallery in Olot presented a selection of his works to mark the centenary of his birth. He currently has two streets named after him, one in his native Olot and the other in the city of Girona.
Lot 69
INK SCROLL PAINTING OF A HORSE ATTRIBUTED TO XU BEIHONG (1895-1953) 徐悲鴻款 駿馬圖 紙本設色 立軸款識: 悲鴻/卅二年怡寒鈐印: 徐悲鴻 ink and watercolour on paper, depicting a horse, signed 'Beihong', with one seal of the artist, dated the thirty-second year of the Republic era, corresponding to 1943ADDimensions:100cm x 63.5cm
Lot 135
JUAN DONATO (first half of the 19th century)."The Sovereign", 1845.Watercolour on paper.Signed and dated in the lower corner.Dirt. Moisture stains.Measurements: 58 x 66 cm; 67 x 75 cm (frame).Watercolour resolved with a precise stroke, similar to the nineteenth-century representations of warships, within the genre of nautical painting, a valuable genre for documenting naval history from an artistic and technical point of view. The Soberano was a ship of the line of the Spanish Royal Navy, built at the Esteiro Royal Shipyard in Ferrol. In March 1759, under the command of Captain Isidoro de Postigo, it was commissioned in company with the frigate Juno to engage in privateering off the coast between Cartagena and the Strait of Gibraltar. In the context of the Seven Years' War, on 14 April 1761 it left Cadiz for Havana with the squadron commanded by the squadron commander Gutierre de Hevia, Marquis of Real Transporte.
Lot 136
JOSÉ PINEDA GUERRA (Alicante, 1837 - Barcelona, 1907)."Corbeta Magdalena".Watercolour on paper.Signed in the lower left corner.Frame with dirt. Moisture stains.Some faults in the painting.Size: 34 x 50 cm; 44 x 59 cm (frame).José Pineda was a shipwright and watercolourist, specialised in the painting of ships, son of a sailor from Alicante. He sailed from an early age, and in fact his wife also came from a family connected with shipping, as she was the daughter of a family of shipowners. Around 1871 he settled in Barcelona, where he specialised in painting, as portraits, the most famous vessels of the time, both sailing ships and steamships. Most of his paintings, which are of great documentary importance, are of Catalan sailing ships, although he also painted some foreign-flagged vessels. They were generally intended for the decoration of the offices of Barcelona shipping companies. Little is known of his exhibitions, although there is documentation of an exhibition of his work in the San Sebastián building in Barcelona in 1877. He painted almost always in watercolour, developing a language of precise drawing and descriptive brushstrokes, with boats minutely portrayed in all their details, especially the rigging, set on a deep blue sea (the quality of his blues is outstanding), with long waves, adorned with seagulls flying at water level. His style was continued by the Marseille painter Pellegrin. Pineda also practised naval modelling, a discipline in which he was awarded a diploma and bronze medal at the Universal Exhibition in Barcelona in 1888 for his frigate "Hijas de Pineda", which had taken him eighteen years to build. Pineda is currently represented in the Maritime Museum and Nautical School of Barcelona, the Planas Collection in the Balearic Islands and in various private collections.
Lot 137
French school, early 19th century."Schooner Our Lady of Sorrows. Marseilles, 1818.Watercolour on paper.Signed (illegible), located and dated in the lower right corner.Elizabethan frame with boxwood marquetry.Soiling. Moisture stains.Measurements: 45 x 61 cm; 55 x 71 cm (frame).This type of naval painting is of great documentary importance. The watercolour, resolved with precise strokes and just chromaticism, follows the graphic precepts of 19th century naval painting, nautical painting being a valuable genre for documenting naval history from an artistic and technical point of view.The schooner Dolores, Nuestra Señora de los Dolores, also known as La Jabonera, was a merchant ship registered in the royal seat of Montevideo. In February 1799, its captain Bartolomé Rosiano informed Viceroy Olaguer y Feliú of the departure from Rio de Janeiro of two English frigates destined for the River Plate. Incorporated into the Royal Navy's small squadron on the river and armed with two 18-gauge cannons and ten smaller pieces, in November 1804 she had been used by the pilot Andrés de Oyarvide to explore the area of Cabo Corrientes. She was captured during the British invasion of 1806 and under the command of Lieutenant Herrick was the only ship that hindered the transfer of the forces that under the command of Santiago de Liniers began the reconquest, as she was anchored in the access channel to San Isidro. Once the Dolores was recovered, its 18-piece guns were disembarked and added to Liniers' artillery fleet.
Lot 140
Spanish school, 19th century."Polacra Nicasia" 1863.Watercolour on paper.Dirt. Moisture stains.Titled and dated in the lower margin.Measurements: 47,5 x 64,5 cm; 54 x 71,5 cm (frame).The Polacra Nicasia was built in the shipyard of Badalona by the master Nicolás Pica. A polacra is the name given to a cross boat. The polacra has a hull similar to that of a xebec with two triple masts, without coamings or spreaders and with the same sails as the brigantines, although with the advantage over the latter that when the upper sails are lowered, they are under the lee of the lower sails and can be held on easily. This watercolour, executed with precise strokes and just the right amount of colour, follows the graphic precepts of 19th-century naval painting, nautical painting being a valuable genre for documenting naval history from an artistic and technical point of view.
Lot 600C
An Egyptian painting on fabric depicting geese; an oil painting by Elizabeth Cordy "Stewards At The Suffolk Show" dated '97; S Sylvester abstract seascape; watercolour of a lake scene; Ewbank, watercolour study of a coastal scene; and a pencil signed print by Robert Palmer "Royal Infirmary Manchester"
Lot 358
A COLLECTION OF CHINESE & JAPANESE PAINTINGS including a Japanese watercolour diptych of cranes amongst branches, red seal mark, 90 x 52cm, a silk painting of cranes flying over mountains amongst clouds, 38 x 24cm, another silk painting with embroidered birds amongst foliage, 102 x 40cm, a Japanese watercolour painting of pagodas within a forest, signed to lower right, a Chinese silk painting of a scholar, attendant and soldiers amongst a landscape, 40 x 32cm, another of boys playing cuju (football) 39 x 32cm, and two unfinished silk painting diptychs, 66 x 26cm (8) Condition Report:Available upon request
Lot 54
Basil Ivan Rákóczi (British/Hungarian, 1908-1979)Still life with a classical bust signed 'Rákóczi' (lower left)watercolour and gouache 54.3 x 44.4cm (21 3/8 x 17 1/2in).Footnotes:Basil Ivan Rákóczi along with Kenneth Hall was one of the leading members of The White Stag group. The group was founded in London by Rákóczi and Hall in 1935 and gained several new members in 1939 when they moved to Ireland. The aim of The White Stag group was to encourage the exploration of psychology in painting and modernist ideas.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 362
FANNY LOUISE CORBAUX (1812-1883); watercolour depicting two young girls on a seat with vase of flowers, signed lower right and dated 1842, titled 'Jour á Gaudie', 35 x 26cm, in an ornate gilt wood frame and glazed. CONDITION REPORT: Frame size 65 x 54cm. Clear colours, no fading. Small areas of foxing to the painting, foxking to the mount. Clear signature and date.
Lot 339
Anthony Baynes (British, 1921-2003), 'Greek Shepherd's Shelter', titled and inscribed and dated 'c1955' on Abbott and Holder gallery labels verso, watercolour and gouache, 22 x 24.5cm, frame 43 x 43cm, with another signed example depicting 4 landscapes in a window-like frame, signed lower right side in pencil, watercolour and gouache, 30 x 24cm, frame 49 x 41.5cm (2)Antony Baynes. Thence by descent.Anthony Baynes studied art at the Slade School of Art. Baynes studied under Professor Randolphe Schwabe, along with fellow students Kyffin Williams and Bernard Dunstan. In 1946 his work 'The Betrayal' won the Mary Richgitz Prize. This painting is in the UCL Art Museum.After the war he taught art at the Badminton School and in 1949 went to Greece. Then in the 1950s he lived in Crete and held an exhbition in Athens in 1955 and later in London in 1958.He was an accomplished artist in both watercolour and oil and a designer of theatrical sets (eg for Sadler's Wells in the 1940s) and decorated furniture. Baynes was a noted dust jacket designer too from the 1950s to the 1970s, working for publishers John Murray, Capes and Eyre and Spottiswoode. He painted murals at the Portsmouth Guildhall and the London Stock Exchange.Anthony Baynes was the cousin of the well known artist Keith Baynes (1877-1977), who studied at the Slade School of Art from1912 to 1914. After the war Keith Baynes became a member of the circle of Roger Fry. He exhibited with the NEAC and with the London Group from 1919 and was friends with Bloomsbury Group members Vanessa Bell and Duncan Grant. He Exhibited at Agnew's amongst other galleries.Ok.
Lot 342
Orlando Norie (British, 1832-1901), French soldier taking a drink from a Moor, whilst on horseback, signed lower right, titled verso on a plaque, watercolour, 65 x 50cm, frame 75.5 x 60.5cm Frame with minor chips and wear, including edges. Unexamined out of frame.Blues in the sky are reasonably fresh. Significant fading in foreground and right hand area of painting
Lot 140
George Price Boyce RWS (1826-1897) - A 19th Century watercolour on paper landscape scene painting depicting a rural cottage in brick garden wall and woman in garden. Set within trees under blue cloudy sky. By the Conwy N Wales and signed GP Boyce 1851. Framed & glazed 46cm x 57cm (26cm x 37cm)
Lot 122
Anne Smart (British, 20th century): a group of three painting of chickens/cockerels, 'Fine Feathers', pen and watercolour on paper, signed lower left corner, 28 by 20cm, mounted, 35.2 by 28cm, 'Cock-a-Hoop', pen and water colour on paper, signed lower centre right, 25.5 by 36cm, framed and glazed, 41 by 51cm, together with 'Cock-a-Doodle', pen and watercolour on paper, signed lower centre, 35.5 by 27cm, framed and glazed, 55.5 by 47.3cm. (3)
Lot 1105
Byron Eric Dawson (1896-1968) Cathedral Church of St Nicholas, Newcastle upon Tyne, viewed past the Black Gate and Castle Keep, watercolour, signed and dated 1956, in pen-line and watercolour wash card mount and moulded gilt frame under glass, 39 cm x 48 cm sight size. ['Artists in Britain Since 1945' by David Buckman describes Dawson thus: Artist, illustrator and teacher, born in Banbury, Oxfordshire, with a special interest in architectural subjects. As an engineering apprentice in Newcastle upon Tyne, where he settled, he was encouraged to study art at Armstrong College, teaching there until 1927. Success at the RA in 1928 launched his professional painting career, which soon was concentrated in the northeast of England, although Dawson did show briefly at RSA. Drew for the Newcastle Journal. Dawson contributed nine Lancashire scenes to the Pilgrim Trust Recording Britain project and was included in the 1990 show at the Victoria & Albert Museum, which holds his work, as do Laing Art Gallery in Newcastle and Shipley Art Gallery, Gateshead. His latter years until a final illness were marked by financial hardship.]
Lot 1106
Byron Eric Dawson (1896-1968) Abbey ruins, watercolour, signed, in pen-line and watercolour wash card mount and moulded gilt frame under glass, 41 cm x 52 cm sight size. ['Artists in Britain Since 1945' by David Buckman describes Dawson thus: Artist, illustrator and teacher, born in Banbury, Oxfordshire, with a special interest in architectural subjects. As an engineering apprentice in Newcastle upon Tyne, where he settled, he was encouraged to study art at Armstrong College, teaching there until 1927. Success at the RA in 1928 launched his professional painting career, which soon was concentrated in the northeast of England, although Dawson did show briefly at RSA. Drew for the Newcastle Journal. Dawson contributed nine Lancashire scenes to the Pilgrim Trust Recording Britain project and was included in the 1990 show at the Victoria & Albert Museum, which holds his work, as do Laing Art Gallery in Newcastle and Shipley Art Gallery, Gateshead. His latter years until a final illness were marked by financial hardship.]
Lot 1104
Byron Eric Dawson (1896-1968) Durham Castle and Cathedral as viewed past Framwellgate Bridge, watercolour, signed, in pen-line and watercolour wash card mount and moulded gilt frame under glass, 33 cm x 44 cm sight size. Together with a letter from the artist. ['Artists in Britain Since 1945' by David Buckman describes Dawson thus: Artist, illustrator and teacher, born in Banbury, Oxfordshire, with a special interest in architectural subjects. As an engineering apprentice in Newcastle upon Tyne, where he settled, he was encouraged to study art at Armstrong College, teaching there until 1927. Success at the RA in 1928 launched his professional painting career, which soon was concentrated in the northeast of England, although Dawson did show briefly at RSA. Drew for the Newcastle Journal. Dawson contributed nine Lancashire scenes to the Pilgrim Trust Recording Britain project and was included in the 1990 show at the Victoria & Albert Museum, which holds his work, as do Laing Art Gallery in Newcastle and Shipley Art Gallery, Gateshead. His latter years until a final illness were marked by financial hardship.]
Lot 597
Edward Radford RWS (British 1831-1920) - An original watercolour on paper painting depicting a classical Roman lady holding basket of fruit draped in a plum coloured loincloth standing at the bottom of a series of white marble steps. The picture set within notated gilt slip housed in an ornate gesso glazed frame. Measures approx; 75cm x 49cm (frame) 55cm x 29cm (artwork).
Lot 150
Chinese school, after models by WU GUANZHONG; 20th century."Portico view".Ink on handmade paper.Signature and apocryphal comments.Measurements: 40,5 x 30,5 cm.Ink drawing in which an architectural view is represented, which seems to show the door of a city of the East, which is deduced by the tops of the domes of bulbous appearance. In Eastern culture, painting is closely linked to calligraphy, and materials such as brush and ink are fused in both disciplines. The material thus becomes a highly valued artistic motif, both for its form and for the content it is capable of conveying.Aesthetically, the work is close to the precepts of the multidisciplinary artist Wu Guanzhong, who worked in painting, ink and watercolour drawing, engraving, calotype and even made some enamelled porcelain pieces. Possibly the most renowned contemporary Chinese artist, Wu focused his work on the Chinese landscape, both natural and urban, depicting its architecture, plants and animals, characters and natural landscapes, in a style inspired by Post-Impressionism and drawing on traditional Chinese ink painting. He was also a prominent writer and critic of contemporary Chinese art. Born in Yixing (Jiangsu), he studied engineering at the Zhejiang Industrial School, and in 1936 moved to the Hangzhou National Academy of Arts in the same city to study both Chinese and Western painting under masters Pan Tianshou and Lin Fengmian. He graduated in 1942, and five years later he moved to Paris thanks to a scholarship from the Chinese government, which enabled him to study at the École Nationale Supérieure des Beaux-Arts in the city. On his return to China he took up a teaching post at the Central Academy of Art in Beijing, and later at Tsinghua University and the Normal School of Fine Arts in the same city, where he taught Western art. His exhibitions at the British Museum in London, the Metropolitan in New York and the Hong Kong Museum of Art are particularly noteworthy. Wu Guanzhong is currently mainly represented at the Singapore Art Museum, to which the artist himself made a major donation of work, although he is also present in other leading museums around the world.
Lot 142
JOSÉ SÁDABA RAMOS (Andalusia, 19th century)."Granada courtyard".Watercolour on paper.Signed and located in the lower right corner.Measurements: 74 x 43 cm; 89 x 58 cm (paspartu).Artist specialised in the realisation of scenes from Granada, on this occasion José Sádaba offers us an Andalusian courtyard bathed by the burning sunlight. The artist enriches the work with an expressive play of light contrasts, capturing the light of Granada with great skill. Traditionally, Spanish painting and literature have been interested in popular customs and types. The arrival of Romanticism enlivened this trend, bringing to the Hispanic tradition the vision that foreigners had of our people, due to the snobbery of a Europeanising and liberal national bourgeoisie which, also due to foreign influence and under the Romantic fashion, turned its eyes to the people and monuments of the past. This, which was general throughout Spain, was particularly prevalent in Andalusia, as this land was the dream destination of foreigners, and where the influence of the vision they had of the Spaniards and their peculiar customs had to be felt most strongly. Thus, painters from Andalusia and other Spanish regions turned their gaze to the landscape, types and customs of southern Spain, collectively constructing an idyllic and luminous image, full of grace and joy, which coincided with the romantic recreation of the urban bourgeoisie, both national and foreign.
Loading...-
11513 item(s)/page