We found 11510 price guide item(s) matching your search

Donald A Paton (Edward H Thompson 1879-1949), a watercolour "Waterfall in Woodland", signed bottom left Donald A Paton. 18 x 25 cm, framed and mounted (see illustration). CONDITION REPORT: The painting appears to have been reframed at some point recently. There is a slight ripple to the paper and a small white speck just above the waterfall on the right-hand side in the trees which should be visible on the photograph online. Other than this the painting is in good clean order.

William Green (1760-1823), a watercolour "Bridge at Mardale" with farmer and cattle. 13 x 19.5 cm, framed and mounted. CONDITION REPORT: There is no signature to the painting but this could be underneath the mount. There is a label to the rear saying William Green 1760-1823, Bridge at Mardale, Arnold Fellows Collection, No 218. The painting has come to us from a local vendor. The painting is in very good condition having a slightly sepia tone. There are no signs of any foxing or rippling.

Percy Kelly (1918-1993), a watercolour barn in landscape "I keep finding hundreds of these little bits of painting". 9 cm x 20 cm. Allonby 1968, framed. ARR.

Studio of Robert Jobling (1841-1923) An archive of family drawings, watercolours and memorabilia to include: an unframed seascape in oils, photographs by Joseph Jobling; glass negatives, an oil painting of Bates Island, a watercolour "Old Sheild's" by A.W. Liddell, signed and dated 1893, a calligraphy homage to Robert Jobling by fellow artist Aaron Watson (1850-1926), two electroplated serving spoons, and other ephemera. All unframed.

Tom Clough RCA (British, 1867-1943),'Pentre Wood. Bettws-y-coed',Watercolour on paper,Signed lower left, named and titled to label verso,  54.5cm x 75cm,Framed and glazed CONDITION REPORT:The painting is framed under glass and has not been removed for inspection.  The paint surface appears to be in good condition, showing no obvious foxing or other damage.  The paint colours appear strong, but may have faded somewhat over time.  The applied paper label verso states title, artist and artist's address, and is likely to have been applied by the artist.  The frame appears to be structurally sound, but shows some cracks to the moulded details.

FRAMED OIL PAINTING OF BOATS A/F, A WATERCOLOUR OF PALM TREES, A WATERCOLOUR OF A COTTAGE & A PRINT OF A MOUNTAIN SCENE

GILT FRAMED MIRROR, OVAL MIRROR, 2 FRAMED OIL PAINTING & A F/G WATERCOLOUR OF A BOATING LAKE

A 20th century Chinese watercolour on fabric painting of birds and prunus with calligraphy inscription and seal marks, mounted framed and glazed, 68 cm x 40 cm (image size)

A Chinese watercolour on silk scroll painting, mountainous landscape with pagodas

Susan BEAULAH (1943) At Peace Watercolour Signed Titled to the verso 36cm x 54cm, 60cm x 78.5cm including the frame Possibly a study painting created when writing her book 'The Kerala Chakara', for which she used a number of her own watercolours. Postage is available on this lot from £32.50 to a UK address.

MUGHAL EMPEROR SHAH JAHAN (r.1628-1658), seated on a terrace, with a black halo, holding a flower and watching the view and listening to music, painting, opaque watercolour and gold on paper, 19th century, framed and mounted, 8cm H x 15cm W (27cm H x 34cm W framed).

Chinese School, landscape scene, watercolour, with character marks and red character seal upper left, 128cm x 63cm, mounted and rolled as a scroll, Chinese School, figures in a village flying kites, 51 x 102cm, mounted and rolled as a scroll, boxed, another painting rolled as a scroll, Chinese School, female nude, watercolour, black character marks and red character seal middle right and further red seal upper left, 66cm x 131cm and a Chinese embroidered scroll, cased

Original watercolour painting of near St Austell Cornwall by Jack Merriott produced for the British Railways Western Region publicity department. In very good condition measures 20.5in x 14in.

Original watercolour painting St Augustine's Ruins Canterbury by Jack Merriott produced for the British Railways Southern Region publicity department. Mounted, framed and glazed, in very good condition. Measures 20in x 17in.

Original painting MALDON ESSEX by Alan Gray painted in 1949 for the British Railways Eastern Region publicity office. Watercolour painting measures 19in x 14in and is in excellent condition.

Original watercolour painting of a Cambridge building by F.W.Baldwin produced in 1954 for the British Railways Eastern Region publicity department. In good condition with some spotting, mounted in card. Measures 16in x 14.5in.

Original watercolour painting of a Cornish Sunset with fishing boats by Jack Merriott produced for the British Railways publicity department. Mounted, framed and glazed, in very good condition. Measures 20.5in x 17.5in.

Original watercolour painting of a bridge near Cader Idris Wales by James Fletcher Watson produced for the British Railways Western Region publicity department. Mounted, framed and glazed, in very good condition. Measures 26.75in x 21in.

Original watercolour painting of a Thames Tug at low tide by H. Denham produced for the British Railways Eastern Region publicity department. In good condition with some spotting around the edge, mounted in card. Measures 20.5in x 17.5in.

A large abstract painting of a person walking, watercolour on paper, laid onto woven board, initialed and dated '84.

A quantity of prints to include Romsey Abbey, A Thaw oriental prints, Nevils Court Trinity College, Dumbarton from the Leven. A portrait of a gentleman from the painting by Maurice Godner and a watercolour of a riverscene etc.

A framed and mounted Watercolour of Venice along with a framed and mounted Beth Reichstein signed painting titled 'Kangaroo's'.

A framed Louise Kelly Watercolour titled 'New Shoes', along with a Daisy Richardson Oil painting titled 'In The Clock'.

A collection of items to include an original watercolour painting of Arundel castle by Roy Wilson, 18cm x 13cm together with a Coalport figure 'Age of Elegance Spring Pageant' height 22cm, a boxed Staffordshire enamels hand-painted beehive trinket box and a pair of brass and copper candlesticks. (4) In good original condition. Coalport figure first quality and free of damage.

Charles Frederick Tunnicliffe (British 1901-1979): Barn Owl, watercolour gouache charcoal and pencil signed, a preparatory sketch for a larger painting 43cm x 66cmProvenance: private collection; with Park Lane Galleries, Poynton, CheshireCondition Report: Excellent condition, ready to hang

Charles Frederick Tunnicliffe (British 1901-1979): Four Swans, watercolour gouache charcoal and pencil signed, a preparatory sketch for a larger painting 66cm x 42cmProvenance: private collection; with Park Lane Galleries, Poynton, CheshireCondition Report: Excellent condition, ready to hang

George Weatherill (British 1810-1890): The Artist Painting Mulgrave Cottage Goathland, watercolour signed 17cm x 35cmCondition Report:Overall good condition and colour, some light foxing

Shrestha, "portrait, Nepal" watercolour painting, signed and inscribed "Shrestha Bhim (19)97" 33cm x 26cm, framed mounted and glazed 

Chinese watercolour scroll painting depicting peaches on a bough, symbolising longevity, inscribed and with red seal mark upper left, 107.5cm x 41.5cm, on cream damask backing, 210cm x 54.5cm, the baton (jiku) 63cm wide

Manner of Zhao Shao'ang, (1905-1998) - Chinese watercolour scroll painting depicting plum blossom, inscribed and with red seal mark upper right, 128cm x 33cm, on cream damask backing, 248cm x 46cm, the ebonised baton (jiku) 56cm wideG & T Portier, Paris, label to baton

Three boxed of various art related volumes including Watercolour Painting in Britain, 3 vols, 20th Century Painters, Beryl Cook - Happy Days, Photographs for the Tsar and others, etc

MICHAEL REES (b.1962) A framed original watercolour painting titled “Two sides” signed lower left. Image size 15cm x 16cm

A late 19th/early 20th century watercolour on panel of cattle within forest scene, signed lower right by Lawson Sharpe, approx. 65cm x 41cm (broken glass), and a 20th century oil painting of highland cattle in loch and mountain scene, signed lower left by N. Barber, approx. 53.7cm x 43cm, in gilt frame. (2)

WILLIAM LEE-HANKEY (BRITISH 1869-1952) MANY THE WONDERS I THIS DAY HAVE SEEN Watercolour Signed (lower right) 44 x 34.5cm (17¼ x 13½ in.)An oil painting of this title by the artist was exhibited at the Royal Academy in 1907, no. 603. Provenance: M. Newman Ltd., London Exhibited: London, Belgrave Gallery, William Lee-Hankey, 1981, no. 19  

ALFONSO OSSORIO (FILIPINO/AMERICAN 1916-1990) UNLIKELY CLUTCH Ink, wax, watercolour and wash Signed and dated 1954 (lower right) 102 x 76cm (40 x 29¾ in.) Provenance: Tower Gallery, Southampton, New York Betty Parsons, New York Private Collection, Robert Stigwood (1934-2016), music and film producer, whom purchased from the above circa. 1980s 'These works stand out for their vivid, saturated colors, distinctive formal characteristics, and pulsating energy.' Michael Rosenfeld Gallery, New York, Alfonso Ossorio Retrospective. Alfonso Ossorio was at the centre of the Abstract Expressionist and Art Brut movements which flourished during the 1950s. This passion for the arts and exploration of abstraction, alongside his close friends Jackson Pollock and Jean Dubuffet, was reflected in not only his own practice but also his collecting habits. Financially supported by his family, Ossorio established one of the earliest collections of Art Brut and Abstract Expressionism, helping to consolidate and promote the movements in America. Ossorio's family made their wealth through the sugar-refining industries in Negros Occidental in the Philippines. Ossorio was educated in England before relocating to Rhode Island at the age of 14. Ossorio studied Fine Art at Harvard University and held his first solo exhibition in New York with Betty Parsons in 1941. Ossorio's interest in art reached further than just practice, he was a keen collector and whilst studying at Harvard the Fogg Museum exhibited his early collection of works including pieces by Eric Gill and David Jones. Whilst exhibiting with Betty Parsons throughout the 40s, Ossorio became aware of Jackson Pollock's work, another artist Parsons was supporting and he was immediately drawn to his unique talent. Ossorio purchased his first Pollock 'drip' painting in 1949 titled Number 5, 1948. From this moment forward a strong friendship ensued between Ossorio and Pollock, both as artists but also as patron and artist. 'Europe no longer had anything to offer but a mixture of memories.' Harold Rosenberg, The De-Definition of Art (New York: Collier, 1972). P. 194 In November 1949, Pollock encouraged Ossorio to travel to Paris to meet with his friend Jean Dubuffet. At the time Dubuffet had experienced a great deal of criticism in Europe for his highly textured Art Brut works but his reputation was growing across the pond. Ossorio returned to New York with three new purchases Robinson, Figure au site Champetre and La dame au pompom and most importantly a new friendship which would continue in perpetuity. By 1951 Dubuffet was arguably the most famous French artist in America, possibly with the help of Ossorio. Together with Ossorio's lifelong partner, Ted Dragon, he purchased an estate on Long Island called The Creeks. The estate became synonymous with lavish parties attended by some of the most important artists of the 20th century Mark Rothko, Willem de Kooning and Lee Krasner. The Creeks, arguably helped to develop the strength of abstract expressionism in America. In 1952, Dubuffet's The Art Brut Collection which included 1200 works by approximately 100 artists was installed at Ossorio's estate. The collection hung on the upper floors of The Creeks alongside Ossorio's personal collection of works by Jackson Pollock, Clyfford Still, Lee Krasner and Willem de Kooning. In 1962 the collection returned to Paris to a purpose made space organised by Dubuffet and from 1976 the collection was moved to Lausanne in Switzerland in the Collection de l'Art Brut, where it remains today. Lot 161 represents Alfonso Ossorio's exploration of surrealism, characterised as "metaphysical fantasies," featured emotionally charged expressionistic brushstrokes. Influenced by his return to the Philippines in 1949, to carry out a mural commission for the chapel of St. Joseph the Worker in his hometown Victorias, he introduced the 'wax-resist' technique, inspired by Victor Brauner, giving rise to the Victorias Paintings series. This collection delved into the complexities of Catholicism, homosexuality, and racism. His early pieces depicted the emotional turmoil of a young homosexual male with a deeply rooted Catholic upbringing, set against the backdrop of World War II. These emotions were vividly portrayed through highly detailed surrealist designs. Additionally, Ossorio's art drew inspiration from psychoanalyst Nandor Fodor's writings on sexuality, birth, and motherhood. The present lot reflects the work of Jackson Pollock, most notably a piece titled Pattern c. 1945 held in the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C.'These works stand out for their vivid, saturated colors, distinctive formal characteristics, and pulsating energy.' Michael Rosenfeld Gallery, New York, Alfonso Ossorio Retrospective. Arguably, Ossorio's collecting habits and socialite lifestyle have overshadowed his artistic capabilities. A turning point came in 2013 with the exhibition Angels,Demons and Savages: Pollock, Ossorio, Dubuffet curated by Dorothy Konsinski and Klauss Ottman at the Phillips Collection in Washington D.C. before travelling to New York. This exhibition placed Ossorio in the centre of Pollock and Dubuffet shining a light on the importance of his career as both an artist and collector. Condition Report: Executed on artist's board. Some very minor damage to the extreme tips of the lower corners, not visible when framed. Otherwise in very good original condition. Framed under glass. Condition Report Disclaimer

BERNARD MENINSKY (BRITISH 1891-1950) LOVERS ON A BEACH Oil on canvas 71 x 92cm (27¾ x 36 in.)Painted circa 1947.Provenance: Philip Meninsky, the artist's sonExhibited: Edinburgh, Crestine Art Gallery, Bernard Meninsky, 1965, no. 27 London, Mall Galleries, The Heatherly School of Fine Art - 150th Anniversary Exhibition, 1996, no. 135 (illustrated p. 68) University of Liverpool Art Gallery touring to Leeds, Sheffield, London & Kingston upon Thames, A Singular Vision: Drawings & Paintings by Bernard Meninsky, 2000-2001, catalogue unnumberedA smaller version of this painting, in watercolour and gouache, is illustrated in John Russell Taylor, Bernard Meninsky, 1990, p. 126 Condition Report: Relined. Rubbing to the framing edges with some associated losses. Evidence of fine cracking to the central area running across the work. Most notable to the female figure's chest and both figures' right arms. Other areas of cracking scattered across the surface. Inspection under UV reveals no obvious evidence of restoration or repair. Condition Report Disclaimer

Original paintings and drawings to include Jill Story - Westminster 1 Skaters & Reflections, Hampton Court, watercolour and pastel respectively, signed 18 x 17 and 16.5 x 16.5cm, mounted in glazed frames, early 20th century oil painting of a town street scene, unsigned, 15 x 25cm, framed and a pencil drawing of the Royal Military college, Sandhurst, signed indistinctly and dated '91, 11 x 43cm, mounted in a glazed frame (4), Location:

* Qian Songyan 錢松岩 (1899-1985). Red Cliff, circa 1975, woodblock print heightened with transparent and opaque watercolour on laid paper, red seal to lower left, Chinese characters and additional red seal to top right, light spotting to the upper and lower sheet edges, sheet size 59.5 x 41.5 cm (23 1/2 x 16 1/4 ins), unmounted QTY: (1)NOTE:Qian Songyan was a native of Yixing, Jiangsu Province, and originally began studying painting with his father. In 1923 he graduated from the Jiangsu Provincial No. Three Normal College. He taught at art academies in Suzhou and Wuxi. His works have been exhibited across China and the world.Provenance: purchased by the current owner from Rong Bao Zhai, a famous woodblock printing studio in the antique street Liuli Chang, in Beijing, China.

* Philp (James George, 1816-1885). Penryn Church near Plymouth, 1852, oil on board, signed and dated (indistinctly) lower right, 28.7 x 36.2 cm (11 1/4 x 14 1/4 ins), period moulded gilt frame (43.5 x 51 cm), verso of frame with incised title, date, artist's nameQTY: (1)NOTE:James George Philp was born in Falmouth. Much of his later work was produced in watercolour, a medium with which he is generally associated, which makes the oil painting offered here of particular interest as it was painted in the period prior to his shift to watercolour. Philp became a member of the New Society of Painters in Watercolours in 1856. Most of his subjects were found in Devon and Cornwall. He exhibited from 1846 to 1885, including the Royal Academy in 1846, and the 1880 Winter Exhibition at the Institute of Painters in Water Colours. Philp was described by the critic of The Times as ?...the veteran, and most distinguished, coast painter of which Cornwall can boast ...? ("Painters of Cornish Scenes at a London Gallery" in The Cornishman, number 127, 16 December 1880, page 4).

A framed and glazed watercolour and a framed oil painting, COLLECT ONLY.

Alan Davie CBE RA HRSW,  Scottish 1920-2014 -  Soft Zen Painting no.33, 1979;  watercolour on paper, signed, titled, numbered and dated lower left 'Alan Davie 279 Soft Zen Painting No 33 2-79', 28.5 x 41 cm (ARR) 

George Lambourn,  British 1900-1977 -  Aircraft factory, c.1941;  watercolour and pencil on paper, 39 x 57.5 cm: together with 4 other Second World War scenes of the same medium, most dated 1941 and some stamped for censorship, subjects include 'Tynemouth Caste', Nissens and 'Gun Emplacement' (unframed) (5) (ARR) Note:  the main image possibly depicts Hawksley aircraft factory, which the artist painted during WWII.  the artist studied at the Royal Academy Schools in London and became friendly with both Augustus and Gwen John in the early 1920s, painting a portrait of the former in 1932. He exhibited with the New Arts Centre and at Newlyn Art Gallery, and had a solo show in 1950 at the City Art Gallery museum in Plymouth.  Works by the artist are in public collections, including the Tate and the Imperial War Museum. 

Henry Gibbs Massey, British 1860–1934 - Parliament square; watercolour and gouache on paper, 36.7 x 25.8 cm: together with 2 other works on paper by the same artist, 1 unframed, of a similar size and medium (3) (ARR) Provenance: the Estate of the Artist Note: the artist studied in Paris, before travelling to the Pont-Aven region made famous by Gauguin and the Post-Impressionists, and a gentle influence of Modern French painting can be read across his work. The artist wwas Principal at Heatherley's School of Art in London from 1907-34.  His 1919 watercolours were amongst the first depictions of the continental war graves and the newly constructed military cemeteries. These watercolours were exhibited at Guildford Cathedral in 2014 in its Great War Commemorative exhibition.

Henry Gibbs Massey, British 1860–1934 - British Military Cemetery; watercolour and gouache on paper, signed lower left 'H. G. Massey', 27.5 x 37.5 cm: together with 2 other works on paper by the same artist, 1 unframed, of a similar size and medium (3) (ARR) Provenance: the Estate of the Artist Note: the artist studied in Paris, before travelling to the Pont-Aven region made famous by Gauguin and the Post-Impressionists, and a gentle influence of Modern French painting can be read across his work. The artist was Principal at Heatherley's School of Art in London from 1907-34.  His 1919 watercolours were amongst the first depictions of the continental war graves and the newly constructed military cemeteries. These watercolours were exhibited at Guildford Cathedral in 2014 in its Great War Commemorative exhibition.

PEG CAMPBELL: BIRDS ON A BRANCH watercolour and ink, dated '73, and another bird painting (foxed) (2)

A watercolour painting of a rural landscape with numerous sheep grazing in the foreground, unsigned, 17.5cm x 33.5cm; & various other decorative pictures.

*§ *§ Sir William Russell Flint. R.S.W; P.R.W.S; R.A (1880-1969) 'The Bay of Winds, Gruinard, Ross-shire'watercoloursigned50 x 67cm Provenance: Christie’s, London, 26th October, 2000, lot 144Note: Flint commented on his watercolours of sands and figures - on sands, ‘’In my opinion, technically the most difficult of all forms of water-colour painting and the purest. I might be asked why and the answer would be that these subjects are essentially the most delicate, direct and subtle of all. Any heaviness, any fumbling, any muddiness of colour would ruin them. I claim that there is far more in them than meets even the most professional eyes, and I unashamedly confess to amusement at imitators’ efforts’’(See W. Russell Flint, More than Shadows, London, 1943, p.34***CONDITION REPORT***A few small fox marks notably on the margin at 9 o'clock and near 6 o'clock, otherwise colours good, and no other faults noted, later card mount and glazed gilt frame with Sotheby's chalk marks verso for sale Lot 44 26 10 2000PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

Bob Todd, Watercolour, Winter in Clova, an Oil Painting and Print

Collection of pictures includes 2 framed jigsaws, watercolour of Revesby Reservoir, pencil drawing signed White of a pheasant, G Walt arcylic painting, 5 university frames (2 still sealed), 'The Stallion' Hsu Pi Hung print etc

Edwin Aaron Penley - Two mid 19th century Victorian Edwin Aaron Penley framed and glazed watercolour paintings. One painting depicting a farmer walking with sheep through a wooded plain, whilst the other depicts a man with dog. Each painting having signature to bottom left corner. Measures approx. 39x48x3cm

After James Tytler (b.1948, British), coloured print, 'Children At The Seaside', an attractive limited edition depiction, 482/500, framed, mounted, and under glass, measuring 19cm x 19cm, & 40cm x 40cm overall, together with a watercolour painting, by Hagop Kasparian (20th Century), entitled 'Jack & Jill', depicting windmills

A PHILLIPS, 'Anticipation', painting of a terrier, gouache and watercolour, framed and glazed. 21.5 x 20 cm.

A Chinese scroll painting 20th century, watercolour on paper, signed with calligraphy and oval red seal, depicting a serene mountain lake landscape, with boats sailing around a rock arch, misty cliffs towering above, 38 x 12½in. (96.5 x 31.75cm.), overall 54 x 15 1/8in. (137 x 38.5cm.). * Some foxing visible in places to the pale unpainted areas. Small white paint spot to the lower left margin and small brown mark towards upper right corner at top of mountain. Several horizontal creases to the paper - one at the top and another near the lower margin, and two at centre left.

Reginald Haggar large still life floral watercolour painting, signed and dated 1944, measuring 74cm x 53cm excluding frame, slip and mounts. Inscribed on reverse - flowers from a Willoughbridge (Near Market Drayton) Garden. One of three Haggar paintings we are selling, having been in the same family for 60 years.

Early 20th century miniature portrait. Half-length watercolour of a boy in white shirt. Indistinctly signed to lower right. Height of painting in gilt surround: 8.2cm

Reginald Haggar watercolour painting believed to be factories at Etruria, Stoke on Trent, signed. Measuring 55cm x 39cm excluding frame, slip and mounts. One of three Haggar paintings we are selling, having been in the same family for 60 years.

Janet Golphin R.W.S. (British, 1950), Painting Poppies, signed l.r., titled verso, watercolour with bodycolour, 78 by 66cm, framed. Provenance: with Bankside Gallery, London

An Art Nouveau allegorical panel, the watercolour on vellum painting of Ceres depicted as a maiden with a sickle amongst wheat, aided by a putto, the sea and sunbeam in abalone and mother of pearl, within a tooled leather border, E.B monogram to the sickle, 25.5cm x 35cm

HUBERT J. MEDLYCOTT The Great Hall, Sandford Orcas Manor, signed and dated 1885, watercolour, 32cm x 53cm; and the companion painting of The Great Hall looking towards the Screens Passage (2)Note: These watercolours present an invaluable document of the interior of the house almost 150 years ago. Many of the lots in the auction can be identified including the oak gateleg table, the oak wainscot chair beside the fire, the andirons, the porcelain on top of the fireplace, the drum table, the oyster kingwood cabinet on stand and the George III bracket clock.

A NAIVE FRENCH WATERCOLOUR PAINTING. SONET AU TRAIN DES EQUIPAGES 9.5ins x 14ins.