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Lot 236

I Cafieri - Wooden river landscape, oil painting on board, signed lower left corner 51cm x 76cm in a gilt frame; a 19th century watercolour drawing of two men fishing in a boat on a river in a country estate with a country house to the background 28cm x 37cm; and a 1940s Middle Eastern scene watercolour signed and dated indistinctly to lower mount 22cm x 29cm mounted in a glazed frame, together with a group of Victorian and early 20th century prints to include a Pears print Bubbles mounted in a gilt frame; and John Hollyer Hill - a 1950s Frost and Reed colour print signed in pencil by the artist to lower margin and with blind stamp 35cm x 50cm mounted in a glazed frame; along with two other unframed printsLocation: LWF

Lot 504

Charles Ginner (1878-1952) - 'Cornish cliffs', pen, ink and watercolour, signed lower left, 14.5 x 19 cm Phipps and Company Limited gallery label to versoPainting - nothing to report - good condition Frame - age related wear, slight hairline cracks in places

Lot 576

Hector Whistler (1905-1978)  - 'On The Beach', watercolour, pencil signed, 36 cm x 54 cm Possibly watermark to the top left of painting, otherwise good condition - no foxing

Lot 323

Two Japanese woodblock ukiyo-e prints, oban tate-e, ink and colour on paper, Utagawa Kunnisada (Yoyokuni III) 'Woman holding a fan and combing her hair' images size 23 cm w x 35 cm h and Utagawa Kuniyoshi 'Ox Sakura-Maru', Sakura-Maru holding the rope of the imperial ox cart, image size 25 cm w x 36 cm h to/w a Chinese watercolour painting on silk of two ducks, all framed and glazed (3)

Lot 305

A Japanese folding screen, Byobu, constructed using traditional 17th century techniques with four panels of layered paper painted with ink and watercolour with figures on a bridge in a stormy landscape, one chasing his straw hat (kasa) calligraphy inscription, signature and red seal mark to lower right corner, silk brocade border within a black lacquered and brass mounted frame, printed fabric covered reverse, 168 cm x 92 cm o/a Areas of fading and wear particularly to the edges of the panels, some other marks to the painting, several small tears, some losses to lacquer of the frame, see images provided

Lot 16

500x680mm Unframed. Watercolour and wax crayon. ARTIST STATEMENT: When I first moved to Paris I became friends with an old lady who lived in the flat above me. Despite her not speaking any English and my French being basic she still made me feel welcome and was very kind by making sure I was Ca Va every day. She was not only lovely but also exceptionally cool. From some of the conversations we had, I got the impression that she was free spirited and very energetic. She told me in order for me to learn French I need to get a French boyfriend as thats the quickest and most cost effective way. She was also very against wifi and technology which I thought was refreshing and pretty cool. I decided to embody her young energy in this portrait of what I felt she would have looked in her earlier years. She really made my move to Paris even more wonderful and I feel this painting not only holds a lot of power but quite a bit of sass too. ABOUT THE ARTIST: Winner of SAF Students Prize, Guernsey 2016. Recipient of the SAF Bursary 2017-2020.

Lot 19

400x300mm. Unframed. Gouache, watercolour and ink. ARTIST STATEMENT: The coronavirus pandemic has had a lot of dark sides, triggering our fear and uncertainties about the road ahead, but it has also offered some special times and opportunities. For many of us it has been a time when we have been able to really get to know the neighbouring islands of the Baliwick. This painting captures one of those special moments: exploring sark and getting to really appreciate its charms for the first time. The road ahead may be frightening but we shouldn't be afraid to go forward. ABOUT THE ARTIST: After leaving school in Guernsey I travelled for a year through Australia, New Zealand and Fiji where I got the inspiration for my small eco- inspired art business- Good Luck Coconut. I have continued to develop this throughout my time studying Graphic Design at Nottingham Trent University. I love working with clients and producing bespoke designs and products and am excited to see where it takes me.

Lot 96

FEDERICO BELTRÁN MASSES (Güira de Melena, Cuba, 1885 - Barcelona, 1949)."Lady in Venice", Paris, 7-4-1924.Oil on canvas. Relined.Signed, dated and located in the lower right corner.Work included in the exhibition of the Caja Vital Kutxa in 2002.Measurements: 170 x 186 cm.Federico Beltrán Masses was a unique and unrepeatable artist, indisputable renovator of the aesthetic postulates of the beginning of the 20th century. His captivating style, influenced by the great traditional Spanish masters, but categorically modern, can be contextualized between Art Deco and symbolism, with costumbrist influences in its early stages. Masses produced numerous large format works such as the one in question, in which he painted beautiful women, all of them endowed with a remarkable eroticism and a stark sexuality that explain how the painter became the portraitist par excellence of the aristocracy of the time, as well as the first Hollywood stars of the 1920s and 1930s. The sophisticated young woman who is the protagonist of our work is dressed in a sumptuous dress with attention to the quality of the details, and is surrounded by lavish bouquets of red roses. Behind her, a figure covering her head with a turban dedicates a song to her on a stringed instrument. The scene, with the Doge's Palace and St. Mark's Bell Tower in Venice as a backdrop, is bathed in the night light and the deep blue tone that characterized his compositions, earning him the nickname "Blue Beltran". Venice was for Masses the city of his dreams and fantasies. Its palaces and canals awakened his deepest feelings and brought, with their unmistakable style, the fabulous Italian past closer to the charm and enchantment of the Belle Époque.Beltrán Masses, despite his Cuban origin, studied art in Spain. He began his training at La Llotja School in Barcelona, and was a disciple of Joaquín Sorolla. In 1905 he moved to Madrid to study first-hand the works of the masters in the Prado Museum. In 1916 he settled in Paris, where he achieved great commercial success, receiving commissions from illustrious people in the United States, Belgium, Italy and India. He was a member of the Royal Academies of Madrid, Barcelona, Zaragoza, Lisbon, Cordoba and Malaga. He was also a member of the Hispanic Society of New York, the Institute of France, the Academy of Fine Arts in Paris, knight of the Order of Malta and the French Legion of Honor, and general curator of the International Art Exhibition in Bordeaux in 1928. He participated in many exhibitions and shows, such as the one held at the Sala Parés in Barcelona in 1910, the Hispano-French Fine Arts Exhibition in Paris in 1919 and the Venice Biennial in 1921. In 1924 he received the Cordon de Isabel la Católica, and in 1934 he exhibited his works at the Royal Watercolour Society in London. Among his official commissions, the portrait he painted of King Alfonso XIII stands out. In 2007 a retrospective exhibition of Federico Beltrán Masses was held at the Casa Lis Museum of Art Nouveau and Art Deco. Beltrán Masses devoted himself to both landscape and figure painting, although towards the end of his career he focused fully on portraiture. He developed a totally unique style, influenced by the great Spanish masters but decidedly modern. Works by Beltrán Masses are currently preserved in the Prado Museum, the Jeu de Paume Museum in Paris, the Casa Lis in Salamanca and the Reina Sofía in Madrid.

Lot 23

An Indian Mughal School painting,20th century, watercolour and gouache, highlighted in gilt, depicting Krishna leading a white stallion,23 x 18cmCondition report: small areas of staining, the paint lifting in places,

Lot 1623

Maurice Overall, local watercolour painting.

Lot 1624

Norman Gray MCSD, watercolour painting titled The Cloisters, Norwich Cathedral.

Lot 158

Collection of art books to include: Bryan's Dictionary of Painters and Engravers, new edition revised and enlarged under the supervision of George C Williamson, five volumes, published by G Bell & Son London 1904, Hardie (Martin), 'Watercolour Painting in Britain', two volumes, published by B T Batsford Ltd London 1970, Levey (Michael),'Painting in XVIII Century Venice', published by Phaidon Press, London 1959 and C. E. Hughes 'Little Books on Art, Early English Water Colour' second edition, Methuen 1929

Lot 341

A collection of mainly 20th century British School pictures and prints including oil painting on board of a landscape with etched pylon detail, indistinctly signed dated 94, inscribed verso Portland from Cairn Down, 21 x 26 cm approximately, together with a further landscape oil painting on board with label verso B Brandt - Dartmoor Road, 11.5 x 16.5 cm, a watercolour study of a chair and flowers, signed J W Pommier?, etc, various sizes, all framed (7)

Lot 235

A large silk mounted Chinese watercolour scroll painting of a landscape. Chinese markings to the top left on image.Full length: H:135cm x 53.5cm.Image size: H:65.5cm x 44cm.

Lot 424

AUGUSTUS OSBORNE LAMPLOUGH (1877-1930) – watercolour, 'Arabs in a Dhow on the Shores of the Nile', signed lower left, (23cm x 38.5cm). Ebonised glazed frame.Condition Report: The image appears to be in the original frame, the paper is bit ripped around the back at the edges, there is some black paint away from the frame, noticeably at the bottom. The painting itself appears in very good overall condition with rips, tears or any major damage noted.

Lot 1131

Dorothy Bruce (contemporary, USA and Scotland) "Kipford" and "Rockcliffe", south Galloway Scottish coastal studies, watercolour tinted lithographic prints, pencil signed and titled, in card mounts and parcel gilt frames under glass, 42 cm x 54 cm [Dorothy Bruce was born in Wisconsin, USA, gaining her Bachelor of Art from the Minneapolis School of Art. She has lived and worked in Scotland for over 40 years, painting the landscapes and coastal scenes that are so distinctive to this country. The continually changing light and austerity of much of the Northern Highlands and the West Coast of Scotland are recurring themes in much of her work. During these years she has exhibited throughout Scotland including The Royal Society for Painters in Watercolour.]

Lot 476

Anglo Indian company school (circa 1850-1870), Architectural Study of the Sikh Golden Temple, watercolour on ivory, oval form, 32 by 21.5cm, unusually large scale painting compared to smaller versions on ivory, framed

Lot 478

China (early 19th century), a very large Chinese trade painting of a busy village marketplace, watercolour, Qing dynasty, 130cm x 61cm, framed

Lot 119

A framed 1960s abstract landscape watercolour painting, unsigned, framed and glazed, 36.5cm x 55cm

Lot 119

Gordon Radford (British 1936-2015) "Freshwater, Isle of Wight", signed and titled, watercolour and pencil.30.5cm x 44.5cm (12in x 17.5in)Footnote:Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report:The painting is in very good, original condition with strong colours and no obvious faults to report. The painting is framed and glazed.

Lot 13

Geoffrey Woolsey Birks (British 1929-1993) "Bawburgh Bridge", signed and dated '76, titled on verso, watercolour and ink.8.5cm x 12.5cm (3.25in x 5in)Footnote:Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report:The painting is in very good, original condition with strong colours. There is some very light time staining and browning along the lower edge of the paper. The painting is ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.

Lot 131

Nicholas Ferenczy (British 1959-) "The White Arch (Bwa Gwyn), near Rhoscolyn, Anglesey", monogrammed, titled and dated 2017 on verso, watercolour and pencil.29cm x 23cm (11.5in x 9in)Condition report:The painting is in very good, original condition with strong colours and no obvious faults to report. The painting is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.

Lot 135

Trevor Grimshaw (British 1947-2001) "Hilltop Ruin", initialled, titled and dated 1990 on artist's label verso, watercolour.8cm x 8cm (3.25in x 3.25in)Footnote:Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report:The painting is in very good, original condition with strong colours and no obvious faults to report. The painting is framed and glazed.

Lot 141

David Ainsworth (British 20th/21st century) "Autumn Morning", signed, titled on artist's label verso, watercolour.15cm x 23cm (6in x 9in)Footnote:Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report:The painting is in very good, original condition with strong colours and no obvious faults to report. The painting is framed and glazed.

Lot 159

Trevor Grimshaw (British 1947-2001) "Hills and Clouds", signed, titled on artist's label verso, watercolour.8cm x 8cm (3.25in x 3.25in)Footnote:Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report:The painting is in very good, original condition with strong colours and no obvious faults to report. The painting is framed and glazed.

Lot 164

Trevor Grimshaw (British 1947-2001) "Moor", signed, titled on verso, watercolour.8cm x 14cm (3in x 5.5in)Footnote:Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report:The painting is in very good, original condition with strong colours and no obvious faults to report. The painting is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.

Lot 168

Caroline Bailey (British 1953-) "Red Lilies by the Window", signed, titled on gallery label - 'Castlegate House Gallery, Cockermouth' verso, watercolour.52.5cm x 71cm (20.75in x 28in)Footnote:Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report:The painting is in very good, original condition with strong colours and no obvious faults to report. The painting is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.

Lot 177

Arthur Rowlands (British 1904-2000) "Criccieth", signed, titled on artist's label verso, watercolour.25.5cm x 36cm (10in x 14.25in)Footnote:Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report:The painting is in very good, original condition with strong colours. There is some very light time staining and browning around the edges of the paper near the mount board and one or two minor spots of foxing across the sheet. The painting is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.

Lot 180

William Turner F.R.S.A., R.Cam.A. (British 1920-2013) "Polperro", signed and dated 1957, watercolour.22.5cm x 32.5cm (9in x 12.75in)Footnote:Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report:The painting is in very good, original condition with strong colours. There are some minor spots of foxing and browning across the paper. The painting is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.

Lot 201

Trevor Grimshaw (British 1947-2001) "Snow", signed, titled and dated 'Feb 94' on verso, watercolour.14cm x 21.5cm (5.5in x 8.5in)Footnote:Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report:The painting is in very good, original condition with no obvious faults to report. The painting is unframed but mounted.

Lot 33

Harold Riley (British 1934-) View across an estuary with ducks, signed and dated '71, titled on verso, watercolour, ink and pastel.28cm x 26.5cm (11in x 10.5in)Footnote:Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report:The painting is in good, original condition. The colours have faded slightly across the painting and there is some light staining along the left and lower edges of the sheet. The painting is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.

Lot 37

Bohuslav Barlow (Czechoslovakia 1947-) "Sabre & Bird", signed and dated '92, watercolour and ink.45.5cm x 62.5cm (18in x 24.75in)Footnote:Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report: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 48

Reginald G. Haggar R.I., A.R.C.A., F.R.S.A. (British 1905-1988) "Track in the Woods, Beech", signed, titled on exhibition labels verso, watercolour.37.5cm x 56cm (14.75in x 22in)Footnote:Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report:The painting is in very good, original condition with strong colours and no obvious faults to report. The painting is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.

Lot 56

William Turner F.R.S.A., R.Cam.A. (British 1920-2013) "Flitting" (Victoria Park, Manchester), signed and dated 1952, titled on verso, watercolour.32.5cm x 48cm (12.75in x 18.75in)Footnote:Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report:The painting is in very good, original condition with strong colours and no obvious faults to report. The painting is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.

Lot 61

William Turner F.R.S.A., R.Cam.A. (British 1920-2013) "Figure and Telegraph Pole", signed and dated 1952, watercolour and charcoal.34.5cm x 47cm (13.5in x 18.5in)Footnote:Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report:The painting is in very good, original condition with strong colours. There are some minor spots of foxing across the painting. The painting is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.

Lot 63

J. McGregor (British 20th century) "Rooth Street, Stockport", signed and dated '66, watercolour and charcoal.36.5cm x 49cm (14.5in x 19.25in)Footnote:Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report:The painting is in very good, original condition with strong colours. There is some very light time staining and browning in areas across the paper and one or two minor spots of foxing. The painting is framed and glazed. The frame has some scuffs and knocks.

Lot 71

Janet Kenyon (British 1959-) "Mist over Langdale Valley", signed, titled on verso, watercolour and crayon.21cm x 25cm (8.25in x 9.75in)Footnote:Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report: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.

Lot 80

Emmanuel Levy (British 1900-1986) "Hans", signed, titled and dated 1935 on verso, watercolour.52cm x 42cm (20.5in x 16.5in)Footnote:Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report:The painting is in very good, original condition with strong colours and no obvious faults to report. The painting is framed and glazed. The frame has some scuffs and knocks.

Lot 88

Gordon Radford (British 1936-2015) "Dovestone Reservoir, Saddleworth", signed and titled, watercolour and pencil.30.5cm x 44.5cm (12in x 17.5in)Footnote:Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report:The painting is in very good, original condition with strong colours and no obvious faults to report. The painting is framed and glazed.

Lot 92

Peter Shackleton (British 1933-) "Lake Reflections", signed, titled on verso, watercolour.13cm x 18.5cm (5.25in x 7.25in)Footnote:Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report:The painting is in very good, original condition with strong colours and no obvious faults to report. The painting is framed and glazed. The frame has some minor scratches commensurate with age.

Lot 99

Geoffrey Woolsey Birks (British 1929-1993) "Long Row Street", signed and dated '75, titled on verso, watercolour and pencil.8.5cm x 12.5cm (3.25in x 5in)Footnote:Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report:The painting is in very good, original condition with strong colours. There is a minor stain in the upper left-hand corner of the painting. The painting is ornately framed and glazed.

Lot 70

Amos Green (British 1735-1807) Gateway of Roos Castle, Nr Duncombe Park Watercolour and ink Inscribed (verso) 24 x 38cm (9¼ x 14¾ in.) Most likely to be a study of the ruins of Helmsley Castle, which is indeed near Duncombe Park in North Yorkshire, rather than the ground-level traces of the moated Roos Castle in the South Riding of Yorkshire. Helmsley was in the possession of several generations of the de Ros, subsequently the Roos family, from the late 12th to the early 16th centuries. Comparison of the extensive extant ruins of the gatehouse at Helmsley is further supported by similar comparison of a closely related watercolour sold at auction in 2007, inscribed on the reverse '6/ Part of the Keep of Roos Castle' with the current remains of the keep at Helmsley, bearing in mind the area was only cleared in the late 19th century of the encroaching trees and undergrowth depicted in both compositions. The one presented here is inscribed '5/ Gateway of Roos Castle, Nr Duncombe Park', and they both probably date from latter phase of the career of Amos Green (1735-1807). He was originally from Halesowen near Birmingham, and was initially trained to decorate trays and boxes, a skill that soon evolved into painting still lifes of flowers and fruit in the manner of Van Huysum and Monnoyer. He later turned his vision to the outside world, becoming an accomplished and successful landscape artist. He married late, in 1796, to a native of Yorkshire, Miss Little, where the couple settled for the remaining years of Green's life. During this period, he seems to have preferred going on sketching tours with his wife, producing just such watercolour studies as we see here, rather than producing larger finished paintings. Condition Report: most likely to be a study of the ruins of Helmsley Castle, which is indeed near Duncombe Park in North Yorkshire, rather than the ground-level traces of the moated Roos Castle in the South Riding of Yorkshire. Helmsley was in the possession of several generations of the de Ros, subsequently the Roos family, from the late 12th to the early 16th centuries. Comparison of the extensive extant ruins of the gatehouse at Helmsley is further supported by similar comparison of a closely related watercolour sold at auction in 2007, inscribed on the reverse '6/ Part of the Keep of Roos Castle' with the current remains of the keep at Helmsley, bearing in mind the area was only cleared in the late 19th century of the encroaching trees and undergrowth depicted in both compositions. The one presented here is inscribed '5/ Gateway of Roos Castle, Nr Duncombe Park', and they both probably date from latter phase of the career of Amos Green (1735-1807). He married late, in 1796, to a native of Yorkshire, Miss Little, where the couple settled for the remaining years of Green's life. During this period, he seems to have preferred going on sketching tours with his wife, producing just such watercolour studies as we see here, rather than producing larger finished paintings Condition Report Disclaimer

Lot 1403

Tregothuan (sic) Tregothnan, CornwallA scene looking up to The Earl Of Falmouth's EstateWatercolourUnsignedInscribed and dated 1830 on the mount 21cm x 31cmProvenance:Michael Trethewey. A Gentleman of Taste.We are delighted to be selling in this sale and over forthcoming sales, items from the estate of the collector Michael Trethewey. Michael had an unerring eye for quality. He was a frequent visitor to these auction rooms, an elegantly dressed, unassuming man who bought well and had a singular passion for old-school antiques.Condition report: This watercolour is 19th century, not modern. It has been exposed to damp and so the mount has areas of damage and foxing which can be seen in the photo, there are some spots of foxing to the painting itself, but fortunately not so much damp damage. See new photos.

Lot 116

Thomas M. Hemy (1852-1937)An Aran Funeral (Inishmaan, Aran Islands, in Galway Bay)Watercolour, 26 x 38cm (10¼ x 15'')Signed and inscribed indistinctly on original backing boardThis is a sketch for the oil painting by Hemy, exhibited at the Royal Academy, London, 1913, catalogue no.613.

Lot 161

Scottish watercolour - Black Rock xxxx Glen We, artist monogram AMS and dated '88 to lower right 11.5cm x 16.5cm mounted in a glazed frame; a small oil painting on board, still life of a vase of flowers and fruit framed, and Mouse and Strawberries a framed and glazed embroidery Location: 10:1

Lot 251

Francis Towne (British, 1739/40-1816), A Mountain Stream, signed lower left, indistinctly inscribed and initialled top right, Agnews label and titled verso, watercolour, 28cm x 20cmProvenance: private local collection, purchased from Thomas Agnew & Sons LtdCondition report: The painting is a watercolour on paper, framed under glazing- not examined external to the frame. The sheet appears in good condition, no obvious signs of any losses. There is a crease extending from the lower right centre edge towards the right corner- 12 cm long in total, from this are two small tears stretching vertically down from the crease towards the edge of the mount. There is some minor fading to the colours, the paint surface appears stable. General wear and tear to the frame.

Lot 257

Peter Biegel (British, 1913-1987), huntsman Wilkin and hounds, initialled lower right, titled upper right 'Wilkin for W.W.W', 'J.L.W.Bird, 19 Grove Park Terrace, London W4 3QE' gallery label verso, 'Wilkin, huntsman of Sir Watkin Williams Wynn's hounds. Collection: Mrs Peter Biegel', pencil and watercolour, 30cm x 25cm, frame 48cm x 41.5cmCondition report: The painting is a watercolour on paper, framed under glazing- not examined external to the frame. The sheet appears in good condition with just a few drawing pin holes located top left and bottom left. Colours appear well preserved and paint surface stable. 

Lot 244

Frank Southgate, RBA (British 1872-1916), Boat on the Sand, signed lower right, watercolour, 43cm x 60 cmCondition report: The painting is a watercolour, framed under glazing, not examined external to the frame. The sheet appears in good condition- no obvious evidence for tears or damage and the surface appears stable. The paint surface appears well preserved, colours in good condition and appears stable. There is general wear and tear to the frame.

Lot 250

John Varley (British 1778-1842), Welsh Mountains, hand-written in pencil 'Moel Hebog', Spink's label and typewritten titled label verso '...Welsh Mountains from across an estuary. Signed and inscribed sketch on the reverse of the original mount, watercolour,14.5cm x 24.5cmProvenance: local private collection, C.L.N.Miles Esq.Condition report: The painting is a watercolour on paper, framed under glazing- not examined external to the frame. The sheet appears in good condition no obvious evidence for rips or losses. There is some minor fading, the paint surface looks stable. There are some spots of discolouration to the upper right towards the corner. There is a minor surface scratch lower right. General wear and tear to the frame

Lot 248

John Warwick Smith (British, 1749-1831), Portland, Agnews label and titled verso, watercolour, 12.5cm x 22cmProvenance: private local collection, purchased from Thomas Agnew & Sons Ltd.Condition report: The painting is a watercolour on paper, framed under glazing- not examined external to the frame. There is some ageing (yellowing) to the sheet but otherwise it looks in good condition- no obvious evidence for any rips or losses. There are three spots of pale discolouration in the sky and one small puncture- the size of a pin hole in the sea in the bay in the foreground. There is some surface roughness to the blocks at the edge of the cliffe near the right hand side. There is some minor colour fading and general wear and tear to the frame.

Lot 256

Gareth Parry RCA (British, b.1951), 'Snipe', signed and dated 1978 bottom right, titled verso, watercolour, 35cm x 39 cm, frame 53cm x 56 cm, together with a Barnacle Goose taking off, signed and dated 1981 bottom left, watercolour, 38cm x 42cm by the same hand (2) Consigned from a significant private collection of wildlife artCondition report: The Snipe painting is a watercolour, framed beneath glazing, not examined external to the frame. The sheet appears in good condition, no obvious evidence for any tears or losses and the surface appears stable. The paint surface is in good condition and the colours well preserved. The mount and frame are in excellent condition with solid joints. The Barnacle Goose is a watercolour painting, unframed. The sheet is in good condition without losses and is in stable condition. The paint surface is well preserved.

Lot 519

David Cox, OWS (British, 1783-1859)Waiting for the ferrysigned 'David Cox' (lower left)oil on canvas35 x 45cm Provenance:Property from a Suffolk country houseFootnote: It is possible that the present lot is the same painting that was once recorded in the collection of Edwin Bullock (1802-1870), a friend and patron of the artist. This painting was of the same subject and dimensions. It was exhibited at the Liverpool Academy in 1875 (no. 10, lent by H. W. F. Bolckow, MP) and later appeared at Christie’s sales on 2nd May 1891, lot 253, and on 9th March 1907, lot 25. We are grateful to Professor Stephen Wildman for pointing out the existence of this version. Additionally, the composition in the present lot exists in another version in oil, though with minor variations, which is dated 1845 and inscribed on the reverse ‘Hunsum’s Ferry on the Wye’ (see Birmingham Museum and Art Gallery, no. 1885P2493). There is a similar watercolour version of this subject titled Waiting for the Ferry Boat, which was exhibited at the 'Old' Society of Painters in Water Colours in 1835 and is now in the Tate, London (no. 5617).Condition report: 60 x 71cm (framed) Oil on canvas which has been lined. The canvas tension is good and the picture is in plane. The paint layers are in a good, stable condition overall. The varnish is semi-matte and even. There are a few brown accretions across the surface.

Lot 599

George Richmond, RA (British, 1809-1896)Portrait of Sir John Gurney (1768-1845) seated in his studywatercolour on paper69.5 x 47.5cmProvenance:By descent from the sitter's daughter Harriet (1800-?) to the present ownerFootnote: The artist's Account Book lists a painting of Sir John Gurney on p. 6 under 1844, which was exhibited at the Royal Academy in 1845 and engraved by J Posselwhite. It also records two copies on pp. 38, 40 under 1845. Sir John Gurney was a judge and barrister. He was called to the bar in 1793 and famously defended Robert Thomas Crossfield for complicity in the Popgun Plot, the 1794 conspiracy by three members of the London Corresponding Society to assassinate King George III by means of a poison dart fired from an airgun. He later prosecuted Lord Cochrane for spreading rumours of Napoleon's death to make money on the stock exchange. As a result of this case and his prosecution of the Cato Street conspirators in 1820, he was knighted and made a Baron of the Exchequer in 1832.Condition report: Framed 114 x 91cm

Lot 47A

A LANDSCAPE PAINTING SIGNED CARL CHEEK, A SMALL FRAMED WATERCOLOUR AND A SILK PICTURE

Lot 803

IMPORTANT JAPANESE WATERCOLOUR/PHOTOGRAPH ALBUM : circa 1860s. Disbound with many edge tears although mainly this does not affect the original image only the backing paper. Relating to the bombardment of Kagoshima, also known as the Anglo-Satsuma War. The first photograph is by Felice Beato (275 x 190mm) it shows the interior of a captured Chosu battery at Simonosaki, occupied by a British naval brigade before the dismantling of the guns. There are several other photographs of the conflict including a panoramic view (540 x 205 mm)of the Straits showing part of the Allied fleet at anchor in the Bay, just two days before the attack on Kagoshima. There are a number of smaller photographs of temples, various itinerants and Samurai. There are several contemporary watercolours signed Edward. A. Birch of various officials, and a girl from Hong Kong, followed by a dramatic watercolour taken from sea of the destruction of the city of Kagoshima on the night of August 15th 1863. A magnificent Japanese painting on silk of a palace and it's grounds in the city of Yeddo. (320 x 210 mm), with two others of a tea-house, and a fire in the palace. Several other water colours almost certainly by Birch including a panoramic view of Macao, on the Canton River. In a 'native' hand are thirty-four paintings of Japanese trades (150 x 140 mm) approx. Eleven large size Chinese paintings of torture scenes on rice paper. & a photograph of the Allied leadership who led the assault on Kagoshima; Indian mica paintings of trades; Japanese paintings on crepe. Further watercolours by Birch inc " Hong Kong (harbour), from Victoria Peak (320 x 180 mm ); and two larger size photographs of Tibetan monks almost certainly by Beato.

Lot 148

‡Dame Laura Knight DBE, RA, RWS (1877-1970) Prisoners in the Dock at the Nuremberg Trial No.1 Signed Laura Knight (lower left) Coloured chalks and watercolour 76.4 x 55.8cm Provenance: Collection of the artist, 1963; Private Collection, UK Literature:The Studio, November 1954, p.131;To be included in John Croft’s of catalogue raisonné of Knight’s workExhibited:London, The Royal Institute Galleries, The Society of Graphic Artists;Worthing, Worthing Art Gallery, Paintings and Drawings by Dame Laura Knight, May-June 1963, no.28;Long Eaton, Long Eaton Library, Exhibition of Paintings and Drawings by Dame Laura Knight, June-July 1963, no. 70This lot and lot 149 are studies for Laura Knight's 'The Nuremberg Trial, 1946' (Imperial War Museum, London, inv. no. ART LD 5798). The painting was a commission from the War Artists Advisory Committee, for which she was appointed a 'war correspondent' and made a special BBC broadcast from Nuremberg. She gained special access to the broadcasting box just above the prisoners, where she was able to make charcoal studies of the main protagonists amongst the lawyers and the accused. In this work we see, seated from left to right, Hermann Göring, Rudolf Hess, Joachim von Ribbentrop and Wilhelm Keitel with Karl Dönitz in the row behind.

Lot 356

A watercolour painting of a rural cottage and two signed prints of a landscape and a sheep field, framed and glazed, largest 60cm x 69cm

Lot 668

LESLEY FOTHERBY (BRITISH 1946) 'BURMESE AND FLOWERPOTS' TWO CATS PLAYING IN A GARDEN SETTING, signed bottom right, Chris Beetles gallery label verso, watercolour on paper, approximate size 34cm x 39cm, painting is in good condition, frame is marked in places

Lot 811

* JONATHAN HOOD (SCOTTISH b. 1957),TOURISTSoil on board, signed, titled and dated 2000 versoimage size 30cm x 30cm, overall size 45cm x 45cm Framed.Note: Jonathan Hood was born in 1957 in Edinburgh, and grew up in Fife and Tayside. He was artistically trained at Duncan of Jordanstone College of Art, Dundee and at the Ecole des Beaux Arts, Paris. Jonathan became a full time painter in 1986, mostly working in watercolour and collage. He is a keen art teacher, regularly running children’s workshops as well as adult night-classes. In 2006, he conducted a collage and painting workshop in Morgan Academy, Dundee for the Racial Equality Commission enabling 2 school pupils to reach the final. Since 2006, Jonathan has also run the WASPS studio open weekend in Dundee. Currently, Jonathan is working mostly in oil, using bright colours and painting on board. He has been exhibiting regularly in galleries around the UK, and in Holland, France and Italy. Jonathan uses dramatic blocks of colour to create depth and texture within his works. His clever compositions create narratives through the interaction between figures, and the addition of carefully selected props to be interpreted by the viewer. It is a testament to his artistic skill that he can convey strong emotion with only the simplest of brushstrokes to represent facial features.

Lot 537

* DAVID MCLEOD MARTIN RSW RGI (SCOTTISH 1922 - 2018),TUG AT KYLEoil on board, signed, titled label verso image size 10cm x 17cm, overall size 28cm x 35cm Framed and under glass. Handwritten artist's label verso.Note: David sold his paintings through our auctions from time to time and was always kind, courteous and well liked. David McLeod Martin was born in Glasgow in 1922. He studied at Glasgow School of Art from 1940 to 1942 before serving in India with the Royal Air Force between 1942 and 1946. He returned to Glasgow School of Art in 1946 where he studied under David Donaldson and met his future wife, the painter Isobel Smith. After graduating from Glasgow School of Art in 1948 he pursued a career in teaching. He married Isobel in 1949 and moved to Eaglesham where he lived for the rest of his life. He was elected a member of the Royal Glasgow Institute of Fine Arts in 1959 and the Royal Scottish Society of Painters in Watercolour in 1961. Between 1973 and his retirement in 1983, David Martin was Principal Teacher of Art at Hamilton Grammar School. After his retirement from teaching he concentrated full time on his painting. Numerous highly successful solo shows in London were to follow and he continued to enjoy commercial success and critical acclaim both at home and throughout the UK for the rest of his life. David Martin was widely regarded as one of the finest still life and landscape painters of his generation and his work is held in numerous public, corporate and notable private collections including The Arts Council of Scotland, The City of Edinburgh Art Collection, Perth Museum and Art Gallery, The Dick Institute, Kilmarnock, Robert Fleming and Company Ltd, Linklaters and Paine, Lord MacFarlane, The Earl of Moray, Credit Lyonnais Bank, Warburg Asset Management and the Clydesdale Bank. A major retrospective of his work was held at Perth Museum and Art Gallery in 1999.

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