* ELIZABETH BLACKADDER DBE RA RSA RSW RGI DLitt (SCOTTISH b 1931), STILL LIFE IN WHITE AND GREY watercolour on paper, signed and dated 1972 in pencil 62cm x 104cm Mounted, framed and under glass. Label verso: Mercury Gallery, 26 Cork Street, London. Purchased September 1972. Note: Elizabeth Blackadder is the first woman to be elected to both the Royal Scottish Academy and the Royal Academy. She studied at Edinburgh University and Edinburgh College of Art from 1949 to 1954. In 1954 she was awarded a Carnegie Travelling Scholarship by the Royal Scottish Academy, which took her to southern Europe. Blackadder also received an Andrew Grant Post-Graduate Scholarship. In 1955 she was awarded another Travelling Scholarship and spent nine months in Italy. In 1956 Blackadder married the painter, John Houston and lectured in Drawing and Painting at Edinburgh College of Art from 1962 to 1986. Blackadder’s first solo exhibition was held in 1959 at 57 Gallery, Edinburgh. Since then, solo exhibitions of her work have been held almost every year to date, both nationally and internationally. She has also participated extensively in group exhibitions around the world. Blackadder has received a number of awards, including the Guthrie Award, Royal Scottish Academy (1962) and the Pimms Award for Work on Paper (Royal Academy, 1983). She was joint-winner of the Royal Academy’s Watercolour Foundation Award in 1988. Blackadder was elected Member of the Royal Scottish Academy in 1972, a Royal Academician in 1976 and a Member of The Royal Glasgow Institute of Fine Arts in 1983. She is an Honorary Member of the Royal West of England Academy, the Royal Watercolour Society and the Royal Society of Painter-Printmakers, and an Honorary Fellow of the Royal Incorporation of Architects in Scotland and the Royal Society of Edinburgh. She has also received Honorary Doctorates from four Scottish universities. In 2001 she was appointed Her Majesty’s Painter and Limner in Scotland. Elizabeth Blackadder lives and works in Edinburgh. Selected public collections: Abbot Hall Art Gallery, Aberdeen Art Gallery, Carlisle Museum and Art Gallery, Contemporary Art Society, The Carnegie Trust, Edinburgh City Art Gallery, Tower Art Gallery (Eastbourne), The Fleming Collection, Glasgow Museum and Art Gallery, UK Government Art Collection, Greater London Council, Heriot Watt University, Kirkcaldy Museum & Gallery, Museum of Modern Art, New York (MOMA), National Portrait Gallery, London, Royal Acedemy of Arts, The Royal Scottish Academy, Scottish Arts Council, Scottish National Gallery of Modern Art, Scottish National Portrait Gallery, Tate Gallery, London, University of Cambridge, Kettle’s Yard, University of Edinburgh, University of Glasgow, Hunterian Art Gallery, Whitworth Gallery, Wustun Museum, Racine, Wisconsin, USA.
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* JOHN YARDLEY RI (BRITISH b 1943 - ), WHITE WINGS AND RHUS watercolour and gouache on paper, signed 58cm x 42cm Mounted, framed and under glass. Note: John Yardley began painting full-time over 30 years ago he has achieved International recognition for his distinctive watercolours through one-man and group exhibitions, books, videos and his very popular painting courses, which are constantly over-subscribed. Throughout those years he has maintained a remarkable level of consistency, painting to the highest possible standard at all times with the freshness and spontaneity that are amongst his hallmarks. In 1990 he was elected a member of the Royal Institute of Painters and Watercolour and has exhibited widely throughout the world. He has had numerous one-man exhibitions, won several prizes and is the author of a very successful book (John Yardley, A Personal View - Watercolour). Three further books have been published focusing on Yardley and his work (The Art of John Yardley, by Ron Ranson; John Yardley As I See It, by Steve Hall and John Yardley, by Susanne Haines). His paintings are in corporate and private collections throughout the world. The typical gallery price for a Yardley watercolour of these dimensions would be in excess of £2500.
* HAZEL NAGL RGI RSW PAI (SCOTTISH b 1953), AUTUMN STILL LIFE watercolour on paper, signed 56cm x 78cm Mounted, framed and under glass. Note: Hazel Nagel is a graduate of Glasgow School of Art, where she studied Drawing and Painting. Following graduation, she lived and worked at the Art School’s workshop at Culzean Castle where she developed an interest in landscape painting in response to the varied and dramatic surroundings. She is widely known for her still life and landscape paintings, her preoccupations being imparting a sense of space and light and an expressive impulse. She handles watercolour superbly, layering veils of translucent colour through her work. In 1988 she was elected to the RSW and to the RGI in 2000. She has won a number of awards including the RGI - Sir Alexander Stone Prize, RGI - Mabel Mackinlay Award, RGI - Eastwood Publications Award, SAAC Prize, PAI Prize, 1st Prize Laing Competition. She exhibits widely and has work in a number of Public Collections including The Fleming Collection (London), The Royal Bank of Scotland, Glasgow University, Common Market Enterprises, Combined Capital and Scottish & Newcastle Breweries.
* JEAN B MARTIN RSW (SCOTTISH b 1947), FOXGLOVES AND WATERLILIES watercolour on paper, signed 70cm x 50cm Mounted, framed and under glass. Label verso: Gatehouse Gallery, Rouken Glen Road, Giffnock. Note: Jean B Martin was born in Glasgow in 1947 and trained at the Glasgow School of Art. She was elected a member of the Royal Scottish Society of Painters in Watercolour (RSW) in 2002. Luminosity and depth are the most immediately striking features of Martin's work, achieved by building up layers of glazing and collage, lending the effect of an inner glow to her painting. Her work comprises a diversity of subject matter, from vibrant floral-based still lives to sublime church interiors, and landscapes from golden-hued Venice to the blustery East Coast of Scotland, involving the viewer through evoking the distinct atmosphere of each subject. Jean Martin has won numerous awards and is an important Scottish painter of her generation. Her work is held in many private and corporate collections in the UK, Hong Kong, Singapore, Australia, Canada and America.
An antique 19th century Victorian English School watercolour painting titled ' The Bombing Of The Hoogly ' (likely a mis-spelling of Hooghly) in Bengal, India. The painting depicting a river scene with a large plume of water reaching into the sky after an explosion, likely of a ship, in the river. Several small boats and onlookers present. Unsigned. Set in a period teak frame. Total size approx; 39cm x 49cm.
A Chinese fan painting, Qing dynasty, pen, ink and watercolour on card, painted with a river landcape against a solid gilt ground, signed and with two red seals, 52cm diameter; another fan painting painted with calligraphy, 52cm wide; and a third painted with figures in a landscape, 48cm wide. (3)
SAMUEL JOHN MILTON BROWN (1873-1965); watercolour, maritime scene of a small yacht with a large ferry in the background, signed lower right, 47 x 75cm, framed and glazed. CONDITION REPORT There is dirt to the underside of the glass and light foxing, mostly visible in the sky of the painting. The mount has several areas of scuffs and scrapes. The frame segments have separated and are visible through the paint on the frame.
Andrew Clement Verster(South African 1937-2020)signed and dated 74 graphite and watercolour on card49 by 37cm Andrew Verster’s death earlier this year saw the South African art community lose a dear friend, ally, creator and educator. Stephan Welz & Co. is very pleased to be given the opportunity to present a few works that multi-talented Verster contributed to local art. Verster was an influential presence from the time he arrived on the South African art scene in 1963. He identified himself as an advocate for change by quietly pushing traditional boundaries and hierarchies through his artistic practises. In this way, Verster’s social role as an artist became one of the country’s most notable art activists of the time. Verster was also generous with his talents, dedicating much of his time and knowledge to educating and nurturing the next generation of artists during his time, at the University of Durban and Durban Tech. It was Verster’s sensitive approach to his subject matter that really earned him an appreciative following. This approach perhaps being an extension of the artist’s quiet, kind nature. As can be seen in Man with Eagle on his ChestVerster’s love for a life of creating was evident in all his pursuits. While he was reserved in nature, his contributions to the art world have been monumental. The loss of Andrew Verster, an all-round arts aficionado, will be deeply felt. -A.C Source: Berman, E. 1993. Painting in South Africa. Southern Book Pub of South Africa: pp 289-291. Versler, A. 1987. Andrew Verster retrospective exhibition, Art Reviews/Kunsresensies. S. Afr. J. CuILAn Hlsl, (4): pp 378-379.
* Harris (Edwin, 1810-1895). Landscape with windmill, oil on canvas, depicting a large windmill and 2 small cottages on a heath, with a wagon on a track beside, signed lower right, 18 x 25.5 cm (7 x 10 ins), framedCondition Report: This oil on canvas is in generally good condition, with no major defects or damage. The surface of the picture is lightly discoloured, and would benefit from a gentle professional clean.Qty: (1)NOTESEdwin Harris, well-known for his topographical scenes of New Plymouth and Nelson, emigrated to New Zealand with his wife Sarah and their children in November 1840. The trials and tribulations which beset them in this foreign country were numerous, including losing most of their possessions when their log hut burnt down 2 months after arrival. Edwin began work there as a civil engineer, surveyor, and architect, and subsequently became a drawing master at a school in the town of Nelson. He instructed all his children in the rudiments of sketching and painting, and Emily (1837-1925), the second of his five children, experimented with a variety of artistic techniques, painting landscapes and botanical studies in watercolour and oils, as well as producing items painted on satin such as fire screens and fans. She exhibited these latter items locally as well as sending them for exhibition at the 1886 Colonial and Indian Exhibition in London. In an attempt to bolster her family's finances she also had her work published in 1890 in three books, entitled New Zealand Flowers , New Zealand Ferns and New Zealand Berries, each containing 12 lithographs after her paintings, and a further title, Fairyland in New Zealand , was published containing her illustrations. In 1924 63 of her watercolours were purchased by the Alexander Turnbull Library in Wellington for 10 shillings each, and her father's work is represented in a number of public collections in New Zealand.
* English School. An album of pencil drawings, 1850-1885, 74 pencil drawings (a few with watercolour) on 25 leaves of thick coloured paper, mostly figure and costume studies, some annotated with initials J.W.L., date, titles, place names (e.g. Monmouth, Newhaven, Conway Castle, St. Paul's, Albert Hall), including 3 of a woman painting at an easel, several of cats, some of peasant labourers, tipped-in on rectos only, typically several to a page, 23 x 14 cm (9 x 5.5 ins) and smaller, album leaf 25.5 x 37 cm (10 x 14.5 ins), leaves hinged at gutter with brown adhesive tape, bookplate of H.H. Harrod designed by G. Ledward on inside front board (no pastedowns), makeshift binding of boards covered with old brown paper, that to upper cover with early manuscript shelfmark label, oblong folio, together with An album of watercolours and pencil drawings, 1823-1867, 67 pencil drawings (a number with watercolour, some sepia) on 24 card leaves, mostly topographical studies of English buildings and places, including some landscapes, a few with figures, many titled, and some dated, e.g.: Mickleham Church, Surrey; Taring, Sussex; Dorking, Surrey; Ashford, Kent; Sessions House, Horsham; Salcombe, Devon; Thomas à Becket's House, Tarring; Burnham, Somerset; Rectory, Brighton; Nelley Abbey, Hampshire; West Gate, Canterbury; Wimborne Minster, Dorset; Hampton Court Palace, generally toned throughout, mounted on rectos and versos, mostly 1 or 2 to a page, some tipped-in over another, approximately 21 x 26 cm (8.25 x 10.25 ins) and smaller, sheet size 36 x 26 cm (14.25 x 10.5 ins), original black half morocco, worn, with deficient spine and upper cover detached, boards covered with old brown paper, that to upper cover with early manuscript shelfmark label and historic lot number label, folioQty: (2)NOTESProvenance: Collection of Michael Jaffé CBE (1923-1997), English art historian and director of the Fitzwilliam Museum, Cambridge. Henry H. Harrod was the author of several books of fairy tales, and son of the founder of Harrods, Charles Henry Harrod.
* Stothard (Thomas, 1755-1834). Girls Bathing, watercolour and traces of pencil, depicting six naked or semi-clad young females, in or around a small pool in a forest glade, another lady beginning to disrobe, and two others, one holding a basket and a blue cloak, the other as look-out at the entrance to the clearing, 27 x 20 cm (10.5 x 8 ins), mounted, framed and glazed, verso with J.S. Maas label, and a mounted early manuscript copy of a 'Saturday Review' article pertaining to the painting dated Novr. 13. 1869Qty: (1)NOTESExhibited: J.S. Maas & Co Ltd, Exhibition of Drawings 1720-1920, July 1966, number 102.
* Heath ( Isobel Atterbury, 1909-1989). Abstraction 182, watercolour on paper, titled and signed lower right , additionally inscribed ABC, sheet size 37.5 x 48.5cm (14.75 x 19ins), modern frame, glazedQty: (1)NOTESIsobel Atterbury Heath (1908-1989) was a British artist and poet active in St Ives, Cornwall. During WWII she worked as an illustrator for the Ministry of Information, painting and drawing workers in ordinance factories and at a camouflage factory in St Ives. She also sketched British and American troops stationed in Cornwall. She was a member of the St Ives Society of Artists and exhibited with them throughout her life.
* Power, (Cyril, Edward, 1872-1951). The Mount, Bury St Edmunds, c. 1930s, watercolour on paper, titled on the reverse in pencil (thought to be in the artist's hand), thin brown paper border created before painting with brushstrokes touching margins, 54 x 36.5cm (21.25 x 14.5ins), together with Still Life of a Vase of Flowers on a Table, c. 1935, watercolour on paper, unsigned and undated, pencil title details to verso, 28.5 x 38.5cm (11.25 x 15ins), plus Vase of Flowers with Reflection, 17 May 1932, oil on thick paper, unsigned, pencil title and date to verso, and Easter Mass, Sabbato Sancto, Westminster Cathedral, 1944, corner pinholes, 39.5 x 29cm (15.5 x 11.5ins), plus Attributed to Bernard Buffet (1928-1999), Factory with chimney behind a long brick wall, watercolour on off-white thick paper mounted on card, brown and grey colours, signed and dated upper left 'Bernard Buffet 41', within double-rule pencil border, some marginal toning and creases, 10.5 x 21.5cm (4.25 x 8.5ins)Qty: (5)NOTESProvenance: Giles Power, grandson of the artist.
* Millais (John Guille 1865 - 1931). Sea Eagle swooping on Mergansers, 1916, watercolour and gouache on paper, signed and dated by artist to lower left, laid on later card, 34 x 47 cms (13.5 x 14.5 inches), mountedQty: (1)NOTESThe painting retains its original backboard with Gallery Thirty-Three label on verso
GEORGE FOWLER; watercolour, 'Mayton Hall between Coleslaw & Buxton', indistinctly signed lower left, 25 x 38.5cm, in gilt frame.Additional InformationChipping to the frame, frame measures 36 x 50cm, the image is strong with a couple of areas of foxing, main painting has been removed from the frame and the back has been sellotaped back into place.
HENRY BARLOW CARTER (1804-1868); watercolour and pastel, 'Wreck of Sloop at Robin Hood Bay', signed and dated 1857, inscribed verso, 54 x 72cm, framed and glazed. Additional InformationThe image itself has quite brown tones throughout but there does also appear to be some staining. The painting does not quite sit to the slip, there is a slight gap to the top. There are no tears or damages to the image, a few spots of foxing. There are losses to the frame.
'Bamburgh Castle' signed and inscribed with title lower right 'Alexander N Paterson / Bamburgh' watercolour 43 x 65 cmFootnote: Provenance: Woolley & Wallis, Salisbury, 2nd April 2007, lot 415; Louise Kosman, 8 Burgess Terrace, Edinburgh; where purchased by the current vendor Exhibited: London & Edinburgh, Belgrave Gallery & Fine Art Society, The Touring Exhibition - 'The Paterson Family - One Hundred Years of Scottish Painting: 1877-1977', 14th June to 8th July 1977; 16th July to 13th August 1977
Cattle studies the first signed lower right "JWD RA" and inscribed in pencil "gisburne park, aug.t 23d 1811" and with other indistinct annotations the second signed lower left "JWD RA" pencil on buff paper, 12 x 18 cm; 15 x 16 cm (2)Footnote: Provenance: [By repute: Sotheby's, 18th December 1963, lot 201; Colnaghi, London] From the collection of the art critic David Thompson (1929-2019) and Freda Dowie (1928-2019) Literature: Edward J Nygren, 'James Ward's Gordale Scar - An Essay in the Sublime', Tate Gallery, November 1982–January 1983, nos. 17, 19 The present studies are related to preliminary works in pencil and watercolour (see literature) for the finished painting 'Gordale Scar', of circa 1812-14, now in the Tate Collection. The preliminary studies, which were last known to be in the Paul Mellon collection, Upperville, Virginia at the time of the 1983 exhibition, are both inscribed and dated 'Gisburn Park Aug.t 23d. 1811', and the first of these is of the same animal as that in the upper example here.
W S Perry (20th century), A trumpeter of the Hertfordshire Yeomanry, 1888, signed, oil on canvas, together with five further works of military interest to include, a naive painting of a Lifeguards officer, a landscape watercolour by General Sir John James Stibbon KCB, OBE and three works of Cavalry interest (6) Provenance: ex. Lt. Col Robin Hodges collection
A collection of original artworks to comprisimg 'Sun In The Window', watercolour on card signed GMB, 27 x 27.5cm. A beach scene, oil on board, signed PM Watson, 30 x 40cm. Painting of a closed lock, oil on paper, 38 x 56cm. A watercolour of sailing vessels, signed indistinctly, mounted 37 x 50cm. 'St John's Second Court' watercolour on card by Michael Gotmoor, mounted 44 x 57cm. All unframed (5)
William Samuel Howitt (c.1765-1822)Dogs attacking a bearSigned l.r., watercolour19 x 25cm, unframedCondition report: Paper discoloured with scattered foxing throughout. Two small tears at edges in top right quarter. A small rip out of the lower left corner. Pin hole top left corner. In this same corner there is also a very small worn circle in the paper verso, possibly from blu tak or similar. Scattered surface dirt throughout. A diagonal crease running across the sheet, which is not hugely visible from the front due to the painting. Verso there are two small pieces of tape attached to the top of the sheet and some notes made in pencil.
J Voglimacci (20th century continental school) - River view with cathedral and buildings, oil on board, signed and dated 1964, 43 x 63cm, together with a further painting of a continental townscape beside a river, oil on canvas, 59 x 64cm, unframed, a watercolour of a French bakery, inscribed Boulangerie, signed D Lebeau, 40 x 50cm, further coloured prints, gilt framed mirror, etc (7)
An early 20th century taxidermy Kingfisher (Alcedo atthis), mounted in a naturalistic setting with watercolour painting on the back board, within a glazed display case, bearing a partial label verso for John Wright, St Neots, w.20, d.18, h.28cm.Condition report: Please note that the watercolour on the back of the case is painted on paper and attached to the case, therefore NOT painted directly on the back board.
George Goodwin Kilburne RI, RBA (1839-1924) The Duet - two elegant ladies seated in a interior playing music Signed, watercolour, 24cm by 34cm Provenance: Baron Fine Art, Chester See illustration . The size indicated is the sight size of the painting within the mount, not including framing. There is one tiny nick to approx. centre of the sheet just below the upper mount and a further smaller imperfection approx. 0.5cm to the right of the seated lady's chignon. Each appear to have been mildly disguised with a pale coloured paint but remain very minor. Relatively light time staining to paper with slight reduction of overall colour. Generally in an overall good state of preservation. No evidence of cockling. Not examined out of the frame.
Samuel John "Lamorna" Birch (English, 1869-1955) oil on canvas landscape painting depicting a woman in long skirt and hat, following three cows along a path with body of water in the foreground, with the sun setting against a tree-lined horizon in the background. Signed and dated "S J Lamorna Birch 1897" lower right. Several labels en verso including framing label and a conservation label for Laurelwood Gallery, Memphis, TN, along with an early label for Batchelar & Son Ltd Depository, Croydon (a company listed as a "house furnisher' in London directories of the early 1900s). Housed in a molded giltwood frame with ribbon molded rabbet and outer edge. Sight - 23 3/4" H x 34 1/2" W. Framed - 31 3/4" H x 43 1/2" W. Note: This work features similarities to a Birch painting titled "Evensong: The Brook at Halton Green," which was exhibited at The Royal Academy of Arts, London, 1897, now in the collection of the Lancaster Maritime Museum. Biography: Samuel John Birch was a member of the second generation of the Newyln School of artists and was best known for his landscapes in both oil and watercolor. He studied at the Atelier Colarossi in Paris and settled in Lamorna, Cornwall, where he was heavily influenced by the landscape and by Newlyn artist Stanhope Forbes. It was Forbes who reportedly suggested Birch adopt the name of the area as his own, to avoid confusion with another artist named Birch. Lamorna Birch exhibited frequently at the Royal Academy and the Royal Society of Watercolour Artists, and was elected a member of the Royal Academy in 1934. Provenance: private Nashville, TN collection. CONDITION: Canvas relined, slight surface grime. Few areas of inpainting visible under UV light (largest 1 1/4" x 3/4") to limbs and branches in center, next to figure. Craquelure concentrated in sky and water areas, or where paint application is heavy. Two areas of paint abrasion with losses in lower right quadrant, largest (1/2" x 1/4") near figure's feet. Light gray scattered staining to back of canvas. Frame - light surface grime, some wear to gilt (largest loss 2 1/2" x 1/2").
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