We found 67566 price guide item(s) matching your search
There are 67566 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
67566 item(s)/page
Lot 25
Zentangle Covered in structured patterns and shapes H1600mm x L2150mm x W800mm, weight 40kg Artist: Neil Morris Design Inspiration: Neil’s elephant is designed to introduce trail goers to zentangles. An easy-to-learn, relaxing, and fun way to create beautiful images by drawing structured patterns, or tangles, you can create tangles with combinations of dots, lines, curves, S-curves and orbs! Sponsor: Karndean Designflooring
Lot 204
India.- Great Trigonometrical Survey of India.- Surveyor General's Office (Calcutta, India) India, sixth edition, detailed map of India and Ceylon, with part of the Indochinese Peninsula, after the original drawing by Indian cartographer Sunawullah, lithograph printed in blue and brown ink, by Romanath Dass and Buloram Nath, with some additional hand-colouring and plotting of trade routes, sheet 600 x 640 mm (23 1/2 x 25 1/8 in), dissected and mounted on linen, edged with green-coloured silk/linen, some splitting to folds, scattered spotting and surface dirt, owners ink inscription in the upper left corner that reads 'Return to H.J. Thompson/ 19 Portman Square/ London W', additional index maps of India pasted on verso, one section with marbled ends, 1865.
Lot 114
West Indies.- Barbados & Saint Lucia.- Torrens (Sir Arthur Wellesley, British Army officer and colonial administrator, 1809-1855) Important collection of over 85 travel drawings, military figure studies, and other studies from life, including 27 finely executed drawings from Torren's time in the West Indies, with drawings recording views, local people, fishing practices, evening entertainment, and colonial dress, the other drawings include views from Madeira and elsewhere in Europe and England, together with 4 autograph letters concerning his injuries in later life and his longing for military service, pen and black inks on various papers, some pencil under-drawing, many signed with monogram, others with inscriptions, dates and location details, various sizes between 140 x 170 mm (5 1/2 x 6 3/4 in) to 250 x 360 mm (9 3/4 x 14 1/8 in), all appear to have been removed from an album with residual brown paper to verso of each, some minor losses, nicks and tears, occasional spotting and minor surface dirt, all unframed, [circa 1840s and later] (c. 85).⁂ A highly competent amateur hand, and a unique record and perspective of early colonial and military life in the West Indies, executed by the godson of Arthur Wellesley, 1st Duke of Wellington, after whom the artist was named. "In September 1843 Torrens went, in command of the 1st battalion, from Quebec to the West Indies, arriving at Barbados in October 1843. The battalion was moved from time to time from one island to another, but for two and a half years Torrens commanded the troops in St Lucia and administered the civil government of that island. Torrens declined the offer of the lieutenant-governorship of St Lucia as a permanent appointment, preferring to continue his service in the Royal Welch Fusiliers. He sailed with his battalion from Barbados in March 1847, arriving at Halifax, Nova Scotia, in April. The battalion returned to England in September 1848.Torrens was later nominated a Brigadier-General to command an infantry brigade in the British army in Turkey in the war with Russia. He joined the 4th division under Sir George Cathcart at Varna just before its embarkation for the Crimea. He was at the head of his brigade at the battles of the Alma and of Balaklava, where he was engaged in support of the cavalry and lost some men in recapturing two redoubts. On the morning of 5 November 1854 he had just returned from the trenches when he was told of the enemy's attack from the valley of Inkerman, and, under the direction of Cathcart, he attacked with success the left flank of the Russians, his horse falling under him, pierced by five bullets [see included letters]. Just before Cathcart was struck down by his mortal wound he called out, 'Nobly done, Torrens!' Torrens was still in front, cheering on his men, when he was struck by a bullet, which passed through his body, injured a lung, splintered a rib, and was found lodged in his greatcoat. He was invalided home. His health, enfeebled by his wound, broke down, and he died in Paris on 24 August 1855." [Extracts from Oxford DnB, accessed 15th September 2021]
Lot 241
* Boulton (Matthew, 1728-1809). A silver-plated chamberstick, the sconce stamped 'Soho Patent', the base with sunburst marks, 15cm diameter, together with a Continental silver apostle spoon with hammered bowl and figural top, 18cm long, a cased silver Rifle Shooting prize medal, the reverse engraved 'Won by R.M. Currie 1917', 65mm diameter, 80g, a Victorian Naval Officers drawing set, the case with a plaque engraved 'Presented at the Public Examination on the 13th June 1851 to Gentleman Cadet Alexander U.H. Finch by the Honble Court of Directors of the East India Company as a mark of the Courts approbation of his attainments in Military Drawing while at the Military Seminary', the case enclosing an ivory rule by Troughton & Simms, London, 7.5cm long and a compass engraved with initials 'A.U.H.F. from LF' and other itemsQty: (9)
Lot 399
* Morris (William). A framed panel of Crown Imperial fabric, designed 1876, woven wool and mohair, in red colourways, depicting stylised fritillaria imperialis flowers enclosed by foliate arabesques, 75.5 x 51.5cm (29.75 x 20.25ins), framed and glazed, together with an embroidered picture, carefully worked with stylised flowers, including tulips, in coloured silk threads on linen, using under and over stitch, 34.5 x 35.5cm (13.5 x 14ins), framed, with later inscription on backboard 'Design by William Morris, Silk Drawing, by Amy Simpson 1885'Qty: (2)
Lot 2160
A mid-20th century French architect's folding drawing table by 'Heliolithe', Lyon-Paris, height 65cm, width 128cm, depth 95cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 2771
A collection of boxed mid-20th century graduated scientific weights, together with two sets of technical drawing instruments and a scientific balance scale.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 297
China 1857-60, 1 clasp, Pekin 1860 (Lieut. M. C. Perreau. 7th. Regt. Bengal N.I.) fitted with contemporary top silver riband bar; together with the recipient’s Scottish Naval and Military Academy Prize Medal, silver, the reverse engraved ‘Military Drawing’ 1st Prize, Mr. M. C. Perreau, 24th July 1851’, with two additional award bars for ‘Artillery’ and ‘Sketching’, the reverse of both identically engraved ‘Mr. M. C. Perreau, 24th July 1851’, minor edge bruising, clasp side carriage pierced, good very fine (2) £400-£500 --- M. C. Perreau was commissioned Ensign on 4 February 1854, and was promoted Lieutenant on 1 May 1858.
Lot 668
A FOLIO OF DRAWINGS & WATERCOLOURS comprising six signed works by David Scott (`Of Intellect`, `Of Life`, `Of Knowledge`, `Of Relation`, `Of Power`, `Of Death`), Willem Roelofs and Jacob Hendricus Maris (these signed but faded/discoloured) and another drawing, 36 x 24.5cm and smaller (9) ++ Some fading, discolouration, wear etc
Lot 624
ITALIAN SCHOOL, 18th CENTURY DESIGN FOR A EWER Pen and brown ink with brown wash, heightened with white, over a black chalk sketch, unframed 35 x 19cm. * A drawing showing a related design is in the Uffizi, Florence. The traditional attribution is to Polidoro da Caravaggio (1492-1543), but the style suggests an artist of the 1550-1575 period. A drawing attributed to Marco Marchetti (c.1528-1588) (Christchurch, Oxford) is similar but in reverse. Provenance: Kate de Rothschild, 1980 Exhibited: London, Kate de Rothschild, 1980, no.2 Literature: Peter Fuhring, Design into Art - Drawings for Architecture and Ornament, The Lodewijk Houthakker Collection, volume 1, (London 1989), p.353, no.543 ++ Laid onto support sheet at edges; a few spots of foxing; generally good
Lot 845
WALTER RICHARD SICKERT, ARA (1860-1942) MORNINGTON CRESCENT Signed and inscribed with title, pen and brown ink with black crayon 34.5 x 24cm. Provenance: London, Thos. Agnew & Sons Ltd (label on new backboard) * Dr Wendy Baron observes that this is almost certainly an independent drawing which does not relate specifically to any known painting. It was drawn at 6 Mornington Crescent, where Sickert lodged and painted in rooms on the ground floor from autumn 1905 onwards. In spring 1907 he was able to rent the first floor rooms to use as a studio. He kept his Mornington Crescent studio rooms until around 1912 but tended to use his many other Camden Town painting studios more from 1908-09 onwards. Stylistically, the drawing can most convincingly be dated c.1909, when Sickert drew and painted several isolated studies of the standing nude, often holding the metal footrail of a bed. At that period Sickert used broken dashes of pen and ink and rough hatching to emulate the broken crusty touch of his contemporary oil paintings and to convey the effect of reflected light breaking down the barriers between figure and furniture. The drawing probably represents the model called Sally, painted and drawn by Sickert in several works of c.1909. Her messy hair, and the way she holds her head (bent forward), are similar. We are very grateful to Dr. Wendy Baron for compiling this footnote. ++ Slight time-toning of the paper
Lot 919
•PAUL HEMPTON (b.1946) FLAG STONE STUDY No.XI; MARKER STUDY II; THE ONE III; MAGICIAN'S CORNER Four, three initialled and dated 74, 77 or 78, each bears artist's label on backboard, three watercolours, one pencil drawing 33.5 x 23cm.; 25 x 36.5cm.; 24.5 x 36cm. and 23 x 33cm. with a folio containing one watercolour (`The One 11th Version`), initialled, titled and dated 78, 41 x 57cm; and six etchings by Hempton, each initialled, titled, numbered and dated, 1975-1978, various sizes (4 frames and a folio) ++ Good condition
Lot 636
JEAN BAPTISTE MAUZAISSE (1784-1844) AMBASSADEURS DU SULTAN TIPOO SAIB ADMIS A L'AUDIENCE DU ROY LE.10 AOUST MDCCLXXXVIII The Ambassadors are named in the lower margin as Mohammed Derviche Khan, Achbar Ali Khan and Mohammed Osmann Khan [sic], signed Mauzaisse, pencil with touches of brown ink, laid on original mount with ink title, unframed Subject 25 x 21.7cm; mount overall 32.5 x 28.5cm. * Tipu Sultan's chosen envoys,Muhammad Dervish Khan, Akbar Ali Khan and Muhammad Uthman Khan, were received by Louis XVI at Versailles in August 1788. Muhammad Dervish Khan was also painted by Vigee-Lebrun in the same year (Private Collection). Upon the Ambassadors' return to India, their failure to have achieved the desired alliance with the French resulted in their summary beheading by Tipu Sultan. Provenance: Unidentified collector's stamp ARD (Lugt 172); Collection of Niall Hobhouse ++ The drawing with a little foxing and in need of a light clean; the mount a little rubbed and worn
Lot 1265
BEYER-PEACOCK & CO, MANCHESTER; a collection of six wooden numeral plate casting patterns, possibly cabside plate patterns, comprising 6024, 760, 1010, 449, 6021, 5938, the longest 52cm, (6).PROVENANCE: The Mr Adrian Bedson collection of railway items from Beyer-Peacock & Co, Manchester. Mr Bedson collected a large archive of documents, books, photographs, technical drawings, casting patterns and other items when Beyer-Peacock, a locomotive manufacturer based in Gorton, Greater Manchester, ceased trading in 1966.Additional InformationAll generally grubby and with general age wear at the edges, 6024 states in ink 'One of them alter 11161 (no 5620-2 to 5630)', 1010 is named in ink 'Two of them alter 11146', 760 inscribed in ink 'No. 620 to 649', plate 6021 inscribed in ink 'This plate used for nos 5619 & 5621 only', the digit two is incomplete on plate 6021, and the digit 8 is lacking to plate 5938. most of the plates with drawing pin hole size holes throughout.
Lot 1291
BEYER-PEACOCK & CO, MANCHESTER; two black painted tin technical drawing tubes, one named 'Fifteenth class locomotives R.R.M. Order No 81/T2926, Oct 10th 1945, DRG set number 81/T.2926/ITO', the other named 'South African Railways 42 electric locomotives electrical parts, C.E.No A 1-29/15105', together with a George Philip & Son railway map of Europe and Africa and two large black and white photographic prints of two Beyer-Peacock locomotives, the latter 84 x 121cm.PROVENANCE: The Mr Adrian Bedson collection of railway items from Beyer-Peacock & Co, Manchester. Mr Bedson collected a large archive of documents, books, photographs, technical drawings, casting patterns and other items when Beyer-Peacock, a locomotive manufacturer based in Gorton, Greater Manchester, ceased trading in 1966.Additional InformationBoth tins with general scratches and scuffs and rusting throughout, the map and the two railway pictures are in very poor condition with tears, losses, splits, etc.
Lot 1
* Carducho (Vicente, 1576-1638). Holy Family with Saint Catherine, Mary Magdalen and Saint Luke, circa 1630-1638, pen and black ink and brown wash on laid paper, laid down on somewhat rough canvas and retouched with oil, with inscription '2 R ... 14' and small red printed collector's mark of Charles Gasc (Lugt 542) to lower margin, inscription by Charles Gasc to canvas verso in brown ink: 'Cano (Alonzo Alexis) ne a Grenade le 19 Mars 1601 mort le 3 Octobre 1667, élève de Pacheco a Seville, de J. del Castillo et de Herrera. Dessin achete 10,20 a Seville en 1859. H=0m25 L=0m19.6 C. Gasc', additional late 19th century French printed label to verso of frame, giving the artist as:'Murillo (Esteban). Elève de Velazquez. Sainte Famille. Belle esquisse sur toile, qui a ete reproduite en grand', another collector's mark printed in black to lower edge of the frame verso of an anchor and caduceus within a circle, 26 x 21 cm (10 1/4 x 8 1/4 ins), gilt frameQty: (1)NOTESProvenance: Charles Gasc (circa 1818-after 1869), French collector of Old Master drawings, in collaboration with his brother Paul-Emile Gasc. Purchased in Seville in 1859 (see annotation to verso of the canvas); possibly sold Paris, Delbergue, 17 January 1865 (151 lots); Christie's London, Old Master and 19th Century Drawings, 3 July 2007, lot 74. Comparable, in composition, the present work is included in the catalogue raisonnaisé of Vicente Carducho: Chenel & Rebollo (2015), 60.3. Composition handling and physiognomy, to Carducho's drawing of The Holy Family with Saints (Chenel & Rebollo, Vicente Carducho, Dibujos, Catalogo razonado, 60.1) now in the Prado, which was made in preparation for a painting now in an English private collection (A.E. Pérez Sánchez and L. Boubli, Dessins Espagnols, Maîtres des XVIe et XVIIe siècles, Paris, Louvre, 1991, number 27). Literature: Chenel & Rebollo, Vicente Carducho, Dibujos, Catalogo razonado, CEEH/National Library of Spain, 2015, 60.3. See Laurence Lhinares, The Brothers Paul-Emile and Charles Gasc As Collector of Drawings, Master Drawings, volume 52, number 1, 2014, pages 95-110 for further information on Charles Gasc.
Lot 107
* Willis (Henry Brittan, 1810-1884). Landscape with cattle watering, oil on canvas (re-lined), 36.5 x 51 cm (143/8 x 201/8 ins) in a gilt frame (50 x 62 cm)Qty: (1)NOTESProvenance: McMillan Fine Art, from whom purchased by the current owner in 2010. Private collection, Gloucestershire, UK. Henry Brittan Willis was a painter of cattle and landscapes, as well as a lithographer. His 'Highland Cattle' was bought by Queen Victoria. Born in Bristol, he studied with his father who was a drawing master, after which he went to America and finally settled in London.
Lot 108
* Circle of Thomas Gainsborough (1727-1788). Landscape with a Hermit, pencil and brown wash on 18th century laid paper, sheet size 320 x 237mm (123/5 x 93/8 ins), cream card window mountQty: (1)NOTESProvenance: C. R. Rudolf Collection, with pencil annotations by C. Rudolf to mount, '?Cotman, Mullaly. I still adhere to the view that the drawing is by Gainsborough. C R.' and 'c. f. plate 396 John Hayes, The Drawings of Gainsborough for a landscape by Thomas Barker 1769-1847'. Carl Robert Rudolf (circa 1884-1974), dental surgeon and collector of Old Master drawings. A large number of Italian, French and Spanish drawings from his collection were sold by Sotheby's, London in 1977.
Lot 110
* Beaumont (George Howland, 1753-1827). In the Roman Campagna, pencil on pale blue-grey wove paper, some light spots, sheet size 23.5 x 40.5cm (91/4 x 16ins), laid down on later backing card, with printed label 'Beau 215' to lower left, window-mounted, together with seven other studies of Italian landscapes by Sir George Beaumont, in grey and brown pen, ink and wash, several on paper watermarked with a Strasburg Lily and paper manufacturer C & I Honig, all late 18th century, similar size, plus Pars, (William, 1742-1782). Alpine Landscape with castle above a village, 1775, pen, ink and grey wash on laid paper, with bunch of grapes watermark, dated '17 July 1775' to lower right corner, sheet size 21 x 33.5cm (81/4 x 131/4 ins) some restoration to upper outer corners (with minor loss to upper left corner), modern cream card, and Cooper (Richard, 1740 -1814). Rocca di Papa and Monte Cavo, with the Temple of Jupiter Laziale, circa 1770-1775, pen, brown ink and grey wash on laid paper, indisinctly inscribed in brown ink to upper margin with title by the artist, 278 x 420mm (11 x 161/2 ins), window-mounted, with 20th century pencil inscription, giving details of the composition to lower margin, plus another later 18th century English oval landscape depicting an artist seated drawing a river landscape with castle, on Whatman wove paper, 28 x 39.5cm (11 x 151/2 ins)Qty: (11)NOTESProvenance: Cyril & Shirley Fry; sold Chiswick Auctions 9 July 2021, lot 35. Sir George Howland Francis Beaumont, 12th Baronet descendant of the patron and collector Sir George Beaumont of Coleorton, Leicestershire, who sold some of his collection of drawings to the British Museum in 1973. The view of Rocca di Papa by Richard Cooper, depicts the view of the hillside village south of Rome with the Temple of Jupiter atop the Monte Cavo, which was destroyed in order to build a monastery between 1778 and 1784, by Henry Stuart (1725-1807), Cardinal Duke of York and an important supporter of the Jacobite Rebellion.
Lot 123
* Payne (William, 1755/60-circa 1830). Combe Martin, Devon, 1815, pen, black ink and watercolour on paper, depicting a beach with boats and figures mending nets and other tasks, signed towards centre of lower margin, mount aperture 20.8 x 29.4 cm (8 3/16 x 11 9/16 ins), framed and glazed (40.6 x 48.2 cm), Newman Fine Art gallery label on verso, mentioning inscription on verso of drawing, (unexamined out of frame)Qty: (1)
Lot 126
* Prout (Samuel, 1783-1852). View at St. Stephen's near Launceston, Cornwall, watercolour with pencil on paper, signed centrally towards lower margin, mount aperture 43.0 x 55.7 cm (16 15/16 x 21 15/16 ins), framed and glazed (63.2 x 74.7 cm), Heather Newman, Painswick, Gloucestershire gallery label on verso, mentioning inscription on verso of drawing, (unexamined out of frame)Qty: (1)
Lot 130
* Bates (David, 1840-1921). At Colwall, Malvern, 1904, & Little Malvern Church, with shepherd and sheep on the road, watercolour over pencil on paper, & watercolour on paper respectively, the first titled lower left, and signed & dated lower right, the second signed lower right, mount apertures 25.3 x 35.5 cm (9 15/16 x 14 ins) & 25.6 x 34.8 cm (10 1/16 x 13 3/4 ins) respectively, gilt framed and glazed (46.6 x 56.5 cm and smaller), both versos with gallery label 'Heather Newman, Painswick, Gloucestershire, that to Little Malvern Church mentioning signature and inscription on verso of drawing, (both unexamined out of frame)Qty: (2)
Lot 149
* Millais (Sir John Everett, 1829-1896). Boadicea in triumphal procession, circa 1845, pencil on wove paper, minor mount-staining towards the sheet edges and recto, one or two minor foxmarks and handling creases, two small thin spots at the right of sheet, minor tape-staining at the upper and lower sheet edges verso, sheet size 16.5 x 24.7 cm (6 1/2 x 9 3/4 ins), framed and glazed (36 x 42.5 cm)Qty: (1)NOTESProvenance: In the collection of the Millais family; Purchased from Stone Gallery, Newcastle upon Tyne, 1968, for £20. Dr. Malcolm Warner, former senior curator of paintings and sculpture at the Yale Center for British Art in New Haven, Connecticut, confirmed this work as an early drawing by the artist, executed when he was about 16. The subject is a characteristic Pre-Raphaelite one, featuring English rather than classical history, and will be included in Dr. Warner's forthcoming catalogue raisonné.
Lot 150
* Millais (Sir John Everett, 1829-1896), Cavalier in the courtyard of an inn, circa 1845, pencil on paper, small paper loss at the lower right corner, minor mount-staining towards the sheet edges and recto, one or two minor foxmarks and handling creases, remains of old tape at upper and lower sheet edges verso, framed and glazed (16.2 x 24.7 cm, 6 1/2 x 9 3/4 ins)Qty: (1)NOTESProvenance: In the collection of the Millais family; Purchased from Stone Gallery, Newcastle upon Tyne in 1968 for £26; Private collection, Warwickshire, England. Dr. Malcolm Warner, former senior curator of paintings and sculpture at the Yale Center for British Art in New Haven, Connecticut, who is currently preparing a catalogue raisonné on the artist's work, kindly confirmed this work as an early drawing by Millais, executed when he was about 16. The subject, like that of the previous lot, is a characteristic Pre-Raphaelite one, featuring English rather than classical history, and will be included in Dr. Warner's forthcoming catalogue raisonné.
Lot 174
* Sleigh (Bernard 1872-1954). Two views of Whitby, coloured chalks on grey-brown paper, one heightened with white bodycolour, pencilled title inscribed to each verso, one verso also with a similar unfinished and crossed-out drawing, sheet size 36.2 x 16.3 cm (14 1/4 x 6 1/2 ins) and smallerQty: (2)
Lot 191
* Shephard (Rupert, 1909-1992). Connemara, 1946, oil on board, signed and dated lower right, with Leicester Galleries printed label to verso, 24.5 x 35.5 cm, framedQty: (1)NOTESProvenance: Leicester Galleries, London, July 1947 Annual Exhibition 'Artists of Fame and Promise' No. 93. (torn exhibition label to verso). Shephard studied at the Slade School of Art from 1926 until 1929. He exhibited at various London venues, including the Cooling Galleries in 1935 (Water-colours by Vivien John, Nicolette Macnamara, Susan Palmer, Rupert Shephard : 22nd November to 5th December), and the Calmann Gallery in 1939, his first one-man show. In 1937, the inaugural year of the Euston Road School of Drawing and Painting, he exhibited with the school's founder members William Coldstream, Claude Rogers, and Victor Pasmore at the Storran Gallery. During the Second World War he worked as an official war artist.
Lot 22
* School of Carlo Maratta (Camerano 1625-Rome 1713). Seated male figure, black chalk heightened with white, recto; and Group of Women and Children, verso, graphite on firm, fibrous grey-green laid paper, watermark Initials OW or OV, bearing inscription in pen and ink recto 'Carlo Maratta P...S (?)' and bearing the initials 'C-V' in pencil verso, in good condition, unobtrusive flattened creases where previously folded, an ink stain at left of subject recto, sheet size 20.5 x 26.8 cm. (8 x 10 5/8 ins.), framed and glazed 31.5 x 38 cmQty: (1)NOTESProvenance: Purchased from E. Plan in 1972 for $500; Private collection, Warwickshire, England. According to Margaret Morgan Grasselli of the National Gallery of Art, Washington, the Group of Women and Children on the reverse of this drawing is likely to be a studio copy, perhaps by one of Maratta's assistants or pupils.
Loading...-
67566 item(s)/page