Olive Bagshaw (Northern British fl.1965-1978): Misty Winter Landscape Lancashire, oil on canvas laid on board signed and dated '75, 49cm x 69cmProvenance: from the second and final part of the Artist's Studio Sale. Miss Bagshaw who was born in Salford, received her formal art training at Salford and Manchester Art School. Her work has been regularly accepted at the Royal Society of Portrait Painters, the Royal Academy and Federation of British Artists (Information from a 1970's Monks Hall Museum and Gallery exhibition catalogue)DDS - Artist's resale rights may apply to this lot Condition Report Click here for further images, condition, auction times & delivery costs
We found 261593 price guide item(s) matching your search
There are 261593 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
261593 item(s)/page
A Japanese Edo Suit of Armour, 1603-1868, comprising a five plate brown lacquered iron Zunari kabuto with two plate shikoro, the maedate formed from a pair of Japanese Roe deer antlers and frontlet, centred by a bronzed metal landscape disc; mempo with hinged nose and grey bristle moustache, with red laquered internal finish; do (cuirass) with seven faux lames; a pair of kote (armoured sleeves) with chain mail and lacquered lames; kusazuri (armoured skirt) in seven sections, each of four lames; cream silk brocade hodo-haidate (thigh protectors), each with five rows of eight panelled lames; and a pair of chain mail and laquered iron suneate (shin protectors), all with blue lacing, on a display stand and with Yoroi-bitsu (storage box)
20TH CENTURY CHINESE GINGER JAR WITH LID, depicting landscape scenes, character marks and 'Made in China' to underside, possibly Republic Period, 16cm high, along with a celadon type vase, a Chinese blue and white lidded baluster vase, a pair of Chinese ginger jars, 15cm high, a studio pottery vase by Vassos Demetr and other ceramics (9)
Ernest Waldron West (1904-1994) The passing of St. Andrew's Church, Worcester Signed and inscribed verso, oil on canvas, 63.5cm by 76cm This painting documents the demolition of St. Andrew's Church, Worcester in 1949. A church had stood at the site in various forms since Saxon times but following decay and diminishing congregations, the council ordered its demolition to instead create a garden of remembrance. Despite this, the tower and famous tall spire were retained and it is still a prominent landmark in the city today. Worcester-based painter Ernest Waldron West is best known for his finished portraits of local notable figures, but this oil sketch, most likely made at the scene, demonstrates his versatility to work quickly en plein air and interest in documenting the changing landscape of his home town. Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business
British School (19th century) Portrait of the scriptural geologist Granville Penn (1761-1844) Monogrammed TS, pencil, 33cm by 25cm (unframed), together with a quantity of further drawings and engravings to include; two etchings after Sir Anthony van Dyck, A Rural Landscape by Edward Turner, pen and ink and two pencil sketches of sheep, goats and cows in a rural landscape etc... (various sizes) (all unframed) (17)
* Dutch School. Landscape with St. Nicholas of Myra, 17th century, oil on canvas, depicting a stormy seascape with two galleons near rocky cliffs, a bishop standing on the shore holding a crozier, and a semi-naked figure kneeling at his feet pointing to the waves, some minor surface flaking to right-hand margin, sometime re-lined, 37.3 x 50.3 cm (14.75 x 19.75 ins) (Qty: 1)NOTESSaint Nicholas of Myra (270-343), also known as Nicholas of Bari, was an early Christian bishop of the ancient Greek maritime city of Myra in Asia Minor during the time of the Roman Empire. His intercession is believed to have given rise to so many miracles that he is also known as Nicholas the Wonderworker. Saint Nicholas is the patron saint of sailors, hence his appearance in this work, but also of children, merchants, archers, repentant thieves, prostitutes, brewers and pawnbrokers. Thousands of European churches were dedicated to the saint, and sailors had chapels built in his name in many seaports. His love for children and penchant for giving secret gifts gave rise to the legendary figure of Sinterklaas, a Dutch variant of the name Saint Nicholas, and when Dutch colonists took the tradition to America, the figure was adopted under the name Santa Claus.
* Follower of Albrecht Durer (1471-1528). Hercules, 16th century, pen and brown ink on laid paper, single rule border to outer edges, some surgace marks and light creases, minor loss to extreme lower right corner (repaired), several abrasions and minor nicks to sheet edges, with subsequent restrengthening to verso, inlaid to 20th century cream backing paper, sheet size 264 x 382 mm (10.4 x 15 ins), inscribed in pencil (possibly in Michael Jaffe's hand) 'H. S. Reitlinger Colln.', window-mounted (Qty: 1)NOTESProvenance: Henry Scipio Reitlinger (1882-1950); presumably included in his sales, Sotheby's London, 10 February or 14 April 1954; Michael Jaffé CBE (1923-1997), English art historian and director of the Fitzwilliam Museum, Cambridge. A large 16th century version in pen and ink of Durer's famous woodcut of 1496 Hercules conquering the Molionide twins (Bartsch 127; Meder Hollstein 238; Schoch, Mende and Scherbaum 105). The original block measures 390 x 283 mm. Durer produced several large woodcuts with predominantly biblical subjects, but only one with a mythological theme. The subject matter has resulted in much scholarly discussion but it is generally agreed that it represents Hercules slaying the conjoined twins Eurytus and Kteatus. The present work inverts the format of the print, dispensing with the original foreground and distant coastal landscape background, creating a horizontal landscape format, adding some foliage to the left and additional trees on the right.
* Swanevelt (Hermann van, circa 1603/04-circa 1655). Landscape with female figure and bear, pen, brown ink and brown wash on laid paper, laid down on 19th century thick laid paper with pencil and wash ruled outer borders, collector's mark WB within an oval to lower right corner of wash border, inscribed in pencil to lower margin, in a late 19th century hand 'Fichel No. 246 Mr R Docwra', and additionally inscribed to verso in pencil 'From Fichel's Sale', sheet size of the drawing 103 x 149 cm (4.1 x 5.9 ins) (Qty: 1)NOTESProvenance: William Bates (1824-1884), Birmingham (Lugt 2604); Collection of John Rowlands (1931-2016), former Keeper of Prints and Drawings at the British Museum. William Bates' collection of Old Master drawings was sold at Sotheby's London on January 19, 1887, in 481 lots.
* Dughet ( Gaspard , 1615-1675). Landscape with figures and sheep on a path by a river, red chalk on laid paper, 28.1 x 38.2 cm (11 x 15.2 ins), collector's mark of Paul Sandby (1725-1809) to lower left corner (Lugt 2112), thin black border rule to extreme outer edges, mounted on old card with pale yellow and russet wash framing borders, modern window-mount (Qty: 1)NOTESProvenance: Collection of Paul Sandby (1725-1809), English artist and 'the father of English watercolour'; Private Collection, Herefordshire, UK. A similar drawing by Dughet of a landscape with figures on the bank of a river, in red chalk and of similar dimensions, is held by the Metropolitan Museum of Art, New York (Gift of Didier Aaron, accession number 2003.2). French painter Gaspard Dughet worked as a landscape artist in Rome, along with his brother-in-law Nicholas Poussin (whose name he adopted), and Claude Lorraine. The three painters sketched together in the countryside around Rome. Dughet followed the example of Poussin and Claude in using drawings made directly from nature as a basis for idealised landscapes painted in the studio. Due to their popularity, many of these paintings were purchased by English Grand Tourists on their travels in Italy in the eighteenth and nineteenth centuries, and can be seen in some of the great houses now open to the public in the UK.
* Lewis (T., active 1808-1830). Silhouette portrait of a clergyman in his pulpit, painted three-quarter length profile portrait to right, on card, heightened in gold, of a clergyman standing in a panelled wooden pulpit with a Bible on the tasselled red cushion before him, the latter with a brass double-branched candelabra on one side, signed in pencilled to left just below image 'Taken by T. Lewis', lightly toned, sheet size 25.1 x 18 cm (10 x 7 in), tipped onto a piece of backing card along right-hand edge, together with: Gapp (J., active 1827-1840) . Silhouette portrait of a young lady, scissor cut, full-length profile portrait to left, of a young lady wearing a full-skirted gown and flower-trimmed bonnet, carrying a pair of gloves, a couple of light fox spots, verso with artist's printed yellow trade label 'Mr. Gapp, the Original and only Profilist, for cutting accurate Likenesses, attends Daily at the Third Tower in the centre of the Chain Pier ... ', sheet size 27.9 x 15.3 cm (11 x 6 in), and six other full-length scissor cut portraits similar, one of a lady, the others of gentlemen, including one annotated to upper margin 'Mr. John (?) by Mr. W. Spence. March. 1825', and one showing a gentleman against a monochrome watercolour landscape with country house (Qty: 8)NOTEST. Lewis is a little-known silhouette artist, and his work rarely appears on the market. He was known to have worked for a time in York, and a defining feature of his portraits is the clear delineation of the sitter's eyelash, as here. J. Gapp is notable as the first silhouette cutter to have been known to work on Brighton Chain Pier. He typically portrayed his sitters with objects in their hands - often gloves - and he generally showed sleeves cut to a point on each side of the wrist, both of which features are present here.
* Goldicutt (John, 1793-1842). Architectural Studies, Rome, 1817, watercolour on paper, depicting the base of an elaborately carved classical column with an Etruscan vase and a kantharos on top, one half of a stone lunette carved with volutes and flowers, and a stone tomb featuring griffins and mask, against a stone wall with landscape vista of mountains to the left, signed in pencil upper right 'John Goldicutt, Rome, 1817', top edge with tiny chip and very small closed tear, 13 x 18.5 cm (5 x 7.25 in), trimmed and tipped onto card (inscription just touched by trimming), mounted, framed and glazed (Qty: 1)NOTESArchitect John Goldicutt is better known for his architectural drawings - for which he won several medals - than for his buildings, and a number of books were published containing his work, including The Antiquities of Sicily (1819) and Specimens of Ancient Decorations from Pompeii (1825). His meticulously detailed original drawings seldom come onto the market.
* Monro (Thomas, 1759-1833). Rustic Landscape with winding path by trees and buildings, black chalk and grey wash on paper, laid down on old backing paper with triple rule outer border, 33 x 42 cm (13 x 16.5 ins), framed and glazed (Qty: 1)NOTESProvenance: Collection of Michael Jaffé CBE (1923-1997).
* Laporte (John, 1761-1839). Landscape Views, 4 w atercolours on paper, heightened with white bodycolour, comprising: a view of a river and hills, with peasants on the shore, two carrying bundles of sticks, and an erupting volcano in the background, signed and dated 1830 lower right; a river valley with vessels, figures, and horses pulling a barge; signed and dated 1830 to lower margin; a sunrise view of a yacht on a lake, with a ruined building and cattle on the shore, a female figure carrying a basket, and a castle on the hillside; and a view of a church besdie a river, with boats, horse and figures carrying baskets, signed and dated 1839 lower left, some flaking of paint surface, each approximately 27.5 x 40 cm (11 x 15.75 in) (Qty: 4)NOTESJohn Laporte trained as an artist in London under John Melchior Barralet. He is known for his topographical views, and exhibited at the Royal Academy and elsewhere from 1785. There is no known documentation of travels he might have undertaken, but three of the pictures offered here appear to be continental landscapes, and he did draw a number of Italian views in the 1820s and 1830s.
* Attributed to Henry Acland (1815-1900). A pair of watercolour views, watercolour and pencil on paper, one depicting a female figure in a blue dress and bonnet, seated on a rocky shore, with trees and mountains, indistinctly annotated in pencil by the artist lower left '[place name?]. Julii 24 1844' , sheet size 16.8 x 24.8 cm (6.6 x 9.75 in), the other depicting a lowland landscape with distant church tower and mountains beyond, indistinctly annotated in pencil by the artist lower right, sheet size 17.5 x 24.7 cm (66.75 x 9.75 in), both mount-stained, framed and glazed, with pencil attribution on back of frames (Qty: 2)
Five English silver mustard pots, with date marks from 1903 to 1919, various makers, Birmingham & Chester, of oval and circular form with pierced and engraved decorations including classical landscape with musicians, the hinged covers with spoon apertures, scroll and bracket handles, blue glass liners, the largest 5.5cm high, total weighable silver 7.57ozt (5)

-
261593 item(s)/page