We found 7095 price guide item(s) matching your search

GILL WATKISS.*'After Chapel-Brea, Redruth'. Oil on board. Signed. Signed, titled & dated 1996 to the reverse. Newlyn Orion Gallery label dated 1997 to the reverse. 33 x 31cm.

ST. IVES & OTHER EXHIBITIONS.St. Ives Society of Artists: nine 1950's lists of exhibitors; Penwith Society of Arts/ Penwith Gallery six 1960's & later lists; three Newlyn Society of Artists lists; four James Lanham, St.Ives lists & two St.Mawes Group of Artists lists. (21)

Attrib. Walter Langley (Newlyn School 1852-1922): Portrait of an Elderly Lady, watercolour unsigned 23cm x 19cmProvenance: in store for approx. 40 years with other pictures inc. work by Henry Scott Tuke Condition Report:Some loss of colour otherwise reasonable condition

Newlyn Arts and Crafts copper chamber stick, the cylindrical sconce above a square dish base repousse decorated with two fish, with flattened shaped handle, 26cm long, 14.5cm wide, 4cm high

Newlyn Arts and Crafts copper inkwell, the circular beaten hinged cover above a cylindrical stem and dished base repousse decorated with stylised fish amongst kelp, stamped to interior of inkwell, 6.5cm high, 20.5cm diameter

Newlyn copper bowl, with beaten decoration, stamped to foot, 11cm diameter

Newlyn copper chamber stick, the dished sconce above a square pan with embossed crescent decoration and Newlyn stamp, the swept handle with hole and punch decoration to terminal, 22.5cm long, 12.5cm deep

Frank ROUSSE (act.1894-1917), Newlyn herring boats in Whitby, watercolour, signed and dated '93, 34X23.5cm.A few spots of foxing and slight tear/hole images of affected areas on Lay's website.

Thomas Herbert VICTOR (1894-1980) Newlyn Watercolour, signed, 15 x 26cm.

William Blight MITCHELL Church St. Newlyn Watercolour 26 x 36cm

A Celtic, Newlyn pottery bull decorated in the folksy pattern, height 14.5cm length 24cm.

A Celtic, Newlyn pottery bull decorated in the folksy pattern, with original printed label, height 14.5cm length 24cm.

A Tremaen Pottery lamp base, the large Newlyn Bojey design, Circa 1960s, height 41cm, width 28cm, lacks electrical fittings.

Fanny Violet Shoosmith (British, active early 20th century) 'Cornish Harbour Scene',Newlyn School style watercolour, signed F. V. Shoosmith and dated 1901, framed and mounted,overall 50cm x 56cm. within frame 31cm x 38cm Condition: Unexamined out of frame - in apparently very good overall condition. Very small area of loss to paper approimately 3mm wide, slight discolouration to sky. 

An Arts & Crafts Newlyn style embossed copper panel decorated with a ship, overall height 74cm, overall width 67cm, panel size 59 x 47cm. Additional InformationHeavily grubby and tarnished throughout, unmarked. 

Circle of the Newlyn School (late 19th/early 20th century),A lady seated on a hilltop knitting,Oil on panel,Unsigned, inscribed in pencil verso "Mrs F Keeir, The Ponds, Bletchley, Nr Tunbridge Wells",21cm x 17.5cm,Framed and glazed (frame at fault)

A single owner collection of paintings by Clifford Fishwick [1923-1997].Born in Lancashire, and after attending Liverpool School of Art and naval service in the 1940s, Fishwick relocated to Topsham, where he lived with his wife and fellow artist Patricia, to become Principal at Exeter College [1958-84]. He was member of The Newlyn Society and exhibited with The Penwith Society, at Dartington Hall, Plymouth City Art gallery, Exeter University, Essex University and Austin Desmond Fine Art, among others. * Clifford Fishwick [1923-1997]-Seated Woman,:-signed and dated '62 bottom rightmixed media, 31.5 x 22.5cm.

Newlyn Embossed Copper Tobacco Jar, 10cm

Newlyn Copper Chamberstick with embossed fish decoration, stamped to underside ' Newlyn ', 15.5cm long together with another Copper Chamberstick

J. HESELDAY Newlyn To St Michaels Mount Watercolour Signed Framed and glazed Picture size 25.7 x 21.5cm Overall size 41.3 x 34.8cm W. SANDS (THOMAS HERBERT VICTOR 1894-1980) St Ives Watercolour Signed Framed and glazed Picture size 17.8 x 10.5cm Overall size 37.6 x 29.1cm F.W. GANZ Newlyn Watercolour Signed and titled verso Framed and glazed Picture size 21 x 26.3cm Overall size 34.3 x 39.9cm FRED LAWSON Two Luggers Watercolour Signed Framed and glazed Picture size 11.8 x 18.7cm Overall size 24.9 x 29.5cm E.B. The Fisherman's Home Watercolour Monogrammed and dated 14.4.20 Framed and glazed Picture size 12.3 x 28.6cm Overall size 15.5 x 31cm

DOUGLAS HOUZEN PINDER (1886-1949) Newlyn Pier Watercolour Signed Framed and glazed Picture size 17 x 26cm Overall size 33.5 x 41cm

A W.V.S. Civil Defence Housewives Service window card, W.V.S. Civil Defence lapel badge, Girl's Training Corps lapel badge, Women's Land Army badge, bracelet marked "Mrs. E. M. Roberts Newlyn W.A.P.E. 113/2" etc.

Early Stuart Mariners and Shipping - The Maritime Surveys of Devon and Cornwall 1619-35; and The Arts and Crafts in Newlyn 1890-1930 (2)

An Arts and Crafts hammered copper and pewter overlaid circular dish by Hugh Wallis, diameter 28cm, a pewter bowl by Hugh Wallis, diameter 22.5cm, a Newlyn pewter plate, diameter 25cm, a KSIA 'Staybrite' dish and another pewter dish.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.

Large Tremaen pottery (Newlyn) ' Hieroglyphic ' table lamp by Peter Ellery circa 1970, 14.5ins high approximately, excluding the lamp fitting with original label and shade

A Newlyn copper rectangular tray with planished and chased detail depicting St Michael's Mount and a single fishing boat, 19.5 x 47cm.

Nancy Bailey (1913-2012) Oil on board. 'Newlyn Old Harbour'. 87cm x 52cm overallgood condition

A QUANTITY OF PICTURES AND PRINTS ETC, to include Vic Bowcott watercolour landscape of Hints in Staffordshire, approximate size 25cm x 34cm, a study of two working horses, initialled C.W.P (Cecil Westland Pilcher ?) watercolour on paper, watercolour depicting a rural village signed Scholten, Walter Langley print 'Fishwives Newlyn', Ernest Huntley Hunt print 'Setters', together with other assorted prints etc (Box and loose)

Newlyn copper trinket box, embossed with lobster approx 12 x 3 cms, brass vesta case embossed with a chasing dragon, Italian ceramic trinket box by Dini & Cellai Signa ware moulded with classical figures in high relief together with a Chinese spinach jade trinket box, with white metal mounts, approx 11 x 12.5 x 7 cms (af) July 21st Condition ReportsWith loss to the left hand corner.

A Newlyn style copper rectangular tray, 54cm wide; and two others. (3) 

David Naylor (late 20th century)Newlyn Harboursigned, titled to verso, oil on canvas, 50cm x 60cm

Set of four late Victorian cut glass posy vases with hallmarked silver collars, Birmingham 1899, pair of cut glass salts with hallmarked silver collars, Birmingham 1926, WMF water jug, with swing lid and straw work handle H18cm, 1920's EPNS cigarette box, the lid decorated with a hunting print, Newlyn School copper arts and crafts trinket dish with dished centre D11.5cm, makers initials JJ on base, etc

Ken Symonds (British 1927-2010) - 'Nude on Green' Pastel 15'' x 19'' (38cm x48cm) Signed & Titled on Artists Verso. Studio Address: St Andrews Studio, Fore Street, Newlyn, Cornwall. Cornish Artist - best known for his nudes in interiors, of which this ia a particularly good example.

LARGE NEWLYN STYLE ARTS & CRAFTS PLANTER the embossed brass jardinière decorated with a lobed border and a Viking longboat at sail on a calm sea at sunset, with lion mask handles, 30 cm high and 39 cm wide.

Newlyn copper chamberstick decorated with fish in relief, stamped NEWLYN

A 999 fine silver Garfish bangle by James Suddaby. Set with a ruby cabochon eye, stamped with signature and Newlyn 999FS, weight 80.5g.This is in good condition.

Five paintings to include: Thomas Herbert Victor (1894-1980) - 'Newlyn', watercolour on paper, 10 x 18 cm; D. Meadows - 'North Devon Estuary' after Gyrth Russell 27.5 x 37 cm, and Girl Carrying Bananas, 35.5 x 25.5 cm, both oil on board; M. H. Shipley - 'Ben Nevis from Loch Eil, The Captain Scott at Anchor', oil on board, 41 x 30 cm and C. J. Upton - English town, oil on board, 24 x 35 cm, all framed (5)

Arts & Crafts Newlyn School style repousse copper wall charger decorated with dolphin or fish swimming in seaweed, the rim with crimped edge, appears unsigned, 61cm diameter.

George Harrison (York 1882-1936): Taking a Break at the Abbey Ruins, watercolour signed and indistinctly dated 35cm x 44cm Notes: Harrison studied at York School, Leeds College of Art, RCA and Newlyn. Became Principal of York School of Art and also ran a school of art at the Corn Mill Stamford Bridge York

George Harrison (York 1882-1936): Figures in a Yorkshire Village with Steeple in Background, watercolour signed and dated 1925, 34cm x 46cm Notes: Harrison studied at York School, Leeds College of Art, RCA and Newlyn. Became Principal of York School of Art and also ran a school of art at the Corn Mill Stamford Bridge York

A Newlyn Troika Pottery coffin vase, 1970s, decorated by Tina Doubleday, monogrammed, black painted marks to base, height 17cm.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.

§ SIR TERRY FROST R.A. (BRITISH 1915-2003) LORCA SUN (KEMP 130) - 1991 Etching with lithography, 3/25, signed, dated and editioned in pencil to margin, printed by Hugh Stoneman and Alan Cox at the Print Centre, London, published by the artist, NewlynDimensions:plate size 56cm x 37.5cm (22in x 14.75in)

2 Art Nouveau copper chargers, in Newlyn and Keswick style, unmarked, largest diameter 44cm (2)

A Collection of 16mm Films By G. P. Kendall B.s.c, to include: Summer Holidays 1932 Part I: Stamford George Hotel, Burghley House. Whitby. Back from Malta. In Garde. YoYo Addicts. The Landgate. Town Gatehouse. Quaint Corner. Town Scenes. Near Camber. Picnicking by Car. Speed Vehicle. BROOKLANDS - racing cars in distance. Aeriel Works - the Lab & the View. Africa - animals in zoon. Sharnbrook - horse-riding. Portrait of a gentleman, black cocker spaniel. Esher fete & pageant - Women dressed in Tudor style. Slide shows. Hoopla etc. Rides in OLD CAR PG 3747. Part II:The dog show. Bill's rodeo - man on horse. Cornwall. St. Ives. Porthgwarra. The Cliffs at Tol Pedn. Mousehole. Newlyn. Mullion. Cadgwith. Whitesand Bay. Landsend. 1933 A Film Diary of the year photographed by GPK & KWK: Good Friday in the New Forest. Easter Sunday on the Wiltshire Downs. Sixth of May BROOKLANDS. Third June Thomas gives a Demonstration. Spaniel Begging. Followed by Jane - Scottie Begging. Early July Southern Visitors - Birds nesting in eaves. Twenty-ninth July - Claygate Gymkhana. August holidays and St. Ives The Green Studio. Round the harbour. Morning light. St. Michaels Mount. Hell's mouth. A fine morning. Let's go to Godrevy. A last look round. September Kay takes the camera to Jersey. 1934 The Diary Continues: March - The camera goes for a ride on Footplate of TRAIN. MORE THAN A MILE A MINUTE. Easter St. Ives again. Quaint Corners in the old town. On the beach near Perranporth. Nearby is one of the old STAMPING MILLS. WATERMILLS & OLD MACHINERY - WORKING. A little further up the valley there is BLUE HILLS MINE. Famous motor trials hill, CARS GOING UP HILL. On cliffs at Mullion. After that the cameraman fell sick so no more. May brought a touch of summer. Garden - Dogs, bird, tortoise. July - Down Dorset for a holiday. Through Wareham & Stoborough. Rough tracks bring Middlebere farm into sight. Nearby was a caravan. Arms of Poole harbour were all around. The days began with an open air breakfast, then came camp duties. Perhaps some sun- bathing or maybe a day by the sea. Stillness of evening. August - a visit to Pud's camp at Scotland farm near Corfe. The farmhouse is two hundred years old. Creech barrow nearby provides some fine views. Small reels, 1-24 are some negative: and some positive pieces of perhaps experimentals of trick photography and titling. Also the remainders of film that were not used in the larger reels.

A Newlyn copper tray, 20th century, of circular form with a petalled edge, centred with a galleon, 34cm diameterCondition ReportSome stains to the top of the tray - mug marks.The tray has been knocked and some dents to the base and edges - stamped 'Newlyn'.Further photos added to the website.

A Newlyn style planished copper ‘fish’ bowl,24.5 cms diameter,

NEWLYN SCHOOL, 'ON THE QUAY, A PORT IN CORNWALL' NEWLYN SCHOOL, 'ON THE QUAY, A PORT IN CORNWALL', oil on canvas, framed. 49cm by 75cm

A Newlyn Celtic studio pottery dish, together with a group of Briglin studio ceramics and four Hornsea dishes, tallest 20 cm

Arts & Crafts Newlyn embossed copper dish by Herbert Dyer D22cm, together with a later embossed copper plate, both decorated with birds (2)

Newlyn SchoolSeaweed Gathering Mount's Bay-Off Prussia Cove19th Century oil on canvas, lined90x138cm Provenance - gifted to our vendor's uncle from the owner of a stately home (it was stored inside one of a fleet of vintage ambulances on the grounds)

Newlyn SchoolGeese and to verso a ploughing teamOil on panel29x20cm This oil is in unrestored, uncleaned condition. The images show peripheral damage to the panel. Less easy to see is abrading to the surface top left of the geese painting. it is generally dirty and about the horse's feet some oxidization of pigment

Charles BREAKER (1906-1985)French Crabbers in Newlyn (Pat Pickles)GouacheSignedInscribed to verso19 x 25cm

Frederick HALL (1860-1948)Newlyn sketchPencilContemporary collectors label to verso19x28cm

Henry Charles WILKIE (1864 - ??)Portrait of Johanna Symons of Newlyn, 1919Oil on canvasLabels to verso45 x 35cm This oil has been restored and lined, there is a little re-touching

Harold KNIGHT (1874-1961)Portrait of the artist Robert Morson Hughes (1873-1953)Circa 1915/16 Oil on canvas 102 x 127.5 cmExhibited: ‘Artists by Themselves’ 2019 Penlee House GalleryProvenance: From the Estate of Robert Morson Hughes, thence by descent. A professional conservator's condition report is available upon request. This heroic portrait, so reminiscent of Harold Knight’s self-portrait in the National Portrait Gallery, ostensibly appears to be a study for his large, important work 'The Council,' (exhibited RA 1916) which features Robert Hughes on the right of the painting, also with pint in hand, walking stick and overcoat on left arm.In 'The Council' Hughes leans forward, intently facing his good friend the artist Samuel John Lamorna Birch. Birch is expounding an opinion, no doubt upon a war-related subject, whilst three other Lamorna locals around the table look on, including Old Jory, the landlord of the Lamorna Wink where the painting is set. Knight was an accomplished portraitist and completed numerous commissions, but his sensitive portraits of women differ greatly to many of his male studies, which although technically brilliant, could be dour and lacking in emotional warmth. Rapport, respect or a connection with his subject really mattered. In this portrait Hughes (Bertie to his friends) looks directly at us out of the painting, with a truly penetrating, almost intimidating gaze. He is life sized, and the full force of his personality is almost simmering upon the canvas. It says: “This is a man of character.” And who are we to argue? It is a painting that demands respect. It is one of Harold Knight's most powerful portraits, and is very much a finished work in its own right. Prior to the war, life for the Knights in Lamorna had been idyllic, aside from the tragedy of Florence Munnings’s suicide in July 1914, these had been halcyon days in the ‘Happy Valley’ of Cecily Sidgewick’s novels, and Harold had done some of his best work here.They moved to Lamorna in 1913 when Laura’s career was still developing and although Harold had established himself as a portrait painter, money was still tight for them. They needed to sell paintings to live, unlike their friends and neighbours, the independently wealthy Hughes’.Robert Morsen Hughes and his wife Eleanor were popular and significant members of the artists group living in pre-war Lamorna. Like the Procters, the Simpsons and several others, they had come to Newlyn to study under Stanhope Forbes, had fallen in love, not just with each other but also Cornwall. They married, stayed, and made their lives there.Along with the Napers, Sidgewicks, Leaders and the Heaths, the Hughes bought a parcel of land from Colonel Paynter of Boskenna and in 1911, designed and built their own home, 'Chyangweal' above the Lamorna Valley. Eleanor was an accomplished pianist and their home became popular for social gatherings and musical evenings. Along with S J Lamorna Birch and his family, this was a social group of great harmony and friendship. Although undated, this work was probably painted in 1915 and in the context of that time frame, it is a fascinating portrait. As illustrated by ‘The Council’, war dominated every conversation. Many Lamorna friends and colleagues joined up, and by 1915 there had been tragic deaths and woundings amongst them. This portrait and ‘The Council’ document a point in Harold’s life just before a great emotional shift, because in 1916 Harold declared himself a conscientious objector. It was the start of a period of immense mental and physical strain. Friendships fractured, even long standing friendships with the Sidgewicks and the Birchs were put to the test. Although too old to serve, in 1916 S J Lamorna Birch and Robert Hughes became members of a local volunteer force, guarding Newlyn harbour, and so struggled with Harold’s pacifist stance. When Knight got his call up papers in 1916, he was asked to explain himself before a tribunal. Unimpressed, they sent him to work as a farm labourer on the Cornish coast. He was alienated by friends and colleagues, writing: '’I have lost the friendship of several people whose friendship I valued, and my career as a portrait painter has been prejudiced by my attitude towards the war I have been compelled to take.’' It must have been an immensely painful episode for him. Knight was a quiet, sensitive man, often overshadowed by his brilliant, vivacious artist wife, Laura, but this stance showed immense courage. It took its toll on him both mentally and physically. 'Hoeing', Laura remarked, 'for days on end without seeing a living soul. He was again a sick man.' By 1917, Knight's health had deteriorated to such an extent that he was excused from further labour and returned to painting. After the war they left Cornwall for London, whilst this portrait, arguably one of Harold Knight’s finest, remained in the Lamorna home for which it was painted. We don’t know whether this work was a gift or a purchase, but other than a three month loan to Penlee House in 2019, this marvellous portrait has hung at Chyangweal for over 100 years and never been exhibited elsewhere.

Newlyn SchoolThree figure studiesCharcoal30x25cm

Frederick HALL (1860-1948)Bolting HorsePencilContemporary collectors label to verso14x11.5cmTogether with two other pencil sketches from Fred Hall's Newlyn days

Elizabeth Adela STANHOPE-FORBES (1859-1912)A Newlyn FishermanWatercolourSigned34.5 x 24.5cmThe subject of this early Nelwyn work is thought to be Uncle William HitchenNot examined out of the frame, but other than a little possible fading, it appears in good condition, no foxing, warping or other issues. Nicely presented.

Bob VIGG (1932-2001)Newlyn HarbourOil on board39 x 49cmThis framed oil is in good unrestored condition. It is on board not canvas, we have amended the description and apologise for the error

Newlyn SchoolMan with a Red HatWatercolour18.5x14.5cm