We found 13247 price guide item(s) matching your search
There are 13247 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
13247 item(s)/page
Lot 571
James Greig (Scottish, b. 1861-1941) - An early 20th century watercolour on paper painting entitled 'Staithes'. The painting depicting the low tide in the harbour side. Signed to the bottom right and titled to the left with labels to the verso. Re-framed in 2003. Framed and glazed. Measures approx. 31cm x 46cm.
Lot 5026
§ The Beatles / John Lennon Attributed to Stuart Sutcliffe (1940-1962). Original head study artwork, pen, ink, watercolour and mixed media on paper, pasted on card, inscribed J left of the sitters neck. Printed label on reverse of frame reads, Bernard E. Clark, The Boat House Gallery, Walton On Thames, Surrey, the image, 41 x 56cm within mount, framed and glazed, 87 x 85cm overall. Provenance: This artwork was gifted to the vendors father, Bernard Clark, by John Lennon, c. 1968. Bernard Clark was Director of Photography for Cave Photographic Studios based in Cobham, Weybridge and Addlestone, Surrey in the late 1960s. They provided photographic equipment to The Beatles. Bernard and his wife became friends with the band, especially John Lennon and Ringo Starr, who both lived locally in St. Georges Hill, Weybridge at this time. The Clarks forged a close relationship with Ringo Starr and were regular visitors to John and Cynthia Lennons Kenwood home. It was during one of Bernards visits to Kenwood, when Yoko Ono was present, that John Lennon gifted this artwork to Bernard after he had prevented Lennon from completely tearing it up in a frustrated moment. The vendor remembers as a child, attending Zak Starkeys birthday parties and on occasions being driven to school in the psychedelic Rolls Royce by John Lennons chauffeur, Les Anthony. In the early 1970s Bernard Clark started his own business, The Boat House Gallery, Walton-On-Thames, Surrey, where this artwork was framed. Stuart Sutcliffe was a Scottish painter and musician best known as the original bass guitarist of the Beatles. Sutcliffe left the band to pursue his career as a painter. Sutcliffe and Lennon are credited with inventing the band name. At the time Sutcliffe was performing with the Beatles in Hamburg, he met photographer Astrid Kirchherr. After leaving the Beatles, he enrolled in the Hamburg College of Art, studying under Eduardo Paolozzi. Sutcliffe died in Germany in 1962. This painting is believed to have been hanging in the sunroom at Lennons Kenwood home before being gifted to the vendors father. See image of the Sunroom: John Lennon in the sunroom at Kenwood in St Georges Hill. The Sutcliffe painting is the bottom picture at the far left on the wall behind the sofa and just above Lennons head. The photo was almost certainly taken between June and December 1967. In early June 1967, Lennon shaved off the moustache he had grown at the end of 1966, and then grew sideburns, which can be seen here. He had grown a full beard by early 1968. The hairstyle is also consistent with the period. In addition, Lennon is seen wearing the same shirt in other photographs from 1967. The Captain Beefheart album, Safe As Milk, whose title appears on the cupboard doors, was released in June 1967. Credit licenced from Getty Images. § Please note that artist's resale right is additionally payable on top of the hammer price for this lot up to a maximum of 4% of the hammer price where above the threshold, please visit the DACS or ACS websites for more information. Condition Report: § The loss to three of the corners and the overall tears to the artwork incurred at the time John Lennon tried to tear up this painting. The smaller overall tears were later neatly repaired. This has not been removed from frame, and is believed to be stuck down.
Lot 21
Jack Butler Yeats RHA (1871-1957) The Squireen (1899) Watercolour 36 x 52cm (14 ¼ x 20 ½ “) Signed and dated 1899Provenance: With Waddington Galleries, London 1961; Collection N. Bernstein, Dublin; With Theo Waddington, London, label verso; Collection John Temple Lang, Dublin, thence by descent.Exhibited : London, April 1961, Waddington Galleries, Early Watercolours; Derry, April 1964, Arts Council of Northern Ireland, North-West Arts Festival, cat no 34; Belfast, May 1964, Arts Council of Northern Ireland, May Festival, cat no 28.Literature: Hilary Pyle, Jack B. Yeats His Watercolours, Drawings and Pastels, Irish Academic Press 1993, no 196, illus. p.80.This early watercolour by Jack B. Yeats depicts a young gentleman on horseback. Its title, ‘The Squireen’, suggests as Hilary Pyle has written, ‘a petty squire, of the type well known in Ireland at the time’. The little squire seems a derogatory or familiar term for this self-important figure. He holds himself with one arm on the reins of the galloping mount, and the other is bent to his waist, allowing the squire to survey the countryside through which he passes at some speed. His smart blue jacket with buttoned cuffs and brown hat indicate his high status. Yeats was aware of the social class structure of rural Ireland and its different categories of male citizenry provided him with a major source of subject matter, especially in his early work. This theme culminated in twelve oil paintings that he made to illustrate George A. Birmingham’s Irishmen All in 1912. This included such characters as the Country Gentleman, the Minor Official, the Publican and the Squireen. The latter figure, as in other works also, is quite unlike his early manifestation in this watercolour. Wearing an overcoat, this heavy-set middle-aged squireen is quite unlike the young bounder of this painting. The horse is shown in full gallop with its legs curved up under its body, all four of them off the ground, thus adding to the literal elevation of the squireen. Painted in watercolour and gouache, the expansive sky is a complex evocation of a typical cloud filled Irish day. The clouds form delicate patterns that span the background, providing a dynamic setting for the figure. Thick white paint is evident around the legs of the steed suggestive of movement and of Yeats’s careful delineation of the animal’s body as it moves through space. Already at this early stage of his career as a fine art painter, Yeats shows himself to be a master of the representation of the horse and an astute portrayer of character. Dr. Róisín Kennedy, April 2024
Lot 345
EDWARD THEODORE COMPTON (1849-1921): A WATERCOLOUR PAINTING ON PAPER DEPICTING A LANDSCAPE VIEW OF BRECON MOUNTAIN RANGE AND LAKE SCENE IN WALES FROM AN ALBUM IN THE POSSESSION OF HIS GRANDAUGHTER, Inscribed to verso circa 1867. Provenance: Artists grandaughter. 13cm x 9.5cm Mounted in a frame and glazed. 27cm x 24cm
Lot 785
Lady Kate Dobbin, (1868-1955) An early 20th Century wooden Paint Box, opening to reveal fitted interior paints and sample colours, the lid with brass plaque initialed 'K.D. (Kate Dobbin); together with four travelling metal watercolour Boxes [one with manuscript label 'K. Dobbin], as a collection. (5) Provenance: Private Collector, Cork City. Lady Kate Dobbin was born in Bristol, the daughter of William Wise, a solicitor. In 1887 she married Alfred Graham Dobbin who was knighted in 1900 for his role as High Chief Sherriff of the City of Cork. Lady Dobbin studied at the Crawford Municipal School of Art between 1891 and 1895. She submitted her first picture to the RHA in 1894 and continued to show there until 1947 exhibiting a total of one hundred and five paintings. She worked mainly in watercolours, painting scenes of Cork and the surrounding countryside.
Lot 887
Harry Kernoff (1900-1974) "Askeaton, Limerick, 1929," watercolour on paper, 23cms x 32cms (9" x 12 1/2"), signed, l.l. ‘Kernoff’ inscribed ‘Askeaton, Limerick’ and dated 1929. Although best-known for his paintings and woodcuts depicting Dublin city, its citizens and environs, Harry Kernoff was responsive to all aspects of Irish life and landscape, and painted regularly in the West of Ireland. During the 1920’s and 30’s, he travelled to counties Kerry, Limerick and Galway, staying at famous beauty spots such as Killarney and Renvyle, where he painted views of mountains, cottages and currach's, which were then shown at the Royal Hibernian Academy. Most of Kernoff’s paintings depict everyday scenes; he did not paint grand houses, preferring instead to depict inner city tenements, houses of workers, and rural cottages. In addition to his paintings and woodcut print editions, he contributed to publications such as James Stephens The Crock of Gold, and the Broadsides of the Cuala Press. Painted in 1929, this lively watercolour depicts a traditional rural scene, in the village of Askeaton, Co. Limerick, with a man walking in front of a white-washed thatched cottage. Framed by trees, the two-store cottage has a little front garden and a lean-to outbuilding with red doors. Smoke billows from the chimney, while two people pause to chat at the front door. To the left is a larger lean-to shed, or barn, and in the background, behind the barn, a fourth figure tends to a cart. There are lively details, such as a donkey drinking from a barrel, a pile of turf, and geese and chickens running freely. In the distance can be seen small fields beneath a cloudy sky, with another cottage nestling between hills. Although in some ways a stereotypical scene, the painting is an authentic record, reflecting Kernoff’s desire to depict the realities of life on a smallholding in the West of Ireland in the late 1920’s. Over the intervening century, while Askeaton, the ancient home the Earls of Desmond, with its castle and friary, has not changed markedly, there are now modern houses on the approach roads to the village, and very few old cottages remaining. The topography around the village is mostly flat fields, so Kernoff appears to have taken some artistic license in his depiction of the landscape. Provenance: Collection of Thomas Teevan, Dublin. A distinguished lawyer and judge, Thomas Teevan served as Attorney General of Ireland in 1953-54. Peter Murray 2024
Lot 598
After James Malton (1761-1803) View of the Law Courts, Dublin, approx. 41.5cms x 61cms (16 1/2" x 24") This impressive sepia and watercolour painting of the Four Courts in Dublin, by an unknown artist, is closely based on James Malton’s engraving of the same subject. The painting appears to date from around 1800, and so would have been done not long after Malton's aquatint view was published, in the 1790’s. Although signed ‘Malton’ it is probably by a follower of the artist. (1)
Lot 291
Miniatures: "Thomas Gerrard (Liscarton, Co. Meath) son of Samuel (1838-1890), watercolour, oval, approx. 14cms x 10cms (5 1/2" x 4"), black painted glass and gilt frame, inscribed on back; together with an oval Painting on glass of an Elegant Lady with necklace and low-cut dress, in ebonised frame (inscribed Gerrard on reverse). (2)
Lot 306
COLIN SEE-PAYNTON (BRITISH 1946) 'SNOWDONIAN LAKE', a Lake District landscape with hills as the backdrop, signed bottom left, attribution and title to Anthony Dawson gallery label verso, watercolour on paper, approximate size 33cm x 50cm, Condition Report: the painting is in good condition, dirty marks and stains to the mount, frame scratched (artist resale rights apply)
Lot 55
FELIX DE BOECK (1898-1995)Sans titre 1920Monogrammé et daté en bas à droite Encre et aquarelle sur papierGemonogrammeerd en gedateerd rechtsonder Inkt en aquarel op papierMonogrammed and dated lower right Ink and watercolour on paper14 x 12,5 cm (à vue)Footnotes:Provenance / Herkomst Collection privée / PrivécollectieExposition / Tentoostelling 13/6-31/8/1973: De Boeck, Joostens, Servranckx, Pionere der abstrakten Malerei in Belgien 1915-30, Galerie Gmurzynska, Cologne, cat. n°29 8/11-8/12/1973: De Boeck, Joostens, Servranckx: Pioneers of Abstract Painting in Belgium 1915-30, Annely Juda Fine Art, Londres, cat. n°15This lot is subject to the following lot symbols: ARAR Un pourcentage supplémentaire sera demander aux acquéreurs pour les lots précédés du symbole AR correspondant aux droits de suite aux artistes en vertu de la réglementation de 2006 sur le droit d'auteur. Veuillez vous référer aux conditions de ventes pour plus de détails.De koper is ons een extra premie verschuldigd ter dekking van onze kosten in verband met de betaling van royalty's krachtens de Artists Resale Right Regulations 2006. Zie onze algemene voorwaarden voor meer informatie.An Additional Premium will be payable to us by the Buyer to cover our Expenses relating to payment of royalties under the Artists Resale Right Regulations 2006. See our terms and conditions for further details.For further information on this lot please visit Bonhams.com
Lot 198
watercolour on paper, signed and dated 1991 mounted, framed and under glass image size 74cm x 54cm, overall size 100cm x 79cm Note: Jenny Matthews was born in 1964 and grew up in Edinburgh, Scotland. She studied at Edinburgh College of Art under Elizabeth Blackadder, John Houston and Ann Oram, graduating in 1986 with a BA (Hons) in Drawing and Painting. Jenny has lived in France and Indonesia and is now based in Edinburgh with her husband and two children. Jenny has earned her reputation as an accomplished Scottish watercolourist and over the last 17 years her work has been exhibited extensively in the UK and abroad. She has also exhibited at the Royal Scottish Academy (RSA) and Royal Scottish Society of Painters in Watercolour (RSW). Jenny appeared in the Top 20 of the ‘Savvy Art Investors Guide, 20 Scottish Artists to Buy’, in The Scotsman October 2004 and is the main artist feature in ‘Homes and Interiors Scotland’ magazine Jan-Feb 2005. Her paintings are in the collections of Adam and Co plc, Brodies WS, Hewlett Packard, Ian Rankin and Miranda Harvey, Institute of Chartered Accountants of Scotland, Murrayfield Hospital, Paintings in Hospitals and Walter Scott and Partners, as well as in private collections worldwide.
Lot 165
mixed media on paper, signed and dated 1987 mounted, framed and under glass image size 60cm x 52cm, overall size 90cm x 82cm Note: Jenny Matthews was born in 1964 and grew up in Edinburgh, Scotland. She studied at Edinburgh College of Art under Elizabeth Blackadder, John Houston and Ann Oram, graduating in 1986 with a BA (Hons) in Drawing and Painting. Jenny has lived in France and Indonesia and is now based in Edinburgh with her husband and two children. Jenny has earned her reputation as an accomplished Scottish watercolourist and over the last 17 years her work has been exhibited extensively in the UK and abroad. She has also exhibited at the Royal Scottish Academy (RSA) and Royal Scottish Society of Painters in Watercolour (RSW). Jenny appeared in the Top 20 of the ‘Savvy Art Investors Guide, 20 Scottish Artists to Buy’, in The Scotsman October 2004 and is the main artist feature in ‘Homes and Interiors Scotland’ magazine Jan-Feb 2005. Her paintings are in the collections of Adam and Co plc, Brodies WS, Hewlett Packard, Ian Rankin and Miranda Harvey, Institute of Chartered Accountants of Scotland, Murrayfield Hospital, Paintings in Hospitals and Walter Scott and Partners, as well as in private collections worldwide.
Lot 95
watercolour on paperChina Dimensions: Height 46 cm / Wide 70 cm Traditional tiger painting always show tigers’ strong and fierce. Feng Dazhong's works are more likely to show tigers’ gentle and harmonious. He always highlights the tiger's tenderness, benevolence and love. The tiger in this painting is half lying down and half up, with no fierce eyes and no fierce teeth.Although it is only a simple action, it shows the tiger's power.
Lot 152
watercolour on paperChina Dimensions: Height 167 cm / Wide 46 cm Zheng Banqiao has been painting bamboos for more than 50 years, so his achievements are outstanding.He likes to draw thin bamboos, and in groups of four.The painting also has four bamboos, two strong and two slender, to express the artist's high moral integrity.
Lot 141
watercolour on paperChina Dimensions: Height 83 cm / Wide 35 cm Chen Yandu's early works mainly focus on animals, and his later works mainly focus on figure paintings.This double horse painting is probably one of his earlier works.The painting shows a mother horse nursing her baby on a field.The elder horse looks relaxed, the pony buries itself under mother's belly, only revealing a part of its body.Although the work depicts the scene of winter, it makes people feel warm.
Lot 203
Property of the Late Countess Haig - Adrienne Haig, "Yellow Flowers", watercolour on paper, signed bottom right, artist label verso, in a gilt frame (30.5cmx23cm) together with Unknown Artist, Study of a various yellow flowers in a vase overpainted with painting underneath, oil on canvas, unsigned in a wooden mounted frame (loss to/chips to paint and signs of craquelure) (17.5cmx16cm)
Lot 53
Estate of Jeremy Bulloch - Star Wars - Artwork - A. L. Young (Artist) - 'mixed media painting in acrylic and watercolour, depicting a Boba Fett montage alongside Slave I. Signed by the artist. Framed and glazed to a total size of: 55cm x 44cm. All lots from the estate of Jeremy Bulloch come with a special certificate signed by Maureen Bulloch, confirming the lots were from his personal collection. The majority of the items were displayed in his home museum for several years. Part of the proceeds of this lot will be donated to Parkinson's UK (Charity 258197)
Lot 326
Art Interest Nine publications H. L. Mallalieu, 'The Dictionary of British Watercolour Artists Up To 1920', two volumes, Antique Collectors Club, 1976; Andrew Graham-Dixon, 'Renaissance', 1999; Bamber Gasciogne, 'How To Identify Prints', Thames & Hudson, second edition, 2004; Hugh Bedford (signed), 'Frank Gascoigne and his 'Newlyn School' Friends at Lamorna', 1995; Charles Thomas, 'Views and Likenesses - Early Photographers & Their Work in Cornwall and Scilly, 1839-1870', Royal Institute of Cornwall, 1988; Katie Campbell, 'Moon Behind Clouds - An Introduction to the life and work of Sir Charles Francis Barry', Fine Art Promotions Limited, 1999; Sarah Whitfield & John Elderfield, Bonnard', Tate Gallery Publishing, 1998; 'The Studio Painting Series' 3:Children, London: The Studio Limited, 1931 (9) From the estate of author, John Branfield: Introducing The Art Collection of Pep & John Branfield (davidlay.co.uk)
Lot 276
George P Wiseman - study in watercolour of the Samuel Plimsoll, a three-masted sailing vessel, signed and dated 1972 to lower left corner, 37cm x 51.5cm, mounted in gilt glazed frame; Roy Cross RSMA - Bathing at Semi-Circular Quay, Sydney, a collotype print, signed and dated by the artist '84 in pencil to lower margin, certificate of authenticity verso, 37cm x 45cm in glazed frame; and an Indian gouache painting of the Ark with figures and land animals on different levels, sea creatures swimming in the waters, 44cm x 33cm in glazed frame Location:If there is no condition report shown, please request
Lot 179
A botanical study (Ixora stricta), from an album executed for Mountstuart Grant Duff, Governor of Madras Company School, Madras, attributed to the artist Rungia Raju, late 19th Centurypencil, pen and ink and watercolour on paper, white paint of the flowers has oxidised and has been repainted at a later date, inscribed in ink lower centre Ixora stricta, Roxb. Syn. I alba/G. H. M., numbered No. 26 in pencil upper left 555 x 383 mm.Footnotes:ProvenanceRt. Hon. Mountstuart E. Grant Duff, Governor of Madras 1881-1886.Formerly in a private European collection.The reverse of the card mount of this lot (and the two following lots) bears a label photocopied from the original label, indicating that these were the property of the Hon. Mountstuart E. Grant Duff.For three botanical paintings from the same album (with the same numbers in the top left-hand corner) in the possession of Duff, see Sotheby's, Arts of the Islamic World, 26th April 2017, lot 134; two of which lot appeared more recently, Sotheby's, In an Indian Garden: the Carlton Rochell Collection of Company School Paintings, 27th October 2021, lot 24.The artist Rungiah Raju appears to have been a descendant, a member of a family of artists who retained the name, of the artist Rungiah who worked for Dr Robert Wight (Madras Naturalist) until around the middle of the 19th Century (for whom see H. J. Noltie's contribution in W. Dalrymple (ed.), Forgotten Masters: Indian Painting for the East India Company, London 2019, pp. 84-85). Duff came from a family historically associated with India, and was particularly interested in gardening and botany. His grandfather Sir Whitelaw Ainslie was the author of several works on India including the Materia Medica of Hindostan, Madras, 1813. His father, the historian James Cunningham Grant Duff (1789-1858), sailed for Bombay in 1805 at the age of sixteen and as a young lieutenant became assistant and close friend of Mountstuart Elphinstone, Governor of Bombay, of whom he wrote in his History of the Maharattas, completed when he returned to Scotland in 1825 suffering from ill-health.Duff served as Undersecretary for India (1868-74) and Undersecretary for the Colonies (1880-81), before becoming Governor of Madras. He was also a keen botanist and during his time in Madras not only advised Kew on their own gardens but also on flora from other parts of the British Empire. In his diaries of 1886, he makes particular reference to the albums, as well as the artist Rungia Raju, who had been under his patronage for two years.For further information on this lot please visit Bonhams.com
Lot 177
A Calcutta Hackney coach, with Indian occupants and attendants, by Shaykh Muhammad Amir of Karraya, Calcutta, circa 1840-50pencil and watercolour on paper, black lower margin rule, inscribed in lower border Calcutta Hackney coach and in Urdu at lower right 197 x 270 mm.Footnotes:ProvenanceChristie's, Visions of India, 5th October 1999, lot 117.Private collection, London.For an extremely similar composition by Shaykh Muhammad Amir, with the same pattern of carriage, the same passengers, but with the coachman wearing a hat, without the two attendants running behind in our painting, and minor variations in the landscape background, see Christie's, Arts of India, 23rd September 2005, lot 46.Another very similar painting by the artist, depicting Indians riding in the same type of carriage drawn by two horses was amongst an album of fifty-two watercolours on paper watermarked Whatman 1846, with the album as a whole dated Calcutta 1849 in an English inscription. See Sotheby's, Fine Oriental Manuscripts and Miniatures, 15th October 1984, lot 8 (the painting in question illustrated in the catalogue). The same carriage and passengers are depicted in another painting by the artist, this time inscribed charachee in the lower margin, offered at Sotheby Parke Bernet, New York, 14th December 1979, lot 41 (illustrated).Both Christie's catalogues also compared a painting depicting a palanquin with bearers, with the same black lower margin and English inscription, in the collection of Edwin Binney 3rd, illustrated in S. C. Welch, Room for Wonder: Indian Painting during the British Period, 1760-1880, New York 1978, p. 72, no. 24.For further information on this lot please visit Bonhams.com
Loading...-
13247 item(s)/page