There are 13241 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeTom Carr (1912 - 1977) "Chink", a profile study of the horse set against a pastoral landscape, watercolour, signed and dated 1963, in pen-lined card mount and moulded frame under glass, 46 cm x 38 cm overall [Carr originally trained as a blacksmith before turning his hand to painting. He graduated in Fine Art from King's College, Newcastle.]
Alexandre Benois (1870-1960) La Dame de Pique - The Queen of Spadesink, watercolour and gouache34 x54cmThe painting was acquired by the present vendors mother who collected Russian works. It was acquired sixty years ago and has always been insured as a Benois by both Phillips and Bonhams. We sodl a collecion of works by Pavel Fyodorovich Tchelitchew from the same vendor a number of years ago. Generally, the paint layer appears stable. Pin holes across the composition, notable in the corners, down the sides and along the centre. Most notably in the centre of the composition in the chest of the statue. Paper has some minor warping. Some surface dirt to the glaze and with some thunderflies trapped beneath glass. Framed dimensions 53.5 x 72.5cm
† RAGHEB AYAD (EGYPTIAN 1892-1982) THE BUFFALO AND THE FLIES - VERSO; FLIES AND THE BUFFALO - RECTOsigned and dated in English R.AYAD / c.1965 lower left - recto; signed and dated in English R.AYAD / c.1965 lower centre - versoink and watercolour on paper47 x 67cm; 18 1/2 x 26 1/4in71 x 90cm; 28 x 35 1/2in (framed)ProvenanceCollection of Dr Mohammed Said FarsiThence by descentLiteratureDr Sobhy Al Sharouny, A Museum in a Book, Cairo, 1998, pp. 74, 80 and 81, illustratedRagheb Ayad is celebrated as one of Egypt's most independent and boldest of the First Generation of artists. He is particularly remembered for his spontaneous style of painting, which borders on caricature. A talented draughtsman, he chose to depict scenes of popular culture with raw emotion and honesty, including the fellaheen and their daily domestic village life, as well as desert monasteries and monks.After training, both in Cairo and abroad in Rome, where from 1922 he studied with fellow Egyptian artist, Youssef Kamel, mutually supporting each other financially and in friendship, he returned to Cairo in 1930 to commence an illustrious career as a teacher and curator at many renowned institutions in addition to serving on many government committees. Appointed Department Head at the Higher School of Fine Arts in 1942, he was chosen to organise the Coptic Museum in Old Cairo and subsequently became the Curator of the Cairo Modern Museum from 1950 to 1955.During his liftetime, Ragheb Ayad held over 40 exhibitions in Egypt and abroad and his works are held in private Egyptian and international collections, as well as institutions such as the Modern Egyptian Museum, Cairo; the Agricultural Museum in Dokki and the Museum of Fine Arts, Alexandria. Additionally, his murals adorn the walls of churches, hotels and former palaces in Egypt.
R & F MO, PLAY TIME watercolour and gouache on card album cover, signed31cm x 31cm R & F Mo graduated from RCA in 1984 and was awarded the RCA drawing prize. Her practice (sometimes across disciplines) explores narratives that connect the seen the sensed and the dreamed. Her current practice (from 2016-) focuses on drawn narrative painting concerning human behaviour, contradictions, interactions, ambiguity, and place, in which she works to conjure a remembered or imaged scene, while aiming to bridge the processes of drawing and painting. Grappling to keep the work alive, she retains the initial marks and forms made in the building process, sometimes drawing in paint, other times painting layers into and over drawing, in this way the processes become one, woven together into the whole. Instagram: r.andf.mo
SHELLEY MORROW, COLOUR FORMATIONS watercolour and gouache on card album cover, signed31cm x 31cmDuring 2010 Shelley Morrow took the plunge and became a full-time, self-employed artist. She also partnered with another artist, Jake Spicer, to create a dedicated studio for running life drawing classes in Brighton called Draw. Draw became a thriving community of artists, tutors and life models and my drawing, painting and teaching skills had the opportunity to flourish. Since the pandemic, like so many, she has turned to teaching online, specialising in watercolour. Instagram: shelleymorrow1
DAVE WHITE, HUMMINGBIRD 2023 watercolour on card album cover, signed31cm x 31cmDave White is a contemporary British Artist who dedicates his work to celebrating popular culture and interpreting emotive issues. White graduated with a BA (Hons) Fine Art (Painting) at Liverpool John Moores University and has enjoyed success from the inception of his career, with selection for the Northern Graduates exhibition at the Royal College of Art. Dave has successfully exhibited at exhibitions and galleries across the world. Whilst White has pursued many subject matters over the last twenty years, for the last decade he has been focussed on environmental issues by promoting endangered species with his signature expressive portraits. White continues to support international charities with donations of work for special projects and auctions. Instagram: davewhitestudio
Various Stamps, six late 1960s hand painted watercolour stamp-like designs from around the UK, each 16.5cm by 9cm painting laid on a larger blue card backing, marked 5D and with protrait of Queen Elizabeth II, including Llandybie Wales, Somerset, Warrenpoint Ireland, Old Inn England, Castle Combe and East Lothian (6)
Attributed to John Keith Vaughan (23rd August 1912 - 4th November 1977) watercolour gouache, titled Figures and Trees III, Keith Vaughn lower right with title to border, Verso inscription with additional title. Together with a letter addressed to Tony Reichardt dated 15th May 1964, Letter reads.“would you be kind enough to have the attached enclosed label to the painting which the Carnegie Institute will collect from you in due course. When you have Time to spare to come in and see how the work is going, perhaps you can come in for a drink one evening on you way home. Yours Sincerely Keith Vaughnâ€Â.
Joseph William Carey (1859-1937, British), watercolour, 'Glencoe, Loch Leven' signed and dated 1915 to the lower left, framed, mounted, and under glass, 35cm x 52cm, & 57cm x 75cm overallCondition report - Overall this lot appears to be in generally good order. The frame, mount, and glass are all intact. The painting doesn't show any major damage, but it does appear a little faded. There are also some small grey blemishes to the sky above the central peak.
ERICH HECKEL (1883-1970)Verwundeter Seesoldat signed, inscribed and dated 'Ostende 1915/16 Heckel' (lower right)gouache, watercolour, pen and black ink and pencil on card63.8 x 49.5cm (25 1/8 x 19 1/2in).Executed in Ostende in 1915-1916 Footnotes:The authenticity of this work has been confirmed by Hans Geissler. Renate Ebner has confirmed that this work is recorded in the archives of the Erich Heckel Estate, Hemmenhofen.ProvenanceDr Max Zeller Collection, Switzerland (acquired directly from the artist).Private collection, Switzerland.Alice Adam Ltd., Chicago (acquired by September 1992).Private collection, US (acquired from the above on 4 April 1995).The present work was executed during the First World War in 1915-1916, a few years after the dissolution of the Brücke group, of which Erich Heckel was a founding member. Having been rejected from military service for his age, Heckel joined the Red Cross medical corps as an orderly. His platoon was based in Ostende from May 1915 and became somewhat of an artist's colony, as the platoon was assembled by Walter Kaesbach, a curator from the National Gallery of Berlin. The troop included a number of other artists and Heckel acquainted himself with Max Beckmann and James Ensor during this time.Whilst his output before the war had generally focused on happier times in Kirchner's Dresden studio, or the bucolic landscapes and liberated nudes on the shores of the Moritzburg lakes, the war years saw a more introspective and melancholy production, mostly imbuing a spiritual isolation. His portraiture, both self and of others, greatly increased during this period and many of his figures take on a haggard, pained and often pitiful visage; this marked a noticeable shift from the human form to the human psyche.The wounded sailor here can be seen with the infamous 'thousand-yard-stare', a blank expression seen on the face of soldiers during a quiet moment after the horrors of war. It is closely linked to what was termed shellshock at the time, now more commonly known as Post Traumatic Stress Disorder (PTSD). The figure's gaunt cheeks and highlighted blue lips represent the cold bite of death, both on the battlefield and within the soldier. With its broad brushstrokes and detailed additions in pen and ink, the present work resembles a finished painting, as opposed to a work on paper, which are often more sketchily executed and loosely handled.Owned by the present owner for almost thirty years and with provenance tracing directly back to the artist, this is the first time Verwundeter Seesoldat has been offered at auction, and is arguably one of Heckel's finest war time portraits to ever come for sale.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Alfred Edward Chalon RA (1780 - 1860), possibly a portrait of Queen Victoria, watercolour, signed with monogram, label verso states that this painting was shown to the National Portrait Gallery in London in 2009, who considered that this might be a portrait of Victoria, image 17cm x 12cm, framedGood condition, frame and mount also good
General Siegfried Westphal - Aquarell-Bild "Monte Soratte mit Storchlandeplatz, März 1944" mit einer Widmung von Gustav Langenscheidt für Westphal Ein Aquarell-Bild des Kriegsmalers, dargestellt ist der Landeplatz für den Fieseler Storch von GFM Kesselring, mit dem Berg im Hintergrund. Links handschriftlich "Monte Soratte mit Storchlandeplatz, März 1944", schlecht leserliche Signatur. Auf der Rückseite ein aufgeklebter handgeschriebener Vers von Gustav Langenscheidt, Oktober 1943, mit Widmung "Seinem hochverehrten Chef des Generalstabes Herrn Generalmajor Westphal zum Kriegsgeburtstag 1944, H.Qu./O.B.Südwest (OBKDO H.GR.C), den 18. März 1944", signiert "Gustav Langenscheidt, gen. Onkel Gustav" (Major der Luftwaffe). Das Deckblatt auf der Rückseite eingerissen. Mit Etikett des Rahmengeschäftes "Umberto, Roma". Maße Bild ca. 33 x 45 cm, mit Rahmen ca. 52 x 65 cm.Seit September 1943 gewährte der Berg Albert Kesselring, Wehrmachts-Oberbefehlshaber Süd, und seinem Stab Schutz. Von hier aus koordinierten sie monatelang die Rückzugsgefechte der Wehrmacht.Provenienz: Direkt aus Familienbesitz. General Siegfried Westphal - a watercolour painting "Monte Soratte with Landing Place for a Fieseler Storch" with dedication by Gustav Langenscheidt for Westphal General Siegfried Westphal - a watercolour painting "Monte Soratte with Landing Place for a Fieseler Storch" with dedication by Gustav Langenscheidt for Westphal Ein Aquarell-Bild des Kriegsmalers, dargestellt ist der Landeplatz für den Fieseler Storch von GFM Kesselring, mit dem Berg im Hintergrund. Links handschriftlich "Monte Soratte mit Storchlandeplatz, März 1944", schlecht leserliche Signatur. Auf der Rückseite ein aufgeklebter handgeschriebener Vers von Gustav Langenscheidt, Oktober 1943, mit Widmung "Seinem hochverehrten Chef des Generalstabes Herrn Generalmajor Westphal zum Kriegsgeburtstag 1944, H.Qu./O.B.Südwest (OBKDO H.GR.C), den 18. März 1944", signiert "Gustav Langenscheidt, gen. Onkel Gustav" (Major der Luftwaffe). Das Deckblatt auf der Rückseite eingerissen. Mit Etikett des Rahmengeschäftes "Umberto, Roma". Maße Bild ca. 33 x 45 cm, mit Rahmen ca. 52 x 65 cm.Seit September 1943 gewährte der Berg Albert Kesselring, Wehrmachts-Oberbefehlshaber Süd, und seinem Stab Schutz. Von hier aus koordinierten sie monatelang die Rückzugsgefechte der Wehrmacht.Provenance: Direkt aus Familienbesitz.Condition: II +
SIR EDWIN HENRY LANDSEER (BRITISH 1802-1873) THE ARREST OF THE FALSE HERALD, FROM SIR WALTER SCOTT'S 'QUENTIN DURWARD' Pencil and watercolour Signed and dated 1831 (lower left) and signed with initials, dated 1831 and indistinctly inscribed (lower right) 20 x 16.7cm (7¾ x 6½ in.) Provenance: Dickinson, London Engraved: By R. Graves and published by Robert Cadell and Moon, Boys and Graves, 1831 This is the original watercolour for an engraving illustrating a scene from Scott's `Quentin Durward.' It illustrates the lines: `At length the speed of the pseudo herald could save him no longer from the fangs of his pursuers: they seized him, pulled him down, and would probably soon have throttled him.' Quentin Durward was first published in 1823 and tells the story of a Scottish archer in the service of the French King Louis XI. Landseer met Scott on his first visit to Scotland in 1824 with the painter C.R. Leslie. They sailed to Leith before travelling to the Highlands ending at Scott's house Abbotsford where they spent a week. The trip sparked a lifelong love of Scotland in Landseer and he and Scott became firm friends. The two were often compared in the public mind with Landseer being dubbed `the Walter Scott of painting' by The Times.
* After Joseph Mallord William Turner (1775-1851). Caligula's Palace and Bridge, mid 19th century, watercolour on card, with some bodycolour, heightened with gum arabic, 28.6 x 82 cm (11 1/4 x 20 1/2 ins), framed and glazed (55 x 77 cm)QTY: (1)NOTE:A copy after Turner's famous painting exhibited in 1831 and now housed in the Tate Gallery, London.
* After Sir Edwin Landseer (1802-1873). Bolton Abbey in the Olden Time, circa 1834, watercolour on paper laid to card, 16 x 19.8 cm (6 1/2 x 7 3/4 ins), with Sir Edwin Landseer’s signature in pen and ink cut out from a separate sheet, 4 x 8.3 cm, bearing pencil inscription on the verso of mount 'Sketch made by Landseer for the Large Oil Exhibited at R.A. 1834.' , with remains of a letter on verso of frame backboard with fragmented inscription in pen and ink '1927/ Sir Edwin / Bolton Abbey in the Olden Time/ of Devonshire K.G. / G.G. the lake' glazed and framed, 41 x 35.5 cm QTY: (1)NOTE:Provenance: W. A. Foyle; Christopher Foyle, Beeleigh Abbey.This watercolour is after one of Sir Edwin Landseer’s most celebrated works, the eponymous painting of 1814 held at Chatsworth, Derbyshire. It was exhibited at the Royal Academy in 1834.
* Silvestre (M., 19th century). Portrait of Joséphine, Empress of France, oval miniature watercolour and gouache on porcelain, head and shoulders portrait of the Empress as a young woman, wearing a brown-trimmed cream gown with stand-up lace shoulder frills, and bejewelled crown, necklace, and earrings, signed lower right, titled in contemporary manuscript on verso, 84 x 66 mm (3 1/4 x 2 1/2 ins), oval brass frame with stand (95 x 77 mm) QTY: (1)NOTE:After the full-length oil painting of the Empress in her coronation robes painted in 1807 by François Gérard (housed in the Château de Fontainebleau).
'Hillside Landscape' painting, glazed and framed. Label on reverse "signature appears to be AMH, perhaps Alice May HOBSON. (19th century English Scholl. Watercolour painter at Leicester. Member of the New Watercolour Society where she exhibited 27 painting s and 2 at various exhibitions, between 1879 & 1893. The NWS changed its name to Royal Institute of Paintings."
William Lionel Wyllie RA RWS (1851-1931) The Neva, signed lower right, watercolour, 18 x 30.2 cm, frame 36 x 47 cm Provenance: Collection of Mr Magdi Obeid, purchased Bonhams 13/04/2016 lot 49Provenance:The painting is a watercolour, framed under glazing- not examined external to the frame. The visible sheet appears in generally good condition- no obvious losses, tears or faults. There is some general ageing (browning) to the sheet. The paint condition appears stable, some colour fade to the sky, otherwise appears fine. The frame has some general wear and tear, joints solid.
Albert Moulton Foweraker RBA (1873-1942) Moonlit Scene in a Spanish Town, figures gathering by a water fountain, signed lower right, watercolour, 22.5 x 27.5 cm, frame 44 x 53 cm Provenance: Collection of Mr Magdi Obeid, purchased Stephen Welbourne 08/04/2016Condition:Lot 213- the painting is a watercolour, framed under glazing – not examined external to the frame. The sheet appears in good condition, no obvious issues or faults. The paint surface is well preserved, colours are good and condition is stable. Frame has some general wear and tear.
ARR Edward Wesson RBA RI RSMA (1910-1983) A Tree Lined Avenue in Autumn, signed lower left, watercolour, 31.5 x 59 cm, frame 52 x 68 cm Provenance: Collection of Magdi Obeid, purchased Keys Fine Art 20/10/2006 lot 65Condition:The painting is a watercolour, framed under glazing- not examined external to the frame. The sheet appears in good condition - no obvious evidence for faults, losses or deterioration. The paint surface appears stable, colours are good - no obvious paint loss or deterioration. Frame has solid joints, some general wear and tearAdditional images available on the online catalogue
Thomas Bush Hardy RBA (1842-1897) Venice, The Doge's Palace, signed lower right, 1879, watercolour, 9 x 11.5 cm, frame 22 x 23 cm Provenance: Collection of Magdi Obeid, purchased Anderson & Garland 29/9/2020 lot 318, label verso for Arthur Tooth & Sons, auction stencil versoCondition:115: the painting is a watercolour, framed under glazing – not examined external to the frame. The sheet appears generally well preserved – no obvious tears or losses. The paint surface appears stable, there is some evidence for colour fade. The signature in ink is slightly faded also. The frame has some general wear and tear, no obvious losses, the joints seem sound.
Albert Moulton Foweraker RWS (1873-1942) Antequera, signed lower right, watercolour, 25 x 35 cm, frame 46 x 56 cm Provenance: Collection of Mr Magdi Obeid, purchased Dreweatts 23/08/2016Condition:215: the painting is a watercolour, framed under glazing – not examined external to the frame. The sheet appears in good condition, no obvious faults, losses or deterioration. The paint surface appears well preserved and stable with colours good. Frame has general wear and tear.
Earnest Albert Chadwick RBSA RI (1876-1955) Bluebell Wood, signed lower right, watercolour, 26.5 x 38 cm, frame 48 x 61 cm Provenance: Collection of Mr Magdi Obeid, purchased Phillips 19/04/1990 lot 32Condition:The painting is a watercolour, framed under glazing - not examined external to the frame. The sheet appears in good condition - no obvious faults or losses. The paint surface appears well preserved, colours good, and stable- no obvious deterioration or paint loss. Frame joints are solid, has general wear and tear including a chip to the lower right, scuffs etc.
Bernard Fleetwood-Walker (1892/3-1965) Mary Joseph and Christ as a young boy, signed lower and top left, watercolour, 99 x 75.5 cm, frame 105 x 92 cm Provenance: Collection of Mr Magdi Obeid, purchased Biddle & Webb 01/09/1989 lot 395. The painting was presented by Birmingham central hall to Rhondda House circa 1920s, where it hung in the prayer hall until its closure. Following the death of Rev. R.J. Barker who ran the house, it was returned to the Central Hall by his widow in 1982. Label verso for Ruskin Galleries, Birmingham.
Thomas Mackay (1851-1920) The Young Anglers, signed lower right, watercolour, 9.5 x 17 cm, frame 28 x 35 cm Provenance: Collection of Mr Magdi Obeid, purchased Biddle & Webb 06/12/1985 lot 240Condition:The painting is a watercolour, framed under glazing- not examined external to the frame. The sheet appears in generally good condition, no obvious tears or losses. There is some general ageing (browning) to the paper, with some potential colour fade in the sky/water area, other colours appear stable. There are a few spots of foxing to the lower centre. The paint condition appears stable. Frame has general wear and tear, joints appear sound. Additional images uploaded to website
ARR Leonard Russell Squirrell RWS RI PS (1893-1979) Richmond Castle, York, from the Green, signed lower left, dated 1954, watercolour, 26.5 x 19 cm, frame 50 x 41 cm Provenance: Collection of Mr Magdi Obeid, purchased Fine Lines Fine Art 1995Condition:The painting is a watercolour, framed under glazing - not examined external to the frame. The sheet appears in generally good condition for age, there are no obvious tears or losses. The paint condition appears well preserved, stable- no obvious paint loss or deterioration, the colours are good. The backing paper behind the painting appears to have some faint foxing- not examined external to the frame. Frame has some general wear and tear, joints sound.
Albert Moulton Foweraker RBA (1873-1942) Moonlit River Scene, Spain, signed lower right, watercolour, 36 x 53 cm, frame 51 x 68 cm Provenance: Collection of Mr Magdi Obeid, purchased Tooveys 06/09/2017 lot 100Condition:Lot 193: The painting is a watercolour, framed under glazing - not examined external to the frame. The sheet appears in good condition, no obvious tears or losses. The paint condition appears well preserved and stable, the colours good, no obvious paint loss or deterioration. There are a couple of faint, sparsely distributed spots of foxing. Generally very condition. Frame has general wear and tear
ARR George Ayling (1887-1960) Inner Pool, London, signed lower left, watercolour, 28 x 53.5 cm, frame 61 x 77 cm Provenance: Collection of Mr Magdi Obeid, purchased Fine Lines Fine ArtCondition:The painting is a watercolour, framed under glazing- not examined external to the frame. The sheet appears in generally good condition- no obvious faults or losses. There is some general ageing (browning) to the sheet but otherwise looks generally good. The paint surface appears stable, some potential minor colour fade, no obvious paint loss or deterioration. Frame has general wear and tear
William Banks Fortescue RBSA RWA (Newlyn School 1850-1924) Unloading the Catch at Low Tide, signed lower right, watercolour, 22 x 27 cm, frame 48 x 42 cm. Together with a further work showing Shipwrecks in a Storm, signed 'Baldock' and dated 1860 lower left, watercolour, 30 x 44 cm, frame 48 x 62 cm (2) Provenance: Collection of Magdi Obeid, Fortescue purchased at John Nicholsons 10/07/2019 lot 135.Condition:The painting is a watercolour, framed under glazing - not examined external to the frame. The sheet does not show obvious evidence for tears/creasing. There is foxing to the sheet, particularly concentrated in the upper left and upper centre areas of the painting. There is some general ageing (yellowing) to the sheet also. The paint condition appears stable, there is some fade. The frame has solid joints, there is some general wear and tear and a repair is visible to the bottom right edge. Additional images are available on the online catalogue
James Walker Tucker RCA RBA (1898-1972) Market Place, Amiens, signed and dated 1926 lower left, watercolour, 26 x 36 cm, frame 43 x 53 cm Provenance: Collection of Mr Magdi Obeid, purchased Aquila Fine Art 2018Condition:The painting is a watercolour, framed under glazing - not examined external to the frame. The sheet appears in good condition- no obvious faults or losses. There is some general ageing (browning) of the paper- an old mount line can be faintly made out around the edges. The paint surface appears generally well preserved, potentially some minor colour fade to the blue roof of the houses etc, surface appears stable. Frame has minor wear and tear
John II Varley (1850-1933) Feluccas on the Nile, signed lower left, watercolour Provenance: Collection of Mr Magdi Obeid, purchased Bonhams 14.11.2011 lot 541Condition:The painting is a watercolour, framed under glazing, not examined external to the frame. The sheet does not show any obvious tears/creases etc. There is some general ageing (yellowing) to the sheet, particularly where is meets the mount, and some faint foxing in the skyline. The paint condition appears generally well preseved, colours are good for age. The mount is quite aged, the frame has general wear and tear- joints are solid. Additional images are available on the online catalogue
Glasgow School (20th Century) Crucifixion of Christ after the Arundel Psalter or Psalter of Robert de Lisle in the British Library, watercolour on parchment, 26 x 17.5 cm, frame 37 x 28 cm Provenance: Collection of Mr Magdi Obeid, purchased John Watson Fine Art 2004Condition:Lot 241: The painting is a watercolour with highlights framed under glazing, not examined external to the frame. The sheet is in good condition – no obvious faults or losses. The paint condition is very good, stable and colours are well preserved, not obvious paint loss or deterioration. There is some minor ageing (yellowing) of the sheet. Frame has some general wear and tear, joints are sound.
William Lionel Wyllie RA RWS (1851-1931) Twilight and a Failing Wind, signed lower right, watercolour, 12.5 x 30.5 cm (PL), frame 29 x 45 cm Provenance: Collection of Mr Magdi Obeid, purchased Lawrences 24.09.2013 lot 170, exhibited at Leicester Galleries 1911, number 22Provenance:The painting is a watercolour, framed under glazing, not examined external to the frame. The sheet appears in good condition- no obvious losses, tears or faults. The paint surface appears well preserved and stable, colours are good, no obvious paint loss or deterioration. Some general wear and tear to the frame, joints are sound.
ARR John Yardley (b.1933) Palazzo Soranzo van Axel, Venice, signed lower left, watercolour, 26 x 34 cm, frame 44.5 x 51 cm Provenance: Collection of Mr Magdi Obeid, purchased Lawrences 16/01/2015 lot 1893, label Gallery 33Condition:The painting is a watercolour, framed under glazing - not examined external to the frame. The sheet appears to be in good condition- no obvious evidence for losses, tears or deterioration. The paint surface appears stable and well preserved, colours are good, no obvious signs of paint loss or deterioration.. The frame has general wear and tear, the joints in the top and bottom right are loose.
Elijah Walton (1832-1880) Evening on the Nile, inscription to the verso, watercolour, dated March 1874, 34 x 49 cm, frame 60 x 75 cm Provenance: Collection of Magdi Obeid, purchased Bonhams 10.12.2013 lot 157, label verso for the Fine Art Society dated July 1978Condition:The painting is a watercolour with pastel highlights, framed under glazing - not examined external to the frame. The sheet appears in good condition, no obvious losses or major faults. There is some ageing (browning) to the paper around the edges where is meets the mount, some faint and sparsly distributed spots of foxing to the background- above the mosque and palm trees (photographed). The paint condition appears stable, colours are good, no obvious paint loss. Frame has solid joints, general surface wear and tear.Additional images available on the online catalogue
John Littlejohns RBS (1874-1955) Moonlight Whispers, signed lower left, watercolour, 33 x 41.5 cm, frame 60 x 67.5 cm Provenance: Collection of Mr Magdi Obeid (1943-2021), purchased Hartleys 30/11/2016 lot 480, label verso for Aldridge Bros, WorthingCondition:Lot 187: The painting is a watercolour, framed under glazing – not examined external to the frame. The sheet appears in good condition – no obvious tears, creases or losses, the surface appears stable. The paint condition appears stable, there is some potential colour fade to the background. There are three areas around the second tree from the left which could be a shiny accretion rather than part of the painting. The frame has general wear and tear, joints feel solid.
Albert Moulton Foweraker (1873-1942) Spanish Landscape, Two Figures at Ease next to the Waterside, signed lower left, watercolour, 34 x 51 cm, frame 56 x 72 cm Provenance: Collection of Mr Magdi Obeid, purchased John Noott 1991Condition:Lot 51: the painting is a watercolour, framed under glazing – not examined external to the frame. The sheet appears in good condition, no obvious faults, tears etc. The paint surface appears well preserved and stable, the colours are good, no obvious paint loss or deterioration. The frame has general wear and tear, joints are sound.
Hercules Brabazon Brabazon (1821-1906) Esneh, initialled lower right, watercolour, 16 x 25 cm, frame 43 x 59 cm Provenance: Collection of Mr Magdi Obeid, purchased Bonhams 23/10/2007 lot 147Condition:The painting is a watercolour with pencil, framed under glazing - not examined external to the frame. The sheet appears in good condition- no obvious evidence for deterioration or damage. The paint surface appears well preserved and stable, colours are good. The frame has solid joints, some general wear and tear visible
Albert Moulton Foweraker (1873-1942) Moonlight, The Old Bridge, Ronda, signed lower right, watercolour, 52 x 35.5 cm, frame 76 x 60 cm Provenance: Collection of Magdi Obeid, purchased Sotheby's 23-09-1986Condition:The painting is a watercolour, framed under glazing- not examined external to the frame. The sheet appears in good condition, no obvious losses or evidence for deterioration. The paint surface is stable, colours are well preserved and in good condition- no obvious paint loss. Frame has general wear and tear
Edith Emerson (American, 1888-1981)Portrait of Miss Elinor McCaulleysigned and dated 'Edith/Emerson/1935' l.r., crayon and watercolour43 x 34cmExhibited: Pennsylvania Academy of Fine Arts, '33rd Annual Watercolour Exhibition', 1935.Edith Emerson was an American painter, muralist, illustrator, writer, curator and a pioneering champion of women in the Arts.Born in Ohio, Emerson studied at the Art Institute of Chicago and Pennsylvania Academy of Fine Arts where she attended Violet Oakley's Mural painting class. She won scholarships in 1914 and 1915 and travelled throughout Europe, received prizes for Mural painting and exhibited at the Pennsylvania Academy of Fine Arts between 1918-45. Emerson became Violet Oakley's devoted partner, living and working with the famed muralist for over 40 years. She was a visionary female curator of the Woodmere Art Museum from 1940-1978 and, following Violet Oakley's death in 1961, founded the Violet Oakley Memorial Foundation promoting her life partner's work.An oil version of this work is held by the Woodmere Art Museum, and a reproduction of the present work is held in the Pennsylvania Academy of Fine Arts Archive.Condition ReportFramed: 67 x 57cm. Time staining and discolouration to the paper. The green hues of the coat are possibly slightly faded. Not viewed out of glazed frame.
WILLIAM CALLOW (BRITISH, 1812 - 1908) A 19TH CENTURY WATERCOLOUR LANDSCAPE 'CASTEL GANDOLFO' (the pope's summer residence) signed and dated and inscribed labels on reverse - mounted in a glazed swept frame.56cm high 79cm wideIn very good undamaged unrestored condition. Has been entered by a private vendor and has been behind glass all its life. The painting still has good colours and there is no foxing or damage to the surface.
J. R. Marshall - ' A Dorset Road, Autumn ' - An early 20th century watercolour on paper painting. The painting depicting an autumnal road scene in Dorset. Signed to the lower left. Paper label to verso for Aitken Dott & Son, Edinburgh. Set within a carved wood frame. Painting measures approx. 45cm x 39cm, 49cm x 43cm to include frame.
Emma Dibben - A collection of three contemporary ink and watercolour illustrations. Each painting to depict a still life of fruit and vegetables in the form of bananas, a corn cob and mushrooms. Two having signature in pencil and another having receipt of purchase to accompany. Measures 37cm x 32cm.
Edgar E. Stickland (mid-20th century British school), 'White House', watercolour, signed with initials and dated '1946', with 'Royal Institute of Painters in Water Colours' label to the reverse; and a further painting by the same artist 'Widmore Road, Bromley, Kent''The White House' 33cm x 42.5cm, 'Widmore Road' 30.4cm x 41.5cmQty: 2In good condition.
Loading...
![OIL PAINTING OF A HORSE & RIDER BESIDE A RIVER AND BRIDGE TOGETHER WITH A WATERCOLOUR OF FIGURES ON A MOUNTAIN ROAD [2] 9 X 1](https://cdn.globalauctionplatform.com/df116d26-9bb5-4f43-8cf3-b09300f7fca6/54ae4af9-c7e9-46ef-bf29-b09a00edcde3/468x382.jpg)
