We found 449646 price guide item(s) matching your search
There are 449646 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
449646 item(s)/page
Lot 336
Walter Greaves, British 1846-1930- The Thames Coffee House, Chelsea; pen, ink, and watercolour on paper, signed 'W Greaves' (lower right), 23.7 x 16.3 cm. Provenance: Private Collection, UK. Note: The present watercolour is a typical work by Greaves, whose output is defined by his distinctive views of Chelsea and the Thames. The subject of riverside London clearly fascinated Greaves, and it is for these paintings that the artist was particularly celebrated, with his paintings of 'Old Battersea Bridge' and 'Hammersmith Bridge on Boat Race Day' now held in the collection of the Tate [N04598 and N03643 respectively]. The façade in the present work repeatedly appears in the artist's work, including in a drawing of almost exactly the same composition which sold at Woolley & Wallis, Salisbury, on 11 August 2021 (lot 215) for £850.
Lot 234
John Joseph Cotman, British 1814-1878- Hallsands, Devon; pencil, watercolour, and bodycolour on paper, signed, dated, and inscribed 'Cotman Xmas 1872' (lower left), inscribed 'Hallsand [sic.] Devon / nr Sart [?] Point' (lower right), 36 x 54 cm. Provenance: with Heather Newman Gallery, Gloucestershire. Private Collection, UK. Note: John Joseph Cotman was part of the Cotman artistic dynasty, as the son of John Sell Cotman (1782-1842), and younger brother of Miles Edmund Cotman (1810-1858). The subject of the present work is particularly compelling, depicting the fishing village of Hallsands in Devon in the 1870s, before the dredging of shingle from the coast between Hallsands and neighbouring Beesands led to the eventual complete destruction of the village, which collapsed into the sea in 1917. The setting therefore offers a fascinating glimpse into a community which appears to be thriving, with the beach occupied by a number of figures and the masts of fishing vessels, just before its imminent ruin. The present scene is also somewhat unusual for an artist from the Cotman family, who are typically associated with their views of Norwich and the surrounding area.
Lot 77
John Hoskins, British c.1590-1665- Portrait of Dorothy Wheler; watercolour on vellum, oval, signed with monogram ‘iH’ and dated ‘1648’ (lower right), encased in a gold frame with spring cresting and enamelled reverse, 6.5 x 5.1 cm. Note: This portrait by Hoskins commemorates the marriage of 22 year old Dorothy (1626-1687) to Sir Charles Wheler (circa 1620-1683), 2nd Baronet, a cavalry officer from Birdingbury, Warwickshire. Sir Charles Wheler actively supported the Royalist cause during the English Civil War, conveying the gold and silver of Cambridge University, where he had been a student and where he would later serve as a Member of Parliament, to the King to help finance the war effort. His loyalty to the crown earned him a role as Gentleman of the Privy Chamber, serving King Charles II from 1660 to 1679. Dorothy and Charles had three sons and two daughters together. During the English Civil War, artists such as Hoskins, and his nephew and pupil Samuel Cooper (1609-1672), were high in demand. Prolonged periods of separation and mourning fueled an active market for miniatures, as these small portraits allowed bereaved family members to keep their loves ones close, often wearing them as pendants near their hearts. Hoskins’s son, John the Younger (circa 1617-1693), seems to have taken over as artist in the later 1640s, painting in a technique virtually identical to his father’s preserving the family reputation and legacy. In the present portrait, Hoskins has used fine and delicate brushstrokes to evoke the glint of Dorothy's precious diamond and pearl jewellery, which showcases her and her family's wealth and status. A similar portrait, which also highlights Hoskins's eye for his sitters' personality and costume, appeared at Sotheby's London, 05 dec 2019, lot 216 (£17,000). Another similar example, which, like the present portrait, is dated 1648, is in the collection of the Nationalmuseum, Stockholm (inv. no. NMB 1670). That example represents Lady Alice Lisle, whose husband was on the opposite side of the war to Sir Charles Wheler, and served on Oliver Cromwell's government.
Lot 283
John William Wright, British 1802-1848- Portrait of a lady seated at a table, reading a letter; watercolour heightened with white on paper, signed with monogram and dated 'JWW / 1846' (to the letter, centre), 49 x 37 cm. Provenance: Private Collection, UK. Note: Wright is perhaps best-known for his illustrations for Charles Heath's (1785-1848) 'Heroines of Shakespeare' of 1846, and the present work serves as a typical example of Wright's romanticised depictions of sitters in historical dress or theatrical costume. In this watercolour, Wright has exhibited his technical mastery of the medium of watercolour, evoking the detail of the frills on the sitter's dress, and the light which bounces off the china on the table beside her.
Lot 314
Robert Walker Macbeth, RA, Scottish 1848-1910- Far from the Madding Crowd; oil on canvas, signed and dated 'R. M. / 1883' (lower right), 98.1 x 55.2 cm. Provenance: Private Collection, UK. Exhibited: London, Grosvenor Gallery, 1884, no. 214. Note: Robert Walker Macbeth may have received his early training in the Glasgow studio of his father, the Scottish portrait painter Norman Macbeth, before relocating to London in 1870, where he continued his studies. He would spend much of his career in London, exhibiting at the Royal Academy, Grosvenor and New Galleries, and at the Old Watercolour Society. The picture presented here was exhibited at the Grosvenor Gallery in 1884, with critics commenting on how the lady’s “suggestive air of retrospection”, along with her costume and accessories drew attention and interest to the picture. Macbeth was known for his romantic pastoral style of painting, which James Caw, historian of Scottish art, likened to the literary works of Thomas Hardy. It is possible that this present picture draws inspiration from Hardy’s narratives, as its title matches that of the author’s 1874 novel Far from the Madding Crowd. Macbeth’s picture shows a young blonde woman, waiting at the side of a road, gazing wistfully into the distance, warming her hands in a muff. She appears to be pregnant. It is possible that this is a depiction of the character of Fanny Robin, servant to protagonist Bathsheba Everdene, who finds herself entangled in a love affair with Bathsheba’s husband, Sergeant Frank Troy. In the novel, Fanny becomes pregnant with Troy’s child and meets her untimely demise whilst giving birth in a poor house. It is a lock of blonde hair in Troy’s watch that alerts Bathsheba to the true nature of Troy’s relationship with Fanny. This picture could potentially capture Fanny prior to giving birth in secrecy, with the discarded flowers on the nearby bench symbolising her abandonment by Troy and foreshadowing her impending demise. A photograph held in the collection of the Royal Academy shows Macbeth in his studio in London, with this picture in the foreground, on an easel [05/4691].
Lot 192
Henry Charles Brewer, RI, British 1866-1950- Vigo; pencil and watercolour heightened with white on paper, 24.7 x 34.3 cm., together with: British School, 19th century- Study of a ruined portico; pencil and watercolour on paper, 22.7 x 39.7 cm., two (2). Provenance: (both) with Abbott & Holder, Ltd., London. Note: Brewer was born in Bavaria, the son of well-known British artist Henry William Brewer (1836-1903). He went on to study at Westminster School of Art with Frederick Brown (1851-1941), before embarking on travels across Europe and North Africa, visiting Morocco, Spain, Italy, Greece and France. These travels bore an undeniable influence on Brewer's work to follow, with his output consisting largely of vibrant architectural studies of European cities, such as the present view of Vigo in northwest Spain, in which his generous application of white evokes the sun-drenched buildings below.
Lot 272
Sir John Crampton, Irish 1805-1886- Portrait of a lady, shoulder-length, with her head turned; black and red chalk on paper, 21.7 x 16 cm., together with: Selina Crampton, Irish 1806-1876- Seven sketches of society figures; variously pencil, pen and ink, and watercolour on paper, variously inscribed, 16.5 x 23.7 cm. and smaller, eight (8), (part mounted / unframed). Provenance: Private Collection, UK. Note: John Crampton was a career diplomat, serving as Ambassador in Washington, Madrid and Russia. These experiences inspired his artistic practice, with his first known works, dated 1824, depicting scenes in St Petersburg and Moscow. Crampton studied for a time under David Cox (Junior), depicting the landscapes and scenes he encountered on his travels, alongside the Irish countryside around his home in Bushey Park, County Wicklow. Selina Crampton, John's sister, frequently accompanied her brother on his assignments. The present sketches demonstrate her sharp perception of her surroundings, and humorously depict the wide variety of figures and events she encountered.
Lot 1
After Tiziano Vecellio, called Titian, Italian c.1485/90-1576- Sacred and Profane Love; pencil and watercolour on paper, 34.5 x 82.5 cm. Provenance: Private Collection, UK. Note: The present work is a copy after Titian's 'Sacred and Profane Love', which is believed to have been painted in 1514, early in his career, and is now held at the Galleria Borghese in Rome [no.147]. The original composition has been subject to a variety of interpretations, with the title of 'Divine love and Profane love' first recorded in 1693, and may well not be representative of Titian's initial intention.
Lot 81
Penelope Carwardine, British 1730-1800- Portrait of a lady, bust-length, wearing a lace-trimmed bonnet; watercolour on ivory, oval, signed with initials 'P C' (lower right), 2.8 x 2.5 cm, within a gold and diamond inset pendant setting. Ivory submission reference: N51WVWDK. Provenance: Private Collection, UK.
Lot 270
Heinrich Gottlieb Ludwig Reichenbach, German 1793-1879- Illustration of a falcon; pencil, pen, ink, watercolour, and bodycolour on paper, indistinctly inscribed (lower right), 12.5 x 11.3 cm.: together with four further ornithological illustrations by different hands, depicting a Hummingbird; an Eastern Godwit; a Jay; and a Eurasian Magpie; three inscribed in pencil, 21.4 x 28 cm. and smaller, five (5), (part mounted/unframed).
Lot 162
Charles William Meredith van de Velde, Dutch 1818-1898- Fishing vessels in Lake Maggiore; pencil and watercolour heightened with white on paper, signed 'W.v.d.Velde' (lower left), inscribed 'Isola Bella' (lower edge), 22.7 x 32.5 cm. Provenance: Anon. sale, Christie's, London, 22 November 1990, lot 84. Private Collection, UK. Note: Van de Velde was a Dutch lieutenant-at-sea who also worked as a cartographer and produced a number of watercolours, typically of topographical subjects. His output consists largely of views from his travels across Europe, with the Italian landscape recurring with particular frequency, making the present atmospheric and expansive scene of Lake Maggiore a great example of the artist's work.
Lot 342
Charles Walter Simpson, RI, British 1885-1971- The Duck Pond; watercolour and bodycolour on paper, signed and dated 'Charles W. Simpson 1903' (lower left), 49.5 x 59.5 cm. Provenance: Private Collection, UK. Note: Simpson studied at the Bushey School of Art under the equestrian painter Lucy Kemp-Welch (1869-1958), an experience which undoubtedly informed his work as an animal and bird painter, for which he enjoyed considerable success. The present work is typical of Simpson's approach, especially in his loose, impressionistic brushstrokes, evoking the glimmer of light on the ripples of the duck pond.
Lot 335
Thomas Heywood, British 1846-1919- A gentleman in an artist's studio, admiring a painting on an easel; pencil and watercolour heightened with white on paper, signed, inscribed, and dated 'Thos Heywood / Art Student / Age 21 years / June 1868' verso, bears 'ESK' blindstamp (lower right), 35.5 x 21.6 cm. Provenance: with Hazlitt, Gooden & Fox Ltd., London. Private Collection, UK. Note: The inscription on the reverse and the blindstamp reading 'ESK', which stands for 'Examined South Kensington', suggests that the present work is an examination piece completed whilst Heywood, best known for his later work as an animal painter, was a student.
Lot 92
British School, early 19th century- Portrait of a naval officer, half-length, wearing a red coat with dark blue facings, gold buttons and epaulettes; watercolour on ivory, navette, 3.7 x 1.8 cm, held within a metal and paste gem brooch setting. Ivory submission reference: 8K9PZFKH Provenance: Private Collection, UK.
Lot 172
Girolamo Gianni, Italian 1837-1895- View along the Grand Canal, Venice, with the Doge's Palace and Santa Maria della Salute; watercolour and bodycolour on paper, signed 'G. Gianni' (lower right), 29.5 x 48.2 cm. Provenance: Private Collection, UK. Note: Gianni was a Neapolitan artist who, after visiting Malta in 1866, settled there with his family in 1868, establishing himself as a successful artist on the island. He was known for his picturesque views of Valetta and colourful harbour scenes, largely for the British market in the country. Gianni was employed by Prince Alfred, Duke of Edinburgh (1844-1900), to paint the ships of the Mediterranean Fleet in Malta, of which Alfred was the Commander-in-Chief. Gianni also produced a number of Venetian views, with his generous application of white creating a sense of bright sunlight illuminating the buildings and the sails of the boats which bob on the canal.
Lot 164
John 'Warwick' Smith, OWS, British 1749-1831- The New Road over the Pontine Marshes; pencil and watercolour on paper, signed, dated, and inscribed 'New Road over the Pontine Marshes / JohnSmith / 1803' verso, 23 x 34.5 cm. Provenance: with Martyn Gregory, London, where purchased by the present owner; Private Collection, UK. Exhibited: March 1985, Martyn Gregory, 'Exhibition of Early English Watercolours', catalogue 39, lot 121. Note: 'Warwick' Smith was the son of a gardener to the Gilpin family, and, as a result of this connection, went on to study under the animal painter Sawrey Gilpin (1733-1807). Over the course of his career, Smith became particularly celebrated for his topographical watercolours, depicting views across Britain and Italy, where he travelled under the patronage of George Greville (1746-1816) between 1776-81, leading to the publication of 'Select Views in Italy'. Smith likely revisited the present sweeping marshland view several times over the years. A smaller sketch of a nearly identical scene, showing the Via Appia through the Pontine Marshes flanked by rustic architecture, was recorded in the collection of Sir John Trevelyan, 5th Baronet (subsequently with Abbott and Holder, London). That example was dated 1795. The present picture is a classic and striking example of Smith's work, with an expansive vista illuminated by soft, warm light. A similarly vibrant and warmly lit vista, also depicting the countryside between Naples and Rome, is held in the collection of the Morgan Museum and Library, New York [1984.20].
Lot 126
Robert Dodd, British 1748-1815- Windsor Castle Packet and La Genie Privateer; pencil, watercolour, and bodycolour heightened with scratching out on paper, inscribed 'WINDSOR CASTLE PACKET, and Le GENIE PRIVATEER / To William Rogers Esqr. commanding the Windsor Castle, and his brave Crew; this View, of their engaging and capturing a French / Privateer Schooner of superior force on the 1st of October 1807 / Comparative Force: Windsor Castle. 8 small Guns, 28 Men / Le Genie. 6 six Pounders one 24 P. 86 Men' to the lower margin, 30.2 x 35.4 cm. Provenance: Private Collection, UK. Note: A print after the present drawing is held in the collection of the National Maritime Museum in Greenwich [PAG9422], as is another drawing by Dodd of ''La Blanche' towing 'La Pique', a French prize' [PAF5856], similarly depicting the sails battered by canon fire. As Robert Dodd also used to engrave his own naval battle scenes for wider distribution, it is likely that the present picture, which is accompanied by an inscription to the lower margin, is a preparatory study for the known print of this subject. The 'Windsor Packet' was launched at Yarmouth in 1804, serving as a Falmouth packet, often completing journeys to New York and the Caribbean islands of Barbados and Jamaica. The ship is best known for its decisive defeat of the French privateer schooner 'Jeune Richard', which, despite the much greater resources and man-power of the French vessel, resulted in its capture at the hands of the 'Windsor Packet'. A contemporary report of the action describes how 'This achievement reflects the highest honour upon every office, man, and boy that was on board the Windsor Castle; and, in particular, the heroic valour of her commander, so decisive of the business, ranks above all the praise. Had Captain Rogers stayed to calculate the chances that were against him, the probability is, that the privateer would have ultimately succeeded in capturing the packet; whose light carronades could have offered very little resistance at the usual distance at which vessels engage; and whose very small crew, without such a coup-de-main, ay, and without such a leader, could never have brought the combat to a favourable issue'.
Lot 262
Alexander Fraser, Jnr., RSA, Scottish 1828-1899- A doorway in Rosslyn Chapel; pencil and watercolour heightened with white on paper, signed 'A Fraser' (lower right), bears old printed label inscribed 'Alexander Fraser R.S.A. / Doorway - Roslin Chapel.' attached to the reverse of the frame, 32.5 x 15.5 cm. Provenance: Private Collection, UK. Note: Not to be confused with his father, Alexander George Fraser (1786-1865), who was also an artist, Fraser Jnr. was a prominent landscape painter, producing expansive, windswept views shaped by his preference for painting en plein air. Fraser depicted the interior of Rosslyn Chapel, a 15th-century chapel in rural Midlothian, in multiple works, with a similar watercolour selling at Bonhams, Edinburgh, on 23 August 2003 (lot 1118).
Lot 85
Richard Crosse, British 1742-1810- An Officer of a Regiment of the Foot Guards, shoulder-length, wearing a scarlet coat with blue facings and gold lace, his hair powdered; watercolour on ivory, oval, within a later gold and diamond brooch setting, 4 x 3.1 cm. Ivory reference number: NJJV6KQL. Note: Deaf and mute from birth, Richard Crosse initially took up miniature painting as a hobby. However, after his talent was recognised during a contest at the Society of Artists, Crosse moved from his native Devon to London, where he would spend a long and prolific career. Crosse is known to have exhibited across London from as early as 1760, including at the Society of Artists and the Free Society of Artists. He also frequently showed his works at the Royal Academy, where he is recorded as an exhibitor from 1770 to 1796. During this time he lived in Henrietta Street, Covent Garden – an area that had long been a popular destination for painters of miniatures, including Samuel Cooper (1609-1672) and Richard Gibson (1615-1690). Although Crosse could not provide his patrons with gossip and witty conversation during sittings, which would have been an important and expected part of the process of having one's portrait painted, this did not seem to hinder his career. Crosse's appointment as 'painter in enamel' to King George III in 1788 attests to his renown and his popularity with the aristocracy. The Royal appointment also shows Crosse's evolution as an artist, as he had transitioned to the challenging medium of enamel. He continued to push boundaries in watercolour miniature painting too, often working on uncharacteristically large supports. Army officers were frequent subjects for the artist, and an example similar to the portrait presented here was sold at Bonhams, 25 May 2011, lot 9 (£3,600). Another example is held at Kenwood House, Hampstead [no. 88421332].
Lot 286
George Henry, RA RSA RSW, Scottish 1858-1943- Portrait of Reverend Frederic Chase, Bishop of Ely, seated, wearing clerical dress; watercolour on paper, signed, dated, and dedicated 'TO MRS. CHASE / FROM GEORGE HENRY / 1925' (upper left), 29.5 x 23 cm. Provenance: Private Collection, UK. Note: The present work is presumably a posthumous portrait of Reverend Chase (1853-1925), commissioned in 1925 by his wife, and conceived from a photograph. Chase served as the Bishop of Ely from 1905 until his resignation in 1924, and is here fittingly pictured in his clerical dress. Henry was one of the last surviving members of the Glasgow Boys, alongside William York Macgregor (1855-1923), James Paterson (1854-1932), James Guthrie (1859-1930), Edward Atkinson Hornel (1864-1933).
Lot 281
Ernest Meissonier, French 1815-1891- A gentleman inspecting the artist's canvas; watercolour heightened with white on paper, signed 'E Meissonier' (lower right), 17.4 x 13.6 cm. Provenance: Private Collection, UK. Note: Meissonier, like his student Édouard Detaille (1848-1912), is now perhaps best-known for his military subjects, but also produced a number of historical genre scenes, typically featuring figures in 17th-century costume, no doubt influenced by his training under the history painter Léon Cogniet (1794-1880). Meissonier's work was praised by the art critic John Ruskin (1819-1900) for its highly detailed finish, which led contemporaries to compare his interior scenes to those of the Dutch painter Gabriel Metsu (1629-1667). The present drawing is almost identical in composition to an 1856 painting by Meissonier titled ‘Les Deux Van de Velde’ which sold at Brunk Auctions in the US on 25 March 2022 (lot 436) for $15,600. Indeed, the present work may well be related to this finished painting, possibly as a preparatory study.
Lot 191
Attributed to Edward Lear, British 1812-1888- The Pine Forest, Ravenna; watercolour on paper, 15.9 x 25.9 cm. Provenance: with Thos. Agnew & Sons Ltd., London. Private Collection, UK. Note: Lear is known to have painted the pine forest at Ravenna on multiple occasions, producing both sweeping vistas in oil and smaller-scale sketches in watercolour. A watercolour sketch depicting an almost identical view to the drawing presented here, was sold at Bonhams, London, on 23 June 2015 (lot 17).
Lot 237
Hector Caffieri, RI RBA, British 1847-1932- Napoleon's Column from the fields leading to Wimereux; watercolour heightened with white on paper, signed 'H Caffieri' (lower right), 17.2 x 25.9 cm. Provenance: Anon. sale, Christie's, London, 4 October 2006, lot 1012. Private Collection, UK. Note: Caffieri studied at the Académie Julian under Jules Joseph Lefebvre (1836-1911) and Léon Bonnat (1833-1922), before establishing a studio in London. He often returned to Boulogne-sur-Mer in northern France, where he settled permanently in 1897, depicting the landscape and community of the region with which he was clearly fascinated. The present watercolour depicts a view of the Column of the Grande Armée, a triumphal column in Wimille, near Boulogne-sur-Mer.
Lot 89
Circle of Richard Cosway, RA, British 1742-1821- Portrait of a gentleman, shoulder-length, wearing a navy coat and white stock; watercolour on ivory, oval, 5.2 x 4cm, within a gilt metal brooch setting cast with foliate scrolls, the reverse inset with hairwork and a further, smaller miniature portrait of a child, by a different hand. Ivory submission reference: 42NMZMAX. Provenance: Private Collection, UK.
Lot 193
Percy Francis Gethin, Irish 1874-1916- Study of a tree; pen, blue ink, and wash on paper, 26.2 x 19.1 cm.; together with: George Stubbs, fl.1838-1848- The shipwreck; pencil and watercolour heightened with white on paper, signed 'George Stubbs' (lower right), 30.8 x 42.1 cm., two (2). Provenance: (both) with Abbott & Holder, Ltd., London.
Lot 187
Augustus Osborne Lamplough, ARA RWS, British 1877-1930- On the Nile near Luxor; watercolour heightened with white on paper, signed 'A.O. LAMPLOUGH' (lower right), 24 x 58.6 cm. Provenance: with Grindley & Palmer, Liverpool. Private Collection, UK. Note: Lamplough was an English Orientalist painter and illustrator, who was particularly celebrated for his scenes of North Africa, informed by his travels in Morocco, Algeria, and Egypt. He painted mainly interior scenes and topographical views of Venice until 1905, after which he devoted himself exclusively to Orientalist scenes in subdued tones, of which the present lot is a typical example. Panoramic views of the Nile recur repeatedly throughout Lamplough's oeuvre, with his foregrounding of diminutive figures allowing the artist to emphasise the vast scale of the landscape and the impressive ruins which populate it.
Lot 84
Circle of George Engleheart, British 1750-1829- Portrait of a gentleman, bust-length, wearing a navy coat and white stock; watercolour on ivory, oval, 6.5 x 5.3 cm, encased in a gold setting with plaited hairwork and enamel to the reverse, and gilt metal initial 'H'. Ivory submission reference: LHHYVCGX. Provenance: Private Collection, UK.
Lot 91
British School, late 18th century- A miniature portrait of a lady holding a floral wreath and seated beside a pedestal, probably a mourning portrait; watercolour and sepia wash on ivory, navette shaped, 3.6 x 1.7 cm., within a paste gem and yellow metal brooch setting; Ivory registration submission reference: 1L2QEGAU. Provenance: Private Collection, UK.
Lot 198
John Middleton, British 1827-1856- View of a country path in a wooded landscape, with a cottage; pencil and watercolour on paper, inscribed and dated 'Ileden. 1854.' (lower right), 24.4 x 34.6 cm. Provenance: Private Collection, UK. Note: Middleton studied under Henry Bright (1810-1873), and went on to become a prominent member of the Norwich School of artists, which included figures such as John Crome (1768-1821) and John Sell Cotman (1782-1842). The present watercolour depicts a quiet country path in the hamlet of Ileden in east Kent, near the village of Bishopsbourne.
Lot 7096
A fine Georgian commonplace album c.1831, containing many well executed pen, ink and watercolour sketches, pencil & watercolour, pencil drawings, some manuscript prose and extracts etc., some watercolours heightened in gilt, some on rice paper, 35+ well executed drawings/sketches in various media in total, many of which full page, plus several leaves of m/s extracts and prose, watercolour floral decorative title page/ownership inscription leaf "Miss Sarah Wood London 21st December 1831" at front, contemporary full decorative green morocco gilt, lower joint split, all edges gilt (24 x 20cm)
Lot 7099
A collection of 30 circa mid 19th Century well executed pen & ink caricature/cartoon sketches on cards, each card approx. size 6 x 9cm, several of the sketches satirical in nature, including two depicting Benjamin Disraeli and each captioned/titled in pen & ink "Ministerial Crisis February 1851", the first with m/s pen & ink caption beneath "Mr Disraeli, on hearing of the ministerial crisis, immediately waited upon fortune, but was not favoured with an interview.-", the second "On hearing that Lord Stanley had gone a second time to the palace, mr Disraeli took his seat - and the oaths - as "gentleman in waiting" before the fire-", others satirising dentistry showing gruesome treatments, several others cherubs, animal, people etc. Provenance: cleared from a deceased estate in North Norfolk around 25 years ago, which included a body of student art work from the 1830s, in a mix of pen and ink, chalk and watercolour. It can be traced to the Norwich School because one of the subjects was a direct copy of a Norwich School painting of 1831 now in the museum in Norwich and which would have been created for copying: as was the custom at the time. These miniature items are from later in the artists life. (30)
Lot 7033
Eric Ravilious; Incline Press; Alan Powers, Barry Kitts & Ronald Maddox ‘In Place of Toothpaste. Three Essays Celebrating the Watercolour Painting of Eric Ravilious’, Oldham, Incline Press, 2004, limited edition, number 236 of 250 copies, five tipped in colour plates plus facsimile of a letter from Edward Bawden as called for, title page decoration from an original wood engraving by Eric Ravilious, printed on Zerkall paper, 4to, original quarter cloth gilt over patterned paper covered boards, printed paper label to front cover, orig. prospectus loosely inserted
Lot 7243
(Arthur Henry Patterson, Great Yarmouth.) Two early 20th Century commonplace albums containing 12 original pen & ink and pen, ink & watercolour sketches by the Yarmouth born Broadland Naturalist and writer Arthur Henry Patterson (1857-1935), the albums having belonged to a Margaret Wilkerson of 28 Trafalgar Road, Great Yarmouth, and with entries spanning the period 1903-1918, the first album with pages approx 16 x 19cm, 84 pages of manuscript entries in total including many humourous pen & ink and pen, ink and watercolour sketches, including 8 full page original sketches by Patterson, comprising: pen, ink & watercolour depicting a broadland bird on a bullrush, signed A. Patterson and dated 1/1/1903; pen, ink & watercolour depicting a surprised looking gentleman on left, pen & ink sign on right bearing words "Try Wilkerson's Fat Producing Powders", with bird atop and cat beneath, pen & ink caption beneath "Why! bless my heart Wilkinson, I hardly knowed you!" and signed A. Patterson Jan 1903 lower left; pen, ink & watercolour depicting gentleman walking on beach with dog, pen & ink caption beneath "Love Me - Love My Dog", sea and ships in background, signed and dated lower left A. Patterson Apl 1903; pen & ink sketch depicting bird smoking a cigarette with stick under its wing at the front door of a house with name "Mr Wilkinson" on door, pen & ink caption underneath "Birdlover, I wonder how long Maggie will be?" and signed in initials by Patterson and indisctinctly dated beneath; pen, ink and watercolour depicting blue tit on branch with berries, signed A. Patterson and dated 1905, m/s words beneath in another hand; pen & ink sketch depicting a tramp and a well dressed gentleman, m/s pen & ink text beneath "Tramp. "Kind genelman, 'elp a poor man on the road ter buy a bycycle: I've got a ile-can in my bundle, en' only wants a machine!"" signed A. Patterson and dated 1905; pen & ink sketch depicting a tramp and a lady holding saucepan, m/s pen & ink text beneath "Homekeeper. "What do you want my man?" Tramp. - "Just this mam, here 'sa button; I want you to make me a shirt upon it!"", unsigned; pen & ink sketch depicting two cats at a dining table with bowl of onions, m/s pen & ink text beneath "Tom. "You know I can't eat onions!" Tally. "You'll either eat those, or nothing!"", signed A. Patterson; plus numerous other sketches, including a pen, ink & watercolour street/architectural scene of Fuller's Hill, Great Yarmouth, captioned beneath "Old Fuller's Hill", and signed and dated lower right W. Patterson, 23/9/05, this being A.H. Patterson's father William Patterson, a Norwich shoemaker, subsequently moving to Great Yarmouth rows, father of Patterson and 8 other siblings, member of the Primitive Methodists and described as rather a stern figure; numerous other mainly humorous sketches, prose entries etc, some related to soldiers/WW1, names of contributors include Charles Munford, Maud Munford, Margaret Wilkerson, Sidney Grapes, Gladys Amor, C.G. Ward, Edith Bessie Baker etc etc, m/s pen, ink & watercolour decorated title page/ownership signature Margaret Wilkerson at front, possibly by Arthur Henry Patterson, contemporary calf gilt (slightly rubbed/worn); the second album with pages approx 14 x 17cm, 62 pages of manuscript entries in total including many humourous pen & ink and pen, ink and watercolour sketches, including 4 full page original sketches by Patterson, comprising: pen & ink illustrated "title page" depicting two birds looking at sign bearing words "Mag. Wilkerson 28 Trafalgar Rd kindly Return When Sketched In", signed A Patterson and dated 1912 lower right; pen & ink sketch depicting cat and snarling dog with bone between them, m/s pen & ink text beneath "A bone of contention (a grand brewing.)", signed A Patterson and dated May 1910 on left; pen & ink sketch depicting an old lady and a policman, m/s pen & ink text beneath "Old lady May! - "Mr Policeman, will you tell me what ya wear that chin-strap for?" P.C. Billy. - "Yes, mam; it's to rest my jaw on answering so many old womans questions."", signed on right A Patterson; pen & ink sketch of two shorebirds on beach in foreground with pebbles, cliffs and sea in background, signed A Patterson dated Apl. 1910; numerous pen & ink and pen, ink & watercolour sketches, many humorous, other entries/contributors include F. Tew, S. Tew, D. Gibbons, M. Gibbons, Bert Gibbons, Edward Martin Jarvis (1890-1957), Fred Brett, Ipswich, P.R. Walter, including humorous pen, ink & watercolour of a German soldier hiding in a barrel with caption beneath "If der Norfolk Yeoman haf gone by, den I kan kom out", signed in initials J.J.B. dated 2/2/18, others similar war related content, W. Hannaford Essex Regiment, well executed pen, ink & watercolour of men smoking pipes in a rowing boaton water, titled "Peace" beneath, signed G.D.G. Gt. Yarmouth 1910 lower right, pen, ink & watercolour depicting Stratton Woods, Norwich, signed S.E. Raymont Sergt. 27/6/16, other sketches beauties, soldiers, animals etc, contemporary calf gilt slightly worn, lacks backstrip, the odd leaf loose (2)
Lot 7053
Kenneth Lindley, 4 titles, including: 'Chapels and Meeting Houses', London, John Baker, 1969, 1st edition, 72 ills. by Lindley including colour frontis, b/w ills in text, numerous ills. from photographs etc, foreword by John Piper, original cloth gilt, dust wrapper, 'Of Graves and Epitaphs', L, Hutchinson, 1965, 1st edition, numerous b/w ills. by Lindley, frontispiece and illustrated end papers by John Piper, orig. cloth gilt, dust wrapper, 'Coastline', L, Hutchinson, 1967, 1st edition, b/w ills. by Lindley throughout plus end papers with reproduced engraving by Bernard Roberts, orig. pictorial cloth gilt, dust wrapper (reproducing a watercolour of Southend by Edward Ardizzone), plus 1 other Kenneth Lindley (4)
Lot 7035
Edward Bawden; Walter Hoyle: 'To Sicily with Edward Bawden, with an Introduction by Olive Cook and drawings of Sicily by Edward Bawden, Walter Hoyle and Edwin Smith', Hanborough, The Previous Parrot Press, 1998, 2nd enlarged edition, limited edition, number 66 of 350 copies, signed by Walter Hoyle and Olive Cook, 67,[5]pp, 4to (29 x 19cm), original quarter cloth, pictorial paper covered boards reproducing a watercolour of Hotel Paradiso, Enna, by Walter Hoyle, on front cover, original prospectus loosely inserted, original slipcase, ribbon pull
Lot 350
Osborne Robinson,Porlock Weir,signed watercolour, 35x44cm.Label to verso - Birmingham Exhibition 1936, giving the address of the artist as Repertory Theatre Northampton.Also with a James Bourlet & Sons Ltd label of Nassau Street, numbered B 7494.Thomas Osborne Robinson OBE (1904-1976) was a theatrical designer based in Northampton.
Loading...-
449646 item(s)/page