There are 67494 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeJesse Mockrin (American, b.1981) Untitledsigned and dated 'J. Mockrin 2019' l.r. with further inscriptions, pencil 18.5 x 24.5cmCondition ReportFramed: 24 x 30cmA little light smudging. There is rippling to the left edge of the drawing on the right side of the page. A very small crease at the top of the right edge. Appears to be stuck down in the corners. Not viewed out of glazed frame. Please see additional images.
▲ William Scott RA (1913-1989) 'Orange Still Life', 1956 (William Scott Archive No.1893);verso, pencil sketch of Mary Scott, the artist’s wife, late 1930ssigned 'W. Scott' l.r., gouache50.5 x 68cmProvenance: Private collection, USA;Offer Waterman & Co., London;the property of a private collector.The drawing of Mary Scott is similar to the oil painting ‘Seated Nude’, 1939, Tate, London.We are grateful to the William Scott Archive for their kind assistance with the cataloguing of the present work.In the 1950s, William Scott's use of vibrant colours, like orange and ochre, played a crucial role in his still-life compositions, marking a key period in his artistic development. As a member of the post-war British painting group, including artists such as Patrick Heron, Terry Frost and Peter Lanyon, Scott was influenced by the boldness of abstract expressionism. In 1953, his exposure to the New York School, where he met leading figures like Rothko, de Kooning and Pollock, made a significant impact on his approach to abstraction. Despite this, Scott remained deeply attached to the still-life genre, finding ways to modernise it while infusing it with abstraction. His works from the late 1950s often featured everyday objects like jugs, bowls and pans, painted against bold backgrounds in colours like orange. These hues, especially the warm tones of orange, went beyond mere decoration - they emphasised the physical presence of the objects and imbued the scenes with energy.Scott's choice of orange can be seen as a deliberate effort to elevate these everyday items, drawing attention to their form and giving them a unique vibrancy. This use of colour was particularly striking in works, as seen here in lot 278, where the colour envelops the composition, making items seem dynamic and essential. For Scott, orange was not only a visual tool but also a way to convey a sense of warmth and vitality. It helped balance the austerity of his minimalist approach with the sensuality he sought to evoke. By combining the figurative and abstract elements of his work, Scott's use of orange served as a bridge between his engagement with American abstraction and his European roots in more tactile, representational art.Condition ReportFramed: 67 x 84.5cmThe work is executed on paper. Rippling to the sheet visible when viewed from the side under raking light. Pinholes to top corners. A tiny tear to the extreme upper right corner. Lower edge torn slightly unevenly. Presents well overall when viewed on the wall.
▲ Peter Lanyon (1918-1964) 'Drawing for Wood Sculpture'signed 'Peter Lanyon', inscribed with title and dated '1947' verso, ink, gouache and chalk27 x 21cmProvenance: The collection of Mr. L.J.W. Lanyon, Cornwall;the property of a private collector.Condition ReportFramed: 44.5 x 38cmA faint border of discolouration to the upper and left edges, appears to be in otherwise good condition. Well presented and ready to hang.
▲ Roger Hilton (1911-1975) Untitled (Drawing III)pencil and black chalk12.5 x 20cmProvenance: With Michael Parkin Fine Art, London; Andrew Best Esq.;the property of a private collector. Exhibited: Michael Parkin Fine Art, London, 'Another Pair of Eyes', 1983, catalogue no. 27.Condition ReportFramed: 25.5 x 33cmExecuted on dark orange paper with some areas of fading and discolouration to the upper centre, the top half of the right edge, and in the lower left corner. A little smudging in the lower left quarter. A small light coloured spot on the raised leg, centre right. Not viewed out of glazed frame.
▲ Edward Burra (1905-1976) The processionwith 'E J Burra' estate stamp u.r., pencil and watercolour, with a pencil drawing of dancers verso65 x 50cm, unframedProvenance: Sotheby's, London, 'Works from the Estate of Edward Burra, Lady Ritchie of Dundee and Associated Owners', 3 July 2002, lot 256;the property of a private collector.Edward Burra was known for his surreal, satirical depictions of modern life. Born in London and raised in Rye, Sussex, he battled chronic rheumatoid arthritis, which shaped both his lifestyle and artistic practice. Despite physical limitations, he developed a distinctive style, favouring large-scale watercolours. His early work focused on urban nightlife, revelling in the grit and glamour of brothels, bars and cabaret scenes.Burra’s fascination with Hispanic culture led him to Spain in 1933, during the turbulent years of the Second Spanish Republic (1931-1939). The country was undergoing radical political change - secular reforms, social unrest and rising tensions that would eventually lead to civil war. He was captivated by Spain's dramatic cultural traditions, particularly its religious processions, bullfights and theatrical Catholic rituals. Spanish art profoundly influenced him, from the eerie mysticism of El Greco to the stark realism of Goya and Zurbarán. Burra immersed himself in the culture, learning Spanish and surrounding himself with Spanish literature. He also travelled to Mexico, where the vibrant folk traditions and imagery of the Day of the Dead reinforced his fascination with ritual and the macabre.His undated drawing 'The Procession' showcases his signature compositional technique. The eye is led diagonally from the upper left to the lower right, where figures seem to move beyond the paper’s edge. This sense of momentum is key to his later religious-themed works. Burra’s cartoonist-like approach is evident - while most of the piece remains an outline, he selectively colours a few figures, particularly a striking, red-skinned face, adding both drama and mystery. This technique teases the viewer, leaving them wondering how the final piece might have looked, a hallmark of Burra’s ability to balance intrigue and narrative depth.Condition ReportThere are several very small, repaired tears to the upper edge. A few light spots of foxing starting to emerge. Very light surface dirt. There is a little pale yellow discolouration in the lower right corner.
▲ Ben Nicholson OM (1894-1982) 'Kos' signed, inscribed and dated 'NICHOLSON'/April 59/(Kos)' on the backboard, pencil and wash 48 x 35.5cm Provenance: With Galerie Charles Lienhard, Zurich; Sotheby's, London, 6 December 1984, lot 658; Sotheby's, London, '20th Century British Art', 13 July 2007, lot 4; the property of a private collector. Exhibited: Château des Rohan, Strasbourg, 'La Grande Aventure de l'Art du XXe Siècle', June - September 1963, catalogue no. 191. Ben Nicholson's extensive travels throughout his life significantly influenced his artistic development. In 1959, he embarked on a Swan Hellenic tour to Greece, which included numerous stops. This journey proved to be particularly inspiring for Nicholson, as he was deeply moved by the simplistic beauty of Cycladic figurines and Greek architecture. Nicholson's experiences in Greece enriched his artistic vision, leading to a more sculptural approach in his compositions. He began to incorporate subdued colours and a controlled palette, reflecting the serene landscapes and architectural forms he encountered. This influence is evident in the present work and also inspired his pure-white carved reliefs, which became a hallmark of his style. Condition ReportFramed: 75 x 62cm The drawing is mounted on a board. A little time staining with a small brown mark to the top edge, centre left, possibly tape residue (?). The wash is faint. A tiny fold in the extreme lower right corner. Please see additional images. Not viewed out of glazed frame.
▲ David Bomberg (1890-1957) View of Ronda signed and dated 'Bomberg 54' l.l., charcoal and pastel 24 x 42cm David Bomberg made several significant trips to Ronda, Spain, profoundly influencing his artistic work. His first visit to Spain was in 1929, where he spent six months in Toledo, drawing inspiration from the high sun and weathered hilltop townscape. Bomberg returned to Spain with his future wife, Lilian Holt, in 1934 and 1935, spending time in Ronda and Asturias. Ronda, perched high in the Andalusian mountains and divided by a dramatic gorge, captivated Bomberg. He described Ronda as 'the most interesting of the towns of Southern Spain'. The town's extraordinary landscape, with its ancient city on a glowing rock, inspired the artist. He explored the area on a donkey, finding vantage points to study and paint the remarkable town. Bomberg's final visit to Ronda was between 1954 and 1957. His drawings and paintings from this period are characterised by structured brushstrokes capturing the unique topography. In the present lots, we see Bomberg's ability to translate the slopes, buildings and skies into richly graded monotone effects. Sworders are pleased to offer examples from both his 1930s and 1950s visits in this sale. Condition ReportFramed: 48.5 x 66.5cm A little cockling and slight time staining. Not viewed out of glazed frame.
▲ Roger Hilton (1911-1975) Untitledcharcoal20 x 25cm, unframedProvenance: With Jonathan Clark & Co. Fine Art, London;the property of a private collector.Literature: 'Roger Hilton: Night Letters', edited by Timothy Bond, published by Archive of Modern Conflict, 2009, illustrated p.195.Condition ReportTime staining and a little discolouration with foxing starting to emerge. A small brown spot in the upper right quarter. Faint dirty marks and smudges. There are some faint colourless lines across the work which appear to be the impressions of another drawing.
▲ Roger Hilton (1911-1975) Untitled, 1972-1973conté24 x 19cmProvenance: Barry Flanagan, London;the property of a private collector.Condition ReportFramed: 41.5 x 36cmThere are some fine colourless lines/ indentations across the work which appear to pressure marks from another drawing, please refer to illustration. A couple of very small brown marks. Light pencil cross hatching to the upper edge, centre left. Very slight rippling to the sheet visible under raking light. Presents well overall and ready to hang. Not viewed out of glazed frame.
Christopher Wood (1901-1930) 'á Madame Laloy amicalement' signed, inscribed with title, and dated 'Christopher Wood/1926' u.l., pencil 49 x 32cm Provenance: Sotheby’s, London, ‘Drawings and Watercolours from the Collection of the Late Sir John and Lady Witt', 19 February 1987, lot 393. This portrait depicts Madame Laloy, the wife of musicologist Louis Laloy, and most likely dates from the spring of 1926, when Christopher Wood was most friendly with them. In a letter to his mother in March 1926, Wood expressed an ambition to design a ballet with Laloy and, later that year, he met Laloy and the French composer Georges Auric in London, to discuss designing scenery for a Chinese play. Previously, Wood had been commissioned by Diaghilev to create designs for his 1926 production of 'Romeo and Juliet', however, these were later replaced with designs by Miró and Ernst. This period marks a shift in Wood's work. His view of his French connections began to change and he began to turn his attentions away from the ballet. It was at this moment that the character of Wood's work would start to develop, moving away from the modernist influences of Cocteau, Picasso and Diaghilev. By August 1926, Wood's work was influenced by his friendship with Ben and Winifred Nicholson. This new outlook would shape his work in Cornwall and Brittany over the next four years. The drawing offered for sale showcases Wood's minimalist approach to line, capturing form with just the essential details. Condition ReportFramed: 66 x 47cm Time staining. Creasing around the edges. A little dirt and discolouration along the top edge. Not viewed out of glazed frame.
▲ Roger Hilton (1911-1975) Untitledcharcoal20 x 25cm, unframedProvenance: With Jonathan Clark & Co. Fine Art, London;the property of a private collector.Condition ReportA vertical crease 7cm in from the left edge. A little time staining and foxing starting to emerge at the edges. Small brown mark in the lower right, possibly tape residue (?). Light smudging in places. There are some fine colourless lines across the work which appear to be impressions of another drawing.
Roger Hilton (1911-1975) Nude Turning, 1962a series of eight silhouettes of a model turning17.5 x 22.5cm,together with a signed letter in which the artist discusses the sequence of drawings, addressed to Mr Lederman and dated July 196222 x 24.5cm (9)Provenance: With Boundary Gallery, London;the property of a private collector.Condition ReportFramed: 34 x 39.5cmSmall scattered brown speckles of foxing starting to emerge. A small, faint pink mark in the lower left corner. Light handling creases to the upper third.Framed: 34 x 39.5cmVery minor handling creases, however presents well overall and appears to be in otherwise good condition.Framed: 34 x 39.5cmA small handling creases to the centre of the top edge. Appears to be in otherwise good condition.Framed: 34 x 39.5cmA very small handling crease crosses the thigh in the upper centre. Slight undulations to the upper right corner. A little rippling with a couple of tiny, faint dirty marks to the right edge.Framed: 34 x 39.5cmA tiny, very small handling crease to the upper centre. On very close inspection there are some fine colourless lines/ indentations which appear to be pressure marks from another drawing in the lower right quarter. Presents well overall.Framed: 34 x 39.5cmOn close inspection a very tiny handling mark is visible above the shoulder. There is a fine colourless line/ impression at the bottom of the figure which appears to be pressure mark from another drawing. The work appears to be in otherwise good condition and presents well overall.Framed: 34 x 39.5cmPresents very well overall.Framed: 39.5 x 34cmExtremely slight rippling and a couple of small, light handling creases to the upper third are visible under raking light. Presents well overall and ready to hang. Not viewed out of glazed frame.Letter. framed: 27 x 29cmA small brown spot to the right of the signature. Appears to be in otherwise good condition. Not viewed out of glazed frames.
Vibrant oil on canvas painting by Charles Vavrina, titled Mediterranean Villas. The composition captures a picturesque coastal scene with white stucco villas accented by red-tiled roofs, nestled against a lush hillside overlooking deep blue waters. The artist's expressive brushwork and rich color palette bring a lively impressionistic quality to the Mediterranean setting, evoking the warmth and charm of the region. The foreground features a detailed floral arrangement, adding a dynamic contrast to the serene seascape. Charles Vavrina is a contemporary artist known for his vivid and expressive oil paintings, often depicting Mediterranean landscapes, coastal scenes, and European-inspired architecture. His work is characterized by a bold use of color, dynamic brushwork, and an impressionistic approach that brings movement and warmth to his compositions. Drawing inspiration from the charm of old-world settings, Vavrina's paintings capture idyllic seaside towns and lush natural environments, inviting viewers into a world of tranquility and nostalgia. Signed lower left, with the title and artist's name inscribed on the verso.Artist: Charles Vavrina (American, 1928-2009) Issued: c. 1990Dimensions: 49"L x 35"HCountry of Origin: USACondition: Age related wear.
A captivating double-sided drawing by Paul Cesar Helleu, renowned for his exquisite portraits of fashionable women from the Belle Epoque. Executed in graphite, sanguine, and black chalk on paper, the primary composition features an elegant woman in a relaxed yet refined pose, her face tilted upward with a dreamy expression. Her stylish attire and delicate facial features reflect Helleu's masterful ability to capture feminine beauty with effortless grace and expressive linework. The reverse side presents an additional study of a reclining woman, further showcasing the artists fluid technique and keen observational skill. Signed in the lower margin and inscribed with the dedication A mon ami Rosenfeld, New York, this work embodies Helleu's characteristic blend of delicate contouring and gestural spontaneity. This work bears the inscription New York, where Helleu traveled in 1912 and again in 1920. During these visits, he completed commissions for wealthy American patrons and executed striking etchings of the city's burgeoning skyline. His time in New York was pivotal in broadening his artistic reach beyond Europe, aligning him with the international elite who admired his elegant portraiture. His celebrated portraits of Parisian high society remain highly sought after for their charm and artistic refinement.Artist: Paul Cesar Helleu (French, 1859-1927)Issued: c. Dimensions: 27"L x 32.75"HCountry of Origin: FranceCondition: Age related wear.
This delicate original charcoal drawing by Louis Icart (1888-1950) features a reclining nude in a soft, dreamlike composition, exemplifying Icart's mastery of feminine form and elegance. The piece is hand-signed by the artist in the lower margin, adding to its authenticity and desirability. Rendered on toned paper, the artwork captures a sensual yet ethereal atmosphere, characteristic of Icart's celebrated Art Deco style. The drawing is professionally framed in a black and gold Art Deco-inspired frame with a brown mat, enhancing its timeless appeal. A rare and collectible work for admirers of Icart's romantic and refined artistry. Artwork can be unframed and rolled for shipment.Artist: Louis IcartIssued: 20th centuryDimensions: 23.25"L x 22.75"HCountry of Origin: FranceCondition: Age related wear.
This exquisite hand-blown art glass vase is a creation of renowned Hawaiian glass artist Daniel Moe. The vase exhibits Moe's signature style, drawing inspiration from the dynamic natural elements of Hawaii, particularly the flowing lava and ocean waves characteristic of the Big Island. The piece features a vibrant interplay of colors and textures, capturing the essence of molten lava and the fluidity of the sea. Moe's meticulous craftsmanship and innovative techniques are evident in the vase's intricate design and flawless execution. The artist's signature is etched on the base.Artist: Daniel MoeIssued: 2012Dimensions: 22.5"HCondition: Age related wear.
This evocative oil painting on canvas by German artist H. Stadler captures a tranquil landscape featuring a reflective body of water framed by lush trees, leading to distant snow-capped mountains. Stadler's adept use of color and expressive brushwork brings depth and movement to the natural scene, with warm earthy hues blending seamlessly into cool sky tones. The composition is balanced, drawing the viewer's eye through the landscape toward the horizon. The painting is presented in an ornate gilt frame, adding to its classical charm. The title and artist's name are inscribed on the lower right and on the stretcher as Landscape H. Stadler. Artist: H. Stadler (German, b. 1914-?)Issued: c. 1950Dimensions: 33"L x 43.75"HCountry of Origin: GermanyCondition: Age related wear.
A finely executed black, brown, and sanguine chalk drawing by Sir William Russell Flint depicting Vera Lavrova in the role of Gay Rosalinda, a production staged at the Palace Theatre, London, from 1945 to 1946. This intimate study captures Flint's signature mastery of the female form, with Lavrova elegantly posed in an 18th-century-inspired gown, her delicate features rendered with meticulous attention to light and texture. The work is inscribed with the artist's signature in the lower right and bears multiple annotations on the reverse, indicating it was a personal gift from Flint to the sitter. Flint's characteristic use of subtle tonal shading and fluid draftsmanship exemplifies his renowned technique in portraying grace and movement.Artist: Sir William Russell Flint (Scottish, 1880-1969)Issued: 1945Dimensions: 20"L x 16"HCountry of Origin: ScotlandCondition: Age related wear.
This captivating mid-century modern oil painting depicts a ballet dancer adjusting her pointe shoes, a moment of quiet preparation before performance. The piece is rendered with dynamic brushstrokes, evoking movement and elegance. The muted green background contrasts sharply with the vivid red of the ballet shoes, drawing the viewer's eye to the dancer's poised concentration. The artwork is signed in the lower right corner with an intricate red monogram-style signature. The signature appears to be East Asian in origin, suggesting influence or origin from a contemporary Asian artist, though specific attribution is undetermined. The painting is framed in a simple wood frame that complements its minimalist aesthetic. This piece would make an excellent addition to any collection of dance, mid-century modern, or Asian-influenced artwork. Artwork dimensions with frame: 32.50"L x 27.75"H x 3"W.Issued: 20th centuryDimensions: See DescriptionCondition: Age related wear.
This is an expressive and poignant portrait by Annette Krauss Rose, who studied painting in New York City under Tonalist and Impressionist Frank Vincent DuMont, showcasing her remarkable talent in capturing human emotion and individuality. The piece features a young girl with a reflective expression, accentuated by delicate brushstrokes and soft, naturalistic tones. Her white blouse, adorned with a playful plaid design, is complemented by a striking orange bow, adding a vibrant focal point to the composition. The background's muted gray hues contrast beautifully with the subject, further drawing the viewer's attention to her introspective gaze. Annette Krauss Rose, known for her sensitive portrayals and skillful rendering of light and texture, imbues this painting with a timeless quality. This work is executed on canvas and displays evident age-related wear, including surface stains and minor edge fraying, which add to its charm and authenticity.Artist: Annette Krauss Rose (American 20th Century)Dimensions: 22"L x 26"HCountry of Origin: USACondition: Age related wear.
This captivating oil painting by Palm Beach artist Annette Krauss Rose, who studied painting in New York City under Tonalist and Impressionist Frank Vincent DuMont, features a striking composition of tigers juxtaposed with circus clowns and performers in a dynamic setting. The piece skillfully blends bold, naturalistic details with an impressionistic use of color and form, highlighting the distinctive contrast between the fierce presence of the tigers and the whimsical nature of the circus environment. Krauss Rose's artistic approach conveys a sense of storytelling and motion, drawing the viewer into the heart of the scene. Annette Krauss Rose is known for her vivid and expressive works that often explore themes of the circus, clowns, and performance art. Her mastery of oil as a medium is evident in the vibrant palette and textured brushstrokes that bring this piece to life. This artwork serves as both a testament to the artist's talent and a unique addition to any art collection. The painting is presented in a wood frame that complements its vibrant tones. Artwork dimensions with frame: 29"L x 36"H.Artist: Annette Krauss Rose (American 20th Century)Dimensions: See DescriptionCountry of Origin: USACondition: Age related wear.
A striking pastel drawing by artist Kent, depicting a contemplative nude figure in a seated position. Executed in a soft yet dramatic palette, the artwork captures the interplay of light and shadow on the human form, emphasizing the contours and musculature with delicate gradations of tone. The subject introspective pose conveys a sense of quiet reflection, while the dark background enhances the figure luminous presence. Rendered in pastels on paper, the piece shows the artist's skillful blending and layering techniques with mixed media, creating a smooth, almost ethereal finish. Framed, with the artist and the date on the lower right corner.Artist: KentIssued: 1986Dimensions: 26.25"W x 34.25"HCondition: Age related wear.
This enchanting oil on canvas painting by Palm Beach artist Annette Krauss Rose, who studied painting in New York City under Tonalist and Impressionist Frank Vincent DuMont, features a woman in a vibrant yellow outfit and a whimsical top hat. The abstract yet emotive brushstrokes lend a sense of dynamism and creativity to the work, suggesting a modern impressionist or abstract expressionist style. The artist employs bold colors and fluid movement, drawing attention to the subject's facial features and unique attire, reminiscent of theatrical or festive themes. The background is rendered with soft, diffused tones, creating a contrast that emphasizes the subject's vivid palette. The piece is framed in a simple wooden frame with a weathered patina that complements the artwork's character. Artwork dimensions with frame: 41.50"L x 37.75"H x 1"W.Artist: Annette Krauss Rose (American 20th Century)Dimensions: See DescriptionCountry of Origin: USACondition: Age related wear.
FRENCH SCHOOL (18TH CENTURY) PORTRAIT OF A GENTLEMAN, POSSIBLY A SELF-PORTRAIT Pencil and coloured chalks 24 x 18cm (9¼ x 7 in.) Provenance: Day and Faber, London (as French School, circa 1740). Condition Report: Drawing : 24 x 18cm, framed: 35.5 x 31cmSome light discolouration to the buff coloured sheet, together with some brown spots of foxing and surface dirt scattered throughout. Light undulation to the sheet under the glazed frame. Overall the colours are good considering the age of the work.Unexamined out of glazed frame.Condition Report Disclaimer
LEATHER BINDINGS. Moore's Irish Melodies, illustrated by D Maclise. Small 4to 1846. Full morocco gilt by Hayday. With thirteen other bindings including Fisher's Drawing Room Scrap-Book, four vols in two, lacking some plates. With three bindings in cloth including Mrs Beeton's Household Management. (15) (box)
[Original Greeting Card] Kate Greenaway Pictures from Originals Presented by Her to John Ruskin and Other Personal Friends with An Appreciation by H.M. Cundall, published Frederick Warne 1921 first edition printed on handmade paper, the illustrations with printed guards, folio in lettered cloth and an original coloured drawing (7 x 11cm) of children playing around a snowman titled A Merry Christmas & Happy New Year and initialled KG in lower left corner tipped-in recto of frontispiece
William Henry Pike RBA (1846-1908) Watercolour Continental rural scene of figures and dwelling by river, signed lower left, framed and glazed, mount aperture 19.5cm x 3.5cm, together with a William Thomas Hawksworth (1853-1935) pencil and ink drawing of Portsmouth harbour, framed and glazed, mount aperture 17.5cm x 24cm, a Christopher Arnold (b.1955) watercolour "Sun and Rain, Grand Havre", signed lower right, framed and glazed, mount aperture 12.5cm x 17cm and a pastel sketch by Carole North, "Langstone Harbour Sunrise", signed lower right, framed and glazed, mount aperture 22.5cm x 31.5cm (4)
A Japanese ink drawing, 19th-20th century, painted with Gama Sennin with a toad, inscribed, ink on paper,104 x 52cm, and another, painted with literati seated under a pine tree, accompanied by an attendant, approximately 150 x 150cm (2)Provenance: The David and Sarah Battie Collection.Condition ReportPaper faded and stained, cockled and creased badly.Splits in various locations. The larger picture in poor condition, a/f.
A Louis XVI giltwood drawing room suite, 20th century, comprising settee and pair of open armchairs, the pad back and stuff over seat upholstered in red fabric on turned supportssettee137cm wide 58cm deep 105cm high 43cm height of seat chairs 65cm wide 58cm deep 99cm high 43cm height of seatCondition Reportminor surface scratches, knocks and blemishes, general wear comensurate with age
oil on canvas, signed, titled verso framed image size 31cm x 31cm, overall size 45cm x 45cm Note: Andrew Fitzpatrick was born in Greenock in 1966. He went to St. Columba’s School in Gourock before studying drawing and painting at Glasgow School of Art from 1984 to 1988. On graduating, Andrew exhibited mainly in Edinburgh but also in Amsterdam and Glasgow. He currently lives and works in Glasgow.
watercolour on paper, signed, titled label verso mounted, framed and under glass image sie 36cm x 47cm, overall size 61cm x 71cm Artist's label verso. Note: Bill Wright's talent first became evident when he was a boy, drawing endlessly for amusement while bedbound with illness. He went on to study painting at Glasgow School of Art and became an award-winning watercolourist, constantly inspired by was seascape and ever-changing sky on the Kintyre peninsula where he had a second home. Glasgow-born Wright, the son of a shipyard plater, was brought up in Partick and started his schooling at the city’s Dowanhill Primary before being evacuated to Dunoon during the Second World War. After returning home he attended Hyndland Senior Secondary and despite being discouraged by his parents, who would have preferred him to have a “proper job”, in 1949 he began his studies at Glasgow School of Art. They were interrupted by national service – a duty he felt hindered the progression of his art career. He served at Catterick army garrison but was a pacifist who abhorred war and dismissed the opportunity to be promoted to Sergeant as an army career held no interest. His first teaching post was at East Park School in Glasgow’s Maryhill. He then moved in 1965 to St Patrick’s High School in Dumbarton where he spent two years before becoming art adviser for the area at the age of 36. Over the next two decades he fostered the idea of instilling a cultural interest in art among pupils. He formed working groups to reform teaching of first and second-year students, encouraged forward-looking principal teachers and recruited many young teachers. His ethos was that teachers were not just there to create artists but to give all children a good art experience. He also established a residential art course for school children, at the Pirniehall residential educational facility at Croftamie in Dunbartonshire, where youngsters from different backgrounds could investigate the idea of furthering an art career through experiencing a range of different mediums in an art camp environment. And he is said to have been instrumental in encouraging the implementation of Scotland’s Standard Grade art and design qualification. However, he suffered from the chronic arthritic condition ankylosing spondylitis which, by the age of 55, forced him to take early retirement from his post in the education department of Strathclyde Regional Council. Meanwhile, as he had strived to enthuse youngsters with his own passion for art, he had been elected, in 1977, to the Royal Scottish Society of Painters in Watercolour. A member of the Glasgow Arts Club for many years, he was also an elected member of the Glasgow Institute of Fine Arts and Paisley Art Institute, served as president of the Scottish Artists’ Benevolent Association for 14 years and was a Scottish Arts Council lecturer, touring the country discussing art. But perhaps his own greatest inspiration was the view from a cottage he stumbled upon half a century ago, seven miles from Campbeltown on the Mull of Kintyre. He rented the property at Bellochantuy and set up a studio there where he drew on the vistas stretching 180 degrees, encompassing sea, beach, rocks and sky. He was utterly smitten by the area and was ultimately bequeathed the cottage by the owner who had become a close family friend. Over the years he came to know the area intimately and was fascinated by the constantly changing moods of the sea and light of the sky which formed the majority of his output. One large body of work, "Towards Islay", focused on the view from the back of the cottage. He captured the patterns and waves of the sea, sometimes adding a bird, limpit, mermaid’s purse, rock lines or some seaweed. But at times his works were very abstract and symbolic, concentrating on themes of nature and transience. He was hung in all the major shows in Scotland and in galleries across the country from Aberdeenshire to Edinburgh, Glasgow and south of the border. His work also features in public collections of Stirling and Strathclyde Universities, HRH The Duke of Edinburgh and the Educational Institute of Scotland. And he was recognised with The Laing Prize for Landscape and Seascape and the RSW’s Sir William Gillies Award.
This Mercedes AMG F1 2018 Signed Technical Drawing is an exceptional collector’s piece, offering a detailed and precise representation of the W09 car, which dominated the 2018 Formula 1 season. As the car that propelled Lewis Hamilton to his fifth World Championship and helped secure the Constructors' Championship for Mercedes, the W09 is one of the most iconic cars in recent F1 history.The technical drawing is signed by Lewis Hamilton, Valtteri Bottas, Toto Wolff, James Allison, and Andy Cowell, each a pivotal figure in the success of the 2018 season. The signed drawing comes complete with an official team certificate of authenticity, guaranteeing its provenance and making it a truly valuable item for collectors.
Keith HARING (1958-1990), Attribué à.Subway drawing, 1984.Dessin original à la craie réalisé sur une affiche de métro contrecollée sur papier.98 x 66 cm environ.(Déchirures aux marges, dessin roulé, non encadrée)Provenance : Collection particulière, ParisWhite chalk on tinted paper-(34.64 x 27.55 in.)
East Anglian Art. Gerard Stamp, Watercolour Ely Cathedral (East Side?) Size: Image 52 x 32 cms approx Frame: 77 x 55.5 cms approx. Condition: Excellent, no issues Artists Resale Rights may apply Provenance: Grapevine Gallery, Burnham Market, Norfolk NOTE: One of the country’s finest contemporary watercolourists, Gerard Stamp’s paintings are in the Royal Collection and Norwich Castle as well as a number of private collections, including those of Dame Judi Dench and the Duke of Bedford. Gerard Stamp grew up in Norfolk, going to school in the shadow of Norwich Cathedral. Here he developed a passion for drawing and painting – and in particular Norfolk and mediaeval architecture. After Art College he followed a career in London’s design and advertising industry before focusing full time on painting in 2002. From his first solo exhibition at the Grapevine Gallery in Norwich in 2005, his work quickly attracted national attention and a year later he held his first London exhibition, with Grapevine in Cork Street. Six more solo exhibitions followed, including Marshscape, a series of large studies featuring the Norfolk coast, and Mediaeval, a celebration of church architecture. In 2009 he held an exhibition at Bonhams, New Bond Street, London. Entitled Twelve Churches, it marked The Churches Conservation Trust’s Fortieth Anniversary. In 2010 his life came full circle when he was invited to stage the inaugural exhibition for the Royal opening of the Hostry, a new Exhibition and Visitor Centre at Norwich Cathedral where he was delighted to be asked to present Her Majesty the Queen with a painting to celebrate the occasion. Subsequent exhibitions including Spirits in Stone with Grapevine in London in 2012, Conquest at Norwich Castle Art Gallery. More exhibitions with Grapevine including At the Still Point in Exeter Cathedral in 2014 and Isle of Light in Ely Cathedral, have helped cement Stamp’s reputation.
Villiers David (British, 1906 -1985) Temple at Nara, Japan Pen and watercolour drawing Signed and dated lower right, 'Villiers David '53' Provenance: Colnaghi & Co. Ltd, 14 Old Bond Street, London Property of a gentleman Dimensions: (Frame) 11.5 in. (H) x 9 in. (W) (Paper) 5 in. (H) x 3 in. (W)
Loading...
![[Original Greeting Card] Kate Greenaway Pictures from Originals Presented by Her to John Ruskin and Other Personal Friends wi](https://cdn.globalauctionplatform.com/d55b1a70-b7d4-4843-88b5-b29100eda30e/c1c5a571-f6c4-43d2-8923-b2a70128bb4f/468x382.jpg)
