There are 10856 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe▲ 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.
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.
Henri Gaudier-Brzeska (French, 1891-1915) Portrait of a Man with a sketch of a French village verso c. 1910s Red chalk on paper, ink drawing verso Provenance: Arnold Fellows, Chigwell & Barnes; By whom bequeathed to Queen Mary’s Grammar School, Walsall; Sold by a charitable trust, 2023 Dimensions: 19.25 in. (H) x 17 in. (W)
KAROL FERSTER (1902-1986) | ORIGINAL DRAWING AND DEDICATION (POLAND / POLISH) | 1963 | profession: Painter | country: Poland | signature: Original signature | size: 310 x 260 mm (size of the pad) | technique: Original ink drawing and handwritten dedication | Lot information |Set containing an original drawing, handwritten dedication, and signature by Karol Ferster, known by the pseudonym "Charlie," dated Warsaw, 1963. The drawing depicts a humorous scene of a photographer and a painter, characteristic of the artist's satirical style. Karol Ferster was a renowned Polish caricaturist, illustrator, and satirist, whose works were regularly published in Polish and international magazines. His art was distinguished by sharp social critique combined with light humor.
KENNETH ARMITAGE (1916-2002) | A LETTER WITH A HANDWRITTEN SIGNATURE (ENGLAND / ENGLISH) | 1966 | profession: Sculptor | country: England | signature: Original signature | size: 310 x 260 mm (size of the pad) | technique: A letter written on a typewriter with a handwritten signature | Lot information | Letter from Kenneth Armitage, a renowned British sculptor known for his modern sculptures and drawings, dated March 16, 1966.The letter is addressed to Professor Siblik and expresses gratitude for the invitation to submit graphic examples for a book.The text of the letter, written on typing paper, reads:"Many thanks for your letter and kind invitation to send you graphic examples for your book. Unfortunately, I have made very few lithographs or prints, my work being almost entirely sculpture and drawing. A drawing, if sent, would, of course, be returned to me?"The letter concludes with a handwritten signature: "Kenneth Armitage" in blue ink.
JIRI ANDERLE (*1936) | AUTOGRAPH WITH DRAWING (CZECH/ BOHEMIAN) | 1977 | profession: Painter and graphic artist | country: Czechia | signature: Original signature | size: 310 x 260 mm (size of the pad) | technique: Pen drawing on paper | Lot information | Handwritten dedication and signature of the renowned Czech painter and graphic artist Jiri Anderle, dated "September 1, 1977."On the right side, the dedication is complemented by a simple ink drawing of a stylized portrait.Anderle is known for his expressive graphic cycles and drawings, which combine realistic elements with surrealistic motifs.
MAX SVABINSKY (1873-1964) | AUTOGRAPH WITH DRAWING (CZECH/ BOHEMIAN) | 1915 | profession: Painter | country: Czechia | signature: Original signature | size: 210 x 160 mm | technique: Ink on paper | Lot information |Hand-drawn and signed portrait of renowned Czech painter, graphic artist, and illustrator Max Svabinsky. This ink drawing on paper portrays a man wearing a historical hat, accompanied by the artist's signature and dated "6/1915". The work demonstrates Svabinsky's masterful handling of lines and his keen sense of detail.
WLASTIMIL HOFMAN (1881-1970) | HANDWRITTEN SIGNATURE AND PORTRAIT SKETCH (POLAND / POLISH) | 1935 and 1967 | profession: Painter | country: Poland | signature: Original signature | size: 310 x 260 mm (size of the pad) | technique: Original pen drawing and handwritten signature | Lot information | Set containing an original handwritten signature of Wlastimil Hofman, dated 1935, Krakow, and a hand-drawn self-portrait, signed and dated 12. II. 1967.The sketch, made in blue ink, portrays Hofman in a contemplative pose.Wlastimil Hofman was a renowned Polish painter of Czech origin, a representative of Symbolism and the Young Poland movement. A student of Jacek Malczewski, his work was characterized by spiritual themes and poetic stylization.After World War II, he lived and worked in Szklarska Poreba, where he became a respected figure in the Polish art scene.
KAREL STIKA (1898-1975) | DOUBLE-SIDED AUTOGRAPHED DRAWING (CZECH/ BOHEMIAN) | 1937 | profession: Painter | country: Czechia | signature: Original signature | size: 310 x 260 mm (size of the pad) | technique: Ink on paper | Lot information | Double-sided drawing by Czech painter and graphic artist Karel Stika.On one side, a stylized self-portrait of the artist at work, executed in a free ink drawing style. On the other side, a handwritten text with the artist's signature.This piece is a striking and authentic example of his drawing mastery.
Stik (1979), drawing in ink on paper, Back to the Cave (2022), signed in black marker pen above the drawing (also in black marker), 14cm x 19.3cm, mounted,glazed and framed. This is from the book, Back to the Cave, Sculpture goes Underground (also included in this lot), issued by Gallery Pangolin in association with Clearwell Caves. It is understood only about 30 copies were signed with an individual drawing by the artist. Provenance – Roseberys label verso. Also originalClearwell Caves reservation purchase bag verso
Vasari (Giorgio) Follower of. Mystic Marriage of St Catherine, pen and brown ink, wash, traces of red chalk, sheet 280 x 205 mm (11 x 8 in), laid onto collectors mount with ruled ink borderlines, and with collector's stamp and number in the lower left corner 'VP/ no. 85', with inscription 'Daniel da Volterra' in the lower left corner, and attributions verso to Volterra and followers of Primaticcio and Giovanni Giacomo de Rossi, unframed; together with a 17th century drawing by another hand of the Coronation of the Virgin with the Holy Trinity, probably a follower of Federico Zuccaro, 140 x 160 mm (5 1/2 x 6 1/4 in), unframed, [17th century] (2)Provenance:[Follower of Vasari] Van Parijs (active 1800) [Lugt 2531]
Andy Warhol (American, 1928-1987) 'Tattooed Woman Holding a Rose', 1955. Bears the Estate of Andy Warhol and Andy Warhol Foundation for the Visual Arts Inc. Blue inkstamps recto, horizontal folds as issued, Halcyon gallery label to verso, offset orange lithograph on pale green onion skin paper, 74 x 28.5 cm, mounted in a white frame. With an extensive folder of paperwork.Provenance: From the estate of an English gentleman, who purchased the work from the Halcyon gallery in 2022. With certificate of authenticity.Note: In the 1950s, Andy Warhol was one of New York’s most successful commercial artists, and his distinctive blotted-line drawing technique gained significant popularity among art directors at top fashion brands. Warhol would trace a photograph or image in bold ink on a non-absorbent surface, then transfer it to paper, creating a unique and expressive line. In Tattooed Woman Holding a Rose, Warhol ‘tattooed’ the corseted woman’s body with iconic logos and brand names, almost like a sales pitch aimed at potential clients, even including his contact number scrawled across her outfit. Serving as both a business card and a work of fine art, this piece exemplifies Warhol’s unapologetic blending of art and commerce. Copies of this lithograph were sent to advertising and design agencies, as well as clients and patrons, serving as a calling card in his pursuit of commissions. The piece even features Murray Hill, NY, along with his phone number across the woman's waist.
Charles Schulz (American, 1922-2000). Original four panel "Peanuts" comic strip, the daily strip for Monday, March 10, 1986. Black ink over pencil on drawing board. Pen signed along the right edge of the last panel. Depicting Woodstock building a tall nest so that he can sleep next to his best friend, Snoopy. Inscribed in pen along the upper margin: "For Anne with friendship and every best wish - Charles Schulz (Sparky)."Sight; height: 6 1/2 in x width: 22 in. Framed; height: 9 in x width: 25 in x depth: 1 in.Condition: The sheet is slightly toned. The pen inscription along the upper margin has faded. There is a vertical crease through the center of the paper. Housed under an acidic mat; some evidence of matburn. Framed under glass; light wear to the frame. Not inspected out of frame.
Attributed George Wesley Bellows (American, 1882-1925). Ink on paper drawing titled "Standing Nude" depicting a figure from behind. Minneapolis Institute of Art exhibition label affixed to the verso.Exhibition: Minneapolis Institute of Art, "Drawings & Watercolors from Minnesota Private Collections," May 13 - June 13, 1971, Cat. No. 56.Sight; height: 12 in x width: 9 1/2 in. Framed; height: 20 3/4 in x width: 17 1/4 in x depth: 1 1/4 in.Condition: The colors are bold and deep. The sheet is toned, particularly along the extreme edges. There are no major visible tears or losses. There are a few creases including a small vertical crease along the edge of the lower right third, the right center edge, and a horizontal crease along the upper edge. A few minute spots of soiling. Some graphite transfer along the upper half, likely original to the artistic process. Housed under an acidic mat. Framed under glass; some wear to the frame, particularly to the gilt finish. Not inspected out of frame.
Italian pen and ink on paper drawing depicting a nude figure, likely 17th century.Sight; height: 6 1/4 in x width: 8 1/4 in. Framed; height: 17 in x width: 20 1/4 in x depth: 2 3/4 in.Condition: There are no major visible losses, tears, or signs of restoration. Some areas of soiling and graphite transfer. Undulation to the sheet. Housed under a mat. Framed under glass. Some wear to the frame. Not inspected out of frame.
Irene Rice Pereira (American, 1902-1971). Ink and pigment drawing depicting a figure dancing with swirling lines and stars of red. Against an abstract yellow background. From a sketchbook by the artist gifted to Foy Casper Jr. on New Year's Day, 1968. A facsimile copy of the first page of the sketchbook is included with the lot. Foy Casper Jr. was the former director of the I.R. Pereira Foundation and was a collector of her works.Height: 10 3/4 in x width: 8 1/4 in.Condition: The colors are bold and bright. The sheet is toned, more so along the extreme upper and lower edges. There are no signs of restoration. There is a small loss along the upper left and a slight unevenness to the left edge, consistent with being cut from a sketchbook. Some undulation consistent with moisture exposure, possibly original to the artistic process and use of watercolor. Light soiling resembling graphite transfer along the verso, possibly original to the artistic process. The work is not framed.
George Morrison (Grand Portage Anishinaabe, 1919-2000). Ink and color pencil on paper drawing titled "Enigma, Water's Edge, Surrealist Landscape," 1986-1993. The original drawing, executed in Batchawana Bay, Ontario, on March 4, 1986 did not include color. It is part of the artist's "Automatic" series. The color was added later on November 16, 1993. This information, along with the title, is provided on labels affixed to the verso.Lot Essay:Regarded as the founding figure of Native American modernism and among the top American abstract expressionist painters is George Morrison. Also highly regarded as a master collage artist, he assembled large collages of found driftwood and woodcut in framed, puzzle-like forms. In the 1940s, he was formally trained at the Minneapolis College of Art and in the 1950s at the Art Students League in New York before receiving a Fulbright to study in France. Taking his place as part of the modern art movement in New York in the 1950s after World War II, he was friends with Jackson Pollock and Willem de Kooning, regularly exhibiting with de Kooning, Philip Guston, Hans Hofmann, and Franz Kline. Morrison helped bring the New York Modern Art movement to Minnesota, where he was based and worked with pure form via Abstract Expressionism. Later in his career, in the mid-1970s, Morrison shifted to a new theme and started to really explore his heritage when he and his family built a home with an art studio on the Grand Portage Indian Reservation on Lake Superior, naming it Red Rock.Rather than portraying an overt depiction of identity, Morrison was in the process of exploring his identity so he looked to nature, stating “in this search for my own identity, I seek the power of the rock, the magic of the water, the religion of the tree, the color of the wind and the enigma of the horizon.†Translating nature into paintings was Morrison’s way to navigate learning and absorption, and in turn produce self-expression. His token theme was the horizon, taking on dynamic form as colors or shapes in the eternal motion of nature. His inspiration was provided by Lake Superior, observing and documenting the temporary sight of the revered sky meeting landscape that he beheld in the moment.His artworks are spotted today in the collections of the Heard Museum, Philadelphia Museum of Art, and Whitney Museum of American Art, US National Gallery of Art, Minneapolis Institute of Art, and the Walker Art Center. In 1997 he was honored in a ceremony at the White House when his work was included in the Twentieth Century American Sculpture at The White House: Honoring Native Americans exhibition. In 1999 Morrison was honored as inaugural Master Artist in the Eiteljorg Museum of American Indians and Western Art, Indianapolis.Sight; height: 4 in x width: 7 in. Framed; height: 11 in x width: 14 in x depth: 1 in.Condition: The colors are bold and bright. There are no visible tears, losses, or signs of restoration. Housed under a mat. Framed under glass; light wear to the frame. Not inspected out of frame.
Early 20th CenturyProject de LoggiaSigned P. Boucher and dated 1916 (lr); inscribed Ecole Centrale des Arts et Manufactures (ul)Black ink and watercolor on paperSight 25 1/4 x 17 3/4 inches (64.2 x 45 cm)Frame 35 1/4 x 27 3/4 inches (89.4 x 70.5 cm)Together withFrench School, circa 1840-1850, Engineering Study of a Locomotive, stamped Ecole Centrale de Commerce et d'Industrie (ul), black ink and watercolor on paper, 13 x 17 inches (33 x 43.2 cm), frame 23 1/4 x 27 1/2 inches (59 x 69.8 cm);AndAmerican School, circa 1840, Architectural Drawing for the Facade of a House, black ink and watercolor on paper, sight 15 x 17 inches (38.2 x 43.2 cm), frame 25 1/2 x 27 1/2 inches (64.8 x 69.9 cm) Provenance (all three):Ursus Prints, New York Qty: (3)No condition report? Click below to request one. *Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and Doyle New York shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report
Blanchetière (Henri, binder).- Baudelaire (Charles) Les Fleurs du Mal, one of 12 copies on Japon Impérial, from a deluxe edition limited to 24 for Librairie Blaizot, with an original signed drawing in pen & ink and crayon, etched portrait of the author in 2 states and 41 etched plates by Lobel-Riche, one in 6 states and the rest in 4 states (2 with remarques), 2 plates with an additional original ink sketch, one with an original watercolour drawing, and one unused plate in 2 states, bound in dark purple-brown goatskin with coloured inlays, by Henri Blanchetière, upper cover with naked figure outlined in silver with inlaid snake in green goatskin and large climbing floral spray in various colours, lower cover with cat in profile outlined in silver above a smaller inlaid floral spray in coloured goatskins, spine lettered in gilt with 4 raised bands, the larger centre compartment with inlaid lyre and flowers in coloured goatskin and tooled in silver, dark red goatskin doublures edged with inlaid floral border in colours, signed at foot of front turn-in dated 1923, dark red silk moiré linings, marbled flyleaves, original wrappers bound in, g.e., very slight rubbing to spine, board slip-case (rubbed), 4to (binding c.380 x 285mm.), Paris, 1917 [but 1921].*** A sumptuous work issued in celebration of the fiftieth anniversary of Baudelaire's death. In addition to these 24 deluxe copies, 200 were issued on papier vélin for members of the Cercle Grolier.Henri Blanchetière (1881-1933), was a follower of Marius-Michel, at first using Art Nouveau floral designs but later developing a more modern geometrical style.
Chimot (Édouard).- Margueritte (Victor) La Garçonne, out-of-series copy from an edition limited to 330, this copy with an original signed drawing in pencil & crayons and the plates in 2 states, colour plates by Édouard Chimot, some light foxing, with 3pp. A.L.s. from the author to an unknown recipient concerning ?Fernand Kolney in purple ink tipped in at beginning, bound in crimson goatskin, by Trinckvel, spine titled in gilt with two raised bands, crimson silk moiré doublures and linings, turn-ins with thick rule in gilt, signed at foot of front turn-in, original wrappers bound in, t.e.g., others uncut, spine faded, board slip-case (rubbed), 4to (binding c.310 x 255mm.), Paris, 1936.
Symons (Arthur) London Nights, one of 50 large paper copies, the author's copy with his ink ownership inscription dated "June 25th 1895" to front free endpaper and later presentation inscription from him "To Dora [?Gordine]" above, with watercolour decorations by Charles Conder to front free endpaper (this with presentation inscription from him "Charles Conder to A Symons. Dieppe 95. October 1" below) and to pages 9, 11, 13. 15 and 25, 5 autograph poems by the author loosely inserted or tipped in, pencil inscriptions in the author's hand above 9 poems, occasional light foxing and some browning or offsetting, some finger-soiling, silver gelatine print photograph of Baudelaire's drawing of Jeanne Duval laid onto front pastedown, original cloth, some marking or staining, rubbed, housed in custom black morocco drop-back box, 8vo, 1895.*** A remarkable copy enriched with six superb Conder watercolour drawings. The volume shows Symons in the process of revising the collection in the years following publication, some of the autograph poems are marked "For London Nights" by the author at head and appeared in subsequent editions. The pencil names to the head of the poems give some insight to the various figures in Symons' circle that inspired the works, including the Alhambra dancer Josephine Casaboni and the famous "Lydia" whose relationship with the author was an important source of inspiration. Symons later presented this copy to "Dora", likely the sculptor Dora Gordine (1895-1991) of whose works Symons was a great admirer to whom he would inscribe several works in his later years.
Max Klinger (1857-1920)Weiblicher Akt mit Faun, or Female nude with faunPen and black ink, signed with initials and dated 'MK 7.Aug 89' in the lower left corner, indistinctly numbered in the upper right corner [?]'XXXXI', image 290 x 182 mm (11 3/8 x 7 1/4 in), under glass, repaired tear to the centre left edge running into the image, scattered spotting, light browning and minor surface dirt, framed by Simon Cooper, 1889*** Max Klinger, born into an upper-middle-class family in Leipzig, emerged as one of the most erudite and cultured artists of his era. His intellectual pursuits spanned a wide range of disciplines, from literature and philosophy to music and various forms of visual arts. While his artistic talent shone through in both sculpture and painting, it was his engravings and etchings that defined his legacy and produced his most celebrated masterpieces. A powerful drawing, presumably a study for a print, exploring Klinger’s fascination with the social issues of moral decay that defined modern life. Other fantastical erotic nudes by Klinger that compare closely with the present drawing include Seated Nude Woman Beckoning a Dancing Phallus, executed in 1882 [cf. ‘Max Klinger 1857-1920’, Frankfurt, Städtische Galerie im Städelschen Kunstinstitut 1992, p. 299, No. 85].
Farge (Henri).- Verlaine (Paul) Les Amies. Scene d'Amour Sapphique. Sonnets, one of 200 copies on Arches, signed presentation inscription from Henri Farge to René Philipon on half-title, Autograph Letter signed by Verlaine tipped in at front along with pen and ink portrait by Farge, pen and ink with watercolour drawing by Farge tipped onto leaf following the poem "Sappho", 7 tipped in plates by Henri Farge, light browning and slight marginal damp-staining to endpapers, vellum, gilt, by Yseux de Thierry-Simier, light marking to upper cover, scuffing to spine tips and corners, g.e., folio, Paris, 1921.*** René Philipon (1869-1936), author and collector, possible subject of the Farge portrait.
ATTRIBUTED TO GEORGE LESLIE HUNTER (SCOTTISH 1877 - 1931), LANDSCAPE pen and ink on paper, signed 'L Hunter' mounted, framed and under glassimage size 20cm x 28cm, overall size 50cm x 55cm Note: George Leslie Hunter (7 August 1877 – 7 December 1931), was christened simply George Hunter, but he adopted the name Leslie in San Francisco, and Leslie Hunter, became his professional name. Showing an aptitude for drawing at an early age, he was largely self-taught, receiving only elementary painting lessons from a family acquaintance. A Scottish painter, he also spent fifteen formative years from the age of fifteen in the USA, mainly in California. He was later regarded as one of the four artists of the Scottish Colourists group of painters. Following his youth in California, he returned to Scotland, painting and drawing there and in Paris. Subsequently, he travelled widely in Europe, especially in the South of France, but also in the Netherlands, the Pas de Calais and Italy. Hunter painted a variety of still-lifes, landscapes and portraits, and his paintings are critically acclaimed for their treatment of light and the effects of light. They became popular with more progressive critics and collectors during his lifetime and have grown to command high prices since his death, becoming among the most popular in Scotland. One hundred of his paintings are held in UK public collections.
Napoleonic military interest: Thomas Rowlandson after Johann Michael Voltz, broadside with anti-Napoleon engraving, published by Rudolph Ackermann, c1814, glued to a paper backing; a watercolour of St Helena, glued to a paper backing; ink sketch of an old Napoleonic soldier; tiny pen and ink drawing of a (possible) soldier and man talking. (4)
Percy Kelly (1918-1993), a collection of print illustrated partial letters, with pen and ink drawing attached to an envelope, signed and addressed Pear Tree Cottage Magpie Lane Rockland Street Rockland St Peter Attleborough Norfolk, together with a letter "Dear Mary" where Percy discusses the use of a photocopier, together with another letter and picture of a farmhouse. The envelope 16 x 22.5 cm, framed. NOTE: These pictures were originally Lot 868 in The Mary Burkett Sale September 2015 Mitchells Auction. ARR.
Attributed to Anne-Louis Girodet de Roucy-Trioson (French, 1767-1824) The Revolt at Cairopen and ink over graphite35 x 47.5cmGirodet is known to have made a number of preparatory studies towards his monumental canvas 'The Revolt of Cairo', commissioned by Napoleon in 1809 to commemorate this bloody episode from the Egyptian campaign of 1798. The present drawing, with architectural details in pencil to the background, is close to the final composition, possibly executed one stage before the artist's more finished oil sketch of similar proportions, now with the Art Institute of Chicago (1999.384).Discolouration to the sheet as illustrated with light spotting throughout. Not laid down, no tears evident. Framed and glazed. 41 x 54cm framed.
Johannes van Dregt (Dutch, 1737-1807) Landscape with man and his dog crossing a tree-lined bridgesigned in ink and dated 1782 to versopencil15 x 23cm;together with a further pencil drawing of musicians entertaining a seated man drinking beer, signed and dated ‘Julie Obert, 1818’; and pencil drawing of a horse-drawn log wagon nearing a castleall unframed (3)
Calligraphy & Penmanship Richards (William H.) Manuscript Ornamental Album entitled 'Manuscript Ornamental Album comprising Specimens in Penmanship and Drawing' folio, dated 1847, including ink penmanship of title, unrelated title design, Ode to Spring, a page of decorative devices, and map of England and Wales with coloured borders inscribed W. H. Richards 1847, sample book pages with vignettes, an architectural plan and elevation and several pencil sketches including one further pasted and one loose, some signed W. H. Richards and dated, the pasted portrait sketch inscribed Jenny Lind 1847
Thomas Hennell RWS, British 1903-1945 - Autumn walk; watercolour on paper, 30.8 x 23.3 cm: together with another watercolour and ink on paper by the same artist, 43.5 x 27 cm (2)Provenance:the Artist's sister; the Biographer of the Artist, gifted by the above and thence by descentNote:according the label on the reverse, this work was painted in the late 1920s or early 1930s. Painted rapidly without the ink or pencil drawing that familiarly provides the structure of Hennell's pictures. During the 1930s the artist became friendly with figures based in Essex including Edward Bawden and Eric Ravillious. Sadly the artist's promising career was cut short following his premature death in World War II. Many of his works are in the collection of the Imperial War Museum, Fry Art Gallery and Manchester Art Gallery.
Paul Feiler, British 1918-2013 - Mousehole Harbour, 1953; ink and pencil on paper, signed and dated lower left 'Feiler 53', 13 x 16.8 cm (ARR) Provenance: The Collection of Mollie and Graham Dark Note: the present work relates to the paintings 'Mousehole Harbour, 1952' and 'Low Tide, Mousehole Harbour, Cornwall, 1953' and demonstrates the artist pairing down the Cornish landscape into abstract form, using a darkened palette. These works were made while the artist was living in Bristol and in the lead-up to his first one-man exhibition at the Redfern Gallery in London. There is a photocopy of a drawing of two figures attached to the reverse of the frame, possibly an image of the reverse of the work. Feiler was an important and celebrated artist of the modernist St. Ives School in the latter part of the 20th century, alongside William Scott, Peter Lanyon and Bryan Wynter. He first visited Cornwall in 1949, producing highly abstracted responses to the landscape. Tate St Ives has held two large solo exhibitions of his work in 1995 and 2005.
Laurie Stewart (20th Century) - A group scene in sunlit landscape - Mixed media on paper - 21 x 33.5cm - 35 x 47.5cm framed - Inscribed below and to the backing - Together with a surrealist pen and ink drawing signed Max Symens (?) and dated 27/11/67, 25 x 15.5cm, 45 x 31cm framed (2) - Provenance: By descent from James (Jim) O'Connor, Edward Wolfe's partner
Circle of Gaspar Dughet (1615-1675)Landscape with dancing figuresPen and brown ink, wash, traces of black chalk, ruled ink borderline, laid onto mount support with gold border, crudely erased ink inscription [Richardson's? hand] to mount that reads 'Nicolas Poussin', minor handling creases and surface dirt, sheet 184 x 257 mm (7 1/4 x 10 1/8 in) (framed)Provenance:Jonathan Richardson Snr. (1667-1745) [Lugt 2183]GH (mark unidentified) [Lugt 1160]Private collection, UK*** Showing influences of Lorrain, Poussin and other artists working in France in the 17th century, the present drawing has some similarities to the drawing Landscape; three figures on the bank of a river..., held in the British Museum and currently attributed to Gaspar Dughet and Crescenzio Onofri (c.1632-1712) [see BM museum no. Pp,4.76].
David Hockney (b.1937)Neal Street Restaurant Seating PlanA unique offset lithograph with a pen and ink drawing of a tin of caviar and other ink additions to the work, circa 1970, signed by David Hockney, Howard Hodgkin, John and Jane Kasmin, Terrence Conran, Wayne Sleep, George Dawson, and others, on wove paper, with full margins, sheet 420 x 295mm (16 ½ x 11 5/8in) This rare work is the seating plan for a dinner, featuring some of the most prominent names in the professional and social circles of David Hockney in the 1960s. Each person at the meal has signed their name, and Hockney in addition to signing has humorously drawn for himself a large tin of caviar, as well as making other pen additions to items on the table, including a crack in the vase upper right.
*** Please note the description of this lot has changed. Giovanni Francesco Grimaldi (1606–1680)Landscape with shepherds kneeling before a termPen and brown ink, 17th century, on thick laid paper without watermark, pencil attribution to Grimaldi verso inscribed 'Attribution Pouncey BM', central vertical fold with associated creasing, minor surface dirt, laid at extreme edges onto 18th century window mount with verso exposed, sheet 235 x 325 mm (9 1/4 x 12 3/4 in) (framed)Provenance:Colnaghi, London [as by Annibale Carracci (1560-1609)]Private collection, London*** The present drawing bears Philip Pouncey's attribution to Giovanni Francesco Grimaldi verso.
Emil Nolde (1867-1956) Red Blooming Cacti (Epiphyllum Lovibia), signed lower right, watercolour on Japanese long fibred paper, 47 x 35.5 cm (SH), frame by Alfred Hecht (1907-1991) 76 x 64 cmThis painting has been authenticated by the Stiftung Seebüll Ada und Emil Nolde and will be included in the forthcoming Catalogue Raisonné of watercolours and drawings by Emil Nolde. A copy of the certificate signed by Dr Christian Ring and Dr Astrid Becker will be included. Provenance: Private collection, Shropshire, inherited by the current owner in 1963 and subsequently valued for family asset division in 1968 by Lord Westmorland at Sotheby's. The painting is believed to have been sourced by art dealer Dr Hermann Burg (1878-1946) for the family in the early 1940s.Notes: Emil Nolde (1867-1956) was a German-Danish painter and printmaker. He was one of the first Expressionist artists and an important figure in German Expressionism. Nolde was renowned for his intense and masterful use of colour, drawing his inspiration from the landscapes, flora and folklore of his surroundings and his home in the rural border between Germany and Denmark. He initially trained as a woodcarver but turned to painting in his thirties becoming associated with Die Brüke and Der Blaue Reiter groups 1908-1910, but Nolde preferred to work as an individual, unencumbered by the influence of others.The artist was supportive of the NSDAP party but the Nazi regime opposed Emil Nolde and banned him from painting. His work was labelled ‘degenerate art’ and 1,025 of his paintings were seized and confiscated by the Nazis. Some of these pieces were included in the infamous ‘Degenerate Art’ exhibition organised by Adolf Ziegler and the Nazis in Munich in 1937. Degenerate Art was defined as works that ‘insult Germany feeling or destroy or confuse natural form’, exhibiting 650 works by 112 artists including; Paul Klee, Pablo Picasso, Jean Metzinger, Piet Mondrian, Marc Chagall and Wassily Kandinsky. The exhibition attracted huge crowds, over two million visitors attended during its run, averaging 20,000 people per day.Despite being prohibited from working until the fall of the Third Reich, Nolde continued to paint in secret, producing some of his most striking watercolours during this period, asserting his creative freedom. Condition:The painting is a watercolour on Japanese long-fibred paper with an ink signature to the lower right. The painting does have a frame with glazing, it is currently kept separately to the frame inside acid-free wrappng inside a folder to allow for safe viewing and transportation. The sheet is in overall good condition, there are no obvious losses. There is a small repaired tear to the lower right edge which likely resulted from adhesive gum tape holding the painting in place within the frame which was repaired with lens tissue and wheatstarch paste by a conservator. All adhesive tape glue residue has been removed. There are some creases/crumples present including a horizontal crease extending horizontally at the mid-upper right edge between the flowers. There are further crumples which have been photographed - please see additional images in catalogue. There are some spots of foxing present which are predominantly located in the background areas rather than the flowers, the spots appear generally sparsly distributed across the sheet. The paint surface appears generally stable and the colours are good. The frame is gold coloured with black painted outer, the mount is topped with pale green material. The joints of the frame are sound, there is some general wear and tear present.
Manner of WALTER RICHARD SICKERT ARA (British 1860-1942) Study for L'armoire a Glace Ink drawing, signed 'Sickert' lower right, 16cm x 10cm, frame 27cm x 19.5cm. Unproven provenance: purchased from Ron Slaven of Wakefield together with a Francis Hogkins for £3,700 on 14th January 2001.Image has not been inspected out of the frame. Waves in the paper would suggest that the image is not stuck down.
Scottie Wilson (1888-1972) 'Ducks and Fish', pen and ink drawing, unsigned, 39cm x 26cmProvenance: Previously from the estate of Kendrick Owen. Overall marks and scuffs. Display wear to the frame. There is damage to the mount in the lower left corner. Some discolouration to the paper in places. Otherwise seems ok.
JOHN WHITE ABBOTT (BRITISH 1763-1851) THE LOWER PART OF CORRA LINN, FALLS OF CLYDE watercolour, pen and ink on paper 23cm x 18cm (9in x 7in) The Artist's great, great, grandsonwith The Fine Art Society, London, 1946 Loyd CollectionChristie's, London, British Art on Paper, 5 June 2007, lot 3Christie's South Kensington, Old Master and British Drawings and Watercolours, 5 December 2013, lot 105 Exhibited: Newbury, Newbury Spring Festival, The Development of English Landscape Painting in Watercolours and Drawings, 1984, no. 9Literature: Leslie Parris, The Loyd Collection of Paintings, Drawings and Sculptures, Bradbury Agnew, 1967, no. 67, p. 30, pl. 59.Francis Russell et al, The Loyd Collection of Paintings, Drawings and Sculpture, privately published, 1991, no. 67, p. 30, pl. 67According to Christie's cataloguing in 2013, the original mount bore the inscription 'The lower part of Corriag... Lynn - one of the Falls of the Clyde./JWA. July 6.1791' and was numbered 'No 42' (on the verso of the mount)The lot was further footnoted: Abbott's earliest known watercolours date from 1791, when he undertook a tour of Scotland and the Lake District, through Lancashire, Derbyshire and Warwickshire. There is another drawing of Corra Linn, from the same tour, numbered 47, in the Victoria & Albert Museum, London (E.324-1924).
THOMAS STOTHARD (BRITISH 1755-1834) THE ORLEANS FAMILY RECONCILED BY THE DUKE OF BURGUNDYpen and ink and wash8 x 23cm; 3 1/4 x 9in32 x 50cm; 12 3/4 x 19 1/2in (framed)The present work is a study for one of the eight panels en grisaille of chivalrous scenes from the chronicles of Enguerrand de Monstrelet that Stothard completed to decorate the upper part of the octagonal library at Hafod, the estate of Colonel Thomas Johnes in north Wales. A wealthy landowner, Johnes devoted his time to literary pursuits and surrounded himself with a circle of artists that included J. C. Ibbetson, John 'Warwick' Smith, J.M.W. Turner and the architect John Nash. Stothard had first been employed by Johnes as drawing master to his precocious invalid daughter Marianne. When a fire burned the house down in 1807, Johnes had it rebuilt by Nash in an Indian style with an octagonal library to hold what remained of his valuable library. Stothard's great interest in medieval art prepared him for this commission which was much admired by the bibliophile Thomas Dibdin.
Faye Eleanor Woods Lady II, 2024 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Faye Eleanor Woods' sensual paintings act as a love letter to her own experience, full of life's joy, absurdity, humour, loss, and fear. Using raw pigments and acrylic ink, she forces rich colour into the grain of the canvas, blurring edges with copious amounts of water or using thin layers of oil to blend the figures with their backgrounds, creating an ethereal presence. As Woods says, "I try to bring attention to the surreal aspects of life and the way the oddness of experience manifests within individuals and how that manifestation then affects me. In my vulnerability, I crave strange moments of intimacy. I imagine drinking straight from the tap of all emotion, drinking so much of it, I take on too much and I'm sick and everything I spew out ends up in my work." Inherently influenced by British folklore and folk horror, Woods' paintings tell their own tales rooted in corporeal experience which then becomes heightened or exaggerated, resulting in a form of magical realism. A spirit of excess runs throughout the scenes that she depicts. Empowered yet vulnerable, the behaviour of paint sensualises her ruby red mouths, flushed cheeks, pert nipples, and knees rubbed raw. Dancing, leaping, cavorting figures in various states of consciousness or undress partake in a bacchanale that defies the hypocrisy of supposed propriety and convention, challenging the stiff upper lip. Eyes shine with ecstatic bewitchment as her animalistic protagonists dance and leap in a debaucherous state which teeters on the fine line edge between calamity and joy. What is conveyed is the relatable oddness that exists between the magical and the mundane. Education 2017 - 2021 Painting and Drawing BA Hons Solo Exhibitions 2023 The Grass Are Green, The Flowers Is Brown and Crimson, Anima Mundi, Cornwall, UK Group Exhibitions 2024 My Soul Hurts and I Think I Have Tinnitus, Calcio Gallery, London, UK 198th RSA Annual Exhibition, Edinburgh, UK VESSELS, OHSH, London, UK 2023 Ostara, Anima Mundi, Cornwall, UK New Contemporaries, Royal Scottish Academy, Edinburgh, UK Blue Shop Cottage WOP 5, London, UK Intersections, Black White Gallery, London, UK Bodies, Gluttony and Me, Pictorum Gallery, London, UK Neo Gothic, OHSH, London, UK Awards 2021 New Contemporaries RSA Gray's School of Art Purchase Prize 2024 RSA Latimer Award Statement about AOAP Submitted Artwork All four of these works are monoprints made with acrylic. I have been exploring accidental mark-making with my smaller works, and I feel like this experiment captured them perfectly! You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Noemi Conan The Ambassador, 2024 Smooth gel ink ball point pen and Ferrero Roche wrapper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Noemi Conan, born in Warsaw, Poland in 1987. Painter. Lives and works in London. Exploring the narrative potential of visual art through surreal, confrontational and/or humorous images of female friends, family and feline companions in forest landscapes of firs and ferns. Weaving slavic folklore with themes from communist and capitalist propaganda into stories based on personal experience of a young woman in off centre 90's Eastern Europe. Having gone through a miraculous journey through space and time, after working miriads of menial migrant jobs, Noemi Conan has finally decided that she's grown up to be a painter. Despite the warnings of her grandmother, despite the deluge of her mother's tears. She was not a good cleaner, not an attentive housekeeper. The famous Polish work ethic has not been ignited by any of the jobs that her friends in London worked their way up through. A passion for storytelling and the need for visual aids to explain a curriculum vitae that either confused or outraged her collegues has finally resulted in a glowing path to the Parnassus of a 'career'. Using plastic colours on canvas, on paper, on glass, on wood, the point of all these ridiculous adventures of the past has been found. Taking on the name of one of her REAL dads, the ones who actually taught her life in a small town in Western Poland all those years ago where even all the cats were female cats, Conan decided to take no prisoners. Following her other dad, the sad Norwegian man with a moustache, she gone over-the-top about her emotional landscapes. The last dad taught her that it's sometimes worth looking way back to go forward and applaud that progression on the faces of your opponents. Thank goodness for Arnold and Edvard and Igor. Conan's work has been exhibited in the UK and internationally. Her work is in the collections of Soho House London, Glasgow School of Art and the Urban Nation Museum in Berlin. She has been selected as one of Bloomberg New Contemporaries in 2021, has been featured in the John Moores Painting Prize in 2020, the Royal Academy Summer Exhibition in 2021 and the Royal Scottish Academy Annual Exhibition. She graduated with a BA (Hons) in Painting and Printmaking from the Glasgow School of Art followed by the Royal Drawing School Drawing Year (2021-2022). Currently at the Turps Studio Programme (2022-2024) and The Fores Project February-March 2023 residency. From september 2024 she will start an MFA in Painting at the Slade in London. Represented by Christine Park Gallery in Shanghai and Traits Libres Gallery in Paris. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Loading...
