We found 10917 price guide item(s) matching your search
There are 10917 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
Lot 1941
Thirteen framed works: Robert Walker Macbeth RA (1848-1910) After William Quiller Orchardson RA (1832-1910) - Self portrait, engraving, inscribed below and presented to Netlam Rattray with kind regards, and signed by Macbeth, plate dimensions: 30 x 37 cm, frame dimensions: 73 x 64 cm; Charles Sam Keene (1823-1891) - 'A Round-About Road' (Cartoon for Punch magazine), ink on paper, framed together with the drawing as printed in the magazine, with inscribed label attached verso, illustration dimensions: 11 x 18 cm, framed; An early 20th century figurative pencil study on paper, unsigned, 16.5 x 12.5 cm; together with seven tinted 18th-19th century engravings of Monmouthshire, Herefordshire, Surrey and others; Four 20th century Japanese works to include: A Shunga painting with red chop mark upper right, opaque pigment on paper, 14.5 x 20 cm; together with three reproduction prints after woodblocks, approx. 14 x 24 cm each (two framed together) (13)
Lot 1945
Four artworks relating to the female figure, to include: A portrait of a 1930s lady, ink on paper, indistinctly signed; Vic Gilbert - pastel study of a burlesque dancer, 1984; Jill Stubbs - chalk and charcoal life drawing; together with reproduction print on board of a woman gazing into a hand mirror, all frames, largest: 78 x 59 cm (4)
Lot 889
ATTRIBUTED TO MARY WHEELHOUSE (Fl 1895-1947) 'THE TRAVELLER', an original drawing for Aesop's Fables, titled to lower margin, pen and ink on paper, approximate size 32cm x 15cm, together with sketches of female figures attributed to Bernard Fleetwood Walker, pencil on paper, approximate size 25cm x 16cm and a religious themed picture signed Timmis depicting the story of Christ, watercolour on paper, approximate size 40cm x 31cm including margins
Lot 769
ARTHUR WRAGG ( 1903-1976) 'HALLOWED BE THY NAME', a pregnant female figure with an industrial scene beyond, pen and Indian ink on paper, approximate size 25cm x 16cm, Abbott & Holder label verso, the drawing was used to illustrate the book 'The Lord's Prayer in Black & White' published by Cape in 1946, Condition Report: frame marked in places (artist resale rights apply)
Lot 941
ONE BOX AND LOOSE EPHEMERA AND DECORATIVE ITEMS to include a quantity of vintage postcards depicting UK and European towns, cities, and seaside resorts, as well as royal interest, a large quantity of vintage cigarette cards to include Player's military themes, Turf Cigarettes Radio, Sports and Film stars, and hundreds spares and loose cards, a limited edition Royal Mail Royal Mint No. 530/1000 Eliabeth II jubilee anniversary coin, a small group of vintage football memorabilia to include a 1960s West Bromwich Albion pennant, a 1947-1948 Football Annual, a 1950s West Bromwich Albion fixture list, an Olympic Diary of Tokyo 1964, four South American decorative items to include a large sgraffito vase from northern Brazil, a wooden plaque from Rio, a church plaque from Peru, and a vintage Mexican clay art church, a hand carved soapstone trinket dish, a group of framed pictures to include an Arthur Ralph Middleton Todd (1891-1966) 'Old Cornish Fiddler', a pen and ink portrait of a male figure wearing a hat, signed lower left, approximate size 22cm x 18cm, an unsigned early 20th century pencil and watercolour full length portrait of a continental female figure, approximate size 56cm x 37cm, an unsigned 19th century pencil drawing of a male figure with a coach and horses, etc (1 box and loose) (s.d)
Lot 217
*** Please note, the description of this lot has been updated.Original illustration.- Jones (Barbara) Architectural detail of the pineapple on the ‘Tong Gates’, the gate pillars to Tong Castle in Shropshire designed by Capability Brown, pen and black ink, over pencil, on cream wove paper, signed lower left, image 305 x 230 mm (12 x 9 in), under glass, minor surface dirt, framed, [circa 1974]; together with a signed lithograph of a church interior by Alan Powers, from an edition of 150, framed, 20th century (2)*** A related illustration of Jones's drawing was used in the 1953 edition of the book, Follies & Grottoes, illustrated on page 116.
Lot 265
Elizabeth A Lampson - a group of four drawings and paintings comprising 'No Breakfast Today' - a still life and figural painting, oil on board signed lower left and verso 48cm x 65cm framed; 'Finders Keepers' - pen and ink drawing 79cm x 53cm; 'Hanningfield Reservoir' - pen and ink drawing 13cm x 25.5cm; and 'A Study in two Halves' - watercolour extensive landscape of fields and trees 14cm x 41.5cm, each signed, all three in glazed frames Location:LWFIf there is no condition report shown, please request
Lot 302
Two 1930's fashion designs, depicting a lady in three coat styles, including a bolero, en grisaille, in watercolour wash and ink; together with other clippings and drawings, including: a 1920's pen and ink drawing of a lady in a cloche hat; a small quantity of printed 'Flapper' fashion clippings, 1930's drawings; 53 x 38cms, 53 x 22cms, 1930's drawing; 14.5 x 9.5cms; and pasted newspaper clippings approximately 35 x 23cms a page.
Lot 819
Three pictures including Basil Beattie (British, b.1935) - Untitled - mixed media on paper 36 x 28cm, 58 x 48cm framed -Provenance : Eagle gallery, London, 2007 - Together with a charcoal drawing of a running Cheetah, inscribed upper right - 43.5 x 70cm and an abstract ink wash drawing in the manner of Willi Soukop (b.1936), 26.5 x 22cm, label of the Royal Academy framing attached to the backing (3).
Lot 655
Punch satirical magazine pair of original ink on paper cartoons by William. J. Hodgeson (fl 1878-1903), late 19th Century, signed by the artist with his hand-written captions on the mounts, being 1) 'Proverbs / (Piscatorially put) / "'It is an ill wind…” / Particularly when it brings about a serious entanglement / between Charlie's flies and Mandie's pretty hair (Charlie is very short-sighted - so he says)’. “Original for 'Punch'"; size 5 ½ in. x 7 in. (13 ¾ in. x 15 ½ in. with frame); 2) ‘Sad want of Respect / Rude Boy (to Jones who hopes to be taken for a cavalry officer) "Fah! Call that 'ossmanship - / Why it'll be 'ossmanship week afore you've gone a mile’, signed and dated 1897, size 9 ½ in. x 6 ¼ in. (17 ½ in. x 13 ½ in. with frame). Both recently reframed using the original period frame, on the reverse of which is a laminated copy of the back of the cartoon board, on which Hodgeson wrote his original caption prior to the cartoon’s submission to Punch, that on the mount being the final published version. Light foxing. The term ‘cartoon’ to refer to a comic drawing was invented by Punch in 1843, when the Houses of Parliament were to be decorated with murals, and "cartoons" for the murals were displayed for the public; the term "cartoon" at that time being a finished preliminary sketch on a large piece of cardboard, or ‘cartone’ in Italian. Punch appropriated the term to refer to its humorous political cartoons and their popularity led to the term's widespread use.
Lot 024
John Duncan (British, late 19th/early 20th century) two watercolour on paper birds, blue tits, both signed and dated 1899, framed, one glazed, overall size 39cm x 31.5cm. John Duncan belonged to a renowned family of taxidermists from Newcastle. He worked as an ecclesiastical glass painter for almost 40 years and studied drawing under Mr William Bell Scott (artist and poet). From 1888 to 1898 he contributed weekly series of pen and ink sketches of birds of The British Isles to the Weekly Chronicle. (2)
Lot 772
Paul Draper - A 1976 pen and ink architectural drawing of '17 Fournier Street', signed and dated by the artist. The drawing depicts the front door of a building on the street. Framed and mounted, measuring approx. 54cm x 41.5cm. Born in 1947 Bedford, England, Draper specialises in architectural drawings, working mainly in pen and ink, and watercolour. He also worked as a designer, in which he has collaborated on many projects around the world, including the rebuilding of the ice skating rink in New York's Central Park, and in the 1990's worked as a design director of the innovative designer radiator company Bisque. He has lived and worked in Covent Garden, London since 1970 and constructed an etching workshop in his studio in Camberwell Green.
Lot 771
Paul Draper (B. 1947) - Pen and ink architectural drawing of 'The Duke of York Theatre, H. Martins Lane' signed 'P.N.Draper' and dated 1971 by the artist. Framed, mounted and glazed, measuring approx. 59cm x 57cm. Born in 1947 Bedford, England, Draper specialises in architectural drawings, working mainly in pen and ink, and watercolour. He also worked as a designer, in which he has collaborated on many projects around the world, including the rebuilding of the ice skating rink in New York's Central Park, and in the 1990's worked as a design director of the innovative designer radiator company Bisque. He has lived and worked in Covent Garden, London since 1970 and constructed an etching workshop in his studio in Camberwell Green.
Lot 909
A LARGE QUANTITY OF PICTURES AND PRINTS ETC, most of the pictures are late 20th century needlework pictures, together with two J.A. Wylde Bilston enamel plaques, a pen and ink drawing of buildings beside a river signed Dale, prints include Canaletto 'The Square of St Mark', Frank Moss Bennett 'A Glass of Wine', Berthe Morisot 'Harbour at Lorient', Bernard Louis Borione genre print and Harold Clayton floral still life print, largest size approximately 55cm x 65cm excluding frame, 73cm x 82cm including frame, some damage to frames etc (3 boxes and loose)
Lot 24
This is an original color ink drawing on cotton fabric mounted onto Masonite board, created by Thai artist Ronarong Thanomtup. The artwork, signed on the lower right, depicts a young nude female in profile, delicately combing her dark, straight hair. Thanomtup's intricate use of ink and textured backgrounds highlights his mastery of traditional Thai artistic techniques, combined with a modern sensibility. Born in Bangkok, Thailand, in 1940, Ronarong Thanomtup is celebrated for his innovative monoprint techniques and evocative portrayals of Thai culture. A graduate of the prestigious Poh Chang Arts & Crafts College, his artistry has earned him international acclaim, with collectors including Lyndon B. Johnson, Bob Hope, and Vincent Price. Thanomtup's works often explore the harmony of traditional Thai themes and contemporary expression, reflecting his unique artistic vision. Known for his unconventional process of applying color with his hands, fingers, and palms, Thanomtup's creations are distinctive, blending spontaneity with precision. His artworks, including those housed in notable galleries such as the Sombat Permpoon Gallery, often feature intricate ink drawings and monoprints that capture the cultural and artistic essence of Thailand. This particular piece exemplifies Thanomtup's ability to combine traditional techniques with modern interpretations, making it a desirable acquisition for collectors. Housed in a wood frame with a linen mat, this signed drawing is a testament to his enduring legacy in Thai fine art. Artwork dimensions: 16"L x 24"H Frame dimensions: 26"L x 34"H x 1.25"WArtist: Thanomtup Ronarong (Thai b. 1940)Issued: c. 1970Dimensions: See DescriptionCountry of Origin: ThailandCondition: Age related wear. Sporadic soiling on upper left and right.
Lot 290
Dennis ENDEAN IVALL (1921-2006) 'The Miner' and 'Old Quay & Cave, St Agnes Each watercolour and ink, signed, 25.5cm x 35.5cm; together with a 19th century miniature watercolour of a girl and a dog by a different hand, 10cm x 7cm. Dennis Endean Ivall was born in Essex in 1921, the youngest of four children. His father was then an accountant with ICI and his mother was a member of the Endean family of St. Agnes, so he visited Cornwall for holidays from an early age. He attended the Sir George Monoux Grammar School in Chingford, and then joined ICI. In the Second World War he enlisted in the Ordnance Corps, seeing active service in the retreat from Burma, and later in Ceylon and the Cocos Islands, where he reached the rank of Warrant Officer, First Class. After the war he trained as an artist and art teacher. Working at first as a freelance artist, he later became an art teacher in Barnstaple, North Devon – the nearest to Cornwall that he could get at the time. In 1973, Dennis took early retirement and moved to Cornwall, living at first at Ponsanooth and then for thirty years at Perranwell. He worked as a designer, a record agent and principally as a heraldic artist and designer, only retiring from this work when suffering from illness in the last three years of his life. Heraldic art was his great passion, and he carried out the design and painting of coats of arms for many clients across the world. He was the author of the book Cornish Heraldry and Symbolism and, among the work he carried out in Cornwall, was the painting of the organ panels at Cuby church, the repainting of the coat of arms at St.Dennis after the fire and the design and painting of a banner for St.Agnes and, of course, the banner of St. Piran in this church. Heraldry and his military service gave rise to an interest in army insignia and badges and, with Professor Charles Thomas, he was the author and illustrator of Military Insignia of Cornwall. He was a founder member of the Cornwall Militaria Group, and a long serving member of the Perranarworthal branch of the British Legion. His enthusiasm for heraldry led Dennis to join the Order of St.Lazarus, an international charitable order founded in the Holy Land. He was a member of the Commandery of Avalon in the West Country, and became Judge of Arms of the Commandery, of the Bailiwick of England and then of the whole order worldwide, attaining the rank of Knight Grand Cross. Although he was such a talented artist, with a worldwide clientele, he was always ready to lend his talents to local activities, whether painting scenery for Carnon Downs Drama Group, drawing posters for the Women’s Institute or touching up the lettering on the war memorial.
Lot 194
An original black and red ink, and graphite drawing on paper by artist Rudolf Herrmann, depicting a caricature of an old gentleman sitting inside a safe with a shelf full of bags dripping a red liquid. Signature on lower right. Artist: Rudolf Herrmann (German, 1879-1963)Dimensions: 11.75"L x 13.75"HCondition: Age related wear. Soiling on lower part of paper. Time stained.
Lot 32
An antique engraving printed in black ink, colored by hand on wove paper after William H. Barlett's drawing, Faneuil Hall, engraved by H. Griffiths. It was published in London for the Proprietors by Geo. Virtue, 26 Ivy Lane, 1838. Artist name on lower left. Engraver name on lower right. Housed in a wooden frame with an off-white mat. Sight size: 8"L x 7"H. Frame dimensions: 13.5"L x 0.75"W x 12.25"H. Artwork can be unframed and rolled for shipment. Artist: After William H. Bartlett (British, 1809-1854)Issued: 19th centuryDimensions: See DescriptionCountry of Origin: EnglandCondition: Age related wear. Foxing throughout margin. Small scratches on lower edge of frame.
Lot 215
A mixed group of engravings pen and ink, and pencil drawings to include a pen and ink and wash and a pencil and wash drawing of a 19th century cabinet, a print of a drawing of a third cabinet, Leonard Howells - Market Day, Wigan, unframed engraving, James B Lee - At Port St Mary I.O.M, engraving, Florence M Wilkins - cottages overlooking Ghyll Bank - print on scraperboard, and othersLocation:If there is no condition report shown, please request
Lot 590
Grenfell (Julian, 1888-1915). British soldier and poet of the First World War. Autograph Annotated Copy of The Ethics of Aristotle, by John Burnet, London: Methuen & Co., 1900, lii, 502 pp., plus 40-page publisher’s catalogue at rear, Greek text with English commentary including double-column footnotes, heavily annotated and underscored by Grenfell in pencil and sometimes ink, a few additional manuscript notes on paper slips using Balliol notepaper pasted in, one slip with a drawing of two horses, boldly signed and dated in grey watercolour to front pastedown, ‘Julian Grenfell, Balliol, 1908’, with signature repeated to upper cover in the same brush, upper hinges cracked with old paper adhesion remains to front free endpaper, untrimmed, original cloth, rubbed, lower cover slightly damp-marked, large 8voQTY: (1)NOTE:A rare autograph ‘manuscript’ by this short-lived soldier and war poet of World War I.Grenfell was educated at Eton and Balliol College, Oxford. He was commissioned into the British Army in 1907 and eventually attached to the 1st (Royal) Dragoons in 1910. Initially sent out to India, he then moved with his regiment to South Africa. By 1914 he was seeking help to leave the army and return to Britain, having decided to move to a career in politics. Whilst fighting on the Western Front, Grenfell became aware that lives were being regularly lost to German snipers. Using hunting skills he had developed at Panshanger, he taught his men how to crawl through No Man’s Land unseen, ‘steering by the stars’ in order to attack the German frontline trenches and gain intelligence. For this, he was awarded the Distinguished Service Order in the 1915 New Year Honours. On 13 May 1915, while Grenfell stood talking with a General Campbell, a shell landed nearby, injuring both men. Grenfell suffered extensive skull fracture, and underlying brain injury. He died from encephalitis on the afternoon of 26 May, aged just 27. The news of his death, precipitated the publication of his most famous poem ‘Into Battle’ in The Times. Today, Grenfell is most remembered for this poem, the closing lines of which read; ‘The thundering line of battle stands, And in the air Death moans and sings; But Day shall clasp him with strong hands, And Night shall fold him in soft wings.’ Winston Churchill chose other lines from the same poem for his collection of war speeches, Into Battle, the lines being set on the title-page of all copies from the sixth printing in April 1941. On 11 November 1985, Grenfell was among 16 Great War poets commemorated on a slate stone unveiled in Westminster Abbey's Poets' Corner.
Lot 473
* Boyle (Eleanor Vere, 1825-1916). Six original illustrations to Child's Play, circa 1852, a group of six fine original pen and black ink illustrations on thin card, four heightened with brown ink, each with handwritten caption or verse, including a design for the titlepage: Child's Play, E.V.B. with a quotation below ' "Deep meaning lieth oft in childish play" Schiller.', the other illustrations depicting Wee Willie Winkie, Here we are on Tom Tickler's ground, Cuckoo, Mary, Mary, quite contrary, and I had a little Castle upon the sea-side, some minor or light soiling (mainly to sheet edges), generally in good condition, each 248 x 177 mm (9 3/4 x 7 ins)QTY: (6)NOTE:Six of the seventeen drawings Eleanor Vere Boyle executed for Child's Play, issued by Addey & Co. in 1852. This first edition of Eleanor Vere Boyle's first book, a collection of illustrated nursery rhymes, was issued with monochrome illustrations after her original drawings printed by the anastatic process. Comparison with the later and inferior colour wood-engraved Sampson Low edition of 1859 shows how much more of the artist's detailed penwork is preserved in the original edition. Considered one of the most important female illustrators of the mid 19th century, Boyle moved in artistic circles which included the painters Charles Eastlake, Thomas Landseer, and Sir William Boxall (1800-1879), later director of the National Gallery (1866 to 1874), who was also Eleanor's painting tutor.An exhibition of EVB's original drawings and watercolours, entitled Sketches, Dreams and Drawings, was held at the Glass Studio at Leighton House in April 1902. In the preface to the catalogue, William Hardinge commented ‘To those who have once come under this magic, it is a spell as unmistakable as Blake’s or Rossetti’s.’ (page 118). EVB was indeed a mystic and visionary who admired greatly Blake, describing his art in an undated letter to her close friend Lady Eastlake: 'Blake is marvellous as only he can be. In some (many) of his drawings there is a feeling, a grasp of imagination as impossible for the present day mind to understand as to imitate – the feeling in them is as fine as possible – but I can understand how the people sneer, and say ‘he was mad’.' (unpublished letter formerly in the collection of Margaret de Wend Fenton, great-great granddaughter of EVB).Another original drawing for the same publication was sold in these rooms in June 2024 (Modern Literature, Private Press, Original Book Art, Pop-Up Books, Playing Cards & Games, 20 June, 2024, lot 549) along with two smaller related sketches, and some proof engravings after the illustrations, which were contained in a contemporary album inscribed by Eleanor Vere Boyle to her friend and art tutor Sir William Boxall. The present works originate from the same private collection.
![AR * Peake (Mervyn, 1911-1968). Illustrated Autograph Letter Signed, ‘Mervyn’, no place or date, [?Sark, 1947], to David, in](https://cdn.globalauctionplatform.com/880c603e-95bc-448f-9157-b23500e385eb/6a38a50c-db34-48d7-a739-b237010eae6a/468x382.jpg)
Lot 694
AR * Peake (Mervyn, 1911-1968). Illustrated Autograph Letter Signed, ‘Mervyn’, no place or date, [?Sark, 1947], to David, in sepia ink, sending some money and mentioning mutual friends, Christmas plans and hearing [Mary Norton’s] ‘Magic Bedknob’ on the radio, ‘Finance seems sticky. Here are two miserably little cheque-lets, but £100 ought to be forthcoming any moment. The snag is Xmas … We heard Mary's “magic” bed-knob on the wireless the other night. Awfully well done. Love to Chick and Wendy from us both’, with a large fantastical long-billed creature playing a semi-circular grand piano drawn to the upper half of the page with text below and the caption, ‘“Let me see - how did that passage go?”’ written at the top, a few minor marks and some slight splitting along folds, 1 page, 4to (225 x 175 mm), tipped onto paper, mount aperture, together with a small pencil drawing of a man’s head on paper, attributed to Mervyn Peake, water stain to lower left area of image, 95 x 73 mm, both framed and glazedQTY: (2)NOTE:The recipient of the letter was most likely William Eric Davis MBE, (1908-1996), better known by his professional name David Davis. He was a British radio executive and broadcaster, working as a voice actor and storyteller. He was the head of the BBC Children's Hour. An accomplished pianist, he joined Children’s Hour as a staff accompanist in 1935. He soon began to perform as a reader too and became Head of Children’s Hour in 1953. He was married to Barbara Sleigh, a children’s writer and broadcaster herself. Mary Norton’s Magic Bedknob was broadcast as a BBC Children’s Hour serial in 1947 and it is likely that Davis was involved in at least one role, possibly as the storyteller. At this date Mervyn Peake and his wife Maeve were living on Sark.
Lot 623
Hughes (Ted). The Hawk in the Rain, 1st edition, London: Faber and Faber, 1957, 'The Hawk in the Rain' in full in blue ink to front free endpaper, each poem dated with a location in blue ink at foot of page, 'Wind' with neat correction adding 'black' so third line in second stanza reads 'Blade-light, luminous, black and emerald', pen and ink drawing of a serpent and unpublished poem in blue ink to rear free endpaper, original blue cloth, yellow lettering to spine, dust jacket, original promotional wraparound band, spine slightly faded with a few small nicks to head and tail, 8vo, contained in blue cloth drop-back box with red morocco spine label lettered in giltQTY: (1)NOTE:Sagar/Tabor A1a.An extensively inscribed copy of Hughes' first book, with manuscript poems to both endpapers (the latter unpublished), a pen and ink sketch of a serpent, a manuscript correction to the poem 'Wind' and each poem given a date and location, all in Hughes' hand.
Lot 505
* Animal Farm. Three original animations from Animal Farm, circa 1954, comprising: 2 original colour cells on acetate, one showing Napoleon and Snowball, with A 2/35 63 notes in black ink to lower margin, the other showing Old Major, with notes C 2/22 37 in black ink to lower margin, and a pencil drawing on paper of Boxer and Benjamin lining up with five cows and a goat, looking ready to charge, with pencil notes 3/9 5 to lower margin, sheet size 24.5 x 30 cm, two in clip frames QTY: (3)
Lot 480
* Wain (Louis, 1860-1939). Profile of a cat’s head with bow-tie, no date, c.1911, pen and ink on a manilla envelope, signed ‘Louis Wain’ beneath, the unused envelope somewhat browned and creased, torn with loss at foot, well away from the drawing and signature, 220 x 100 mmQTY: (1)NOTE:An accompanying manuscript provenance note indicates that this was obtained by James Thomas Benjamin when he was employed by George Newnes limited in the Strand, London, c. 1911. ‘One day when I was about five years old, Louis Wain called at my father’s office on business. During the course of conversation my father asked Louis Wain if he would kindly draw a cat for his young son (referring to me [Ernest Ainsworth Benjamin]) and he obligingly drew it on a manilla envelope as you can see. This is the original and it has been in my possession ever since’, signed by Ernest Benjamin and dated 2 March 1989.
Lot 59
Circle of Beham - 16thC. pen drawing of a coat of arms with winged helmet / Description: This high quality drawing from a German artist from the circle of Sebald Beham dates from the mid of the 16th century and shows a coat of arms showing two shields surrounded by acanthus leaves and with a winged helmet on top. Although probably based on a woodcut by Sebald Beham (Hollstein III, p.280) the design of the drawing is very similar to the Weapon of Albrecht Dürer from 1523 (Meder 288, Panofsky 374) The form of the shield, the position of the helmet with similar wings and especially the position and detail of the acanthus leaves. / Dimensions: 31,60 x 20,50 cm / Condition: High quality black pen drawing in impressive format on fine laid early watermarked laid paper trimmed to the subject. General good condition with no stains, a small closed central tear and a few small defects against the top margin. / Literature: Compare with Sebald Beham (Hollstein III, p.280) ----- Compare with the Weapon of Albrecht Dürer from 1523 (Meder 288, Panofsky 374) / Medium: Ink drawing /Circa: Ca. 1525-1550
Lot 209
Anthonie van Borssom, Cornelis Ploos van Amstel - Church interior - 1774 / Description: Interior of a church with an artist sketching, an artist seated at the foot of a pillar, a lady and gentleman walking behind at right, coats of arms hanging on three pillars; after a drawing by Anthonie van Borssom of 1630 (formerly attributed to Pieter Saenredam); from a series of forty-six print drawings (published in separate sets between 1765-1787). Etched in 1774 and published in 1774 . On the backside the coat of arms of Ploos van Amstel (Lugt. 2034) and inscribed by Ploos van Amstel, in pencil: "P. Saenredam: del. 1630. Ploos van Amstel I.C. F: 1774". Etching and roulette done by his cooperator Bernard Schreuder in Ploos van Amstel's technique to create a crayon-manner result almost equal to the drawing. The design was attributed to Pietrz. Jansz. Saenredam but then a drawing came up signed by the Amsterdam born artist Van Borssom. Drawing now in the British Museum (1912,1214.7) / Dimensions: 19,10 x 15,10 cm / Condition: Top quality original print drawing in excellent condition on laid paper. Tipped with left side only on a part of the original square thick laid paper sheet , with hand drawn frame border in washed ink. / Literature: Lit.: T. Laurentius, J.W. Niemeijer and G. Ploos van Amstel, 'Cornelis Ploos van Amstel 1726-1798, Kunstverzamelaar en Prentuitgever', Assen, 1980, pp.264-265, no.21. / Medium: Hand colored etching /Circa: 1774
Lot 448
A collection of original artworks depicting animals: Julia Manning (British, Contemporary), 'Autumn Watch', limited edition colour print of a hare, No. 60/100, signed l.r., 24.5 by 24.5cm, together with a Joanna Hull 'Raven' monoprint, signed l.r., 30 by 29.5cm, together with original paintings and an ink drawing of a sheep, stylised white horse, and cow with calf, all framed (5)
Lot 511
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.
Lot 70
A PRINCE HOLDING FLOWERS ATTRIBUTED TO SAHIB RAM INDIA, RAJASTHAN, INDIA, CIRCA 1790 ink and gouache on paper, areas heightened with white and coloured pigments, the prince stands facing left holding a flower in each of his hands, dressed in a flaring pleated skirt secured by a patka, bedecked in pearls, emeralds and rubies, his turban adorned by a sarpech and two feathered aigrettes, a halo around his head 29.5cm x 21.5cm Not many paintings from Jaipur are in Western collections, largely because its royal collections were not dispersed, as were those in other states in Rajasthan and the Punjab Hills. Jaipur, which was known as Amber until the new capital city was founded by Jai Singh II in 1727, lacks a continuous history of painting. The Hindu rajas of Jaipur were amongst the first to extend cooperation to the Mughals, with Raja Bhar Mal (r. 1548-1575) giving his daughter in marriage to the Mughal emperor Akbar (r. 1556-1605), and his granddaughter to Jahangir (r. 1605-1627). Raja Man Singh was more than an ally of the Mughals; he became Akbar’s trusted general. Early painting in Jaipur was heavily modelled on the Mughal pattern.A more characteristic Jaipur style emerged during the eighteenth century, when painting flourished during the reign of Maharaja Sawai Pratap Singh (1778-1803), a scholar, poet, ardent Vaishnavite and devotee of Krishna, whom he was meant to resemble in likeness.Under the patronage of Pratap Singh, the Jaipur school of painting entered a new and dynamic phase, with his atelier consisting of more than fifty artists. The greatest master was Sahib Ram, the Chief Royal Painter at Jaipur to whom the present drawing is attributed.Sahib Ram began his long career circa 1740, and would remain active throughout the second half of the eighteenth century until 1803. His earliest works were produced under the reign of Sawai Jai Singh II (1699-1743).Sahib Ram’s most celebrated paintings, now in the Maharaja of Jaipur Museum, include a coloured bust portrait of Pratap Singh dated 1793, a full-size portrait of Pratap Singh also dated 1793, and a mural painting of Radha and Krishna dancing, accompanied by nineteen gopis.Two large drawings attributed to Sahib Ram, preparatory studies for the mural painting of Radha and Krishna in Jaipur, depicting a “Singer and Sarangi Player” and the “Head of Krishna”, are in the Metropolitan Museum of Art, New York. These drawings, in a style similar to the present drawing, are published in Steven Kossak, Indian Court Painting: 16th-19th Century, 1997, pp. 119-121, cat. nos. 74 and 75.For more information about Sahib Ram see Ritu Pratap, The Panorama of Jaipur Paintings, New Delhi, 1996, pp. 183-84.
Loading...