There are 48235 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeMarjorie Cox, pet portrait, Suzie, pastel, signed and dated 1993, 43 x 33 cm pet portrait, Talla, pastel, signed and dated 1978, 46 x 38 cm pet portrait, Isla, pastel, signed and dated 1998, 46 x 35 cm pet portrait of a dog, Ettrick, pastel, signed and dated 1978, 30 x 40 cm, P D Clayes, pet portrait, pastel, signed, 25 x 21 cm
Pastel blue meets a bright white VELCRO® strap on this non-limited model. All the hands are in white. A black tachymeter scale adorns a white-colored bezel. All dials in the collection carry the OMEGA X Swatch branding, the iconic Speedmaster logo and the MoonSwatch logo. The biosourced glass construction, the etched ‘S’ integrated in the center of the glass, the fine and sophisticated circular pattern on the dial outer ring and the recessed subdials, the angular and smooth lugs construction, the iconic ‘dot over 90’ detail on the tachymeter scale, and of course the unique Bioceramic feel are common to all models. The hour, minute, and chronograph seconds hands as well as the hour markers sport Super-LumiNova® for a perfect glow in the dark. *In accordance with our General Conditions of Sale, the lot is sold 'as is'. The auction house does not guarantee the accuracy of timekeeping or the condition of the lot. The buyer accepts full responsibility for any repairs, maintenance checks, or works that may be required. The condition or timekeeping state will not justify delayed payments or cancellation of the sale.
§ Richard Adams (1960-) Fishing boats and figures including mermaid on beachsigned and dated 'Richard Adams 2008' (top right edge)varnished pastel45 x 61cmFramed and glazed in moulded and black painted heavy wooden frame, see additional images. Work has not been removed from the frame. Appears in very nice overall condition.
DANIEL GARDNER (1750-1805) A portrait of Thomas Cholmondeley of Vale Royal circa 1778, depicted full-length standing beside a tree, wearing a blue top coat, white waistcoat and breeches, holding a whip, a distant landscape beyond, pastel and bodycolour, 84cm x 59cmProvenance: The Grey-Egerton Family, formerly of Oulton Hall.Note: Thomas Cholmondeley (1726-1779), of Vale Royal, Cheshire, was a British landowner and Tory politician who sat in the House of Commons between 1756 and 1768. He was elected MP for Cheshire in 1756 and 1761. His son, also Thomas, was the 1st Baron Delamere.Literature: Sir Philip de Malpas, The descriptive catalogue of the pictures and other works of art at Oulton Park, Cheshire, published 1864, page 55.
DANIEL GARDNER (1750-1805) A portrait of Frances Egerton circa 1778, wearing a pearl grey dress with white lace apron and cuffs and a white bonnet, seated at a wool winder in a draped portico, a distant landscape beyond, pastel and bodycolour, 82cm x 61cm (oval)Provenance: The Grey-Egerton Family, formerly of Oulton Hall.Note: Frances Egerton was the daughter of the Rev. Philip Egerton (d. 1726) and the sister of John Egerton of Broxton, Cheshire.Literature: 'Sir Philip de Malpas, The descriptive catalogue of the pictures and other works of art at Oulton Park, Cheshire, published 1864, page 48.Originally listed as 'Mrs Puleston' but then included in the additions and corrections on page 102 as Frances Egerton.
ATTRIBUTED TO ALEXANDER KUCHARSKI (1741-1819) AFTER ELISABETH-LOUISE VIGEE LE BRUN (1755-1842) 'The Countess Potocka' a bust-length portrait of Zofia (Sophie) Potocka, wearing a blue ribbon in her hair, pastel on paper, 46cm x 37cmNote: Born Zofia Clavone in modern day Turkey in 1760, Zofia was a Greek slave courtesan and a Russian agent, later a Polish noblewoman. She was famous in contemporary Europe for her beauty and adventurous life.A 1943 letter penned by Reginald W.M. Wright, Director of Victoria Art Gallery and Municipal Libraries, Bath, is affixed verso, in which he details his opinion that the sitter is Countess Alexandra (Anna) Potocka (née Tyszkiewicz) the wife of Count Aleksander Stanisław Potocki. A further newspaper clipping housed in an envelope verso refers to the sitter being the Delfina Potocka, the Polish Countess, friend and muse to Frederic Chopin.
DANIEL GARDNER (1750-1805) A portrait of Mrs Ann Barnston, nee Egerton circa 1778, depicted full-length, wearing a white dress with fur-trimmed blue long wrap, standing by an urn on a pedestal, in a classical interior, with crimson drapery, pastel and bodycolour, 84cm x 59cmProvenance: The Grey-Egerton Family, formerly of Oulton Hall.Note: Ann was the daughter of John Egerton of Broxton, Cheshire (d. 1770). She married the Rev. Roger Barnston, Prebend of Chester. Literature: Sir Philip de Malpas, The descriptive catalogue of the pictures and other works of art at Oulton Park, Cheshire', published 1864, page 48.
DANIEL GARDNER (1750-1805) A portrait of Elizabeth Egerton circa 1778, depicted full-length, wearing a white dress with blue shawl, standing in a wooded landscape holding food out for a lamb, pastel and bodycolour, 82cm x 61cm (oval)Provenance: The Grey-Egerton Family, formerly of Oulton Hall.Note: Elizabeth Egerton was the daughter of the John Egerton of Broxton, Cheshire (d. 1770).Literature: Sir Philip de Malpas, The descriptive catalogue of the pictures and other works of art at Oulton Park, Cheshire, published 1864, page 48.
λ MARIE LAURENCIN (FRENCH 1883-1956) L'ESPAGNOLE Oil on paper laid to canvas, oval Signed (lower right) 53 x 43cm (20¾ x 16¾ in.)Provenance: Peter Meltzer, Canada, Private Collection, where purchased by Count Manfredi della Gherardesca Exhibited: Toronto, Art Gallery of Ontario, on loan in memory of Elise and David Meltzer, 1979 Literature: Daniel Marchesseau, Catalogue raisonne de L'oeuvre peint, Volume II, Paris, 1999, no. 1362 Marie Laurencin's exposure to avant-garde movements at the turn of the 20th century in Paris were integral to her artistic development and heavily influenced her journey to find her unique and distinctive style. Her relationship with the poet Guillaume Apollinaire and introduction to Georges Braque, Pablo Picasso and important figures of l'ecole de Paris introduced Laurencin to artistic movements such as Cubism and Fauvism. Laurencin rose to prominence in Paris as a notable figure within the Cubist group and exhibited with the Section d'Or at the Salon des Independents in 1910-11. Following this, Laurencin was represented by Paul Rosenberg from 1913-1940. Despite this, Laurencin remained on the periphery of Cubism and Fauvism borrowing elements of stylisation such as simplified lines and segmenting the subject into planes of colour and shapes but with her own interpretation and approach, the image remained realistic and immediately familiar. Her dreamlike colour palettes became integral to her work and this contrasted with piercing eyes conjures an emotional response, melancholic and erotic. Marie Laurencin's ethereal female figure of a Spanish lady fills the oval composition. Her elongated face is balanced by the dramatic head piece which drapes across her forehead. The viewer is immediately struck by the jet-black eyes which penetrate through the canvas. Laurencin has used her distinctive colour palette of muted colours, blue, pink and pastel tones juxtaposed against the bold black lines which appear to represent the figure's mantilla held high upon the head traditionally by a peineta. Laurencin was exiled to Spanish with her husband at the start of the First World War until 1919, it is possible that this period inspired the present lot. By 1920, Laurencin settled back in Paris and rose to prominence as an established portrait painter and illustrator. The strong female figures which sat at the heart of her subject matter were also the driving force behind her art. Laurencin strove to promote creativity and artistic endeavours amongst women in a male dominated society. Laurencin supported the Société des Femmes Artistes Modernes and exhibited with the group on several occasions between 1931-1938. The Marie Laurencin Museum was opened in Japan in 1983 becoming the first museum in the world dedicated to a female painter. Condition Report: Oil on paper laid to canvas. Evidence of old craquelure visible to the headdress and background. Ultraviolet light reveals infilling to the craquelure in addition to scattered spots of retouching throughout. Condition Report Disclaimer
λ CHARLES FREDERICK TUNNICLIFFE (BRITISH 1901-1979) BERLIN SHORT-FACED TUMBLER Gouache, pencil and pastel Titled and inscribed T. Forshaw (lower right) 24 x 25cm (9¼ x 9¾ in.)Tunnicliffe moved to Anglesey in 1947, it was at this point that he met chairman and president of Burtonwood Brewery Company and keen ornithologist Thomas Forshaw. The pair's friendship blossomed with shared interests in a love of ale and ornithology and Forshaw decided to commission Tunnicliffe to his collection of Fancy Pigeons. At one point, Forshaw held 400 birds in his aviary, an avid pigeon fancier. Tunnicliffe produced three large folios of drawings, the majority of illustrations made direct from life. Two of these folios are now held in the Tunnicliffe Museum, Anglesey and it is most likely that this present work was taken from the third folio.
λ ELWIN HAWTHORNE (BRITISH 1905-1954) COLMAN'S HATCH, NEAR CROWBOROUGH, SUSSEX Watercolour, pencil and pastel Signed (lower left) 17 x 24.5cm (6½ x 9½ in.)Exhibited: London, Alex, Reid & Lefevre, Watercolours, Pastels and Drawings by Contemporary British Artists, December 1939, cat. no. 50
λ DUNCAN GRANT (BRITISH 1885-1978) STUDY FOR PANEL TO DECORATE THE QUEEN MARY Pastel 47 x 60cm (18½ x 23½ in.)Executed circa 1935.Provenance: Private Collection, Sir Kenneth Clark Abbott & Holder, London Sale, Christie's South Kensington, 31 October 2007, lot 1317 Brown & Rigg, Tetbury, Gloucestershire Acquired from the above by the present owner in 2012 In 1935 Duncan Grant was commissioned to create a series of large panels, carpets, curtains and textiles for the First Class lounge on Cunard's Ocean Liner, The Queen Mary. Although originally accepted for the interior, the Chairmen and board of Directors turned down Grant's designs and they were never installed. Condition Report: There is a pinhole to the centre of the upper edge. No apparent condition issues. Unexamined out of glazed frame. Condition Report Disclaimer
λ GRAHAM SUTHERLAND (BRITISH 1903-1980) STUDIES FOR INTERLOCKING HILLS Oil pastel, ink and pencil Signed (upper right); titled and dated 1943 (lower right) 20.2 x 15.5cm (7¾ x 6 in.) Provenance: Private Collection, Herbert Spencer (a gift from the artist) Thence by descentLiterature:D. Cooper, The Work of Graham Sutherland, London, 1961, no. IV (illustrated in colour) Condition Report: Light surface dirt throughout some staining visible to the edges and lower left corner. Slightly rounded corners and right edge is not straight, but this would have been artist's intention. A small diagonal crease to the lower right corner and a number of other very mild handling creases. Condition Report Disclaimer
ATTRIBUTED TO HUGH DOUGLAS HAMILTON (IRISH CIRCA 1739-1808) PORTRAIT OF A GENTLEMAN HALF-LENGTH IN A BROWN COAT Pastel, oval 27 x 23cm (10½ x 9 in.) Condition Report: One or two isolated spots of surface dirt. Light rubbing and abrasions to the framing edges. Otherwise the work appears to be in good condition commensurate with age. Unexamined out of glazed frame. Approx. 40 x 35cm framed. Condition Report Disclaimer
ATTRIBUTED TO KATHERINE READ (BRITISH 1723-1778) PORTRAIT OF LETICIA JOHNSON (1747-1798), LATER LADY BEAUCHAMP-PROCTOR Pastel 57 x 43cm (22¼ x 16¾ in.) Together with A Pair Of Oval Pastels Of Children, After Sir Joshua Reynolds, one of the Infant Samuel, and the other, the artist's niece Theophila Palmer, titled 'Girl with the Muff' (3)Provenance: The present lot is one of a pair of portraits at Gatewick possibly commissioned by Mrs Charles Yorke and thence by descent Literature: The Connoisseur, May 1965, p.5Illustrated: The Connoisseur, May 1965, p.5Lady Beauchamp-Proctor was the wife of Sir William Beauchamp-Proctor and the sister of Agneta Yorke (Mrs Charles Yorke). She resided at Langley Hall in Norfolk. By repute, the two pastels painted by Mrs Charles Yorke whilst she had her own portrait painted by Joshua Reynolds. Condition Report: Three in the lot.LETICIA JOHNSON: There is some surface mould to the lower half of the portrait, largely concentrated to the sitter's black dress. Otherwise, the work appears to be in good condition commensurate with age. Unexamined out of glazed frame.INFANT SAMUEL: Appears to be in good condition commensurate with age. Unexamined out of glazed frame.GIRL WITH THE MUFF: with some spots of surface mould / dirt scattered throughout. Otherwise the work appears to be in good condition commensurate with age. Unexamined out of glazed frame.Condition Report Disclaimer
ENGLISH SCHOOL (18TH CENTURY) PORTRAIT OF A YOUNG GIRL WEARING WHITE Pastel in a painted oval 23 x 37cm (9 x 14½ in.) Condition Report: There is a lot of surface dirt to the glazed frame, but the work itself appears to have only a very small amount of surface dirt / mould and this is largely focused to the lower right quadrant. Unexamined out of glazed frame.Condition Report Disclaimer
ALEXANDER BLAIKLEY (BRITISH 1816-1903) PORTRAIT OF JOHN YORKE, 7TH EARL OF HARDWICKE; EDITH MARY COUNTESS OF HARDWICK;, PORTRAIT OF CHARLE ALEXANDER YORKE AS A BOY, LATER 8TH EARL OF HARDWICKE; AND PORTRAIT OF ALFRED ERANEST YORKE AS A BOY, LATER 9TH EARL OF HARDWICKE Pastel, oval Three signed and variously dated '1871, 1879, 1873' (lower right) Each 63 x 48cm (24¾ x 18¾ in.) (4)
J. CARPTENTER (BRITISH ACTIVE CIRCA 1837-1855) A FAMILY GROUP WITH A DOG IN AN INTERIOR SCENE Watercolour Signed (lower right) 61 x 74cm (24 x 29 in.); and smaller Together with Three Pastel Portraits by Follower of George Richmond, including Edith Mary Yorke, daughter of the 7th Earl of Hardwick; and a portrait of Eco Farquharson (nee Oswald), eldest daughter of Alexander Oswald; and a third unidentified portrait. (5)And a proof engraving of Mr. Phillip Yorke after Reynolds;
P HOLLIS "Continental lady with basket", oil on canvas, signed lower left, 51 cm x 40 cm, NIAL KIRK "Old Brompton", silk screen print, limited edition of 12, initialled right and bearing labels verso, 37 cm x 25 cm, 20TH CENTURY CONTINENTAL SCHOOL "Study of buildings on a cliff edge", oil on canvas, indistinctly signed to the middle, 40 cm x 81 cm, A W RICH "Shoreham Harbour, Sussex", watercolour, signed lower left, bears label and titled verso, 22.5 cm x 32 cm and JAN EVRILL? "Harbour scene", pastel, signed and dated '77 lower right, 51 cm x 63 cm (5)
A Denby Glyn Colledge Freestone pattern ovoid table lamp, 25cm high over fitting; a Denby Danesby Ware Pastel Blue ovoid vase, 20cm high; A Denby Spots and Stripes jug; a Denby Savannah vase; a large Denby Green Bracken vase, 32cm high; a C.H. Brannam, Barum wash jug and bowl, glazed in blue and green, etc (9)
A mid 20th Century pastel full length portrait of girl seated on stool, and early 20th Century etching of Manchester Grammar School, signed indistinctly; 'The Bagman's Toast' sweethearts and wives, late 19th Century/early 20th Century coloured print, framed and glazed; John Thorley watercolour of traditional house, framed and glazed.
After Robert Tomlin, 'The Black is Back', 110/500 limited edition print, Timothy O'Brien, Maltese shackleton 882/1000; two other prints, one signed, and a pastel drawing of a plane + Les Vowler signed mounted 'Red Eagle' print, Timothy O'Brien 'Operation Heliotrope' 128/250, unframed. Paul Whitehouse, signed 'Lightening F2' print and another.
19th century British School. Watercolour on paper A pair of three-quarter length portraits of Mrs Dalgairns and Lizzie Ornsby, née Dalgairns, circa 1840-1850, the first portraying a seated lady holding a book, the second a pastel on paper, depicting a lady standing in the grounds of a house, wearing a blue dress and holding a book, mount apertures 50cm x 35.5cm and 49cm x 36.5 cm respectively, uniformly gilt window mounted and framed Lizzie Ornsby glazed, both versos with typewritten label The typewritten labels on the frames verso read: Mrs Dalgairns, née Dobrée, of The Rosaire, Guernsey, [and] Lizzie Ornsby, née Dalgairns, daughter of Captain Dalgairns. Elizabeth Dalgairns (1819-1898) was born in St Peter Port, Guernsey to William Dalgairns (1786-1869) and Caroline Dobrée (1798-1852, of an old Guernsey landowning family). Elizabeth married Robert Ornsby (1820-1889) with whom she had one child: Harriet Lowe Ornsby (1848-?). Elizabeth died in Dublin, Ireland. William Dalgairns was an officer in the Scots 7th Fusiliers during the Peninsular War - a Lieutenant rather than a Captain. Robert Ornsby was a Fellow of Trinity College, and later a Professor in the Roman Catholic University of Ireland. Both he and John Dobrée Dalgairns (brother to Elizabeth) were contributors to John Henry Newman's 'Lives of the English Saints'. Condition Report Mrs Dalgairns with some foxing spots to background (slightly affecting headdress), Lizzie Ornsby with some darkening to skin and clothing
Richard Turner (20th century) Pastel on paper Two abstract pastel drawings 'Jazz Pastel I - Crepuscule for Nellie - for Thelonious' and 'Jazz Pastel II - Dolphin Dance - for Herbie Hancock', both initialled R.T. and dated '01 lower left, titled and signed verso, framed and glazed, 29cm x 38.5cm and 28cm x 37.5cm respectively (2)
Loading...
![Pastel ''Fish on a plate'', signed.[60x74cm]](https://cdn.globalauctionplatform.com/633605e1-dd5a-4364-8985-b20c00d6d27b/be010a56-d7db-4788-9f02-b20e014ca61f/468x382.jpg)
![§ Paul Lucien Maze (1887-1979) Looking Towards Stuff Redoubt, Northern France [World War One scene]signed 'Paul. L. Maze.' (l](https://cdn.globalauctionplatform.com/6bc4b425-e45e-412a-85c0-b1fe00b528ed/21ce4a38-cb24-4ab8-9edc-b21001084c30/468x382.jpg)
