There are 84462 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeARTHUR CROFT MITCHELL (BRITISH, 1872-1956) (2)Still life of fruit in a bowl and other items oil on board 47 x 62cm with a sketch (verso) (unframed) together with an oil on canvas by the same hand, Still life of white lilies in a vase, with inscribed label (to back of stretcher), 61 x 61cm (unframed) (2) Provenance The artist, thence by descent to the present owner; Private collection, UK
ARTHUR CROFT MITCHELL (BRITISH, 1872-1956) (2)Still life of roses in a vase signed and dated 'A C Mitchell 1930' (lower right) oil on canvas 40.5 x 35cm (unframed) together with an oil on board by the same hand of Still life of white flowers in a vase, 57.5 x 58.5cm, (unframed) (2) Provenance The artist, thence by descent to the present owner; Private collection, UK
ARTHUR CROFT MITCHELL (BRITISH, 1872-1956) (2)Still life of roses in a vase oil on canvas 38 x 28cm together with an oil on canvas by the same hand, Still life of rhododendrons in a vase, signed 'A. C. Mitchell' (lower left) and with inscribed label (to back off frame), 51 x 61cm (2) Provenance The artist, thence by descent to the present owner; Private collection, UK
The War Gallery Diary Collection of Squadron Leader A.E.L. Skinner 1912-1982 An facisnating collection of diaries spanning 1912–1982, together with framed photographs, copies of A Brief History of No. 30 Squadron, and a Royal Honour document signed by King George VI.A set of thirty-eight manuscript pocket diaries spanning the years 1912 to 1982, with some gaps.The diaries for 1916–1919 are housed at the Imperial War Museum. A complete run exists from 1925 to 1942, except for 1943, followed by a continuous run from 1944 to 1954. Additional diaries include those from 1912, 1913, 1971, 1973, 1974 (x2), 1980, and 1982.Letters from Lieutenant Skinner of the Norfolk Yeomanry, written while on leave in Egypt, March 1916, describing his journey up the Nile, spanning 24 manuscript leaves, to rectos only.Five copies of A Brief History of No. 20 Squadron Royal Air Force, pp.19, typescript, staple-bound, [c.1945].This collection provides a fascinating insight into the crucial years of 1939 to 1942, during which Skinner worked at the Air Ministry office at the height of the Battle of Britain. He balanced his time between his critical duties at the ministry and his family's jewellery shop, Bentley & Skinner, on Bond Street. His diary offers a remarkable glimpse into both the war effort and the social life of London during this tumultuous period. Below is a small snippet from these years.Friday, 7th April 1939 Italian forces invade Albania, meeting little resistance.Thursday, 27th April 1939 Received my “Secret” orders on where to report for duty in an emergency.Saturday, 8th July 1939 "Air Raid" blackout at 10 PM.Thursday, 10th August 1939 Drove down to Whitehall after fitting my RAF uniform for the first time. Observed how the Air Operations Room functioned and saw a fighter patrol take off.Monday, 28th August 1939 Writing this at 3:30 AM while on my first night watch at the Air Ministry from 11 PM to 7 AM. During the morning, my crew was informed that we were moving "into the blue" tomorrow, so we were hard at work all day.Wednesday, 30th August 1939 A long, dragging day. Had quite a lot to do. Made it home for the blackout by 7:45 PM, shaved, and was in bed by 9 AM. Slept until a radio broadcast from Laura Knight’s kitchen woke me at 1 PM.Friday, 1st September 1939 The first day of the evacuation of children. Germany invades Poland at 5:30 AM.Sunday, 3rd September 1939 War declared against Germany. Spent the afternoon cutting the lawn a bit.Tuesday, 9th January 1940 The new girls of the "Women's Admiralty Airforce"—24 of them—are now fully operational. Since they all do shorthand, my own work has become much easier.Monday, 18th March 1940 Some practice (?) took place, and Dudley, Pope, and Buck were involved. A big bomber raid on the island of Sylt occurred during the night, lasting seven hours. All our machines returned except one.Monday, 8th April 1940 Expected a busy day, but very little happened. Rushed lunch in 30 minutes, but still no sign of the “Blitzkrieg.” (Norway and Denmark were invaded the next day.)Wednesday, 10th April 1940 Arrived at the Air Ministry just in time to catch the tail end of the Scapa raid.Friday, 21st June 1940 What a night! Hardly got out of my chair or put down the telephone for the first four hours!Thursday, 15th August 1940 London RED warning at 7:15 PM while I was in the Air Ministry.Sunday, 8th September 1940 London endured a terrible night of bombing. The siren went off as we were having supper and lasted 9 ½ hours—a record so far. Bombs fell not too far away as I walked down Whitehall to start my duty at 10:30 PM.Tuesday, 17th September 1940 His Majesty paid us a visit at 3:30 PM. A massed enemy raid was approaching, so he had a quiet chat with me while I took down "hot news" from Fighter Command.Monday, 11th November 1940 "W of" fighters (Old First Brigade) and poorly aimed bombers attacked convoys in the estuary. No bombers and few fighters made it back. A grand day.Saturday, 21st December 1940 Sent a cable to Mother advising her to leave France and go into Spain.Sunday, 6th April 1941 Germany declares war on Yugoslavia and Greece. Slept in a dormitory in Whitehall so I could attend Mass more easily in the morning.Friday, 25th April 1941 Received news of my promotion to Squadron Leader as of 15th November.Tuesday, 6th May 1941 A usual day—feeling like I've had enough of the Air Ministry. Turns out it was my last day!Sunday, 11th May 1941 A big raid on London last night caused heavy damage. The House of Commons was gutted, and Westminster Abbey was badly damaged.Tuesday, 13th May 1941 Passed fit for non-operational flying.Wednesday, 21st May 1941 First solo flight on a Magister.Sunday, 22nd June 1941 Hitler launches an attack on Russia—of course, without warning.Sunday, 3rd August 1941 Posted to Rhodesia, effective mid-August.Saturday, 4th October 1941 Reunited with my beloved family in Johannesburg.
Circle of Michele Pace del Campidoglio (Italian, 1625-1669) Still life of fish, fruit, flowers and a spanieloil on canvas112 x 92cmAlthough previously attributed to the Flemish painter Jan Davidsz. de Heem (1606-1680), the present work is more likely to be by an Italian hand of the same period, showing the influence of Michele Pace del Campidoglio who was active in Rome. The presence of red mullet also suggests a painter operating close to the coast in Naples or Rome, where the fish had been popular since antiquity.
William Etty RA (British, 1787-1849) Study of a female nude, illuminated by moonlight, with a floral still life oil on canvas 88 x 68cm Provenance: M. Newman Ltd., London This work is closely related to the smaller oil ‘Study of a Half-Nude Figure’ by Etty at Nottingham City Museum and Galleries (NCM 1904-31). It is likely that the Nottingham canvas provided the origin of the composition – as a life room study quickly worked up with the addition of an invented, freely painted landscape background to produce a marketable work, as was often Etty’s practice. The present painting is a more considered development of this composition with a specific subject, seemingly a mourner, in mind. This required a squarer canvas to accommodate the flowers arranged in a clear glass vase, an indication of recent death and a prominent feature in the composition. The scene is now appropriately set at night with moonlight falling on the mourner’s back.The painting related to another canvas by Etty at Nottingham known as ‘The Mourner’, similarly set at night and featuring a half-nude woman seen from behind, in this case glancing down towards a funerary urn. ‘The Mourner’ was presumably the work of that name included in the Etty’s one-man exhibition at the Society of Arts in 1849, the last year of his life, catalogued as painted in 1842. While Nottingham’s ‘The Mourner’ is suggestive of the world of classical antiquity, the present larger work would seem to be a parallel exploration of the same theme in more modern terms.We are grateful to Richard Green for his assistance with this catalogue entry. The painting is executed in oil on a canvas support which has been lined. The canvas tension is good and the picture is in plane. The area of flesh paint has developed a wrinkled surface texture, probably due to the artist’s choice of materials and techniques. This area has overpaint applied to cover cracks as well as wear and abrasion. The overpaint has become slightly pale with age but is generally acceptable from a normal viewing distance. The varnish is slightly yellowed but even.
Rembrandt Harmensz. van Rijn (Dutch, 1606-1669) The Raising of Lazarus: Small Platesigned in the plate 'Rembrandt f.' and dated 1642 (lower left)etching with drypointthe first state (of two), a fine impression with delicate lines of Lazarus' forehead still visible15 x 11.5cmLiterature:Bartsch, Hollstein 72; Hind 198; New Hollstein 206Provenance:Monogram verso (Lugt 2420) of Thomas Thane (1782-1846);Stamped initials verso (Lugt 1375) of Henry Studdy Theobald (b. 1847),Probably one of his sales, Christie's, London, April 1910 or HG Gutekunst, Stuttgart, May 1910;Acquired in 1911 by the father of Jeremy Pemberton of Grantchester and thence by descent,Gifted by Jeremey Pemberton in 2003 to The Right Reverend Peter Walker (1919-2010), Bishop of Ely (1977-1989)The Raising of Lazarus was a particularly significant subject for Rembrandt. He first painted the scene, from the New Testament, in around 1630, early in his career when he was still in Leiden. It was the culmination of his artistic development at that point and likely inspired by the friendly rivalry with his collaborator Jan Lievens (see Lot 222), who also produced a painting of the miracle. Rembrandt retained his own version (now in the Los Angeles County Museum of Art) for most of his life until his bankruptcy sale of 1656.Rembrandt made two etchings of the same theme. The first, the 'Large Plate', was created around the same time as the painting and similarly shows a young artist experimenting overtly with the dramatic effects of chiaroscuro.The present etching, the 'Small Plate', was made a decade later and displays a more intimate and delicate rendering of the subject. Indeed, Christ himself is depicted as a serene healer, rather than the theatrical enchanter of the earlier works. The image is an altogether more personal and introspective interpretation of the subject by a mature artist now in full command of his technique.
A SMALL ARCHIVE OF PAPERS, PHOTOS & EPHEMERA RELATIING TO THE SERVICE IN WW2 OF A FLIGHT ENGINEER, WHO SERVED WITH BOMBER COMMAND, 630 SQDN, Douglas Packma from Kent joined up at 18yrs old, and eventually made it to Flight Engineer serving with 630 Sqdn at RAF Syerston Notts (WW2 Bomber Command base) he flew 34 missions with 630 sqdn, including raids on Deehlan Airfield in Holland, where he had his first encounter with a ME 262, and sadly saw the Lancaster Bomber next to him take a direct hit next to him, although he received no formal flight training, he did on occasion fly a Lancaster, on another mission his aircraft was seriously damaged by Shrake musik(Flak) and only just made it back to Base, in later life a local magazine(Kent life) ran a full article which can still be found online, yet another research project for those interested in Bomber Command
Denis Peploe, Scottish 1914–1993 - Still Life with Drawing; oil on board, signed lower left 'Denis P', 76.2 x 63.5 cm (ARR) Provenance: with Royal Scottish Academy, Edinburgh; private collection, purchased from the above in 1985 and thence by descent Exhibited: Royal Scottish Academy, Edinburgh, 'Annual Exhibition 1985', 1985, no.209 (label attached to the reverse of the frame) Note: the artist was the son of the renowned Scottish Colourist Samuel John Peploe. A similar composition, featuring a still life in front of an artwork 'Study of Fruit and Flowers' is now in the collecion of The Hepworth Wakefield. This device was also frequently used by Bloomsbury artist Duncan Grant, most notably in 'Still Life with Matisse, 1971'. Peploe exhibited throughout his career and his works are in major institutions including The hunterian, Glasgow, The Fleming Collection and the National Galleries of Scotland.
AMENDMENT: this work is by Ethel Walker, British active c.1907-09 not Dame Ethel Walker, British 1861-1951 as originally catalogued; Ethel Walker, British active c.1907-09 - Still life with fruit, 1909; watercolour on paper, signed and dated lower right 'Ethel Walker 1909', 39.5 x 66.7 cm Provenance: private collection and thence by descent
Alberto Morrocco OBE RSA RSW RP RGI, Scottish 1917-1998 - Clown with Dove and Watermelon, 1996; oil on panel, signed and dated top left 'Morocco 96', 45 x 47 cm (ARR) Provenance: with Thackeray Gallery, London (according to the inscribed label attached to the reverse of the frame); private collection, purchased from the above on the 6th October 2005 and thence by descent Note: one of the most important Scottish artists of the mid-20th century, this is a brilliant example of his mature work, with its depth of colour and semi-surreal subject matter. Similar works are now in public collections, utilising the same innovative approach to composition and unusual objects, such as 'The Studio with Lay Figure, 1993' (Royal Scottish Academy of Art & Architecture) and 'Still Life at Basiluzzo, 1988' (Herriot Watt University). Many of his works are in public collections across the UK and he exhibited at important galleries and museums, including Compass Gallery, Dundee Art Gallery in 1981, and The Scottish Gallery.
Dimitry Merinoff, Russian 1896-1971 - Cheval Blanc, 1930; gouache on card, signed and dated lower right 'D Merinoff.30', 41 x 53 cm: together with another gouache on paper of a still life of similar size (2) (unframed) Provenance: private collection; Roseberys, London, Impressionist, Modern, Post War & Contemporary Art, 15th July 2020, lot 77; private collection, purchased from the above Note: this lot is accompanied with a folio entitled 'Les Gouaches'
AMENDMENT: this work is by Ethel Walker, British active c.1909 not Dame Ethel Walker, British 1861-1951 as originally catalogued; Ethel Walker, British active c.1909 - Still life with pheasant, 1907; watercolour on paper, signed and dated lower right 'Ethel Walker 1909', 44.5 x 67 cm Provenance: private collection and thence by descent
Carlo Rossi, Scottish 1921-2010 - Still Life with Guitar, 1984; oil on board, signed and dated upper left 'Carlo Rossi / 84', 26 x 71.5 cm (ARR) Provenance:with Royal Scottish Academy, Edinburgh; The Collection of Professor W. M. Ballantyne (1922-2021), purchased from the above in 1985 and thence by descent Exhibited: Royal Scottish Academy, Edinburgh, 'Annual Exhibition 1985', 1985, no.232 The Fine Art Society, London, 'A Barrister's Collection: A Lifetime of Collecting by Professor W. M. Ballantyne', 5th-21st March 2014, cat. no.42
Duncan Grant, British 1885-1978 - Tulips, 1929; oil on board, signed and dated lower left 'D. Grant 29', 75 x 56.5 cm (ARR) Provenance: with The London Artists' Association (according to the inscribed and stamped label attached to the reverse); private collection, purchased from the above (according to the indistinct inscription on the label attached to the reverse); private collection Exhibited: The London Artists' Association, London, c.1929-31, no.128 (according to the inscribed and stamped label attached to the reverse) Note: this is a brilliant example of the artist's most beloved subject of a still life with flowers and has been in the same private collection for nearly 50 years. This is an extremely exciting opportunity to purchase the work the first time it is coming to the market in nearly half a century. Duncan Grant was a central member of the Bloomsbury Group, closely associated with seminal figures in early 20th century British culture such as Virginia Woolf, Vanessa Bell, E.M. Forster and Lytton Strachey, alongside the art critic Roger Fry, the latter having a particularly strong impact on Grant's artistic approach. Grant's works can be found in a wide number of collections throughout the country, including the Tate Britain and the V&A in London, the Ashmolean Museum in Oxford and the Scottish National Gallery of Modern Art in Edinburgh. Grant was a member of the London Artists' Association between 1929-31, locating when this work was first shown to the public.
Loading...
