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.
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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.
antique Japanese drawing in ink on rice paper with two figures and a dog where the background mountains are filled in with a storyAntieke Japanse inkttekening op rijstpapier met de voorstelling van en hond en twee figuren met als achtergrond en verhaal in de vorm van de bergen die in de achtergrond liggen - 26 x 34
* HANNAH FRANK (SCOTTISH 1908 - 2008), THE TALE WAS WILD AND DREAR pen and ink on paper, signed and dated 1927mounted, framed and under glassimage size 41cm x 31cm, overall size 68cm x 56cmComment: This is the original pen & ink artwork by Hannah Frank. Provenance: Private collection, Edinburgh.Note: Since McTear's first promoted Hannah Frank's spectacular work in 2011, the prices for her ever more rare signed prints have continued to rise with many current prices being more than five times higher than those achieved barely a decade ago. The latest UK auction record figure for a single signed lithograph was most recently achieved (twice) in our auction on 24th October 2021 and now stands at £820 (hammer). Note 2: Hannah Frank was the last living link to the Arts and Crafts and Art Nouveau period. She studied at the Glasgow School of Art and Glasgow University in the 1920`s and her haunting pen and ink drawings have been exhibited at the Royal Academy, Royal Scottish Academy and Royal Glasgow Institute. A series of lithographs of some of her 90 drawings were made in the 1960's and again in the 1980's to satisfy the demand for her work after exhibitions in Edinburgh and Glasgow. Only a relatively few of these prints were hand signed (in pencil) by Hannah and it's understood that only one print was ever editioned (numbered) in a conventional manner. A major exhibition at the Royal Glasgow Institute in 2006 brought her work to a new generation of admirers and received considerable press coverage. Her work toured for five years in the UK and the USA culminating in an exhibition at Glasgow University which opened on her 100th birthday 23rd August 2008. After her death, she was awarded a posthumous Honorary Doctorate at Glasgow University and Glasgow City Council`s Lord Provost`s Award For Art (2009).The most recent original pen and ink drawing we've sold was lot 153 9th May 2024 which sold for £2600 (hammer).
A striking original drawing by Spanish contemporary post conceptual artist Robert Molla, titled Barbadillo en Minowa 5, created using sumi ink, graphite, and gouache on cream-colored graph paper. It depicts a geisha holding a teapot, her face obscured by a deep red oval, as she listens to a conversation between two Manga characters partially hidden behind a shoji door, while artwork by Manuel Barbadillo appears in the middle, to whom Molla pays homage. This work draws inspiration from Japanese floating world iconography and ukiyo-e woodcuts, while the use of graph paper pays tribute to the 1960's and 70's artists whose work incorporated the grid, exploring both its freedoms and constraints. Artist signature, date, and title on lower right. Housed in a wooden shadowbox with a white background. Artwork dimensions: 15.5"L x 11.75"H. Frame dimensions: 18.75"L x 1.75"W x 14.75"H. Artwork can be unframed and rolled for shipment. Artist: Roberto Molla (Spanish, b. 1966)Issued: 2008Dimensions: See DescriptionCountry of Origin: SpainCondition: Age related wear.
One of a kind watercolor and black ink drawing on paper glued on board by American Abstract Expressionist Betty Parsons. Sent by the artist to the Truman Gallery, New York. Artist: Betty Bierne Parsons (American, 1900-1982)Issued: c. 1970Dimensions: 4"L x 6"HCountry of Origin: United StatesProvenance: Jock Truman and Eric Green, Aventura, FL; Bass Museum of Art, Miami Beach, FL 2000. Condition: Good condition.
Set of two miniature mixed media miniatures by Miami-based recording artist Dino Felipe who works with a variety of genres and creates most of his own album covers. The set includes an original ink drawing with a list of words on verso, and one polaroid photograph of buttocks with a phone number and words. Each is set on a small canvas board ready for hanging. Signature and date on each artwork: Dino 06, and Dino Felipe 2002. Each artwork dimensions: 4"L x 5"H. Artist: Dino Felipe (Cuban/American b. 1978)Issued: 2002 and 2006Dimensions: See DescriptionCountry of Origin: Cuba/United StatesCondition: Age related wear.
Original Surrealist ink and color markers drawing on paper depicting a deformed head with teeth hanging along the side and a ruler pushed through the face. Made by Miami-based recording artist Dino Felipe who works with a variety of media and creates most of his own album covers. Signature and date on lower right: Dino 2003. Housed in a wooden frame. Artwork dimensions: 9.5"L x 7.75"H. Frame dimensions: 11.5"L x 0.75"W x 9.5"H. Artist: Dino Felipe (Cuban/American b. 1978)Issued: 2003Dimensions: See DescriptionCondition: Age related wear.
Glimmering Perfect Are The Non Releavant (sic) Super Structures is an original drawing made with color silkscreen ink applied on paper by American Abstract Graphic style artist Mark Price. He depicts a dystopian machine with outstretched arms, mirrors, mechanical parts, and flames shooting out from the techno-human entity. Signature, title and date on verso (hidden by frame): Mark Price 2009 Glimmering Perfect Are The Non Releavant (sic) Super Structures. Housed in a white wooden frame. Artwork dimensions: 38"L x 25"H. Frame dimensions: 41"L x 29"H x 1.25"W. Artist: Mark Price (American 20th-21st century)Issued: 2009Dimensions: See DescriptionCountry of Origin: United StatesCondition: Age related wear.
An alluring original drawing by Spanish contemporary post conceptual artist Robert Molla, titled Barbadillo en Minowa 3, created using sumi ink, graphite, and gouache on cream-colored graph paper. It depicts an explicit scene in a brothel, with a mysterious Manga character partially hidden as a voyeur behind a door. An artwork by Manuel Barbadillo appears in the upper right corner, to whom Molla pays homage. This work draws inspiration from Japanese floating world iconography and ukiyo-e woodblock prints, while the use of graph paper pays tribute to the 1960's and 70's artist's whose work incorporated the grid, exploring both its freedoms and constraints. Artist signature, date, and title on lower right. Housed in a wooden shadowbox with a white background. Artwork dimensions: 15.5"L x 11.75"H. Frame dimensions: 18.75"L x 1.75"W x 14.75"H. Artwork can be unframed and rolled for shipment. Artist: Roberto Molla (Spanish, b. 1966)Issued: 2008Dimensions: See DescriptionCountry of Origin: SpainCondition: Age related wear.
Hyped Display of Sick Mirrors is an original drawing made with color silkscreen ink applied on paper by American Abstract Graphic style artist Mark Price. He applies shades of baby and fluorescent pinks, silver, ocher and light yellows onto black contours to form a dystopia. Faceless torsos with humanoid arms that hold mirrors emerge out of tubular weapons shooting blobs of flames that result in a tense merging between technology and humans. Signature, title and date on verso (hidden by frame): Mark Price 2009 Hyped Display of Sick Mirrors. Housed in a white wooden frame. Artwork dimensions: 22"L x 29"H. Frame dimensions: 25.50"L x 33.25"H x 1.25"W. Artist: Mark Price (American 20th-21st century)Issued: 2009Dimensions: See DescriptionCountry of Origin: United StatesCondition: Age related wear.
Frederick William Fairholt (c.1813-1866) The Roman Wall near Housesteads, Northumberland, ink sketch, 10.5 x 17.5 cm, frame, 27 x 27 cm, together with another drawing of The Court House in Carlisle, by the same hand (2), also Joseph Yelverton Dawbarn (1856-1943) Sheep in Winter, signed lower left, watercolour, 8 x 10 cm, frame 24 x 26 cm (total 3)
SECOND WORLD WAR DISTINGUISHED SERVICE CROSS GROUPING. Second World War Distinguished Service Cross grouping, D.S.C. hallmarked London, 1942, stamped 'S.G.' for Garrard & Co Ltd, London, engraved '1941' to the reverse, 1939-1945 Star, Africa Star, 1939-1945 British War Medal, Naval general Service Medal (1918) (LIEUT. G.D NUTT D.S.C. R.N.), Geoffrey Dyson Nutt was born on 3rd July 1916 at Cleethorpes, Lincolnshire, he attended Hymers College in the East Riding of Yorkshire, on leaving he obtained his civilian Flying License with Hull Aero Club, he joined the Territorial Army as an officer being granted his commission in 1934, he later went on to join the Royal Navy in the Fleet Air Arm in 1938 and obtained his commission as Sub Lieutenant in 1940, trained as an Observer he served on the Aircraft Carrier HMS Glorious with 812 NAS (Naval Air Squadron), leaving the ship a few weeks before she was sunk with a huge loss in lives to join 767 NAS, a training squadron, he served with 767 Sqn. near Toulon in the South of France where it took on operational duties including a bombing raid on Genoa in Italy, with the fall of France the squadron evacuated to Algeria and was split, one part, including Nutt, going to Malta where it formed 830 NAS based at St. Angelo, the squadron carried out torpedo attacks on Italian merchant shipping and Italian Navy vessels, and bombing raids on port installations in Sicily and Libya, it was during one of these raids that the Swordfish aircraft on which Nutt was the Observer, was shot down at Zwara near Tripoli on 6th May 1941, he was captured, unwounded, along with the pilot Lt. N.K. Campbell, the Air Gunner, P.O. William Gracie Tennant died of wounds, a newspaper article at the time reads in part, '.. his parents have just received a letter from him in which he says his plane came down in the Mediterranean and after swimming and floating for some time he was washed ashore on a rocky part of the coast. He managed to escape without a scratch however, being protected from the rocks by his bulky flying kit. The Pilot was picked up the next morning little the worse, but the Air gunner was dead when found. Lieut. Nutt states that he was kindly treated when found by Italian soldiers..', Nutt was awarded the D.S.C. in the Birthday Honours List, London Gazette 1st July 1941, page 3745, his Prisoner of War Questionnaire filled out after he was liberated shows is POW number as 3292, after capture he was incarcerated at Camp 17, Rezzanello, Italy between 7/41-4/42, Camp 35 at Padula 4/42-7/43, Camp 19 at Bologna 7/43-9/43, Milag (Marine-Internierten Lager- Naval Internment Camp) & Marlag (Marinelager- Naval POW Camp), Marlag (O) Westertimke, Germany 10/43-4/45, Oflag 10c Lubeck 4/45-2/5/45, it also shows he was interrogated for two days at Tripoli after capture and that he made several escape attempts, 'Escaped with a large number of other officers at 0430 9th September 1943 when the Germans took over the camp at Bologna, Italy. The Italians after some hesitation opened a gate at the rear of the camp. I was recaptured in a wood at 1030 the same day.On 26th May 1944 I hid in one of a number of large cupboards which were being transported from my camp in Germany by lorry. Lorry searched at main gate and I was discovered. Two months previously I helped to construct a tunnel which fell in on reaching a trench which had been dug by the Germans around the camp.', after the war Nutt was offered the chance to remain on the active list in the Royal Navy which he accepted, serving on until 1958 with the Communications Branch, he married in 1950 and passed away in 2003, also with ephemera including, Kings Letter on Buckingham Palace headed notepaper forwarding his award (D.S.C.) to him, with facsimile signature of King George VI, Air Ministry Certificate of Competency and License to Fly Private Flying Machines to Geoffrey Dyson Nutt dated 6.2.1936, Aviation Certificate number 13551 to Geoffrey Dyson Nutt issued by Royal Aero Club, 119 Piccadilly, London, dated 26.5.1936, Territorial Army Officers Commission to 2nd Lieutenant Geoffrey Dyson Nutt, East Riding Heavy Brigade, Royal Artillery with facsimile signature of King George V, dated 9th August 1934, Royal Navy Officers Commission as Sub Lieutenant to Geoffrey Dyson Nutt, dated 15th June 1940 with seniority shown as 4th July 1939, with facsimile signature of King George VI, Watch Keepers Certificate to Lt. Nutt from Captain, HMS Victorious dated 8.6.1946, letter (torn in to 4 pieces) from Honours & Awards Branch, Admiralty, dated 19.6.1946 informing Nutt that his D.S.C. together with Kings letter was forwarded to HMS Victorious on 8th May 1946, letter from Admiralty to Nutt re decision to accept retention on Active List in R.N. dated 15.8.1946, letter from Admiralty acknowledging Nutts marriage dated 20.11.1950, CV to Lt. Cdr G.D. Nutt with summery of qualifications and experience, letter of appreciation to Nutt from Officer Commanding Communications Branch on his retirement dated 3.6.1958, quantity of pre and post WW2 Commanding Officers annual report slips, hand written notes, stapled together, listing courses and ships drafts in R.N. sea time, correspondence between Nutt and Admiralty, etc from 4th July 1938, letter from HMS Centurion re confirmation of entitlement to WW2 campaign medalsBaptism Card to Geoffrey Dyson Nutt dated 5th August 1916, University of London GSE (General School Examination) Certificate for six subjects to G.D. Nutt dated July 1933, University of London Matriculation Certificate to G.D. Nutt dated January 1935, reference letter for Nutt from the Headmaster, Hymers College, Hull dated 22.3.33, song sheet-the Hymers College School Song, ink and watercolour drawing of the Hymers College school crest signed 'G.D. Nutt, February 1st 1929', Confirmation Certificate to Geoffrey Dyson Nutt dated 30.3.1933, etc, (qty).
A LOUIS XVI ORMOLU CARTEL CLOCK OR 'PENDULE D'ALCOVE' THE CASE AFTER A DESIGN BY ROBERT OSMOND, CIRCA 1780 5,25" dial enamelled Lepaute Hger du Roy the case 46cm high, 30.2cm diameter The design for this clock case can be seen in a pen, ink and wash drawing by Robert Osmond (which is now in the collections of the Bibliothèque Doucet (inventory no. VI E15, Res., fol. 36-39.) H. Ottomeyer / P. Pröschel, Vergilete Bronzen - Die Bronzearbeiten des Spätbarock und Klassizismus, Munich 1986; I, p. 184 (Fig. 3.8.8). Condition Report: Movement has been converted from pendulum escapement to platform lever regulation - hence most of the going train has been altered. The strike train survives intact. Although this is an issue with regards to originality it does render the clock more usable. The movement is running and striking however a clean/service is advised. The dial has areas of scuffing/rubbing around each winding holes (together with related chipping around each hole). The scratching has received some overpainting which is fairly poorly executed. Case is generally in very good original condition with age related rubbing, wear, discolouration and other blemishes commensurate with age and use. The bezel hinge is a little slack but it will close and the rear edge moulding fixings have been repositioned.Clock does not have a winding key. Condition Report Disclaimer
A RARE 19TH CENTURY DRAWING DEPICTING THE SQUAW OF THE MIC-MAC TRIBEMounted on brown paper, inscribed 'Mrs Jane Tyson. Halifax n.s 48 (Nova Scotia).Along with a brown ink drawing of Halifax, Nova Scotia by Miss Kirby.Both drawings removed from a scrap book belonging to a relative of Captain James Muddle.James Muddle was born at Gillingham in Kent on 31 January 1785. James probably went to sea at a fairly young age and worked his way up to become a master mariner. The first record of him at sea, at the age of 25, is as the master of the small single mast sloop Boston sailing in coastal waters. In 1814, James then became master of the 356-ton ship ‘Leng’, armed with six 6-pounder guns, bound for the West Indies. The Lloyd's Register for 1820 also recorded that during that year James took over from as master of the 410 ton convict ship Lord Sidmouth. By the age of 35, James had progressed from being master of ships sailing in coastal waters to sailing to the Mediterranean and across the Atlantic, and now to the other side of the World. In 1820 it was reported that the Lord Sidmouth captain Muddle had sailed from Portsmouth on for New South Wales. After a voyage of 107 days, they arrived at Sydney in Australia on 19 February 1821, where 160 male prisoners were disembarked. James and the Lord Sidmouth also sailed to Jakarta, Calcutta, Mauritius. Upon arriving back to England in 1821, James became captain of the prison ship the ‘Andromeda’, which sailed from Leith to to Van Diemans Land and New South Wales. During the following two decades of travels in and around Australia, James will have collected many of the items in the collection. James is also known to have been captain of the ship ‘Lang’, as well as the “Mandarin’, ‘Glenbervie’ and the ‘Roseanne’. He sailed on prison ships to New Zealand and even China. James died in 1865 at the age of 80, and his collection has been passed by descent down the generations to the present owners.For more information please see the link below:https://www.muddlefamilies.info/harrietsham/22eaa.htm
SIR FRANCIS GRANT P.R.A., R.S.A. (BRITISH 1803-1878): AN INK DRAWING ON PAPER DEPICTING HUNTSMAN ON HORSEBACK23.5cm x 17.5cmStuck down on paper.Removed from scrap book belonging to a relative of Captain James Muddle.James Muddle was born at Gillingham in Kent on 31 January 1785. James probably went to sea at a fairly young age and worked his way up to become a master mariner. The first record of him at sea, at the age of 25, is as the master of the small single mast sloop Boston sailing in coastal waters. In 1814, James then became master of the 356-ton ship ‘Leng’, armed with six 6-pounder guns, bound for the West Indies. The Lloyd's Register for 1820 also recorded that during that year James took over from as master of the 410 ton convict ship Lord Sidmouth. By the age of 35, James had progressed from being master of ships sailing in coastal waters to sailing to the Mediterranean and across the Atlantic, and now to the other side of the World. In 1820 it was reported that the Lord Sidmouth captain Muddle had sailed from Portsmouth on for New South Wales. After a voyage of 107 days, they arrived at Sydney in Australia on 19 February 1821, where 160 male prisoners were disembarked. James and the Lord Sidmouth also sailed to Jakarta, Calcutta, Mauritius. Upon arriving back to England in 1821, James became captain of the prison ship the ‘Andromeda’, which sailed from Leith to to Van Diemans Land and New South Wales. During the following two decades of travels in and around Australia, James will have collected many of the items in the collection. James is also known to have been captain of the ship ‘Lang’, as well as the “Mandarin’, ‘Glenbervie’ and the ‘Roseanne’. He sailed on prison ships to New Zealand and even China. James died in 1865 at the age of 80, and his collection has been passed by descent down the generations to the present owners.For more information please see the link below:https://www.muddlefamilies.info/harrietsham/22eaa.htm
Edward Ardizzone (British, 1900-1979), "No. 77 The Boy and the Willow Tree 1965’’, an illustration for The Truants and Other Poems for Children, pen and ink drawing, 19.5 x 29cm.Condition: Not signed. Foxing spot above man's hat. Crease to the right of "N" in the title running vertically down the full length, with a stain running down part of the crease. 2 foxing spots at far right, a light stain also. Other minute pale brown marks under title.
German/Italian Letters.- Boon (Adrian, Senator of Hamburg).- Beii den Ittalianeren feind 20 Buch staben, manuscript in German and Italian (including 2 dedication ff. to Adrian Boon), folding sepia drawing of a town, pen and ink decoration at beginning and end, c. 140pp., browned, original calf, gilt, rubbed, corners bumped, lacks part of spine, g.e., 167 x 110mm., 19th January 1692.
Frederick (Fred Lawson (1888-1968), a pen and ink drawing, depicting possibly a ruined castle wall and trees, signed and dated 1962. 22 x 23 cm, framed and mounted, together with an etching depicting Lady Hill, 19 x 19 cm, framed and mounted. CONDITION REPORT: The lady Hill picture has foxing throughout the entire image. There is also a ripple and a section of staining on the right-hand side leading from the bottom two thirds of the way up. On the ruined castle picture the paper is quite brown and shows some light foxing particularly around the central tree and then further down through the lower left-hand side of the picture.
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.
Circa 1680 A.D. Ink on paper; drawing of a Western noblewoman or pilgrim; mounted with dark blue reveal in a Victorian gilt ornate frame and later illuminated border with decorative gold and red paint. 2.3 kg, 36 x 49 cm including frame (14 1/8 x 19 1/4 in.).Acquired from the UK art market. Private Scottish collection.The headgear may suggest that the subject is Portuguese, if it depicts the traditional 'capote e capelo' hood.
*** Please note, this drawing is sold unframed.Deare (John, 1759-1798) Design for a tomb monument, with tragic heroine, possibly Artemisia, wife of Mausolus, pen and black inks, on Italian laid paper without visible watermark, signed and dated 'Rome Oct. 1787' in the roundel in the upper centre of the monument, image 210 x 210 mm (8 1/4 x 8 1/4 in), sheet laid onto paper support with ruled black ink borderlines under mount, unframed, 1787Provenance:Rupert Gunnis (collector and historian of British sculpture, 1899-1965);Collection of John and Eileen HarrisLiterature: P. Fogelman, P. Fusco and S. Stock, ‘John Deare (1759– 1798): A BritishNeoclassical Sculptor in Rome,’ The Sculpture Journal, iv, 2000, cat. no. 37, illus. p. 110*** An exceptionally rare example of a drawing by Deare for a sculptural relief, with the artist's distinctive finely cross-hatched pen lines achieving a virtuosic sense of depth and plasticity. We can trace no other examples of a drawing by the sculptor sold at auction since 1983, with only a handful of his sculptures having been sold. Deare spent most of his short career in Rome producing decorative reliefs for the mansions of wealthy Brtitsh patrons. However, in his early career he was apprenticed in 1776 to Thomas Carter II, who worked in London. Later that year in December, he enrolled at the Royal Academy Schools, and Deare and two of his contemporaries, John Flaxman and Thomas Proctor, soon became known among the students for their fine draughtsmanship. Their efforts are said to have prompted Joseph Nollekens, who was then a visitor, to give up sketching altogether. It wasn't until 1785 when Deare jointly won the Academy's travelling student scholarship, that he set out for Italy. Deare visited both Bologna and Florence en route to arriving in Rome in the summer of 1785, where he remained for the rest of his life.'One of the most innovative and talented of English Neoclassical sculptors, John Deare lived a short but intense life. A child prodigy, he died at the young age of thirty-eight; according to legend, he slept on a block of marble, hoping to find inspiration in his dreams' [Getty].
Chambers (Sir William, 1723-1796) Design for decoration and furniture of the hall at The Hyde, Ingatestone, Essex, pen and greyish-black ink, grey wash, annotated in pencil and brown ink, with additional elements added in pencil, on laid paper with partial watermark of Strasbourg lily, sheet 273 x 380 mm (10 3/4 x 14 7/8 in), slightly rough edges, minor nicks to extremities, some browning and surface dirt, unframed, [circa 1760]; together with Chamber's bookplate, and a portrait of Chambers in soft-ground etching by a young William Daniell after George Dance, 1793, framed (3)Provenance: Collection of John and Eileen HarrisLiterature:Harris, John, Sir William Chambers: Architect to George III, 1996, pp. 135-136, illus. fig. 191cf. Harris, John, Sir William Chambers: Knight of the Polar Star, 1970Exhibited:Sir William Chambers: architect to George III, 1996-7, Courtauld Gallery, London and National Museum, Stockholm, no. 151*** Fine drawing showing the 'elevation of an end of the hall', with colour notes and materials intended to be used, such as 'portland stone' and 'Dead White'. Additional pencil sketches have been added in over the pen and ink, suggesting further elements to embellish the original design. Chambers started work on the great hall at The Hyde in 1761, where he fashioned out 5 rooms that partially housed the collection of antiquities collected by Thomas-Brand Hollis, now held in the Fitzwilliam Museum, Cambridge. Sir William Chambers RA was a Swedish-Scottish architect, based in London. Among his best-known works are Somerset House, and the pagoda at Kew. Chambers was a founder member of the Royal Academy. Said to have been the major rival of Adam in British Neoclassicism. Chambers was more international in outlook (his knighthood being originally a Swedish honour) and was influenced by continental when designing for British clients. A second visit to Paris in 1774 confirmed the French cast to his sober and conservative refined blend of Neoclassicism and Palladian conventions.
Basoli (Antonio, 1774-1848) Design for the side elevation of a private chapel, probably for a ceremonial “Prospetto Laterale”, pen and grey ink, watercolour and gouache, heightened with gold, pencil under-drawing, sheet 705 x 485 mm (27 3/4 x 19 1/8 in), under glass, minor spotting and surface dirt, framed, [early 19th century]Provenance:Collection of John and Eileen Harris*** Antonio worked as a set designer and as a decorator for numerous theatres in Bologna and its environs, including the Marsigli Rossi Theater, the Teatro Comunale di Bologna, and, in particular, the Contavalli Theater. Born in Casetl Huelfo, Basoli's first teacher was his father, Lelio Andrea Basoli. His education was motivated by an insatiable and constant interest in classic art, classic and contemporary literature, and the works, decorations and inscriptions of Giovanni Battista Piranesi. Basoli often worked alongside his brothers, Francesco and Luigi Basoli, and in 1804 he became Professor at the Accademia delle Arti di Bologna until 1826. During his time at the Accademia he developed a close friendship with fellow pupils Domenico Corsini and Pelagio Palagi, and later worked for a time in the studio of Petronio Fancelli.
Grandjean (Jean, 1752-1781) Two Arcadian views in Rome: Porta Salaria, and Monte Cavallo, Quirinal Hill, a pair, pen and grey ink, sepia wash, pencil under-drawing, both on laid paper with partial ruled black ink borderline, each sheet approx. 101 x 170 mm (4 x 6 3/4 in), minor nicks and handling creases, light surface dirt, unframed, [circa 1790 or slightly later] (2)Provenance:Hazlitt Gooden & FoxCollection of John and Eileen Harris
![Tassi (Agostini, 1578-1644) Design for a monument, possibly a design for a frontispiece [recto]; Various studies including a](https://cdn.globalauctionplatform.com/c483b3c4-d107-43a9-8060-b220009a498e/f85e4dd9-ee71-4aff-a62e-b220009b29ba/468x382.jpg)
Tassi (Agostini, 1578-1644) Design for a monument, possibly a design for a frontispiece [recto]; Various studies including a seated boy in an interior [verso], double-sided drawing, numbered '44' verso, pen and brown ink, red chalk, brown wash, on laid paper without watermark, sheet 210 x 148 mm (8 1/4 x 5 3/4 in), under glass, framed, [17th century]Provenance:Collection of John and Eileen Harris*** Faint pencil inscription to reverse of frame suggests an attribution to 'Sabbatini', Nicola Sabbatini (1574-1654), however the sheet appears to be by Tassi, with another numbered drawing by the same hand sold at Christie's New York in 1996, (Old Master Drawings, January 10, 1996, lot 57], and fully given to the artist.
*** Please note, the description for this lot has been updated. Basoli (Antonio, 1774-1848) Design for the walls and ceiling of a room', pen and brown ink, watercolour, traces of pencil under-drawing, on wove paper without watermark, ruled brown ink borderline, numbered '2[?]7' in the upper right margin, 370 x 490 mm (14 1/2 x 19 1/4 in), under glass, affixed onto mount with old tape verso, some signs of surface dirt and minor toning, framed, [1821] Provenance: Collection of John and Eileen Harris Exhibited: The Age of Neo-classicism, Arts Council, Royal Academy and V&A, 9th Sept - 19th Nov 1972, cat. no. 1564 *** An exceptionally fine example, possibly one of Basoli's theatrical stage designs. Antonio worked as a set designer and as a decorator for numerous theatres in Bologna and its environs, including the Marsigli Rossi Theater, the Teatro Comunale di Bologna, and, in particular, the Contavalli Theater. Born in Casetl Huelfo, Basoli's first teacher was his father, Lelio Andrea Basoli. His education was motivated by an insatiable and constant interest in classic art, classic and contemporary literature, and the works, decorations and inscriptions of Giovanni Battista Piranesi. Basoli often worked alongside his brothers, Francesco and Luigi Basoli, and in 1804 he became Professor at the Accademia delle Arti di Bologna until 1826. During his time at the Accademia he developed a close friendship with fellow pupils Domenico Corsini and Pelagio Palagi, and later worked for a time in the studio of Petronio Fancelli.
English School (19th century) The British Chapel, Moscow, point of the brush and ink, watercolour, heightened with white, inscribed 'British Church at Mosco' and in another hand '1831-1876', on wove paper without watermark, sheet 300 x 360 mm (11 3/4 x 14 1/8 in), minor surface dirt and toning, unframed, [circa 1840s]Provenance:Collection of John and Eileen Harris*** The British chapel was established in 1828 on the current site of St. Andrew's, at 8 Voznesensky (Ascension) Lane, and remained until 1882, following which the chapel was demolished. The Rev. Charles Barton (or Burlton) was appointed by the Russia Company as chaplain in 1825, and the present drawing likely dates from just after 1840, at which point the portico was added. [cf. Ecclesiology Today, issue 57 (2019), pp 21–38]We are grateful to Dr James Bettley for his assistance in the cataloguing of this lot.
Whittell of Bodenham, Herefordshire (William, b. 1684, fl. 1705-9) Hampton Court com: Heref:, bird's-eye view of Hampton Court, Herefordshire, showing both house and gardens, pen and brown ink, on laid paper, signed indistinctly in the lower right corner, inscribed again in the lower margin 'W Whittell fecit', sheet 207 x 272 mm (8 1/18 x 10 3/4 in), carefully affixed onto slightly later laid paper, minor spotting and surface dirt, unframed, [circa 1700] Provenance: Surveys and maps commissioned by Thomas, Earl of Coningsby and his younger daughter, Lady Frances Coningsby 1698-1774; Collection of the Earl of Essex; Collection of Richard Arkwright Esq.; The Burrell Collection; Collection of Viscount Hereford, the then owner of the estate; Sabin Gallery, 1967; Collection of John and Eileen Harris Exhibited: Sabin Galleries, A Country House Portrayed: Hampton Court Herefordshire 1699-1840, 1973, cat. no. 6, illus. pl. IX *** Hampton Court in Herefordshire is one of the great houses of that county. The medieval house and its estate was purchased by Sir Humphrey Coningsby in 1510. His great grandson, Sir Thomas, made significant changes and developed the grounds in the early 17th century, but it was his great grandson King William lll's Paymaster General and Privy Councillor who transformed the house and gardens, circa 1690-1700. Not only that, he was sufficiently proud of his achievements to record these undertakings in large paintings by Leonard Knyff and John Stevens (now in the Paul Mellon Collection of British Art, New Haven), in these very rare drawings, and for the landed estate itself in the surveys bound into the Hampton Court Atlas (Herefordshire Archive and Record Centre). Coningsby (1656-1729), who was made Earl Coningsby by William lll in 1693, employed the Royal architect William Talman and the Royal gardener George London (both of whom had been engaged on the remodelling of Hampton Court Palace) to carry out the work. The former provided a new façade and a suite of rooms for the south front and the latter laid out the very extensive parterres and a series of avenues radiating into the landscape. The drawing is the bird's eye view taken from the east, and shows that façade of the house, revealing its earlier origins, and provides a remarkable visual picture of London's gardens with their parterres, topiary, water features and alleys. You can also see the Orangery which is obscured by the house in Knyff's painting as that is taken from the south east (see John Harris, The Artist and the Country House, 1979, pp118-199).William Whittell is reputed to have come from the village of Bodenham, which is situated just south east of Hampton Court on the other side of the River Lugg.
Lewis (Charles, b.1748, fl.1760-1790) View of Pan's Lodge, Painswick, Gloucestershire, built by the late Benjamin Hyett Esq., pen and black ink, brown ink, ruled black ink borderline, inscribed underneath 'Pan's Lodge built by the late Benjamin Hyett Esq.', on laid paper with Pro Patria watermark, sheet 198 x 310 mm (7 3/4 x 12 1/4 in), laid onto paper support, extensive pencil inscriptions verso, surface dirt, minor spotting, unframed, [circa 1760-1780] Provenance: Sale. Sotheby's 22nd May, 1986, part of lot 219 (bought by William Drummond); Collection of John and Eileen Harris Literature: John Harris, 'Gardenesque': the case of Charles Greville's Garden at Gloucester", Journal of Garden History, vol. 1, no. 2, p. 169 Roger White and Tim Mowl, "Thomas Robins at Painswick", Journal of Garden History, vol. 4, no. 2, p. 169 and fig. 10 *** Pan's Lodge was a Gothic summer-house in the rococo gardens of Painswick House, which was built in the 1730s by Charles Hyett to escape the smog of Gloucester. The Painswick Rococo Garden was laid out by Charles's oldest son Benjamin Hyett II (1708-1762), the eighteenth-century garden creator and brother of Nicholas Hyett, constable and keeper of the Castle of Gloucester. The Victoria and Albert Museum hold another drawing from the mid-to-late 18th century that also shows the Lodge designed by Hyett II, drawn by the little known but enigmatic artist Thomas Robins [see acc. no. E.1308:71-2001]. John Harris was particularly familiar with Robins having written the publication 'Gardens of Delight: the Rococo English landscape of Thomas Robins the elder', 1978.
Woolfe (John, Irish architect, employed by the Office of Works as a 'labourer in trust', d.1793) Colworth House, Bedfordshire, showing the addition of the wings, pen and black ink, watercolour, inscribed 'Front of Colworth' in the lower margin above the scale, ruled ink borderlines, sheet 150 x 265 mm (5 7/8 x 10 1/2 in), under glass, appears to be laid onto support, minor spotting, surface dirt and handling creases, framed, [circa 1771]Provenance:Rupert Gunnis (collector and historian of British sculpture, 1899-1965);Gifted to Howard Colvin (architectural historian, 1919-2007); whom gifted to John Harris;Collection of John and Eileen Harris*** Woolfe's drawing shows that the wings originally had giant arches in the centre and hipped roofs behind parapets, but have since been altered.'William Lee Antoine was born on 1764, the son of Sir William Lee (1726?-1778), chief justice of the King's Bench, and his wife Philadelphia Dyke, of Totteridge Park, Hertfordshire, England. As a young man, he acquired estates near Marlow, Buckinghamshire, and served as the borough's Whig representative in Parliament from 1790 to 1796. During the same time he lived primarily at Colworth House near Sharnbrook in Bedfordshire, which he had inherited from his distant cousin Richard Antoine. There he founded the Oakley Hunt with his neighbour Samuel Whitbread and served as its first master; he also represented Bedford in Parliament from 1802 to 1812. William Lee Antoine never married, and died on Sept. 11, 1815.' [Yale]
*** Please note, this drawing is sold unframed. Deare (John, 1759-1798) Design for a relief of Cupid and Psyche, pen and black inks, on Italian laid paper without visible watermark, signed and dated 'Rome Sept. 1787', 195 x 255 mm (7 3/4 x 10 in), sheet laid onto paper support with ruled black ink borderlines under mount, unframed, 1787 Provenance: Valentine Lawless, Lord Cloncurry (1773-1853); then by descent; Anonymous sale; Collection of John and Eileen Harris Literature: P. Fogelman, P. Fusco and S. Stock, ‘John Deare (1759– 1798): A British Neoclassical Sculptor in Rome,’ The Sculpture Journal, iv, 2000, cat. no. 22, illus. p. 115. *** An exceptionally rare example of a drawing by Deare for a sculptural relief, with the artist's distinctive finely cross-hatched pen lines achieving a virtuosic sense of depth and plasticity. We can trace no other examples of a drawing by the sculptor sold at auction since 1983, with only a handful of his sculptures having been sold. Deare spent most of his short career in Rome producing decorative reliefs for the mansions of wealthy Brtitsh patrons. However, in his early career he was apprenticed in 1776 to Thomas Carter II, who worked in London. Later that year in December, he enrolled at the Royal Academy Schools, and Deare and two of his contemporaries, John Flaxman and Thomas Proctor, soon became known among the students for their fine draughtsmanship. Their efforts are said to have prompted Joseph Nollekens, who was then a visitor, to give up sketching altogether. It wasn't until 1785 when Deare jointly won the Academy's travelling student scholarship, that he set out for Italy. Deare visited both Bologna and Florence en route to arriving in Rome in the summer of 1785, where he remained for the rest of his life. 'One of the most innovative and talented of English Neoclassical sculptors, John Deare lived a short but intense life. A child prodigy, he died at the young age of thirty-eight; according to legend, he slept on a block of marble, hoping to find inspiration in his dreams' [Getty].
Rude (François, 1784-1855), Attributed to. Design for monuments in Pere Lachaise cemetery, including that of Marshal André Masséna, Prince of Essling, Duke of Rivoli (d.1817), four works relating to sculpture by Rude, pen and brown ink over pencil under-drawing, various sizes but each sheet approx. 165 x 135 mm (6 1/2 x 5 1/4 in), or the reverse, some spotting and surface dirt, presented in one mount, framed, [circa 1820] Provenance:Collection of John and Eileen Harris*** André Masséna, Prince of Essling, Duke of Rivoli was a French military commander during the French Revolutionary Wars and the Napoleonic Wars, and was one of the original 18 Marshals of the Empire created by Napoleon I. Nicknamed l'Enfant chéri de la Victoire (the Dear Child of Victory), Masséna is considered to be one of the greatest generals of the Revolutionary and Napoleonic Wars.
Harwood (Francis, c.1727-1783) Design for an urn, from the sculptor's time in Rome, pen and brown ink, grey wash, pencil under-drawing, on laid paper, sheet 265 x 160 mm (10 3/8 x 6 1/4 in), tipped onto purple paper support with red wax holding it at corners, under glass, framed, [circa 1750s]Provenance:From the Cipriani and Joseph Wilton album of Roman Grand Tour drawings, circa 1750s;Sir Bruce Stirling Ingram, O.B.E., M.C., F.S.A. (1877-1963);Sotheby’s, 21st October 1964, part of lot. 196;Geoffrey Bennison (Interior decorator and art dealer, 1921-1984)Collection of John and Eileen Harris*** "Like his contemporary Christopher Hewetson, Harwood travelled to Italy in 1752, and after an initial stay in Rome went to Florence, where he lived from 1753 until his death. Although he was British, Harwood's exact place of birth is unknown, and little is known of his early career. He was, however, noted as being 'acquainted with Joseph Wilton, who was then working in Florence'... Harwood's work was wide-ranging; as well as producing busts and copies after the Antique, he also executed vases, chimneypieces and figures." [V&A]Two other drawings from the album, both drapery studies by Cipriani, are held in the British Museum (see nos. 2019,7015.53 and 2019,7015.54).
Thornhill (Sir James, 1675-1734) Portrait group of two architects and young boy, possibly Sir Christopher Wren and family, pen and brown ink, brown wash, red chalk, partial ink and chalk borderline, on laid paper without watermark, image 140 x 184 mm (5 1/4 x 7 1/4 in), sheet 185 x 232 mm (7 1/4 x 9 1/8 in), laid onto paper support, some handling creases, minor surface dirt, framed, [circa 1715]Provenance:Collection of John and Eileen Harris *** There are a number of similar drawings by Sir James Thornhill held in institutional collections that compare very closely with the present sheet, including 'Design for a portrait of an architect or a painter' [Yale Center for British Art, Paul Mellon Collection, acc. no. B1975.4.955], and 'Portrait of a Geographer, Wife, and Child' [Art Institute Chicago, acc. no. 1922.1604]. The Leonora Hall Gurley Memorial Collection, Art Institute Chicago, also holds a number of other single figure portrait studies in ink by Thornhill, which all appear to uphold the attribution.The most likely architect would be Sir Christopher Wren (1632-1723), his son Christopher Jnr (1675-1747), aged 39, and his grandson (another Christopher) who was born in 1711. The globe in the background could relate to the portrait of Sir Christopher Wren in the Sheldonian Theatre, Oxford, begun by Antonio Verrio before 1707 and completed by Sir Godfrey Kneller and Thornhill. Thornhill got the commission to decorate the dome of St Paul’s in 1714, which might provide an approximate date for this drawing if it does depict the Wrens.We are grateful to Charles Hind for his assistance in cataloguing the present drawing, and for his identification of the sitters.
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