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Lot 527
Kenneth Green (British, 1905-1987) Seascapesigned and dated lower left 1975oil on board36 x 45cmExhibited:Artist's of Chelsea (now the Chelsea Art Club)The painting is in a clean original state with some disolouration to the white pigment. The paint layer is thin in areas with the board texture coming through, but this looks intentional rather than a defect. There is a textured grit to the paint layer which may indicate this work was produced using the plein air method. The frame has chips to the gilt. Frame size: 50cm x 60cm
Lot 278
λ MARGHERITA BARTALINI (20TH CENTURY) STILL LIFE WITH JAPANESE POT AND BLOSSOMS Oil on board Signed (upper left) 19.5 x 29cm (7½ x 11¼ in.)Together with five further oil sketches each by various hands, comprising; a 20th century portrait of a gentleman (29 x 19cm), a 19th century seascape (15 x 25cm), figures walking at sunset (11.5 x 18.5cm), a sketch of a figure in Arab dress (recto); a woman in an interior (verso) (31.5 x 14cm), and a church at sunset (10 x 16cm) All unframed (6) Condition Report: PLEASE NOTE: ALL LOTS IN THIS AUCTION ARE NOT AVAILABLE TO VIEW All works with some surface dirt and general wear, particularly to the unframed edges, commensurate with age. In addition, the portrait of the gentleman has been laid down, and this is starting to tear at the lower and upper edges. There is a hole to the board at the centre of the upper edge on the seascape (approx. 5mm diameter). There is also a considerable amount of surface dirt and discolouration.Please note high resolution images are available upon request please contact the department directly on pictures@dreweatts.com PLEASE NOTE: ALL LOTS WILL BE AVAILABLE TO COLLECT FROM SACKVILLE WEST STORAGE IN ANDOVER SP10 3SA, TWO DAYS AFTER THE AUCTION. Condition Report Disclaimer
Lot 473
J Mogford, rural scene with cattle, watercolour, signed lower right and dated 1881?, 23.5 x 34cm, Alan C Browne, Loch Ken Easter 1952, watercolour, signed lower right, titled and dated lower left, 16 x 23.5cm, T Wilson, seascape, watercolour, signed lower right, 7 x 32cm and late 19th Continental school, view of a coastal town, 20 x 34cm, indistinctly signed lower left and dated 1877, all framed and glazed (4)
Lot 29
John Anthony PARK (1880-1962) Low Tide, Mullion Cove Oil on panel, signed, 32 x 41cm, framed 46 x 53cmExhibited - Montpelier Studio, London, title - Seascape II, no. 520 (label verso) This quickly painted oil is perfectly stable, but it is on plywood and one can see minor splits. There are two old woodworm holes top left. Otherwise, the painting is in delightful original clean condition.
Lot 275
* ERIC TIMMS, DRIFTWOOD SEASCAPE oil on canvasframedimage size 40cm x 50cm, overall size 43cm x 53cm Note: Words from the artist's website: My name is Eric Timms and I was born a long, long time ago in a distant land that was held firmly in the grip of dark and evil forces. With my family, brushes and remaining sanity I managed to escape to a land far to the North where it was believed that freedom reigned and that people from every corner of the world lived in peace and harmony. Alas, this was but a myth for this new land was driven by greed and worthless celebrity so I dragged my easel and loved ones further overland and ventured further North to the land of Mystery and "the right to roam". Scotland. I could tell you about all the paintings I have done, about the galleries I have run, but what's the point of that. I could mention the phases and exhibitions I have endured and the people I have taught but I cannot think why. In truth, as any person born in middle of last century will absolutely understand, I have managed to stay alive to deal with all the lofty joys and the deep miseries of being human. We all have our stories to tell and they are best savoured person to person. Now I live on my palette-board with my loving and ravishing wife of many long, long, long years, my devoted wolf-dog Zulu and the opportunity to paint with freedom and true expression.
Lot 28
* BILL WRIGHT RSW RGI DA (SCOTTISH 1931 - 2016), SHORE FARM watercolour on paper, signed, titled label versomounted, framed and under glassimage size 40cm x 59cm, overall size 61cm x 81cmNote: Bill Wright's talent first became evident when he was a boy, drawing endlessly for amusement while bedbound with illness. He went on to study painting at Glasgow School of Art and became an award-winning watercolourist, constantly inspired by was seascape and ever-changing sky on the Kintyre peninsula where he had a second home. Glasgow-born Wright, the son of a shipyard plater, was brought up in Partick and started his schooling at the city’s Dowanhill Primary before being evacuated to Dunoon during the Second World War. After returning home he attended Hyndland Senior Secondary and despite being discouraged by his parents, who would have preferred him to have a “proper job”, in 1949 he began his studies at Glasgow School of Art. They were interrupted by national service – a duty he felt hindered the progression of his art career. He served at Catterick army garrison but was a pacifist who abhorred war and dismissed the opportunity to be promoted to Sergeant as an army career held no interest. His first teaching post was at East Park School in Glasgow’s Maryhill. He then moved in 1965 to St Patrick’s High School in Dumbarton where he spent two years before becoming art adviser for the area at the age of 36. Over the next two decades he fostered the idea of instilling a cultural interest in art among pupils. He formed working groups to reform teaching of first and second-year students, encouraged forward-looking principal teachers and recruited many young teachers. His ethos was that teachers were not just there to create artists but to give all children a good art experience. He also established a residential art course for school children, at the Pirniehall residential educational facility at Croftamie in Dunbartonshire, where youngsters from different backgrounds could investigate the idea of furthering an art career through experiencing a range of different mediums in an art camp environment. And he is said to have been instrumental in encouraging the implementation of Scotland’s Standard Grade art and design qualification. However, he suffered from the chronic arthritic condition ankylosing spondylitis which, by the age of 55, forced him to take early retirement from his post in the education department of Strathclyde Regional Council. Meanwhile, as he had strived to enthuse youngsters with his own passion for art, he had been elected, in 1977, to the Royal Scottish Society of Painters in Watercolour. A member of the Glasgow Arts Club for many years, he was also an elected member of the Glasgow Institute of Fine Arts and Paisley Art Institute, served as president of the Scottish Artists’ Benevolent Association for 14 years and was a Scottish Arts Council lecturer, touring the country discussing art. But perhaps his own greatest inspiration was the view from a cottage he stumbled upon half a century ago, seven miles from Campbeltown on the Mull of Kintyre. He rented the property at Bellochantuy and set up a studio there where he drew on the vistas stretching 180 degrees, encompassing sea, beach, rocks and sky. He was utterly smitten by the area and was ultimately bequeathed the cottage by the owner who had become a close family friend. Over the years he came to know the area intimately and was fascinated by the constantly changing moods of the sea and light of the sky which formed the majority of his output. One large body of work, "Towards Islay", focused on the view from the back of the cottage. He captured the patterns and waves of the sea, sometimes adding a bird, limpit, mermaid’s purse, rock lines or some seaweed. But at times his works were very abstract and symbolic, concentrating on themes of nature and transience. He was hung in all the major shows in Scotland and in galleries across the country from Aberdeenshire to Edinburgh, Glasgow and south of the border. His work also features in public collections of Stirling and Strathclyde Universities, HRH The Duke of Edinburgh and the Educational Institute of Scotland. And he was recognised with The Laing Prize for Landscape and Seascape and the RSW’s Sir William Gillies Award.
Lot 2
* BILL WRIGHT RSW RGI DA (SCOTTISH 1931 - 2016), CHANGING NIGHT SKY watercolour on paper, signedmounted, framed and under glassimage size 30cm x 43cm, overall size 54cm x 66cm Note: Bill Wright's talent first became evident when he was a boy, drawing endlessly for amusement while bedbound with illness. He went on to study painting at Glasgow School of Art and became an award-winning watercolourist, constantly inspired by was seascape and ever-changing sky on the Kintyre peninsula where he had a second home. Glasgow-born Wright, the son of a shipyard plater, was brought up in Partick and started his schooling at the city’s Dowanhill Primary before being evacuated to Dunoon during the Second World War. After returning home he attended Hyndland Senior Secondary and despite being discouraged by his parents, who would have preferred him to have a “proper job”, in 1949 he began his studies at Glasgow School of Art. They were interrupted by national service – a duty he felt hindered the progression of his art career. He served at Catterick army garrison but was a pacifist who abhorred war and dismissed the opportunity to be promoted to Sergeant as an army career held no interest. His first teaching post was at East Park School in Glasgow’s Maryhill. He then moved in 1965 to St Patrick’s High School in Dumbarton where he spent two years before becoming art adviser for the area at the age of 36. Over the next two decades he fostered the idea of instilling a cultural interest in art among pupils. He formed working groups to reform teaching of first and second-year students, encouraged forward-looking principal teachers and recruited many young teachers. His ethos was that teachers were not just there to create artists but to give all children a good art experience. He also established a residential art course for school children, at the Pirniehall residential educational facility at Croftamie in Dunbartonshire, where youngsters from different backgrounds could investigate the idea of furthering an art career through experiencing a range of different mediums in an art camp environment. And he is said to have been instrumental in encouraging the implementation of Scotland’s Standard Grade art and design qualification. However, he suffered from the chronic arthritic condition ankylosing spondylitis which, by the age of 55, forced him to take early retirement from his post in the education department of Strathclyde Regional Council. Meanwhile, as he had strived to enthuse youngsters with his own passion for art, he had been elected, in 1977, to the Royal Scottish Society of Painters in Watercolour. A member of the Glasgow Arts Club for many years, he was also an elected member of the Glasgow Institute of Fine Arts and Paisley Art Institute, served as president of the Scottish Artists’ Benevolent Association for 14 years and was a Scottish Arts Council lecturer, touring the country discussing art. But perhaps his own greatest inspiration was the view from a cottage he stumbled upon half a century ago, seven miles from Campbeltown on the Mull of Kintyre. He rented the property at Bellochantuy and set up a studio there where he drew on the vistas stretching 180 degrees, encompassing sea, beach, rocks and sky. He was utterly smitten by the area and was ultimately bequeathed the cottage by the owner who had become a close family friend. Over the years he came to know the area intimately and was fascinated by the constantly changing moods of the sea and light of the sky which formed the majority of his output. One large body of work, "Towards Islay", focused on the view from the back of the cottage. He captured the patterns and waves of the sea, sometimes adding a bird, limpit, mermaid’s purse, rock lines or some seaweed. But at times his works were very abstract and symbolic, concentrating on themes of nature and transience. He was hung in all the major shows in Scotland and in galleries across the country from Aberdeenshire to Edinburgh, Glasgow and south of the border. His work also features in public collections of Stirling and Strathclyde Universities, HRH The Duke of Edinburgh and the Educational Institute of Scotland. And he was recognised with The Laing Prize for Landscape and Seascape and the RSW’s Sir William Gillies Award.
Lot 196
* CHRISTOPHER WOOD RSW PAI PPSSA, EVENING LIGHT oil on board, signedframed image size 52cm x 77cm, overall size 65cm x 89cm Artist's label verso.Note: Christopher Wood trained at Edinburgh College of Art, graduating with an Honours degree in Drawing & Painting in 1984. He has been a full-time professional artist since his first one-man exhibition in Edinburgh 1987. Inspired by the artist’s coastal environment near his home in Dunbar, Wood’s palette is infused with the reflection and absorption of light to be found in ever changing elements of Scottish land and seascape. Wood has won numerous prestigious awards. “My work encompasses landscape, seascape and abstraction, using oils, acrylics, collage and mixed media. My working practice is intuitive and improvisational - an approach which fosters the unexpected. Through the processes of painting, of layering and scraping, of looking and reacting, the work finds its own identity, with a purpose, history and a voice of its own. I endeavour to leave enough room for the viewer to engage with my work through the lens of their own experience." He is a Past-President of the Society of Scottish Artists, an elected member of the Royal Scottish Society of Painters in Watercolour and an elected member of the Royal Glasgow Institute of the Fine Arts. Collections include: HM King Charles, the Bank of Scotland; Aberdeen Asset Management; United Distillers; Edinburgh University; Lennox Lewis; The Demarco European Foundation; MacRoberts Solicitors; Premier Property Group; Phoenix Equity Partners and many other private and corporate collections around the world.
Lot 5
* CHRISTOPHER WOOD RSW RGI PPSSA, WINTER'S GRASP oil on board, signed, titled and dated 2004 versoframed and under glass image size 46cm x 51cm, overall size 59cm x 64cm Artist's label versoLabel verso: Manor House Gallery, Chipping NortonNote: Christopher Wood trained at Edinburgh College of Art, graduating with an Honours degree in Drawing & Painting in 1984. He has been a full-time professional artist since his first one-man exhibition in Edinburgh 1987. Inspired by the artist’s coastal environment near his home in Dunbar, Wood’s palette is infused with the reflection and absorption of light to be found in ever changing elements of Scottish land and seascape. Wood has won numerous prestigious awards. “My work encompasses landscape, seascape and abstraction, using oils, acrylics, collage and mixed media. My working practice is intuitive and improvisational - an approach which fosters the unexpected. Through the processes of painting, of layering and scraping, of looking and reacting, the work finds its own identity, with a purpose, history and a voice of its own. I endeavour to leave enough room for the viewer to engage with my work through the lens of their own experience." He is a Past-President of the Society of Scottish Artists, an elected member of the Royal Scottish Society of Painters in Watercolour and an elected member of the Royal Glasgow Institute of the Fine Arts. Collections include: HM King Charles, the Bank of Scotland; Aberdeen Asset Management; United Distillers; Edinburgh University; Lennox Lewis; The Demarco European Foundation; MacRoberts Solicitors; Premier Property Group; Phoenix Equity Partners and many other private and corporate collections around the world.
Lot 1
William Lionel Wyllie (British, 1851-1931). 'The Foudroyant', seascape scene depicting the Launch of H.M.S. Foudroyant, signed lower right, oil on board, 28.5 x 50 cm, mounted in a gilt frame. Note: Ordered in 1788, laid down at Plymouth and launched in May 1798, H.M.S. Foudroyant was an 80-gun two-decker of 2,062 tons. Originally intended for Nelson but unfinished when he was ordered to the Mediterranean in May 1798, she served briefly as his flagship, from June 1799 to June 1800, before she became Admiral Lord Keith's flagship. After playing a large role in the recapture of Malta, she was refitted in 1802-1803 and then returned to sea until 1812 when her active career finished. She was then stationed at Devonport on dockyard duties until she was finally sold in 1892 for £2,350. Laterally wrecked at Blackpool in 1897, she was broken up and all her salvageable timber and metal was eventually recycled into a large variety of maritime souvenirs. William Lionel Wyllie is regarded as one of Britain's most celebrated marine artists of the later Victorian and early 20th century era. As a painter in both oil and watercolour, he is also known for highly atmospheric etchings of vessels, big and small, in the many harbours and waterways around the British Isles and sometimes beyond.
Lot 418
Suzanne Caporael (America, b. 1949). Woodcut on paper titled "Rincon" depicting an abstract seascape with towering waves, 2006. Pencil signed and dated along the lower right; numbered 2/30 along the lower left.Height: 14 1/2 in x width: 18 in.Condition: The colors are bold and bright. The sheet is lightly toned. There are no major tears, losses, or signs of restoration. Light wear to the deckled edges. There is a small crease along the lower left of the woodcut, only visible upon close inspection. The work is not framed.
Lot 156
George Wilhelm Opdenhoff (1807-1873)Seascape with Fishing Boatssigned lower leftoil on board28cm x 36cm Very good overall condition; the picture surface is stable, with minimal evidence of craquelure. There is a thin varnish layer and some potential evidence of overpainting. The picture surface would benefit from being cleaned. Ready to hang otherwise.
Lot 131
Two Victorian watercolours. Comprising one by David Cox, 'The Gleaner' Return' depicting two women carrying crops down to a canal, signed and dated '1850' lower left, titled and marked 'David Cox (the Elder)' to verso, 15cm x 20cm, the other a seascape featuring people exploring a shipwreck, unsigned, 21cm x 47.5cm, both framed and glazed
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