*FREDERICK JAMES LLOYD, (1905-1974) A donkey in a landscape, signed lower left, watercolour and gouache, 28cm x 22cm, Framed dimensions: 50.5cm x 42cm Provenance: The estate of the late Brian Phelan (1934-2024) and Dorothy Bromiley Phelan (1930-2024), Note: Frederick James Lloyd was an English artist who became famous for his studies of animals and country landscapes. Lloyd was the first living self-taught artist to have a painting hung at the Tate in London, titled 'Cat and Mouse'.Lloyd took up painting full-time at the age of forty-eight, having worked at a variety of occupations including cowman, labourer, bus conductor, factory worker and policeman. With great intensity, he worked in watercolour and gouache, seated at the kitchen table, surrounded by the chaos of family life with eight children.Lloyd’s artistic “discovery” took place in 1957, when the influential critics – Herbert Read and John Berger - paid a visit to this unknown artist’s council house in Yorkshire. (Read, who lived locally, had responded to an invitation from Lloyd’s wife.) The following year saw his first exhibition at London’s Arthur Jeffress Gallery, with catalogue introduction by Read. When this gallery closed in 1961, he moved to the Portal Gallery, where he became the pre-eminent name in its stable of artists. The Portal soon offered him a monthly stipend, allowing him to give up his job at a plastics factory and to work full-time as an artist.A countryman to the core, raised in Cheshire, with an adult life spent in Yorkshire, rural scenes inevitably dominated his output. An affectionate and quirky portrayal of animals took precedence, and where humans are included in his compositions they are usually involved in rural or agricultural activity – hedging, wattling, harvesting and the like. Lloyd achieved minor celebrity status in 1963, through Ken Russell’s BBC documentary 'The Dotty World of James Lloyd'. Two years later, in an inspired piece of casting, Russell gave the totally untried Lloyd the starring role of Henri Rousseau in Always on a Sunday, his biopic about the 19th century French naïve painter.
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*FREDERICK JAMES LLOYD (1905-1974) A white foal in a landscape, signed lower right, watercolour and gouache, 35cm x 50.5cm, Framed dimensions: 45cm x 60.5cmProvenance: The estate of the late Brian Phelan (1934-2024) and Dorothy Bromiley Phelan (1930-2024), Note: Frederick James Lloyd was an English artist who became famous for his studies of animals and country landscapes. Lloyd was the first living self-taught artist to have a painting hung at the Tate in London, titled 'Cat and Mouse'.Lloyd took up painting full-time at the age of forty-eight, having worked at a variety of occupations including cowman, labourer, bus conductor, factory worker and policeman. With great intensity, he worked in watercolour and gouache, seated at the kitchen table, surrounded by the chaos of family life with eight children.Lloyd’s artistic “discovery” took place in 1957, when the influential critics – Herbert Read and John Berger - paid a visit to this unknown artist’s council house in Yorkshire. (Read, who lived locally, had responded to an invitation from Lloyd’s wife.) The following year saw his first exhibition at London’s Arthur Jeffress Gallery, with catalogue introduction by Read. When this gallery closed in 1961, he moved to the Portal Gallery, where he became the pre-eminent name in its stable of artists. The Portal soon offered him a monthly stipend, allowing him to give up his job at a plastics factory and to work full-time as an artist.A countryman to the core, raised in Cheshire, with an adult life spent in Yorkshire, rural scenes inevitably dominated his output. An affectionate and quirky portrayal of animals took precedence, and where humans are included in his compositions they are usually involved in rural or agricultural activity – hedging, wattling, harvesting and the like. Lloyd achieved minor celebrity status in 1963, through Ken Russell’s BBC documentary 'The Dotty World of James Lloyd'. Two years later, in an inspired piece of casting, Russell gave the totally untried Lloyd the starring role of Henri Rousseau in Always on a Sunday, his biopic about the 19th century French naïve painter.
ORLANDO NORIE (1832-1901) '17th Lancers' an officer taking water from a local woman in a continental village, watercolour, 36cm x 50cmNote: Along with Richard Simkin, Orlando Norie was probably the most prolific painter of military subjects in the latter part of the 19th century. Of Scottish ancestry, Norie was born in Bruges but spent a number of years working in Dunkirk painting for the firm of Rudolf Ackermann. He gained early recognition for his Crimean War paintings of a number of the famous battles such as Alma, Inkerman and Balaclava which Ackerman then sold as prints. He was highly regarded by the company and this was probably borne out by the sales of his prints.Besides exhibiting through the Ackerman, he also showed at the Royal Academy and the New Watercolour Society between 1876 and 1889.
ORLANDO NORIE (1832-1901) The charge of The Carabiniers (6th Dragoon Guards) watercolour, 32cm x 48cmNote: Along with Richard Simkin, Orlando Norie was probably the most prolific painter of military subjects in the latter part of the 19th century.Of Scottish ancestry, Norie was born in Bruges but spent a number of years working in Dunkirk painting for the firm of Rudolf Ackermann. He gained early recognition for his Crimean War paintings of a number of the famous battles such as Alma, Inkerman and Balaclava which Ackerman then sold as prints. He was highly regarded by the company and this was probably borne out by the sales of his prints.Besides exhibiting through the Ackerman, he also showed at the Royal Academy and the New Watercolour Society between 1876 and 1889.
ORLANDO NORIE (1832-1901) A group of four studies of 19th century cavalry officers including regiments such as the Queen's Dragoon Guards and the 3rd Prince of Wales' Dragoon Guards, all signed, watercolours, various sizes, the largest 27.5cm x 22.5cmNote: Along with Richard Simkin, Orlando Norie was probably the most prolific painter of military subjects in the latter part of the 19th century.Of Scottish ancestry, Norie was born in Bruges but spent a number of years working in Dunkirk painting for the firm of Rudolf Ackermann. He gained early recognition for his Crimean War paintings of a number of the famous battles such as Alma, Inkerman and Balaclava which Ackerman then sold as prints. He was highly regarded by the company and this was probably borne out by the sales of his prints.Besides exhibiting through the Ackerman, he also showed at the Royal Academy and the New Watercolour Society between 1876 and 1889.
λ ALAN REYNOLDS (BRITISH 1926-2014) STUDIES FOR YOUNG SEPTEMBER'S CORNFIELD Ink and watercolour Signed and dated 54 (lower right), titled (lower left) 41 x 29.5cm (16 x 11½ in.)Provenance: Thomas Agnew & Sons Ltd., LondonThe painting 'Young September's Cornfield' was completed in 1954, the same year as this study and is held by the Tate Gallery, London.
ARR David Smith (1920-1999) Iceberg, Inward Halley Bay, Antarctica, signed lower right, titled and dated 16/1/80 lower left, watercolour, 13.5 x 37 cm, frame 26.5 x 50.5 cmNotes: The painting was made on Smith's trip to Antarctica with the British Antarctic Relief Voyage 1979-1980. A Map is present to verso pinpointing the location of the painting which is also additionally signed in pencil.
Ronald Maddox (1930-2018) Pickford's Wharf, London, signed lower left, watercolour and ink, 29 x 50.5 cmCondition:The painting is a watercolour and ink, mounted but unframed. The surface has sustained some water damage with abrasion to the lower half which has rubbed some of the paint surface. The paint colours are bright. The sheet is free of tears or creasing.
Yu-Chian Chia (Malaysian 1936-1991) Street Scene, figures walking along a street lined with palm trees, signed lower right, ink and watercolour, 57 x 44 cm, frame 73 x 58 cmCondition:The painting is watercolour and ink, framed under glazing - not examined external to the frame. The sheet appears to have some crumples (see additional images) but no obvious losses. There is some general ageing (yellowing) to the sheet but the paint surface appears stable and well preserved, colours are bright. The glazing is dirty, the frame has some general wear and tear.
ARR David Smith (1920-1999) Ice Cliff, Halley Bay, Antarctica, signed and dated lower right, watercolour, 37 x 56 cm, frame 54 x 72 cmNotes: The painting was made on Smith's trip to Antarctica with the British Antarctic Relief Voyage 1979-1980. A Map is present to verso pinpointing the location of the painting which is also additionally signed in pencil.
AFTER FRANCESCO BOTTICINI THE MADONNA OF THE ROSE GARDEN Watercolour over pencil 78cm diameterAfter the original painting in the Pitti Palace, Florence Provenance: Denis Mackail, according to label on verso, and thence by descent Condition Report: Some light discoloration to the framing edges, otherwise the work appears to be in good condition commensurate with age. Unexamined out of glazed frame. Condition Report Disclaimer
Thomas Charles Wageman (1787-1863) Pencil and watercolour Portrait of Charlotte Hind (1799-1829), husband of John Blayds (d. 1827), daughter of Martin Hind (d. 1841) of Newton Green, Leeds, signed by artist bottom left, titled in pencil bottom right 'Mrs J Blayds', framed and glazed, mount aperture 20.5cm x 17.5cm, together with an unidentified 19th century artist's portrait in pencil and watercolour of Grace Hind (nee Treacher, daughter of Sir John Treacher of Oxford), spouse of Reverend Richard Hind (1738-1790), vicar of St Ann's, Soho. date of painting under mount details 1832 when the sitter was 75 years of age, further inscription bottom right reading 'Henley...', framed and glazed, mount aperture 22cm x 17.5 cm (2)
Attributed to Edward Alfred Chalon (Swiss-British, 1780 - 1860) -L'horoscope (The Fortune Teller) -Oil on leather mounted on a metal plate -46.5 x 37.5cm - 66 x 56cm framed -Signed and titled label attached to the verso -A monogrammed watercolour of the same subject offered at Sotheby's London on 20th September 2019 (lot 641). The oil painting appears to be a variation of the scene with slightly altered elements, such as the replacement of the figure of the woman to the left with a wall niche housing a glass jug, and an inclusion of a dog in the foreground. The symbolic elements such as the zodiac emblem on the wall and the skull and bones ornament on the fireplace are nearly identical.
ATTRIBUTED TO GEORGE BUCHANAN WOLLASTON (1814-1899) 'FOUNTAINS ABBEY, YORKS', a view of the Abbey with sheep to the foreground, no visible signature, attribution to Covent Garden Gallery label verso, watercolour on paper, approximate size 25cm x 35cm, Condition Report: the painting is in good overall condition, small knocks to the frame
George Shaw (1843-1915), Rural landscapes, watercolour, a pair, signed "G. Shaw", 16.5cm x 35.5cm (6½in x 14in), framed and glazed, together with a 19th century School oil on canvas painting of figures by a cottage in a wooded river landscape, unsigned, 33cm x 45.5cm (13in x 18in), framed (3)
F.J. Walker (20th century), Glastonbury Tor, watercolour, signed, 25cm x 35.5cm (9¾in x 14in), framed, together with another painting by the same hand, Fishing boats in a harbour, watercolour on board, 25cm x 39cm (9¾in x 15¼in, unframed and H.Z. Herrmann (19th/20th century), Continental street sceen, watercolour, painting, signed and dated 1898, 23cm x 11.5cm (9in x 4½in), framed, and H.Z. Herrmann (19th/20th century), Continental street sceen, watercolour, painting, signed and dated 1898, 23cm x 11.5cm (9in x 4½in), framed (4)
WILLIAM J. CORAH (British 1842-1922) watercolour - fast flowing stream, signed, 37 x 53cms, framed and glazed, JAMES JACKSON CURNOCK RCA (English 1839-1891) watercolour - entitled 'Llyn Llydaw, Snowdon, North Wales', unsigned, 28 x 46cms, framed and glazed, foxing to the sky area, GWYN BROWN (Welsh. 20th C.) pastel - view of Amlwch Port, Tegfryn Gallery Menai Bridge label, signed, 32 x 53cms, framed and glazed, EMIL ALBERT KRAUSE (1866-1922) watercolour - entitled 'Snowdon, Capel Curig', fully signed, 34 x 51cms, framed and glazed, DAVID COX JR. (English 1805-1885) watercolour - entitled verso 'Snowdon, North Wales', unsigned, 17 x 36cms, framed and glazed (5)Provenance: private collection ConwyComments: in descriptionNotes: Emil Albert Krause was born in Biesdorf, Germany on 8th July 1866 and was the son of Franz Emil Herman Krause 1836-1900. He moved to England with his father and mother Amelia and they all became naturalised British subjects in 1881. They firstly lived at 42 Liverpool Road, Birkdale, Southport, Lancashire, with his father later moving to Conwy in North Wales, where Emil also spent some time, as he exhibited from there. His mother was an Amelia Stock, whose father Johann Stock was also an artist. He officially changed his name to Emil Albert Stock in 1916, although he sometimes signed as A. Stock, presumably to anglicise his name due to the anti-German feeling during the WWI. He died on 18th November, 1922 and was buried in the Duke Street Cemetery in Southport with his mother and brother Richard. His father Francis was buried in Conwy. He exhibited 1891-1914 as Emil A. Krause, 14 paintings at the Walker Art Gallery in Liverpool, 3 at the Manchester City A.G. and 20 at the Royal Cambrian Academy. He exhibited 1 painting at the Walker again in 1921 as E. A. Stock. With thanks to Mr Richard Thomas for assistance in cataloguing this lot.
Watercolour painting depicts a carpenter working in the shop, signed lower left. H: 28cm, W: 38.5cm PROVENANCE Dr. Mohamed Said Farsi Dr. Mohamed Said Farsi (1934-2019) was a notable patron of Egyptian art. In 1956, he was among 35 Saudi Arabian students sent abroad for further education. He earned a BA in Architecture and Town Planning from the University of Alexandria in Egypt. Returning to Saudi Arabia, he became the Mayor of Jeddah in 1972. Over his lifetime, he curated the most significant private collection of Modern Egyptian art. This collection was the first of its kind to be comprehensively documented with the publication of �A Museum in a Book: The Farsi Art Collection – the “Egyptian Works” owned by Dr. Mohammed Said Farsi’ by critic and scholar Dr. Sobhy Sharouny in 1998.
THOMAS DANIELL R.A. (BRITISH 1749-1840) VIEW IN THE KOAH NULLAH Oil on canvas 58 x 45cm (22¾ x 17½ in.)In August 1788, Thomas Daniell began to plan a tour up-country, passing through Cawnpore, and then on to Agra and Delhi, before heading further north to Amroha and Najibabad. The rocky valley of the Khoh river, that leads into the Garhwal hills, was the route that the Daniells followed on the final outbound leg of their journey from Kotdwara to Srinagar in April 1789. Parts of the journey were perilous because of the difficult roads, and much of the terrain was unknown to the British. The Daniels were in fact the first Europeans ever to visit Garhwal. They wrote: 'We all four were carried in our jampans [hill palanquins] by four bearers to each who seemed to take us with the greatest ease.' (Archer, p.86) However, it was often too steep to use their palanquins and they had to climb up the rocky watercourse.Described by the pair, 'The Koah Nullah [Khoh River] is a mountain stream that in the season of rain must be a furious torrent, but in the month of April was a delightful rivulet, that, sparkling in the sun, gave animation and beauty to the rude scenes through which it pursued its course' (Oriental Scenery, Part 4, Plate 15).The enthusiasm for sparkling streams was apparently not shared by the Daniells' remaining Bengali servants who, as well as being hostile to the wheat eaten in this region, these lowlanders were also prejudiced against 'beautiful transparent water' flowing in the hills: their stagnant reservoirs, and even the turbid waters of the Hooghly at Calcutta, appeared to them much more inviting' (Archer, p.87).In the autumn of 1791, the pair of artists arrived back at Calcutta, having travelled many miles since their departure in August 1788. Their arrival was noted by William Baillie, who informed Ozias Humphry (November 3rd, 1793) that 'Mr. Thomas Daniell returned to Calcutta with a collection of about 150 pictures.' On the 5th January 1792, the Calcutta Gazette announced a 'Lottery of pictures painted during the extended tour'. (Sutton, p.66-67) One hundred and fifty pictures and paintings were exhibited at the Old Harmonic Tavern, with the draw taking place on March 1st. Although no catalogue of this lottery survives, it is likely that the present, unrecorded, lot, was one of the hundred and fifty works produced for this financial venture. If this is the case, we can date the work to circa 1790-1791 when the Daniells were working on pictures for the Calcutta Lottery. Much of the works produced by the Daniells during their time in India include buildings or ruins; both a reflection of their own artistic ideals, and of the idea that India itself was the scene of ancient civilisations. However, the foothills of the Himalayas presented the pair with the opportunity to paint pure landscapes. The present lot is not completely free of buildings, but the humble dwelling at its centre is quickly dwarfed and overshadowed by the sublime rugged mountains and spirited waters which surround it. A watercolour sold at Christie's, London, The P&O Collection of Watercolours of India by Thomas and William Daniell, 24 September 1996, lot 62, entitled The Khoh River, near Diosa, Garhwal, Uttar Pradesh (Oriental Scenery vol. IV, engraving No.18) appears to offer a similar view to the present lot but from a vantage point further down the Khoh River, omitting the house, but with the same mountain range easily identifiable. In addition, the artist depicted the same view in one of a pair of drawings entitled Old Lungoor Ghur: Near Nytana, Srinagar Mountains (Sale, Christie's London 29th October 2019, lot 91).A comparable oil painting, The Koh Valley in Garhwal, Northern India, was sold at Bonhams Travel and Topographical Pictures auction on 10 May 2005, lot 67. We are grateful to Charles Greig for his assistance in preparing this catalogue entry. Condition Report: The canvas is relined and presents an unevenly applied varnish. UV light reveals few scattered retouches in the section of the sky, which, for the most part are infills for the craquelure. The most visible retouches in the sky are three dotted restorations of a bout 0.5 cm in diameter, two of which are near the right corner, while one to the left. A threaded patch of restoration is present in the bottom left corner, such restoration is about 5cm wide. To conclude, a few scattered infills a present in the mountains and foliage, and a subtle craquelure is visible across the whole surface, and most evident in the section of the sky. Framed measurements: 69.5 x 55.5 cm Condition Report Disclaimer
λ FRANK CADOGAN COWPER (BRITISH 1877-1958) VANITY Pastel Signed and dated '1925' (lower right) 50 x 34cm (19½ x 13¼ in.) Provenance: Sale, Drouot-Richelieu, Paris, 11th June 2004, lot 106 The Maas Gallery Ltd, London, where purchased by the present owner, 2006Exhibited: Paris, Exposition des Beaux-Arts, 1936Cowper first painted Vanity in 1907 the year he became at Associate of The Royal Academy. He was so enamoured with it that he bought it back when it came up for auction at Christie's in 1921. Four years later he produced this pastel replica, which was a practice that he often did for his most popular paintings. He gave the 1907 version to The Royal Academy as his Diploma Work when he became a Royal Academician in 1934. Cowper collected antique frames and this pastel was most probably drawn especially for this frame as the proportions differ from the earlier version. The prime version of Vanity was most recently exhibited in Pre-Raphaelites: A Modern Renaissance at the Musei di San Domenico in Forlì, Italy and the influence of Renaissance painting is clearly seen in Cowper's work. He is often seen as the last exponent of the Pre-Raphaelite tradition and the picture pays homage to Rossetti's half-length likenesses of beautiful models with exotic accessories, an idiom itself owing much to sixteenth-century Venetian painting. The elaborate serpentine design on the woman's dress may have been inspired by the portrait of Isabella d'Este attributed to Giulio Romano (Historic Royal Palaces). Edward Burne-Jones had also depicted such a design in his watercolour 'Sidonia von Bork' (1860; Tate Britain). Vanity suggests the romance of the past and alludes to notions of the chivalric and courtly love.The record auction price for the artist was set by Our Lady of the Fruits of the Earth which sold at Christie's in 2011 for £469,250.This lot is from a deceased's estate sold to benefit the Art Fund. Condition Report: One or two superficial surface scratches to the sheet, the most noticeable (approx.. 1cm) to the upper left corner at the framing edge. Slight undulation to the sheet under the glaze. Otherwise, the work appears to be in good condition commensurate with age. Unexamined out of glazed frame.Condition Report Disclaimer
Harold James McCormach - river landscape with figures on two boats, watercolour, signed Harold James to lower left corner, 21cm x 31cm, mounted in glazed ebonized strip frame; L Hays - winter river landscape with cottage, oil on canvas, signed lower right and verso dated 1887; and an unsigned oil on board painting of the Abercorn Arms, Royal Hotel, 40cm x 57cm, in gilt frame Location:If there is no condition report shown, please request
Fore-edge painting. Gilpin (William). Observations on Several Parts of the Counties of Cambridge, Norfolk, Suffolk, and Essex. Also on Several Parts of North Wales..., London: T. Cadell and W. Davies, 1809, 20 aquatint plates, some offsetting, armorial bookplate of C. B. Pearson to front pastedown, all edges gilt with contemporary amateur fore-edge painting in watercolour showing a view of Carnarvon Castle, near-contemporary full crimson morocco, gilt lettering to spine, some light marks, 8vo QTY: (1)
Albert Moulton Foweraker (1873-1942) Córdoba, Andalucia, painted from the riverside showing the historic city with the mosque-cathedral and Roman bridge, signed lower right, watercolour, 44 x 60 cm, frame 73 x 88 cmCondition:The painting is a watercolour, framed under glazing - not examined external to the frame. The sheet appears generally well preserved - no obvious evidence for any tears, creases or deterioration. The paint surface appears well preseved and stable, colours are good, no obvious paint loss or deterioration. The frame has solid joints and some minor general wear and tear
Peter Atkin, three Northamptonshire watercolour landscapesPitsford Reservoir, 24x34cmThe Nene near Wansford, 23x30cmField View, 22.5x31cm.Qty: 3Condition report:The first two paintings are in very good condition. The third painting has foxing in various areas and to the bottom right of the mount. Please see additional uploaded images.
Y David Bomberg (British b. 1890-1957)Untitled Watercolour on paper Signed in pencil lower rightFramed and glazed David Garshen Bomberg (5 December 1890 - 19 August 1957) was a British painter, and one of the Whitechapel Boys. Bomberg studied at the Slade School of Art under Henry Tonks, and which included Mark Gertler, Stanley Spencer, C.R.W. Nevinson, and Dora Carrington. Bomberg painted a series of complex geometric compositions combining the influences of cubism and futurism in the years immediately preceding World War I; typically using a limited number of striking colours, turning humans into simple, angular shapes, and sometimes overlaying the whole painting a strong grid-work colouring scheme. Measures approx. 21cm x 16cm (81/4" x 61/4")
watercolour on paper, signed, titled in the frame framed and under glass image size 30cm x 45cm, overall size 58cm x 72cm Note: Joseph Denovan Adam specialised in painting the Highland landscape and local farm life, especially Highland cattle. Born on 19 September 1841 in Glasgow, Denovan Adam’s family moved to London in order to advance his father’s career. Along with receiving an early education in art from his father, he studied at what is now known as the Royal College of Art and attended life-classes at Langham and the Royal Academy. Father and son also regularly toured Scotland together on sketching holidays. Denovan Adam experienced public and critical success throughout his life, exhibiting at the RSA, Royal Glasgow Institute of the Fine Arts, Royal Scottish Society of Painters in Watercolours—where he was elected RSW in 1880—and held large solo exhibitions in 1890 and 1895, both at Dowdeswell Gallery in London. In the early 1870s, he moved back to Scotland, settling in Stirling in 1887. He also leased a home and small farm nearby in Craigmill. It was there that Denovan Adam founded a school where he taught animal drawing and painting. For models, students had access to dogs and livestock, including his small herd of Highland cattle. In addition to pens for the animals, Denovan Adam built a glass studio so that classes could continue during inclement weather. Elected ARSA in 1884, it was in 1892, the year after he exhibited his Diploma Work, Evening, Strathspey, that he was made an RSA. In 1894 the painting was awarded a gold medal at the Paris Salon. Shortly after these successes, suffering from nephritis, Denovan Adam was forced to move to Glasgow and died at home on 22 April 1896. Twenty-four of his pictures are held in UK public collections.
watercolour on paper, signed and titled mounted, framed and under glass image size 38cm x 28cm, overall size 60cm x 50cm Note: After the war, Patrick returned to Dundee with his wife and family and began painting outdoors rather than in the studio which he had upstairs in his house. By the 1950's he had perfected his style and technique in outdoor landscape painting and began recording his beloved Angus countryside on canvas, working in all seasons and all weather conditions. His style was traditional and he didn't have much time for ''contemporary'' interpretations of landscape. ''The Tay Bridge from My Studio Window'', painted in 1947, is probably the best known of Patrick's works and illustrates the detailed style which he had finally decided upon as suiting his temperament best. He was elected a full member of the Royal Scottish Academy in 1957. His reputation grew throughout the sixties and seventies and by the early eighties, he was a giant in the Scottish art world. James McIntosh Patrick was an exemplar in his life and work and imparted his knowledge freely. He was, without doubt, the most able landscape painter that Scotland has produced in the 20th century and stands on equal terms with most of Europe's best landscape painters of that era. Sixty of his pictures are held in UK public collections at many of the finest museums and galleries in the UK.
Percy Kelly (1918-1993, British), watercolour, 'To Meander Along The Shores of Gentle and Peaceful Loweswater', Lake District, an illustrated letter, signed 'Roberta' and dated 1986, certificate of authentication verso, framed, mounted, and under glass, measuring 19cm x 28cm, & 41cm x 50cm overall Note - This painting was part of the collection of Joan David, Percy Kelly's friend and correspondent between 1983 and 1993. With Joan's death in January 2000, her collection was inherited by her son and daughter, Rob and Maggie. The certificate verso confirms authentication of this picture as part of the Joan David collection.
Simon Jenkins- England’s 1000 great houses, Edward Whymper – Scrambles amongst the Alps, A. B. Paterson’s collected verse, Jan Morris – Thinking Again, Norman Lewis – I Came I Saw, James Tucker, Case bound, Ralph Rashleigh - edited by Colin Roderick. Drawings by Nigel Lambourne, published Folio, Jerome K Jerome – My Life and Times, case bound, Patricia Kinross – Ataturk, Albert Hourani Miscellaneous books to include; Helier Ventura – Bosphorus, Turks 600-1600, Terence Lane I Australian Art, RA – Australia, Christopher Wood - Paradise lost, Wilson and Lyle - -Great Age British Watercolours, Herbert – Landscape Watercolour 1750-1850, Konstantin Bazarov – Lanscape Painting, Vincent by Himself, The Orient Observed, Jessica Rawson – Mysteries of Ancient China
Robert Paul (1906-1978) - Watercolour - Coastal scene with a lowering sky, signed and dated '51, 13.25ins x 18.5ins, framed and glazed and Robert Paul - oil painting - Landscape with mountains, signed and dated '79, canvas, 15ins x 20.25ins, framedWatercolour - this work has not been inspected out of its frame. It appears to be slightly uniformly faded but otherwise appears to be in good condition with no obvious damage/loss/restoration. Oil painting- appears to be in good condition with no obvious damage/loss/restoration.
Madeline Rachel Wells R.B.A. (British, 1879-1959), Bathing Time, watercolour on silk, 32 by 45cm, framed. Lot Essay: Born in India, Madeline Wells studied at Westminster Art School under William Mouat Loudan, and at the London School of Art under Sir Frank Brangwyn. She married the artist Robert Douglas Wells, who specialised in landscape and still life painting. They lived in London at St. Albans Studios in Kensington. Madeline Wells became a member of the Royal Society of British Artists in 1915 and was elected a member of the Society of Women Artists in 1923. She exhibited widely over a period of more than thirty years at these and other galleries, including the Grosvenor Gallery, the Royal Academy and the Walker Art Gallery in Liverpool. Note: Artist Resale Rights apply
⊕ GEORGE MAYER-MARTON (lots 1-11) His appearance, accent and manner spoke of a lost and to us largely unknown Mitteleuropa. Always meticulously dressed in a suit and wearing a hat and polished shoes, he would arrive in the college with his leather briefcase and don his professional white coat. Introduction In Their Safe Haven', Hungarian artists in Britain from the 1930s, compiled and edited by Robert Waterhouse, the story of George Mayer-Marton's bleak story of dispossession is graphically pieced together from the artist's diaries and via first hand accounts. Born in Gyor, North Hungary, the artist's formative years had largely been spent in Austria or Germany. During the First World War he had served on the front line in the Austrian army, and - leading up to the Anschluss - he lived in Vienna, happily married and, as vice-president of the Hagenbund, he was a leading voice among contemporary artists. But with Hitler's annexation of the country at the end of September 1938 together with Grete his wife he fled Vienna for London. Mayer-Marton's diaries evoke with withering honesty the reception he received and his despairing sense of dislocation: 'For the moment, London spells turmoil, noise, rows of double decker buses and a language one doesn't understand... We observe the English art of 'splendid isolation', their culture of bureaucratic niceties, good manners and cold souls; their complete consideration for others out of consideration for their own piece and quiet.' (Waterhouse, p. 74). Eventually the couple set up home and a studio in St John's Wood, only for the premises to be hit by an incendiary bomb in 1940 during the Blitz. In the ensuing fire Mayer-Marton lost the vast majority of the work he had brought with him. At the end of the War he learnt of the murder of his and Grete's parents together with his brother in the Holocaust. Grete's death in a psychiatric hospital in Epsom in 1952 followed, a consequnce of her inability to recover either from her forced exile or the subsequent destruction of their London home. Yet, despite such a succession of tragedies, Mayer-Marton was resolutely determined. He strove to replace the works lost in the London bombing, not simply with copies but because he felt challenged by the very different light and landscape of the British countryside, his lightness of touch and deftness of colour abundantly apparent in the present selection of works. He was also appointed a senior lecturer at Liverpool College of Art, a post in which he flourished. His Liverpool students recalled Mayer-Marton's innovative approach to teaching. He introduced weekly 'Socratic method' seminars, challenging students with rhetorical questions ranging from 'Kant's moral imperative to Schopenhauer's aesthetic theory, the scientific ideas of Einstein, concepts of the primitive in art, abstraction, expressionism, the medieval guilds and so on... these seminars were a decade before the history and theory of art were incorporated into art school curricula in the 1960s' (Waterhouse, pp. 212-213). In Liverpool he also introduced new technical know-how, in particular fresco painting and the re-introduction of Byzantine-style mosaic practices. These he deployed in a series of large scale ecclesiastical commissions in the north-west, including the large Crucifixion mural at the former church of the Holy Rosary, Oldham (1955), Pentecost now in Liverpool Metropolitan Cathedral, and the Crowning of St Clare at St Clare's Church, Blackley. GEORGE MAYER-MARTON (HUNGARIAN 1897-1960) VIEW OF CONCARNEAU signed Gmayermarton lower right watercolour and wash on paper 52.5 x 36.5cm; 20 3/4 x 14 1/2in 79.5 x 67cm; 31 1/4 x 26 1/2 (framed) Mayer-Marton visited Concarneau, Brittany in 1950 and 1951. Held behind glass, not examined out of frame. This work appears in very good original condition, colours fresh and vibrant.
WILLIAM MCCANCE (SCOTTISH 1894-1970) TREES Watercolour and pencil 24cm x 35.5cm (9.5in x 14in) From the Estate of William McCance. The Art Edit is delighted to present paintings, drawings and prints by William McCance and his circle. The collection includes a portrait of McCance’s first wife Agnes Miller Parker (1895–1980), cards printed and inscribed by artist friends, and designs produced during McCance’s tenure as Controller of the Gregynog Press. All works come from the Artist’s Estate and have never before appeared on the market.Like any modernist worth his salt, William McCance sought to document twentieth century industrial life. His subject is often domestic, but is realised using a vorticist schematisation which promotes underlying geometric volumes. Thus, organic forms assume an almost mechanised quality: a human figure is transformed into a strange automaton; a grove of trees is delineated as if it were a cluster of factory pipes.McCance moved to London in 1920 with Agnes Miller Parker, where they were amongst the earliest Scots to adopt a Wyndham Lewis-inspired vorticism. Their mutual inclination towards line and pattern lent itself well to the graphic arts; Miller Parker was a talented wood engraver and illustrator, while McCance worked across painting, printmaking, design, sculpture, writing and typography.In 1930 McCance became second Controller of the Gregynog Press, a significant private press in Montgomeryshire, Wales. The Press flourished under his stewardship, and he oversaw the production of several exquisite limited edition publications.Gregynog was unique at the time in that publications were printed, typset, illustrated and bound under one roof. McCance and Miller Parker contributed designs and engravings, as did the artists Gertrude Hermes (1901–1983) and Blair Hughes Stanton (1902-1981), who was also employed at the Press in a directorial capacity. However, owing to fraught relations with the owners of the Press, McCance resigned after three years.By 1943 McCance was lecturer in Typography and Book Production at the University of Reading. The few works from this later period held in public collection indicate a preoccupation with the Venus of Laussel, the c.25,000 year old limestone figure of a female nude discovered in 1911 in a rock shelter in the Dordogne. McCance likely encountered the Venus during a visit to the region after the Second World War, and nude figures with smooth simplified curves inspired by the Venus recurred within his work hereon. McCance parted ways with Miller Parker in 1955, and by 1960 he had retired to Scotland. He died in Ayrshire in 1970.
WILLIAM MCCANCE (SCOTTISH 1894-1970) RECLINING GIANT - 1945 Signed and dated '45 lower right, watercolour wax resist and pencil 27cm x 37.5cm (10.75in x 37.5in) From the Estate of William McCance. Exhibited: Dundee City Art Gallery, cat.no.52; Scottish National Gallery of Modern Art, 1990The Art Edit is delighted to present paintings, drawings and prints by William McCance and his circle. The collection includes a portrait of McCance’s first wife Agnes Miller Parker (1895–1980), cards printed and inscribed by artist friends, and designs produced during McCance’s tenure as Controller of the Gregynog Press. All works come from the Artist’s Estate and have never before appeared on the market.Like any modernist worth his salt, William McCance sought to document twentieth century industrial life. His subject is often domestic, but is realised using a vorticist schematisation which promotes underlying geometric volumes. Thus, organic forms assume an almost mechanised quality: a human figure is transformed into a strange automaton; a grove of trees is delineated as if it were a cluster of factory pipes.McCance moved to London in 1920 with Agnes Miller Parker, where they were amongst the earliest Scots to adopt a Wyndham Lewis-inspired vorticism. Their mutual inclination towards line and pattern lent itself well to the graphic arts; Miller Parker was a talented wood engraver and illustrator, while McCance worked across painting, printmaking, design, sculpture, writing and typography.In 1930 McCance became second Controller of the Gregynog Press, a significant private press in Montgomeryshire, Wales. The Press flourished under his stewardship, and he oversaw the production of several exquisite limited edition publications.Gregynog was unique at the time in that publications were printed, typset, illustrated and bound under one roof. McCance and Miller Parker contributed designs and engravings, as did the artists Gertrude Hermes (1901–1983) and Blair Hughes Stanton (1902-1981), who was also employed at the Press in a directorial capacity. However, owing to fraught relations with the owners of the Press, McCance resigned after three years.By 1943 McCance was lecturer in Typography and Book Production at the University of Reading. The few works from this later period held in public collection indicate a preoccupation with the Venus of Laussel, the c.25,000 year old limestone figure of a female nude discovered in 1911 in a rock shelter in the Dordogne. McCance likely encountered the Venus during a visit to the region after the Second World War, and nude figures with smooth simplified curves inspired by the Venus recurred within his work hereon. McCance parted ways with Miller Parker in 1955, and by 1960 he had retired to Scotland. He died in Ayrshire in 1970.
▲ Ken Howard RA (1932-2022) 'Christa Gaa and the Pink Cake'signed 'Ken Howard' in pencil l.r., watercolour heightened with white17.5 x 21cmCondition ReportFramed size 37 x 39cmNot viewed out of glazed frame. Some cracking to thicker white paint on right side. Mount is stained and foxed. Painting itself presents well.
Bryan Pearce (British, 1929-2006) - '550 Miles by Sea', watercolour on paper, titled below and signed in pencil, 21 x 28 cm, frame dimensions: 36.5 x 43 cm, mounted and framed with UV protected glass, together with photocopied pages from the book: 'Bryan Pearce - The Artist and His Work' (Janet Axten, Sansom & Company), which includes this painting.Bryan Pearce was recognised as one of Britain's leading naïve painters of the 20th century, with a style compared to, and undoubtably inspired by, Alfred Wallis. Born in St. Ives, Pearce began drawing and painting in watercolours in 1953 during the height of the post-war St. Ives School art movement. Peter Lanyon said of him: 'Because his sources are not seen with a passive eye, but are truly happenings, his painting is original.'
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