‡ RICHARD PARKES BONINGTON (BRITISH 1802-1828) LANDSCAPE WITH SUNSET AND FIGURES Oil on canvas 23 x 35cm (9 x 13¾ in.)Provenance: Probably, acquired directly from the artist by Louis-Joseph August Coutan (1779-1830), and by inheritance to his wife Lucienne Hauguet (1788-1838) Thence by inheritance to her brother Ferdinand Hauguet (d. 1860), and by descent to his son Maurice-Jacques-Albert Hauguet (1819-1883) Thence by descent, Villa Lucienne, Antibes, until 1996 Talabaron & Gautier, Paris, by 2002 Daniel Katz, London From whom acquired by Richard L. Feigen, 2003Literature: B. Talabaron and B. Gautier, Le Paysage Français de Valenciennes à Bonnington, exhibition catalogue, Paris, 2002, cat. no. 33, reproduced P. Noon, Richard Parkes Bonnington: The Complete Paintings, New Haven and London, 2008, p. 252, cat. no. 202, reproduced in colour P. Noon, ed. Richard Parkes Bonnington, exhibition catalogue, New York, 2018, unpaginated, cat no. 8, reproduced in colourExhibited: Paris, Talabardon & Gautier, Le Paysage Français de Valenciennes à Bonington, 18 September - 26 October 2002, no. 33 New York, Richard L. Feigen & Co., Richard Parkes Bonington, 23 October - 18 December 2018, no. 8 Richard Parkes Bonington was born in the village of Arnold just outside Nottingham in 1802, but emigrated to France with his family aged fifteen. He was an artist with a precocious talent, extreme sensibility of colour and a profound fluidity of touch. Bonington is considered a hero of the Romantic movement, his legend secured when he died tragically young, aged only 25, his painting career spanning a single decade. He was revered on both sides of the English Channel and hugely influential upon contemporaries and followers alike. French collectors embraced the 'British' medium of watercolour, in which Bonington painted primarily until his first triumph at the Paris Salon in 1824, enthusiastically. He was also well received by the British Art institutions, perhaps most gratifying to the young artist was the patronage of Sir Thomas Lawrence, President of the Royal Academy, whom he visited a few months before his final illness and untimely death. Lawrence headed the funeral procession in September 1828 and despite spending most of career in France he was celebrated by the British Art establishment as one of their own, the question of his nationality contested for a long while by both English and French commentators. As we can see in the present painting Bonington excelled in his depiction of the countryside and coastal views, Allan Cunningham in his Lives of the Most Eminent British Painters, Sculptors and Architects, 1830, wrote, 'his chief pleasure was in making drawings of sea-coast and river-side scenery: to blend land with water, and both with cloud and sky, was a favourite scene.' He is revered for his ability to transfer light and atmosphere of Venice and French coastal and countryside scenes onto millboard and canvas distilling the essential qualities of place and time into paint. This atmospheric oil sketch has been dated by Noon, loc.cit. to the early months of 1826. On 4 April 1826 Bonington left Paris for his tour of Italy with his friend and pupil Baron Charles Rivet, returning to Paris by 6 July. Noon notes the present work's similarity to Landscape with Timber Wagon, Wallace Collection (op,cit. no. 199) which stylistically shows a familiarity with the works of both J.M.W. Turner (1775-1851) and John Constable (1776-1837) evident in the striking sunset and the characteristic accents of red paint. The present work is an excellent example of Bonington's technique, applying thin washes of oil paint with the same light touch that he would use in his watercolours and subtly building up the planes of colour to produce the glow of the sunset over the open landscape that gently recedes into a haze on the horizon. Bonington approached oil painting as a watercolourist, his peer Eugène Delacroix (1798-1863) wrote of Bonington's technique to the art historian Théophile Thoré-Bürger in 1861, 'To my mind one can find in other modern artists qualities of strength and precision in rendering that are superior to those in Bonington's pictures, but no one in this modern school, and perhaps even before, has possessed that lightness of touch which, especially in watercolours, makes his works a type of diamond that flatters and ravishes the eye, independent of any subject and any imitation.'The first owner of the paintings was Louis-Joseph-Auguste Coutan (1779-1830), a close friend of artists Baron Gros (1771-1835) and Delacroix and a successful fabric manufacturer and wholesaler. Toward the end of his life, Coutan spent his fortune decorating his Parisian home on the Place Vendôme with works by living artists both commissioning and purchasing contemporary art with no regard for school or nationality. After his death four paintings by Bonington were listed in his sale in 1830, but others descended through the family until 1996 when purchased by the present owner. Condition Report: The canvas has not been lined and is a little slack and starting to undulate. Rubbing and abrasions to the framing edges, with some very minor spots of loss. Craquelure throughout. Inspection under UV light reveals some very light in-filling, which has been sensitively done, and is largely confined to the lower half of the canvas. The attached backboard verso, has not been removed whilst completing this condition report.Condition Report Disclaimer
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λ ÖYVIND FAHLSTRÖM (SWEDISH 1928-1976) SKOGSSPÅR (TRAIL OF PRINTS IN THE WOODS) Ink, watercolour and gouache Inscribed and dated 16B/62 (lower right) 29 x 20cm (11¼ x 7¾ in.) Provenance: Sale, Sotheby's, London, 22 February 1990, lot 400 Exhibited: Barcelona, Museu d'Art Contemporani de Barcelona, Öyvind Fahlström, Another Space for Painting, October 2000-January 2001 (illustrated in the catalogue, p.116) Lucca, Fondazione Ragghianti, Öyvind Fahlström, Another Space for Painting, March-May 2001 New York, The Yellow Chair Gallery, Öyvind Fahlström: Myth Science, September-November 2015 Condition Report: Unexamined out of glazed frame, this work appears to be in good original condition.Condition Report Disclaimer
Charles Robert Leslie RA (American/British, 1794-1859) Portrait study of Archbishop Vernon of Yorktitled 'Vernon Archbishop of York' and signed 'CRLeslie'ink and watercolour19 x 18cmThis is a preparatory study for the figure of Edward Venables-Vernon-Harcourt (1757-1847) in Leslie's painting 'The Christening of Victoria, Princess Royal, 10 February 1841' in the Royal Collection (RCIN 404467).Discolouration and light spotting to the paper. No tears or other damage apparent. Unexamined out of frame. Significant discolouration/staining to the mount and minor losses and wear to the frame.
§ Charles Johnson Payne known as 'Snaffles' (British, 1884-1967) 'Seagulls', with a remarque sketch of a biplane below, circa 1916 signed lower left 'Snaffles' and the remarque with the initial 'S' watercolour and pencil heightened with bodycolour 38.5 x 56 (main image); 9 x 22cm (remarque) In 1916 Snaffles enlisted in the RNAS (Royal Naval Air Service) - a fledgling arm of the Royal Navy. He was possibly posted to the Isle of Sheppey or the Isle of Grain, both on the Kent coast. On the 8th September 1917, he was gazetted as a Temporary Lieutenant in the RNVR (Royal Naval Volunteer Reserve) and was posted to join the ‘Dazzle’ section, designing camouflage for naval shipping, where he worked with the noted maritime artist Norman Wilkinson. Throughout this time and even through to the Second World War, Snaffles produced a number of naval related prints that are amongst the rarest and most collected of his works. In this painting, the original of ‘Seagulls’, it is believed that the ships portrayed are possibly composites rather than accurate portrayals of real ships. Of impressive size and together with its original watercolour remarque, the overall competence of the picture would indicate it was produced in the early 1920s by which time Snaffles style had developed considerably from that of his pre-First World War work. Framed 68 x 77cm
Percy Kelly (1918-1993), a watercolour and charcoal depicting Boats in Workington Harbour and The Queens Head Pub (John Peel Brewery), initialled PK and dated 1960. 49 x 72 cm, framed and mounted, with note to rear "This painting is the work of my father Percy Kelly, signed Brian Kelly and with Castlegate House Gallery Cockermouth label to the rear. ARR (see illustration).
JAMES HENRY MOLE (1814-1886); an oval watercolour of a seated lady, 31.5 x 25.5cm, framed and glazed.Condition Report: This painting has been reframed, however we cannot determine whether it has been relined or not. The condition is good with no signs of any visible imperfections or damages.
watercolour on paper mounted, framed and under glass image size 46cm x 59cm, overall size 64cm x 77cm Provenance: Attributed and titled on Fine Art Society, Old Bond Street, London exhibition label verso, dated September 1997. Artist's label verso with address of 70 Hamilton Place, Aberdeen. Note: Ian McKenzie Smith?s work shows his continuing commitment to a distinctly personal brand of landscape based abstraction: a subtle evocative way of painting that owes something to Eastern traditions, as well as the American colour-field painters of the 1950?s. A travelling scholarship took him to Paris where he met the Japanese artist Kenzo Okada and encountered Zen philosophy. An oriental sense of balance and calligraphic finesse has been a feature of his work ever since. Awarded the OBE and CBE for services to art, he was director of Aberdeen Art Gallery and Museums for some thirty years, is Past President of the Royal Scottish Academy, Past President of the Royal Scottish Society of Painters in Watercolours and a former Trustee of the National Galleries of Scotland. Numerous works are in many public collections including the Scottish National Gallery of Modern Art, The Government Art Collection, Aberdeen, Dundee, Edinburgh, Glasgow and Perth Art Galleries, and in private collections in the UK, Europe, North America and Japan. Ian McKenzie Smith's work rarely appears at auction.
Local interest* William Heaton Cooper (British 1903-1995) watercolour 'Wetherlam from Birk Head Farm' a view with snop capped peaks, signed lower right, within a light grey card mount and moulded and canvas banded frame, under glass 38cm x 55cm & 60.5cm x 75.5cm overall. In good condition with no aparant issues to the painting, some discolouration to the mount and marks to the frame.
* Banks (Eulalia Minfred, 1895-1999). A small collection of original illustrations and a letter, mainly watercolour, and ink, or pen, including: two Christmas scenes on paper showing two birds in a holly bush, one peeking out of a bird box, the other wearing a scarf and hat, the other showing a snowy street scene with a rabbit, weasel and mouse carrying wrapped presents and a tree, both 12 x 12 cm, individually mounted, plus 9 other illustrations, comprising: a young child brushing their teeth, Blinky Bill and Splodge the Kangaroo, a mouse in a wine glass with bubbles, Falling Leaves, signed Banski, Annes Alphabet cover, A is for Anne, B's Brother Bob, plus two scraperboards showing rabbits ice skating and walking with a stick, 32 x 23 cm and smaller, and a handwritten letter from Eulalia, with a watercolour illustration to upper margin, dated October 2nd 1945, sending birthday wishes with my love and appreciation for all the wonderful things you have done for me - the grand comradeship - the friendship that I cherish so deeply - tender memories to take 6,000 miles away - a real incentive to come back once more to your happy studio! Happy Birthday - Success always, 23.9 x 17.8 cmQTY: (a folder)NOTE:Banks was born in London and started her career drawing and designing Christmas cards aged 12. She emigrated to Canada, then moved to the United States, where she had a working relationship with publisher Platt and Munk. She illustrated many children's books and later worked painting murals in public and private spaces, including the nurseries of Harold Lloyd and Charlie Chaplin. She died aged 104 in California.
EDWARD ARTHUR WALTON RSA PRSW (SCOTTISH 1860 - 1922), PORTRAIT OF ROBERT EDWARD WORTHINGTON oil on canvas, signedframed image size 67cm x 53cm, overall size 81cm x 66cm Note: Edward Walton was one of twelve children of Jackson Walton, a Manchester commission agent and a competent painter and photographer. Some of Edward's siblings were well known in their time - his brother George Henry Walton (1867-1933) was a noted architect, furniture designer and stained glass designer, Constance Walton was an acclaimed botanical painter, while Helen Walton, born 1850, was a decorative artist who studied at the Glasgow Government School of Design and was artistic mentor to the family. Walton enjoyed his art training at the Kunstakademie Düsseldorf and then at the Glasgow School of Art. He was a close friend of Joseph Crawhall - Walton's brother Richard having married Judith Crawhall in 1878 - George Henry and James Guthrie and lived in Glasgow until 1894 where he became part of the Glasgow School or Glasgow Boys, all of whom were great admirers of Whistler. Their favourite painting haunts were in the Trossachs and at Crowland in Lincolnshire. In 1883 Walton joined Guthrie, who had taken a house in the Berwickshire village of Cockburnspath. He also produced a remarkable set of watercolours in Helensburgh in 1883, showing the affluent suburb and its decorous people. These images are regarded as some of the finest of the Glasgow School and praised for their clarity, colour and strong decorative sense. Carrying out portrait commissions became Walton's main source of income. In the 1880s and 1890s he painted murals in the main building of the Glasgow International Exhibition of 1888 and other buildings in the city. Walton also attended painting classes at the Glasgow studio of W. Y. Macgregor, one of the central figures of the Glasgow School. Walton exhibited from 1880 in both Glasgow, at the Royal Glasgow Institute of Fine Arts, and Edinburgh, at the Royal Scottish Academy, being elected an associate of the Academy in 1889 and a full member in 1905. He was in London from 1894 until 1904, living in Cheyne Walk in Chelsea, and a neighbour of Whistler and John Lavery. While in London, Walton often painted in Suffolk, spending summers at the Old Vicarage in Wenhaston. Here he painted pastoral scenes in oil and watercolour, the latter often on buff paper with creative interplay between paper and paint. He used extensive underpainting in his oils, thereby creating subtle effects. In 1907 he accompanied Guthrie on a painting trip to Algiers and Spain and in 1913 worked in Belgium. The World War I years led to his discovering Galloway and he became a frequent visitor to the area. From 1915 he served as President of the Royal Scottish Water Colour Society. Walton's use of oil was reserved largely for important portraits in the Whistlerian manner. Walton married the artist Helen Law (née Henderson) after becoming engaged on 29 November 1889. Helen gave up her painting career in order to tend to their family. Their son John (1895-1971), became Regius Professor of Botany at the University of Glasgow. Their daughter Cecile (1891-1956), was a successful painter, sculptor and illustrator in Edinburgh. Their youngest daughter Margery married William Oliphant Hutchison in 1918. Sixty eight of his paintings are held in UK public collections including Glasgow Museums & Galleries.
* IAN FLEMING RSA RSW RGI (SCOTTISH 1906 - 1994), THE ROAD TO THE VILLAGE linocut on paper, signed, titled and dated '27mounted, framed and under glassimage size 11cm x 13cm, overall size 33cm x 33cm Note: Ian Fleming was born in Glasgow and studied drawing, painting and printmaking at Glasgow School of Art. After graduating, he worked with etcher Charles Murray, and then travelled on an art school scholarship to London, Paris and Spain. In 1931 Fleming started teaching at Glasgow School of Art. During this time he met William Wilson, with whom he exchanged print-making ideas. He served in the police and army during the second world war and continued sketching and printmaking throughout. Notable are the prints he made of the Glasgow blitz. After the war Fleming taught again at Glasgow School of Art and at Hospitalfield, Arbroath. At this time he moved towards painting, rather than print-making, producing landscapes, harbours and portraits both in oil and watercolour. Fleming was principal of Gray's School of Art between 1954 and 1971. He continued in printmaking after his retirement. He died at Aberdeen.
* RALSTON GUDGEON RSW (SCOTTISH 1910 - 1984), RAVEN watercolour on paper, signed, titled verso framed and under glass image size 61cm x 51cm, overall size 82cm x 72cm Note: Ralston Gudgeon was a Scottish artist, best known for painting birds and animals mostly in gouache watercolour. He studied at the Glasgow School of Art in 1933 and won the Torrance Memorial Award of the Glasgow Institute. When Ralston Gudgeon was elected to the RSW in 1937, he became the youngest man ever to achieve that honour. In 2018, "The Scottish Wild Cat" by Gudgeon sold in our auction for £900 (hammer) which "signposted" a resurgence of collector interest in his work. This resurgence of buyer interest has continued unabated.
GEORGE HOUSTON RSA RSW (SCOTTISH 1869 - 1947), GARRON BRIDGE, INVERARY watercolour on paper, signedmounted, framed and under glassimage size 41cm x 56cm, overall size 62cm x 77cm Note: Like most painters, Houston favoured various fairly standard sizes of canvas with his standard "large" being 70 x 90cm (or the imperial equivalent). George Houston was born in Dalry, Ayrshire. He was a prolific artist in both oils and watercolours. He specialized in the landscapes of Ayrshire and Argyll and his exceptional talent lay in creating the atmosphere, climatic conditions and season of each scene. He sometimes worked on a large scale but unlike many artists, the quality of his work remained constant. His style was not influenced by modernist trends and is best described as "late Impressionism". Houston achieved substantial commercial success, which funded a comfortable lifestyle for his ever growing family. He received widespread critical acclaim and was admired by his contemporaries for the apparent ease with which he painted. He only started painting professionally in his late thirties but "quality" came naturally to him as it usually does for truly "gifted" painters. Houston loved fishing and he loved country life. This love of the natural environment has always been (and remains) clear and obvious to the many who appreciate his paintings.
* RALSTON GUDGEON RSW (SCOTTISH 1910 - 1984), SCOTTISH WILDCAT watercolour on paper, signedmounted, framed and under glassimage size 46cm x 66cm, overall size 63cm x 82cm Note: Ralston Gudgeon was a Scottish artist, best known for painting birds and animals mostly in gouache watercolour. He studied at the Glasgow School of Art in 1933 and won the Torrance Memorial Award of the Glasgow Institute. When Ralston Gudgeon was elected to the RSW in 1937, he became the youngest man ever to achieve that honour. In 2018, "The Scottish Wild Cat" by Gudgeon sold in our auction for £900 (hammer) which "signposted" a resurgence of collector interest in his work. This resurgence of buyer interest has continued unabated.
* KATHARINE (KATE) CAMERON RSW RE (SCOTTISH 1874 - 1965), POPPIES IN SILK ATTIRE watercolour on paper, signed, titled label versomounted, framed and under glass image size 29cm x 21cm, overall size 46cm x 36cm Handwritten label versoNote: Painter, printmaker and book illustrator. Born in Glasgow, sister of the artist D Y Cameron. Studied at Glasgow School of Art, 1898, under Fra Newbery, then at Atelier Colarossi, Paris. Exhibited flower paintings and landscapes prolifically in Britain and abroad, including RA, Royal Glasgow Institute of the Fine Arts, RSW, Walker’s Galleries. The Tate Gallery, Victoria & Albert Museum, British Museum and Library of Congress, Washington, in America, hold her work. Contributed to The Yellow Book and illustrated a number of other titles, including James Aitken’s In a City Garden, 1913, and Iolo Williams’ Where the Bee Sucks, 1929; her husband, Arthur Kay, was more enthusiastic about this work than she was, for she preferred painting. Had a one-man show at the Annan Gallery, Glasgow, 1959. Lived in Edinburgh.
WILLIAM CHARLES THOMAS DOBSON RA RWS (BRITISH 1817 - 1898), THE YOUNG FISHERMAN oil on canvas, monogrammedframedimage size 36cm x 31cm, overall size 53cm x 47cm Note: W C T Dobson was born in Hamburg on 8 December 1817, the son of John Dobson, an English merchant, who had married in Germany. As the result of financial concerns, the family moved to England in 1826, and Dobson was educated in London. He began his study of art by making drawings of antiquities at the British Museum, and received his earliest lessons from Edward Opie, a nephew of the portrait painter, John Opie. In 1836, he entered the Royal Academy Schools, where he studied, most notably, under Charles Lock Eastlake, who rarely took pupils. In 1841, while living at 4 King’s Terrace, Bagnigge Wells Road (now King’s Cross Road), he was awarded a silver medal by the Society of Arts for his oil painting, The Prodigal Son. He began to exhibit regularly at the Royal Academy in 1842, following his move to 28 Exmouth Street, Spa Fields. Through the influence of Eastlake, Dobson gained a teaching position at the new Government School of Design at Somerset House. In 1843, Dobson moved to Birmingham to take up the position of headmaster of its Government School of Design. He remained in the Midlands until 1846, the year that he married Caroline Parkes in Kings Norton (then in Worcestershire). They then travelled to Italy, and stayed mainly in Rome, where he furthered his studies. While there, he may have made the acquaintance of members of the Nazarene school of German religious painters. Certainly, he moved on to Germany, and absorbed the Nazarene influence so strongly that he then devoted himself to historical and, increasingly, Biblical subjects in both oil and watercolour. In 1847, he entered two historical cartoons, Lamentation and Boadicea, into the competition to produce murals for the new Houses of Parliament. The commission by Queen Victoria of The Almsdeeds of Dorcas (1855; Royal Collection) as a birthday present for Prince Albert confirmed his reputation as a painter of religious subjects. In both these and secular genre scenes, he focussed on idealised images of children. While abroad, Dobson gave his address as 23 Newman Street, his London studio in the artists’ quarter north of Oxford Street. On his return, he settled at 5 Chalcot Villas, Haverstock Hill, with his growing family, which, by 1851, included two young sons, William and Henry. A third son, Edmund, who would become a painter of rustic genre, was born in 1857. Dobson also took on pupils, including, in about 1854, Edward Poynter, who would gain fame as a painter of neo-classical subjects. In the late 1850s, he returned to Germany, and resided in Dresden. By 1861, and for at least 20 years from that date, he and his family lived at Eldon House, Rosslyn Park. Dobson was elected an Associate of the Royal Academy in 1860, and a full Academician in 1871. Working increasingly in pure watercolour as well as in oil, he was elected an Associate of the Society of Painters in Water Colours in 1870, and a full member in 1875, exhibiting about 60 works there in all. He was also a member of the Etching Club. In 1878, he was appointed a British juror for the Exposition Universelle, Paris, and was represented there by three watercolours. Late in life, Dobson and his wife, moved to Gentilhurst, a house in the hamlet of Lickfold, northeast of Midhurst, Sussex. He exhibited the last of more than 100 works at the Royal Academy in 1894, and retired from that institution a year later. He died at Undercliff House, a boarding house at Ventnor on the Isle of Wight, on 30 January 1898. His work is represented in the Royal Collection.
ALEXANDER BROWNLIE DOCHARTY (SCOTTISH 1862 - 1940), SUMMER RIVER LANDSCAPE WITH BRIDGE oil on canvas, signedframedimage size 71cm x 91cm, overall size 86cm x 106cm Note: Alexander Brownlie Docharty (1862–1940) was a Scottish painter, mainly in oils. He was the second son of Joseph Docharty and Elizabeth Brownlie. Joseph Docharty was a designer of calico prints; Alexander left school at the age of thirteen to join his father. He studied part-time at the Glasgow School of Art, attending Robert Greenlees' evening classes. In 1878 Docharty's watercolour On The Cart- Pollockshaws was exhibited at the Royal Glasgow Institute of the Fine Arts. The Royal Academy accepted his painting Arran Cottages for exhibition in 1882. In the early 1880s Docharty was a designer for Inglis and Wakefield, a printing firm based at Busby. He left that firm some time before 1885, when he was based at James Docharty's studio in Bath Street, Glasgow. James was Alexander's uncle. Docharty moved to Paris in 1894 to study at the Academie Julien under Benjamin Constant and Jean-Paul Laurens. He subsequently lived at Kilkerran, Ayrshire. His Glen Falloch was exhibited in 1906 at the Glasgow Fine Arts Institute. Twenty-two of his paintings are held in UK public collections.
* RALSTON GUDGEON RSW (SCOTTISH 1910 - 1984), TWO TROUT watercolour on paper, signedframed and under glassimage size 46cm x 63cm, overall size 54cm x 72cm Note: Ralston Gudgeon was a Scottish artist, best known for painting birds and animals mostly in gouache watercolour. He studied at the Glasgow School of Art in 1933 and won the Torrance Memorial Award of the Glasgow Institute. When Ralston Gudgeon was elected to the RSW in 1937, he became the youngest man ever to achieve that honour. In 2018, "The Scottish Wild Cat" by Gudgeon sold in our auction for £900 (hammer) which "signposted" a resurgence of collector interest in his work. This resurgence of buyer interest has continued unabated.
Follower of Richard Parkes Bonington (1802-1828) “Coastal Scene with Fishing Vessels,” O.O.C., c. 1830, Signed with initials lower left R.P.B., approx. 30cms x 56cms (12” x 22”). (1) A painting by a follower of Richard Parkes Bonington, this canvas depicts three gaff-rigged fishing vessels, moored in an area of water protected by lock gates. The sheltered mooring is just above a beach, with cliffs and rocks on either side. There are a few people walking on the beach, enjoying the still evening air. The sun is setting on the horizon, and a golden light fills the sky. Judging by the dyke and lock gates, the scene is likely set on the Belgian or French coast, perhaps in Picardy. Although well-known for his depictions in oil and watercolour of English scenery, many of Bonington’s paintings depict scenes on the coast of Picardy and Normandy. When he was a teenager, his parents had been obliged to emigrate to France from England, when the lace industry in Nottingham became mechanised. They set up a lace-making firm in Calais, before moving to Paris the following year. Bonington initially studied with Louis Francia, a Calais artist. In 1823 he was in Belgium and the following years were spent in Dunkirk. He then studied at the Ecole des Beaux Arts in Paris. In 1825 he visited London before returning to Paris where he shared a studio with Delacroix. He suffered from tuberculosis and moved to London for treatment, but died there, aged just twenty-six, in 1828. Dr. Peter Murray 2025
Follower of J.M.W. Turner (1775-1851) "Bay of Naples," O.O.C., approx. 63 x 76cms, (25 “ x 30”). (1) An intriguing painting, this view of the Bay of Naples has many of the attributes of an autograph work by Turner, including the expressive use of paint, limited colour range and shimmering light. The view is taken from near Bagnoli, on the north side of the Bay, with Mount Vesuvius in the far distance obscured by clouds and sunlight. Having visited the Bay of Naples in 1819, Turner used it as the setting for several paintings, including his 1823 The Bay of Baiae, with Apollo and the Sibyl, and The Eruption of Mount Vesuvius. The travel book Italy, written by Samuel Rogers and published in 1830, was also illustrated with an engraving after a watercolour of the Harbour at Naples by Turner. Dr. Peter Murray 2025
Thomas Ryan PRHA (1929-2021) “Imeacht na nIarlai, 1608,” (The Departure of O’Neill out of Ireland,) 1958 watercolour on paper, Signed l.r. ‘Thomas Ryan’ and inscribed l.l. ‘Lrucacht na nIarlaí, approx. 30cms x 40cms (12” x 16”). (1) A detailed study for Tom Ryan’s large oil painting, The Departure of O’Neill out of Ireland, this sparkling watercolour is inscribed ‘Lrucacht na nIarlaí’ (‘The Earls Misery’). A spirited work of art, it depicts a momentous event in Irish history, when, in 1607, a group of Irish aristocrats , led by Rory O’Donnell, 1st Earl of Tyrconnell, and Hugh O’Neill, Earl of Tyrone, boarded ship at Rathmullan, bound for the Continent. Their flight into exile symbolized the end of Gaelic Ireland, and the triumph of the Tudor conquest. Conceived in the grand style, with lances, suits of armour and banners, Ryan’s painting recalls the work of Velasquez and Titian. In the foreground, people lament the departure of the Earls, while a monk raises his hand in blessing. Having grown up in Limerick, the city where Sean Keating had first studied art, Thomas Ryan began his training under the local teacher Richard Butcher. He then enrolled in the National College of Art in Dublin, where his teachers included Keating and Maurice MacGonigal. Elected President of the Royal Hibernian Academy, in the 1980’s he was instrumental in the building of the RHA Gallagher Gallery on Ely Place. His early paintings from the 1950’s are strong Realist canvases, depicting scenes such as his mother standing at the kitchen sink, or a jazz trumpeter. Always an ambitious artist, aged 28, Ryan painted The Departure of O’Neill out of Ireland. Another canvas by him depicted the interior of the GPO during the Easter Rising. Always a sensitive painter, in later years, while he received many commissions for portraits of members of the clergy, judiciary and leading business figures, it was his still-lifes of flowers, atmospheric studies of interiors such as Marshes Library, and watercolours such as this, that form perhaps his most telling legacy in Irish art. This watercolour sketch for The Flight of O’Neill Out of Ireland shows the artist’s development of the complex composition. The finished painting was completed the year after the 350th anniversary of the Flight of the Earls, and displayed in the State Apartments, Dublin Castle. Dr. Peter Murray 2025
British School (19th Century) Portrait of Lydia Clifton, aged 5 years, 6 months and dated January 31st 1841, watercolour with ink inscription, 33 x 23 cm, frame 41.5 x 31 cm, together with a portrait of her mother Sophia Clifton, aged 33 years, dated January 29th 1841, 33 x 23 cm, frame 43 x 31.5 cm (2)Condition:Lydia Clifton: The painting is a watercolour - framed under glazing, not examined external to the frame. The sheet appears free from tears or losses, it has aged with browning throughout with some grey spots to the right side. The colours have some fading. Frames are covered with paper to the verso, joints appear sound - wear and tear to the surface. Sophia Clifton: the painting is a watercolour - framed under glazing, not examined external to the frame. The sheet appears generally good - no obvious tears or losses, there is browning/ageing across the sheeet. Some grey spots to the centre right and a cluster of dark accretion spots to the centre-left edge. Some fading present to the colours, primarily in the lower section. Frame is covered with paper to the verso, joints are find, wear and tear to the surface
Noel Harry Leaver (1889-1951) Jewels of Arabia, street scene with a Mosque, signed lower right, watercolour, 26 x 36 cm, frame 45 x 55 cmCondition:The painting is a watercolour, framed under glazing - not examined external to the frame. The sheet appears to be in good condition, no obvious tears or losses. The paint surface appears well preserved and stable, the colours are good. There are accretions and dirt to the inside of the glass. Frame has sound joints, general wear and tear
David Reid-Henry (1919-1977) Bullfinch on a Snowy Branch, signed lower right, watercolour and gouache, 25 x 20 cm, frame 51 x 44 cmPartial label for the Tryon Gallery Condition:The painting is a work on paper, framed under glazing - not examined external to the frame. The sheet appears in generally good order, no obvious losses, tears or creasing. The paint surface appears well preserved and stable, no obvious paint loss or deterioration. THe colours are good. There is an accretion to the upper left and a small spot to the top right. The frame has sound joints and appears generally fine, minor wear and tear.
F.D Maynard (British School, mid-20th century), A collection of 16 watercolour studies of Second World War aircraft, dated 1941, including Bristol Blenheim, Gloster Gladiator, Blackburn Skua and Avro Anson and Spitfire, eleven framed, overall sizes 26cm x 35cm up to 36cm x 42.5cm, five unframed 28cm x 22cm (16)F.D Maynard is more well known for his maritime works from the same period, including a Naval Convoy view held in the Fleet Air Arm Museum. Given this, it could be the same F.D Maynard DSC who served as a Signal Boatswain with the Royal Navy during WW2, including onboard HMS Naiad and at Shore Establishment HMS Mercury, which was located not far from several RAF airbases on the south-coast.Condition:One Avro Anson painting has some dark scuffs or marks to the top centre and rightOne Blenheim has some small creases below the planeOne Hawker Hurricane has a small brown spot to the left of the planeOne Spitfire has a scratch or crease near the left wingOne Short Sunderland has a few surface losses to cloudsOne unframed picture has damp staining affecting the lower portion, another has a small tear to left hand edgeFramed items have been unexamined outside of framesCondition otherwise appears good, see photos
Eminent Georgians and Victorians Autograph and scrap album of Mary Webster (1794-1883) Folio (43 x 31cm), contemporary straight-grain dark red morocco richly decorated in gilt and blind, pictorial watercolour title-page ‘The Scrap Book of Mary Webster’, dated Edinburgh 1831, approx. 70 album leaves with material pasted to rectos and versos, including: Watercolours, approx. 50, mainly Scottish scenes, also including: ‘Taj Mahal’ (18 x 22.5cm), ‘View of a Kaium or Monastery at Prome in the Kingdom of Ava’ (15.5 x 24.5cm), ‘View of the fire in the High Street Edinburgh, 16th November 1824’ (9 x 13.5cm), ‘Dangerous situation of the Indiana - aground on the James & Mary’s, River Houghly' (17 x 26cm, pen-and-ink with grisaille watercolour), ‘Waterfall, Guzerat, Bombay', (35.5 x 25cm), 'Fort near town of Ferozepore, India' (33 x 21cm); Autographs, approx. 180 in total, including complete letters, clipped signatures or sentiments, signed covers and free fronts;i) Complete letters: David Wilkie, Thomas Chalmers (Scottish churchman and political economist, 2 letters, one written in third person), Mary Somerville (scientist and polymath; an invitation to dinner), Anne Grant (Scottish author, on a gift of salmon), Fanny Burney (unsigned autograph note to ‘My dearest Susan’ requesting she intervene to prevent the publication of a poem, annotated at head ‘Madame D’Arblay), Robert Hooper (physician), Sir John Ross (arctic explorer; a letter of recommendation for his nephew Andrew Ross, addressed to Dr Webster), Allan Cunningham (writer and poet), David Brewster (scientist, to Mrs Webster, declining an invitation), Edwin Landseer, and numerous others; ii) Clipped signatures and sentiments: Robert Walpole, large cutting from manuscript document, probably a treasury warrant, dated 10 October 1727, signed by Walpole ('R. Walpole'), countersigned by George Bubb Dodington, William Clayton, George Montagu, 1st Earl of Halifax; Sidney Godolphin, 1st Earl of Halifax, autograph signature ‘Godolphin’ on fragment of printed treasury warrant, 1709; cutting from a treasury warrant with the autograph signatures of George Lyttelton, George Bubb Dodington, Henry Fox and Richard Arundell; clipped signatures of George III (dated 1783, on vellum), George IV, William Wilberforce, Thomas Campbell (Scottish sculptor), Maria Edgeworth, peers including Burlington, Exmouth, Redesdale, etc.; iii) Signed covers and free fronts: Thomas Babington Macaulay, peers including Minto, Maryborough, Bessborough, Melbourne, Brougham, Egremont etc.; iv) George II, document signed (military commission on vellum, 1740, loosely inserted).Miscellaneous material: James Robertson (1813-1888), [View of Sebastopol, Crimea], c.1856, photographic salt print, 22.5 x 29.8cm, signed ‘Robertson’ in the negative, with Mary Webster's manuscript caption to mount ('Sebastapol [sic], from the Admiralty Creek with Forts Paul and Constantine etc., sent me from the Crimea by T. Hunter, Surgeon, March 1856'; printed invitation from Lord Eglinton to the Eglinton Tournament, 1839, addressed to Charles Webster; albumen print portrait photograph presumably of Mary Webster; a letter from a ?J. Stewart, Grenada, 1779, to a William Fraser of Kulbokee (Culbokie), Inverness, on commercial opportunities in the West Indies (letter loose), etc. By descent to the vendor. Mary Webster was the eldest of 11 children born to John Webster, minister at Inverarity, near Dundee, and his wife, also Mary. On John's death in 1807 the family moved to nearby Carmyllie and subsequently to London. Her brother was the eminent physician John Webster MD FRCP FRS (1794-1876), who ‘devoted much time and labour to the examination of lunatic asylums, prisons, and medical institutions at home and abroad’ (Royal College of Physicians, online). A collection of Mary's watercolours is held by Edinburgh Libraries, who remark that ‘the census records indicate that Mary was a lady of independent means, single, living in a household with her mother and grown-up siblings with servants. This would support the evidence that she was able to travel widely and pursue her painting pastime. She was described in her family as a woman who was talented, travelled widely, wrote and painted "en plein air"'. For a collection of Mary's watercolours in this sale see lot 76.
Webster, Mary (1794-1883) Three albums of watercolour views of British scenery, 1830s-50s all oblong folio, maroon half roan, containing in total approx. 174 watercolour views (generally 17 x 25cm to 20 x 27cm) on thick-paper mounts (30 x 40cm), mainly on rectos only, each mount with Webster's manuscript caption, date and signature, comprising views of and in British towns, cities and villages, and of individual buildings (including ruins, churches, country houses), consistently populated with figures, often including a lady in a bonnet, sketching or with companions, possibly a self-portrait by Webster, albums comprise: ‘Sketches from Nature by Mary Webster, 1838 and 1839’, 21 watercolours, mainly depicting modern London (Greenwich Park, Kensington Palace, ‘Bridge at Kensington’, Plumstead, Sudbury, Harrow, Tottenham, Stamford Hill) and Brighton, several leaves removed but with 40 later watercolours (dated 1840s and 1850s) loosely inserted, including views of or around Crystal Palace, Canterbury, Eastbourne, Cromer, Herne Bay, country houses (Perrymount in Sydenham and White Knights in Reading, both now demolished), ‘An Interior’, a humorous sketch of a sea monster, etc.; ‘Sketches from Nature', 1840-3, gilt-lettered on front cover ‘M. Webster 1840’, 65 watercolours, including Gloucestershire (Dowdeswell, Cheltenham, Winchcombe, Sudeley Castle, Gloucester), Oxford (Merton College, Magdalen College), Middlesex (Harrow, Richmond, Hampton Court, numerous scenes in Sudbury), Sussex (Sompting, Worthing, Bramber, Arundel), London (Buckingham Palace, Westminster Abbey, Hyde Park, including soldiers marching), Kent (mainly Broadstairs), and elsewhere; ‘Views in Sussex, sketched from nature by Mary Webster', 1842-50, decorative title-page (loose), 48 watercolours, including Eastbourne (including the railway station, 1850, a year after its construction), Herstmonceux, Southfield ('the residence of Sir W. Domville’), Compton Place ('The seat of Lord Burlington'), Battle Abbey, Pevensey Castle, Michelham Abbey, Bognor, Felpham, etc;together with an original oil painting on panel, 17.5 x 25.5cm, unsigned but evidently by Webster, depicting a lady seated in a rural landscape with two child companions, a country house in the distance By descent to the present owner. Mary Webster was the eldest of 11 children born to John Webster, minister at Inverarity, near Dundee, and his wife, also Mary. On John's death in 1807 the family moved to nearby Carmyllie and subsequently to London. The family appears to have continued to live together, the address which Mary provides in the first album, 24 Brook Street, also being the recorded address of her eminent brother John Webster MD FRCP FRS (1794-1876), who ‘devoted much time and labour to the examination of lunatic asylums, prisons, and medical institutions at home and abroad’ (Royal College of Physicians, online). A collection of Mary's watercolours is held by Edinburgh Libraries, who remark that ‘the census records indicate that Mary was a lady of independent means, single, living in a household with her mother and grown-up siblings with servants. This would support the evidence that she was able to travel widely and pursue her painting pastime. She was described in her family as a woman who was talented, travelled widely, wrote and painted en plein air’. Many of the places shown in these albums, especially those in London, are depicted as rural villages unrecognisable from their modern state. For Mary Webster's autograph and scrap album see lot 75.
MONFRIED HENRY DE: (1879-1974) French adventurer, smuggler, gunrunner, and author known for his travels in the Red Sea and the Horn of Africa coast. A good original watercolour painting signed by Monfried, one page, small oblong 8vo (approximately 16 x 12.5 cm), n.p., February 1966. The appealing image depicts a small dhow, similar to those Monfried himself sailed, on a blue sea close to the coast, and with two seagulls flying above the water in the foreground. Signed by Monfried with his initials to the lower left. Neatly laid down to an 8vo page removed from an album, the adjoining page featuring a charming inscription in French, in full, ´Je voudrais que ce souvenir de la mer rouge soit un hommage à Carine qui je me plais à prononcer à l´italienne "Carina" car ainsi il exprime toutes les manières de charmante à chérie´ (Translation: ´I would like this memory of the Red Sea to be a tribute to Carine, whom I like to pronounce in Italian as ‘Carina,’ because it expresses all the ways in which she is charming and dear to me´). The adventurer has signed his name and added the date, 11th February 1966, immediately beneath. VG
Allan Brooks (Canadian, 1869-1946) Two female black grouse;Three quaila pair, each signed 'Allan Brooks', watercolour and bodycolour37.5 x 27cm (2)Condition ReportFramed: 39.5 x 29.5cmGrouse: there is some brown paper trapped behind the glazing along the top edge. The work appears to be in otherwise good order. Quail: Scratches to the sky in the upper left quarter. There is dirt on the reverse of the glazing and it is unclear how much the painting is affected. Not viewed out of glazed frames. Please contact the department for a full report.
OCHIAI YOSHIIKU (1833-1904) Naninani-hana of the House of Eikichi, Hirookaya Kosuke, oban tata-e woodblock print, 34 x 23cm, Eisen (1790-1842) Bijin Awase, publisher Wakasaya Yoichi, 37.5 x 25.5cm, and Kuniyoshi (1798-1861) Clearing After a Storm for Takechi, Ichimura Uzaemon XII as Takechi Seiran, c.1848, 36 x 24.5cm, and an ink and watercolour painting on silk of a geisha, 38 x 16cm (4) Condition Report:Available upon request
Mary Ann Knight (1776-1851), Portrait of Midshipman Richard Thorold, watercolour on ivory, oval, approx. 5.7cm x 7cm, In a gilded and glazed frame. With an accompanying dealer label from Wigs on the Green of York, which reads thus: "Mary Ann Knight (1776-1851), portrait of a midshipman, Richard Thorold, wearing a blue coat with a standing collar, white waistcoat and black stock. Few small minor spots of mould to areas. Note: The Thorolds were a Lincolnshire family of great antiquity. Richard (1789-1864) was the eldest son of Rev. William Thorold and his first wife Frances. He married heiress Frances Tunnard and served as High Sheriff of Lincolnshire. £2,250. Mary Ann Knight took up painting to help with the family finances. She was a pupil of Andrew Plimer who later married her sister Joanna Louisa. She exhibited at at the RA 1803-1836. Her work is always described as resembling that of her teacher and brother-in-law. The Thorolds are listed in the artist's account book as having sat for their portraits in 1804, at a cost of £3 3/- for each miniature." Cites Submission Reference no. C25RFJEV
WILLIAM STOTT OF OLDHAM (BRITISH 1857-1900) SPARKLING SEA signed WILLIAM STOTT OF OLDHAM. lower left pastel on paper 24 x 31.5cm; 9 1/2 x 12 1/2in 45.5 x 56cm; 18 x 2in (framed) Property from a West London Collector Provenance Charles A. Jackson, Manchester (by December 1939) Purchased from the above by the father of the present owner in the 1940s The son of an Oldham mill owner, Stott studied under the influential French Academician Jean-Léon Gérôme and exhibited regularly at the annual Paris Salon. In France he focused on painting landscapes, working in oil, watercolour and pastel, pastel in particular being a medium appropriate to his atmospheric style, as in the present work. He spent time at the artists' colony at Grez-sur-Loing and in 1889 he was the subject of a one-man exhibition at Galerie Durand-Ruel. On returning to England, during the last decade of his life he painted more allegorical and classicizing subjects to appeal to the British market. In London he became friends with Whistler, but fell out with him over his painting of Whistler's mistress naked as Venus Born of the Sea Foam. From his mid-twenties Stott signed himself 'of Oldham' to distinguish himself from another Lancastrian son of a mill-owner, Edward Stott, and to assert his proud Oldham roots.
EDWARD CLIFFORD (BRITISH 1844-1907) MERLIN AND NIMUE signed with the monogram and dated 1861 in a cartouche lower left watercolour and bodycolour on paper mounted on the artist's prepared stretcher 65 x 52.5cm; 25 1/2 x 20 1/2in 109 x 89cm; 43 x 35in (framed) Property from a Private Collection, Cumbria Provenance Sale, Sotheby's, London, 6 November 1995, lot 210 Mr Carl Laszlo, Basel (acquired at the above sale) Sale, Sotheby's, London, 13 July 2017, lot 16 Purchased at the above sale by the present owner Literature William Waters, Burne-Jones Catalogue Raisonne, online edition (catalogued as After Edward Coley Burne-Jones, By Edward Charles Clifford) Edward Clifford painted several faithful copies of Burne-Jones' works from the 1860s including the present watercolour of Merlin and Nimué which Burne-Jones had completed in 1861 (Collection of the Victoria & Albert Museum, London). Clifford summed up his admiration for Burne-Jones' original in glowing terms: I was greatly impressed by this picture when I was only a student, but when I saw it three or four years ago in the collections of Mr Leathart of Gateshead-on-Tyne, I found it so beautiful that I almost lost command of myself for a few moments. The subject and the fine dramatic treatment of it are interesting, the greatest virtue of the picture lies in its ineffable and overwhelmingly lovely colour.' (quoted in Broadlands as it was by Edward Clifford, London, 1890 pp. 52-54). Clifford was not alone in his idolization of the work of Burne-Jones, but one of a group of admirers led by fellow artist Robert Batemen (1842-1922). Born in St John's Wood, the son of an artists' materials supplier, Clifford taught painting at the Berry F. Berry Art School in Swiss Cottage. He showed his work in London at the Royal Society of British Artists, The Royal Institute of Painters in Watercolours, The Royal Academy, and the Royal Institute of Oil Painters. Further afield his work was exhibited at the Manchester Academy of Fine Arts and the Walker Art Gallery, Liverpool. The paper is not laid down but has been soft mounted on to canvas and stuck down to the stretcher along all four edges. There are very occasional tiny pinhead-sized paint losses, notably to the left of the left hand figure's arm, and to the bottom of the right hand figure's robe (just visible in the illustration). NB. the white specs in the bottom foreground are actually tiny flowers. There has been some time-staining / discolouration over time, otherwise the works appears to be in excellent original condition. Held in an impressive and beautifully crafted carved wood late 19th century frame made in Germany.
English school (late 18th century), A bust length portrait depicting a lady in lace trimmed dress facing dexter, Watercolour and pencil on paper against a black painted ground, Unsigned; inscribed verso 'Mrs Leo[...] / Llannerch / St Asaph', 13cm x 10.5cm, Gilt framed and glazed (at fault) PROVENANCE: Gwysaney Hall CONDITION REPORT:The painting is framed under glass and has not been removed for inspection. The sheet shows rippling across the black painted surface. The colours of the portrait are somewhat muted and are likely to have faded somewhat over time. The frame appears to be structurally sound, but shows losses to the moulded edges and extensive rubbing to the gilt finish.
John Sanderson Wells (1872–1955), Following hounds through a gate, Watercolour on paper, Signed lower left, 26.5cm x 34.5cm, Framed and glazed CONDITION REPORT:The painting is framed under glass and has not been removed for inspection. The paint surface appears to be in good condition, showing no obvious damage. The colours are reasonably strong and bright, but are likely to have faded somewhat over time. We believe the brown spots in the trees to be the artist's representation of the last of the autumn leaves rather than foxing (there is no foxing in any other area of the painting). The frame appears to be structurally sound.
ERNEST F HILL RBSA (act.1897-1940)A collection of watercolour and artist materials used by Ernest Hill, including The C E Clifford, Artists' Colourman, 30 Piccadilly, London, numerous brushes, stains in a box dated 1927, pencils and a wooden slatted back rest for use when outside painting the landscape (Quantity) (Est. plus 24% premium inc. VAT)
David Thomson Muirhead (Scottish school, 1867-1930) - a 1925 lanscape watercolour on paper landscape painting of believed St Botolph's church, Boston, Lincolnshire. The painting depicting a cathedral with river in foreground. Signed & dated lower right.Measures approx. 34cm x 25cm, 47cm x 38cm to include frame.
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