PAUL NASH (BRITISH 1889-1946) SILBURY HILL Watercolour and pencil Signed (lower right) 38.5 x 57cm (15 x 22¼ in.)Executed in 1938. Provenance: Private Collection, C. Allsopp, by whom sold Christie's, London, Modern British Drawings, Paintings and Sculpture, 20 March 1970, lot 180 Agnews, London (by 1971) Private Collection, Harold Riley Christie's, London, 20th Century British Art & Irish Art, 19 November 2004, lot 97, where purchased by Robert Kime Exhibited: Newcastle-upon-Tyne, Northern Arts Gallery, Paul Nash 1889-1946, September-October, 1971, no. 34 London, Tate Gallery, Arts Council of Great Britain, Paul Nash Paintings and Watercolours, November-December 1975, no. 175 (loaned by Harold Riley) Literature:Andrew Causey, Exhibition Catalogue, Paul Nash 1889-1946, Newcastle, Northern Arts Gallery, 1971, p. 15, no. 34 pl. 12 Andrew Causey, Paul Nash, Oxford, 1980, pp. 265-6, cat no. 952, pl. 312 Silbury Hill, located near Avebury in Wiltshire is the largest artificial mound of its kind in Europe. It is believed to have been completed around 2400BC and is similar in scale to the pyramids in Egypt. The purpose and significance of the mound are unknown and remain the subject of much speculation. Given Nash's fascination with pre-historic sites and the spiritual qualities of the English landscape, it is unsurprising that Silbury Hill was of interest to him. Nash first visited Silbury Hill and the nearby stones at Avebury in July 1933 whilst on holiday in Marlborough. According to Ruth Clarke, who travelled with him, Nash was 'excited and fascinated' by the landscape which appealed to his 'sensitiveness to magic and the sinister beauty of monsters' (cited in Andrew Causey, Paul Nash Landscape and the Life of Objects, 2013). The ladder laid against the hill in the present work was a figment of Nash's imagination which derived from his interest in the idea of something rising out of the earth or up from the water and creating a new form above ground. A postcard found in Nash's collection depicts a ladder inside a pit at the excavation of Maiden Castle leading upwards from the ground beneath. This postcard alongside the watercolour of Silbury Hill, is discussed by Andrew Causey in his 1980 publication on the artist:.:'Silbury, as might be expected, intrigued Nash: its clear, plain, and - to Nash - symbolic shape was both palpable and inscrutable. In the oil painting Silbury Hill [Causey no. 880] he hinted at its symbolical meaning, its special, reserved ambience, with the closed gate and the pyramidal tumulus beyond, while constructing at the same time elaborate formal congruences of triangles within the over-all design. In the slightly later watercolour [the present work] he revealed a little more of his reaction to the hill's shape by adding a ladder leaning against the mound in front of it. This was no more than a now familiar Nash image, but there could be special interest in this if the idea was suggested by a postcard he had of Maiden Castle [Causey pl. 313]. It is not just that both are sites of ancient occupation, but that the postcard and watercolour are complementary images: in one the ladder comes up out of a dark pit, in the other it seems to continue its journey up the side of the hill; the sequence seems a characteristic product of Nash's mind' (see A. Causey, Paul Nash, Oxford, 1980, p. 265). Condition Report: Examined out of glazed frame. The sheet is stuck down to the card backing along each edge. Staining to the extreme edges of the sheet. Very slight undulation to the sheet. Light spotting scattered across the sheet most notable to the sky and to the upper landscape, however this does not appear to be a result of moulding or foxing. This damage does appear to be treatable. Please contact the department on pictures@dreweatts.com for more details. The colours are strong and there appears to be no other significant condition issues. Condition Report Disclaimer
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ROBERT POLHILL BEVAN (BRITISH 1865-1925) ON LUPPITT HILL, BARN FARM, LOOKING TOWARDS HARTRIDGE COMMON Oil on canvas Signed (lower right) 64 x 75cm (25 x 29½ in.)Provenance: Private Collection, Robert Alexander Bevan (1901-1974), second son of Robert Bevan and Stanislawa de Karlowska Sale, Christie's, London, Modern British and Irish Paintings, Watercolours, Drawings & Sculpture, 23 June 1994, lot 116, where purchased by Robert Kime From a young age Robert Bevan's career path had been carefully planned out for him. Born into a family of bankers his family descended from Silvanus Bevan and Robert Barclay which founded Barclay, Bevan, Tritton and Co. of Lombard Street in London. Today simply known as Barclays. However, Bevan rejected the invitation to continue his education and follow in his family's foosteps he wished to pursue his interest and passion in the arts and partake in formal training at the Westminter School of Art. These endeavours were financially supported by his family. After initial study in London Bevan moved to the Academie Julien in Paris where he studied alongside artists such as Pierre Bonnard and Maurice Denis. In 1890, Bevan headed south to the picturesque region of Brittany, where he became entrenched in the vibrant artistic community of Pont-Aven, alongside notable figures such as Paul Gauguin.In 1896, Bevan married Stanislawa de Karlowska, a fellow art student, and the couple settled in London. Stanislawa or better known as Stasia was originally from Poland and the couple would take long trips to visit her family and homeland. The summers of 1901, 1903 and 1904 were spent in Poland at Szeliwy family property, see Lot 323. The couple frequently ventured to the country, including the West Country and Sussex-places that held personal significance for Bevan. The present lot illustrates a small farm dwelling with a patchwork of fields beyond sprawling across the hills with two horses in the foreground. Inspired by the rhythm and serenity of everyday country life, Bevan found himself drawn to the motif of the horse. Bevan produced a series of paintings and lithographs centred around horse dealers and sellers at the Barbican and Tattersall, images of which were collected by Robert Kime including Lot 12 through to 17.Around the same period, during the summers of 1916-1919 Robert Bevan spent the majority of his time at a house called Lytchett's on Hart's Farm on Bolham Water in Devon. It is most likely that the present lot was produced during this period whilst staying at Lytchett's immersed in the rustic countryside, Bevan's body of work during this period is bold in colour and peaceful in nature. Anne Chard, the farmer's daughter recalled in an article for The Somerset County Gazette in 1978 and 1980 that 'some of us can remember, during childhood, meeting a solitary gentleman tramping miles by foot across the Blackdown Hills and Luppitt areas. He either carried a sketchbook and pencil or paints and easel tucked under his arm. He wore a bowler hat, light grey check suit with a watch-chain across his waistcoat. A bow tie and spats added to the elegance of his appearance.'During his time at Lytchett's, Bevan developed a deep fascination with close-up depictions of barns and dwellings. An exemplary work from this period, "The Chesnut Tree" (Hart's Farm), painted in 1916, now housed at the Ashmolean Museum in Oxford, illustrates Bevan's distinct artistic approach. Each work has been constructed in a similar manner, using the placement of the trees to build the layers of composition and create perspective. The dwelling fills the majority of the canvas made up of simple geometric shapes in subdued natural colours and in the foreground animals grazing carefree in the midst of nature. Condition Report: Not relined. No obvious significant condition issues, appears to be in good original condition. Inspection under UV reveals no obvious evidence of restoration or repair. Condition Report Disclaimer
CHARLES GINNER (BRITISH 1878-1952) SUSSEX FARM Oil on canvas Signed (lower right) 51 x 76cm (20 x 29¾ in.)Painted in 1930.Provenance: Maurice Bradshaw (acquired directly from the artist in 1930) Hamet Gallery, London Christie's, London, 12 July 1974, lot 249 (900 gns. to Cohen) Christie's, London, 23 June 1994, lot 117 Christie's, South Kensington, 21 May 2009, lot 34, where purchased by Robert KimeExhibited: London, Grafton Galleries, The British Legion Exhibition, June 1930, ex-catalogue, this exhibition was later shown on 'R.M.S. Acquatania' en route to New York Toronto, Canadian National Exhibition, 1932, catalogue not traced Condition Report: Two visible repair to the reverse corresponding to two areas of damage in the lower left quadrant, however the repairs are not visible recto to the naked eye. Possibly some light staining due to yellowing varnish to the sky but overall appears in be in good condition. Inspection under UV reveals scattered retouching g to the sky and retouching to the two repairs in the lower left quadrant. Condition Report Disclaimer
A BLUE AND WHITE VASE CHINESE, KANGXI (1682-1722), NOW FITTED AS A LAMP With distinctive cross-hatched design and with artemisia leaf mark within double circle to base in underglaze blue, now converted as a lamp with a removable light fitting and hand woven striped yellow and crimson silk shade the vase 64cm high, 95.5cm high Condition Report: area of rim restored approximately 13cm long x 4cm deepThe height is to top of existing shade Condition Report Disclaimer
A PAIR OF GOTHIC CAST IRON ANDIRONS ATTRIBUTED TO WILLIAM BURGES FOR HART, SON, PEARD & CO., CIRCA 1875 Traces of red surface decoration 63.5cm high, 33.5cm wide at base, 62cm deep Provenance: A. Tilbrook, from whom purchased by Robert Kime. Literature: Illustrated Catalogue, "Examples of metal work for ecclesiastical and domestic use: section 6: domestic furniture manufactured by Hart, Son, Peard & Co"; March 1877, P.199, No.557 See Christie's London, Fire and Light, 3rd December 2014, lot 19 - a dog grate with integral front supports - similar to the current lot albeit with brass top finials. A similar example is in Winter Smoking Room at Cardiff Castle with scrolling mitre front finials and a comparable pair at Worcester College Oxford where Robert Kime studied and which William Burges redecorated in 1877
λ AUGUSTUS EDWIN JOHN (BRITISH 1878-1961) MIXED FLOWERS IN AN EARTHENWARE JAR Oil on canvas Signed (lower right) 61 x 51cm (24 x 20 in.) Provenance: Private Collection, Dame Beatrice Gladys Peel Chenil Galleries, London Agnews, London Leicester Galleries, London Sale, Christie's, 2 March 1979, lot 24 Private Collection, Mr & Mrs Hamlet John began painting flowers on the island of Ischia in 1925 and these were probably taken from the garden at Fryern Court in Hampshire and painted in the 1930s. We are grateful to Rebecca John for her kind assistance in cataloguing this lot. Condition Report: Very light surface cracking to the vase and light surface dirt throughout. Inspection under UV reveals no obvious evidence of restoration and repair. Appears to be in good original condition. Condition Report Disclaimer
λ VANESSA BELL (BRITISH 1879-1961) STILL LIFE OF NARCISSI, CHARLESTON Oil on canvas Indistinctly signed with initials and inscribed (verso) 38 x 25cm (14¾ x 9¾ in.)With thanks to Gavin Kingcome Photography for providing the photograph of Vanessa Bell & Duncan Grant's studio at Charleston Farmhouse in East Sussex which shows the floral decorated teapot still sitting on the mantlepiece today. Provenance: The Adams Gallery, London Sotheby's, London, 6 November 2007, lot 30, where purchased by Robert KimeThe present work was most likely painted in the early 1950s in Grant's studio at Charleston, the vase being on the high mantelshelf (where it can still be seen today in the same position, now with reduced spout). Pheasant-eye narcissi were a favourite of Bell's.We are grateful to Richard Shone for his kind assistance in cataloguing this work. Condition Report: Not relined. Light horizontal cracking across the surface most notable to the upper left quadrant. Inspection under UV reveals no obvious evidence of restoration or repair. Condition Report Disclaimer
GEORGE GASCOYNE (ENGLISH 1862-1933) THE TURN OF THE PLOUGH Oil on canvas Signed (lower left), further signed, inscribed with artist's address and titled (verso) 195 x 409cm (76¾ x 161 in.) Provenance: The Junior Carlton Club, London, where it hung on the main staircase Acquired from the above by Professor Bernard Nevill, West House, Glebe Place, Chelsea (purchased for £7.10) Christie's, South Kensington, Robert Kime and Piers von Westenholz: An English Taste, 26 September, 2012, lot 206, where purchased by Robert Kime Exhibited: London, Royal Academy, 1894, no. 879Literature: L. Lovatt-Smith, London Living, London, 1997, p. 183George Gascoyne was a painter and engraver. He studied at The Slade and from 1884 exhibited at the Royal Academy. The Studio Magazine, writing in 1915, stated '...the horse that serves the worker in the fields [is where] Mr Gascoyne is pictorially most intimate...and in this vein..is seen at his best' (Vol.63. p.144). The Turn of the Plough exemplifies this subject matter and is painted in the social realist tradition. Heavy horses working the land was a subject that artist Lucy Kemp-Welch was to make her own, as seen in such works as Ploughing on the South Coast (London, Royal Academy, 1902, no264.), but the present picture, in it's scale, composition, dynamism and grandeur arguably shows George Gascoyne as her equal. Condition Report: The canvas has been relined and is slightly uneven on it's stretcher. There is some fine surface cracking and paint shrinkage in places. Under UV light there are broad washes of inpainting in the sky and more selective areas on the horses and figures. There is also an `L' shaped area in the lower left corner which most probably covers a repaired tear in the canvas. The restoration has been very well executed and is not apparent to the naked eye. It has been cleaned and revarnished. 248 x 463cm approx. measurements inc. frame Condition Report Disclaimer
DAVID ROBERTS (ENGLISH 1796-1864) SANTA MARIA DELLA SALUTE, VENICE Oil on card laid to canvas Inscribed and dated 'Venice oct 16 1851' (lower right) 30.5 x 51.5cm (12 x 20¼ in.)Provenance: Sale, Sotheby's London, 26th March 2004, lot 81Saleroom Notice:This work has been reattributed to David Roberts (English 1796-1864) and is oil on card laid to canvas. Condition Report: Oil on card laid to canvas. Some very light surface dirt. Inspection under UV light reveals scattered retouching and infilling throughout. Otherwise the work appears to be in good condition commensurate with age.Condition Report Disclaimer
A CARVED GILTWOOD EIGHT LIGHT CHANDELIER FRENCH, AFTER ANDRE-CHARLES BOULLE, EARLY 18TH CENTURY AND LATER The baluster shaft with three pierced folate scrolls headed by cherub masks, the scroll arms with brass nozzles and drip pans, wired for electricity, with Robert Kime Ltd pierced card shades The giltwood chandelier 78cm high, 87cm diameter, 92cm diameter including the pierced card shades, overall 112cm high maximum Provenance: Listed in the October 1786 inventory at the Salle de Billiard of Chateau d'Hauteville. See F Grand d'Hauteville, Le Chateau d'Hauteville, Lausanne, 1932, pp171 and 172. Christie's, London, European Noble & Private Collections, 30th September 2014, lot 32, where purchased by Robert Kime. Condition Report: probably formerly taller and with upper section of lights now reduced to this compressed size, drip pans probably laterCondition Report Disclaimer
λ AUGUSTUS EDWIN JOHN (BRITISH 1878-1961) THE YELLOW GOWN (DORELIA) Oil on panel Signed and dated 1910 (verso) 33 x 24cm (12 x 9¼ in.)Provenance: Christie's, London, Property from the Estate of Anthony Lousada, 27 March 1997, lot 110, where purchased by Robert KimeExhibited: London, Chenil Gallery, Provençal Studies and other works by Augustus John, November-December 1910, no. 47 The present work is one of 50 panels exhibited at the Chenil Gallery in 1910, the year Augustus John discovered the town of Martigues in Provence and rented the Villa Ste Anne. He would draw directly onto the panel and paint at speed, leaving small areas of bare wood and pencil showing. These panels are among some of his most sought after works. We are grateful to Rebecca John for her kind assistance in cataloguing this lot. Condition Report: Oil and pencil on board, with areas of the board visible. Inspection under UV reveals very light retouching running through the centre of Dorelia's dress. Otherwise no obvious significant condition issuesCondition Report Disclaimer
WILLIAM NICHOLSON (BRITISH 1872-1949) FELLS, AMBLESIDE Oil on panel Signed with monogram (lower left) 35 x 46cm (13¾ x 18 in.)Painted in 1942. Provenance: The Leicester Galleries, London Roland Browse & Delbanco, London, purchased in 1945 Private Collection, Dr. Gustav Delbanco Christie's, London, Property from the Estate of the late Dr. Gustav Delbanco, 27 November 1997, lot 97, where purchased by Robert KimeExhibited: London, Leicester Galleries, Paintings by Sir William Nicholson, 1943, No. 47 London, Roland Browse & Delbanco, Paintings by Sir William Nicholson, 1945, No. 22 London, Roland Browse & Delbanco, William Nicholson Centenary Exhibition, 27 April - 27 May 1972, No. 29 Aldeburgh, Aldeburgh Festival Exhibition, William Nicholson Centenary Exhibition, 2 - 19 June 1972, No. 29 London, Roland Browse & Delbanco, William Nicholson 1872-1949, 1990, no. 32Literature: Lillian Browse, William Nicholson, London, 1956, no. 465, pl. 36 (dated to c. 1935) Patricia Reed, William Nicholson, Catalogue Raisonne of the Oil Paintings, Modern Art Press, Yale University Press, 2011, p. 632, no. 861, illus. Captivated by the pristine charm of the British countryside and driven by an unwavering passion for landscape painting, William Nicholson crafted a remarkable body of work that echoes his deep-rooted connection to nature. His desire to be immersed within the countryside became reality when Nicholson and his wife Mabel Pryde purchased the old vicarage in Rottingdean, near Brighton. The series of works influenced by this location during the 1920s and mid-1930s was referred to as his 'downs period' where Nicholson focused his attention to the beauty and serenity of the hilly, chalk grasslands on the South Downs. This move towards landscape painting marked a departure from his exploration of still life and portraiture. Nicholson's renowned "downland series" stands as a testament to his ability to portray the changing seasons, moods, and colours of the rural landscapes with timeless artistry. "The Fells, Ambleside," painted around 1942 is from a slightly later date and yet it still captures the same essence of Nicholson's 'downland series' illustrating the rolling hills of Ambleside in Cumbria as he draws the viewer's eye deep into the landscape. The work is believed to have been painted in either May or June when Nicholson was invited to act as the external assessor for the Royal College of Art students, who now resided in Ambleside after being evacuated in 1940. The dry-stone walling curves through the landscape splitting the scene in two. The stone quarry and patchwork of hills on one side with a vast open landscape with sheep grazing on the other. Nicholson has used sgraffito technique to mark out the grass and the texture of the walls. A key figure in Nicholson's life was his dear friend and brother-in-law James Pryde, whose work is also featured in Robert Kime's collection (Lot x & x). As struggling artists in the 1890s, Pryde and Nicholson saw an opportunity to explore the poster market and its growing popularity. The pair joined together to create an artistic partnership they coined 'the Brothers Beggarstaff.' The pair experimented with collage, silhouettes and simplistic forms provided innovative and revolutionary ideas of marketing. Their work, proving too 'avant-garde', pushed them both back to their traditional artistic journeys. However, Nicholson saw an opportunity to experiment with print-making and went on to produce extremely popular series titled 'An Alphabet', 'An Almanac of Sports' and 'London Types' under the publisher William Heinemann. Condition Report: Light surface dirt throughout. Inspection under UV reveals no obvious evidence of restoration or repair. Condition Report Disclaimer
λ BEN NICHOLSON (BRITISH 1894-1982) CUMBERLAND LANDSCAPE Pencil 34 x 49cm (13¼ x 19¼ in.)Provenance:Private Collection, Lord CarlisleSotheby's, London, 13 November 1985, lot 312Christie's, London, 30 May 1997, lot 58, where purchased by Robert Kime Condition Report: Unexamined out of glazed frame. Light fading to the sheet throughout. One vertical water drop to the lower right corner. Otherwise appears to be in good original condition. Condition Report Disclaimer
WALTER RICHARD SICKERT (BRITISH 1860-1942) THE GHETTO, VENICE Oil on panel Signed (verso) 14 x 23.5cm (5½ x 9¼ in.)Painted circa 1896.Provenance: The Redfern Gallery Ltd., London (by 1941) Private Collection, Mrs. Dunne (acquired from the above in 1941) Christie's, London, 22 November 2002, lot 12, where purchased by Robert Kime Exhibited: (Probably) London, Leicester Galleries, Exhibition of Paintings and Drawings by Richard Sickert, June 1929, no. 113Literature: Wendy Baron, Sickert Paintings and Drawings, New Haven & London, 2006, p. 199, no. 79.1 According to Wendy Baron's book on the artist, the line of tenement houses lining the canal is reminiscent of the background of a portrait of Israel Zangwill (ibid. no. 79), painted by Walter Sickert in 1896-98. Zangwill was a Zionist Jewish leader and novelist and friend of Sickert's first wife, Ellen Cobden. Baron asserts that Zangwill was in Venice in April 1896 and saw much of the Sickerts. Condition Report: Very light surface dirt. Otherwise appears to be in original condition. Inspection under UV reveals no obvious evidence of restoration or repair. Condition Report Disclaimer
WALTER RICHARD SICKERT (BRITISH 1860-1942) SCUOLA DI SAN MARCO (OSPEDALE CIVICO) Oil on canvas 38 x 46cm (14¾ x 18 in.)Painted circa 1895-96. Provenance: Private Collection, Miss Ethel Sands, Lady Thurso Maltzhan Gallery, London (by 1971) Private Collection, Lady Weiss Her estate sale, Christie's, South Kensington, The Manor House, Little Marlow, Buckinghamshire, 15 September 1998, lot 336 Sale, Sotheby's, London, 4 July 2001, lot 11, where purchased by Robert KimeLiterature: Wendy Baron, Sickert, London, 1973, p. 327, no. 141 (dated to c. 1901) Wendy Baron, Sickert Paintings and Drawings, New Haven & London, 2006, p. 220, no. 103.4 (illustrated) The present work was painted in 1895-96, during Sickert's first of many visits to Venice. Arriving in May 1895, he spent prolonged periods in the city until September 1896, taking a studio on the Calle dei Frate, a residence he would return to on all his subsequent trips. Like generations of artists before him, Sickert was fascinated by the historic architecture and shimmering canals. In addition to the very famous and much-illustrated sites such as San Marco or the Rialto Bridge, Sickert also painted numerous views of lesser-known buildings and picturesque backwaters. As Wendy Baron highlights in her book Sickert Paintings & Drawings, the lack of precise dating in Sickert's Venetian works adds to the challenge of understanding the exact chronology of his paintings. Nonetheless, this exploration of recurring themes and places reveals Sickert's deep connection with Venice and his artistic journey in capturing the city's timeless charm.Repetition is a key feature of Sickert's work in general but notably in his views of Venice and Dieppe. In Venice, he painted version after version of the façade and piazza at San Marco, Santa Maria della Salute, the Rialto Bridge and the Scuola di San Marco. His dedication to revisiting the same locations echoes the architectural series of works produced by the Impressionists and, in particular bear comparison with Monet's series of paintings of Rouen cathedral. However, unlike the Impressionists, he was not overly interested in recording the passing of time and light on his subject matter. Sickert's paintings were frequently executed in his studio from drawings and photographs and he showed scant interest in the effect of changing atmospheric conditions. Instead, he used this repetition to explore variations in colour and tone, experimenting with the handling of paint and the different results that might yield. The Scuola Grande di San Marco, with its grand façade, is one of Venice's most significant architectural sites. It dates from the fifteenth century and was designed by Pietro Lombardo , Mauro Codussi , and Bartolomeo Bon . The situation alongside the Ponte del Cavallo on the Rio dei Mendicanti canal provided Sickert with an ideal composition and it became one of his favoured views during his first visit. Sickert produced six paintings of the subject, each showcasing a slightly different artistic technique ranging from intensely bright colouration with strong reflections to the present example, rendered in soft, feathery tones. There is no sharpness to the painterly brushwork and the colours are muted with the use of subtle layering. Condition Report: Not relined. Visible stretcher marks recto. Inspection under UV reveals no obvious evidence of restoration or repair. Otherwise in generally good condition. Condition Report Disclaimer
A KARAPINAR RUG ANATOLIA, MODERN Approximately 221cm x 121cm Condition Report: Overall the condition of this rug reflects its lack of significant age and use in a domestic setting, as catalogued this is modern in manufacture, some natural colour variation, some light signs of wear. Some small losses to pile near the fringing at the short ends. Please see additional images for visual reference to conditionCondition Report Disclaimer
![EDWARD LEAR (ENGLISH 1812-1888) EDFU SUNSET Watercolour Inscribed 'Edfoo [sic] Sunset, 6.30pm, Feby 11. 1854' (lower left) 1](https://cdn.globalauctionplatform.com/049783bd-9b10-4ff4-8240-b062008b4e32/6cc924c5-2714-4521-ae59-b06700c177a4/468x382.jpg)
EDWARD LEAR (ENGLISH 1812-1888) EDFU SUNSET Watercolour Inscribed 'Edfoo [sic] Sunset, 6.30pm, Feby 11. 1854' (lower left) 15 x 23cm (5¾ x 9 in.) Provenance: Christie's, London, 15 November 1988, lot 44 Christie's, London, 1 August 2002, lot 70, where purchased by Robert KimeExhibited: Lausanne, Fondation de L'Hermitage, L'Age d'or de l'Aquarelle Anglaise 1770-1900, 22 January-24 May 1999, no. 116Literature: G. Bauer, Le Siecle d'or de l'Aquarelle Anglaise, Anthèse, 1998, p. 145. pl. 201 W. Hauptman, L'Age d'or de l'Aquarelle Anglaise 1770-1900, Lausanne, 1999, p. 176, no. 116, illustrated in colour Condition Report: Unexamined out of glazed frame. The work has been laid down. Very light staining to the extreme edges. Otherwise in generally good original condition.Condition Report Disclaimer
EDWARD LEAR (ENGLISH 1812-1888) THE TEMPLE OF AMADA, NUBIA, EGYPT Pen and watercolour with white heightening Inscribed and dated 'Amada, 9AM, Feby 12. 1867' (lower left), numbered 426 (lower right) 21.5 x 52cm (8¼ x 20¼ in.)Provenance: Christie's, London, Victorian & British Impressionist Pictures including Drawings and Watercolours, 15 December 2010, lot 73, where purchased by Robert Kime Condition Report: Unexamined out of glazed frame. Light undulation to the sheet. Otherwise the work appears to be in good condition commensurate with age.Condition Report Disclaimer
EDWARD LEAR (ENGLISH 1812-1888) ABYDUS, EGYPT Watercolour heightened with white Signed with monogram, titled and dated '1867' (lower left) 16 x 25.5cm (6¼ x 10 in.)Provenance: Ruskin Gallery, Stratford Upon Avon 1964 Property from the Estate of William W. Appleton His sale, Christie's, New York, 29 January 2015, lot 108, where purchased by Robert Kime Abydos is one of the oldest of the sacred cities of Ancient Egypt and was the site of a number of important tombs and temples including the Temple of Seti I. Lear visited Abydos during his third visit to Egypt in 1867. His earlier trips had taken place much earlier, in 1849 and 1853-4. He travelled up the Nile as far as the Second Cataract, and into what was then Nubia before returning to Cairo. Condition Report: Unexamined out of glazed frame. The colours perhaps a little down, and there is some very light staining to the sheet, however this is barely noticeable. Some light undulation to the sheet. Otherwise the work appears to be in good condition commensurate with age.Condition Report Disclaimer
CIRCLE OF ANTONIO VERRIO (ITALIAN CIRCA 1639-1707) ALLEGORY OF PEACE: STUDY FOR A CEILING FRESCO Oil on canvas 62 x 62cm (24¼ x 24¼ in.)Provenance: Property of the late Edward Croft Murray His sale, Christie's, South Kensington, Old Master and British Pictures, 23 April 2009, lot 183, where purchased by Robert KimeEdward Croft-Murray was Keeper of Prints and Drawings at the British Museum between 1954 and 1972, and author of Decorative Painting in England 1537-1837 (published in two volumes by Country Life in 1962 and 1970). He was an advisor on musical instruments at Christie's from 1974 until his death. In his obituary in the Burlington Magazine, J. Byam Shaw described him as 'a meticulous scholar, an enthusiastic connoisseur, and an endearing character' (February 1981, p.99). Condition Report: The canvas has been lined and is on a later 19th century stretcher. Dirty varnish and surface dirt throughout. There is an old U-shaped tear which has been repaired to the centre of the canvas (approx. 10cm) but this has been well restored and is not visible to the naked eye. UV light reveals scattered retouching throughout, but this has been well executed. There is also a layer of green cloudy varnish. Condition Report Disclaimer
ENGLISH SCHOOL (18TH CENTURY ) CADABRA Oil on canvas Extensively inscribed with the horse's race history 58 x 77cm (22¾ x 30¼ in.) Condition Report: The canvas is unlined. There are stretcher marks and surface cracking but the paint layer appears to be stable. Under UV light there are scattered spots of retouching in places across the image but these are all very minor. It has a thick layer of surface dirt and discoloured varnish. Condition Report Disclaimer
FOLLOWER OF FRANCIS SARTORIUS THE ELDER (ENGLISH 1734-1804) MARTINDALE'S STARLING; AND ATLAS Oil on canvas, a pair Inscribed "Atlas, Got by Babraham who was / Son of ye Godolphin Arabian"; and "Martindale's Starling was got by Old Starling/ His Dam by Partner / His Grand-dam Mr Croft's Grey Barb" (lower right) 44.5 x 49.5cm (17½ x 19¼ in.) Condition Report: MARTINDALE'S STARLING: The canvas has not been lined. Stretcher marks visible throughout, together with craquelure, surface scratches, and abrasions. There is a dirty varnish throughout, and the work may benefit from a light clean. Inspection under UV reveals some light scattered retouching throughout, however a green masking varnish may be distorting the extent of the overpaint. ATLAS: The canvas has not been lined. Stretcher marks visible throughout, together with craquelure, surface scratches, and abrasions. There is a heavier area of paint cracking to the lower right corner including some associated loss, and this may need stabilising. There is a dirty varnish throughout, and the work may benefit from a light clean. Inspection under UV reveals some light scattered retouching throughout, however a green masking varnish may be distorting the extent of the overpaint. Condition Report Disclaimer
λ DUNCAN GRANT (BRITISH 1885-1978) WOODLAND Oil on board 64 x 45cm (25 x 17½ in.)Provenance: Leicester Galleries, London Private Collection, Sir Michael Sadler (acquired from the above in 1930) Christie's, London, 6 June 2003, lot 20, where purchased by Robert Kime Exhibited: London, Leicester Galleries, The Camden Town Group, February 1930, no. 30 The present work was probably painted in September 1912 when Grant was staying with Clive and Vanessa Bell at Virginia Woolf's rented property, Asheham House, in the Sussex Downs. If 1912 is the correct date, then the picture was painted in the year Grant was still a member of the Camden Town Group (he showed one painting in the 2nd of the Group's exhibitions, December 1911). Woodland was the only work by Grant selected for the retrospective of the Group in 1930 at the Leicester Galleries and presumably came from the artist. It certainly has affinities with landscapes of 1912 by Spencer Gore and also by Harold Gilman. The geometrising of the foliage and ovoid forms are characteristic of Grant's painting at this period and were to become a hallmark of his cubist-influenced works of 1913. We are grateful to Richard Shone for his kind assistance in cataloguing this work. Condition Report: Light surface dirt. The board is slightly bowing. Water damage to the board lower edge at left side. Some rubbing to the extreme edges of the board. Inspection under UV reveals no obvious evidence of restoration or repair. Condition Report Disclaimer
WILLIAM HOLMAN HUNT (ENGLISH 1827-1910) THE MOSQUE AL-ABBASI, NEAR DAMIETTA, EGYPT Pencil heightened with white Inscribed 'Ruined Mosque, near Damietta'(lower left) 6 x 21.5cm (2¼ x 8¼ in.)Provenance: The artist's family and by descent to Mrs Elizabeth Burt Sotheby's, London, 10 October 1985, as part of lot 20 With the Piccadilly Gallery Ltd., 3 February 1999, where purchased by Mrs J. Scharf Christie's, London, 5 June 2007, lot 95, where purchased by Robert KimeExhibited: Liverpool, Walker Art Gallery, and London, Victoria and Albert Museum, William Holman Hunt: An Exhibition arranged by the Walker Art Gallery, 1969, no. 148, illustrated. Lent by Mrs Elizabeth Burt On loan to the Ashmolean Museum, Oxford, 1965 to 1985 New York, Shepherd Gallery, English Romantic Art 1840 - 1920: Pre-Raphaelites, Academics & Symbolists, 1998, no. 32 Literature: William Holman Hunt, Pre-Raphaelitism and the Pre-Raphaelite Brotherhood, (Macmillan), 1905, vol. 1, p. 394 (illustrated) William Holman Hunt, Pre-Raphaelitism and the Pre-Raphaelite Brotherhood, (Chapman and Hall), 1913, vol. 1, p. 288 J. Bronkhurst, William Holman Hunt: A Catalogue Raisonne, London and New Haven, 2006, II, p.60, no. D99, (illustrated) Hunt visited the city of Damietta, in Northern Egypt, in May 1854, on his way to Jaffa, in the company of Thomas Sneddon (1821-1856). Condition Report: Some light discolouration and very light foxing to the sheet. Otherwise, the work appears to be in good condition. Unexamined out of glazed frame.Condition Report Disclaimer
JOHN FREDERICK LEWIS R.A. (ENGLISH 1804-1876) THE ENTRANCE TO THE GREAT MOSQUE AT BRUSSA, TURKEY Watercolour and bodycolour Signed (lower right) 26 x 36.5cm (10 x 14¼ in.) Provenance: A gift from the artist to E.A. Goodall and by descent Their sale, Bonhams, 19 November 1997, lot 56, where acquired by Christopher Gibbs. Clifton Hampden, Oxfordshire, 25th and 26th September 2000, lot 186, where purchased by Robert Kime.In 1840 Lewis travelled from Rome to Constantinople and spent almost a year in and around the city. He made at least one excursion to Brussa (or Bursa) which is situated 100 miles to the south of Constantinople at the foot of Mount Olympus. Four other studies by Lewis of the mosque at Brussa are known, two of which are in the Paul Mellon collection, Yale, USA Condition Report: Some very light surface dirt and discolouration throughout, together with a couple of brown spots (lower left). Some very light undulation throughout the sheet. Otherwise, the work appears to be in good condition. Unexamined out of glazed frame. Condition Report Disclaimer
A KUFIC QUR'AN FOLIO LEAF NORTH AFRICA OR NEAR EAST On vellum, in a carved and parcel-gilt frame 17 x 23cmProvenance: Christie's, Paris, 7th April 2005, Lot 431, where purchased by Robert Kime Condition Report: Unexamined out of glazed frame. Light staining to the sheet throughout. Vertical crease running through the centre of the sheet. Sheet mounted onto embroidered backing. Condition Report Disclaimer
THREE DIYARBEKIR POTTERY TILES EAST ANATOLIA, LATE 16TH CENTURY Within a later ebonised frame 15.2cm x 55.2cmProvenance: Christie's, London, 7 October 2008, lot 438, where purchased by Robert Kime. Condition Report: Left hand tileConsiderable paint on right hand side possibly over plaster replacement. Damage along top edge with areas of replacement. Left hand side similarly restoredCentral tileRight hand side overpainted and probably over plaster. Cracks to top left. Frit adhering to bottom left roundel Right hand tileRight half completely restored and repainted. All lower roundels repainted. Restored along the top edge. Under a uv light all tiles are repainted as above Condition Report Disclaimer
A KUFIC QUR'AN FOLIO LEAF NORTH AFRICA OR NEAR EAST, 8TH CENTURY On green linen backing in later glazed ebonised frame the leaf approximately 26 by 38cm, the frame 49.5 by 60cmProvenance: Christie's, London, 23 April 2002, lot 2, where purchased by Robert Kime. Condition Report: Unexamined out of glazed frame. Light handling creases throughout. A vertical crease running through the centre of the sheet. Light staining to the sheet throughout with some darker patches to the extreme edges. Losses to the upper edge. Small nick to the lower left corner. Condition Report Disclaimer
WILLIAM NEDHAM (ENGLISH, ACTIVE 1815-1849) A MASTIFF, A POMERANIAN, A NEWFOUNDLAND AND A SPANIEL BY A DARK BROWN AND A GREY HUNTER IN THE GROUNDS OF CLOPTON HOUSE, WARWICKSHIRE Oil on canvas Signed and dated '1838' (lower right) 142 x 233cm (55¾ x 91½ in.) Provenance: Almost certainly commissioned by Charles Thomas Warde, Clopton House, WarwickshireWilliam Nedham (active 1815-1849) was a provincial equestrian painter working predominantly in the Leicestershire area. He was a pupil of John Ferneley Senior (1781-1860) and included a Mr V. R Pochin of Barkby Hall amongst his patrons. A comparable work, painted on a smaller scale but dated from the same year is A Hunter and A Dog in the Grounds of Quenby Hall, Leicestershire, Leicestershire County Council Museums Service. Clopton House is a 17th century country mansion near Stratford-upon-Avon, standing on the site of the earlier Clopton Manor, home to Hugh Clopton and dating from the 13th century. The present house was built around the core of the earlier manor by Sir John Clopton during the 17th century. In 1824 the Cloptons sold the estate to Charles Meynell, who in turn sold it to George Lloyd of Welcombe in 1830. After only one year in his new home, George died, and the house passed to his brother John Gamaliel Lloyd in 1831. He remained there until his death in 1837. The house was then inherited by Lloyd's nephew, Charles Thomas Warde who remained in the house until his own death in 1865. Warde was responsible for significant extensions during the 1840s including the now Grade II listed coach house, and Clopton tower. Dated 1838, it is likely that this rare portrait of the family dogs and hunters in the grounds of Clopton, was commissioned by Charles Thomas Warde upon inheriting Clopton house the previous year. Condition Report: The canvas has not been lined but is a little loose. There are two tears to the canvas. the first (approx. 10cm), lower left to the right of the white dog's back paws. The second, (approx. 3cm), upper left to the sky. There is an isolated area of paint shrinkage to the lower right corner around the signature. Stretcher marks visible. Light rubbing and abrasions. including some spots of paint loss throughout, but particularly to the framing edges. Inspection under UV reveals scattered retouching throughout. Condition Report Disclaimer
ENGLISH SCHOOL (EARLY 17TH CENTURY) PORTRAIT OF A MAN WITH A PICKAXE AND A SPADE IN A LANDSCAPE Oil on panel Inscribed 'QVIA PATER CREDIDIT MVLIERI' (upper left) and 'ATATIS SVA. 36. A. DNI 1601' (upper right) 104.5 x 82cm (41 x 32¼ in.)Literature: E.S. Whittlesey, Symbols and legends in Western art; a museum guide, New York, 1972.This Elizabethan portrait of an unidentified member of the gentry by an unknown artist is replete with symbols, which depict the sitter's social standing. Dressed in aristocratic, ornate costume - a white linen under shirt with tassels and frilled cuffs; a red, billowing over shirt; silver and gold belt and black breeches with silver thread detail - the agricultural tools he carries, attributes of the hedger and ditcher, are a stark contradiction. The portrait is a morality painting about the illegitimate birth of the sitter and perhaps his exclusion from inheriting his 'paternal' social status and property. This is reinforced by the inscription on the upper left: 'QVIA PATER CREDIDIT MVLIERI' / 'Why should the father have believed his wife' suggesting that the 'father' was made a cuckold by his wife. The spade and pickaxe (mattock) represent Adam and Eve and the Expulsion from the Garden of Eden: for her disobedience, Eve was condemned to painful childbearing and to be ruled over by Adam, and Adam had to toil in the fields with a spade or hoe for his daily bread until he died (Hall's Dictionary of Subjects and Symbols in Art, p. 5). The pickaxe is also an attribute of Pluto or Hades, ruler of the underworld, and thus a further allusion to the ignominy of the sitter's birth (Whittlesey, p. 133). The painting was possibly commissioned by the sitter himself; an inscription on the upper right of the portrait records the age of the sitter and the date the painting was made: 'ATATIS SVA. 36. A. DNI 1601'. This proposal is strengthened by the inclusion of positive symbols such as the rising sun, often used as a symbol of hope, new beginnings, and the promise of a better future - although equally the sun can be read as 'the attribute of truth personified because all is revealed by its light' (Hall, p. 292). However, the pickaxe represents breaking through obstacles or barriers that stand in the way thus overall the painting's message is possibly triumph over adversity. Although no other closely related portrait has come to light, in 1644, Jan Steen painted Celebrating the Birth in which there is a subplot that the 'father' has been made a cuckold (Wallace Collection, London, Inv. P111). Condition Report: The following condition report has been provided by Hamish Dewar, Fine Art Conservation. Please contact housesales@dreweatts.com to access the full report with additional images. Structural conditionThe panel has vertical joins which have in the past been secured with canvas strips. The joins are visible in a raking light but appear to be reasonably secure, as are a number of other repaired splits and fracture lines within the panel.Paint surfaceThe paint surface has old historic discoloured varnish layers, together with numerous old retouchings which are visible in natural light and have also discoloured. They are also clearly visible under ultraviolet light. There are also areas of wear and abrasion which have not been retouched, such as those on the sitter's jacket.As the painting is stable it may well be felt that rather than fully cleaning the painting, and removing the old retouchings, it may be preferable to merely very lightly surface clean and revarnish the paint surface and not remove the old retouchings. If one was to remove all the old retouchings, and then retouch where found to be necessary, this would involve a considerable amount of work.SummaryThe painting has therefore undergone a considerable amount of restoration in the past but is now reasonably stable.Condition Report Disclaimer
λ DAVID JONES (BRITISH 1895-1974) NANT-Y-BWCH III Pencil and watercolour Inscribed and dated 'Nant-y-Bwch, Capel 1925' (verso) 38.9 x 27.5cm (15¼ x 10¾ in.) Provenance: Anthony d'Offay, London, where purchased by Barnabas McHenry Christie's, South Kensington, 20th Century British Art Including Works from the Collection of Bannon and Barnabas McHenry, 17 December 2008, lot 13, where purchased by Robert Kime Born on 1st March 1896 in Brockley, Kent, David Jones navigated the realms of painting, illustration, poetry, and engraving with equal brilliance. He was a true polymath, integrating his various artistic pursuits into a singular and distinctive style that defied categorisation. In 1909, at the age of fourteen, Jones entered the Camberwell School of Art, however at the outbreak of the First World War he enlisted in the London Welsh Battalion of the Royal Welch Fusiliers and spent 1915 to 1918 fighting at the front in France and seeing action at Ypres in the Battle of Passchendaele. The horrors and traumas of war profoundly influenced his work, and themes of sacrifice, mortality, and spirituality became central to his artistic expression. His deep Catholic faith, nurtured from an early age, also played a significant role in shaping his artistic vision. In January 1921, Jones joined the Ditchling Guild of St Joseph and St Dominic, founded in 1919 by Hilary Pepler and Eric Gill as a religious fraternity for craftsmen. It was here that he learnt wood engraving and during the winter of 1924 he spent Christmas with Gill at the monastery at Capel-y-ffin, Abergavenny. Rediscovering his Welsh roots, Jones spent most of the next three years painting the rugged landscape of the Black Mountains. Dr Paul Hills comments on his work of this period: "The move from the relaxed, ample curves of the Sussex Downs...to the irregular inflexions of the Welsh hills and coast, effected a release from the borrowed idiom in which he had been working. In an autobiographical talk he told how he discovered, between 1924 and 1926, a fruitful direction for his work, particularly under `the impact of the strong hill-rhythms and the bright counter-rhythms of the "afonydd dyfroedd" (water-brooks)'. (Exhibition catalogue, David Jones, Tate Gallery, London, 1981, p.24) As a painter, Jones excelled in capturing the essence of landscapes, often infusing them with a sense of mystical beauty and symbolism. His works exhibited a meticulous attention to detail and a mastery of techniques, blending elements of traditionalism with modernist influences. Whether depicting natural scenes, religious imagery, or historical events, his paintings possessed an ethereal quality that is as relevant and contemporary today as it was when painted. Condition Report: Unexamined out of glazed frame. Hinged to the top left and right corners. Slight undulation to the sheet. Very light staining to the upper corners possible caused by glue residue from the mounting process. Small crease to the lower left corner. Appears to be in generally good original condition. Condition Report Disclaimer
ERIC RAVILIOUS (BRITISH 1903-1942) NEW YEAR SNOW Watercolour and pencil Signed (lower left) 46 x 56cm (18 x 22 in.)Painted in 1938. The present work was painted in Capel-y-Ffin, Breconshire. Provenance: Private Collection, Sir Duncan Oppenheim Sale, Christie's, London, The Collection of the Late Sir Duncan Oppenheim, 6 June 2003, lot 91, sold by order of the executors, where purchased by Robert Kime Exhibited: London, Arthur Tooth & Sons, Recent Watercolours by Eric Ravilious, 11 May-3 June 1939, no. 1 (18 guineas) Sheffield, Graves Art Gallery, Eric Ravilious, An Exhibition of Watercolours, Wood Engravings, Illustrations, Designs, 1958, no. 94, lent by Mr & Mrs D. Oppenheim London, Arts Council of Great Britain, Eric Ravilious Memorial Exhibition, 1948-9, no. 1 Colchester, The Minories, Eric Ravilious, 1972, no. 22; and touring London, Imperial War Museum, Eric Ravilious Centenary Exhibition, 2003, illus. in exhibition catalogue Literature: Freda Constable, The England of Eric Ravilious, Scolar Press, London, 1982, pl. 21 Helen Binyon, Eric Ravilious, Memoir of an Artist, Lutterworth Press, London, 1983, p.105, illus. Anne Ullmann et al, Eric Ravilious: Landscape, Letters and Design, Fleece Press, 2008, ill. p. 437 Alan Powers, Eric Ravilious, Imagined Realities, Imperial War Museum, Philip Wilson Publishers, 2012, pl. no. 46 illus James Russell, Ravilious in Pictures, A Travelling Artist, Mainstone Press, 2012, p.4, illus. Susie Hodge, Eric Ravilious, Masterpieces of Art, Flame Tree Illustrated, 2015, p. 54 illus This atmospheric watercolour depicts a picturesque valley in the Welsh borders and at the same time shows us a master at work.Early in 1938 Ravilious travelled to Capel-y-Ffin, a hamlet in the Honddu valley not far from the ruins of Llanthony Priory. Having concentrated on illustration and design for a couple of years he was at last free to paint watercolours, and to take his time doing so. He had booked a room in the hamlet's solitary farmhouse for two months, and looked forward to exploring a landscape that was wilder than his native Sussex.Steeped as he was in the English watercolour tradition, Ravilious was well aware that JMW Turner, John Sell Cotman and other luminaries had painted the valley before him, although those earlier Romantic artists had tended to focus on the ruined abbey. A more recent visitor was artist-poet David Jones, who stayed with Eric Gill and his entourage in Capel-y-Ffin in the 1920s. Ravilious admired the strong modern line and delicate palette of Jones's watercolours, which present subjects similar to this but in a very different style (see Lot 56 David Jones 'Spirit in an Orchard'In New Year Snow Ravilious presents a recognisable view south-east along the valley, towards the distinctive buttress of Loxidge Tump. He was no topographer, however, and here he has redirected the course of the river so that it bends across the composition, roughly mirroring the curve of hills against the sky. Water, land and clouds are painted with remarkable economy, with only the lightest of washes across the hilltops. Mostly the watercolour has been applied in single strokes, whether taut and wiry or roughly scuffed with a dry brush. White paper showing through suggests here the texture of grassland dusted with snow and there the shimmer of moving water, while simultaneously conveying a feeling of light-heartedness and freedom.In place of the ruins sought out by Turner's generation, we have the kind of man-made object that delighted Ravilious: a sheep feeder on wheels set centre stage and at a precarious angle. This positioning and the clarity of the draughtsmanship lend a slightly dreamlike quality to the scene. In May 1939 Ravilious held his third exhibition of watercolours at the prestigious London gallery of Arthur Tooth and Son, the show that cemented his reputation. In The Observer, Jan Gordon praised Ravilious's extraordinary technique, which made the most mundane object 'appear as something magic, almost mystic, distilled out of the ordinary everyday.' Ravilious chose twenty-seven watercolours for the exhibition; in the catalogue New Year Snow is No. 1.James Russell Art Historian, Author and Curator Condition Report: Examined out of glazed frame. The sheet is laid down to the backboard. There is a small loss to the sheet at the centre of the right edge, not visible when framed. There is a very small spot of what appears to be paper stuck to the lower left of the feeder, visible in the catalogue illustration. There is some discolouration and acid-staining to the extreme edges and a few spots of dirt along the upper edge. Staining to the back board verso. Otherwise, there are no obvious condition issues or any evidence of restoration or repair. Condition Report Disclaimer
A PAIR OF GEORGE III SILVER PLATED TWO LIGHT CANDELABRA MATTHEW BOULTON COMPANY, LATE 18TH CENTURY Stamped Boulton double star mark 77cm high, bases 15.5cm diameter Provenance; Sotheby's New York, 6 April 2006, lot 112, where purchased by Robert Kime Condition Report: Overall with marks, knocks, scratches, abrasions consistent with age and use, the silvered surface rubbed to the base metal at the high points and extremities, it appears to be copper or similar beneathThe shades are possibly associated but this probably always had similar. They are slightly loose to the sconcesThe central spike is solid and the 'cap' does not come off, these appears to be by design. and they are not designed to 'break-down'Polish deposits to the recesses and surface, overall may benefit from a light clean with a soft cloth to remove Please see additional images for visual reference to conditionCondition Report Disclaimer
SIR EDWARD COLEY BURNE-JONES (ENGLISH 1833-1898) BACCHUS, A SKETCH FOR THE FEAST OF PELEUS Pencil With inscription 'E. BURNE-JONES' (lower right) 16.8 x 11.7cm (6½ x 4½ in.)Provenance: Christie's, London, 18 November 2004, lot 141,where purchased by Robert Kime Literature: The Burne-Jones Catalogue Raisonne (un-numbered) This study shows Bacchus who is seated at the right-hand end of the table in Burne-Jones small and highly finished painting The Feast of Peleus (Birmingham City Art Gallery). Stylistically, the drawing can be dated to the early 1870s, which is consistent with the picture's development. Designed in 1870 for the predella of the so-called Troy triptych, a project never completed in its entirety, it was begun in 1872, worked on in 1874, 1875 and 1879, but only completed in 1881. It was exhibited at the Grosvenor Gallery (Summer Exhibition, no. 157) the following year, having been sold to William Graham, the wealthy businessman and Liberal M.P. for Glasgow who was Burne-Jones's staunchest patron.We are grateful to The Burne-Jones Catalogue Raisonne, for their help in preparing this catalogue entry. Condition Report: There is discolouration caused by staining throughout the sheet. A number of white blemishes to the three hands / arms at the upper left quadrant. Some light surface dirt scattered throughout. Unexamined out of glazed frame.Condition Report Disclaimer
AFTER REMBRANDT VAN RIJN THE FLIGHT INTO EGYPT: CROSSING A BROOK Etching with drypoint, 1654, but a later impression of the only state, printing with plate tone 9 x 14cm (3½ x 5½ in.) Condition Report: The sheet with some light surface dirt. Otherwise the work appears to be in good condition commensurate with age. Unexamined out of glazed frame.Condition Report Disclaimer
FREDERICK LEE BRIDELL (BRITISH 1831-1863) SHEPHERD IN A LANDSCAPE Oil on canvas laid on panel 17 x 28.5cm (6½ x 11 in.) Provenance: A. Tilbrook, from whom purchased by Robert KimeThis picture was probably completed at some time during Bridell's stay near Lake Como/Lake Lecco in 1860/61. The background lake and boat are reminiscent of his work around that location. As an imaginative work, he has combined elements from sketchesmade as he travelled from Rome, through the campagna to Northern Italy. It is a possibility that these were done as gifts for friends, as they came back to England with the larger works completed at that time. We are grateful to Catherine Hull, the author of Frederick Lee Bridell (1830-1863), for her help in preparing this catalogue entry. Condition Report: Oil on canvas laid to board. The upper edge of the board is visible. Very light rubbing to the extreme edges and retouching visible to the right edge. Inspection under UV very light retouching to centre of the sky. Condition Report Disclaimer
VENETIAN SCHOOL (16TH CENTURY) THE FLIGHT INTO EGYPT Oil on cassone panel in a tabernacle frame, inscribed 'Ave. Maris. Stella. Dei. Mater' 28.5 x 40.5cm (11 x 15¾ in.) Provenance: The Collection of Prince Giovanelli, Venice Parke Bernet, 26 November 1948, lot 142, as Attributed to Francesco Botticini, where purchased by the 10th Earl of Bessborough His sale, Sotheby's, London, 16 December 1999, lot 336, where purchased by Robert Kime Condition Report: The panel has been cradled and re-varnished. The surface is quite uneven with horizontal fine surface cracks. There are a few areas where the paint surface has started to blister with minor losses and abrasions. Under UV light there is scattered retouching mostly to the background areas but also several spots to the figures. The frame with minor scuffs and abrasions with losses to the extremities. Condition Report Disclaimer
Books - Fishing, fly-fishing - The Floating Line for Salmon and Trout, Anthony Crossley; Lake flies and their imitation, C. F. Walker; Light line fishing for Salmon, Alexander Wanless; Thrifty Salmon fishing, N. K. Robertson; New naturalist series, An Angler’s Entomology, J. R. Harris; etc, qty.
BRORA 1982 32 YEAR OLD LOMBARD JEWELS OF SCOTLAND - BOTTLE NUMBER 1 HIGHLAND SINGLE MALT Originally called Clynelish, the Sutherland distillery we now know as Brora had to change its name in 1975 to avoid confusion with the modern Clynelish 2 distillery operating next door. Clynelish 2 was built to replace the dated Brora facility, which was struggling to keep up with the increasing demand placed upon it by the surging popularity of the Johnnie Walker blend. However, only a year after it was decommissioned Brora was pressed back into service, this time making heavily peated whisky to pick up the slack for Johnnie Walker while Caol Ila distillery on Islay was being renovated. Eventually the distillery’s owners decided it was no longer required, and in 1983 the site was mothballed once more.But that wasn’t the end. As the years have rolled by, demand for Brora as a single malt has steadily grown, resulting in owners, Diageo, announcing plans in 2017 to reopen the distillery."Just fantastic. Smoke, heather and fruits combine ...." - Whisky Magazine #134 Scored 9.6/10Lombard Tasting Notes - Coastal influences abound on the fragrant light, smoky nose. Cracked black pepper. Complex palate develops to a big whisky. Brooding peat. Peppery. Long finish with hints of smoke, pine needle and spice.Distilled: 13/05/1982Bottled: 28/07/2014Matured in Cask #876Bottle Number: 1 / 6946.1% ABV / 70cl
BRORA 1982 32 YEAR OLD LOMBARD JEWELS OF SCOTLAND - BOTTLE NUMBER 10 HIGHLAND SINGLE MALT Originally called Clynelish, the Sutherland distillery we now know as Brora had to change its name in 1975 to avoid confusion with the modern Clynelish 2 distillery operating next door. Clynelish 2 was built to replace the dated Brora facility, which was struggling to keep up with the increasing demand placed upon it by the surging popularity of the Johnnie Walker blend. However, only a year after it was decommissioned Brora was pressed back into service, this time making heavily peated whisky to pick up the slack for Johnnie Walker while Caol Ila distillery on Islay was being renovated. Eventually the distillery’s owners decided it was no longer required, and in 1983 the site was mothballed once more.But that wasn’t the end. As the years have rolled by, demand for Brora as a single malt has steadily grown, resulting in owners, Diageo, announcing plans in 2017 to reopen the distillery."Just fantastic. Smoke, heather and fruits combine ...." - Whisky Magazine #134 Scored 9.6/10Lombard Tasting Notes - Coastal influences abound on the fragrant light, smoky nose. Cracked black pepper. Complex palate develops to a big whisky. Brooding peat. Peppery. Long finish with hints of smoke, pine needle and spice.Distilled: 13/05/1982Bottled: 28/07/2014Matured in Cask #876Bottle Number: 10 / 6946.1% ABV / 70cl
BRORA 1982 32 YEAR OLD LOMBARD JEWELS OF SCOTLAND HIGHLAND SINGLE MALT Originally called Clynelish, the Sutherland distillery we now know as Brora had to change its name in 1975 to avoid confusion with the modern Clynelish 2 distillery operating next door. Clynelish 2 was built to replace the dated Brora facility, which was struggling to keep up with the increasing demand placed upon it by the surging popularity of the Johnnie Walker blend. However, only a year after it was decommissioned Brora was pressed back into service, this time making heavily peated whisky to pick up the slack for Johnnie Walker while Caol Ila distillery on Islay was being renovated. Eventually the distillery’s owners decided it was no longer required, and in 1983 the site was mothballed once more.But that wasn’t the end. As the years have rolled by, demand for Brora as a single malt has steadily grown, resulting in owners, Diageo, announcing plans in 2017 to reopen the distillery."Just fantastic. Smoke, heather and fruits combine ...." - Whisky Magazine #134 Scored 9.6/10Lombard Tasting Notes - Coastal influences abound on the fragrant light, smoky nose. Cracked black pepper. Complex palate develops to a big whisky. Brooding peat. Peppery. Long finish with hints of smoke, pine needle and spice.Distilled: 13/05/1982Bottled: 28/07/2014Matured in Cask #876Bottle Number: 11 / 6946.1% ABV / 70clPlease note the image on this lot is for illustrative purposes only. If you require further information about this particular bottle, please request a condition report.
BRORA 1982 32 YEAR OLD LOMBARD JEWELS OF SCOTLAND HIGHLAND SINGLE MALT Originally called Clynelish, the Sutherland distillery we now know as Brora had to change its name in 1975 to avoid confusion with the modern Clynelish 2 distillery operating next door. Clynelish 2 was built to replace the dated Brora facility, which was struggling to keep up with the increasing demand placed upon it by the surging popularity of the Johnnie Walker blend. However, only a year after it was decommissioned Brora was pressed back into service, this time making heavily peated whisky to pick up the slack for Johnnie Walker while Caol Ila distillery on Islay was being renovated. Eventually the distillery’s owners decided it was no longer required, and in 1983 the site was mothballed once more.But that wasn’t the end. As the years have rolled by, demand for Brora as a single malt has steadily grown, resulting in owners, Diageo, announcing plans in 2017 to reopen the distillery."Just fantastic. Smoke, heather and fruits combine ...." - Whisky Magazine #134 Scored 9.6/10Lombard Tasting Notes - Coastal influences abound on the fragrant light, smoky nose. Cracked black pepper. Complex palate develops to a big whisky. Brooding peat. Peppery. Long finish with hints of smoke, pine needle and spice.Distilled: 13/05/1982Bottled: 28/07/2014Matured in Cask #876Bottle Number: 12 / 6946.1% ABV / 70clPlease note the image on this lot is for illustrative purposes only. If you require further information about this particular bottle, please request a condition report.
BUNNAHABHAIN 1979 25 YEAR OLD LOMBARD JEWELS OF SCOTLAND - BOTTLE NUMBER 1 ISLAY SINGLE MALT Purpose built in 1881 by William Baxter, Bunnahabhain distillery on the northeast coast of Islay featured housing for its workers, as well as its own pier for ease of transporting whisky and materials to and from the mainland. As with most distilleries, much of its life was spent producing blending stock, but in the late 1980s it began to appear as a single malt. Initially this single malt output was mostly sherry matured and so lightly peated as to be barely perceptible, placing Bunna’ firmly in the minority of Islay whiskies. However, since its takeover by Distell in 2013 around 20% of the spirit produced there is now heavily peated, with these expressions bearing the name “Moine” (the Gaelic word for peat). "All well-mannered with this gentle elegance" - Scotchwhisky.com scored 8.0/10 Lombard Tasting Notes - Smoky nose leads to fruity undertones. Smooth initial palate with a distinctive light oiliness, perhaps minty toffee. Finish is long with smoky notes. Distilled: 16/04/1979 Bottled: 15/10/2004 Matured in Cask #7405 Bottle Number: 1 / 559 50% ABV / 70cl
BUNNAHABHAIN 1979 25 YEAR OLD LOMBARD JEWELS OF SCOTLAND - BOTTLE NUMBER 2 ISLAY SINGLE MALT Purpose built in 1881 by William Baxter, Bunnahabhain distillery on the northeast coast of Islay featured housing for its workers, as well as its own pier for ease of transporting whisky and materials to and from the mainland. As with most distilleries, much of its life was spent producing blending stock, but in the late 1980s it began to appear as a single malt. Initially this single malt output was mostly sherry matured and so lightly peated as to be barely perceptible, placing Bunna’ firmly in the minority of Islay whiskies. However, since its takeover by Distell in 2013 around 20% of the spirit produced there is now heavily peated, with these expressions bearing the name “Moine” (the Gaelic word for peat). "All well-mannered with this gentle elegance" - Scotchwhisky.com scored 8.0/10 Lombard Tasting Notes - Smoky nose leads to fruity undertones. Smooth initial palate with a distinctive light oiliness, perhaps minty toffee. Finish is long with smoky notes. Distilled: 16/04/1979 Bottled: 15/10/2004 Matured in Cask #7405 Bottle Number: 2 / 559 50% ABV / 70cl
SPEYSIDE DISTILLERIES 1988 LOMBARD 75CL BLENDED MALT This excellent blended malt is a vatting of several casks, each filled in 1988 at various well-known distilleries in the Speyside region."Rich with nutty toffee, nougat and bright summer fruits" – Whisky Magazine #140 Scored 8.4/10 Lombard Tasting Notes - Nose is a beautiful balance of fruit with subtle hints of peat. Toffee and floral notes develop on the palate. Body is soft and light. Displays a considerable delicacy. Versatility in abundance. Endorsed further by the clean, crisp finish. Distilled: 1988 Bottled: 1996 43% ABV / 75clPlease note the image on this lot is for illustrative purposes only. If you require further information about this particular bottle, please request a condition report.
SPEYSIDE DISTILLERIES 1988 LOMBARD 75CL BLENDED MALT This excellent blended malt is a vatting of several casks, each filled in 1988 at various well-known distilleries in the Speyside region."Rich with nutty toffee, nougat and bright summer fruits" – Whisky Magazine #140 Scored 8.4/10 Lombard Tasting Notes - Nose is a beautiful balance of fruit with subtle hints of peat. Toffee and floral notes develop on the palate. Body is soft and light. Displays a considerable delicacy. Versatility in abundance. Endorsed further by the clean, crisp finish. Distilled: 1988 Bottled: 1996 43% ABV / 75clPlease note the image on this lot is for illustrative purposes only. If you require further information about this particular bottle, please request a condition report.
SPEYSIDE DISTILLERIES 1988 LOMBARD 75CL BLENDED MALT This excellent blended malt is a vatting of several casks, each filled in 1988 at various well-known distilleries in the Speyside region."Rich with nutty toffee, nougat and bright summer fruits" – Whisky Magazine #140 Scored 8.4/10 Lombard Tasting Notes - Nose is a beautiful balance of fruit with subtle hints of peat. Toffee and floral notes develop on the palate. Body is soft and light. Displays a considerable delicacy. Versatility in abundance. Endorsed further by the clean, crisp finish. Distilled: 1988 Bottled: 1996 43% ABV / 75clPlease note the image on this lot is for illustrative purposes only. If you require further information about this particular bottle, please request a condition report.
BUNNAHABHAIN 1979 25 YEAR OLD LOMBARD JEWELS OF SCOTLAND - BOTTLE NUMBER 4 ISLAY SINGLE MALT Purpose built in 1881 by William Baxter, Bunnahabhain distillery on the northeast coast of Islay featured housing for its workers, as well as its own pier for ease of transporting whisky and materials to and from the mainland. As with most distilleries, much of its life was spent producing blending stock, but in the late 1980s it began to appear as a single malt. Initially this single malt output was mostly sherry matured and so lightly peated as to be barely perceptible, placing Bunna’ firmly in the minority of Islay whiskies. However, since its takeover by Distell in 2013 around 20% of the spirit produced there is now heavily peated, with these expressions bearing the name “Moine” (the Gaelic word for peat). "All well-mannered with this gentle elegance" - Scotchwhisky.com scored 8.0/10 Lombard Tasting Notes - Smoky nose leads to fruity undertones. Smooth initial palate with a distinctive light oiliness, perhaps minty toffee. Finish is long with smoky notes. Distilled: 16/04/1979 Bottled: 15/10/2004 Matured in Cask #7405 Bottle Number: 4 / 559 50% ABV / 70cl
SPEYSIDE DISTILLERIES 1988 LOMBARD 75CL BLENDED MALT This excellent blended malt is a vatting of several casks, each filled in 1988 at various well-known distilleries in the Speyside region."Rich with nutty toffee, nougat and bright summer fruits" – Whisky Magazine #140 Scored 8.4/10 Lombard Tasting Notes - Nose is a beautiful balance of fruit with subtle hints of peat. Toffee and floral notes develop on the palate. Body is soft and light. Displays a considerable delicacy. Versatility in abundance. Endorsed further by the clean, crisp finish. Distilled: 1988 Bottled: 1996 43% ABV / 75clPlease note the image on this lot is for illustrative purposes only. If you require further information about this particular bottle, please request a condition report.
SPEYSIDE DISTILLERIES 1988 LOMBARD 75CL BLENDED MALT This excellent blended malt is a vatting of several casks, each filled in 1988 at various well-known distilleries in the Speyside region."Rich with nutty toffee, nougat and bright summer fruits" – Whisky Magazine #140 Scored 8.4/10 Lombard Tasting Notes - Nose is a beautiful balance of fruit with subtle hints of peat. Toffee and floral notes develop on the palate. Body is soft and light. Displays a considerable delicacy. Versatility in abundance. Endorsed further by the clean, crisp finish. Distilled: 1988 Bottled: 1996 43% ABV / 75clPlease note the image on this lot is for illustrative purposes only. If you require further information about this particular bottle, please request a condition report.
SPEYSIDE DISTILLERIES 1988 LOMBARD 75CL BLENDED MALT This excellent blended malt is a vatting of several casks, each filled in 1988 at various well-known distilleries in the Speyside region."Rich with nutty toffee, nougat and bright summer fruits" – Whisky Magazine #140 Scored 8.4/10 Lombard Tasting Notes - Nose is a beautiful balance of fruit with subtle hints of peat. Toffee and floral notes develop on the palate. Body is soft and light. Displays a considerable delicacy. Versatility in abundance. Endorsed further by the clean, crisp finish. Distilled: 1988 Bottled: 1996 43% ABV / 75clPlease note the image on this lot is for illustrative purposes only. If you require further information about this particular bottle, please request a condition report.
SPEYSIDE DISTILLERIES 1988 LOMBARD 75CL BLENDED MALT This excellent blended malt is a vatting of several casks, each filled in 1988 at various well-known distilleries in the Speyside region."Rich with nutty toffee, nougat and bright summer fruits" – Whisky Magazine #140 Scored 8.4/10 Lombard Tasting Notes - Nose is a beautiful balance of fruit with subtle hints of peat. Toffee and floral notes develop on the palate. Body is soft and light. Displays a considerable delicacy. Versatility in abundance. Endorsed further by the clean, crisp finish. Distilled: 1988 Bottled: 1996 43% ABV / 75clPlease note the image on this lot is for illustrative purposes only. If you require further information about this particular bottle, please request a condition report.
SPEYSIDE DISTILLERIES 1988 LOMBARD 75CL BLENDED MALT This excellent blended malt is a vatting of several casks, each filled in 1988 at various well-known distilleries in the Speyside region."Rich with nutty toffee, nougat and bright summer fruits" – Whisky Magazine #140 Scored 8.4/10 Lombard Tasting Notes - Nose is a beautiful balance of fruit with subtle hints of peat. Toffee and floral notes develop on the palate. Body is soft and light. Displays a considerable delicacy. Versatility in abundance. Endorsed further by the clean, crisp finish. Distilled: 1988 Bottled: 1996 43% ABV / 75clPlease note the image on this lot is for illustrative purposes only. If you require further information about this particular bottle, please request a condition report.
SPEYSIDE DISTILLERIES 1988 LOMBARD 75CL BLENDED MALT This excellent blended malt is a vatting of several casks, each filled in 1988 at various well-known distilleries in the Speyside region."Rich with nutty toffee, nougat and bright summer fruits" – Whisky Magazine #140 Scored 8.4/10 Lombard Tasting Notes - Nose is a beautiful balance of fruit with subtle hints of peat. Toffee and floral notes develop on the palate. Body is soft and light. Displays a considerable delicacy. Versatility in abundance. Endorsed further by the clean, crisp finish. Distilled: 1988 Bottled: 1996 43% ABV / 75clPlease note the image on this lot is for illustrative purposes only. If you require further information about this particular bottle, please request a condition report.
SPEYSIDE DISTILLERIES 1988 LOMBARD 75CL BLENDED MALT This excellent blended malt is a vatting of several casks, each filled in 1988 at various well-known distilleries in the Speyside region."Rich with nutty toffee, nougat and bright summer fruits" – Whisky Magazine #140 Scored 8.4/10 Lombard Tasting Notes - Nose is a beautiful balance of fruit with subtle hints of peat. Toffee and floral notes develop on the palate. Body is soft and light. Displays a considerable delicacy. Versatility in abundance. Endorsed further by the clean, crisp finish. Distilled: 1988 Bottled: 1996 43% ABV / 75clPlease note the image on this lot is for illustrative purposes only. If you require further information about this particular bottle, please request a condition report.
SPEYSIDE DISTILLERIES 1988 LOMBARD 75CL BLENDED MALT This excellent blended malt is a vatting of several casks, each filled in 1988 at various well-known distilleries in the Speyside region."Rich with nutty toffee, nougat and bright summer fruits" – Whisky Magazine #140 Scored 8.4/10 Lombard Tasting Notes - Nose is a beautiful balance of fruit with subtle hints of peat. Toffee and floral notes develop on the palate. Body is soft and light. Displays a considerable delicacy. Versatility in abundance. Endorsed further by the clean, crisp finish. Distilled: 1988 Bottled: 1996 43% ABV / 75clPlease note the image on this lot is for illustrative purposes only. If you require further information about this particular bottle, please request a condition report.
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