Puppenmädchen in rosa Kleid. Armand Marseille, für Otto Gans. Kopfmarke: Otto Gans Germany 975 A 5 M. Um 1922.Biskuitporzellan, Masse. L 43 cm. Kurbelkopf, festgegipste braune Augen, hellbraune Echthaarperücke. 5-teiliger Stehpuppenkörper. Geblümtes Kleidchen, schwarze Lackschuhe. 1 minimaler Perückenpull, Brandriss und Haarriss an der Halskurbel. 3 Finger minimal bestoßen.Aufrufzeit 27. | Feb. 2025 | voraussichtlich 10:02 Uhr (CET) Doll girl in pink dress. Armand Marseille, for Otto Gans. Head mark: Otto Gans Germany 975 A 5 M. Circa 1922.Biscuit porcelain, mass. L 43 cm.Swivel head, plastered brown eyes, light brown real hair wig. 5-part standing doll body. Flowered dress, black patent leather shoes. 1 minimal wig pull, burn mark and hairline crack at the neck crank. 3 fingers minimally bumped.Call time 27th | Feb. 2025 | probably 10:02 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
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3 Brustkopfpuppen und kleine Nähmaschine. Armand Marseille. Alle AM gemarkt. Um 1900. Biskuitporzellan, Masse, Stoff, Leder. L 44 - 58 cm. AM 3200 in rosa Kleid, mit brauner Echthaarperücke, Lederkörper, defekten Biskuitarmen (L 44 cm). / AM 370 in hellem Kleid, mit blonder Mohairperücke, verschmutztem Stoffkörper, bestoßenen Massegliedern (L 47 cm). / AM 370 in gelbem Kleid, mit brauner Kunsthaarperücke, defekten Biskuitarmen, Lederkörper (L 58 cm). Dazu einfache Nähmaschine aus schwarz lackiertem Metall mit floralem Golddekor (No. 287084), 15 x 12 x 6 cm. Köpfe nicht durchleuchtet. Aufrufzeit 27. | Feb. 2025 | voraussichtlich 10:04 Uhr (CET)3 chest head puppets and small sewing machine. Armand Marseille. All AM marked. Circa 1900. Biscuit porcelain, mass, fabric, leather. L 44 - 58 cm. AM 3200 in pink dress, with brown human hair wig, leather body, defective bisque arms (L 44 cm). / AM 370 in light-colored dress, with blond mohair wig, soiled fabric body, bumped mass limbs (L 47 cm). / AM 370 in yellow dress, with brown synthetic hair wig, defective bisque arms, leather body (L 58 cm). With simple sewing machine made of black lacquered metal with floral gold decoration (No. 287084), 15 x 12 x 6 cm. Heads not illuminated. Call time 27 | Feb. 2025 | probably 10:04 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Kleine Japanerin. Simon & Halbig. Kopfmarke: Simon & Halbig Germany 1329. Um 1910.Biskuitporzellan, Masse. L 31 cm. Kurbelkopf, braune Schlafaugen, Ohrlöcher, schwarze Mohairperücke mit Hochsteckfrisur. 15-teiliger Gliederkörper. Heller Kimono. Kopf durchleuchtet: ohne Risse, lediglich etwas Perückenpull und 1 herstellungsbedingter (durchgefärbter) Chip an der Halskurbel. Körper lose gespannt, Kimono fleckig.In Cieslik's Puppen-Bestimmungsbuch als "Orientale" bezeichnet.Aufrufzeit 27. | Feb. 2025 | voraussichtlich 10:08 Uhr (CET) Little Japanese. Simon & Halbig. Head mark: Simon & Halbig Germany 1329. c. 1910.Biscuit porcelain, mass. L 31 cm.Swivel head, brown sleeping eyes, pierced ears, black mohair wig with pinned-up hairstyle. 15-part jointed body. Light-colored kimono. Head x-rayed: without cracks, only some wig pull and 1 production-related (dyed through) chip on the neck crank. Body loosely stretched, kimono stained.Described as "Orientale" in Cieslik's doll identification book.Call time 27 | Feb. 2025 | probably 10:08 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Blonde Puppendame. Baehr & Proeschild. Kopfmarke: 449, mit kyrillischem F, wohl für den russischen Markt. Um 1905.Biskuitporzellan, Masse. L 54 cm. Kurbelkopf, braune Schlafaugen, Perlenohrringe, Echthaarperücke. 11-teiliger Gliederkörper. Lindgrünes Kleid mit Spitzen, hellbraune Lederschuhe. Kopf durchleuchtet: ohne Defekte, lediglich 3 winzige Brandrisse, 1 Chip am linken Ohrloch. Körper mit kleinen Farbdefekten, partiell übermalt.Aufrufzeit 27. | Feb. 2025 | voraussichtlich 10:12 Uhr (CET) Blonde doll lady. Baehr & Proeschild. Head mark: 449, with Cyrillic F, probably for the Russian market. Circa 1905.Biscuit porcelain, mass. L 54 cm.Swivel head, brown sleeping eyes, pearl earrings, real hair wig. 11-piece articulated body. Lime green dress with lace, light brown leather shoes. Head x-rayed: without defects, only 3 tiny burn marks, 1 chip on the left ear hole. Body with small color defects, partially painted over.Call time 27 | Feb. 2025 | probably 10:12 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Defektes Charakterbaby. J. D. Kestner. Kopfmarke: JDK 257 made in Germany. Um 1916.Biskuitporzellan, Masse. L 75 cm. Kurbelkopf, blaue Schlafaugen, bewegliche Zunge, Mohairperücke mit Zöpfchen auf dem Kopf. 5-teiliger Sitzbabykörper. Helles Kleidchen. Stirn aus mehreren Teilen zusammengeklebt. Glieder locker, Arme übermalt.Aufrufzeit 27. | Feb. 2025 | voraussichtlich 10:14 Uhr (CET) Defective character baby. J. D. Kestner. Head mark: JDK 257 made in Germany. Circa 1916.Biscuit porcelain, mass. L 75 cm.Swivel head, blue sleeping eyes, movable tongue, mohair wig with pigtails on the head. 5-part sitting baby body. Light-colored dress. Face glued together from several parts. Limbs loose, arms painted over.Call time 27 | Feb. 2025 | probably 10:14 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Kleines Puppenmädchen. J. D. Kestner. Kopfmarke: b made in Germany 3 143. Ab 1897.Biskuitporzellan, Masse. L 25 cm. Kurbelkopf, blaue Schlafaugen, blonde Mohairperücke. 9-teiliger Gliederkörper. Helles Kleidchen. Kopf durchleuchtet: ohne Defekte.Aufrufzeit 27. | Feb. 2025 | voraussichtlich 10:15 Uhr (CET) Little doll girl. J. D. Kestner. Head mark: b made in Germany 3 143. from 1897.Biscuit porcelain, mass. L 25 cm.Swivel head, blue sleeping eyes, blond mohair wig. 9-part jointed body. Light-colored dress. Head x-rayed: without defects.Call time 27th | Feb. 2025 | probably 10:15 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Kleiner Charakterjunge in heller Strickkleidung. J. D. Kestner. Kopfmarke: B made in Germany 6 JDK 211. Um 1912.Biskuitporzellan, Masse. L 30 cm. Kurbelkopf, blaue Schlafaugen, offen/geschlossener Mund, braune Mohairperücke. 5-teiliger Stehbabykörper. Weiße Strickjacke und Mütze, beigefarbene Hose, helle Wachstuchschuhe. Kopf durchleuchtet: ohne Defekte.Aufrufzeit 27. | Feb. 2025 | voraussichtlich 10:16 Uhr (CET) Little character boy in bright knitwear. J. D. Kestner. Head mark: B made in Germany 6 JDK 211. c. 1912.Biscuit porcelain, mass. L 30 cm.Swivel head, blue sleeping eyes, open/closed mouth, brown mohair wig. 5-part standing baby body. White cardigan and cap, beige trousers, light-colored oilcloth shoes. Head x-rayed: without defects.Call time 27 | Feb. 2025 | probably 10:16 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Kleines Puppenmädchen mit Gliederkörper. Bruno Schmidt. Kopfmarke: BSW im Herz 3/0. Um 1900.Biskuitporzellan, Masse. L 27 cm. Kurbelkopf, blaue Schlafaugen, blonde Mohairperücke. 13-teiliger Körper. Helles Kleid mit Stickmuster, Strickmütze, braune Lederstiefelchen. Kopf durchleuchtet: ohne Defekte.Aufrufzeit 27. | Feb. 2025 | voraussichtlich 10:19 Uhr (CET) Little doll girl with articulated body. Bruno Schmidt. Head mark: BSW in heart 3/0. Circa 1900.Biscuit porcelain, mass. L 27 cm.Swivel head, blue sleeping eyes, blond mohair wig. 13-part body. Light-colored dress with embroidered pattern, knitted cap, brown leather boots. Head x-rayed: without defects.Call time 27th | Feb. 2025 | probably 10:19 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Blondes Puppenmädchen mit alter Kleidung. Heinrich Handwerck. Kopfmarke: 79 3 1/2 Germany. Um 1900.Biskuitporzellan, Masse. L 30 cm. Kurbelkopf, blaue Schlafaugen, Ohrringe, Mohairperücke. 9-teiliger Gliederkörper. Helles Kleid mit brauner Samtborte, passende Haube, braune Lederschuhe. Kleiner Brandriss an der Kopfkrone.Aufrufzeit 27. | Feb. 2025 | voraussichtlich 10:20 Uhr (CET) Blond doll girl with old clothes. Heinrich Handwerck. Head mark: 79 3 1/2 Germany. Circa 1900.Biscuit porcelain, mass. L 30 cm.Swivel head, blue sleeping eyes, earrings, mohair wig. 9-part jointed body. Light dress with brown velvet trim, matching hood, brown leather shoes. Small burn mark on the crown of the head.Call time 27th | Feb. 2025 | probably 10:20 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Blondes Puppenmädchen. Käthe Kruse. Unter dem linken Fuß undeutlich gestempelt. Ab 1930.L 50 cm. Typ VIII. Kurbelkopf mit einer Hinterkopfnaht, gemalten braunen Augen und defekter Echthaarperücke. Schlanker Stoffkörper. Hellblaues Kleidchen mit Streublumenmuster, weiße Lederschuhe. Kleine Retuschen am Kopf, Finger mit Defekten, Füße mit Reparaturspuren.Aufrufzeit 27. | Feb. 2025 | voraussichtlich 10:23 Uhr (CET) Blond doll girl. Käthe Kruse. Under the left foot indistinctly stamped. From 1930.L 50 cm.Type VIII. Swivel head with a seam at the back of the head, painted brown eyes and defective human hair wig. Slender fabric body. Light blue dress with scattered flower pattern, white leather shoes. Small retouches to the head, fingers with defects, feet with traces of repair.Call time 27th | Feb. 2025 | probably 10:23 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Alter Steiff-Teddy mit Schürze. Knopf im Ohr, mit rotem Fähnchenrest. Um 1920.Mohairplüsch. L 32 cm. Weißblonder Bär mit hellbraun nachgestickter Nase, kleinem Buckel, langen Armen und je 4 hellbraunen Krallen. Lachsfarbene Schürze mit Stickerei. Kleine Kahlstellen, Druckstimme verstummt.Aufrufzeit 27. | Feb. 2025 | voraussichtlich 10:57 Uhr (CET) Old Steiff teddy bear with apron. Button in ear, with red flag remnant. Circa 1920.Mohair plush. L 32 cm.White-blonde bear with light brown embroidered nose, small hump, long arms and 4 light brown claws. Salmon-colored apron with embroidery. Small bald patches, printed voice muted.Call time 27 | Feb. 2025 | probably 10:57 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
NINE 1/43 SCALE DIECAST & CAST RESIN MODEL CARS comprising an Ixo PRX No.PRD535, Jaguar XKSS, silver; Ixo No.CLC241, Jaguar Mk VII, silver; Philatelie Liechtenstein No.463.13.04, Jaguar Mk IV, tan and cream; Neo No.49544, Jaguar Mk V, blue and silver; Vitesse No.25452, Jaguar XK140, black; Matchbox Dinky Collection No.DY036/A, Jaguar XK150, cream; Eligor No.1127, Jaguar Mk I, green; Brumm No.106, Jaguar 3.5 Litre, light bronze; and Solido No.4002, Jaguar SS100, green, each mint or near mint (unchecked for detail and self-fit parts) and boxed. Condition Report : No.PRD535 with one detached wheel spinner. Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
TEN 1/43 SCALE OXFORD DIECAST MODEL CARS comprising a No.JSS002, Jaguar SS 2.5 Saloon, black; No.JSS006, Jaguar 2.5 Saloon, dark blue; No.JAGXK150001, Jaguar XK150, black; No.JAGXK150002, Jaguar XK150 roadster, Old English white; No.JAGV12001, Jaguar V12 E-Type Coupe, light blue; No.JAGV12003, Jaguar V12 E-Type Coupe, regency red; No.JAG8001, Jaguar Mk VIII, black/Cornish grey; no.JAG9003, Jaguar Mk IX, Cornish grey/mist grey; No.JAG9004, Jaguar Mk IX, black/imperial maroon; and No.43JAG5001, Jaguar Mk V DHC open, opalescent silver, each mint or near mint (unchecked for detail parts) and boxed.
SIX 1/43 SCALE DIECAST & RESIN MODEL CARS comprising a Neo No.NEO49598, Jaguar XJ Series III, metallic light blue; Neo No.NEO47040, Jaguar XJ40 Shooting Brake, metallic dark blue; Ixo PRX No.PRD558, Jaguar XJS Shooting Brake, metallic dark blue; Premium X No.PR0194, Jaguar X-Type, dark green; Premium X, No.PRO195, Jaguar X-Type Wagon, silver; and a Code 3 conversion [ex Minichamps] Jaguar XJ12 Series II Cabriolet, black, each mint or near mint (unchecked for detail parts) and boxed.
SEVEN 1/43 SCALE DIECAST MODEL CARS comprising a Minichamps No.400 130530, Jaguar XK Convertible, metallic light blue; Minichamps No.430 102221, Jaguar XJ220, yellow; Onyx No.039, Jaguar XJR-11, Brundle-Ferte-Leslie; Vitesse No.25302, Jaguar XKR Coupe, phoenix red; Vitesse No.25250, Jaguar XKR Open Top, platinum; Whitebox No.WB230, Jaguar XFR, red; and Whitebox No.WB288, Jaguar XJ-S, dark red, each mint or near mint (unchecked for detail parts) and boxed. Condition Report : Vitesse No.25250 with cracked clear plastic case; Whitebox No.WB288 case lacking card sleeve. Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
TEN 1/43 SCALE VANGUARDS DIECAST MODEL CARS comprising a No.VA08610, Jaguar XJ6 Series 1, Old English white; No.VA08605, Jaguar XJ6 Series 1, sable; No.VA08802, Daimler Sovereign Series 1, light silver; No.VA05904, Jaguar XK120, pale green metallic; No.VA04907, Jaguar E-Type, bronze; No.VA08614, Jaguar XJ12 Series 1, Silverstone Fire Tender; No.VA08606, Jaguar XJ6, racing; No.VA09102, Jaguar XJ6, Nick Gwinnutt Racing; No.VA09103, Jaguar XJR, ebony; and No.VA08404, Jaguar Mk II, Tour de France, each mint or near mint (unchecked for detail and self-fit parts) and boxed.
![[O GAUGE]. A LIONEL ROLLING STOCK, TRACK & LINESIDE ACCESSORY COLLECTION comprising a No.3462, Operating Milk Car; No.28](https://cdn.globalauctionplatform.com/5e610135-63b4-4651-87c4-b2480116f215/34b010d0-27b6-4fac-956a-b28f009f1a30/468x382.jpg)
[O GAUGE]. A LIONEL ROLLING STOCK, TRACK & LINESIDE ACCESSORY COLLECTION comprising a No.3462, Operating Milk Car; No.2855, Tank Car 'Sunoco'; No.3854, Automatic Merchandise Car; No.2357, Caboose; No.2452, Gondola Car 'Pennsylvania'; and No.3459, Automatic Dumping Ore Car, each boxed; together with a lumber wagon, unboxed; Water Tank, boxed; Crane, boxed; Automatic Gateman, boxed; Santa Fe Blinking Light Billboard, boxed; and other items, some boxed; also a catalogue, circa 1955; and a book, Osterhoff, Robert. Inside the Lionel Trains Fun Factory, 2008, (two boxes). black livery, three-rail, boxed (tender box lacking tabs and end flaps).
Julian Trevelyan (British 1910-1988) Potteries with three chimneys pen and ink and watercolour 31.5 x 40 cm, framed and glazed 53.5 x 61cm Provenance: With Bohun Gallery, Henley-on-Thames. Purchased from the above by the current owner on 30 October 1999.Exhibited: London, Julian Trevelyan Retrospective 'The Imaginative Impulse', Royal College of Art, 27 October - 22 November 1988. Toured to Bristol, Harrogate and Newcastle. In fairly good colour. Light acidification to sheet. Sheet is slightly wavy in mount. Nicks and small losses to upper edge, possibly where sheet has been torn from a sketch book. Under glass and unexamined out of frame.
Edmund Blampied (British 1886-1966) Surf Riders signed 'Blampied' (lower left), signed and titled (verso) oil on board 62 x 74 cm, framed 75.5 x 88.5 cm Provenance: Lady Cicely G. Nicholson, wife of Admiral Sir Randolph Stewart Gresham Nicholson, Lieutenant-Governor of Jersey (1953-1958), thence by descent. Overall in good original condition. There is a dent and some associated paint loss to the upper left edge. Otherwise the board is sound. Light surface dirt. There is a fine crack visible to the horse's leg and a light surface scratch visible in the sea on the right. There is no evidence of restoration visible under UV light.
Dame Elizabeth Frink R.A. (British 1930-1993) 'Horseman' signed and dated 'Frink 77' (lower right), titled (lower left) pencil on paper 28 x 22 cm, framed and glazed 47 x 39.5 cmThe sheet is hinged with tape to the mount in three places upper edge, verso, and one place lower edge, verso. Light mount staining is visible to upper and right edges. Some soft handling creases are visible to sheet. A few tiny specks of surface dirt or possible foxing. Otherwise in good condition.
Peter Lanyon (British 1918-1964) Judy incised signature and date 'Lanyon / 54' (lower right), signed, dated and titled 'JUDY/Peter Lanyon/CORSHAM 1954' (verso), further signed and inscribed with artist's address (on label verso) oil on board image 68 x 42 cm, framed and glazed, 92 x 68 cm Provenance: Anon. sale, Christie's, London, 19 November 2004, lot 168. With Richard Green Gallery, stock number SP 3858 MS. With Offer Waterman & Co. Private collection, UK.Exhibited: London, Gimpel Fils, Peter Lanyon, March 1954, no. 60. Plymouth, City Art Gallery, Peter Lanyon, May 1955, no. 20: this exhibition toured to Nottingham, Midland Group Gallery.Literature: A. Causey, Peter Lanyon, Henley-on-Thames, 1971, p. 50, no. 60. C. Stephens, Peter Lanyon At the edge of landscape, London, 2000, p. 125.Footnote: Stephens discusses Lanyon’s Judy as an expression of how his sexual encounters and experience of the landscape were one and the same. The nude and the landscape are barely distinguishable from each other, understandable when we consider many of his experiences of place were shared with his mistress¹. In this context, Judy Jackson, an early partner and former student becomes a ‘nude-landscape’, where “limbs and body seem articulated in terms of the Cornish field-patterns”². Although it appears that “the landscape seems to have got the better of the girl”³, Lanyon’s practice of building picture atop picture, demonstrates how his sexual encounters and experience of the landscape coexist, both directly informing the experience of the other.¹Stephens p.125. ²Exhibition catalogue, Peter Lanyon air, land & sea, London, Camden Arts Centre, 1992, pp. 12-5. ³Exhibition catalogue, Peter Lanyon air, land & sea, London, Camden Arts Centre, 1992, pp. 12-5. Overall clean and ready to hang. There are some scattred areas of minor craquelure but the paint surface appears stable. There is some wear to the lower left corner. UV light reveals minor retouching to lower edge. Under glass and unexamined out of frame.
Patrick Heron (British 1920-1999) Untitled signed, dated and dedicated 'For Paul/from Patrick/17 August/1965' (upper right) ink 25.5 x 37 cm, framed and glazed 39.5 x 52 cm Provenance: Private collection, UK.Footnote: The dedication is likely to be to the art historian Josef Paul Hodkin (1905-1995), who wrote on figures including Edvard Munch, Oskar Kokoschka, Ben Nicholson and Barbara Hepworth. Hodin lived between London and Cornwall, becoming friendly with the artists in St. Ives, including Patrick Heron, writing catalogue essays and articles on his work. The sheet appears to be tissue paper and is creased throughout. It appears to have been laid down. The upper edge has several folded areas areas. There is a small fold to the lower left corner, and a small 0.5cm tear to the lower left corner. General wear to the lower edge. Light acidification to the sheet and a few spots of surface dirt. Under glass and unexamined out of frame.
Dame Elizabeth Frink R.A. (British 1930-1993) Mirage Bird signed Frink and numbered 3/7 (on the base) aluminium height 37.5cmConceived in 1967, the present work is number 3 from the edition of 7. Provenance: From the collection of Mrs Elizabeth Corob.Literature: Bryan Robertson, Elisabeth Frink: Catalogue Raisonné, Harpvale, Salisbury, 1984, p. 171, no. 164, illustrated p.171 (another cast). Annette Ratuszniak, Elisabeth Frink, Catalogue Raisonné of Sculpture 1947-93, Lund Humphries, Surrey, 2013, no. FCR190, illustrated p.109 (another cast). The sculpture appears sound. There is some surface dirt throughout with further dirt visible to crevices. There are remnants of a white substance visible on the base. There a few light scratches visible. The work is affixed to a felt pad on the reverse of the base.
Karl Pierre Daubigny (French 1846-1886)Le coucher du soleilsigned, dated and indistinctly dedicated 'A mon ami Mignon?/Karl Daubigny 1880' (lower left) oil on canvas50 x 80cm, framed 68 x 98cmThe canvas has been lined. There is surface dirt and a discoloured varnish and the painting would benefit from a light clean. UV light reveals scattered areas of retouching throughout sky, and a few spots elsewhere.
Julian Trevelyan (British 1910-1988) Self-portrait signed and dated 'Trevelyan 88' oil on canvas 50.5 x 40.5 cm, framed 61 x 51.5 cmIn good, original condition. The canvas is unlined. There are some spots of scattered surface dirt. There is no evidence of restoration when viewed under UV light.
Margaret Loxton (British b.1938)Lavender Harvestsigned 'M M Loxton' (lower right) oil on board 47 x 62 cm, framed 60 x 74 cmOverall in good condition and ready to hang. The board is stable. There is a light surface scratch, approximately 5cm, in the sky visible under raking light. There is no evidence of restoartion visible under UV light.
Maggi Hambling (British, b.1945) Portrait of Derek Jarman signed 'Hambling '98' (lower right), numbered 24/250 silk-screen print on 300g Vellum Arches fine art paper, 1998, from a signed edition of 250image 60 x 37 cm, sheet 73 x 50 cm, framed and glazed 85.5 x 62.5 cmOverall in very good condition. The sheet is hinged to mount verso. Some very light wear to parts of the left edge. Under glass and unexamined out frame.
Nadia Benois (Russian 1896-1975) Still life of flowers in a jug signed and dated 'Nadia Benois 40' (lower left) oil on canvas 63.5 x 40 cm, framed 67 x 55 cmUnlined. There is scattered craquelure, most noticeably to the flowers and this separating in places. Faint stretcher impressions visible. Light surface dirt throughout. No evidence of restoration visible under UV light.
Nadia Benois (Russian 1896-1975) Still life of Dahlias signed and dated 'N Benois 40' (lower left) oil on canvas 77 x 56 cm, framed 90 x 71 cmUnlined. Scattered craquleure is visible in areas. Light surface dirt. Slight dent upper right corner. No evidence of restoration visible under UV light.
Emile Albert Gruppé (American 1896-1978) Morning Sun signed 'Emile A. Gruppé' (lower right), bears title (verso) oil on canvas 91 x 102cm, unframed Footnote: Emile Gruppé was an American plein air artist best known for his impressionistic landscapes, seascapes, and depictions of fishing communities. He was influenced by the French Impressionists and in particular Monet. A member of the Cape Ann School of artists, this probably depicts a cove in Gloucester, Massachusetts where Gruppé lived and had a studio. From 1940–1970, he ran the Gloucester School of Painting at Rocky Neck, on Smith Cove, where he taught the painter Otis Cook, and influenced artists such as Bill Wray, Nathalie Nordstrand and Carl W. Illig.According to Carol Lowrey, "Gruppé's name became synonymous with vigorous portrayals of the boats, shorelines and the ever-changing skies of Cape Ann, but he was equally drawn to the scenery he encountered in the countryside of western New York and Vermont and along the coasts of Florida. The product of an artist lauded for his acute sensitivity for color, his penchant for robust brushwork and his careful study of nature, Gruppé's deftly rendered canvases are...replete with a sense of place as well as a palpable feeling of light and air." (Emile A. Gruppé (1896-1978), exhibition catalogue, New York, 2008, p. 2).
Edmund Blampied (British 1886-1966) Vraicking, Jersey; Study of flowers (verso) signed and dated 'Blampied/1953' (lower left), signed, titled and inscribed with the artist's address (verso) oil on board 53.5 x 68 cm, framed 65 x 80cmProvenance: Lady Cicely G Nicholson, wife of Admiral Sir Randolph Stewart Gresham Nicholson, Lieutenant-Governor of Jersey (1953-1958), by 1955, and thence by descent.Overall in good condition. The board is sound. Light surface dirt. There are a few small areas of craquelure but the paint surface appears stable. There is no evidence of restoration visible under UV light.
Patrick Hughes (British b.1939) Pop (2008) signed and numbered '11/45' in pencil hand-painted 3D multiple with lithography, published by Flowers Gallery, London housed in a Perspex presentation box, overall 43 x 95 x 18 cmThe work is in very good condition and ready to hang. The perspex case is in good condition with a few scattered light surface abrasions, most noticeably to the base, but a few elsewhere.
Jankel Adler (Polish 1895-1949) The Kiss signed 'Adler' (lower right) oil and gesso on card laid down on board 31 x 25 cm, framed and glazed 44 x 38 cm Provenance: Hans and Elsbeth Juda by 1967. From the collection of Mrs Elizabeth Corob.Exhibited: Sheffield, Graves Art Gallery, "In Our View" Some Paintings and sculpture bought by Hans and Elsbeth Juda between 1931-1967, May - June 1967, cat.no.3. Slightly dirty. Some minor frame abrasion to edges, and a few surface abrasions elsewhere. Some small spots of paint to upper edge. No evidence of retouching when viewed under UV light.
Julian Trevelyan (British 1910-1988) Ox Cart (1968) signed, titled and numbered '54/75' in pencil etching and aquatint plate 34.8 x 46.6 cm, framed and glazed 64 x 82 cmProvenance: With Bohun Gallery, Henley-on-Thames. Private Collection, UK.In good condition. Some very light discolouration to margin. A small imperfection or soft crease to the sheet, approximately 2.5cm, to white background lower centre, although this may be inherent in the paper. Under glass and unexamined out of frame.
George Mounsey Wheatley Atkinson (Irish 1806-1884)Merchant frigate off Doversigned and date 'Geo. M. W. Atlkinson 1856' (lower right)oil on canvas60 x 90cm, framed 76 x 115cmThe canvas has been lined. Craquelure is visible throughout. The paint surface is dirty and would benefit from a clean. An uneven varnish makes a UV light reading difficult. There appears to be an area of retouching to the sky upper left and upper right, retouching to framing edges, strengthening to some of the rigging and a few areas elsewhere.
Mario Bionda (Italian 1913-1985) Notte Mediterranea signed and dated 'BIONDA 72' (lower right), further signed and titled (verso) mixed media on canvas 64.5 x 55 cm, framed 84 x 75 cmProvenance: Donated to the Bertrand Russell Peace Foundation by the artist in 1972.Unlined. Light surface dirt throughout. There is a small area of paint lifting, 0.5 by 3cm, to the figure that appears to have been caused by pressure applied at some point, verso. This area is unstable and may result in paint loss. There a couple of vertical lines of craquelure, centre left and one centre right edge. A few minor surface abrasions. There is no evidence of retouching when viewed under UV light.
Louise Ellen Perman (Scottish 1854-1921) Roses on a stone shelf signed 'L.E.Perman' (lower right) oil on canvas 62 x 51 cm, framed and glazed 91 x 81 cmIn original condition. The canvas is unlined. There are some scattered areas of craquelure, some spots of surface dirt and a bloom to the varnish in areas. Some abrasion to the framing edges. There is no evidence of restoration visible under UV light. Under glass and unexamined out of frame.
John Bratby (1928-1992) Holly Hock and Daffodil at Blackheath Studio signed 'BRATBY' (upper left) oil on canvas, 121 x 88.5 cm, framed 122.5 x 89.5 cm Provenance: Deceased EstateFootnote: Inscribed 'Roy Miles' verso by hand In very good, original condition with excellent impasto. Unlined and no evidence of restoration visible under UV light.
David Shepherd CBE (British 1931-2017) Bull Elephant in Long Grass signed and dated 'David Shepherd '79' (lower right) oil on canvas 18 x 25 cm, framed 32.5 x 40 cmIn good original condition and ready to hang. The canvas is unlined. Some light surface dirt. There is no evidence of retouching visible under UV light.
Catherine Goodman CBE LVO (British b.1961) Portrait of Jeff oil on board 30.5 x 25 cm, framed 40 x 35 cm. Provenance: Purchased by the current owner from the Royal Academy Trust, 13 January 1994. Private collection, UK.Footnote: Catherine Anne Goodman is an English artist, and co-founder with King Charles III of the Royal Drawing School. She studied at Camberwell School of Arts and Crafts, London from 1979 to 1984, followed by the Royal Academy Schools, London from 1984 to 1987. Since 2023, Goodman has been represented by Hauser & Wirth having previously been represented by Marlborough Fine Art from 2004.Catherine Goodman | Artist | Royal Academy of Arts Overall the work appears to be in good, original condition. The board is sound. It is float mounted. A small loss to upper right and lower left corners. Some light surface dirt. A fine line of craquelure visible to forehead. A few minor abrasions to paint surface, also to forehead and a few spots elsewhere. The artist appears to have painted over some of the varnished areas.
Antoine Bouvard (French 1870-1956)View of Venicesigned 'Bouvard' (lower left)oil on canvas54 x 82 cm, framed 69 x 95 cmUnlined. Slightly loose on stretcher and slightly dented in centre. There is a small patch of tape verso, stabilising a V-shaped tear or area of lifting in the sky, upper centre. Some scattered areas of craquelure. Surface dirt and the painting would benefit from a clean. Paint surface thin in areas. UV light reveals retouching throughout the sky.
After Sir Joshua Reynolds (1723 - 1792) Self Portrait, half-length, wearing a green coat and spectacles oil on canvas 75 x 62 cm, framed 94 x 81 cmAfter the original, currently in the Royal Collection Trust, RCIN 400699. The canvas has been lined. Fine craquelure is visble throughout. This is more pronounced to cheek and forehead, and there is some separation visible to the darker areas. The paint surface appears stable. Frame rubbing is visible to the left edge. The surface is dirty. UV light reveals scattered spot retouching, mainly to the lower half of the painting. There is also retouching to the edges.
Nadia Benois (Russian 1896-1975) Still life of Mimosa signed and dated 'Nadia Benois/1940' (lower right) oil on canvas 59 x 51 cm, framed 73 x 65 cmLined. Paint surface retains good impasto. Light surface dirt. There is a light surface scratch to lower left corner. UV light reveals some scattered spots of minor retouching.
Victoria Crowe (British b.1945)Shepherd and her dog signed and dated 'Victoria Crowe 77' (lower right)oil on board23 x 38 cm, framed 29 x 44.5 cmFootnote: The shepherd depicted is Jenny Armstrong, born in 1903 at the farm of Fairliehope, who spent her life working as a shepherd in the Pentland Hills.Overall in fairly good condition. The board is sound. There is some light surface dirt and a few light scratches are visible upon close inspection. There is no evidence of restoration visible under UV light.
Attributed to Charles Augustus Mornewick (British c.1793-1874) Heading to the shipwreck at Ilfracombe indistinctly signed with monogram, inscribed and dated 'CAM (?) 1825 - to R.C.J. (?)' (on the boat) oil on canvas 92 x 127.5 cm, framed 114 x 149 cmThe canvas has been lined. Fine craquelure is visible throughout. The paint surface is dirty and will benefit from a clean. There is a small loss, diameter 0.3cm, to the lower left corner, and a few further scattered small nicks and surface abrasions. Abrasion is visible to the framing edges. UV light reveals an uneven varnish, areas of retouching to the sky, particularly to the dark cloud on the left-hand side, retouching to edges, and further spot retouching throughout.
George Carline (British 1855-1920) Sketch of London from Hampstead Heath titled (verso) oil on board 20 x 28cm, framed 29.5 x 38cm Provenance: Richard Carline. With Simon Carter Gallery. His sale, Bonhams, 21 January 1998, lot 237.Exhibited: Edward Harvane Gallery, London, Hampstead One, 15 March - 13 April 1973. Cookham Festival, Spencers & Carlines in Hampstead in the 1920s, presented by the Friends of the Stanley Spencer Gallery in the Games Room at Odney Club, Cookham, 23 May - 2 June 1973. Overall in good condition. The board is sound. There is some light surface dirt. Some frame abrasion is visible to the right edge. There is no evidence of retouching when viewed under UV light.
Bernard Dunstan (British 1920-1917)Reclining nudesigned with initials and dated 'B D 99' (lower left), further signed, dated and inscribed 'BERNARD DUNSTAN/MALVERN/JULY 77' (verso)oil on canvas77 x 107cm, framed 92 x 122cmOverall in good original condition. The canvas is unlined. There is some minor frame abrasion visible. There a few spots of surface dirt and white specks. There is a surface scratch to the lower left corner and a few other minor scattered nicks.There is no evidence of restoration when viewed under UV light.
George Wright (British 1860-1942)"Good Night Gentleman"signed 'G. Wright' (lower right)oil on canvas40.5 x 61.5 cm, framed 56 x 76 cmThe canvas has not been lined. Scattered craquelure is visible throughout and this is lifting in places. There is a dirty discoloured varnish and an area of blooming to the varninsh lower centre edge. There appear to be areas that have been tested for cleaning. Some further spots of surface dirt. There is no evidence of restoration visible under UV light.
Edmund Blampied (British 1886-1966) Seaweed Harvesting, Jersey signed and dated 'Blampied 1957' (lower left), signed and titled (verso) oil on board 49 x 74 cm, framed 61 x 87.5 cmProvenance: Lady Cicely G. Nicholson, wife of Admiral Sir Randolph Stewart Gresham Nicholson, Lieutenant-Governor of Jersey (1953-1958), thence by descent.Overall in good condition. The board is sound. There are some scattered spots of surface dirt. There is a fine line of cracking and some specks of associated paint loss visible to the foreground, centre, visible on close inspection. There is no evidence of retouching when viewed under UV light.
ROGER BROOKES, HEREFORDSHIRE: A CARVED WOOD AND HAND-PAINTED SEA TROUTon a light blue painted and bevelled backboard, with plaque inscribed 'Sea Trout, Sewin, wgt 9lb 1oz Henllys on the River Towy', with a signed label to the reverse 'This is an original wood carving by Roger Brookes no. 423. Signed by Roger Brookes 21st January 2025', 30cm x 88cm
WILLIAM SAMUEL HORTON (AMERICAN 1865-1936): TWO OIL PAINTINGS ON CANVAS ALONG WITH ONE ON BOARDWilliam Samuel Horton is considered by critics to be one of the leading members of American Impressionism, best-known for his Monetesque sunsets and sunrises, Swiss Alpine landscapes, New York skylines and Norwegian fjord scenes. W.S. Horton grew up in a wealthy family and left home in 1883 to study at the Art Institute of Chicago and the Art Students League of New York. In 1892, Horton married the New York debutante Carlotta Lorrie Gray and in 1893 they moved to Holland, later settling in Paris where Horton joined the Académie Julian art school. It was Paris that perhaps had the greatest influence on the artist’s stylistic development, as whilst studying in the French capital he befriended and worked closely alongside some of the leading Impressionist artists including Whistler, Pissarro, Degas and Monet. In 1918 Horton moved to England, continuing to travel often to Europe, painting and sketching scenes in Switzerland, France and Italy. During his travels the artist developed his own Impressionist style, and like Monet focussed on the effects of light on colour, atmosphere, form, shadow and shapes. Like the founding Impressionist, Horton painted the same motif or scene at different times of the day, studying the effect of the light. Examples include his 1934 dramatic sunsets and sunrises over the coastal fjords, planes and mountains of Norway, his recognisable cityscapes of the New York skyline, most notably of the Ritz and Heckscher towers (1924-1930) and his snowy landscapes of the Swiss Alps. In 1935 the artist travelled to Asia (China, Singapore, India and Indonesia), continuing to paint and sketch, including on board ships. W.S. Horton and his wife were relatively wealthy during their lifetime, selling few of his artworks. When Horton died in 1936 he left over 1000 oils, pastels and drawings to their son William Gray, who organised a retrospective exhibition of his father’s work at the Galerie Charpentier, Paris in 1939, which included an appreciation text by the famous art critic Louis Vauxcelles. Horton’s works can be found in the permanent collections of the Musée d'Orsay, Paris, the Musée National d'Art Moderne, Paris and the National Museum, Stockholm.
WILLIAM SAMUEL HORTON (AMERICAN 1865-1936): A LARGE OIL PAINTING ON CANVAS DEPICTING A LADY WITH MOUNTAINS IN THE BACKGROUND142cm x 101cmWilliam Samuel Horton is considered by critics to be one of the leading members of American Impressionism, best-known for his Monetesque sunsets and sunrises, Swiss Alpine landscapes, New York skylines and Norwegian fjord scenes. W.S. Horton grew up in a wealthy family and left home in 1883 to study at the Art Institute of Chicago and the Art Students League of New York. In 1892, Horton married the New York debutante Carlotta Lorrie Gray and in 1893 they moved to Holland, later settling in Paris where Horton joined the Académie Julian art school. It was Paris that perhaps had the greatest influence on the artist’s stylistic development, as whilst studying in the French capital he befriended and worked closely alongside some of the leading Impressionist artists including Whistler, Pissarro, Degas and Monet. In 1918 Horton moved to England, continuing to travel often to Europe, painting and sketching scenes in Switzerland, France and Italy. During his travels the artist developed his own Impressionist style, and like Monet focussed on the effects of light on colour, atmosphere, form, shadow and shapes. Like the founding Impressionist, Horton painted the same motif or scene at different times of the day, studying the effect of the light. Examples include his 1934 dramatic sunsets and sunrises over the coastal fjords, planes and mountains of Norway, his recognisable cityscapes of the New York skyline, most notably of the Ritz and Heckscher towers (1924-1930) and his snowy landscapes of the Swiss Alps. In 1935 the artist travelled to Asia (China, Singapore, India and Indonesia), continuing to paint and sketch, including on board ships. W.S. Horton and his wife were relatively wealthy during their lifetime, selling few of his artworks. When Horton died in 1936 he left over 1000 oils, pastels and drawings to their son William Gray, who organised a retrospective exhibition of his father’s work at the Galerie Charpentier, Paris in 1939, which included an appreciation text by the famous art critic Louis Vauxcelles. Horton’s works can be found in the permanent collections of the Musée d'Orsay, Paris, the Musée National d'Art Moderne, Paris and the National Museum, Stockholm.
WILLIAM SAMUEL HORTON (AMERICAN 1865-1936): A PASTEL DRAWING ON PAPER DEPICTING A RUINED CHURCH60cm x 45cmWilliam Samuel Horton is considered by critics to be one of the leading members of American Impressionism, best-known for his Monetesque sunsets and sunrises, Swiss Alpine landscapes, New York skylines and Norwegian fjord scenes. W.S. Horton grew up in a wealthy family and left home in 1883 to study at the Art Institute of Chicago and the Art Students League of New York. In 1892, Horton married the New York debutante Carlotta Lorrie Gray and in 1893 they moved to Holland, later settling in Paris where Horton joined the Académie Julian art school. It was Paris that perhaps had the greatest influence on the artist’s stylistic development, as whilst studying in the French capital he befriended and worked closely alongside some of the leading Impressionist artists including Whistler, Pissarro, Degas and Monet. In 1918 Horton moved to England, continuing to travel often to Europe, painting and sketching scenes in Switzerland, France and Italy. During his travels the artist developed his own Impressionist style, and like Monet focussed on the effects of light on colour, atmosphere, form, shadow and shapes. Like the founding Impressionist, Horton painted the same motif or scene at different times of the day, studying the effect of the light. Examples include his 1934 dramatic sunsets and sunrises over the coastal fjords, planes and mountains of Norway, his recognisable cityscapes of the New York skyline, most notably of the Ritz and Heckscher towers (1924-1930) and his snowy landscapes of the Swiss Alps. In 1935 the artist travelled to Asia (China, Singapore, India and Indonesia), continuing to paint and sketch, including on board ships. W.S. Horton and his wife were relatively wealthy during their lifetime, selling few of his artworks. When Horton died in 1936 he left over 1000 oils, pastels and drawings to their son William Gray, who organised a retrospective exhibition of his father’s work at the Galerie Charpentier, Paris in 1939, which included an appreciation text by the famous art critic Louis Vauxcelles. Horton’s works can be found in the permanent collections of the Musée d'Orsay, Paris, the Musée National d'Art Moderne, Paris and the National Museum, Stockholm.
WILLIAM SAMUEL HORTON (AMERICAN 1865-1936): A PASTEL DRAWING ON PAPER DEPICTING A GARDEN42.5cm x 26.5cmFramed 69cm x 53cmNo glass.William Samuel Horton is considered by critics to be one of the leading members of American Impressionism, best-known for his Monetesque sunsets and sunrises, Swiss Alpine landscapes, New York skylines and Norwegian fjord scenes. W.S. Horton grew up in a wealthy family and left home in 1883 to study at the Art Institute of Chicago and the Art Students League of New York. In 1892, Horton married the New York debutante Carlotta Lorrie Gray and in 1893 they moved to Holland, later settling in Paris where Horton joined the Académie Julian art school. It was Paris that perhaps had the greatest influence on the artist’s stylistic development, as whilst studying in the French capital he befriended and worked closely alongside some of the leading Impressionist artists including Whistler, Pissarro, Degas and Monet. In 1918 Horton moved to England, continuing to travel often to Europe, painting and sketching scenes in Switzerland, France and Italy. During his travels the artist developed his own Impressionist style, and like Monet focussed on the effects of light on colour, atmosphere, form, shadow and shapes. Like the founding Impressionist, Horton painted the same motif or scene at different times of the day, studying the effect of the light. Examples include his 1934 dramatic sunsets and sunrises over the coastal fjords, planes and mountains of Norway, his recognisable cityscapes of the New York skyline, most notably of the Ritz and Heckscher towers (1924-1930) and his snowy landscapes of the Swiss Alps. In 1935 the artist travelled to Asia (China, Singapore, India and Indonesia), continuing to paint and sketch, including on board ships. W.S. Horton and his wife were relatively wealthy during their lifetime, selling few of his artworks. When Horton died in 1936 he left over 1000 oils, pastels and drawings to their son William Gray, who organised a retrospective exhibition of his father’s work at the Galerie Charpentier, Paris in 1939, which included an appreciation text by the famous art critic Louis Vauxcelles. Horton’s works can be found in the permanent collections of the Musée d'Orsay, Paris, the Musée National d'Art Moderne, Paris and the National Museum, Stockholm.
WILLIAM SAMUEL HORTON (AMERICAN 1865-1936): A LARGE PASTEL PAINTING ON PAPER DEPICTING A LAKE WITH MOUNTAINS56cm x 46cm86cm x 76cmWilliam Samuel Horton is considered by critics to be one of the leading members of American Impressionism, best-known for his Monetesque sunsets and sunrises, Swiss Alpine landscapes, New York skylines and Norwegian fjord scenes. W.S. Horton grew up in a wealthy family and left home in 1883 to study at the Art Institute of Chicago and the Art Students League of New York. In 1892, Horton married the New York debutante Carlotta Lorrie Gray and in 1893 they moved to Holland, later settling in Paris where Horton joined the Académie Julian art school. It was Paris that perhaps had the greatest influence on the artist’s stylistic development, as whilst studying in the French capital he befriended and worked closely alongside some of the leading Impressionist artists including Whistler, Pissarro, Degas and Monet. In 1918 Horton moved to England, continuing to travel often to Europe, painting and sketching scenes in Switzerland, France and Italy. During his travels the artist developed his own Impressionist style, and like Monet focussed on the effects of light on colour, atmosphere, form, shadow and shapes. Like the founding Impressionist, Horton painted the same motif or scene at different times of the day, studying the effect of the light. Examples include his 1934 dramatic sunsets and sunrises over the coastal fjords, planes and mountains of Norway, his recognisable cityscapes of the New York skyline, most notably of the Ritz and Heckscher towers (1924-1930) and his snowy landscapes of the Swiss Alps. In 1935 the artist travelled to Asia (China, Singapore, India and Indonesia), continuing to paint and sketch, including on board ships. W.S. Horton and his wife were relatively wealthy during their lifetime, selling few of his artworks. When Horton died in 1936 he left over 1000 oils, pastels and drawings to their son William Gray, who organised a retrospective exhibition of his father’s work at the Galerie Charpentier, Paris in 1939, which included an appreciation text by the famous art critic Louis Vauxcelles. Horton’s works can be found in the permanent collections of the Musée d'Orsay, Paris, the Musée National d'Art Moderne, Paris and the National Museum, Stockholm.
WILLIAM SAMUEL HORTON (AMERICAN 1865-1936): A PASTEL DRAWING ON BOARD DEPICTING A WINTRY TOWN SCENE77cm x 64cmWilliam Samuel Horton is considered by critics to be one of the leading members of American Impressionism, best-known for his Monetesque sunsets and sunrises, Swiss Alpine landscapes, New York skylines and Norwegian fjord scenes. W.S. Horton grew up in a wealthy family and left home in 1883 to study at the Art Institute of Chicago and the Art Students League of New York. In 1892, Horton married the New York debutante Carlotta Lorrie Gray and in 1893 they moved to Holland, later settling in Paris where Horton joined the Académie Julian art school. It was Paris that perhaps had the greatest influence on the artist’s stylistic development, as whilst studying in the French capital he befriended and worked closely alongside some of the leading Impressionist artists including Whistler, Pissarro, Degas and Monet. In 1918 Horton moved to England, continuing to travel often to Europe, painting and sketching scenes in Switzerland, France and Italy. During his travels the artist developed his own Impressionist style, and like Monet focussed on the effects of light on colour, atmosphere, form, shadow and shapes. Like the founding Impressionist, Horton painted the same motif or scene at different times of the day, studying the effect of the light. Examples include his 1934 dramatic sunsets and sunrises over the coastal fjords, planes and mountains of Norway, his recognisable cityscapes of the New York skyline, most notably of the Ritz and Heckscher towers (1924-1930) and his snowy landscapes of the Swiss Alps. In 1935 the artist travelled to Asia (China, Singapore, India and Indonesia), continuing to paint and sketch, including on board ships. W.S. Horton and his wife were relatively wealthy during their lifetime, selling few of his artworks. When Horton died in 1936 he left over 1000 oils, pastels and drawings to their son William Gray, who organised a retrospective exhibition of his father’s work at the Galerie Charpentier, Paris in 1939, which included an appreciation text by the famous art critic Louis Vauxcelles. Horton’s works can be found in the permanent collections of the Musée d'Orsay, Paris, the Musée National d'Art Moderne, Paris and the National Museum, Stockholm.
WILLIAM SAMUEL HORTON (AMERICAN 1865-1936): AN OIL PAINTING ON BOARD DEPICTING A SEATED LADY KNITTING46cm x 38cmWilliam Samuel Horton is considered by critics to be one of the leading members of American Impressionism, best-known for his Monetesque sunsets and sunrises, Swiss Alpine landscapes, New York skylines and Norwegian fjord scenes. W.S. Horton grew up in a wealthy family and left home in 1883 to study at the Art Institute of Chicago and the Art Students League of New York. In 1892, Horton married the New York debutante Carlotta Lorrie Gray and in 1893 they moved to Holland, later settling in Paris where Horton joined the Académie Julian art school. It was Paris that perhaps had the greatest influence on the artist’s stylistic development, as whilst studying in the French capital he befriended and worked closely alongside some of the leading Impressionist artists including Whistler, Pissarro, Degas and Monet. In 1918 Horton moved to England, continuing to travel often to Europe, painting and sketching scenes in Switzerland, France and Italy. During his travels the artist developed his own Impressionist style, and like Monet focussed on the effects of light on colour, atmosphere, form, shadow and shapes. Like the founding Impressionist, Horton painted the same motif or scene at different times of the day, studying the effect of the light. Examples include his 1934 dramatic sunsets and sunrises over the coastal fjords, planes and mountains of Norway, his recognisable cityscapes of the New York skyline, most notably of the Ritz and Heckscher towers (1924-1930) and his snowy landscapes of the Swiss Alps. In 1935 the artist travelled to Asia (China, Singapore, India and Indonesia), continuing to paint and sketch, including on board ships. W.S. Horton and his wife were relatively wealthy during their lifetime, selling few of his artworks. When Horton died in 1936 he left over 1000 oils, pastels and drawings to their son William Gray, who organised a retrospective exhibition of his father’s work at the Galerie Charpentier, Paris in 1939, which included an appreciation text by the famous art critic Louis Vauxcelles. Horton’s works can be found in the permanent collections of the Musée d'Orsay, Paris, the Musée National d'Art Moderne, Paris and the National Museum, Stockholm.
WILLIAM SAMUEL HORTON (AMERICAN 1865-1936): A GROUP OF SIX OIL PAINTING SKETCHES ON BOARDLargest 58cm x 44cmSome unfinished, or warped.William Samuel Horton is considered by critics to be one of the leading members of American Impressionism, best-known for his Monetesque sunsets and sunrises, Swiss Alpine landscapes, New York skylines and Norwegian fjord scenes. W.S. Horton grew up in a wealthy family and left home in 1883 to study at the Art Institute of Chicago and the Art Students League of New York. In 1892, Horton married the New York debutante Carlotta Lorrie Gray and in 1893 they moved to Holland, later settling in Paris where Horton joined the Académie Julian art school. It was Paris that perhaps had the greatest influence on the artist’s stylistic development, as whilst studying in the French capital he befriended and worked closely alongside some of the leading Impressionist artists including Whistler, Pissarro, Degas and Monet. In 1918 Horton moved to England, continuing to travel often to Europe, painting and sketching scenes in Switzerland, France and Italy. During his travels the artist developed his own Impressionist style, and like Monet focussed on the effects of light on colour, atmosphere, form, shadow and shapes. Like the founding Impressionist, Horton painted the same motif or scene at different times of the day, studying the effect of the light. Examples include his 1934 dramatic sunsets and sunrises over the coastal fjords, planes and mountains of Norway, his recognisable cityscapes of the New York skyline, most notably of the Ritz and Heckscher towers (1924-1930) and his snowy landscapes of the Swiss Alps. In 1935 the artist travelled to Asia (China, Singapore, India and Indonesia), continuing to paint and sketch, including on board ships. W.S. Horton and his wife were relatively wealthy during their lifetime, selling few of his artworks. When Horton died in 1936 he left over 1000 oils, pastels and drawings to their son William Gray, who organised a retrospective exhibition of his father’s work at the Galerie Charpentier, Paris in 1939, which included an appreciation text by the famous art critic Louis Vauxcelles. Horton’s works can be found in the permanent collections of the Musée d'Orsay, Paris, the Musée National d'Art Moderne, Paris and the National Museum, Stockholm.
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