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Lot 253
20TH CENTURY ENGLISH SCHOOL "Mill at Coln St. Aldwyns", pencil, unsigned, together with NINETTA BUTTERWORTH "Clarius", study of a horse, oil on canvas, AFTER ARCHIBALD THORBURN "Ducks", colour print, 19TH CENTURY ENGLISH SCHOOL "The Steeplechase" and 20TH CENTURY ENGLISH SCHOOL "Tree on hillside",colour print, together with RAOUL MILAIS "Coach Horses", pastel, with indistinct inscription and signed "Raoul" verso with impresssed signature lower left
Lot 225
AFTER SAMUEL C METFORD "Silhouette study", black and white photographic print, together with JUDY HAMM "Norfolk landscape", pastel, signed lower right CONDITION REPORTS The photographic print is approximately early 20th Century 'ish. the print itself has lots of scuff marks and scratche,s is out of focus to the corners, has insects underneath the glass, finger prints along the top line as well as a red mark. It is a fairly modern frame - see images for further details. Has general wear and tear conducive with age and use
Lot 900
Regency Period Pencil And Chalk Pastel Portraits Three in total depicting female portraits, possibly three members of the same family,rendered in descending order of age. The first an older lady in typical William IV day dress, with modest bonnet tied in bow at neck and reading spectacles/pincnez on chain. The second, a middle aged lady in walking dress with lace edged bonnet, tied at neck with pale pink bow. The third, a young lady with raven hair, centre parted and pinned in a low chignon covering her ears as was fashionable at the time. The young lady is depicted in typical day dress of the period with pleated shawl collar and gold brooch. There appears to be an indiscernible artists signature to the bottom left of the portrait of the young lady and a date of 1883. Very fine and accomplished renderings on heavyweight sand coloured pastel paper ground. Approx dimensions of each 11 x 16.8 inches. Each framed and mounted under glass with wide cream mount and gilt frame with foliate and scroll moulded corners. Several areas of foxing and spotting to each.
Lot 338
*De Morgan (Evelyn, 1855-1919). Sketchbook of anatomical studies, twenty-two pastel drawings on rectos of sixteen tan card leaves (and five blank leaves at rear), of hands, arms, feet, torsos, and necks, leaf size 37 x 24cm (14.5 x 9.5ins), edges rough-trimmed, original green cloth with pencil holder and elastic closure (stretched), some soiling to upper cover, folio Evelyn De Morgan's preparatory studies are both beautiful in their own right and enlightening for what they tell us about her working process. Her drawings for each work are extensive, and include both loose and more finished compositional sketches, detailed life studies of nude and clothed figures, drawings of drapery and details of faces and anatomy. Expressive hand gestures are a frequent characteristic of De Morgan's oil paintings, and she particularly studied hands and feet in exquisite detail in her pursuit of realism. Because she rarely deviated from her initial conception we can say with certainty that several of the sketches contained in this album were produced for 'Pro Patria Mori', one of De Morgan's works destroyed by fire in October 1991 ('Evelyn De Morgan, oil paintings', DMF, plate 96). (1)
Lot 352
*Lutterell (Edward, circa 1650-1737). Charles Edward Mortimer of Clare Hall aged 7 years & 2 months, & Caroline Amelia Mortimer, 1724, a pair of oval pastel portraits on copper, each inscribed with the sitter's identity, the first also signed, 24 x 17 cm (9.5 x 6.75 ins), verre eglamis‚ and early gilt moulded frames, glazed Provenance: Sold Christie's London, 14 December 1971, for 140 guineas; Dudley Snelgrove Collection; sold Sotheby's 19 November 1992, lot 168, for £500. Private Collection, Bath, England. (2)
Lot 26
ROBERT MCGREGOR R.S.A. (SCOTTISH 1847-1922) GATHERING MUSSELS Signed and dated 1919, oil on canvas 61cm x 101.5cm (24in x 40in) Exhibited: The Fine Art Society 1977 Note: Robert McGregor is renowned for his pioneering approach in the genre of work scenes of rural life. The genre acquired a dramatic popularity in France, where it was represented by Gustave Courbet and Jules Bastien-Lepage, however it hadn't reached Britain until the late 1870s. McGregor's simple pastorals are notable for a unique combination of the French influences on the one hand, and the artist's loyalty to the old traditions of the Scottish painting on the other. Among his most prominent works are The Knife-Grinder (1878), now in the McManus Museum, Dundee, and Gathering Stones (1879) in the Glasgow Art Gallery and Museum. McGregor had no formal art training until his relocation to Edinburgh, where he later attended the Royal Scottish Academy, yet he is believed to have received some artistic instruction from a Frenchman while still in Yorkshire. Once at the R.S.A., McGregor made rapid progress, getting elected an associate in 1882. He became a full R.S.A. member seven years later. Although McGregor never worked in a foreign atelier, his style was influenced by continental painters, including Courbet and Millet. Unlike other Scottish painters, the majority of whom remained loyal to a local palette, in his colourist approach McGregor maintained a distinctively French use of the grey scale, with a light effect similar to that seen in black and white photography. Having adopted an artistic approach derived from the works of Courbet, McGregor frequently reduced the foreground of his paintings in order to increase a sense of the bulkiness of the peasants' figures. A brilliant example of such composition is the present canvas depicting a young woman with a basket. The scene drawn from everyday life is executed in a warm palette, where thicker strokes of the pastel-blue sky in the top left corner are balanced with the deep-blue colour of the water and the girl's jacket. McGregor's use of heavier brushwork is softened by the elaborate lacework of the girl's headscarf. Gathering Mussels belongs to the eponymous series of works depicting peasants gathering clams in the setting of a distinctively Scottish coastal landscape. This large-scale work, executed in 1919, demonstrates the artist's use of grey tonality to create the effect of sunless weather and gives the painting a diffused silvery glow. Therefore, this later work represents one of the best examples of the artist's engagement with French painting techniques in the depiction of Scottish countryside settings.
![[§] JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) AN ITALIAN FARMHOUSE Signed, pen and ink and pastel 33cm x 50cm (13in x 19.7](https://cdn.globalauctionplatform.com/b4beedbe-1dc3-4e24-ba17-a75900c76850/4a0d6c35-eea4-457a-c1d2-f3cfa46d8813/468x382.jpg)
![[§] JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) TENEMENTS AND CRANE Pastel 12cm x 18cm (4.75in x 7in) Provenance:Cyril Gerbe](https://cdn.globalauctionplatform.com/b4beedbe-1dc3-4e24-ba17-a75900c76850/5d73b9b9-e61c-42fd-a44d-e41bea861d6f/468x382.jpg)
Lot 113
A rare and well preserved Arctic exploration sledge flag for Admiral George Richards KCB, Commander of HMS Assistance in Sir Edward Belcher's expedition of 1852/3/4 in search of HMS Erebus and HMS Terror of Sir John Franklin's Lost Expedition of 1845:, the flag with Admiral Richard's personal heraldry comprising a lamb and flag crest with motto 'Laus Deo' (Praise God) in white silk on a blue reserve, 46cm x77cm, mounted on a glazed frame with inscription,* Notes 'This Banner was carried to the Arctic Regions by Admiral Richards CB. when Commander of HMS Assistance, in Sir E Belcher's Expedition 1852.3.4 in search of the Erebus and Terror, under Sir J Franklin. After wintering at the Head of Wellington Channel in 76°55' N. Lat., it was taken, in the Spring of 1853 to Melville Island and floated on every conspicuous height discovered, and having accomplished near 1000 miles, it was returned to HMS Assistance. Passing a second Winter it was again carried on a Sledge journey down the Channel westward and through Barrow Straits and again returned after a sojourn of 73 days on the Sledge. On reaching England in 1854 it was presented to Mr Barrow. When the late Expedition of 1875 was fitted out under Capt now Sir George Nares KCB it was carried up Smith's Sound and hoisted on Cape Joseph Henry in Lat 83° N. On its return to England it was restored to Mr Barrow who bequeaths it to the family of Adml Richards.together with group of related items comprising an 18ct gold Royal navy Exhibition 1891' fob pendant containing a section of timber from HMS Victory engraved 'Timber from the 'Victory' 1805' and also named 'Admiral Sir George H Richards KCB' to rim, a gilt and enamel badge of Admiral Richard's family crest together with a 19th century wool work of HMS Assistance in the Arctic ice with men rigging sledges to the foreground, 44cm x67cm, a pastel portrait of Admiral Richards seated at a table with a copy of Arctic Regions, 36cm x30cm, two 19th century oval miniature portraits of Naval officers, one possibly of Francis Leopold McClintock (1819-1907), the other of Admiral Richards, a monochrome print of Admiral Richards and a copy of 'Aclands-And-The Sea' .Admiral George Henry Richards was captain of HMS Assistance under the command of Sir Edward Belcher on the Admiralty's last and largest Expedition to search for survivors of Sir John Franklin's Expedition of the Northwest Passage in 1845. In the early winter of 1850 the Assistance and the steam tender Pioneer became frozen in the ice off Northumberland Sound in the Wellington Channel forcing much of the searching to be undertaken by sledge. As sledges were hauled at this time by the men themselves, they were treated in some degree as boats and each sledge named. The idea originated with Captain Horatio Austin who whilst leading a similar search in 1850 intended that sledge flags would "...retain esprit de corps, and a naval atmosphere,..' .The flags were usually the personal badge of the commanding officer who led the team on foot, carrying a gun ahead of the crew for protection. A similar sledge flag for Lieutenant Bedford Pim by Lady Franklin is held in the National Maritime Museum. A sledge flag used by Scott on his first Expedition of 1900-1904 made by his mother hangs in Exeter Cathedral.
Lot 372
A POTTERS' ART GUILD (COMPTON) ARTS AND CRAFTS PLASTER PLAQUE, of oblong form moulded in relief with the "Arbor Vitae" with a swaddled child against the Tree of Life, painted in pastel shades and gilded by Mrs G.F. Watts, impressed mark, inscribed name and date 1913, 5 1/4" x 3 1/2" (Est. plus 18% premium inc. VAT)
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46300 item(s)/page