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Click here to subscribeJULIAN HARTNOLL. Two Christmas cards signed by Hartnoll and dated 1987 and 1984, one lithograph the other gold paint, together with a wood engraving by GEORGE MACKLEY. 'Coltsfoot', and etching of a squirrel on a branch, a little book of cats by alice and a coloured etching signed in pencil 'Journeys of Icarus I' 95 / 95 title page, smallest 7 x 10 cm, largest 48 x 48 cm
JOHN HARDMAN POWELL (1827-1895) FOR HARDMAN & CO. COLLECTION OF ORIGINAL DESIGNS, CIRCA 1860 to include: ORIGINAL DRAWINGS FOR A TEAPOT AND SUGAR BOWL WITH TONGS, CIRCA 1860, pencil, pen and ink on paper, mounted onto card, 17cm x 21cm and 14cm x 11.5cm; also an ORIGINAL DRAWING BY THE SAME HAND, depicting studies of medieval caps and cap badges, pencil, pen & ink on paper, mounted verso, 25cm x 20cm, card inscribed 72/ 30856/15 (1) and 71/ 30856 (15); together with THREE SHEETS OF ORIGINAL DRAWINGS, ATTRIBUTED TO A.W.N. PUGIN FOR HARDMAN & CO., the FIRST SHEET comprising two drawings of INKWELLS, for the Palace of Westminster, 9cm x 16.5cm and 9cm x 17.3cm; two of THURIBLES ON STANDS, 17.5cm x 7cm and 15cm x 6cm; one of a GOTHIC REVIVAL WALL MOUNTED BRACKET, 14cm x 5cm; a MONUMENTAL CLOCK, 17.5cm x 11cm and five further drawings of MEDALLIONS; A CASKET; A DEPICTION OF THE VIRGIN; and a WALL BRACKET; the SECOND SHEET comprising a drawing of a PAIR OF SIDE DISHES, 21cm x 20cm; a SWORD HANDLE, 10cm x 21cm; and verso a FONT COVER, 20cm x 14.5cm; and a STATUE OF CHRIST ON A PEDESTAL, 23cm x 11.3cm; the THIRD SHEET with drawings of a GOTHIC FRAME, 17.3cm x 11.7cm; a POLE SCREEN, 23cm x 8.5cm; a CHAMBER CANDLESTICK, 12.5cm x 16cm, each pencil, pen & ink on paper, mounted onto card; and ORIGINAL DESIGN FOR A PULPIT FOR THE MARQUIS OF BUTE BY JOHN HARDMAN POWELL FOR HARDMAN & CO., pencil, pen & ink on paper, with inscription "Design for a Pulpit in oak "carved"/ Marquis of Bute", bears makers embossed stamp HARDMAN & CO., 61cm x 26cmFootnote: Provenance: Hardman Archive Note: See V&A collection, museum number 8119-1863 for the realised teapot in silver dated 1861-2
§ MARY NEWBERY STURROCK (1890-1955) PHILLIS pen and ink, inscribed, bears gallery label verso, 24cm x 20cm; together with EDMUND LUCCHESI (1871-1964) HEAD OF A GIRL, pen and ink, signed with initials and dated EL/ 1920, 34.5cm x 32cm; and a print by the same hand, signed and editioned in pencil 14/2, 30cm x 22cmFootnote: Provenance: From Castle of Park, Aberdeenshire
§ VICTOR HUME MOODY (1896–1990) THREE NUDE STUDIES to include STUDY OF A RUNNING MAN, pencil, 45cm x 28cm; STUDY OF A STANDING MALE NUDE, charcoal, 48cm x 20cm; and STUDY OF A NAKED FEMALE TORSO, pencil, 29cm x 13cmFootnote: Provenance: From Castle of Park, Aberdeenshire Exhibited: Campbell Wilson ‘Father and Daughter: Victor Hume Moody Catherine Olive Moody’ 2011, cat no. 43, 39 & 40
JESSIE MARION KING (1875-1949) THE BRIDGE watercolour, unsigned 18.5cm x 21cm; together with SKETCH OF A HOUSE, watercolour and pencil, by the same hand, 18.5cm x 24.5cmFootnote: Provenance; Jessie M. King and E.A. Taylor: The Collection of Miss Merle Taylor, sold Sotheby's, Glasgow, June 21st 1977
Towards Foundry Bridge, Norwich; By Trowse Bridge, Norfolk one signed lower right 'JJ Cotman 185/7(?)6'; the other signed lower left with initials 'JJC 1868(?)' and inscribed with title watercolour and pencil on paper (2) 40 x 67cm; 39 x 66cmFootnote: Provenance: Bonhams East Anglia, 17th June 2000, lots 35 and 36
A Study for the 'Bird's-Nesters', circa 1874 with artist's studio stamp in brown ink lower right 'J.F.M' (Lugt: 1460) black crayon on paper 27 x 16.5cm sight size; 44.5 x 33cm framedFootnote: Provenance: [By repute: The Leicester Galleries] From the collection of the art critic David Thompson (1929-2019) and Freda Dowie (1928-2019) The present work is a study for the central figure in Millet's 'Bird's-Nesters', one of his last works painted right at the end of his life, now in the Philadelphia Museum of Art. It depicts a scene from the artist's childhood whilst growing up on the Contentin coast of Normandy. He would go at night with other peasants to hunt the flocks of wild pigeons that migrated across the Channel. When the birds settled in trees at night, the peasants blinded them with light from torches and then clubbed hundreds to death. For peasants living a hard existence, this communal hunt was one of the few sources of meat in an otherwise limited diet. Millet worked out the positions of the figures in numerous small pen and ink sketches, as well as in pencil and crayon, known examples of which are in the Louvre Cabinet des Dessins and in the Indianapolis Museum of Art. A much larger charcoal underdrawing on canvas of the final composition was sold at Sotheby's New York on 15th November 2017, lot 129, for $150,000.Condition report: Slight toning and creasing to the paper. A tear left of the figure's right elbow along the left margin. This area is also discoloured. Light staining and discolouration in top corners. A small circular stain and two pinholes visible left of the figure's right hand. Little dirt under glass. Examined out of frame but not outside the glass.
A Head study of a girl pencil on paper 21 x 14.5cmFootnote: Exhibited: London, J S Maas & Co Ltd, 'Pre-Raphaelitism', November 1970, no. 76; Southwark, South London Art Gallery & Cuming Museum, 'Val Prinsep RA (1838-1904): A Jubilee Painter', 21st October - 10th November 1977, no. 51 CONDITION REPORT:Not laid down. Discoloured edges. A small perforation to the paper opposite the figure's mouth. Very slight creasing to the paper in the centre. The backing board is secured to the mount both with tape and glue along the top and bottom.
The Mosque at Nicæa, Asia Minor watercolour over pencil on paper 35.5 x 26cmCONDITION:Foxing and spotting in the sky area. A small tear along the cornice of the mosque in the left centre middle ground, just under the larger dome.Provenance: By descent in the artist's family; With Robert Miller, Hereford, July 2008, Private collection, Kensington, London Exhibited: London, Royal Academy, 1861, no. 922, as 'Oriental sketches: Mosque at Nicæa, Asia Minor' This and the following seven lots are by Edward Falkener, an explorer, architect and author. He enrolled at the Royal Academy in 1836, receiving a gold medal for a design of a cathedral in 1840. In 1842, he set out on a tour of Europe and went on to travel extensively through southern Italy, the Greek Islands and onto Asia Minor, Syria, Israel and Egypt. During his travels, he made studies of architectural remains in the places he visited. In 1847, whilst at Pompeii, he excavated the 'House of Marcus Lucretius', which he described in his Museum of Classical Antiquities, a journal of essays which he edited between 1851-55. On his travels through Asia Minor, he discovered a tomb in the valley of the Limyrus, Lycia (today’s Turkey), as he exhibited a work under this title at the Royal Academy as no. 459, in 1851. He went on to exhibit a number of works entitled Pompeian studies between 1853-1856 and a series of Oriental sketches between 1857-1859, relating to his explorations in Asia Minor. Falkener’s drawings were also exhibited at the Exposition Universelle in Paris in 1855, for which he gained the grande médaille d'honneur. He was made a knight of the Order of the Dannebrog by Frederick VII of Denmark for his contribution to the restoration works of the Palace of Frederiksberg, for which Falkener provided his original sketches after the palace burnt down in 1859. In 1861, he received a gold medal from the King of Prussia for his publications on classical archaeology. In 1866, Falkener married and retired to Glanymor, Wales, last exhibiting at the Royal Academy in 1873. He was a member of the Architectural Institutes of Berlin and Rome and was later elected an honorary fellow of the Royal Institute of British Architects in December 1895.
Interior of the Mosque at Aiaslik, near Ephesus, watercolour over pencil on paper 25 x 33cmFootnote: Provenance: By descent in the artist's family; With Robert Miller, Hereford, July 2008, Private collection, Kensington, London Exhibited: London, Royal Academy, 1857, no. 1086, as 'Oriental sketches - mosque at Aiaslik, near Ephesus - interior' Literature: Edward Falkener, Ephesus, and the Temple of Diana, Day & Son, 1862, illustrated as a lithograph by T Picken after the original, between pp. 156-157 CONDITION:Not examined out of frame. There appear to be 2 small tears in the lower right corner along the edge of the paper. Few scuffs between the lights under the arch in the top right quadrant. Very slight spotting in places.
The Cascade at Hierapolis, Asia Minor watercolour over pencil on paper 44 x 63.5cmFootnote: Provenance: By descent in the artist's family; With Robert Miller, Hereford, July 2008, Private collection, Kensington, London Exhibited: London, Royal Academy, 1858, no. 832, as 'Oriental sketches: the Petrified Cascade, at Hierapolis, in Asia Minor'Condition report: Small foxing spots throughout the sky area and the mountains. Slight discolouration visible in the middle ground in the light coloured areas. Light surface dirt under glass. A pencil line running horizontally about an inch from the bottom margin - appears to be part of the original composition. Not examined out of frame.
The Mosque at Ballat, Asia Minor watercolour over pencil on paper 25.5 x 35.5cmFootnote: Provenance: By descent in the artist's family; With Robert Miller, Hereford, July 2008, Private collection, Kensington, London Exhibited: London, Royal Academy, 1859, no. 1037, as 'Oriental sketches - exterior of the Mosque at Ballat, in Asia Minor'CONDITION:The mosque is superimposed onto the landscape background - the raised edges of the paper are clearly visible upon closer examination. No obvious faults.
The Mosque at Mylassa, Asia Minor watercolour over pencil on paper 27.5 x 42cmProvenance: By descent in the artist's family; With Robert Miller, Hereford, July 2008, Private collection, Kensington, LondonExhibited: London, Royal Academy, 1861, no. 921, as 'Oriental sketches: Mosque at Mylassa, Asia Minor' CONDITION:Light foxing in the sky. 2 spots top right corner. The mosque appears to be superimposed onto the landscape background as a raised edge is clearly visible along the left hand margin of the building - please see images. This is less prominent along the top and right hand side of the mosque where it is reasonably well integrated into its landscape background.
Newmarket race meeting, November 30, 1895, with the Prince of Wales, the Duke of Portland, the Earl of Rosebery and others signed lower left 'Lib.' watercolour, with pencil names of the characters to the mount below, and printed descriptive text label verso 34 x 50cmFootnote: This appears to be the original work, a chromolithograph of which was published by Vincent Brooks, Day & Son Lithographers, in the Vanity Fair Winter Number, November 30th 1885.
Attributed to Johann Wolfgang Baumgartner (Austro-German, 1712-1761), Saint Jerome, 1760, pen and black ink, brush and grey wash, white heightening over traces of black chalk, black chalk framing lines on brown paper laid onto oatmeal paper, bearing signature and opus date in brown ink within the drawing, bearing signature -J.W. Baumgartner- in pencil on verso as well as further annotation in pencil, further annotation in pencil to card mount -Neues Fenster Sebaldus Kirche Nürnberg, 1760-, partly mounted on card, H.21cm W.15.5cm
Mary Fedden (British, 1914-2012), still life of fruit, 2009, watercolour, signed in pencil and dated 09, H.10cm W.21.5cm, lightly mounted on card with pencil inscription by the artist -Happy Birthday Dear Peter, Lots of Love Mary-. Together with a greetings card by Mary Fedden, watercolour and collage with thank you note by the artist inside, H.22.5cm W.22cmProvenance:Acquired directly from the artist by the vendor (collection of Sir Peter Wright)
John Macfarlane (British, b. 1948), Giselle Premiere Design, 1985, mixed media on paper, signed and dated to lower right in pencil, with pencil annotation to lower left on recto, H.31cm W.42cm Provenance: acquired directly from the artist by previous owner (dedication from the artist to the owner to lower left on recto)
A NORWEGIAN FOLK ART CARVED AND STAINED PINE BOX MOLDE, LATE 19TH CENTURY of staved construction and with bentwood straps, all over carved with scrolling leaves, the lift-off cover with a scroll-handle, the underside with Gothic initials and with a paper label, inscribed 'Molde, Norway', the underside with a further paper label and faint pencil inscriptions 28.8cm high, 29.5cm wide
*Edward Bawden RA (1903-1989)'Tyger! Tyger! burning bright in the forests of the night...'linocut, signed, inscribed with title and numbered 17/50 in pencil23.5 x 65cm*Artist's Resale Right may apply to this lot.Condition report: Not viewed out of glazed frame. A light abrasion to paper on "T" of first Tyger. Some very light foxing/staining visible on margins.
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