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Lot 906
John Miller, surfers, watercolour, 25 x 33 cm, Dawn, landscape with a waterfall, unframed, 46 x 57 cm, seascape with a boat, 58 x 50 cm, African school, figure, 102 x 52 cm, portrait of a young woman, pastel, indistinctly signed, 48 x 36 cm, an abstract, 30 x 36 cm, and Naples, gouache, 30 x 48 cm (7)
Lot 247
A collection of works comprising, Unknown Artist, a series of four miniature seascape scenes, oil on canvas, framed (each 6cmx4cm), Initialled CM?, A Lapwing in tall-stemmed grass, watercolour, initialled bottom right, framed (20cmx15cm) and M.S Sutherland, Flight of fancy, ink on silk, framed (artist details verso). (25cmx19cm) (3)
Lot 225
A collection of various works comprising John Hassall, "We were all square at the seventeenth" print (19.5cmx15cm), After Lawson Wood "Tongue-Tied" coloured lithograph (22.5cmx16.5cm), John Kay, "Cock of the Green" 1803 coloured engraving (11.5cmx8cm), Unknown Artist, Conishead Priory, watercolour, titled below (17cmx24cm), Unknown artist, A woman swinging a golf club, mixed media paper (15.5cmx11.5cm) and Unknown Artist, Portrait of two boys with clubs and dog with a moody seascape (19cmx24cm), all works framed. (6)
Lot 164
* BILL WRIGHT RSW RGI DA (SCOTTISH 1931 - 2016), SCUDDING WAVE mixed media on paper, signed, titled label versomounted, framed and under glassimage size 50cm x 62cm, overall size 71cm x 82cm Label verso: The Glasgow Art ClubNote: Bill Wright's talent first became evident when he was a boy, drawing endlessly for amusement while bedbound with illness. He went on to study painting at Glasgow School of Art and became an award-winning watercolourist, constantly inspired by was seascape and ever-changing sky on the Kintyre peninsula where he had a second home. Glasgow-born Wright, the son of a shipyard plater, was brought up in Partick and started his schooling at the city’s Dowanhill Primary before being evacuated to Dunoon during the Second World War. After returning home he attended Hyndland Senior Secondary and despite being discouraged by his parents, who would have preferred him to have a “proper job”, in 1949 he began his studies at Glasgow School of Art. They were interrupted by national service – a duty he felt hindered the progression of his art career. He served at Catterick army garrison but was a pacifist who abhorred war and dismissed the opportunity to be promoted to Sergeant as an army career held no interest. His first teaching post was at East Park School in Glasgow’s Maryhill. He then moved in 1965 to St Patrick’s High School in Dumbarton where he spent two years before becoming art adviser for the area at the age of 36. Over the next two decades he fostered the idea of instilling a cultural interest in art among pupils. He formed working groups to reform teaching of first and second-year students, encouraged forward-looking principal teachers and recruited many young teachers. His ethos was that teachers were not just there to create artists but to give all children a good art experience. He also established a residential art course for school children, at the Pirniehall residential educational facility at Croftamie in Dunbartonshire, where youngsters from different backgrounds could investigate the idea of furthering an art career through experiencing a range of different mediums in an art camp environment. And he is said to have been instrumental in encouraging the implementation of Scotland’s Standard Grade art and design qualification. However, he suffered from the chronic arthritic condition ankylosing spondylitis which, by the age of 55, forced him to take early retirement from his post in the education department of Strathclyde Regional Council. Meanwhile, as he had strived to enthuse youngsters with his own passion for art, he had been elected, in 1977, to the Royal Scottish Society of Painters in Watercolour. A member of the Glasgow Arts Club for many years, he was also an elected member of the Glasgow Institute of Fine Arts and Paisley Art Institute, served as president of the Scottish Artists’ Benevolent Association for 14 years and was a Scottish Arts Council lecturer, touring the country discussing art. But perhaps his own greatest inspiration was the view from a cottage he stumbled upon half a century ago, seven miles from Campbeltown on the Mull of Kintyre. He rented the property at Bellochantuy and set up a studio there where he drew on the vistas stretching 180 degrees, encompassing sea, beach, rocks and sky. He was utterly smitten by the area and was ultimately bequeathed the cottage by the owner who had become a close family friend. Over the years he came to know the area intimately and was fascinated by the constantly changing moods of the sea and light of the sky which formed the majority of his output. One large body of work, "Towards Islay", focused on the view from the back of the cottage. He captured the patterns and waves of the sea, sometimes adding a bird, limpit, mermaid’s purse, rock lines or some seaweed. But at times his works were very abstract and symbolic, concentrating on themes of nature and transience. He was hung in all the major shows in Scotland and in galleries across the country from Aberdeenshire to Edinburgh, Glasgow and south of the border. His work also features in public collections of Stirling and Strathclyde Universities, HRH The late Duke of Edinburgh and the Educational Institute of Scotland. And he was recognised with The Laing Prize for Landscape and Seascape and the RSW’s Sir William Gillies Award.
Lot 284
Janice Walton (British) - Untitled - Still life with statue head, a violin and a bow 2000 Oil on canvas painting. Signed bottom right. Framed. Measures approx. 86cm x 100cm (34" x 39.5") Janice Walton is a Devon based artist, trained at Dundee's Duncan of Jordanston College and at Edinburgh Art College. Her unique style has developed over the years, rich in atmosphere, merging imagination with reality. The work encapsulated in her website covers her up to the minute portrait / figurative, scenic, seascape, wildlife and commissions portfolio. Her commissions include a large six panel installation at the Burgh Island Hotel in Devon, a wonderful Art Deco Hotel. The Wildlife gallery is drawn from her South African experiences in game parks, where she spends part of the year painting and sketching. Her life and portrait work has evolved the human form using line supported by colour. The result is a fragmented image held together with accurate observation and true perspective. Janice's scenic and seascape work embraces new techniques and styles using oil on canvas and pastel on glass paper. Walton's work continues to "push the boundaries" as her work aims to create a vision beyond realism. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 1657
PATZIG, EGBERT (1909-1988) "Seenlandschaft" Öl auf Platte, sig. HxB: 21/34 cm. Rahmen, HxB: 43/56 cm. Provenienz: Aus der Sammlung Prof. Dr. Bathelt (1948-2023), Leiter der Volkshochschule und der städtischen Galerie Herrenberg und Vorsitzender der Europäischen Kulturgemeinschaft e.V.| PATZIG, EGBERT (1909-1988) "Seascape"Oil on panel, signed. HxW: 21/34 cm. Frame, hxw: 43/56 cm. Provenance: From the collection of Prof. Dr Bathelt (1948-2023), director of the Volkshochschule and the municipal gallery in Herrenberg and chairman of the Europäische Kulturgemeinschaft e.V.
Lot 1009
Follower of Albert Goodwin (1845-1932)Seascape with a rocky outcrop Bears signature, watercolour, together with a further two watercolours by a different hand, one depicting a lake scene with figures boating, and the other depicting cows beneath a tree canopy, 24.5cm by 30cm and other sizes (3)
Lot 2
Tom Wesselmann (American, 1931-2004). Serigraph titled "Seascape (Tit)" depicting a nude breast in front of an ocean. From Graphic (Graphik) USA, Edition Plus, Baden-Baden, 1967-68. Published by Edition Plus, Suzanne L. Fischer, Baden-Baden. Distributed by Trois Anges, Inc., New York. Numbered 99/100, pencil signed, and dated.Provenance: Private Minnesota Collection.Lot Essay:Born in Cincinnati, Ohio, Wesselmann initially studied psychology at Hiram College before turning his focus to art and enrolling at the Art Academy of Cincinnati. He later moved to New York City, where he immersed himself in the vibrant art scene of the 1950s and 1960s.Wesselmann gained widespread recognition for his bold and colorful compositions that appropriated imagery from popular culture, often featuring everyday objects and figures from advertising, magazines, and consumer goods. His iconic series of "Great American Nude" paintings, begun in the early 1960s, redefined the portrayal of the female form in art, blending elements of eroticism with a graphic and stylized aesthetic. Throughout his career, Wesselmann experimented with various mediums, including painting, collage, and assemblage, pushing the boundaries of traditional artistic techniques.Beyond his depictions of the female body and consumer culture, Wesselmann's work also delved into themes of desire, consumption, and the commodification of imagery in contemporary society. His compositions were characterized by their flatness, vibrant colors, and clean lines, which emphasized the visual impact of his subjects. Wesselmann's influence on Pop Art and contemporary art as a whole is significant, as his provocative and visually striking works challenged conventions and sparked critical discourse about the intersection of art and popular culture.Height: 29 1/2 in x width: 23 1/2 in.
Lot 116
Sèvres, a pair of kobalt blue vases with a lid, decorated with a seascape and mounted with gilt bronze. 19th century. Hand-painted decor with a seascape in the harbor, and a flower decor. Mounted with bronze figurines and richly decorated with Fleur De Lis. Marked on the base with a blue double L sèvres logo and a small letter a. FranceCondition report:- Both lids restored/damaged.Dimensions: (L:8 x W:11 x H:21,5 cm)
Lot 175
David James (1860-1904) A rocky seascape with seagulls flying over crashing waves, a trawler in the distancesigned lower right and dated 'D James 85'oil on canvas61.5 x 125cmProvenance:With the family of the present vendor for around eighty years.Recent research has established a later date of birth for the artist than previously thought. Though the location of the present work is most likely the Cornish coast, it is not implausible it depicts a Yorkshire or Pembrokeshire coastline where the artist is also known to have painted in the 1880s.The painting is executed in oil on a canvas support which is unlined. The canvas tension is slack and there are minor undulations across the surface. The canvas has suffered from numerous small damages in the past which have been repaired from the reverse. The paint layer has a network of age cracks which are slightly raised and lifting in some areas. The old damages have been retouched from the front. The varnish is clear, even and semi-glossy.
Lot 594
Studio of Robert Jobling (1841-1923) An archive of family drawings, watercolours and memorabilia to include: an unframed seascape in oils, photographs by Joseph Jobling; glass negatives, an oil painting of Bates Island, a watercolour "Old Sheild's" by A.W. Liddell, signed and dated 1893, a calligraphy homage to Robert Jobling by fellow artist Aaron Watson (1850-1926), two electroplated serving spoons, and other ephemera. All unframed.
Lot 339
TWO RENE DALE CONICAL SUGAR SIFTERS, comprising a stylised homestead design with a blue and black border, painted marks to base 'Bizarre craft Hand painted - Rene Dale 2002' and a floral seascape design with a red and black border, painted marks to base 'Bizarre Craft Hand Painted Rene Dale 2000', height of both 14cm (2) (Condition report: the 2002 sifter is missing clear plastic stopper)
Lot 40
SIR JOHN LAVERY (IRISH 1856-1941) A GREY DAY Oil on canvas-board Signed (lower right) 25.5 x 35.5cm (10 x 13¾ in.)Provenance: William Marchant & Co., The Goupil Gallery, London (1908) Exhibited: London, William Marchant & Co, The Goupil Gallery, Paintings by John Lavery RSA, RHA, 1908, no 50Literature: Walter Shaw Sparrow, John Lavery and his Work, London, 1911, p. 189Although we cannot be certain where A Grey Day was painted, given that it passed through the Goupil Gallery in 1908, it seems very likely that the present work represents the Straits of Gibraltar viewed from a hillside to the west of the Medina at Tangier. Having recently purchased a house and garden on the hilltop in question - Mount Washington - Lavery had the opportunity to study the moods of the sea from several discreet vantage points. This accounts for the variety of effects that characterise the many seascapes that followed - the high and low horizons, for instance, that appear in this and other small seascape sketches, such as A Rough Sea (Paisley, Art Institute Collection, held by Paisley Museum and Art Galleries), also shown in the Goupil exhibition. While many of these small sketches were painted in full winter sunshine, there were occasions when grey overhanging clouds must have reminded the artist of his earliest paintings of the Irish Sea seen from the Antrim coast in the late 1880s. Vivid colour arrived with his first visits to the North African coast in the 1890s, but it was a decade later when he returned to a more sustained engagement with the great maritime trade route that other, larger 'grey days' appeared (for example, see A Grey Day, Tangier, 1911 held by the Art Institute of Chicago from the George F. Porter Collection). While artists' enchantment with the sea stretches back to the romantic generation and beyond, the importance of the little sketches of 1906-8, lies in the fact that they provide instances in which Lavery reassesses one of Whistler's favourite themes and works through the more recent advances he had noted in Monet's work. In the first exhibitions of the International Society of Sculptors, Painters and Gravers, as the society's vice-president and prime mover, he had the opportunity to view the work of these mentors at close quarters, and move on. Up until the outbreak of war, every winter with only one exception, was spent on the Moroccan heights and seascapes with passing ships became a leitmotif. With its heavy sky, breaking waves and wrack-strewn sands, A Grey Day hailed this renewed fascination. Kenneth McConkey Condition Report: Inspection under UV reveals some very light retouching to the extreme framing edges and scattered across the sky. Otherwise the work is in good original condition. The work has been professionally cleaned in January 2024. Condition Report Disclaimer
Lot 1080
RICHTER GERHARD: (1932- ) German artist. Signed colour 6 x 4 postcard, the image being a reproduction of Richter's oil painting Seascape (Cloudy) (1969) held in the collection of the Staatsgalerie in Stuttgart. Signed ('Richter') by the artist in blue fountain pen ink to the base of the image. VG
Lot 139
Jean Marchand, French 1883–1941 - Seascape, high tide; oil on board, signed and dedicated lower left 'a ma cheri Edith J Marchand' and further annotated on the reverse, 22.2 x 27 cm Provenance: Dreweatts, Newbury, Modern & Contemporary Art, 12th Ocober 2021, lot 132, artwork sold to benefit a charitable trust created by the late William de Gelsey; a private collector of Bloomsbury related art Note: This is a wonderful example of the artist's later style, similar to the work of Albert Marquet in its gently modern depiction of the coastal landscape, evoked in careful tones of blue and a fluid brushstroke. Marchand was included in pivotal Modernist exhibitions in France and Britain in the early 20th century, including Roger Fry's 'Manet and Post-Impressionism' in 1910 and another in 1912. The artist became associated with the Bloomsbury group around this time and his solo show at Carfax Gallery in 1919 was highly praised by Clive Bell. Works by the artist are in public collections across the UK, including Charleston, Tate and the Courtauld Gallery.
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9824 item(s)/page