Leslie Duxbury ARCA (1921-2001) Quantity drawings, mainly charcoal Figure studies, children and others Two watercolour and pen Figure studies Leslie Duxbury was born in Accrington in 1921, he studied at Accrington School of Art, gained a place at the Royal College of Art in 1941 but was called to army service during WWII, however he was invalided out in 1943 and returned to the RCA. After the war he settled in London with his wife and family. In the 50's he was considered one of the 'Kitchen Sink School' of painters favouring harsh subjects of working class life. His oil on canvas 'Tenement Dwellers' was acquired in 1956 by the Arts Council and in 1984 his work was included in the Graves Art Gallery, Sheffield Touring Show 'The Forgotten 50's'. His work has been exhibited at the Royal Academy Summer Exhibition, Bankside Gallery, and local exhibitions in Wales and London. After part time teaching at various art schools throughout London he obtained a full time post at Kingston Upon Thames where he became a senior lecturer in the 70's until his retirement in 1986. He always carried a sketch book and drew views of London, the Thames, scenes in Wales and musicians at rehearsals in the Royal College of Music. Condition Report There are 43 works included in this lot.
We found 32316 price guide item(s) matching your search
There are 32316 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
32316 item(s)/page
Leslie Duxbury ARCA (1921-2001) Watercolour Pigeon, 56cm x 39cm Similar charcoal drawings Studies of birds Screenprints, figure drawings, mainly charcoal, all unframed Leslie Duxbury was born in Accrington in 1921, he studied at Accrington School of Art, gained a place at the Royal College of Art in 1941 but was called to army service during WWII, however he was invalided out in 1943 and returned to the RCA. After the war he settled in London with his wife and family. In the 50's he was considered one of the 'Kitchen Sink School' of painters favouring harsh subjects of working class life. His oil on canvas 'Tenement Dwellers' was acquired in 1956 by the Arts Council and in 1984 his work was included in the Graves Art Gallery, Sheffield Touring Show 'The Forgotten 50's'. His work has been exhibited at the Royal Academy Summer Exhibition, Bankside Gallery, and local exhibitions in Wales and London. After part time teaching at various art schools throughout London he obtained a full time post at Kingston Upon Thames where he became a senior lecturer in the 70's until his retirement in 1986. He always carried a sketch book and drew views of London, the Thames, scenes in Wales and musicians at rehearsals in the Royal College of Music.
FIVE BOXES OF EPHEMERA to include Royal souvenir publications, cigarette cards in 1d albums and loose (mainly incomplete sets) local theatre programmes, The Beano comics, Women's magazines, Opportunity Stationery Packets, newspapers, cigarette card 'silks' a sketch book and two pairs of flying goggles
Dick GILBERT (1935-2008) Five works together with a sketch attributed to Alethea Garstin (1894-1978) The Bay from Hayle Towans / Rough Seas off Godrevy / Portrait of a girl Mixed media on paper, signed and dated '05, 29 x 39cm. Mixed media on paper, dated '96, 28 x 40cm. Together with three other works by the same hand. Together with an Alethea Garstin pencil sketch Inscribed with the artist's name together with a very brief sketch of a boy to the verso 29cm x 22cm Provenance: W H Lane, Penzance. (6) Postage is available on this lot from £32.50 to a UK address.
Alec WILES (1924) Nine studies of mainly Cornish views Rock, Penryn Harbour I and Penryn Harbour II Each signed, titled and dated Each 28cm x 43cm Together witha watercolour study 38cm x 50cm and with a further signed sketch of Penryn Harbour, 28cm x 40.5cm and others (9) Postage is available on this lot from £32.50 to a UK address.
A portrait of Steve Harley, pencil sketch on artists board, artwork used for the front cover of Steve Harley's 1992 third studio album Yes You Can, 42 x 30cm, together with various prints used for the front cover of the 1996 album Poetic Justice, largest 42 x 29.5cm.Lots 501-518 have been consigned by Steve Harley, singer and frontman of 1970s group Cockney Rebel, whose number one hit ‘Make Me Smile (Come Up and See Me)’ has been covered at least 120 times and appears on soundtracks as diverse as The Full Monty, Lego Rock Band, and a Marks & Spencer’s advert.
James Duffield Harding (British 1797-1863): Scarborough Lighthouse (pre-1843), watercolour unsigned 23cm x 34cm Notes: an original sketch for the engraving by William Finden (1787-1852) produced for the series 'Ports, Harbours, Watering Places and Coast Scenery of Great Britain', pub. London 1836-1842. Provenance: private collection, purchased David Duggleby Ltd 9th September 2016 Lot 223Condition Report: Good condition and original colour, three very light marks to the left of the lighthouse - ready to hang.
Charles Frederick Tunnicliffe (British 1901-1979): Four Swans, watercolour gouache charcoal and pencil signed, a preparatory sketch for a larger painting 66cm x 42cmProvenance: private collection; with Park Lane Galleries, Poynton, CheshireCondition Report: Excellent condition, ready to hang
Harold Knight (Staithes Group 1874-1961): 'Ella Burke', pencil sketch signed in pencil, titled and dated 1913 in pen 16.5cm x 13cmCondition Report:No creases or tears. Paper has an overall brown discolouration with some brown marks in the lower left quarter(water marks rather than foxing?), above the title there has been an attempt to erase one of these marks
Eddie Murphy signed colour photo 10x8 Inch 'Donkey (Shrek)'. An American comedian, actor, and singer. He shot to fame on the sketch comedy show Saturday Night Live, for which he was a regular cast member from 1980 to 1984. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
HENRY MOOREShelter-Sketch-Book. Berlin u. London: Rembrandt Verlag u. Marlborough Fine Art 1967. 36,9 x 31 cm. Mit 1 sign. OrFarblithographie von Henry Moore und 80 farb. Zeichnungen in Faksimile-Lichtdrucken. 4 Bll. Text. Lose Tafeln in weinroter OrLnKassette und grauem LnKarton.(Karton und Kassette etwas berieben und stockfleckig.)Nr. 7 von 180 Ex. - Cramer/Grant/Mitchinson 82. - Deutsche Ausgabe. Im Druckvermerk vom Künstler signiert. Die sign. u. num. OrLithographie („Three standing figures“; 1966) in den Farben Rot und Orange auf Japon nacré.
Shoberl, Frederic (Hrsg.): The world in miniature. Teilband: Turkey, being a description of the manners, customs, dresses, and other peculiarities characteristic of the inhabitans of the Turkish Empire; to which is prefixed a sketch of the history of the Turks: translated from the French of A. L. Castellan. 6 Tle. in 3 Bdn. London: Printed for R. Ackermann (1821). 13,3 x 8,7 cm. Mit 71 (von 73) kolor. gest. Tafeln. Rotes HLdr. mit goldgepr. Rt. und goldgepr. Rückenfileten.(Berieben. Rücken verblasst und etwas fleckig. Ovales Rückenschild am oberen Kapital jedes Bandes entfernt. Stellenweise minimal wasserrandig und altersfleckig. Gering gebräunt. Einige Tafeln mit braunem Abklatsch. Es fehlt Tafel 13 (Bd. III, S. 154, „Instruments for writing Plate B“) und das Frontispiz zu Bd. IV (Tooley Nr. 38 „Turbeh, or tomb of a Sultan-Mufty“). Großes Exlibris auf dem vorderen Vorsatz eines jeden Bandes.)Tooley 515. - Einzige Ausgabe. - Der Teilband über die Türkei gehört zur Reihe „The world in miniature“, die insgesamt 43 Bände umfasst und zwischen 1821 und 1827 erschien. Die detailliert und lebendig kolorierten Tafeln zeigen Vertreter türkisch-osmanischer Funktionseliten, historische Szenen, Trachten und viele weitere lebensweltliche Darstellungen.
Corgi, Lledo, Maisto & similar, a boxed & unboxed vehicle group and others, comprising of Corgi Eddie Stobart, Lledo Days Gone and similar. Also to include Airfix plastic model kit and Sketch Master. Although unchecked for completeness, conditions generally appear to be Good in Good boxes where applicable. See photo.
An early 20th century Regency style gilt metal frame. Enclosing a colour print - the portrait of a young woman in profile - within a beaded border with floral design, height 33cm, together with a bookslide etched with spider's cobweb motifs, signed and dated 'Sheelagh Robertson August 1928' to base, a 1930s miniature oil painting of a vase of anemones by Mona List, a small pen and ink sketch of two lurchers with their puppies, a pencil drawing of a cat signed with initials, two Louis Wain postcards and one other vintage cat postcard, a carved and painted sculpture of a cherub, a pack of playing cards in a leather case, and other decorative items in one box.
Attributed to David Cox Jr (1809-1885) Figure on horseback in mountain landscape watercolour, 16.5 X 23cm signed lower left and dated, mounted together with collection of various 19th & 20th Century watercolours and sketches mainly landscapes, artists include: Lily Roberts, Newlyn Ash, seated man probably artist sketch by Sir Walter Westley Russell (studio stamp, unsigned) etc. ( 1 box)
Albert Wainwright (1898-1943) - 'Arabian Nights', a sketch depicting various figurative studies in elaborate dress and poses, to the reverse further studies of a similar theme, together with seven double sided sketch book pages including further Arabian Nights studies, also costume designs, and set designs from various stage productions, pen, ink and wash, unframed, 23cm x 17.5cm. (8)
Alois Hans SchramAllegory of summer (sketch of the ceiling)oil on cardboard; framed30 x 41 cmlabel from Künstlerhaus Wien on the reverse: 1920/1653 (confirmed by Mr Nikolaus Domes, Künstlerhaus Archive Vienna);label on the reverse with confirmation of authenticity from the Cooperative of Fine Artists of Vienna, 13 December 1919from the estate of the artist;private property, Vienna
λ CAREL WEIGHT (BRITISH 1908-1997) SKETCH FOR 'AN EPISODE IN THE CHILDHOOD OF A GENIUS' Oil on panel Signed to label (attached verso) 43.5 x 65cm (17 x 25½ in.)Painted in 1932. Provenance: J. Beddington, Director of Wildenstein, Private CollectionExhibited: London, Arts Council of Great Britain, Four Contemporary British Painters, (Leonard Appelbee, Claude Rogers, Ruskin Spear, Carel Weight), 1947, no. 27 'At this time his mother told him a story of vital importance to his development as an artist, As a girl, she had clambered out of an upstairs window and made her way along a narrow, projecting ledge to a neighbour's windowsill, tempted there by the bright blooms in a window-box. People in the street saw her and were terribly worried about her falling, but somehow they got her back.' It introduced another line - humorous fantasy - and he developed it with gusto. It was to become a constant in so many purlieus of Carel Weight's world. 'That gave me an idea for a picture. I moved the scene to the outside of a pub, and substituted a young lad who'd climbed up the inn sign and perched himself precariously on top. He was causing great consternation not only to people in the pub but also among the crowd who'd gathered outside'. - see R.V. Weight, Carel Weight, 1994, page 21 The painting , for which this is the study, was exhibited at the Royal Academy Summer Exhibition in 1933 (No 100) and was instrumental in securing the artist's first teaching job. The painter Henry Carr,, then head of Beckenham School of Art, saw it, liked it, and offered Weight a 2-day-a-week teaching position at the school, Weight accepted and continued to teach at Beckenham until called up for war service in 1942. - see Mervyn Levy, Carel Weight, 1986, page 45.
SIR JOHN LAVERY (IRISH 1856-1941) PORTRAIT OF LIEUTENANT JOHN CLIVE DARLING, XX HUSSARS Oil on canvas Signed (centre right); further signed, titled and dated 1910 (transcribed verso, not in artist's hand) 38 x 33cm (14¾ x 12 in.)Provenance: Collection of Charles John Darling, 1st Baron Darling (1849-1936) Thence by descent to the present ownerSuave and stylish, the portrait of the dashing young Lieutenant John Clive Darling is almost unique in Lavery's oeuvre. Although small in scale, in its precision, it cannot be regarded as a sketch of the type preferred by the sitter's father, Sir Charles Darling, then serving as a judge on the Oxford circuit. In 1904 the judge had written to Lavery requesting a small sketch of his daughter, Diana Janet Darling, making his specification clear: What I should like would be an impression, or sketch - such as Vandyke (sic) and others sometimes made as preliminary to a portrait and I should like it small ... I don't want a highly finished work but should prefer a study. Darling may well have also been thinking back to the swagger of his son's first portrait, painted by William James Yule in 1896, when the present sitter was aged nine. It had been one of the most admired portraits of its day. Educated at Eton and Sandhurst, John Clive Darling (1887-1933) joined the 20th Hussars in 1906, rose to the rank of captain in 1913 and retired as Major in 1923, publishing an account of his regiment's actions in the Great War. Following the retreat from Mons in 1914 where the Hussars participated in the first (and last) cavalry charge, he and his brigade were consigned to the trenches where, in 1916, he was wounded in action. Mentioned in dispatches he was awarded the Distinguished Service Order. In recovery at Hill House Red Cross Hospital, Lyndhurst, Hampshire, he met, and in 1918, married Eleanor Joan Powell. In retirement, Darling raised and exhibited New Forest ponies and contributed to local causes. Condition Report: Relined. Very fine craquelure throughout. A couple of very small losses to the left edge with some associated rubbing. Inspection under UV reveals a thick green masking varnish which may be concealing any restoration. There is one area of retouching visible to the right of the sitter's shoulder which is also visible in natural light circa. 1cm. Condition Report Disclaimer
SIR JOHN LAVERY (IRISH 1856-1941) ORIGINAL SKETCH FOR 'THE HEARING OF THE APPEAL OF SIR ROGER CASEMENT' Signed, dated 1917 and dedicated to Lord Charles Darling (lower left), variously inscribed by Lord Darling (verso) Oil on canvas-board 25.5 x 38cmProvenance: Collection of Charles John Darling, 1st Baron Darling (1849-1936) Thence by descent to the present owner The board is inscribed verso by Charles Darling as follows: 'The original sketch made for Court by Sir John Lavery ARA for his picture of the hearing of the appeal of Sir Roger Casement against his conviction for High Treason - Monday 17th July 1917.Sargeant Sullivan (for appellant) addressing the Court. The justices (from left to right) Scrutton, Bray, Darling (presiding), Lawrence, Atkin.Charles Darling' By 1916, having recently requested an oil sketch of his late wife (lot 44), Mr Justice Darling was well aware of Lavery's pre-eminence. Regarding himself as something of an aesthete, the vainglorious judge, had been portrayed during his rise to the Bench, by Charles Wellington Furse (National Portrait Gallery) and George Henry (Colchester and Ipswich Museums) in 1890 and 1898 respectively, and in 1904, having secured Lavery's small sketch of his daughter, he returned to the painter for his own controversial portrait (fig 1). Even though its theatrical air matched the sitter's reputation, portraying Darling as a hanging judge was considered inappropriate by some. Now a widower, Darling had just received the news that his only son (see lot 45) was severely wounded on the Western Front when he received the call to preside over the Casement Appeal in July 1916. For public and personal reasons, leniency in this instance was not an option for a staunch Unionist who had trained Edward Carson in his chambers. Since his own portrait was painted, he had seen Lavery take on important commissions and maintain his pre-eminence with the portrait of the Royal Family, 1913 (National Portrait Gallery). In 1915, he would have noted the newsworthiness of the artist's Wounded, London Hospital, (Dundee Museum and Art Gallery), painted in the wake of the retreat from Mons, and shown in an Academy exhibition castigated for largely ignoring the unfolding horror of war. This was an artist unafraid to tackle a difficult project and, in the summer of 1916, when Darling was appointed to try the Casement Appeal, he was in a position to offer just such a testing opportunity. To read the full catalogue note written by Kenneth McConkey please follow the link below: Condition Report: Examined out of glazed frame. A few spots of light surface dirt. Otherwise appears to be in good original condition. Condition Report Disclaimer
SIR JOHN LAVERY (IRISH 1856-1941) PORTRAIT OF MARY CAROLINE, LADY DARLING Oil on canvas-board Signed (lower right); variously inscribed in Lord Darling's hand (verso) 35.5 x 25.5cm (13¾ x 10 in.) Provenance: Collection of Charles John Darling, 1st Baron Darling (1849-1936) Thence by descent to the present ownerMary Caroline Darling (née Greathed, 1863-1913), was a General's daughter. She married Charles Darling in 1885, the year in which her husband was called to the Bar, while unsuccessfully contesting the Hackney South constituency for the Conservatives. During her husband's political career, which lasted until 1897, she gave birth to a son, John Clive Darling (see lot 45). Two daughters followed when her husband returned to the Bench. Lavery was first commissioned to paint her portrait when painting her husband in his robes of office, following that of their daughter, Diana Janet Darling. The present sketch, as indicated on its reverse, was painted two years after Lady Darling's death from a photograph taken in 1892. Kenneth McConkey
SIR JOHN LAVERY (IRISH 1856-1941) PORTRAIT OF MINNIE PLOWDEN AND HER SON HUMPHREY, STUDY FOR A FULL LENGTH PORTRAIT Oil on canvas Signed (lower left) 35.5 x 25cm (13¾ x 9¾ in.)Provenance: Minnie Plowden, thence by descent to the present owner Literature: Kenneth McConkey, John Lavery, A Painter and his World, 2010 (Atelier Books, Edinburgh), p. 71 In 1898 Lavery, with the help of fellow Glasgow Boys and under the Presidency of James McNeill Whistler, established the International Society of Sculptors, Painters and Gravers, with the idea of staging annual exhibitions or 'art congresses' in London. As Vice-President, Lavery's three contributions to this radical departure were Portrait Group (Père et Fille), 1897, (Musée d'Orsay, Paris), A Garden in France, 1897 (National Gallery of Ireland, Dublin) and Mrs Roger Plowden and Humphrey for which the present canvas is the oil sketch. It is not entirely clear where and when the painter met the Plowdens. A member of an old Catholic legal and clerical family that hailed at the time of the Crusades from Shropshire, Roger Herbert Plowden was the son of a banker in Rome where, in his early years he led the life of a country gentleman. After his marriage to the daughter of Henry Jump of Woolton, near Liverpool in August 1883, he and his wife led a peripatetic existence between Rome, the south of France, their house at 32 Portman Square, London and Scottish estates, leased for the hunting and shooting seasons. They had been living in Rome before returning recently to Scotland where in 1897 Plowden rented and then purchased the Strachur estate on Loch Fyne from the Duke of Argyll. As with most large portrait commissions (fig. 1) Lavery planned his composition with a swift sketch as shown in Lot 43. In comparing the two it is instantly apparent that the composition has been reversed and the boy's leg positions changed. His silver suit has also been replaced by a black tabard. Sittings cannot have been easy since Minnie Plowden was unwell and increasingly immobile. As a 'mother and son' subject, the finished work is nevertheless a fine complement in tone, colour, handling and scale to the Orsay 'father and daughter'. For its part, the sketch is also more than a snapshot, making play with the flash of red in the sitter's cape and creating, in its soft greys, its own fine harmonies. Kenneth McConkey Condition Report: Light surface dirt throughout. A very minor loss to the centre of the lower edge. There is an area of slight undulation to the canvas visible to the upper right corner. Some very fine craquelure to the black pigment of Minnie's dress. Very small loss and surface scratch visible just above the signature, hardly noticeable. Inspection under UV reveals no obvious evidence of restoration or repair. In overall good original condition. Condition Report Disclaimer
ROGER FRY (BRITISH 1866-1934) THE ROUND TABLE Oil on canvas Signed and dated 1920 (lower right) 76 x 69.5cm (29¾ x 27¼ in.)Provenance: The Mayor Gallery, London Exhibited: London, Courtauld Institute Gallery, Portraits of Roger Fry, 18 September - 14 October 1976, no.22; this exhibition travelled to Sheffield, Mappin Art Gallery, 23 October - 21 November 1976 London, The Belgrave Gallery, Masters of Modern British Painting, 1977, no.1Literature:F. Birrell and D. Garnett, Some Contemporary English Artists, London, 1921, (Illustrated)R. Shone, Bloomsbury Portraits, London, 1976 (Illustrated plate 118, p. 197)R. Shone, The Art of Bloomsbury: Roger Fry, Vanessa Bell and Duncan Grant, London, 1999, p.205, fig.120D. Edwards, Winter Sonata, Virago Modern Classics, London, (front cover illustration)J. Rolls, The Bloomsbury Cookbook, London, 2014, p.232 (illus.) In the Spring of 1920, Roger Fry visited in Vence, staying at Maison Barrière with friends and fellow artists. Amongst this group were the sculptor Marcel Gimond and his wife Julie, both depicted in the present work. Gimond created a number of portrait busts of Fry in the early 1920s. An example of which is now held in London's National Portrait Gallery. The third figure present in Fry's painting, playing a guitar, is the illustrator and Post-Impressionist artist Sonia Lewitska. Lewitska was married to Fry's close friend Jean Marchand. Although present in a small oil sketch of the same scene he is not depicted in the present work. Fry admired Jean Marchand, including his work in both of his groundbreaking exhibitions held at the Grafton Galleries; Manet and the Post-Impressionists, 1910 and The Second Post Impressionist Exhibition, 1912. Through their friendship Marchand became closely associated with the Bloomsbury Group and Fry even dedicated a whole chapter in his 1920 book of essays Vision and Design, observing his move away from cubism; "Having once learned by this process of willed and deliberate analysis how to handle complex forms, he has been able to throw away the scaffolding and to construct palpably related and completely unified designs with something approaching the full complexity of natural forms, through the lucid statement and ease of handling which it actuates testify to the effect of his apprenticeship in Cubism." (R.Fry, Vision and Design, London, 1920, p.282) Although Fry wrote this about the work of Jean Marchand one cannot help but feel that he could have had in mind his fellow Bloomsbury artists Vanessa Bell and Duncan Grant after only recently closing the doors on the Omega Workshop due to lack of funds. Condition Report: The canvas has been relined. Ultraviolet light reveals scattered retouching to the extreme edges consistent with the relining. Otherwise in good condition. Condition Report Disclaimer
λ ERIC KENNINGTON (BRITISH 1888-1960) BOMB STUDIES Pencil and watercolour, heightened with white Inscribed to estate label Sketch of a Bomb & of a Telegraph Pole & of a Poppy/Inventory no. 177/ Date ca. 1918' (attached verso) 35.5 x 51.5cm (13¾ x 20¼ in.)Provenance: Property of the E.H. Kennington Estate (by December 1960) The Maas Gallery, London
λ SIR HERBERT JAMES GUNN (BRITISH 1893-1964) SKETCH FOR PORTRAIT OF EDWARD GRINDLAY Oil on canvas 46 x 35.5cm (18 x 13¾ in.)Together with a pencil portrait of Edward Grindlay, Signed, dated and inscribed Grindlay/HJ Gunn/ France 18 (lower right), 37.5 x 26cm (14 3/4 x 10 1/8in) (2) Provenance: The descendants of Edward and Evelyn Grindlay Sale, Reeman Dansie, Colchester, 27 April 2021, lot 1187 Gunn and Edward 'Teddy' Grindlay met in 1917 when they joined the 10th Scottish Rifles, becoming life-long friends and Grindlay, Gunn's patron.
First World War Medal trio comprising 1914-18 War Medal,1914-19 Victory Medal and George V Territorial War Medal for Voluntary Service Overseas 1914-19 Medal (lacking ribbon), all impressed to T4-245087 DVR.G.T Orme Army Service Corps together with silver War Service badge together with 1914 Queen Mary's Christmas tin and pencil sketch of G.Orme in 1918 wearing convalescent blues
* German School. Bamberger (Fritz, 1814-1873). Mountain scene with figures, 1844, pencil sketch, signed to lower right, a few light spots (11 x 17 cm), mounted on card with tissue guard, together with:Coastal Scene, circa 1845, pencil sketch, signed to lower right, a few light spots, (11 x 17 cm), mounted on card with tissue guard, plus La Granja, 1857, pencil sketch, signed to lower right, a few light spots, (12 x 21.5 cm), mounted on card with tissue guard, withBraun (L. V.). A View of Heidelberg, 1859, pencil sketch, dated with presentation inscription by the artist in brown ink at foot, a few spots, (11 x 16 cm), with 3 others similarQTY: (7)
* Müller (William James, 1812-1845). The Burning of the New Gaol, from Canon’s Marsh, Bristol, 1831, watercolour with bodycolour on card, with near-contemporary ownership inscription to verso in brown ink: 'The burning of the New Prison, Bristol, in the Riots of that City in 1831, by W. Müller. A.J.A. Proprietor', corners rounded off, 159 x 250 mm (6 3/16 x 9 7/8 ins), gilt mount, antique-style gilt frame (by Rollo Whately and Gino Franchi Antique Frames, 9 Old Bond Street, London, W1X 3TA, with their label to verso), frame size 26 x 33.5 cmQTY: (1)NOTE:Provenance: Alfred John Acraman (1809-1880), proprietor of the Great Western Cotton Company, Bristol (listed as residing at 4 Great George Street, Park Street according to Matthews's Directory of Bristol for 1832); Clevedon Salerooms, near Bristol, 23rd September 1999 (sold as a pair with The Burning of the Mansion House, Queen Square, Bristol, hammer price £14,500); Estate of Martin R. Davies, Bristol.For other sketches by Müller of the burning of the New Gaol, see Francis Greenacre and Sarah Stoddard, W. J. Muller 1812-1845, 1991, catalogue numbers 26, 27 and 28, pages 74-75.Literature: Francis Greenacre and Sarah Stoddard, W. J. Müller 1812-1845, 1991, page 70: ’The Bristol Riots of October 1831 were the nineteenth century’s bloodiest riots in England. For nearly two days the city was effectively in the hands of the mob. Prisons, toll-houses, the Bishop’s Palace, the Mansion House, the Custom House and much of Queen Square were destroyed. Together with his younger brother, Muller witnessed nearly all this destruction as it happened. Before such dreadful havoc, Muller’s response was bold and accomplished and his watercolours and small oil sketches form one of the most remarkable visual records of a national disaster before the advent of the camera’.It is impossible to determine when or how soon after the riots (which took place in Bristol between the 29th and 31st October 1831) this sketch was made. One sepia and pencil drawing (private collection) of the burning of the Mansion House just moments before the present work, has extensive and hurried pencil work and might well have been largely executed on the spot (see Greenacre and Stoddard, figure 6, page 72). The present work has the same powerful immediacy. See also Greenacre and Stoddard, (page 20, colour plate 6) for the Bristol Museum and Art Gallery’s oil sketch of the Mansion House scene.
* Furse (Charles Wellington, 1868-1904). A small archive of works by or relating to the artist, including a number of works by Charles Wellington Furse: a pencil study of the upper back and arms of a male nude on grey textured laid paper, signed in pencil lower right, upper right corner slightly creased, sheet size 27.3 x 39.1 cm (10 3/4 x 15 3/8 ins); a pen and ink drawing of Cecil Rhodes, dated 1896, with folds and a few edge-tears (one with loss to lower edge), sheet size 20.3 x 16.5 cm (8 x 6 1/2 ins), laid down on card (26.9 x 21.4 cm); and 13 small juvenile sketches of horses, figures, and dogs, mostly annotated 'Charlie' and dated 1873, some laid down on paper (adhesive show-through in places), 11.5 x 18 cm (4 1/2 x 7 ins) and smaller, and a collection of works by other hands, including a signed pen & ink head and shoulders sketch of a woman by Pietro Annigoni, dated 1954, a sketchbook belonging to Charles's brother the sculptor J.H.M. Furse, containing approximately 25 leaves of drawings, mostly head studies in pencil (some crossed through in pencil), but also a drawing of a greyhound in sanguine, a few sketches of other animals, several of festoons of fruit, 1 or 2 drapery studies, and a couple of landscapes in coloured chalks, sheet size 30.5 x 24.5 cm (12 x 9 3/4 ins), page block becoming loose in original cloth, large 4to, and a scrap album containing a variety of drawings, engravings, and manuscript writings, including a number of pen & ink or pencil caricatures and a scissor cut silhouette of a child, original gilt and blind decorated red calf, worn, 4toQTY: (a folder)NOTE:Charles Wellington Furse studied at the Slade School in London and the Académie Julian in Paris. He is known to have developed a talent for drawing at an early age, and this is borne out by some of the sketches offered here which were executed at the age of just six. Furse is particularly known for his portraiture, which demonstrates a novel sense of immediacy in direct contrast to much for the staid studio portraiture which had gone before. His sitters are often painted engaged in a sport or pastime, unconscious of being observed, giving the appearance of a snapshot in time. One such example is the impressive oil of four children on horseback entitled 'With the York and Ainsty - The Children of Mr Edward Lycett Green', a work conveying movement and colour, light and energy.
Loading...-
32316 item(s)/page