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Comic books - Robert Crumb - A special edition sketch book by American cartoonist Robert Crumb (1943). 'R.Crumb Sketch Book Nov. 1974 to Jan 1978' published by Zweitausendeins, 1978. First edition hardcover book in black and burgundy, with turquoise text block edges and marbled endpapers. Comes with card slipcase and German descriptve booklet. Excellent condition but please refer to photos.

Autographs - an autograph album from 1924 featuring signatures of entertainers, bands, sportsmen and radio personalities of the period. 1920s to 1940s. Autographs include: The Bristol Rugby Football Club 1924-1925 including a signed laid-in photograph of Leonard Corbett (played for England), a sketch by 'Blos' - Evening World illustrator 1935, 'Alfredo And His Band,' The Bristol Glee Singers, Jack Stanley, Stanelli and his 'Hornchestra!' 'Uncle' Leonard Henry, The Radio Three, Lord Mayor of Bristol HJ Maggs, Geraldo, Will Hay (clipping from a letter), Bobby 'The Uke' Henshaw, Marion Navarre, Marius B. Winter's Orchestra, several signatures from the 1935 / 1937 / 1938 Bristol Radio Exhibition, Gordon Freeman, Gert & Daisy, Pat O'Brien, Beryl Orde, Standford & McNaughton, Phyllis Smale, Band Of The Royal Marines 1937, Harry Hemsley, Jean Melville, Jan Ralfini & His Band, Chick Farr, George Hughes, Doris Cuban, Bennett & Williams, Suzette Tarri, The Four Aces, Leslie Hinton, 1938 Royal Marines Band, Claire De Lys, Charles Clapham (of Clapham & Dwyer), Herman Darewski & His Band, Lord Mayor & Lady Mayoress of Bristol 1940-41, Wilfred Pickles (clipping from a letter), Morans (Bristol store owners) and many others. Approx 50% full, and extremely well presented. A unique and fascinating local interest autograph album from the period.

Batman - DC Comics - Bob Kane (1915-1998 - co-creator) - framed display featuring a hand drawn sketch of Batman in black ink with 'Bats Wishes, Always' added above, and signed by Kane. Matted alongside a First Team Press Inc limited edition Batman print, further signed by Kane in pencil to the margin. No. 2475/2500. Professionally framed and glazed. Total size: 60cm x 61cm.

Marvel Comics - Dimitris Patelis (Marvel artist) - original hand-drawn illustration / sketch of Spider-Man and the Green Goblin. Sketched in pencil, signed to the corner. Matted above a signed print 'Spider-man Vs Green Goblin', further signed by Patelis is gold ink. Ready for framing. Total size: 75cm x 45cm.

French & Saunders (BBC Sketch Comedy Series) - Dawn French and Jennifer Saunders - 'Still Alive' tour programme signed to the front by both in black ink, undedicated. Obtained personally by the vendor at the Bristol Hippodrome.

Aardman Animations - Morph - Peter Lord - hand drawn large sketch of Morph with a birthday cake. Drawn in coloured pencil by Lord, and further signed in black ink to the lower margin. Undedicated. Total size: 25cm x 21cm. Morph was produced for the BBC by Aardman Animations, later famous for Wallace and Gromit and Shaun the Sheep. Morph appears mainly in one-minute "shorts" interspersed throughout the Take Hart show.

[PIGOTT, Charles]. The Jockey Club, or A Sketch of the Manners of the Age, second edition, 8vo, full contemporary calf with oxblood morocco title label lettered in gilt, [xvi], 188pp., internally very well-preserved, clean & bright, slight marginal loss to upper corners of final two leaves (not affecting text), calf worn to corners/edges, London: Printed for H. D. Symonds, 1792

Fachliteratur: Das Meissener Musterbuch für Höroldt-Chinoiserien. 51 x 36 cm. 16 Kg. Schulz-Codex: über 1000 Motive auf 132 Tafeln. Faksimile in fünf-achtfarbigem Druck, Tafeln in zwei Kassetten, Textband mit japanischer Blockheftung. Kommentar von Rainer Behrends mit über 180 Abbildungen. Deutsch-englisch-französisch-spanischer Text. Verlag Edition Leipzig 1978. Nummeriert: 467. Einmalige limitierte Auflage von 1500 Exemplaren, nach dem Druck wurden die Druckträger vernichtet ! Die Musterblätter aus der Meissner Malstube werden erstmalig vollständig wiedergegeben. Einband mit Honanseide überzogen, im Rücken eigens für diese Ausgabe angefertigte Plaketten aus Meissner Porzellan. Original-Schuber oben und unten mit Klebeband fixiert, Einbände mit Gebrauchsspuren. Die Musterblätter stammen aus den Jahren 1723-1726. Die Originale wurden von dem Sammler Georg Wilhelm Schulz erworben, nach dem das Konvolut seinen Namen hat (Schulz-Codex). Das Grassi Museum für Angewnadte Kunst in Leipzig hat die Blätter aus dem Schulz-Nachlass erworben. Johann Gregorius Hoeroldt war der Initiator der Skizzensammlung * Partnerauktion Bergmann. Aufrufzeit 28. | Feb. 2025 | voraussichtlich 11:55 Uhr (CET)Specialist literature: The Meissen pattern book for Höroldt chinoiseries. 51 x 36 cm. 16 kg. Schulz Codex: over 1000 motifs on 132 plates. Facsimile in five-eight-color print, plates in two cassettes, text volume with Japanese block stitching. Commentary by Rainer Behrends with over 180 illustrations. German-English-French-Spanish text. Published by Edition Leipzig 1978, numbered 467, limited edition of 1500 copies, the printing plates were destroyed after printing! The pattern sheets from the Meissner Malstube are reproduced in full for the first time. Binding covered with Honan silk, Meissen porcelain plaques made especially for this edition on the spine. Original slipcase fixed at the top and bottom with adhesive tape, covers with signs of wear. The pattern sheets date from the years 1723-1726. The originals were acquired by the collector Georg Wilhelm Schulz, after whom the collection is named (Schulz Codex). The Grassi Museum für Angewnadte Kunst in Leipzig acquired the sheets from the Schulz estate. Johann Gregorius Hoeroldt was the initiator of the sketch collection * Partner auction Bergmann. Call time 28 | Feb. 2025 | presumably 11:55 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.

THOMA, Hans, zugschrieben Sitzender KnabeAquarellierte Bleistiftzeichnung. 18,5 x 23,5 cm. Gerahmt & hinter Glas : 28 x 33 cm / 0,7 kg. Auf dem getönten Blatt leichte Spuren einer weiteren Skizze. Aufrufzeit 01. | März 2025 | voraussichtlich 10:31 Uhr (CET) THOMA, Hans, inscribed Sitting boyWatercolor pencil drawing. 18.5 x 23.5 cm. Framed & behind glass : 28 x 33 cm / 0,7 kg. On the tinted sheet slight traces of another sketch. Call time 01 | March 2025 | presumably 10:31 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.

AM ENDE, Hans(1864 Trier - 1918 Stettin) LandschaftszeichnungKohlezeichnung. Bleistiftsignatur. 22 x 13 cm. Gerahmt & hinter Glas : 38 x 29 cm / 1,2 kg. Rückseitig kleine Landschaftsskizze mit Berglandschaft. Deutscher Impressionist, studierte an den Akademien München und Karlsruhe. Mitbegründer der Künstlerkolonie Worpswede. Literatur : Thieme/Becker. Aufrufzeit 01. | März 2025 | voraussichtlich 10:41 Uhr (CET) AM ENDE, Hans(1864 Trier - 1918 Stettin) Landscape drawingCharcoal drawing. Pencil signature. 22 x 13 cm. Framed & behind glass : 38 x 29 cm / 1,2 kg. Small landscape sketch with mountain landscape on the reverse. German Impressionist, studied at the Munich and Karlsruhe academies. Co-founder of the Worpswede artists' colony. Literature : Thieme/Becker. Aufrufzeit 01. | March 2025 | probably 10:41 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.

Porträtskizze eines SchauspielersÖl/Leinwand. Rechts unten undeutlich signiert. (19)18. 60,5 x 45 cm. Gerahmt : 70 x 55 cm (Goldrahmen); 2,4 kg. Bildnis eines Mannes im Rokokokostüm im hellen Licht. Wohl tschechischer Künstler. Aufrufzeit 01. | März 2025 | voraussichtlich 13:39 Uhr (CET) Portrait sketch of an actorOil/canvas. Indistinctly signed lower right. (19)18. 60.5 x 45 cm. Framed : 70 x 55 cm (gold frame); 2.4 kg. Portrait of a man in a rococo costume in bright light. Probably Czech artist. Call time 01 | March 2025 | probably 13:39 (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.

COULANGE-LAUTREC, Emmanuel de(1824 - 1898) Badende NymphenÖl/Holz. Rechts unten signiert, verso weitere Skizze mit drei Damen im Wald. 24,5 x 32 cm. Gerahmt : 32 x 39,5 cm (Goldrahmen); 0,8 kg. Drei nackte Frauen im Sonnenschein am Ufer eines Sees zwischen hohen Bäumen. Altersspuren. Französischer Maler, studierte in Marseilles, dort später auch Professor an der École des beaux-arts. Literatur : Thieme/Becker. Aufrufzeit 01. | März 2025 | voraussichtlich 14:34 Uhr (CET) COULANGE-LAUTREC, Emmanuel de(1824 - 1898) Bathing NymphsOil/wood. Signed lower right, verso further sketch with three ladies in the forest. 24.5 x 32 cm. Framed : 32 x 39.5 cm (gold frame); 0.8 kg. Three naked women in the sunshine on the shore of a lake between tall trees. Traces of age. French painter, studied in Marseilles, where he later became a professor at the École des beaux-arts. Literature : Thieme/Becker. Aufrufzeit 01. | March 2025 | probably 14:34 (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.

ZÜGEL, Heinrich Johann von(1850 Murrhardt - 1941 München) Skizze mit Bauern bei der SchafschurÖl/Malkarton. Rechts unten signiert. 35 x 27 cm. Gerahmt : 58,5 x 50 cm (Goldstuckrahmen); 4,2 kg. Expressiv gemalte Studie mit dem Bauernpaar und den schemenhaft erkennbaren Tieren vor der Wand des Stalls. Minimale Altersspuren. Tiermaler in München, studierte an der Kunstschule Stuttgart bei Neher und Rustige, Ehrenmitglied der Akademie München, Gründungsmitglied der Münchener Sezession, Prof. an der Akademie Karlsruhe und München. Literatur : Thieme/Becker. Aufrufzeit 01. | März 2025 | voraussichtlich 15:13 Uhr (CET) ZÜGEL, Heinrich Johann von(1850 Murrhardt - 1941 Munich) Sketch with farmers shearing sheepOil/painting card. Signed lower right. 35 x 27 cm. Framed : 58.5 x 50 cm (gold stucco frame); 4.2 kg. Expressively painted study with the peasant couple and the vaguely recognizable animals in front of the wall of the stable. Minimal traces of age. Animal painter in Munich, studied at the Stuttgart art school under Neher and Rustige, honorary member of the Munich Academy, founding member of the Munich Secession, professor at the Karlsruhe and Munich academies. Literature : Thieme/Becker. Call time 01 | March 2025 | probably 15:13 (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.

HUTH, Franz(1876 Pößneck - 1970 Weimar) Skizze der Skulptur des heiligen NepomukPastell. Rechts unten signiert. 1926. 62 x 44 cm (im Passepartout 76 x 56 cm); 0,5 kg. Gerahmt. Wohl süddeutsche Figur des Heiligen mit zum Himmel gerichtetem Blick. Maler und Professor in Heidelberg und Weimar, Lehre als Porzellan- und Glasmaler, Studium an der Kunstgewerbeschule Dresden, seit 1922 in Weimar tätig. Literatur : Thieme/Becker. Aufrufzeit 01. | März 2025 | voraussichtlich 16:51 Uhr (CET) HUTH, Franz(1876 Pößneck - 1970 Weimar) Sketch of the sculpture of St. NepomukPastel. Signed lower right. 1926. 62 x 44 cm (in passepartout 76 x 56 cm); 0.5 kg. Framed. Probably South German figure of a saint with his gaze directed towards the sky. Painter and professor in Heidelberg and Weimar, trained as a porcelain and glass painter, studied at the Dresden School of Arts and Crafts, active in Weimar since 1922. Literature : Thieme/Becker. Aufrufzeit 01. | March 2025 | probably 16:51 (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.

VIEGENER, Eberhard(1890 Soest - 1967 Bilme/Soest) Industrie in SoestÖl/Leinwand/Karton. Links unten monogrammiert. 24 x 35 cm. Gerahmt : 29 x 40 cm (Silberleiste); 0,6 kg. Kleine Landschaftsskizze mit Blick auf ein Fabrikgelände in weiter ebener Landschaft. Minimale Altersspuren. Maler und Grafiker, Autodidakt, anfänglich Impressionist, dann Pointillist, später Expressionist. Literatur : Thieme/Becker. Aufrufzeit 01. | März 2025 | voraussichtlich 18:24 Uhr (CET) VIEGENER, Eberhard(1890 Soest - 1967 Bilme/Soest) Industry in SoestOil/canvas/cardboard. Monogrammed lower left. 24 x 35 cm. Framed : 29 x 40 cm (silver molding); 0.6 kg. Small landscape sketch with a view of a factory site in a wide, flat landscape. Minimal traces of age. Painter and graphic artist, self-taught, initially Impressionist, then Pointillist, later Expressionist. Literature : Thieme/Becker. Aufrufzeit 01. | March 2025 | probably 18:24 (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.

MÜHLIG, Hugo(1854 Dresden - 1929 Düsseldorf) Freilichtskizze mit SchafherdeÖl/Leinwand/Karton. Links unten signiert mit Zusatz Düsseldorf. 15 x 21 cm. Gerahmt : 25 x 31 cm (Goldrahmen); 0,4 kg. Weite Landschaft mit herbstlichen Bäumen und Hirte mit Herde unter bedecktem Himmel. Altersspuren. Landschaftsmaler in Dresden und Düsseldorf, Schüler seines Vaters und der Akademie Dresden (Meisterschüler von P. Mohn), während des Sommers häufig in der Künstlerkolonie Willingshausen in Gemeinschaft mit Bantzer und Volkmann. Literatur : Thieme/Becker. Aufrufzeit 01. | März 2025 | voraussichtlich 19:13 Uhr (CET) MÜHLIG, Hugo(1854 Dresden - 1929 Düsseldorf) Open-air sketch with flock of sheepOil/canvas/cardboard. Signed lower left with the addition Düsseldorf. 15 x 21 cm. Framed : 25 x 31 cm (gold frame); 0.4 kg. Wide landscape with autumnal trees and shepherd with herd under a cloudy sky. Marks of age. Landscape painter in Dresden and Düsseldorf, pupil of his father and the Dresden Academy (master pupil of P. Mohn), during the summer often at the Willingshausen artists' colony together with Bantzer and Volkmann. Literature : Thieme/Becker. Aufrufzeit 01. | March 2025 | probably 19:13 (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.

HÜNTEN, Max(1869 Düsseldorf - 1936 Zingst) Skizze mit StubenkükenÖl/Leinwand. Unsigniert, verso Nachlassstempel. 21,5 x 32,5 cm. Gerahmt & hinter Glas : 27,5 x 38,5 cm (schwarzer Lackrahmen); 0,7 kg. Die Jungtiere im Sonnenschein beim Trinkgefäß. Deutscher Maler, studierte an Düsseldorfer Akademie unter Gebhard und Kampf, ebenso an Académie Julian in Paris sowie in München und Berlin. Später tätig auf dem Darß. Literatur : Thieme/Becker. Aufrufzeit 01. | März 2025 | voraussichtlich 20:01 Uhr (CET) HÜNTEN, Max(1869 Düsseldorf - 1936 Zingst) Sketch with baby chicksOil/canvas. Unsigned, estate stamp on verso. 21.5 x 32.5 cm. Framed & behind glass : 27.5 x 38.5 cm (black lacquer frame); 0.7 kg. The young animals in the sunshine by the drinking vessel. German painter, studied at the Düsseldorf Academy under Gebhard and Kampf, as well as at the Académie Julian in Paris and in Munich and Berlin. Later active on the Darß. Literature : Thieme/Becker. Aufrufzeit 01. | March 2025 | probably 20:01 (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.

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.

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.

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.

WILLIAM SAMUEL HORTON (AMERICAN 1865-1936): A LARGE OIL PAINTING ON CANVAS DEPICTING A WINTRY LANDSCAPE WITH TREES106cm x 90cmWilliam 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 'THE LAST RADIANCE, GSTAD'100cm x 87cmFramed 77cm 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 STILL LIFE WITH FRUIT AND A LANTERN77cm 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 STILL LIFE WITH FLOWERS44cm x 35cmFramed 72cm x 65cmWilliam 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 BOARD DEPICTING LA PLACE DE LA CONCORDE, PARIS75cm x 63cmFramed 95cm x 83cmWilliam 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 DEPICTING THE SEA WITH MOUNTAINS61cm x 46cmWilliam 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 FOUNTAIN WITH TREES55cm x 44cmWilliam 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 DEPICTING A WOODLAND WITH A STREAM61cm 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 GROUP OF THREE OIL PAINTINGS ON CANVAS, TO INCLUDE CATTLENot on stretchers, unframed.Largest 78cm x 68cmWilliam 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 COUNTRYSIDE SCENE61cm x 47cmWilliam 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 WINTRY MOUNTAIN LANDSCAPE WITH HOUSES62cm x 48cmWilliam 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 FRENCH 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 CHARCOAL SKETCH OF TREES63cm x 48cmWilliam 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 CHATEAU IN THE FRENCH COUNTRYSIDE77cm 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): A GROUP OF SIX OIL PAINTING SKETCHES ON BOARDLargest 46cm x 37cmWilliam 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 GARDEN STATUE NEAR A POND55cm x 45cmFramed and glazedWilliam 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 PARISIAN VILLAGE AT NIGHT55cm x 44cmWilliam 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 'PETUNIAS'58cm x 54cmLabelled to verso.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 PASTEL DRAWING ON PAPER DEPICTING A WINDING STREAM IN THE COUNTRYSIDE40cm x 28cmFramed and glazed 80cm x 66cmWilliam 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 FOUR ETCHINGS ON PAPER30cm x 23cmFramed and glazed 43cm x 36cmWilliam 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 ROOFTOPS IN THE SUNSHINE56cm x 44cmWilliam 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 PAIR OF PASTEL DRAWINGS ON PAPER DEPICTING TREES WITH CHURCH RUINS IN THE BACKGROUND61cm x 47cmWilliam 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.

ALFRED CROWDY LOVETT C.B.E (BRITISH 1862-1919): A WATERCOLOUR PAINTING ON PAPER DEPICTING AN INDAIN RIFLEMAN26.5cm x 19cmFramed and glazed 41cm x 31cmMonogrammed, circa 1880's.Painted on original 19th/20th Century prepared paper board. Pencil sketch to verso of Indian Regiment soldiers.Alfred Lovett was an army officer commissionsed into the Gloucestershire Regiment in 1883, and he was promoted through the ranks to Brigadier General. He was posted to India with his regiment as a lieutenant in 1883, initially in Karachi. He then moved to Poona, Ahmedmagar, Bombay and Narisabad. He commanded the 1st Battalion, the Gloucestershire Regiment with the BEF in 1914. He was appointed Brigade Commander in the First Division and made Companion of the Order of the Bath, and awarded CBE in 1919.While in India, Lovett illustrated an important book written by Major Macmunn, 'Armies of India' published originally in London by A&C Black in 1911.Lovett died from illness aged 57 years old and is buried in Scarborough Manor Road Cemetry, North Yorkshire.He was a very talented artist, painting landscapes, Indian Army uniforms and soldiers and his work is held in the Royal Academy.Provenance: British Private Collection.

WILLIAM SAMUEL HORTON (AMERICAN 1865-1936): A PASTEL DRAWING ON BOARD DEPICTING COWS IN A FIELD NEAR A STREAM, WITH CHURCH RUINS IN THE BACKGROUND60cm 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 GROUP OF SIX OIL PAINTING SKETCHES ON BOARD55cm x 43cmSome in poor condition.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.

Bruce Pearson (b 1950, British) Pencil & Watercolour sketch study 'Hobby - aerial feeding May 92' signed lower right 28.5cm x 20cm. Mounted, framed and glazed.

CRIMEAN WAR. Woods, N.A. The Past Campaign; a sketch of the War in the East..., 2 vol., bound in partial leather with marbled paper, 8vo, 1855.

A poignant First World War M.M Killed In Action medal group with death plaque and related letters. Corporal George Jay, Military Foot Police, No. 3 Traffic Control Company. Medals: Military Medal, 1914 Mons Star, 1914-18 War Medal and Victory Medal, named to "P-416 L.CPL G. JAY M.F.P". Death plaque to 'George Jay' with original envelope. With an extract from routine orders regarding the award of the Military Medal, "On 5th June 1917, A/Cpl. Jay was on traffic duty on a road which was being shelled. There was a convoy of lorries containing Gas Cylinders, one of which had been struck by a shell, and there were several casualties:- including two deaths. Cpl. Jay got the remaining lorries out of the way without delay, and sent for ambulances. He then assisted in rendering first aid to the wounded men and stayed with them until the ambulances arrived. Having seen the wounded men removed in the ambulances Cpl. Jay removed the bodies of the men who had been killed, and took charge of their effects. He then resumed his patrol on the road, which was still being subjected to heavy fire." Further included is a photograph of the temporary gravesite cross, three photographs of George Jay and his wife, two regimental photographs, four silk postcards home from George, and several heartfelt letters, clearly showing how much he meant to his fellow serving police: 1. Captain M Peace, Commanding No. 3 Traffic Control Company (Mobile Police), 26th March 1918: "It is with the most profound regret that I have to transmit to you the unhappy news that your husband was most severely wounded about midday on the 24th inst & succumbed to his wounds about two hours later. I feel his loss very severely for, not only by myself, but by everyone who came into touch with him, he was regarded as the very essence of courage and devotion. He joined my company a year ago, & during that time, by his untiring devotion to duty, his fearless bravery, he carried with him the men the men under him, & won the confidence & deepest respect of his officers. He was buried yesterday, in a little field cemetery close to the spot where he fell & with the full honours of a brave soldier..."2. Sgt. C Gray, 3rd T.C.C, condolences to his wife, 'he was one of the very best. Well liked by everybody and a more cheerful comrade one could never wish to meet. He gave his life for his King and Country and died whilst doing his duty in trying to look after others ... I am enclosing a sketch of the cross we have had erected over his grave. I am trying to get a photo taken and if I succeed I will be sure to get a copy. he N.C.O's and men of the 3rd Traffic Control Co and the Military Police in the immediate neighbourhood all join me in deep sympathy for you and the children and hope that the enclosed sum of £20-8- which has been contributed by them, will assist you in a practical way..."3. P.1261 Corporal F. Blythe, 2nd April 1918, similar contents, 'No N.C.O enjoyed greater love and respect than did Corporal Jay, from the rest of the N.C.Os & men and his loss has been deeply mourned by all but by none more than by myself. I am an old G.E. Ry policeman, a pal of poor old George in civil life as well as Army life ... As soon as I heard he was wounded I went to him at once, but he was unconscious & remained so till the end. He has been buried amongst other heroes, & a nice cross erected over the grave, which will always receive attention from us while we are here."4. Sympathy letter from Major A.C. Chauncy, Chief of Police of the Great Eastern Railway, 4th April 1918 Corporal Jay was born on 8th August 1879. He joined the Great Eastern Railway in 1911 and was one of the first to answer the call at the outbreak of war. He died from wounds sustained in action in France on 24th March 1918. He left behind his widow, Rosena, and four children. He is buried at the Ypres Reservoir Cemetary in Belgium, and his portrait can be viewed on findagrave.com. The British Transport Police History Group also recently worked with the Commonwealth War Graves Commission to get George Jay's Military Medal recognised on his headstone. Condition:Please see photos for the death plaque and the edges of the medals. There are some very minor small knocks and a couple of scratches to the edge of the MM. The Victory has the usual expected tarnishing and likewise some small edge knocks. The star has a small knock to the reverse of one point. No signs of any significant knocks, bruising, repolishing or renaming.

G. MANTON, signed oil on canvas "Portrait of young girl with blue head band - A Sketch from Life", 60cm x 49cm

A mid 20thC autograph album, containing various poems, some pencil and pen sketches to include a sketch of Kiltie depicting a soldier wearing a kilt.

Geoffrey Key, fibre tip sketch of a woman's head, signed and with birthday greetings, 15 x 19cm, framed and glazed.

Small collection of Masonic ephemera including by-laws books, constitution books, leaflets, sketch book, etc

1911 3d Engravers Sketch Die for Unissued Value. Very fine cut down die proof mounted on card (58 x 85mm) in slate grey with shaded background to head and upper solid corners (Fig 23b). Very rare, ex. Hassan Shaida.