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Lot 306
PAUL BRADDON (1864-1938) "The Old Ship Inn", Camp Hill, Birmingham, watercolour painting, mount inscribed ..."Bygone Brum, The Old Ship Inn, Camp Hill (formerly known as the "Anchor") was the headquarters of Prince Rupert and his troops- with a cos y hostelry and the village smithy next door. A breakdown was soon put right and in fact, was considered part of the fun of the thing in the good old coaching days, drawn by Paul Braddon", 50cm x 74cm, gilt framed, mounted and glazed
Lot 374
DAVID MYNETT "Spoleto" view of a street scene through an arch, mixed media, titled lower left and signed lower right, together with four further watercolour and pastel works by the same hand one with a further painting verso of "Man Seated on a Garden Chair" CONDITION REPORTS Spoleto 46.5cm (l) x 38.5cm (w)
Lot 413
LILIAN STANNARD "Cottage Scene with Flowers in Garden", watercolour, signed lower left, together with LILIAN STANNARD "A Walled Garden", watercolour, signed lower right CONDITION REPORTS The painting of the cottage has some areas of foxing to the sky, possibly some staining and discolouration in areas also. The garden scene has some slight yellowing to the left and right hand side edges, possibly some fading and discolouration in areas. Both paintings have general wear and tear commensurate with age and use. See photos for more details.
Lot 365
A Chinese watercolour on silk scroll painting with applied silkwork decoration, 18th / 19th century, depicting a nobleman and a female companion playing a flute, both seated at a low table, a mountainous landscape visible beyond beneath a colourful arch, the female figure in applied silkwork, four character signature to top of scroll verso, white metal tie mounts to top, the watercolour 20 x 11½in. (50.75 x 29.25cm.), overall 58½in. (148.5cm.) long. *Condition: Large area of silk 'paper' missing from top centre of watercolour, plus two other small pieces missing below this large loss and to the top left. Small hole to silk to centre just to right of female figure's face. Crease and silk starting to split to top left. Two other lighter creases to lower corners. Silk is time stained overall and there are some dirty smudges to lower margin - colours still remain good. Some small losses to black backing silk at margins and some wear to silk tied hanging ribbon at top.
Lot 385
A 19th century Japanese watercolour on silk scroll painting depicting early Edo period Samurai armour, displayed upon a pedestal, the sword with unusual tiger fur plume, signed and with red seals, with a black and gold floral silk border, the wooden scroll with black and gilt lacquered terminals, the watercolour 37½ x 17in. (95.25 x 43.2cm.).*Condition: Some flaking to paint across the image, most notably to the more heavily applied black and gilt colours. Small 1.5in. split to gold silk ground below watercolour and some foxing and dirty marks and light creasing to the silk throughout. Two large water stain marks and some fading to the broad pale green silk border at the top and one of the gold silk straps is missing from the top. Minor losses to edge of silk at joint with wooden scroll rod and flaking from lacquer at one end of wooden scroll rod.
Lot 420
Naive School. A Regency family group seated at a table, circa 1820s, watercolour, interior scene with a young lady in a high-waisted grey gown holding a small bonneted child on her lap, a gentleman with one hand resting on a book beside a pack of playing cards and their box atop a circular table, and a woman wearing a purple gown and a white turban-style cap, against a backdrop of full length windows dressed with crimson drapes, a landscape oil painting, and a bookcase full of leather bound volumes, some minor craquelure, 34.5 x 41 cm (13.5 x 16 ins), framed and glazed (Qty: 1)Note: Believed to be a portrait of Jane Marsack, her infant child, and her parents, Mr. and Mrs. William Blackall Simonds of Caversham Rectory, Caversham, near Reading. Jane (born 1798) married George Hartwell Marsack (1792-1856) in 1819. William Blackall Simonds (1761-1834) was a brewer and banker. Martin Orskey purchased the painting from Jane Marsack's great great grandson in 1993 (see accompanying letter).
Lot 273
Original final painted Artwork for a US T-Shirt design for "Bride Of Chucky" (1998), this for a 2017 commission. Humphreys painting highlights the demonic nature of the Chucky toy doll. This piece is sold with the artist’s accompanying photo reference for the composition.15" x 17" (38 x 43 cm)Condition: ExcellentGouache on watercolour paper.AR - This lot may be subject to any applicable Artists Resale Rights. Please see our Terms and Conditions for further information.Artist: Graham HumphreysVAT Status: M£400 - 600Please note this lot is sold without copyright, reproduction rights, licensing agreements or any other type of legal release.
Lot 998
A FRENCH BAYARD EIGHT DAY CARRIAGE CLOCK, with Duverdrey and Bloquel movement (working), brass oil lamp with black base complete with chimney and shade, height approximately 55cm, watercolour painting of The Waverney in the Norfolk Broads, etching by J.B.Corot and a display case of old style keys
Lot 166
Albert George Stevens (Staithes Group 1863-1925): The Old Bridge Whitby, watercolour signed 21cm x 27cm Condition Report & Further Details There is a considerable white mark down the centre of the painting (visible in the photo) which appears to be pastel. It is possibly an attempt to cover up some damage such as a candle burn. Due to the lighter colour palette of the painting, the mark is less striking than on the other Stevens in the sale. There is also a dark line along the top of the picture from where it has previously been mounted.
Lot 167
Albert George Stevens (Staithes Group 1863-1925): Boats Moored in Whitby Harbour, watercolour signed 18cm x 26cm Condition Report & Further Details There is a considerable white mark down the centre of the painting (visible in the photo) which appears to be pastel. It is possibly an attempt to cover up some damage such as a candle burn. There is also a dark line along the top of the picture from where it has previously been mounted.
Lot 417
NORAH FULCHER (BRITISH 19TH/20TH CENTURY), a head and shoulders portrait of a young female figure wearing a blue dress with a bow in her hair, watercolour, signed lower left, set into an oval aperture within a gilt frame, approximately 62cm x 47cmcondition:The painting has foxing visible to the light areas, the frame has cracks to the edge of the oval and to the corners of the frame, some losses to the decorative moulding and losses to the gilt
Lot 352
A selection of illustrated books, to include FLAXMANS ILLUSTRATIONS OF THE ODYSSEY, printed in French, Paris, 1803; LEITCH (R), A COURSE OF WATERCOLOUR PAINTING, with colour plates, SHAW (B), THE HAND BOOK OF MEDIAEVAL ALPHABETS AND DEVICES, 1853; LUCAS (E), THE OPEN ROAD, a book for wayfarers, tipped in plates Methuen, 1913; 17TH AND 18TH CENTURY WEST MIDLAND IRON WORKING COMMUNITIES, peter White for Birmingham School of Architecture, 1964, etc (Qty)
Lot 333
Ann Fraser (20th century English School)'Ipomaea Tricolor - Heavenly Blue'Watercolour Signed and dated 1990 lower right45 x 34cm Together with an earlier painting of flowers, presented in oval frame and inscribed indistinctly verso, an abstract work signed and dated '89, a limited edition print depicting 'Daises at Calcot, Cirencester', signed, and a watercolour from 'An Exhibition of Travel and Still Life Watercolours and Drawings', ex. Derek Johns (5)
Lot 1232
Marianne North (1830 - 1890 ) - A 19th Century watercolour painting on paper depicting a landscape scene of a valley in Switzerland, having wooden huts in the foreground and the Alps to the background. Believed to be Marianne North as she was a friend of the vendor, set within an ebonised frame. Measures 18 cm x 25 cm.
Lot 52
Frederick Brocas (1792-1847)'Howth Harbour and Ireland's Eye' and 'Portmarnock Strand from Howth'Watercolours, 30 x 43.5cm (11¾ x 17'') and 29 x 43cm (11½ x 17''). (2)Born about 1792, Samuel was the second son of Henry Brocas. He attended the Dublin Society’s School and was a multiple prize winner for flower painting, etching and figure drawing. Strickland notes that he practiced as a landscape painter in Dublin both in oil and watercolour and that his works “possess considerable merit”. He was a contributor to various Dublin exhibitions in 1804, 1809 and 1812 while he exhibited at the newly formed Royal Hibernian Academy from 1828 to 1847, the year of his death. His topographical views in the environs of Dublin are perhaps what he is best remembered for, with many of his drawings being engraved by his brother Henry Jnr.
Lot 124
After David Teniers the Younger (Flemish, 1610-1690) The Kermesse at the Half Moon Inn watercolour on ivory 10 x 14cm (4 x 5in) The original painting executed by Teniers in 1641 is currently in the collection of Gemäldegalerie, Dresden. CONDITIONNot examined out of frame. Slight warping to the ivory, especially lower right corner. Colours are good. A chip to the frame and wear to the gilding.
Lot 134
William Lionel Wyllie, RA (British, 1851-1931) Seascape, Medway inscribed to the reverse in pencil "This is a drawing made by W L Wyllie RA near the mouth of the Medway / I was with him at the time" and indistinctly signed with initials watercolour on paper 26.50 x 45.50cm (10 x 18in) Provenance: Private collection, London Other Notes: Widely regarded as the leading British marine artist of his time, Wyllie excelled at watercolour painting - although he is much remembered for his mastery of the etching technique. Son of a genre painter and a singer, he grew up in London, but spent much time in Wimereux, a coastal village near Boulogne, France. It was there that he started making sketches and paintings of the French coast and local fisher-folk. Having settled down in London with his wife in 1879, he established his reputation as a marine painter - he had five solo shows at the Fine Art Society in 1883. A year later, he moved with his family to Gillingham House, near Chatham, but also rented a house in Rochester, Kent. Wyllie kept his boats on the foreshore of the Medway at the end of the garden and made frequent painting trips to Portsmouth, Northern France and Holland. It was at this time that he forged a good relationship with the Royal Navy at nearby Chatham. The present watercolour appears to be inscribed by one of Wyllie's friends who accompanied him on one such trip.
Lot 193
Sir Ernest Albert Waterlow, RA (British, 1850-1919) A drover driving cattle across a river bridge signed lower left "E A Waterlow" oil on canvas 60 x 50cm (23 x 20in) Provenance: Private collection, Bedfordshire Other Notes: Ernest Albert Waterlow was born in London and studied at the Royal Academy Schools, where in 1873 he gained the Turner Medal for landscape painting. Waterlow began to exhibit in 1872 and produced a considerable number of admirable landscapes in oil and watercolour, handled with grace and distinction. One of his pictures, 'Galway Gossips', is in the Tate Gallery. Waterlow travelled extensively in Ireland and on the Continent, yet it was the gentle rural life in England which appealed to him most. Following his attendance at Waterlow's studio sale at Christie's in 1920, Martin Hardie remarked that the artist's "somewhat idyllic landscapes, found mainly in southern England, are marked by harmony of colour and quiet refinement." Like Sir Alfred East, Waterlow worked throughout his life in watercolour as well as oils - being elected a member of the Royal Academy a year after receiving his knighthood in 1902. Oil on canvas which is unlined. There are two tears in the canvas, one at the upper left and one lower right. There are also a few scattered paint losses. The damage to the canvas has been caused by impact, apart from these areas the paint layer is stable and the canvas sound. The painting has a thick, yellowed varnish layer with surface dirt. There is some wear to the gilding on the lower edge of the frame, but overall it is in a good condition.
Lot 658
Bet Low RSW, "From the Cliff Top", signed, watercolour and gouache, inscribed label verso, 15 cm x 15 cm (see illustration). CONDITION REPORT: The painting is in extremely good condition with no issues to the medium or the paper. It is well mounted in a simple frame. The frame does have some minor blemishes and is a little dirty.
Lot 722
William Heaton Cooper (British 1903-1995), a derelict fellside barn, signed, watercolour, 27 cm x 37 cm (see illustration). ARR CONDITION REPORT: The painting itself is in very good condition with no issues. We can see no evidence of any damage, repairs or restoration. The mount is not in first class condition. It has slight water damage to the bottom edge and very minor traces of foxing. The simple gilt frame is a little scuffed and marked at the extremities.
Lot 734
Marcher, "Rialto Della Guardia, Venezia", signed Marcher, Venezia, watercolour, 24.5 cm x 16.5 cm. CONDITION REPORT: The painting is framed and glazed. The gilt frame is in generally good condition with only very minor blemishes. The watercolour itself is in reasonably good order. There is some slight discolouration to the sky area. There is a circular faint what looks like a watermark to the left of the corner of the front building. There does not appear to be any repairs or restoration.
Lot 770
Percy Kelly (1918-1993), a watercolour, "Railway Bridge, Aspatria", 20 cm x 26 cm, framed, signed with initials (see illustration). ARR CONDITION REPORT: As you will see the watercolour is glued to a board. There is a small section at the top of the painting just above the right hand chimney of the house which is missing. There is some discolouration to the paper onto which the picture is painted, there would also appear to be some fading of the paint, particularly to the sun or moon and to the chimney tops. The picture is well framed and could be hung in its current state without the need for any work.
Lot 853A
William Heaton Cooper (1903-1995), "A Summers Day in Grasmere", circa 1922, signed, watercolour with T Bromley and Son Ltd Fine Art Gallery label verso inscribed in pencil, purchased from the Heaton Cooper Studio 1998. 36.5 cm x 26.5 cm (see illustration). ARR CONDITION REPORT: The painting appears to be in very good order. We can see no evidence of any damage, repairs or restoration. There is no evidence of any foxing. The picture is framed and glazed and ready to hang.
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11510 item(s)/page