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Click here to subscribe20th century painting and print, to include: Coastal cliffs, signed indistinctly C. Mallot/Muller? lower left and dated 1942, watercolour and bodycolour on paper, 56 x 37 cm (excluding frame), in gilt frame; together with after Eugene Pechaubes - 'At the Water', framed reproduction print, 92 x 58 cm (including frame) (2)
* MURIEL BARCLAY, LIGADO watercolour on paper, signed, titled label versomounted, framed and under glass (slipped in the mount)image size 71cm x 51cm, overall size 102cm x 79cm Label verso: C. R. M. F Art ExhibitionNote: In the inaugural Scottish Contemporary Art Auction staged by McTear's on 22nd November 2008, "Pink Tutu Tune" by Muriel Barclay sold for £7475 (premium) which was widely reported to be a record price for any maiden painting at public auction by a Scottish artist (past or present). Muriel Barclay is one of Scotland's most successful living artists and her exhibiting history is impressive. Her paintings are enthusiastically collected around the UK and auction appearances of her larger paintings, such as "Leg Pulling", are extremely rare. Collections include: Sir Arnold Clark, Lord Harris, The Sultan of Brunei, Alex McLeish, Sir Jack Harvey, HBOS, Biggart Baillie, Arisaig Partners, Ernie Els (golfer) and numerous other prestigious corporate and private collections worldwide. In The Scottish Contemporary Art Auction of 13th December 2020 "Peace Delegation" (a 77 x 87cm oil, lot 612) by Barclay, sold for £5500 (hammer) and in The Scottish Contemporary Art Auction of 24th October 2021 lot 836 "Venice" by Muriel Barclay sold for £6000 (hammer).
* MURIEL BARCLAY, MELODY watercolour on paper, signed, titled label versomounted, framed and under glass image size 71cm x 51cm, overall size 101cm x 78cm Label verso: C. R. M. F. Art Exhibition.Note: In the inaugural Scottish Contemporary Art Auction staged by McTear's on 22nd November 2008, "Pink Tutu Tune" by Muriel Barclay sold for £7475 (premium) which was widely reported to be a record price for any maiden painting at public auction by a Scottish artist (past or present). Muriel Barclay is one of Scotland's most successful living artists and her exhibiting history is impressive. Her paintings are enthusiastically collected around the UK and auction appearances of her larger paintings, such as "Leg Pulling", are extremely rare. Collections include: Sir Arnold Clark, Lord Harris, The Sultan of Brunei, Alex McLeish, Sir Jack Harvey, HBOS, Biggart Baillie, Arisaig Partners, Ernie Els (golfer) and numerous other prestigious corporate and private collections worldwide. In The Scottish Contemporary Art Auction of 13th December 2020 "Peace Delegation" (a 77 x 87cm oil, lot 612) by Barclay, sold for £5500 (hammer) and in The Scottish Contemporary Art Auction of 24th October 2021 lot 836 "Venice" by Muriel Barclay sold for £6000 (hammer).
* ALISON DUNLOP RSW (CANADIAN/SCOTTISH b. 1958), DANCER II oil on canvas, signedframedimage size 121cm x 121cm, overall size 143cm x 143cmNote: Born in Canada in 1958, Alison began her studies there before continuing in France and Britain. In 1982, she came to Scotland to undertake postgraduate studies at Edinburgh College of Art, and has made Scotland her home. In 1989 Alison was elected a member of the Royal Scottish Society of Painters in Watercolour and is a past Vice-President of the Society. She also served as President of Visual Arts Scotland for three years in the 1990s and has been made an honorary life member. She is a founding Director of The Exhibiting Societies of Scottish Artists (ESSA) and a founding member of the Edinburgh College of Art Alumni Association. She was Honorary Arts Convenor of the Scottish Arts Club, Edinburgh from 2001-2004. Twice the recipient of the Elizabeth T Greenshields Foundation Scholarship, she has been short listed several times for the Noble Grossart Painting Prize and received the Alexander Graham Munro Award from the RSW in 1997 and the John Gray Prize in 2007. Twice the recipient of the Elizabeth T Greenshields Foundation Scholarship, she was short-listed several times for the Noble Grossart Painting Prize and received the Alexander Graham Munro Award from the RSW in 1997 and the John Gray Prize in 2007. Most recently, she received the Walter Scott Award at the RSW’s Annual Open Exhibition (Royal Scottish Academy) in November 2018. Her oils and watercolours are widely held in both public and private collections throughout the UK and Canada, and have been featured in exhibitions at the following galleries: LONDON GALLERIES: Panter and Hall, Mayfair; Tracey McNee Fine Art; Thompson's Gallery; The Piccadilly Gallery; The Thackeray Gallery and also at The Bruton Gallery, Bath. SCOTTISH GALLERIES: Randolph Gallery, Edinburgh; The Open Eye Gallery, Edinburgh; The Scottish Gallery, Edinburgh; The Stenton Gallery; Tracey McNee Fine Art, Glasgow. CANADIAN GALLERIES: Galerie Rochon, Toronto. OPEN EXHIBITIONS: The Royal Scottish Academy; The Royal Scottish Society of Painters in Watercolour; The Royal Glasgow Institute of Fine Arts; Visual Arts Scotland. Alison's most recent solo show was at The Scottish Gallery 7th - 28th January 2023.
* DANNY FERGUSON RSW RGI (SCOTTISH 1925 - 1993) WEST COAST EVENING oil on board, signed, titled verso framed and under glassimage size 89cm x 89cm, overall size 106cm x 106cmNote: Danny Ferguson was educated at Airdrie Academy from 1936-1942. He was an athletic youngster, playing football for (amongst others) Baillieston Juniors, Bedlay Juniors, Douglas Water Thistle and Blantyre Victoria (taking over the centre-half position from Jock Stein). Later in life, he was a keen snooker player, frequently championing the Glasgow Art Club, and enjoyed Curling. He began studying at GSA in 1941 but his studies were interrupted when he was called up. He joined the Royal Air Force in 1943 and served in the Far East. He re-joined GSA in 1947 and was awarded his diploma in Drawing and Painting in 1949. That same year he won a £30 prize at the Royal Scottish Academy annual competitions. From 1949-1950 he attended the Jordanhill Teacher Training College. He later combined a position as visiting lecturer at GSA with teaching in various Glasgow Schools. He returned to GSA as a full-time lecturer in 1968. In 1958 Ferguson married Margaret Dunn, also a graduate of the Glasgow School of Art, in Embroidery and Weaving. They had two children, Anne and David. Probably best known for his landscapes, still lifes and self-portraits. He exhibited regularly, had numerous one-man shows, and his work still hangs in many collections, including the Royal Collection. Danny Ferguson was elected a member of the RSW in 1969, having exhibited there from 1961. He had over 88 works exhibited at the Royal Glasgow Institute, from 1957. He was a member of the Royal Scottish Society of Painters in Watercolour. Ferguson also served as honorary secretary of the RGI for nine years and was also elected President of the Glasgow Art Club.
* CLAIRE HARKESS RSW (SCOTTISH b. 1970), FINCH watercolour on paper, signed in pencil, titled versomounted, framed and under glassimage size 21cm x 26cm, overall size 44cm x 48cm Note: Claire Harkess was born in Ayr, Scotland, graduating from Glasgow School of Art in the early 1990s. In recent years her painting has taken her to fragile lands to study and interpret life on the edge. Antarctica, Outback Australia and St Kilda are all places where, in such extreme environments, survival is difficult and the balance of life is delicate. Harkess has also worked on the Galápagos Islands, made famous by Charles Darwin’s ‘The Origin of the Species’. This isolated volcanic outpost remained relatively untouched by man, evolving to become one of the World’s unique ecosystems. The balance present in nature is clearly communicated through Claire's paintings. Painting in watercolour or gouache offers a unique directness; the essential qualities of light and energy present in the natural world are the very essence of the medium itself. The delicacy of her palette and oriental economy of her mark-making creates a subtle tension representing a world that is ‘holding still’, giving a sense of freedom, spirit, time and place. Claire's work is exhibited at The Scottish Gallery, where her most recent highly successful solo show was in July 2020, and at other prestigious galleries around the UK.
* CLAIRE HARKESS RSW (SCOTTISH b. 1970), PAIR OF GANNETS watercolour on paper, signed, titled verso mounted, framed and under glassimage size 15cm x 22cm, overall size 37cm x 42cm Note: Claire Harkess was born in Ayr, Scotland, graduating from Glasgow School of Art in the early 1990s. In recent years her painting has taken her to fragile lands to study and interpret life on the edge. Antarctica, Outback Australia and St Kilda are all places where, in such extreme environments, survival is difficult and the balance of life is delicate. Harkess has also worked on the Galápagos Islands, made famous by Charles Darwin’s ‘The Origin of the Species’. This isolated volcanic outpost remained relatively untouched by man, evolving to become one of the World’s unique ecosystems. The balance present in nature is clearly communicated through Claire's paintings. Painting in watercolour or gouache offers a unique directness; the essential qualities of light and energy present in the natural world are the very essence of the medium itself. The delicacy of her palette and oriental economy of her mark-making creates a subtle tension representing a world that is ‘holding still’, giving a sense of freedom, spirit, time and place. Claire's work is exhibited at The Scottish Gallery, where her most recent highly successful solo show was in July 2020, and at other prestigious galleries around the UK.
* GLEN SCOULLER RSW RGI DA (SCOTTISH b. 1950), RED AND BLUE BOATS, HASTINGS oil on wood panel, signed, mounted, framed and under glassimage size 15cm x 15cm, overall size 31cm x 35cm Artist's label verso.Note: Glen Scouller is a contemporary Scottish artist, known for his vibrant and expressive landscapes and still lifes, which showcase his interest in bold colours and the movement of light. Scouller was born in Glasgow in 1950 and studied at Glasgow School of Art from 1968-73. As a student, he won the Royal Scottish Academy Painting Award and in 1973, was awarded the Post Graduate Study Award, the WO Hutcheson Prize for Drawing and Travelling Scholarship to Greece. In the following years, Scouller won more awards for his work, including the Lauder Award, Glasgow Art Club and Scottish Amicable Award, Royal Glasgow Institute of Fine Arts. He regularly exhibits at the Royal Scottish Academy, The Royal Glasgow Institute of Fine Arts and the Royal Scottish Society of Painters in Watercolour. In 1989, he was elected a member of the Royal Glasgow Institute of the Fine Arts, followed by the Royal Scottish Society of Painters in Watercolour in 1997.Since 1977, Scouller has had over 40 solo exhibitions across Scotland and internationally. His works are held by both public and private collections worldwide, including The Scottish Office in Edinburgh, De Beers and the First National Bank of South Africa.
* LACHLAN GOUDIE ROI (SCOTTISH b. 1976), LATE IN THE DAY watercolour on paper, signed, titled label versoframed and under glass image size 37cm x 30cm, overall size 51cm x 44cm Label verso: Stenton Gallery, StentonNote: Lachlan Goudie was one of the judges in the BBC1 series The Big Painting Challenge. Lachlan studied at the Camberwell College of Arts, but claims his training started as a child when he painted alongside his father Alexander Goudie, one of Scotland's finest figurative painters. In 2012, Lachlan was named as a 'creative to watch' in the Times newspaper's Luux magazine, and in 2013 he became a full member of the Royal Institute of Oil painters. Lachlan has presented two programmes for BBC Four, Secret Knowledge: The Art Of Witchcraft (2013) and Stanley Spencer: The Colours Of Clyde (2014). He lives and works in London and holds regular exhibitions in New York, London and Edinburgh. His artwork covers portraiture, still life and landscapes. The condition of the picture is good overall, with no visible or known issues.
* JEAN B MARTIN RSW (SCOTTISH b. 1947), TULIPS AND DRAGONS watercolour on paper, signed, titled and dated 1992 label versomounted, framed and under glassimage size 70cm x 52cm, overall size 100cm x 79cm Label verso: Flying Colours Gallery, EdinburghNote: Jean B Martin was born in Glasgow in 1947 and trained at the Glasgow School of Art. She was elected a member of the Royal Scottish Society of Painters in Watercolour (RSW) in 2002. Luminosity and depth are the most immediately striking features of Martin's work, achieved by building up layers of glazing and collage, lending the effect of an inner glow to her painting. Her work comprises a diversity of subject matter, from vibrant floral-based still lives to sublime church interiors, and landscapes from golden-hued Venice to the blustery East Coast of Scotland, involving the viewer through evoking the distinct atmosphere of each subject. Jean Martin has won numerous awards and is an important Scottish painter of her generation. Her work is held in many private and corporate collections in the UK, Hong Kong, Singapore, Australia, Canada and America.
* JEAN B MARTIN RSW (SCOTTISH b. 1947), WATERLILIES AND GOLDFISH watercolour on paper, signed, titled and dated 1992 label versomounted, framed and under glassimage size 70cm x 51cm, overall size 100cm x 79cm Label verso: Flying Colours Gallery, EdinburghNote: Jean B Martin was born in Glasgow in 1947 and trained at the Glasgow School of Art. She was elected a member of the Royal Scottish Society of Painters in Watercolour (RSW) in 2002. Luminosity and depth are the most immediately striking features of Martin's work, achieved by building up layers of glazing and collage, lending the effect of an inner glow to her painting. Her work comprises a diversity of subject matter, from vibrant floral-based still lives to sublime church interiors, and landscapes from golden-hued Venice to the blustery East Coast of Scotland, involving the viewer through evoking the distinct atmosphere of each subject. Jean Martin has won numerous awards and is an important Scottish painter of her generation. Her work is held in many private and corporate collections in the UK, Hong Kong, Singapore, Australia, Canada and America.
SIR WILLIAM ORPEN RA (IRISH 1878-1931) VATTETOT-SUR-MERtitled, dedicated and dated VATTETOT / SUR MER / 1899 / WILL ROTHENSTEIN and ALICE ROTHENSTEIN lower centregouache and watercolour on silk16.5 x 37cm; 6 1/2 x 14 1/2in (fan shaped)51.5 x 64cm; 20 1/4 x 25 1/4in (framed)Property from an English Private Collection ProvenanceWilliam and Alice Rothenstein, London (a wedding present from the artist)Mrs Rachel Ward (née Rothenstein; 1903-1989, inherited from the above)Thence by descent to the present ownerExhibitedLondon, The Leicester Galleries, The Collection of Sir William Rothenstein, 1946, no. 60 The present work, a wedding present from Orpen to William Rothenstein and his new bride Alice (née Newstub), celebrates the couple on holiday with friends in Vattetot on the Normandy coast. Rothenstein had married Alice on 11th June 1899. The figures depicted from top left are: Albert Rothenstein (later Rutherston) and William Orpen, Alice and William Rothenstein, Grace Knewstub (Alice’s sister, later Mrs. William Orpen) and John Herbert Everett, a fellow Slade student with Albert and Orpen. In the lower medallions are Augustus John (left) and Charles Conder (right). Orpen had first met William Rothenstein through his brother Albert when he was a fellow student at the Slade. Together with Augustus John the trio formed what William jocularly referred to as 'the three musketeers'. William and Alice had discovered Vattetot on a bicycling trip out from Dieppe. In his memoires William writes: 'On our return to London we spoke of Vattetot to John and Conder, who, with Orpen and my brother [Albert], proposed to join us there next summer. When the summer came, it was a large party which descended upon Vattetot; never had so many easels and paint-boxes been seen. It was a glorious time, divided between painting and play.' (William Rothenstein, Men and Memories, London, 1931, vol. 1, p. 347)
A fascinating pattern book from a British earthenware manufactory, circa 1805-15Manuscript notebook containing circa 150 hand-painted designs for teaware, showing patterns for full plates and borders, numbered and coded for use within a factory, some with further annotations, manuscript list of prices at rear, 53 leaves, circa 19 blank, pen and watercolour, partial watermarks for Ruse & Turners 1805, reused marbled endpapers, original calf, 8vo (18mm x 120mm)Footnotes:This charming yet tantalising pattern book will have been used within a British pottery manufactory at the start of the 19th century. It records tableware patterns, drawn by hand either as a section of the border of a plate, or as the complete design used on a plate or saucer. These are identified by a sequence of pattern numbers ranging from 6 to 154 with some gaps. Some of the earlier patterns have been re-numbered, indicating perhaps a new partnership or change of factory ownership. This might have coincided with the decision to record the factory's patterns within this book. A watermark of 1805 within its pages gives us the earliest possible date for when this illustrated record was compiled, although the first patterns are incomplete and may have been copied from an earlier volume or unbound sheets of individual patterns.The earliest patterns suggest this began as a manufactory of creamware at the turn of the 19th century. Many appear to be copies of patterns used by major manufactories such as Wedgwood, Spode and Davenport. Subsequently pearlware or 'whiteware' was probably made, with a slight possibility that some patterns were intended for bone china. Stylistically, all of the patterns would appear to predate 1815. Two sections within the book bear the headings 'Painted Tea Ware' and 'Enamelled Tea Ware'. The former probably refers to underglaze painting (now known as Pratt Ware), while the latter indicates the use of overglaze enamel colours. Significantly, many patterns refer to the use of 'luster', which will have been painted in silver (or Platinum) lustre.This small pattern book begins with a few drawings showing pottery shapes that were popular in the period around 1800-10. Tables at the end of the book link some of the pattern numbers with a cost price per dozen, presumably to be used when pricing a complete tea service. Alongside each drawn pattern, a letter and number code gives a different price in shillings and pence. This code probably helped the pottery determine the wages paid to the decorating departments responsible for completing each pattern.The lustreware patterns that appear within the pages of the present lot may provide clues to the maker responsible. The future study of this pattern book may benefit from comparison with the Leeds Pottery pattern books which have been published almost in their entirety by John Griffin in 2005. Leeds was a creamware manufactory that subsequently made other ceramic bodies and some painted decoration included the use of lustre. Many other lustre-decorated tablewares and their makers are discussed by Geoffrey Godden and Michael Gibson in their book Collecting Lustreware (1991). On page 42 the authors note '...The Stoke-on-Trent City Museum contains several hundred lustred articles closely packed on twenty-two deep shelves, yet, we believe, only six of these pieces bear a maker's mark.' Little wonder that the maker of this pattern book has so far proved elusive.There are presently two mystery groups known to British porcelain collectors as 'The Pattern Book Factory' or 'Pattern Book class'. A pattern book by an unknown china maker working in Staffordshire in the period 1800-09 is preserved in the Victoria & Albert Museum and interestingly, this maker used 'metalic' decoration (or in other words platinum lustre) on some of its porcelains. See Godden's Encyclopaedia of British Porcelain Manufacturers (1988), pp.579-585. This fascinating notebook maybe gives us a new Pattern Book Factory and its discovery starts a search for missing links to any of the numbered patterns within its pages.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Maw (George). A MonographoftheGenusCrocus, 1st edition, London: Dulau and Co., 1886, half-title, double-page colour lithograph map, 81 hand-coloured lithograph plates (plate 17 was never published, faint blind stamp to plates), letterpress wood engraved vignette illustrations, toning and spotting mostly to first and last leaves, inscription to upper pastedown 'Presented to the Society by Mrs E. A. Walker, Spencer's Belle View, Bath, 1889', and with bookplates of the Bath Branch of the Selborne Society and Bath Public Reference Library, hinges repaired, top edge gilt, remainder untrimmed, original green cloth with bevelled edges to boards, rebacked preserving original spine (with library classification number in gilt), evidence of label adhesive at foot of upper board, some wear to extremities, large 4toQTY: (1)NOTE:Nissen 1316. Considered the finest work ever published on theGenusCrocus. GeorgeMaw was a polymath whose occupations included chemistry, geology, botany, archaeology, watercolour painting and gardening. He was a manufacturer of caustic and other tiles which were exported all over the world. Maw and Company also produced art pottery, employing well-known designers such as Walter Crane. Maw was an experienced plant hunter and accompanied Sir Joseph Dalton Hooker on a plant-hunting exhibition to Morocco and the Atlas Mountains in 1871. He became an expert on theCrocus and illustrated his monograph - the result of ten years toil - with his own watercolours, of which John Ruskin wrote that they were "most exquisite... and quite beyond criticism".
After James Malton (1761-1803) View of the Law Courts, Dublin, approx. 41.5cms x 61cms (16 1/2" x 24") This impressive sepia and watercolour painting of the Four Courts in Dublin, by an unknown artist, is closely based on James Malton’s engraving of the same subject. The painting appears to date from around 1800, and so would have been done not long after Malton's aquatint view was published, in the 1790’s. Although signed ‘Malton’ it is probably by a follower of the artist. * An English-born engraver and watercolourist, James Malton moved to Ireland as a child in the 1780’s, and following his father in taking up the profession of architectural draughtsman, working for a time in the offices of architect James Gandon. Leaving this employment, he began working as an artist, and in 1790 submitted two drawings to the Society of Artists in London. He is best known for a series of twenty five aquatint and etching prints entitled A Picturesque and Descriptive View of the City of Dublin, published in the 1790’s. Several of the buildings he drew, including the Law Courts, had been designed by his former employer James Gandon. Although Malton hoped to capitalise on the growth in prosperity of Dublin, the passing of the Act of Union reduced the importance of the city, and he was obliged to maintain his ties with London, exhibiting frequently there, at the Royal Academy. Among the works he showed at the RA were seventeen views of Dublin in Indian ink and watercolour, mostly depicting the same subjects as his published prints. Larger than the original plates, they also differed in detail, with some figures removed and other added. While it is tempting to see this sepia and watercolour painting of the Law Courts as an autograph work by Gandon, it lacks his firm grasp of architectural perspective and his ability to include figures and carriages rendered with elegance and flair, as exemplified in his book Designs for Rural Retreats, published in 1802. He died the following year, 1803. Dr. Peter Murray, 2023
Michael Angelo Hayes (1820-1877) A View of Sackville Street (1854), watercolour and ink on paper, approx. 49cms high x 67cms wide (19" x 26"), heightened with gouache, framed. (1) In 1854, Michael Angelo Hayes painted A View of Sackville Street, showing the Post Office, Nelson’s Pillar, and the palatial Mart of the Messrs. McSwiney and Co. The view shows Sackville Street (now O’Connell Street) with, on the right, the new department store ‘McSwiney, Delaney & Co’, due to open in May the following year. A business venture by George Delaney and Peter Paul McSwiney, some thirty years later it was re-named Clery & Co., but continued in business. In the mid 1860’s, when McSwiney was elected Lord Mayor of Dublin, Hayes, who was his brother-in-law, worked for him as secretary. He evidently regarded this watercolour as one of his finest and in 1888, a highly-finished watercolour entitled Sackville Street, Twenty-Five Years Ago, was shown at the Irish Exhibition in London--that painting is likely the version now in the National Gallery of Ireland. The present painting appears to be an earlier work by Hayes, and is full of the incidental detail he observed in the busy street, including a man in the foreground holding a sign, “Summer Goods - McSwiney Delaney & Co’. The pavements are crowded with people, dressed in the latest fashions, the men in top hats and the women wearing crinoline dresses. Horse-drawn omnibuses, carriages, jaunting cars and drays traverse the cobblestones. The painting is an important record of Dublin’s main thoroughfare in the mid-nineteenth century; today Nelson’s Pillar is no longer there, while Clery’s Department Store was destroyed in 1916 and rebuilt six years later. While it closed its doors in recent years, there are plans to renovate the building as offices and a hotel. Born in Waterford in 1820, Michael Angelo Hayes was given his first lessons in art by his father Edward Hayes (1797-1864), a portrait and equestrian painter. Around 1831, the family moved to Dublin, and having begun to exhibit at the Royal Hibernian Academy, aged seventeen, Hayes went on to specialise in equestrian and military subjects. He is perhaps best known for his illustrations Car-Driving in the South of Ireland in the Year 1836 which were published as aquatint prints by Ackerman. He painted many scenes of horse racing and hunting, including The Race for the Corinthian Cup at Punchestown (1854). In 1842 he was appointed “Military Painter-in-ordinary” to the Lord Lieutenant, and painted a watercolour of troops parading at Dublin Castle. He also depicted the Yorkshire Hussars in 1840, and The Charge of the 3rd King’s Own Light Dragoons at Moodkee, an engagement in 1845 during the First Sikh War. In 1846 he painted 16th Lancers Breaking the Square at Aliwal and nine years later, The Heavy Cavalry Charge at Balaclava. Hayes’s paintings were based on direct observation and he made a detailed study of equestrian anatomy, writing a paper in 1876 entitled The Delineation of Animals in Rapid Motion. He also painted early animations, called ‘phenakistoscopes’ of people dancing. In the late 1840’s Hayes was in London, where he became an Associate Member of the New Society of Painters in Water Colour. However most of his career was spent in Dublin; he became a member of the RHA in 1854, and was elected Secretary two years later, when George Petrie was President. The two men quarrelled and over the years following the Academy’s activities were marred by bitter disputes. Many of Hayes’s works were published as engravings and lithographs, including a series illustrating the ballad “Savourneen Deelish” (his sweet love). He died in 1877, having fallen into a water tank on the roof of his house and drowned. Dr. Peter Murray, 2023
20TH CENTURY DECORATIVE PICTURES, comprising a Tim Nash watercolour on paper study of wild flowers in a vase, signed bottom right, approximate size 24cm x 24cm, a colourful contemporary tabletop still life scene, no visible signature, watercolour on paper, approximate size 45cm x 38cm, a continental rural village scene, signed and dated Guillot (19)62, watercolour on paper, approximate size 47cm x 61cm, a David Remfry poster print and an unsigned Indian painting on fabric depicting an Indian elephant (5)
Edith Brearey Dawson (née Robinson) (British 1862-1928): Sweet Peas, watercolour signed and dated 1919, 15cm x 20cm Notes: Edith was the daughter of a Quaker Schoolmaster living in Scarborough as early as 1881, she studied under Albert Strange at the Scarborough School of Art, exhibiting at the Royal Academy and the RBA between 1889 and 1893. She married fellow artist Nelson Ethelred Dawson in 1893 then moving to London she mostly abandoned painting in favour of metal and enamel work.
Edith Brearey Dawson (née Robinson) (British 1862-1928): Michaelmas Daisies, watercolour signed 24cm x 28cm Notes: Edith was the daughter of a Quaker Schoolmaster living in Scarborough as early as 1881, she studied under Albert Strange at the Scarborough School of Art, exhibiting at the Royal Academy and the RBA between 1889 and 1893. She married fellow artist Nelson Ethelred Dawson in 1893 then moving to London she mostly abandoned painting in favour of metal and enamel work.
William Drummond Bone (1907-1979) - Helen in her Garden, oil on canvas, signed lower left, 112 x 76.5cm; together with a pencil and watercolour wash study of the aforementioned work, signed and dated 1st July 1940 lower right, 41 x 29cm (2)The oil painting has several losses to paint, particularly at extremities and mainly to upper edge.
Michael Warren (British 1938-) "Nightjar" Signed and dated '73, titled on gallery label - 'The Moorland Gallery Ltd., London' verso, watercolour.18.5 x 38.5cm (framed 34.5 x 53cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed and glazed.
Paul-Louis Barruel (French 1901-1982) "Jay" Signed, titled on gallery label - 'The Tryon Gallery Ltd., London' verso, watercolour.36.5 x 30cm (framed 55.5 x 48cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition. There are one or two tiny spots of foxing across the paper and a light crease near the centre left-hand edge. The painting is ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Lilla Flower (British 20th century) "Decoration for a London Restaurant" Signed and dated '31, watercolour.22.5 x 38cm (framed 54.5 x 64.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in good, original condition. There is some minor time staining and browning in areas across the sheet. The painting is ornately reframed and glazed. The frame has some minor scuffs and knocks commensurate with age.
RAOUL DUFY (1877-1953)Nature morte aux fruits cachet de l'atelier de l'artiste (en bas à droite)aquarelle, gouache et fusain sur papier stamped with artist's atelier stamp (lower right)watercolour, gouache and charcoal on paper39.5 x 56 cm. 15 9/16 x 22 1/16 in.Footnotes:L'authenticité de cette œuvre a été confirmée par Madame Fanny Guillon-Laffaille et Monsieur David Guillon. ProvenanceCollection particulière, France.Collection particulière, France (acquis auprès de celle-ci). Raoul Dufy a apporté une contribution significative au monde de la mode et des textiles à travers ses collaborations avec des maisons de couture renommées. A partir de 1905, Dufy chercha à transposer depuis la peinture, son esthétique à différents supports. Il élargit alors son éventail de techniques avec une maîtrise virtuose : gravure, illustration, céramique, décors de théâtre, décorations murales, tapisserie, ou encore textile, soulignant un attrait particulier pour les arts décoratifs. A ce titre, la création textile constitua une partie importante dans sa production artistique qui fut marquée par des collaborations prestigieuses avec le célèbre couturier Paul Poiret et avec la maison de soierie Bianchini-Férier. C'est à partir de 1910 que Paul Poiret et Raoul Dufy s'associèrent et fondèrent ensemble « La petite Usine », un modeste atelier artisanal boulevard de Clichy où l'artiste réalisait l'ensemble des étapes de la création : le dessin, la gravure sur bois puis l'impression sur tissu. Cette collaboration fut un tremplin pour Dufy qui poursuivit ses créations textiles à l'échelle industrielle avec la manufacture Bianchini-Férier. Il s'exprima « Me voilà donc amené à la décoration et à la mode, non par délassement ou par amusement mais pour une expérience sérieuse. Que d'échos cette période de ma vie ne réveille-t-elle pas en moi ! Grâce à Poiret et à Bianchini-Férier, j'ai pu réaliser cette relation de l'art et de la décoration, surtout montrer que la décoration et la peinture se désaltèrent à la même source. » Ses motifs floraux aux couleurs audacieuses transposées sur des tissus imprimés, contribuèrent à la création de textiles luxueux et élégants. Le style de Dufy, reconnaissable à ses couleurs vives, ses lignes fluides et des motifs inspirés de la nature, a été particulièrement bien adapté au monde de la mode. Ses œuvres ont été intégrées dans la conception de robes, foulards et accessoires, marquant une influence artistique dans ce domaine. Son esthétique joyeuse, vibrante et sa capacité à capturer le mouvement ont ajouté une dimension artistique aux vêtements et aux textiles, faisant de lui un artiste prisé dans le contexte de la haute couture.Raoul Dufy made a significant contribution to the world of fashion and textiles through his collaborations with renowned couture houses.Starting from 1905, Dufy sought to translate his aesthetic from painting to various mediums. He expanded his range of techniques with virtuoso mastery, including engraving, illustration, ceramics, theatre set design, murals, tapestries, and textiles, emphasising a particular attraction to decorative arts. In this regard, textile creation played a significant role in his artistic production, marked by prestigious collaborations with the famous fashion designer Paul Poiret and the silk house Bianchini-Férier.It was from 1910 that Paul Poiret and Raoul Dufy partnered and together founded 'La petite Usine', a modest artisan workshop on Boulevard de Clichy where the artist carried out all stages of creation: drawing, wood engraving, and fabric printing. This collaboration served as a stepping stone for Dufy, who continued his textile creations on an industrial scale with the Bianchini-Férier manufacture. In his own words: 'So here I am led to decoration and fashion, not for relaxation or amusement, but for a serious experience. What echoes this period of my life awakens in me! Thanks to Poiret and Bianchini-Férier, I was able to realise this connection between art and decoration, especially to show that decoration and painting draw from the same source.'His bold, colourful floral motifs transposed onto printed fabrics contributed to the creation of luxurious and elegant textiles. Dufy's recognisable style, characterised by vibrant colours, fluid lines, and nature-inspired motifs, was particularly well-suited to the world of fashion. His works were integrated into the design of dresses, scarves, and accessories, marking an artistic influence in this field.His joyful, vibrant aesthetic and ability to capture movement added an artistic dimension to clothing and textiles, making him a sought-after artist in the context of haute couture.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
§ CHARLES OPPENHEIMER R.S.A., R.S.W. (BRITISH 1876-1961) ON THE GRAND CANAL, VENICE Signed, oil on canvas Dimensions:76cm x 76cm (30in x 30in) Note: Though his name is inextricably linked with the Kirkcudbright School of artists, the half-German, Manchester-born-and-raised Oppenheimer did not in fact settle in this region until the end of World War One. Over time he became a respected stalwart of the Scottish art world and a Royal Scottish Academician. His oeuvre is firmly and famously associated with the depiction of Galloway. Less well known perhaps is the fact that, as his biographer Euan Robson puts it, “Italy was as much his muse as Galloway”. As a body of work, they are much less frequently seen outside private collections comparative to his Scottish subject matter. Lyon & Turnbull are therefore delighted to offer a scarce and significant Italian painting by the artist, the most monumental in scale and sophistication to be seen on the market for some years.Oppenheimer’s love affair with Italy was a long and enduring one. In 1896 at the age of 21 he won a funded prize to travel to Florence and Venice. A deep passion for the country began. He was, in fact, retracing the steps of his father Ludwig Oppenheimer, a diversely talented individual who reputedly studied mosaic design and manufacture in Venice in the 1860s. It is thought the artist and his wife Connie travelled to Italy on honeymoon in 1903 and continued to do so frequently after the interlude of WW1, visiting throughout the 1920s and 30s. Verona and Venice were his main destinations of choice. This makes great sense: Oppenheimer was a master of depicting water and the play of light and shadow, and Venice especially with its canals and densely arranged architecture would have provided endless compositional inspiration to tempt his brush.In 1913 Oppenheimer exhibited Italian pictures at Doig, Wilson and Wheatley gallery on George Street, Glasgow, as well as at the RSA. It was a significant exhibition and he received numerous positive reviews. The Glasgow Herald’s critic remarked: “Mr Oppenheimer’s work impresses by way of its distinguished draughtsmanship and a refined sense of colour…[The painting]…possesses exhilarating sparkle and there is a subtle restraint in colouring: there are none of those lurid splashes which give some pictures of Italy the effect of mere garishness.”These words could quite easily be applied as a descriptor to the later painting of c.1928, On the Grand Canal, Venice, that we offer now for sale. Here we have a tranquil depiction of Venice’s most famous waterway, quiet and calm in the afternoon heat, the only sounds evoked being the lap of water against stone. Redolent, as the critic would have it, “…[of]…the drowsy felicity which belongs to life in these pleasant places.” The water is masterful; ripples and reflections rendered with comprehensive realism and skill. The light and heat of the day glare and glance off the stone walls whilst darkened alcoves and interiors coolly and enticingly recede into cleverly described shadow. Oppenheimer, as the Herald critic alluded, did not have a hyperbolic artistic vocabulary. This is attested to by the subtle tonalities of the palette here, which allow Venice to weave its romantic magic simply and on its own terms, free from excessive artistic licence.Oppenheimer’s artworks were sketched en plein air, indeed sometimes painted outdoors too before finishing in the studio from earlier studies. One certainly senses that immediacy here; the plein air approach almost certainly responsible for rendering this painting so very transportive and truthfully evocative. One such working sketch for this painting is recorded in Robson’s monograph of the artist (Euan Robson, Charles Oppenheimer: From Craftsman to Artist, Atelier Books, Edinburgh, 2012, p.73, pl.s39), a watercolour c.1928, held now in a private collection.The subject, Palazzo Contarini Fasan, is an unusual 15th-century Venetian gothic structure. It is also known as Casa di Desdemona for its famed associations with Shakespeare’s Othello. Legend has it that Nicola Contarini, a famous heroic leader in the wars against the Turks in the 1500s, once lived in the palazzo. He was said to have had dark skin, subsequently nicknamed "Moor". Contarini's wife, Palma Querini, was the inspiration, possibly, for the character of Desdemona. Exhausted by the brutal jealousy of her husband, she fled the marriage to return to her family. Furthermore, John Ruskin wrote in his The Seven Lamps of Architecture that the palazzo was "the most elaborate piece of architecture in Venice." Little wonder then, that the romanticism of the building’s legendary history and its unusual and beautiful façade captured the attention of Oppenheimer, who afforded it a substantially sized stretch of canvas.
Norman C. Jaques (British 1922-2014) "Skenfrith, River Monnow, South Wales" Signed and dated '86, titled on artist's label verso, watercolour, together with a Northern Dock scene print by the same artist (2).51 x 35cm (framed 78.5 x 57cm and 50 x 75cm (framed 64 x 89.5cm)Qty: 2The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed and glazed. There is some minor staining across the mount. The frame has some minor scuffs and knocks commensurate with age. The print is in very good, original condition with no obvious faults to report. The print is ornately framed and glazed. The original frame has some minor scuffs and knocks commensurate with age.
Sue Atkinson (British 1949-2021) "Holmfirth" Signed, titled on artist's label verso, watercolour and gouache.20.5 x 27.5cm (framed 43.5 x 49cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed and glazed.
William Turner F.R.S.A., R.Cam.A. (British 1920-2013) "Penmaenmawr, North Wales" Signed and dated 1983, titled on verso, watercolour.27 x 20.5cm (framed 45.5 x 39cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition. The paper has browned universally across the sheet. The painting is framed and glazed. The original frame has some minor scuffs and knocks commensurate with age.
Reginald G. Haggar R.I., A.R.C.A., F.R.S.A. (British 1905-1988) Staffordshire rural lane Signed, watercolour.38 x 55.5cm (framed 53.5 x 71.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Ivan Taylor (British 1946-) "Liverpool Waterfront and Liver Building" Signed, titled on artist's label verso, watercolour.29.5 x 39.5cm (framed 53 x 63.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Reginald G. Haggar R.I., A.R.C.A., F.R.S.A. (British 1905-1988) "The Trent Valley" Unsigned, titled on artist's label verso, watercolour.36 x 53.5cm (framed 59.5 x 77cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with strong colours. There are three pin holes along the top edge of the paper where the artist has pinned the sheet down. The painting is framed and glazed. The original frame has some minor scuffs and knocks commensurate with age.
Jack Hamill (British 1920-2015) Moorland scene with cottages Signed, watercolour.35.5 x 43.5cm (framed 51 x 58cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with strong colours. There are some minor spots of foxing across the paper. The painting is ornately framed and glazed. The frame has some minor knocks and losses.
Eddie Scott Jones (British 1922-) "Peveril" Signed, titled on artist's label verso, watercolour.36.5 x 53.5cm (framed 61.5 x 76.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in good, original condition. The paper has discoloured slightly in areas across the sheet and there are some minor spots of foxing. The painting is framed and glazed. There are some spots of foxing and mould across the mount. The original frame has some minor scuffs and knocks commensurate with age.
Attributed to Emily Nicholson (active 1842-1869), Two Figures on a Country Road travelling though an Avenue of Trees, watercolour, signed lower left, 42 x 31cm.Label verso states artist was an aunt of Beatrix Potter and this painting was purchased from a descendant of the latter. Condition Report: Under glass, slightly faded, generally good appearance.
Jack Butler Yates RHA (1871-1957) The Captain (1948) Oil on board, 23 x 35.5cm (9 x 14”) Signed; inscribed with title versoProvenance: The artist’s family, their sale, Sotheby’s London 27/09/2017, lot 191, where purchased, Private Collection. Exhibited: Galway, Kenny Art Gallery, Paintings and Drawings, 1976, no.7Literature: Hilary Pyle, Jack B. Yeats, A Catalogue Raisonné of the Oil Paintings, Vol II, Andre Deutsch, London 1992, no 893, p.810, illustratedThis late work belonged to the Yeats family until very recently. It has rarely been exhibited in public. It depicts a youthful sailor standing looking over the side of his boat. This figure dominates the composition. The viewpoint is from below as if the viewer were standing on a quayside looking up. The sailor wears a cobalt blue jacket and cap, a black cravat and has a pink rose in his buttonhole. The latter suggests a farewell token from a lover or family member. The rose had specific significance for Yeats who kept the flower fastened to his easel. Aware of its nationalist symbolism, as exemplified in the allegorical Róisín Dubh, and the idea of speaking ‘sub rosa’ or in secret, the rose recurs in several of Yeats’s paintings and illustrations. The prominence of the flower in the painting suggests subterfuge and adds to the enigmatic aura of the subject. Its placement on Yeats’s easel was to remind himself that all his work would be ‘sub rosa; I would never again discuss the meaning of my pictures’.[1] The bag which the captain holds also evokes the sense of a decisive departure and the packing of mementos. While the jaunty nature of his dress may indicate that this is a voyage of leisure rather than an arduous expedition, the captain’s pensive and even sorrowful expression looks as if he were filled with regret or anxiety for the journey ahead. But his erect stance and forward looking gaze indicate that despite his youth, he has command of his post and that he is vigilant. Conditions appear calm, suggesting that the boat is still at anchor and preparing to depart. Traces of yellow across the sky and on the figure’s face suggest that evening is falling. To the left the open sea extends with a rocky island on the horizon.Sea captains feature in many of Yeats’s paintings, both in oils and watercolours. His childhood experience of spending time with the navigators and dockworkers on his grandfather’s shipping business in Sligo provided him with memories and stories of their lives and adventures that remained central to his imagination throughout his long career. Unlike the figures in most of these images, such as the red-bearded mariner in the 1906 watercolour, The Sea Captain or the older man of The Captain, Early Morning (1929, Private Collection), this captain is clean shaven and young and appears to be less experienced or world weary than these others. Silhouetted against the sky, the figure looks heroic but the complex construction of the painting disrupts such a simplistic reading. Thin flecks of blue pigment across the pale sky and the fragile construction of the figure’s head and torso, a mixture of impasto and sgraffito, such as where the lips and ear are outlined by lines scraped through the paint, make this a more complex and tangible work of art. The vagaries of time and memory are conveyed through the physicality of its surface and the tenuousness of its forms.Dr. Roisin Kennedy, November 2023[1] Yeats quoted in Nora A. McGuinness, The Literary Universe of Jack B. Yeats, 1992, p.45.
John Varley (1778-1842) Shepherd Boy driving his flock along a country path, signed and dated 1806 lower right, watercolour, 58 x 44 cm, frame 80 x 64 cm.Footnote: handwritten label verso 'J Varley, 15 Broad St, Golden Square' - Varley was registered as living at this address between 1804-1812. Label verso for F.R. Meatyard Art Dealer, Museum Street, London 'Classical landscape with shepherd boy and sheep' - in 1806 Varley exhibited a watercolour titled 'The Shepherd's Boy' at the the Old Watercolour Society (OWCS) of which Varley was a founding member.Provenance: private Shropshire collection Condition:The painting is a watercolour on laid paper, framed under glazing - not examined external to the frame. The sheet appears to be in good condition without any obvious tears, creases etc and the surface appears stable. There has been some colour fade- predominanly in the skyline and some general ageing (browning) to the sheet. The mount has some ageing and the frame has general wear and tear.
George Arthur Fripp (1813-1896) Near Dallmally, Argylshire, signed and titled lower centre, watercolour, 35 x 50 cm, frame 62 x 75 cm, together with a handwritten letter regarding the painting to its original owner from the artist (2)Letter reads 'May 27th, Leam near Leamington, Warwickshire,'My Dear Sir, I regret much to hear that you called upon me whilst I am absent from town- the picture is much advanced since you saw it last year and I had intended to have gone down into Berkshire to finish it this month. My health however requires a complete change of scene and air and I therefore have visited with a friend in the country. On Wednesday next I return to London with restored health. Ready to work upon the drawing which I prepare to complete by the end of June. In it the frame close or with a margin? I will write up to you as soon as it is finished and trust you will __ this though it has been long in progress. It will be none the worse for the thought and labour has taken upon it. ____ my truly yours, George Fripp, to G.D. Tomlinson Esq' Provenance: Collection of G.D. Tomlinson Esq, label verso for Royall Fine Art Condition:The painting is a watercolour, framed under glazing - not examined external to the frame. The sheet appears in good condition, no obvious faults or losses. The paint condition is well preserved, colours are good- perhaps some very minor fading at the top of the painting- but overall appears stable and no further paint loss or deterioration. The frame has some general wear and tear. The letter has one spot of foxing to the centre-top edge, it has been folded in three with resultant creasing. No tears or losses.
Hercules Brabazon Brabazon (1821-1906) After Diego Velásques (1599-1660), Coronation of the Virgin, watercolour, 30 x 23.5 cm, frame 50 x 43 cmThe original painting by Diego Velásques was created between 1641-1644, hangs in the Museo del Prado, and shows the Holy Trinity crowning the blessed Virgin MaryProvenance: Collection of Mr Magdi Obeid, purchased Woolley & Wallis 23/09/2015 lot 246. Label verso for Colnaghi & Co
2008 Framed Rugby Painting, Stradey Park Llanelli: 22" x 17" overall, mounted framed and glazed, Tony Paultyn watercolour of the whole Stradey Park scene with match in progress, from the last year before the move to the new stadium after 129 years. Light and attractive treatment, full of nostalgic memories. Exc
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