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Click here to subscribeA collection of late 19th Century / early 20th Century framed pictures of small proportions to include two Baxter prints, one depicting Queen Victoria in an oval frame and another depicting Mary and child bearing an embossed Baxter seal, also with an early 20th Century print on curved glass depicting Princess Beatrice set within a wooden frame, and a framed watercolour painting of a courting couple.
ATTRIBUTED TO HUGH "GRECIAN" WILLIAMS (1773-1829) A wooded landscape with a view of Youngsbury, Ware, Hertfordshire, with a lake in the foreground, watercolour, 10" x 13" apparently retaining the original giltwood and gesso frame, and a companion painting of the house from the garden (a pair)
A small collection of works relating to Sir Frank Brangwyn, from the Library of the late Dr. Philip Tombleson of Ditchling Brangwyn, Frank - A collection of 80 bookplates, title page - 'Bookplates by', in ink italics, signed by the artist, quarto, three quarter vellum with geometric handblock printed paper covered boards and printed endpapers, one signed bookplate in watercolour 'Ex Libris, Haldane MacFall, London, 57 x 46mm. The British Museum holds a woodcut for this bookplate, Museum number 1943-1211-481, MacFall wrote - A History of Painting, 8 vols, 1911, with preface by Brangwyn, (circa 1916). A bookplate formed as a Christmas card, inscribed - All good wishes for a Peaceful Christmas from Frank Brangwyn - 1944. Ink italics bookplate - Ex Libris Louis Gimett pasted to inner board, in stiff card slip case.Note: Brangwyn designed over 130 bookplates for friends and colleagues both in the UK and abroad. Many, but not all, were reproduced in Bookplates by E. Hesketh Hubbard and Eden Phillpotts in 1920. This book given to Dr Philip Tombleson by the widow of Dr F. Linton Bogle, who was Brangwyn's doctor.
Group of Pictures including Lynn Benson Oil Painting Landscape with monogrammed signature, Anthony Rule Pastel ' Along the Garden Wall ' signed and dated, Frederick Parr Watercolour of Tintagel Landscape, Watercolour of Arms Torr Dartmoor signed and James D Lishman Watercolour of HMS Salvester signed and dated
Japanese Meiji period drawing of a group of 4 various birds in pen, ink and colour, signed, 56 x 27, Manner of Kawanabe Kyosaio (1831-1889) Woman seated astride crane with attendants, signature and seal mark, pen ink and watercolour on silk, 20cm x 23cm (unframed) and 2 other Japanese drawings of birds, 1 signed - Soame Jenyns Collection Condition Report & Further Details This lot comes from the collection of Soame Jenyns (1904- 1976) and is being sold by order of the executors of his younger son, the late John Jenyns. Soame Jenyns was Assistant Keeper of Oriental Antiquities at The British Museum from 1931-1967. He published several books including: "A Background to Chinese Painting" published 1935, "Chinese Archaic Jades in the British Museum" 1951, "Ming Pottery & Porcelain" 1953 etc.
DAVID ALLEN (SCOTTISH 1744-1796) "An Edinburgh servant standing in a street" framed watercolour, unsigned, bears information label and newspaper cutting verso CONDITION REPORTS Possible fading and discolouration to the painting itself. Discolouration and slight browning of the paper around the edges of the painting. Some areas of minor foxing. There is some paint and remnants of possibly an old mount around the edges of the paper. General wear and tear commensurate with age and use. See photos for more details. The painting was originally attributed to DAVID ALLEN by Lyon & Turnbull Auctioneers in Scotland.
Maurice Asselin (French 1882-1947) Vase de fleurs Oil on canvas Signed upper right 46 x 38cm (18 x 14¾ in.) Together with two further oils by the same hand, one of a vase of flowers and another a still life of fish (this one unframed). (3) Maurice Asselin was known predominately for still life and figurative painting as well as landscapes. Although he spent much of his life based in Paris, and is known as an 'Ecole de Paris' artist, he frequently visited Brittany and Concarneau in particular, where he was inspired by the coastal landscape (see lots 271-274). Whilst there, he executed numerous watercolour sketches, reminiscent of a spontaneity evident in successive generations of 'plein air' painters.
Gilbert Holiday (British, 1879-1937), 'The night rider of the N.S.E.' , watercolour and bodycolour, signed 'Gilbert Holiday' lower left and inscribed , 8½ x 10¾in. (21.5 x 27.25cm.) , *Condition: Some foxing to mount and to lower grey section of painting, which also has some small white surface mould spots to the darker grey paint. Inscription in yellow to lower right is a little rubbed and difficult to read - the inscription is repeated in pencil to the lower margin (probably originally intended to be hidden beneath the mount). Some yellowing to the white paint on the horse's head and collar. Minor paint flaking to top of back leg. Will benefit from light cleaning and reframing.
English School (19th century), Portrait miniature of Lady Ann Cullum Smith, dressed in a blue dress with ermine trimmed shawl and blue ribbon & pearl hairpiece, seated with her daughter in an interior, oval watercolour on ivory, 3½ x 3in. (8.9 x 7.6cm.), in gilt brass bead and foliate easel back frame with foliate ribbon tied surmount, scratch inscribed to frame verso.* Condition: A narrow line of abrasion at the edge of the painting - the most noticeable approx.. 1in long & 1/8in wide at 9 o'clock and a small area of retouching at 3 o'clock approx.. 1/4in above the ermine cuff. A small area of abrasion, partially through the red surface of the curtaining, from the centre to the edge at 10 o'clock. Three very fine 'needlepoint' scratches approx.. 1/4in long down from the child's arms and the lady's hand. A few further abrasions at the edge at 6 o'clock.
French School (19th century), Portrait miniature of a lady, half length, in royal blue dress with lace trim, white shawl and elaborate necklace, her hair decorated with gilt and black jewels, falling over her left shoulder, oval watercolour on ivory, 9.7 x 7.3cm., in a gilt brass bead and foliate frame with ribboned surmount, inscribed verso, 'Une Dame Inconnue'.* Condition: As there are seven very small pins holding the painting in the frame which have been cut level with the metal work and are undisturbed, it would be virtually impossible to remove the miniature without the risk of damage. Because of this, it appears that it has never been removed from the frame, so there is no evidence of any damage to the paint. However, it has moved a little to one side and downwards in the frame, exposing the partially painted surface at the edge. There is a small area at the bottom of the blue dress which appears slightly yellowed - even under examination with strong magnification, we cannot decide whether this was intentional or is age related discoloration. On close examination, we believe this is more likely to be on vellum than ivory as catalogued.
•PAT COOKE (1935-2000) WATERCOLOUR, INK, PEN ‘Study Sketch, Paradise Green, Knutsford’, Signed, titled and dated (19)74, 12” x 29” (30.5cm x 73.6cm) Bears signed and hand written label by the artist thanking Angela and Geoffrey for the loan of the painting for an exhibition at Warrington Art Gallery, Dec 93-Jan 94
•PAT COOKE (1935-2000) WATERCOLOUR, INK, PEN ‘Stop Rising Rents’ Signed, titled and dated 1976 7” x 9 ½” (17.8cm x 24.1cm) The reverse with signed and hand written inscription by the artist thanking Angela and Geoffrey for the loan of the painting for an exhibition at Warrington Art Gallery, Dec 93-Jan 94
Katie Sherrin (1872-1928):Portrait of a seated lady, watercolour, H 32 x W 25 cm. Provenance: Inscribed verso by the artist Richard Sherrin 'Katie Sherrin...studied at the Slade & then went to Rome where this painting was done in 1895. She was the eldest daughter of George Campbell Sherrin FRIBA of the Gatehouse, Ingatestone, Essex'.
WILLIAM WELLS QUATREMAIN (1857-1930) "High Street, Stratford-upon-Avon", looking towards the Town Hall and Guild Chapel, with W.H. Smith and Logins the chemist on the left, with figures, horses and carts, a Watercolour painting, signed, inscribed an d dated 1924 verso, 25cm x 37.5cm, unframed
Catlin (George, 1796-1872) Wah-ro-née-sah, The Surrounder, Chief of the Tribe, watercolour over graphite, heightened with white, inscribed 'Chief of the Ottoes' in the lower section and numbered '117' in the upper right corner, on cream wove paper without a watermark, sheet 245 x 162 mm. (9 5/8 x 6 3/8 in), unframed, [circa 1832]Provenance:Acquired directly from the artist, circa 1840s or slightly later;Captain William Henry Shippard;Then by descent to the present ownersLiterature:cf. Catlin, George, 'A Descriptive Catalogue of Catlin's Indian Gallery', 1840, no. 117⁂ An early and previously unrecorded study of the 'Chief of the Ottoes'. Catlin produced a fully worked oil painting of the sitter in 1832, probably from when he was at Fort Leavenworth (modern day Kansas), which is now held in the Smithsonian American Art Museum (see object no. 1985.66.117). "[I] painted thus many of my pictures in water colours during my 8 years travels, and most, though not all of them I enlarged onto canvass, wishing my collection to be all in oil painting" [1]Another watercolour of Wah-ro-née-sah is held in the Gilcrease Museum collection (no. 0226.1542 (117)), but dates from the early 1840s and is much smaller than the present "cabinet picture"; this variant was most likely executed after the work currently offered, and intended to be used as an illustration for the second edition of James Cowles Prichard's 'Natural History of Man'. Other examples of Catlin's watercolours held in the Gilcrease collection are however more suitable comparisons to the present work, particularly the earlier portraits associated with Catlin's visit to the tribes living around Cantonment Leavenworth in Kansas in 1830 (for example see museum nos. 0226.1570 (279) and 0226.1559 (243)). These portraits all share the same careful modelling of the heads with wash laid over graphite underdrawing, alongside a much looser sketchy execution of the torsos. Joan Carpenter Troccoli has suggested that Catlin may have travelled with a sketchbook in which he made preliminary watercolour studies of his subjects, which he later mounted and finished'. [2] Catlin described Wah-ro-née-sah as "quite an old man; his shirt made of the skin of a grizzly bear, with the claws on"; he lived in spacious timber lodges perched on a ridge overlooking the Platte River, and his bear claw necklace suggests he was a member of the Bear Clan, which shared leadership of the Otoes with the Buffalo Clan. [3][1] Truettner, William H., The Natural Man Observed, 1979, p. 131[2] Troccoli, Joan Carpenter, First Artist of the West, George Catlin Paintings and Watercolours from the collection of the Gilcrease Museum, 1993, p. 20[3] Gurney and Heyman (Ed.), George Catlin and His Indian Gallery, Smithsonian American Art Museum, exhb. cat., 2002, p. 126
Catlin (George, 1796-1872) Tuch-ee, A Celebrated War Chief of the Cherokees, watercolour over graphite, heightened with white, inscribed 'Cherokee Chief' in the lower section over pencil and numbered '284' in the upper right corner, on cream wove paper without a watermark, sheet 245 x 174 mm. (9 5/8 x 6 7/8 in), unframed, [circa 1834]Provenance:Acquired directly from the artist, circa 1840s or slightly later;Captain William Henry Shippard; bound into an album with ink attribution to Catlin in Shippard's hand;Then by descent to the present ownersLiterature:cf. Catlin, George, 'A Descriptive Catalogue of Catlin's Indian Gallery', 1840, no. 284⁂ An early and previously unrecorded study of the 'Cherokee Chief'. Catlin produced a fully worked oil painting of the sitter in 1834, which is now held in the Virginia Museum of Fine Arts (see object no. 85.628)."I travelled and hunted with this man some months, when he guided the Regiment of Dragoons to the Camanchee and Pawnee villages; he is a great warrior and a remarkable hunter" [1]In 1834 Catlin arrived at Fort Gibson near present-day Tulsa. While here he paints Cherokee, Choctaw, Creek and Osage tribes; and it would have been here that he would have first encountered Tuch-ee. Leaving Fort Gibson Catlin accompanied the army dragoon mission to establish contact with Comanche, Kiowa and Wichita tribes. Catlin and most of the troops contract a fever, with 151 men subsequently dying. Luckily Catlin recovers and rides 540 miles alone on horseback to St. Louis where he meets with his wife Clara, and travels to New Orleans and Pensacola, Florida.[1] Catlin, George, 'A Descriptive Catalogue of Catlin's Indian Gallery', 1840, p. 29, no. 284
JOHN LENNON LADY GODIVA PAINTING. In watercolour and ink measuring 13.5" x 10". In addition to the painting is a sketch on the reverse of a pirate type character similar to that which features in his book "In His Own Write". Provenance: From the collection of Geoffrey Giuliano who purchased the drawing from Lennon's Uncle Norman Birch when he was researching for the book "John Lennon, My Brother" which he co-wrote with Julia Baird. Date unknown although John visited his Uncle in 1969 so it is thought to pre-date this visit. Sold with a COA from the Giuliano Collection Ltd.
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