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Click here to subscribeMORGAN MICHELE: (1920-2016) French film Actress. Signed 9.5 x 12.5 abstract watercolour by Morgan on a Canson drawing paper. Signed `M. Morgan´ in pencil to the bottom right corner. Bearing to the verso a Michele Morgan succession ink stamp. From 1970 Morgan spent a large part of her life to her passion, the painting. VG £80-100
Arthur Wilde Parsons (1854-1931) - Watercolour - Queen Elizabeth's Visit To Bristol 1574, signed and dated 1917, the mount with script explaining that this is a preparatory watercolour for a large oil painting presented to Bristol Art Gallery in 1916, 47cm x 59cm Condition: ** General condition consistent with age
‡ Antonio Cardenas (Spanish b.1947) Patriarca; Portrait of a lady Two, both signed and dated 85 Both watercolour and pencil Each 30.5 x 20.5cm and 32.5 x 22.5cm (2) ++Him - 2 small areas of dirt/staining lower right quarter which may be on the glass or on the painting -( there is also a spot of glue on the glass lower left which may show up on the photo); her - good condition
* YUON, KONSTANTIN(1875-1958) *On the Volga, Unloading a Barge, signed.Pencil and watercolour, heightened with white, on paper, laid on cardboard, 52 by 71 cm.Provenance: Important private collection, Europe. Authenticity of the work has been confirmed by the expert V. Petrov. Authenticity has also been confirmed by the expert E. Zhukova. Exhibited: IX vystavka kartin Soiuza russkikh khudozhnikov, Moscow, St Petersburg, 1911–1912. Literature: Exhibition catalogue, Katalog IX vystavki kartin Soiuza russkikh khudozhnikov, Moscow, 1911, No. 446, listed. Exhibition catalogue, Katalog IX vystavki kartin Soiuza russkikh khudozhnikov, St Petersburg, 1912, No. 396, listed. N. Tretiakov, Konstantin Fedorovich Yuon, Moscow, Iskusstvo, 1957, p. 104, listed under the works from 1911 as Razgruzka barzhi. Na Nizhegorodskoi iarmarke. V. Lapshin, Soiuz russkikh khudozhnikov, Leningrad, Khudozhnik RSFSR, 1974, p. 232, listed. One of the most optimistic Russian artists of the early 20th century, Konstantin Yuon had been captivated by the subject of the great Russian river Volga since his early youth. He first embarked on a journey along the Volga in search for the inspiration for his work immediately after graduating from the Moscow School of Painting, Sculpture and Architecture. Later, he often travelled upstream, stopping at various towns on the upper reaches of the Volga, where he was attracted by the well-preserved provincial way of life, “the wonderful bright colours of the painted cottages” and the beautiful landscapes of the river banks. The painting On the Volga, Unloading a Barge presented here for auction belongs to a series of gouaches and watercolours influenced by Yuon’s impressions from the journey to Nizhny Novgorod in 1911. The trip proved very productive for the artist, with a series of Novgorod views and Volga landscapes appearing soon after its completion. The artist’s attention was particularly drawn to the market places, jetties and bridges, bustling and full of life, where the Volga was a continuation of urban space, its banks seething with the busy daily activities of a river port. The artist was captivated by the breadth, the openness and the sheer verve of the region around Nizhny Novgorod, and many of his landscapes from this series — Volga Jetties in Nizhny Novgorod (1911, Museum-Apartment of I. Brodsky, St Petersburg), Samolet Jetty on the Volga (1911), Jetty on the Volga (1912, Serpukhov Historical and Art Museum), Sunset on the Volga. Nizhny Novgorod (1911, Nizhny Novgorod State Museum of Art) — resemble vast panoramas. To capture the expanses of the Volga as fully as possible, Yuon selects a high viewpoint for the landscape, taking in the river bank in a single view, with its great bustle of people and carts, steam boats ready to leave with crowds of impatient passengers, the smooth blue waters of the river flashing in the sun, and the town visible in the distance. “I wanted to create these pictures like songs”, the artist recalled. On the Volga, Unloading a Barge is one of these lively Volga panoramas bursting with life. Before us is a view of the riverbank, a jetty, the Volga, and a summer sky covered with grey rain clouds. The water of the river is of a dense leaden colour, and this motionless smooth surface, passing away around a bend, is visible right to the distant line of horizon. But the river, the sky and the opposite bank of the river clustered with buildings are only the background against which the pictorial narrative of an ordinary day on a Volga jetty unfolds. The space is filled with heavy barges, laden with containers, people and carts waiting for cargo. Hauliers bustle along a high gangway, and carts move incessantly in every direction.
W** Robinson (contemporary)Bride and Groomsigned in pencil, label to verso Mr W Robinson Loughborough College of Art, 1981, 33.5cm x 41cmNorman Pett (1891 - 1960)Janeink, label to verso, From the John Kirton Collection, Bought From Chris Beetles Ltd, 11cm x 8cmPolly Rockberger (b.1950)A Holiday Drinksigned, mixed medium, 30cm x 36cmAtelier HartmannStargazer Lilysigned, watercolour and gouache, 29cm x 26cm; another, Fairies in a Forest, painting on silk, 31cm x 29cm (5)
A PAIR OF VICTORIAN? WATERCOLOUR PAINTINGS, the first of a young woman wearing a colourful shawl, approximate size 19cm x 14cm, the second of a young woman placing flowers into the brim of her hat, approximate size 19cm x 14cm, mounted, framed and glazed, neither painting has a visible signature (Condition:- Both paintings have cracks/losses to the paint)
BERNARD HARPER WILES (1883-1966) 'RANGOON 1909', a watercolour painting of a Burmese (Myanmar) Temple, signed and dated bottom centre, mounted, framed and glazed, approximate size 26cm x 20cm (Wiles was living in Rangoon and sold his work to tourists, he was commissioned as a War artist during WWI, his work hangs in the Imperial War Museum) (Condition:- Some foxing)
JOHN SILVER (BRITISH - CONTEMPORARY), 'Jailhouse Rock', a limited edition print 6/395 of a group of dogs behind a fence, signed and numbered in pencil, with certificate, mounted, unframed, approximate size 33cm x 75cm (condition:- As new) and Paul Adams (British Contemporary), 'Kinver, The Vine', a watercolour painting of a public house beside a canal, signed lower left, mounted and framed, approximate size 25cm x 35cm (condition:- Some marks to the frame) (2)
Edmund (Edward) P. Holt (Scottish, 1815-1892), Old Malabar and Charley Napier, each signed lower right and inscribed with the title, watercolours, in period reeded ebonised frames. Each 43cm by 28cm. (2) Note: Edmund or Edward Holt (also commonly known as Ned Holt), was a caricaturist painting colourful Scottish characters in watercolour. Little of his work survives although an album of 49 sketches is held in Edinburgh Central Library. He was also a well known Edinburgh showman and actor, hence his interest in street entertainers. Old Malabar was one of Glasgow's most colourful entertainers. He was apprenticed to a Chinese juggler. As the subject lot he was always dressed in a version of Oriental costume and one of his best known tricks was to toss a heavy ball and caught it in a leather cup attached to his head.
Edward Raymond Payne ARCA (1906-1991) ''Wall Painting - Caves at Lascaux'' Signed and dated 1957, pencil and watercolour, together with a further example by the artist depicting the same subject, 24.5cm by 34.5cm (2) Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business
James Mahony ARHA (1810-1879)The Official Opening of 'The National Exhibition of the Arts, Manufactures and Products of Ireland' Cork, 1852Watercolour, 74 x 66cm (29 x 26'')This large watercolour by James Mahony depicts the building designed by John Benson for the “National Exhibition of the Arts, Manufactures, and Products of Ireland” held in Cork in 1852. The exhibition took place on the Corn Exchange site on Albert Quay-where City Hall now stands-and was opened by the Lord Lieutenant, Archibald Montgomerie, 13th Earl of Elginton, on June 10th of that year. The watercolour depicts a long line of eminent citizens, waiting to be introduced to the Lord Lieutenant, who stands on a carpeted dais in the foreground. A tipstaff announces the names of those who are to ascend the steps to the dais; they appear to be mainly men, while the audience looking on from both sides is composed mainly of women. First in line is a man, hat in hand, wearing a blue sash and medallion. Galleries on either side of the hall are also packed with spectators. Benson was a brilliant engineer and architect, who used innovative building methods; the roof of the Cork Exhibition hall, with its four transepts, was constructed of laminated wood trusses, bent into semi-circles, and linked together to form a strong but light structure. Large skylights admitted light into the building. The same system was used in his designs for other Cork buildings, including the Butter Market, the Firkin Crane and the English Market. Following on from his success in Cork, Benson was engaged to design the buildings for the Dublin International Exhibition in 1853. Unfortunately, being constructed mainly of wood, over the years all of Benson’s Cork buildings have been destroyed, or have lost their original truss roofs, as a result of fire. When the Cork National Exhibition ended, the building was dismantled and sold to the trustees of the Royal Cork Institution. Three years later it was re-erected, on a site beside the Cork School of Art (now the Crawford Art Gallery). Titled “The Atheneaeum”, it was inaugurated by the Lord Lieutenant, George Frederick Howard, Earl of Carlisle, and over the following decades was used mainly for lectures, exhibitions and performances. Re-named the Cork Opera House in 1877, it hosted many theatrical and opera performances before being destroyed by fire in 1955. Mahony’s watercolour depicts the first inauguration of the building in 1852. He depicts an ornate but functional interior, one that combined conventional architectural elements, including Corinthian columns, with proto-Modernist construction methods. When the building was re-erected as the Athenaeum three years later, it was a simpler structure, and by the time it was remodelled as the Cork Opera House in the later nineteenth century, it had lost most of its original embellishments. A contemporary wood engraving by Mahony, published in The Illustrated London News, shows another transept in the Cork Exhibition complex, the Fine Arts Hall. Born in Cork in or around 1810, James Mahony specialised in views of historical events and paintings with religious themes. He first exhibited in the 1833 exhibition of the “Cork Society for Promoting the Fine Arts” and during the following years travelled extensively on the Continent, mainly in France and Italy. Returning to Ireland, he settled at the home of his father, a carpenter, at 34 Nile Street. The date of his return has not been established precisely; Strickland gives it as 1841, but in 1839 Mahony painted a large watercolour of the blessing of the Church of St. Mary’s on Pope’s Quay, a painting now in the Great Hunger Museum in Quinnipiac, Connecticut. During those years Mahony also set about founding, along with fellow artist Samuel Skillen, a Cork Art Union. The concept of an Art Union, where works of art from an annual exhibition were distributed by lottery amongst a group of subscribers, had already been put into operation in London and in other cities. An Art Union in Dublin had been founded two years previously, and there was also one in Belfast. Each member paid an annual subscription of one pound. This gave the subscriber (and up to three friends) free admission to the exhibition, as well as participation in the lottery of paintings. In the first year of the Union's operation in Cork, it was reckoned that more than £100 would be spent on the purchase of paintings, to be distributed amongst the subscribers. The first exhibition was held in September 1841 at Marsh's Rooms on the South Mall, and in spite of the bad weather was an immediate success, with Mahony and Skillen both amongst the exhibitors.Mahony showed again in 1844, submitting two paintings to the Cork Art Union Exhibition, Strada di son Giardino a Subraio, and Nella Chiesa di San Maria della Fiore a Genzano vicino di Roma, both priced at four pounds and four shillings. In November 1846, his view of the Fr. Matthew Memorial Tower at Glanmire was presented to Queen Victoria. Around this time, he resumed his travels, spending a number of years in Spain, before returning to Ireland. In 1852, as well as depicting the inauguration of the Cork National Exhibition, he showed several watercolours in the Fine Arts section, including The City of Cork from the river near the Custom House and Queens College, Cork, along with views of Venice and Rome. Settling in Dublin four years later, he exhibited at the RHA, and was also made an associate of the Academy. A large panoramic view of Dublin, in the National Gallery of Ireland, shows his talents in rendering architectural detail. Also in the NGI is his watercolour depicting the visit by Queen Victoria and Prince Albert to the 1853 Dublin Exhibition. In 1859 Mahony moved to London, where he worked as an illustrator, until his death in 1879. While he produced paintings of notable building, and civic and cultural events, Mahony is best known nowadays for his graphic images of the effects of famine in Co. Cork, which were published in The Illustrated London News in the 1840’s. These harrowing images influenced public opinion, and helped changed the British government’s official stance of indifference to the Great Famine. James Mahony is not to be confused with a later Cork artist, James Mahoney, who also painted in watercolour. (See Julian Campbell Irish Arts Review Vol 28, No. 2 (2011) p. 98]Peter Murray, April 2018
A coloured exhibition poster from the Metropolitan Museum of Art exhibition impressionist to early modern painting from the USSR, 1986 - Gold Fish after Matisse, 100 x 57cm in silver coloured aluminium frame, together with a watercolour and bodycolour study of hounds, signed J Robertson, dated 92, 19 x 28cm in gilt frame and three others (5)
William Percy French (1854-1920) BOG LANDSCAPE WITH TURF STACKS watercolour signed lower left 10.25 by 17.25in. (26 by 43.8cm) Presented in the original pokerwork frame with Celtic interlaced knot design. A number of French's watercolours were effectively framed by the Arts and Crafts workshop known first as the Belfast School of Poker-Work and then as the Irish Decorative Art Association, run by Eta Lowry and Mina Robinson and their team of women in Belfast. By 1900 specialising in Celtic interlaced pokerwork patterns, their frequently exhibited work showed their application of "the ancient Celtic ornament to all the articles of use and beauty which furnish the modern home". Larmour records that in 1904 almost all Percy French's paintings were exhibited with pokerwork frames decorated by the Association at its annual summer show in Portrush, Co. Antrim. (1) Some of these were intricately delineated on the timber frame with competently rhythmic, inventive knotwork, ably balanced on all four sides with modulating triple spirals to denote a change of design in the middle of each side. These small circular devices recall the triskel, one of the main emblems of Celtic triadic paganism, perhaps symbolising, appropriately, the three realms of land, sea and sky. They may be seen in somewhat fish-like forms, along with small interlaced crosses in the fine frame which French chose to set off the 1902 watercolour he painted to illustrate his immortal words, "Where Ever I go my heart turns back to the County Mayo" (sold by Whyte's in September 2005, lot 66) from the collection of Rupert Guinness, 2nd Earl of Iveagh.(2) Born at home in Cloonyquin House, near Tulsk in County Roscommon, Percy French was from early childhood introduced to the literary world through an extensive family library maintained by his father and through private home tutorage. Theirs was a close knit family and the children's literary aspirations were encouraged in the form of their own family magazine called The Tulsk Morning Howl in which Percy's contributions of poetry, stories and drawing dominated. After entering prep school in England in 1864 and subsequently the Foyle College Belfast, French entered Trinity College, Dublin, 1872 to commence, what was to take eight years to complete, a Degree in Civil Engineering. Unable to detach himself from his instinctive artistic nature, and an inherent disinterest in politics and 'men's matters', French's experiences at Trinity were recapitulated by the artist as follows: "…I think taking the banjo, lawn tennis and watercolour painting instead of chemistry, geology and the theory of strains must have retarded my progress a great deal. But I was eventually allowed to take out my C.E. They were obviously afraid that if I stayed at Trinity any longer I might apply for a pension…" Although ceaseless in his artistic pursuits, French persevered with engineering and in 1883 was appointed Chief Engineer by the Board Works, Cavan, a position he referred to as "Inspector of Drains". Several of his finest Irish landscapes were painted during this period spent in County Cavan. 1888-90 were very significant years for French: his Engineering post had come to an unexpected end and he was to return to the realm of the arts. Appointed editor of The Jarvey comic magazine French was introduced to one of its illustrators whom he quickly fell in love with and later married. His relationship with Ms Ettie Armitage Moore, also a gifted artist, had a profound impact on the artist who suffered greatly upon her untimely death just one year later. In terms of his artistic movements at this time French was listed as a 'working member' of the Dublin Sketching Club, and between 1891 and 1901 he exhibited twenty-four works at the Royal Hibernian Academy. In 1894 he married Helen May Sheldon, a school friend from Warkwickshire, and relocated to 35 Mespil Road, Dublin and later to London. These years saw the artist concentrate on his career as an entertainer, touring widely across Ireland and Britain with his performances garnering him immense success and recognition. In the early years of the 1900s French was exhibiting with the Watercolour Society of Ireland (1905) and the following year in London at the New Dudley Gallery, Piccadilly and the Modern Gallery, Bond Street. On the back of these highly celebrated shows he attracted the attention of the Royal Family who later became his loyal patrons. The Royal Library of Windsor displays a drawing of Queen Victoria's procession entering Phoenix Park. Having played sell-out shows across Ireland and Britain the career of Percy French as an entertainer reached its peak in 1910 when he toured Western Europe, Canada, U.S.A. and the West Indies. His paintings from this period were never brought back to Ireland but were sold while abroad or donated to charities. In contrast, his expeditions to Switzerland in 1913 produced numerous sketches of the Alps and surrounding countryside many of which returned to Ireland and were later exhibited. During 1914-1918 French supported the war effort through staged charity concerts and performances for the troops both in England and France. He continued these theatrical pursuits up until 1920 until his ailing health restricted his movements. Connemara at this point served as a place of convalescence both physical and emotional. Here the artist's poetic and painterly interpretations of life and landscapes fused: "Down by the Lough I shall wander once more, Where the wavelets lap lap round the stones on the shore; And the mountainy goats will be wagging their chins As they pull at the bracken among the twelve pins." The Islands of Aran, Sweet Lavender... In the Studio - "Once more I paint from memory The hills of Donegal, And as they raise - ma Gramachree! In fancy I recall...." ....And when I paint the sparkling tide That flows by Slievenaree, I would the boat again might glide Across the summer sea" Although he died at the premature age of sixty-six, his work as both an artist and popular entertainer are commemorated variously. The Percy French Society, formed in the 1980s, houses a collection of some eighty watercolours by French on permanent display in the North Down Heritage Centre. His Roscommon home, which he called, "a haunt of ancient peace" (3) , commemorates the artist with a monument where the house once was. Footnotes: 1 Paul Larmour, 'The Irish Decorative Art Association', The Arts and Crafts Movement in Ireland (Belfast 1992). 2 Extract from a note by the late Nicola Gordon Bowe for Whyte's 28 September 2009 lot 71. 3 Nulty, Oliver, Lead Kindly Light, 35 Years of Percy French at the Oriel Gallery - A Millennium Retrospective, The Oriel Gallery, Dublin, 2002, p. 45.
Michael Cullen RHA (b.1946) STUDY: THE ANATOMY OF DR. NICOLAES TULP AFTER REMBRANDT, 1998 watercolour signed lower right; signed, titled and dated on reverse 27.50 by 41in. (69.9 by 104.1cm) Michael Cullen was born in Kilcoole, Co. Wicklow and studied art at the Central School of Art and Design, London in 1969 and NCAD from 1970 to 1973 before moving abroad for several years. Cullen's work has an underlying autobiographical aspect that sees him referring both himself and his work to such masters as Velásquez and Picasso. With his multicoloured carnival palette, Cullen's paintings and prints reveal the influence of time spent in Mexico, Spain and Morocco that adds a festive air to proceedings. The profusion of bright, clean colour is emphasised by accents of brilliant white, and Cullen's work often includes imagery of cowboys, still lives, bullfighters and infantas. Michael Cullen was awarded the Independent Artists' Major Painting Award in 1984 and the National Portrait Award in 1989. He has been the recipient of several Arts Council bursaries is also an elected member of Aosdána. Cullen has shown his work extensively throughout Ireland, with solo exhibitions at the Fenderesky Gallery, Belfast; Cavanacor Gallery, Donegal; Vangard Gallery, Cork; and Triskel Arts Centre, Cork; as well as Temple Bar Gallery, the Graphic Gallery and Project Arts Centre, Dublin. Cullen's work is included in private collections throughout the country and is also represented in the public collections of the National Gallery of Ireland, Dublin City Gallery The Hugh Lane, the Arts Council of Northern Ireland and Dundee Contemporary Arts Society, Scotland, amongst others. (from www.taylorgalleries.com) Cullen's most recent solo exhibition with the Taylor Galleries, Dublin - Tír na nÓg - took place from 13 April to 5 May 2018.
Eóin O'Connor (b.1973) TREES WITH CABIN watercolour 22 by 20in. (55.9 by 50.8cm) Born in Dublin, O'Connor studied at NCAD obtaining a 1st Class Honours from the painting department in 2003. He was awarded prestigious residencies including at the Lassallian International Art Culture Centre, Vicchio, Florence. His work covers an array of media including painting, sculpture and photography and reflects ideas relating to the urban environment of architecture, planning and area regeneration. "Self-contained universes, they appear nostalgic and tranquil, yet in reality are symbols of an unrealistic ideal..." O'Connor has said of his work for the CAP Foundation Award which is received in 2003.
Eóin O'Connor (b.1973) TREES watercolour 24.50 by 21.75in. (62.2 by 55.2cm) Born in Dublin, O'Connor studied at NCAD obtaining a 1st Class Honours from the painting department in 2003. He was awarded prestigious residencies including at the Lassallian International Art Culture Centre, Vicchio, Florence. His work covers an array of media including painting, sculpture and photography and reflects ideas relating to the urban environment of architecture, planning and area regeneration. "Self-contained universes, they appear nostalgic and tranquil, yet in reality are symbols of an unrealistic ideal..." O'Connor has said of his work for the CAP Foundation Award which is received in 2003.
Caitriona Moore (b.1981) UNTITLED pencil and watercolour 21.75 by 29.75in. (55.2 by 75.6cm) Born in Dublin, Moore graduated from NCAD in 2003 with a BA (Hons) in Fine Art Painting. In 2001 she was awarded a scholarship to Rhode Island School of Design in the United States. Moore works as an illustrator and art teacher. "I enjoy twisting the line between fairy-tale fantastic (fiction) and the domestic, mundane everyday (reality) truth", says Moore. Her images "… draw mainly on themes of socialisation, moral fables and myths, the use of the narrative and the storytelling tradition…". Moore was the recipient of the CAP Foundation award in 2003.
Caitriona Moore (b.1981) I DON'T KNOW WHY HE CALLED ME A GERMAN SAUSAGE charcoal, watercolour and collage 16.50 by 23.50in. (41.9 by 59.7cm) Born in Dublin, Moore graduated from NCAD in 2003 with a BA (Hons) in Fine Art Painting. In 2001 she was awarded a scholarship to Rhode Island School of Design in the United States. Moore works as an illustrator and art teacher. "I enjoy twisting the line between fairy-tale fantastic (fiction) and the domestic, mundane everyday (reality) truth", says Moore. Her images "… draw mainly on themes of socialisation, moral fables and myths, the use of the narrative and the storytelling tradition…". Moore was the recipient of the CAP Foundation award in 2003.
Ciara Moore (b.1966) BIRDS OF A FEATHER watercolour titled on exhibition label on reverse 8 by 12in. (20.3 by 30.5cm) Moore is an Irish artist living in Los Angeles. In 2000 she graduated with a BA in painting from NCAD and received her MA in Art in the Contemporary World in NCAD in 2007. She develops her work by investigating behaviours, events and philosophical concepts, "The distinction between us and all the other little creatures around us has become a fascinating area of exploration for me", Moore has said of her work for the CAP Foundation Award which we received in 2000. She has exhibited internationally and received a number of awards including artist's residencies in Tasmania, Sydney and Melbourne Australia, Greece, Brazil and Scotland. Selected exhibitions include Plimsoll Gallery Hobart, Australia, Crawford Municipal Gallery, Cork, Truck Gallery, Calgary and Xuhui Arts Museum, Shanghai.
Harry Kernoff RHA (1900-1974) SILVER BIRCHES, PHOENIX PARK, DUBLIN [OVERLOOKING THE LIFFEY VALLEY] 1933 watercolour signed and dated lower left; titled and with artist's name, address [Stamer Street] and price [£15-15-0] on reverse 9 by 12.50in. (22.9 by 31.8cm) Acquired directly from the artist by Jack Segal; Thence by family descent The present scene includes the artist seated at his easel painting. This collection of the works of Harry Kernoff, including some important archival material, was formed by members of the Segal family in Dublin. Reuben Segal set up in business as a manufacturing jeweller in Belfast in the early 20th century. After World War I he moved the business to Dublin and, trading as the Jewellery & Metal Manufacturing Company, became the largest manufacturer of metal badges, medals and trophies in Ireland. Reuben died in 1956 and his son, Jack (Jacob), succeeded him. The Segals were famous for their medals such as those for the 1916 Rising and War of Independence, The Tailteann Games 1924-1926, the GAA All-Ireland and other sporting events. They were the largest producers of metal badges - for Government including the Post Office and Defence Forces, as well as many commercial enterprises, all proudly made entirely in Ireland. Jack Segal, whose early ambition was to be an architect, was a competent designer and used that skill in his business. He had a keen interest in art and was a good friend and patron of Harry Kernoff. Jack Segal died in 1987.
60th Royal American Regiment Reginald Weimar Watercolour. This detailed study depicts a Drummer boy of the Regiment Circa 1780. He is shown standing to attention, wearing drummer pattern coat and bearskin mitre cap. In the background can be seen the Regimental encampment. Mounted into a glazed frame. Overall Size 20 x 26 inches. Minor damage to frame. Painting retains good colour.
English 19th Century Watercolour - A View From Patterdale / Westmoreland Lake District, Summers Day ' Ullswater ' Figures / Boats / Sheep / Mount Longmire In Distance. Date 1879. Watercolour. Titled and Dated 1879, Mounted and Framed Behind Glass. Painting Size 8.25 x 14.75 Inches. Providence - Barronfield, Kelvin Hall, Glasgow.
W** Robinson (contemporary)Bride and Groomsigned in pencil, label to verso Mr W Robinson Loughborough College of Art, 1981, 33.5cm x 41cmNorman Pett (1891 - 1960)Janeink, label to verso, From the John Kirton Collection, Bought From Chris Beetles Ltd, 11cm x 8cmPolly Rockberger (b.1950)A Holiday Drinksigned, mixed medium, 30cm x 36cmAtelier HartmannStargazer Lilysigned, watercolour and gouache, 29cm x 26cm; another, Fairies in a Forest, painting on silk, 31cm x 29cm (5)
*Batchelor (John, born 1936). Hawker Fury I in flight, registration K5673, circa 1990, watercolour and gouache on board, signed lower right, 37 x 53cm, together with an original painting of a Tiger Moth in flight, registration G-AMHF, watercolour and gouache on paper, signed and dated by the artist lower right D.J. Scammell, 66, 32 x 48cm, pasted on board, plus an unfinished painting of three airborne US aircraft by Stanley Orton Bradshaw (1903-1950), oil on board, signed and dated 1945 lower left, 35 x 46cm (3)
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