Walter Langley, RI (British, 1852-1922) Towards the Sea signed lower right "W Langley" watercolour 17 x 12cm (7 x 5in) Provenance: From the collection of Simon Hilton, Cambridge Other Notes: Born in Birmingham, Walter Langley is generally dubbed the pioneer of the Newlyn School, as he was the first of the Newlyn School artists to settle in the village, setting up his studio in 1882. Like many of his fellow Newlyn artists, he had spent time in Brittany before discovering Cornwall, and some of his early Cornish works feature local models wearing the picturesque Breton costume. Langley started his artistic career at the age of fifteen, when he was apprenticed to a Birmingham lithographer. At twenty-one, having completed his apprenticeship, he won a scholarship to South Kensington, where he studied design. Langley returned to Birmingham to continue as a lithographer, but spent his spare time painting and soon gave up lithography to concentrate on this aspect of his work. Although Langley was an accomplished painter in oils, he mainly painted in watercolour, often on a large scale. Using this demanding and difficult medium, he portrayed scenes of everyday life in a small fishing village, highlighting the hardships and tragedies that were commonplace during that period. Langley remained based in West Cornwall throughout his career, and died in Penzance in March 1922. A little loss of colour.
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CIRCLE OF JAMES DUFFIELD HARDING (1798-1863) Cetara Fort, Bay of Salerno, Italy, with sailing boats amid choppy seas before a defensive headland, watercolour, 18.5 x 27.5cm Prov: With old label verso inscribed '....Bequeath to me with many others under the will of the late Frederick J. Battam of Campden Hill Square, Kensington' and signed 'Bea Boothby' Duffield Harding produced a series of paintings, drawings and engravings c.1830 in response to his tour of the Italian coastline. The composition of this painting is a match to one of those engravings
Wm. Bingham Mc Guinness 1849 - 1928, A.R.A.H., R.H.A. Watercolour: "A Mountain Stream with coming storm near Dlwyddelen," an extensive mountainous landscape with cattle and stream in foreground," 39cms x 67cms (15 1/2" x 26 1/2") signed and dated, and with label on reverse, cont. gilt frame. * This painting was exhibited at R.H.A. Exhibition, St. Stephen's Green, 1883, as No. 255. (1)
* COLIN W BURNS (BRITISH b 1944 - ), HUNTSMAN IN A LANDSCAPE oil on board,signed 62cm x 91cm (24.5 x 35.8 inches) Framed Note: Born in 1944, Colin Burns grew up in a Norfolk seaside town. From the age of seven, he began to paint landscapes and sunsets and, as a nine year old, started winning art prizes at school. At the age of twelve, his parents moved to live in the middle of the country in a marshland farmhouse and his former town life was replaced with beautiful surroundings and the local wildlife. Colin Burns claims that this change of lifestyle was the greatest artistic influence he has experienced. He became more and more involved in painting and began observing the wonders of nature. At the age of sixteen he left school and qualified as an accountant and went to work at 'Birds Eye' in Great Yarmouth, painting in his spare time and finding an enthusiastic market for his local landscapes. Colin's paintings caught the eye of a well known Art Dealer - Ivor Hook of 'The Little Gallery' in Elm Hill, Norwich - and, through an introduction in 1976 to the renowned 'Tryon' Gallery in London specialising in wildlife by leading artists, Colin held his first exhibition in 1977. Having left 'Birds Eye' in 1978 to become a professional artist, painting both in oil and watercolour, concentrating on the East Anglian countryside and the birds that inhabit it, Colin Burns has now become one of the most ·successful artists of the day. The Highlands of Scotland and its moors with its unique Scottish wildlife are also beautifully portrayed along with London scenes and even Central Park in New York, such is the versatility of Colin's talent with the brush. However it is the East Anglian countryside for which he is regarded as a leading wildlife artist. The international Auction House 'Christies' now almost exclusively handles the sales of his new work through sales in London, New York and Scotland. Many of his paintings have been reproduced as greetings cards and prints and his original oils and watercolours are keenly sought after and included in important collections in Europe and the USA
*Greenly (Elizabeth Brown, 1771-1839). View of Powis Castle, Montgomeryshire, 1790, watercolour on thick laid paper, showing Powis Castle surrounded by trees, with two figures and a horse on a path in the foreground, signed and inscribed lower left 'Boultbee pinxt: E.B. Greenly fecit 1790', toned and stained, additionally signed and inscribed on verso 'View of Powis Castle, Montgomeryshire drawn from the original Painting of Boultbee by E.B. Greenly 1790', 32.5 x 41cm (12.5 x 16ins), together with View of the Town of Pool, Montgomeryshire, 1790, watercolour on thick laid paper, showing a cluster of buildings with the Breidden Hills beyond, signed and dated lower left, mottled browning, inscribed on verso 'View of the Town of Pool in Monmouthshire, with the Brydden Hills beyond it taken from Powis Castle in 1790 by E.B. Greenly', plus a similar late 18th/early 19th century watercolour landscape view with figures, possibly Ludlow, signed 'W. Owen' John Boultbee (1753-1812) was an English painter of equestrian and other sporting subjects. He entered the Royal Academy School in 1775 and became a pupil of Sir Joshua Reynolds. Boultbee was greatly admired by George III, who commissioned several equestrian portraits by him and assigned him a residence in Windsor Park so that he might carry out his painting duties more conveniently. We have been unable to trace a painting of Powis Castle by him, and it is possibly no longer extant. (3)
***John (Northcote) Nash CBE RA (British, 1893 - 1977), a limed oak framed and glazed Watercolour and pencil Study, 'Gestow, Isle of Skye', signed and dated lower left in pencil, John Nash 1973, 34.5cm x 55.5cm the vendor states that this Painting was originally purchased new by him at the Hamet Gallery, Cork Street, London in 1973 (sold with copy of original invoice dated 1973), this is the first time that the work has come to market since
A collection of pictures and prints including an oil painting on canvas of continental town scene with figures and poultry, signed bottom right H Basmon (?), 40 x 50 cm approx in gilt frame with linen slip together with a coloured print showing a waist length portrait of an 18th century lady in white dress with ink sash, with label verso Queen Louisa after Tischbein, 59 cm overall in moulded gilt frame, a Victorian needlework panel of a biblical scene, a late 19th century watercolour showing the gate of Battle Abbey, Sussex, signed to mount E F Handerson (?), a watercolour of Brixham signed W Sands, a shield shaped mirror in wooden frame with string inlay, a convex mirror, etc
An interesting collection of pictures including an oil painting on board of a marine scene with sailing boats, signed bottom right Clive Bidgood and dated 1977, a watercolour of an estuary scene with fishing boats, signed Derek Turton, an oil painting on board of a coastal scene viewed through a rocky aperture with sea urchins, etc, inscribed verso - Gwyneth Williams and an 18th century black and white engraving - Portrait of Jean-Christophe Freund, inscribed Jeremias Wolff Excudit after Adam Manyoki, 412 x 30 cm approx (various sizes, some unframed)
A collection of pictures and prints including an oil painting on canvas, still life with milk bottle, loaf of bread, etc, indistinctly signed bottom right Lizding (?) and dated 53 together with two further oil paintings of still lifes, an early 20th century watercolour of a river scene, signed bottom left G B Wishart, a quantity of oil paintings on board, watercolours, etc, of equestrian subjects including scenes at racing meets together with watercolour landscapes, etc
A collection of pictures including an abstract gouache study in tones of brown, black and white, a charcoal and chalk drawing after Landseer - Dignity and Impudence showing a large and a small dog, signed bottom right A MacDonald, a watercolour still life of a vase of pink summer flowers, signed bottom left J Coulson and dated 93, a small black and white study of a highland bull, inscribed Pinx MacWhirter, also inscribed Leadbether, an oil painting on board, study of a horses head, signed with initials DHR and dated 87, an oriental scroll with painted decoration of mythological creatures, etc
A collection of mainly 19th century pictures including a watercolour of figures carrying baskets and fire wood, another showing a round house with figures, wheelbarrow, etc together with a further late 19th century watercolour of a town scene, signed with initials bottom right JED, 19 x 13 cm approx, an oil painting on board of a continental lake scene inscribed Shillon, a coloured lithograph of a continental cityscape, etc
THOMAS HORNOR (1785-1844) watercolour - landscape near Neath, South Wales with figures before a water-mill, entitled to mount 'Aberdulais Mill 1816' and bearing collection label verso for well-known collector, the late Elis Jenkins, 20 x 30cms Auctioneer's Note: Aberdulais Mill was a location of great importance in the industrialisation of South Wales and from 1798 the mill was owned by entrepreneur William Weston Young who amongst other achievements painted wares for Swansea Dillwyn pottery and became an investor in the Nantgarw porcelain factory. Please see an exceptionally rare book by WW Young in this auction (Lot number 66) A similar view of Aberdulais Mill was painted by JMW Turner, a painting which was acquired by the National Library of Wales in 1997
JOHN ELWYN watercolour with bodycolour - Scottish landscape, entitled on Chris Beetles paperwork verso 'Glasgow Lowlands', 33 x 43cms Provenance: Shell Advertising Art Collection - the painting was used as the cover image for a 1963 Shell / BP tourist guide for Glasgow Lowlands, Renfrew, Lanark, Dumbarton and Stirling, an edition of 'The Shilling Guides'
A mixed lot of pictures and prints to include an Indian miniature painting on silk of a procession with an elephant carrying a howdah; a watercolour of a winter landscape signed Ron Caygill 1982; a pair of Paul Purday limited edition colour prints 'Distant Spire' 290/850 and Edge of the Lake 389/850, signed and titled in pencil; D John Wood limited edition colour prints 'The Brabazon at the Belfry 466/850 signed in pencil, a pair of hunting prints, a quantity of Roger Healy limited edition prints 'Cocker o the Step' and 'Springer in the Snow; Rene Brooks (20th Century) Snowden Horseshoe, oil on board and another view of Snowdonia signed Brux; a watercolour of a winter landscape signed Peter? 95, a limited edition print of The Mill, Rye Sussex signed MC Alexander etc.
Six prints and watercolours: EG Houseman, watercolour painting of countryside, 35cm x 45cm and another by same artist, 24cm x 34cm, scene of stream and hillsides. Unsigned watercolour 24cm x 34cm boats on foreshore. EM Percival,watercolour river scene entitled "Ludlow Castle", 24cm x 3cm. Lionel Edwards, print 1933, 24cm x 41cm, Fox hunting scene and another by same artist, signed in pencil, 33cm x 49cm. All framed, mounted and glazed.
A group of Indian miniature paintings, 19th century, watercolour on paper, comprising; a painting of Krishna and the gopis in a forrest, 11cm. by 20.5cm., framed and glazed; a painting of a prince and princess with a musician, 16cm. by 11cm., framed and glazed; nine various miniatures, mounted; and four pages of manuscript, three mounted.
* JOHN HOUSTON OBE RSA RSW RGI (SCOTTISH 1930 - 2008), FISHING HUT - BUCKHAVEN BEACH watercolour on paper, signed 26cm x 36cm Framed and under glass Provenance: The painting was displayed (on loan) in Buckhaven, Fife, near Buckhaven High School where the artist was a former pupil. Gifted to the vendors mother in early 1980's by the artist as a thank you
* COLIN W BURNS (BRITISH b 1944 - ), HUNTSMAN IN A LANDSCAPE oil on board,signed 62cm x 91cm (24.5 x 35.8 inches) Framed Note: Born in 1944, Colin Burns grew up in a Norfolk seaside town. From the age of seven, he began to paint landscapes and sunsets and, as a nine year old, started winning art prizes at school. At the age of twelve, his parents moved to live in the middle of the country in a marshland farmhouse and his former town life was replaced with beautiful surroundings and the local wildlife. Colin Burns claims that this change of lifestyle was the greatest artistic influence he has experienced. He became more and more involved in painting and began observing the wonders of nature. At the age of sixteen he left school and qualified as an accountant and went to work at 'Birds Eye' in Great Yarmouth, painting in his spare time and finding an enthusiastic market for his local landscapes. Colin's paintings caught the eye of a well known Art Dealer - Ivor Hook of 'The Little Gallery' in Elm Hill, Norwich - and, through an introduction in 1976 to the renowned 'Tryon' Gallery in London specialising in wildlife by leading artists, Colin held his first exhibition in 1977. Having left 'Birds Eye' in 1978 to become a professional artist, painting both in oil and watercolour, concentrating on the East Anglian countryside and the birds that inhabit it, Colin Burns has now become one of the most ·successful artists of the day. The Highlands of Scotland and its moors with its unique Scottish wildlife are also beautifully portrayed along with London scenes and even Central Park in New York, such is the versatility of Colin's talent with the brush. However it is the East Anglian countryside for which he is regarded as a leading wildlife artist. The international Auction House 'Christies' now almost exclusively handles the sales of his new work through sales in London, New York and Scotland. Many of his paintings have been reproduced as greetings cards and prints and his original oils and watercolours are keenly sought after and included in important collections in Europe and the USA
EDWARD ARTHUR WALTON RSA PRSW RP NEAC (SCOTTISH 1860-1922), MISS MABEL CUTHBERTSON SEATED WITH HER DOLL oil on canvas, signed 'E A Walton' lower right, inscribed verso 'Mabel, with 'daughter of MacArthur Cuthbertson Esq.' (on a partial label verso) and with artist's stamp 'E A WALTON, Edinburgh' verso 115cm x 87cm (45.27 x 34.25 inches) Framed Note: Exhibited The Royal Glasgow Institute (RGI) Exhibition 1909, catalogue number 522. Biographical: Edward was one of twelve children of Jackson Walton, a Manchester commission agent and a competent painter and photographer. Some of Edward's siblings were well known in their time - his brother George Henry Walton (1867-1933) was a noted architect, furniture designer and stained glass designer, Constance Walton was an acclaimed botanical painter, while Helen Walton, born 1850, was a decorative artist who studied at the Glasgow Government School of Design and was artistic mentor to the family. Walton enjoyed his art training at the Kunstakademie Düsseldorf and then at the Glasgow School of Art. He was a close friend of Joseph Crawhall - Walton's brother Richard having married Judith Crawhall in 1878 - George Henry and James Guthrie and lived in Glasgow until 1894 where he became part of the Glasgow School or Glasgow Boys, all of whom were great admirers of Whistler. Their favourite painting haunts were in the Trossachs and at Crowland in Lincolnshire. In 1883 Walton joined Guthrie, who had taken a house in the Berwickshire village of Cockburnspath. He also produced a remarkable set of watercolours in Helensburgh in 1883, showing the affluent suburb and its decorous people. These images are regarded as some of the finest of the Glasgow School and praised for their clarity, colour and strong decorative sense. Carrying out portrait commissions became Walton's main source of income. In the 1880s and 1890s he painted murals in the main building of the Glasgow International Exhibition of 1888 and other buildings in the city. Walton also attended painting classes at the Glasgow studio of W. Y. Macgregor, one of the central figures of the Glasgow School. Walton exhibited from 1880 in both Glasgow, at the Royal Glasgow Institute of Fine Arts, and Edinburgh, at the Royal Scottish Academy, being elected an associate of the Academy in 1889 and a full member in 1905. He was in London from 1894 until 1904, living in Cheyne Walk in Chelsea, and a neighbour of Whistler and John Lavery. While in London, Walton often painted in Suffolk, spending summers at the Old Vicarage in Wenhaston. Here he painted pastoral scenes in oil and watercolour, the latter often on buff paper with creative interplay between paper and paint. He used extensive underpainting in his oils, thereby creating subtle effects. In 1907 he accompanied Guthrie on a painting trip to Algiers and Spain and in 1913 worked in Belgium. The World War I years led to his discovering Galloway and he became a frequent visitor to the area. From 1915 he served as President of the Royal Scottish Water Colour Society. Walton's use of oil was reserved largely for important portraits in the Whistlerian manner. Walton married the artist Helen Law (née Henderson) after becoming engaged on 29 November 1889. Helen gave up her painting career in order to tend to their family. Their son John (1895-1971), became Regius Professor of Botany at the University of Glasgow. Their daughter Cecile (1891-1956), was a successful painter, sculptor and illustrator in Edinburgh. Their youngest daughter Margery married William Oliphant Hutchison in 1918. Sixty eight of his paintings are held in UK public collections including Glasgow Museums & Galleries.
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