* DONALD MCINTYRE RCA (BRITISH 1923 - 2009), DINAS DINLLE, SNOWDONIA oil on canvas, initialledframedimage size 72cm x 133cm, overall size 89cm x 150cm Note 1: McIntyre was Born in Yorkshire of Scottish parents, he spent the most memorable years of his childhood in the west of Scotland. McIntyre Studied painting under James Wright, R.S.W, at Garelochhead. Qualifying as a dentist in Glasgow, he remained in that profession, working in the army and then in the school service until the age of forty, when he left dentistry to make a living as a full-time painter. In the late 1950's McIntyre moved to North Wales. He was a member of the Pastel Society, Royal Institute of Painters in Watercolour, Royal Society of Marine Artists, and for many years until his death, The Royal Cambrian Academy. Exhibited at The Royal Academy, London; Thackeray Gallery, London; Albany Gallery, Cardiff; The Royal Cambrian Academy, Conwy; The Royal Scottish Academy, Scotland; Racines Gallery, Brussels. Public Collections; H.R.H. The Duke of Edinburgh; The National Library of Wales; Newport Art Gallery; Arts Council of Wales; Welsh Contemporary Arts Society; Kirkaldy Museum and Art Gallery; USA Embassy, London. Note 2: This painting is one of the largest seascapes by McIntyre to come to auction and is a rare opportunity to own a wonderful seascape of the Welsh seascape.
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* JAMES S DAVIS DA PAI RSW FRSA (SCOTTISH b. 1944), A GOOD-NIGHT KISS, MILLPORT oil on board, signed, titled versoframed and under glassimage size 36cm x 41cm, overall size 56cm x 61cm Note: James Davis was born in Scotland in 1944. He studied contemporary painting at the Glasgow School of Art between 1963 and 1967. He specialised in drawing and painting under the tutorage of Scottish artists William Armour and David Donaldson. For more than 40 years James Davis paintings have been exhibited extensively with the Royal Glasgow Institute ( RGI), Royal Scottish Watercolour Society (RSW), Royal Scottish Academy RSA and the Paisley Art Institute ( PAI). James Davis was elected to the RSW in 2003. James Davis paintings are predominantly landscapes, figurative and portraits and he paints in both watercolours and oils. Davis has been the recipient of many art awards for his contemporary paintings including the David Cargill Award; RGI in 2003 and the Reid Kerr Painting Award in 2005. James has established a strong following with leading private and corporate art collectors of contemporary Scottish art. These include: HRH The Duke of Edinburgh; The Royal Collection; Holyrood Palace; King Hussein Family Private collection; Vatican Commission Scott's College Rome; Glasgow City Chambers; Merk Finance; Arisaig Holdings (Singapore) and Strathclyde Education Authorities. His paintings also feature in many private contemporary art collections in the UK, Canada, USA, Italy, Holland, France, Switzerland, Australia and Tasmania.
* ELIZABETH BLACKADDER DBE RA RSA RSW RGI DLitt (SCOTTISH 1931 - 2021), IRISES limited edition print on paper, signed and numbered 117/300mounted, framed and under glassimage size 25cm x 38cm, overall size 44cm x 57cm Note: Elizabeth Blackadder was the first woman to be elected to both the Royal Scottish Academy and the Royal Academy. She studied at Edinburgh University and Edinburgh College of Art from 1949 to 1954. In 1954 she was awarded a Carnegie Travelling Scholarship by the Royal Scottish Academy, which took her to southern Europe. Blackadder also received an Andrew Grant Post-Graduate Scholarship. In 1955 she was awarded another Travelling Scholarship and spent nine months in Italy. In 1956 Blackadder married the painter, John Houston and lectured in Drawing and Painting at Edinburgh College of Art from 1962 to 1986. Blackadder’s first solo exhibition was held in 1959 at 57 Gallery, Edinburgh. Since then, solo exhibitions of her work have been held almost every year to date, both nationally and internationally. She also participated extensively in group exhibitions around the world. Blackadder received a number of awards, including the Guthrie Award, Royal Scottish Academy (1962) and the Pimms Award for Work on Paper (Royal Academy, 1983). She was joint-winner of the Royal Academy’s Watercolour Foundation Award in 1988. Blackadder was elected Member of the Royal Scottish Academy in 1972, a Royal Academician in 1976 and a Member of The Royal Glasgow Institute of Fine Arts in 1983. She was an Honorary Member of the Royal West of England Academy, the Royal Watercolour Society and the Royal Society of Painter-Printmakers, and an Honorary Fellow of the Royal Incorporation of Architects in Scotland and the Royal Society of Edinburgh. She has also received Honorary Doctorates from four Scottish universities. In 2001 she was appointed Her Majesty’s Painter and Limner in Scotland. Selected public collections: Abbot Hall Art Gallery, Aberdeen Art Gallery, Carlisle Museum and Art Gallery, Contemporary Art Society, The Carnegie Trust, Edinburgh City Art Gallery, Tower Art Gallery (Eastbourne), The Fleming Collection, Glasgow Museum and Art Gallery, UK Government Art Collection, Greater London Council, Heriot Watt University, Kirkcaldy Museum & Gallery, Museum of Modern Art, New York (MOMA), National Portrait Gallery, London, Royal Academy of Arts, The Royal Scottish Academy, Scottish Arts Council, Scottish National Gallery of Modern Art, Scottish National Portrait Gallery, Tate Gallery, London, University of Cambridge, Kettle’s Yard, University of Edinburgh, University of Glasgow, Hunterian Art Gallery, Whitworth Gallery, Wustun Museum, Racine, Wisconsin, USA.Condition is good overall
* DAVID MCLEOD MARTIN RSW RGI (SCOTTISH 1922 - 2018), RED ROSES mixed media on paper, signedmounted, framed and under glass image size 56cm x 76cm, overall size 78cm x 97cm Note: David Martin sold his paintings through our auctions from time to time and was always kind, courteous and well liked. David McLeod Martin was born in Glasgow in 1922. He studied at Glasgow School of Art from 1940 to 1942 before serving in India with the Royal Air Force between 1942 and 1946. He returned to Glasgow School of Art in 1946 where he studied under David Donaldson and met his future wife, the painter Isobel Smith. After graduating from Glasgow School of Art in 1948 he pursued a career in teaching. He married Isobel in 1949 and moved to Eaglesham where he lived for the rest of his life. He was elected a member of the Royal Glasgow Institute of Fine Arts in 1959 and the Royal Scottish Society of Painters in Watercolour in 1961. Between 1973 and his retirement in 1983, David Martin was Principal Teacher of Art at Hamilton Grammar School. After his retirement from teaching he concentrated full time on his painting. Numerous highly successful solo shows in London were to follow and he continued to enjoy commercial success and critical acclaim both at home and throughout the UK for the rest of his life. David Martin was widely regarded as one of the finest still life and landscape painters of his generation and his work is held in numerous public, corporate and notable private collections including The Arts Council of Scotland, The City of Edinburgh Art Collection, Perth Museum and Art Gallery, The Dick Institute, Kilmarnock, Robert Fleming and Company Ltd, Linklaters and Paine, Lord MacFarlane, The Earl of Moray, Credit Lyonnais Bank, Warburg Asset Management and the Clydesdale Bank. A major retrospective of his work was held at Perth Museum and Art Gallery in 1999.
A collection of art and artist related books, Denys Brook-Hart, British 19th Century Marine Painting, John Lewis, Rowland Hilder, Painter of the Landscape, Jan Reynolds, The Williams Family of Painters, Betty Elzea, Frederick Sandys, 1829-1904, A Catalogue Raisonne, Robert Southey, Mr. Rowlandson's England, Leonard Roberts, Arthur Hughes, His Life & Works, Harold A.E. Day, East Anglian Painters Vol. II, Kenneth McConkey, A Free Spirit, Irish Art 1860-1960, The Royal Watercolour Society, The First Fifty Years 1805-1855, H.L. Mallalieu, Understanding Watercolours, Simon Houfe, John Leech and the Victorian Scene, H.l. Mallalieu, The Dictionary of British Watercolour Artists up to 1920, Volume III (12)
A collection of art and painting related reference books, Peter J.M. McEwan, Dictionary of Scottish Art & Architecture, The Royal Society of British Artists 1824-1893 and The New English Art Club 1888-1917, Ellis Waterhouse, The Dictionary of 16th & 17th Century British Painters, H.L. Mallalieu, British Watercolour Artists, three volumes to include Volume I the Text, Volume II The Plates, Christopher Wood, Fairies in Victorian Art, John Kerslake, Early Georgian Portraits, Volume 1 Text, Volume 2 Plates (9)
Karl Schmidt-Rottluff, 1884 Rottluff/ Chemnitz – 1976 BerlinMYSTERIÖSE BLÜTE, 1968Aquarell, Tusche, Tinte und Buntstifte auf Aquarellkarton.49,5 x 69,5 cm.Rechts unten signiert „SRottluff”, verso Nachlassstempel.In Passepartout, hinter Glas gerahmt.Der Maler zählt zu den bedeutendsten Klassikern der Moderne und den wichtigsten Vertretern des Expressionismus. Als Sohn eines Mühlenbesitzers entschied er sich zum Studium der Architektur und Kunst und schloss sich der Künstlergruppe „Brücke“ an, die 1905 in Dresden gegründet wurde, zu der auch Erich Heckel, Max Pechstein und Ernst Ludwig Kirchner zählten. 1910 Beteiligung an Ausstellungen der Neuen Secession in Berlin, 1912 der des Blauen Reiters in München. Er verband fortan den Namen seines Geburtsorts mit seinem Familiennamen. Letztmals vor seinem Arbeitsverbot durch das NS-Regime stellte er 1936 im Hamburger Kunstverein aus. Seine Werke wurden als „Entartete Kunst“ beschlagnahmt. Im Anwesen von James Graf von Moltke (1907-1945) auf Schloss Kreisau arbeitete er dennoch weiter. Von 1932 bis 1972 hielt er sich jährlich in seinem Arbeitsdomizil im „Blauen Haus“ in Hofheim am Taunus auf, wo möglicherweise auch das vorliegende Werk entstand. In dieser späteren Zeit wandelte sich sein Stil von einem strengen Expressionismus zu einer eher abstrahierenden Bildauffassung, was auch dieses Aquarell belegt. A.R.Provenienz: Nachlass des Künstlers.Schmidt-Rottluffstiftung Berlin.Galerie am Brucher-Kotten, Haan.Privatsammlung, Deutschland (1988 in obiger Galerie erworben).Privatsammlung.Anmerkung:Das vorliegende Gemälde ist im Archiv der Karl und Emy Schmidt-Rottluff Stiftung registriert. (1371072) (11)Karl Schmidt-Rottluff, 1884 Rottluff/ Chemnitz – 1976 BerlinMYSTERIOUS BLOSSOM, 1968Watercolour, brush and ink and crayon on paper. 49.5 x 69.5 cm.Signed “SRottluff” lower right. Estate stamp on the back. Framed freely with mount under glass. Provenance: Artist’s estate.Schmidt-Rottluff Foundation, Berlin.Galerie am Brucher-Kotten, Haan.Private collection, Germany (1988 acquired in above mentioned gallery) Private collection.Notes:The painting on offer for sale in this lot is registered in the archive of the Karl and Emy Schmidt-Rottluff Foundation.
John Anster Fitzgerald (British, 1819-1906)The birth of a fairy signed with monogram (lower left)watercolour and bodycolour40 x 29.6cm (15 3/4 x 11 5/8in).Footnotes:ProvenancePrivate collection, UK.John Anster Fitzgerald, or 'Fairy Fitzgerald' as he became known, is one of the most celebrated exponents of Fairy Painting which captured the imagination of the Victorian public and continues to delight collectors today. Born in London in 1823, there were few signs in Fitzgerald's youth to indicate that he would go onto to become a prolific exhibitor at the Royal Academy and at the British Institution. Having had little or no formal training he first exhibited at the Royal Academy in 1845 at the age of twenty-two, and would continue to do so regularly until 1881, his final exhibit coming in 1902 after a long hiatus. Fitzgerald lived his whole life in a London where the public imagination was becoming increasingly gripped by ideas of the supernatural and the occult. The interest pervaded all parts of the arts, literature, opera, ballet and of course painting. The uniquely British tradition of fairy painting had begun in the late eighteenth century with artists such as William Blake and Henry Fuseli who imaginatively illustrated the work of Shakespeare, particularly his more fanciful plays, A Midsummer Night's Dream and The Tempest. This peculiarly Victorian contribution to the Romantic movement reached its height in the 1850s and 60s but while artists such as Sir Joseph Noel Paton continued to use literature as their source of inspiration, Fitzgerald did not limit himself in this way. Many of his works are the products of a fertile imagination in which he created his own fairy kingdom. Whether these scenes were induced by drug fuelled dreams is a matter of debate, opium was the recreational drug of the artistic and poetic and many great Victorian works of literature were produced under its influence. It is also likely that Fitzgerald was aware of and influenced by the works of Hieronymous Bosch whose prints were widely available in the mid nineteenth century and collected by artists. Fitzgerald was also a devotee of the stage, and from all these influences a colourful character is built up and the vibrancy of his art can come as no surprise. Indeed Harry Furniss, in his memoir My Bohemian Days (1919), writes of Fitzgerald: 'his life was one long Midsummer Night's Dream.'In the present lot the excitement and chaos so often seen in Fitzgerald's larger fairy paintings is centred around a new-born fairy emerging from a flower of pure white. She comes into the fairy domain shimmering and lighting the scene from the centre. The introduction of limelight into London's theatres in the mid-nineteenth century was well known to Fitzgerald, and we see its influence here. Gathered around to bear witness are all the denizens of the fairy world, rendered in Fitzgerald's exquisite and vibrant colours. The close relationship between the fairies and the natural world is clear as birds of all type perch and hover to catch a glimpse. In the foreground two larger birds carry sprites away to spread the news, one blowing a small wind instrument fashioned out of a pink petal. To the left of centre, a pair of large diaphanous wings are opened seemingly to shade our human eyes from the pure iridescent light of the new-born fairy, lest we be dazzled. All the characters are however apparently unaware of our intrusion, their focus is on the momentous event alone, and we are left with the impression of having been fortunate to have been a witness.For further information on this lot please visit Bonhams.com
A SMALL QUANTITY OF PAINTINGS AND PRINTS ETC, comprising three modern Indian paintings on faux ivory with pierced borders, approximate sizes 18cm x 12cm, an Indian painting on fabric depicting a procession at night, approximate size 38cm x 28cm, other Indian paintings on fabric, embroidery picture of a Peacock, woodblock print by Iris Hamilton dated 1934, three unsigned watercolour pictures and three late 20th century oil on canvas landscape paintings (Qty)
A.W Bentham (fl. 1893-1906, British), (1) a watercolour, 'The Old Tower of St Albans Abbey', signed and dated 1890 to the lower right, displayed in a card mount, 14cm x 20cm, & 22cm x 30cm overall, together with (2) a gouache painting, signed indistinctly 'Gisbourne', of a romanticised coastal landscape within an oval mount, (3) a pencil sketch, by Percy Lancaster (19th/20th Century, British), depicting The Chain Gate in Wells, Somerset, 24cm x 28cm, & (4) an early 20th Century photographic print of ladies in fashion
Marie HOWET (1897-1984) Drawing-Watercolour "garden view". This artist won the Belgian Pris de Rome for painting in 1922, and was the first woman to do so. - Weight: 4.30 kg - Shipping unavailable - Region: Europe - Period: XXeme - Sizes: H 630 MM L 470 MM - At first glance: good condition - Author / artist: Marie HOWET (1897-1984) - Object type: Dessin - Aquarelle
ATTRIBUTED TO PAUL SANDBY “Rydal Hall” a landscape with figures and cattle in foreground, watercolour, signed lower left, 33.5 cm x 48 cm CONDITION REPORTS Painting appears to have been cleaned, there are some white marks presumably where foxing has been before. There is a scratch mark in the top right hand corner, some foxing on the right hand edge, some small marks throughout, general wear and tear conducive with age and use - see images for more details
Pompeii and Herculaneum Mosaics and paintings, an album of painted copies Mid-19th century, comprising 48 watercolour and egg tempera paintings each laid down onto an album leaf, including a scene of an animal sacrifice and serpents from a larium, cupids at work and play and a cat and quail mosaic from the House of the Faun (with the caption 'Mosaico Museo Borbonico', the name of the National Archaeological Museum in Naples until 1861), and three albumen prints at the rear of the album, album 38 x 28.5cm, 19th century green half morocco with manuscript paper label to spine Note: Note: About one in the afternoon, my mother pointed out a cloud with an odd size and appearance that had just formed. From that distance it was not clear from which mountain the cloud was rising, although it was found afterwards to be Vesuvius. The cloud could best be described as more like an umbrella pine than any other tree, because it rose high up in a kind of trunk and then divided into branches. I imagine that this was because it was thrust up by the initial blast until its power weakened and it was left unsupported and spread out sideways under its own weight. Sometimes it looked light coloured, sometimes it looked mottled and dirty with the earth and ash it had carried up. [Pliny the Younger VI:16]Pliny the Younger's accounts of the eruption of Vesuvius reflect the terror encountered by the residents of Pompeii, Herculaneum and the surrounding villages in the Autumn of 79AD. The towns were, in fact, never named in Pliny's texts, and their exact location was unknown until 1709, when a worker building a well hit several artefacts from the town of Herculaneum. Excavations began and continued throughout the 18th century. Following minor discoveries in 1592 and 1689, excavations at Pompeii were underway from the mid-18th century. Vesuvius became an almost-mandatory stopping point on the Grand Tour, and the excavations added fuel to the mounting interest in the Classical world in the 18th century, inspiring the Neo-Classical movement.The present album dates from the mid-late 19th century (the final painting is captioned Mosaico Museo Borbonico, existing in this form from 1816-1861) and is likely to be a product of the Grand Tour. The paintings are finely made and have not been disturbed since they were placed into the album. It is possible that they were purchased as ready-made paintings for the tourist market, or that they were painted by a finely skilled tourist themself.
Ithell Colquhoun (British, 1906-1988)Sunflower signed and dated 'Colquhoun/36.' (lower right)oil on canvas56 x 46 cm. (22 x 18 1/8 in.)Footnotes:ProvenanceWith The Orion Gallery, Penzance, 1973Private Collection, U.K.ExhibitedLondon, Fine Art Society, Exotic Plant Decorations, 1936, cat.no.21Exeter, City Art Gallery, Ithell Colquhoun: Paintings, Collages and Drawings, 26 September-21 October 1972, cat.no.2Penzance, The Orion Gallery, Ithell Colquhoun: Flower and Plant Paintings, 4-22 September 1973, cat.no.8London, Parkin Gallery, Ithell Colquhoun: Paintings and Drawings 1930-40, 9 November-3 December 1977, cat.no.15LiteratureRichard Shillitoe, Ithell Colquhoun: Magician Born of Nature, 2009, cat.no.223, p.214.We are grateful to Dr Richard Shillitoe for his assistance in cataloguing this lot.Ithell Colquhoun knew from a very young age the direction that she wanted her life to take, writing that 'at ten, I said that when I grew up I never wanted to do anything but paint, and write and study nature. Already I knew my own mind.' Indeed, her very first art works showed this focus too, with her first being 'an oval rose on a triple stem, with a bud at each side; my second was a purple sun with orange rays setting behind a green slope.' (Ithell Colquhoun, 'Until Twelve', unpublished essay).Colquhoun studied at the Slade School of Fine Art – which was then at the forefront of equal opportunities in artistic education, allowing women the same chance as their male counterparts to develop as artists – but turned to developments on the Continent for further inspiration, particularly Surrealism and the avant-garde artists who lived and worked in Paris at the time. During a stay in Paris in 1931, she saw paintings by Salvador Dali and other Surrealist artists, which had two main influences on her work. Primarily this influence was a technical one, as she absorbed the meticulous and detailed technique which Dali employed, which became apparent in her paintings of flowers and plants which followed. The influence of Surrealism itself would manifest later, and became apparent in her work after 1936. Aside from very early work created when she was much younger, the first flower paintings which appeared in her mature work date from 1932, and were completed in watercolour. The first flower paintings done in oil appeared in 1935, and in fact these pieces formed the body of her first solo London show, Exotic Plant Decorations, held in 1936 at the Fine Art Society, and in which the present lot was included. Comprised of twenty-five works in total, the exhibition was the product of a sustained bout of creativity, and surveyed a number of different plant species, including orchids, begonias, anthuriums, lilies, gloxinia and fungi. For Colquhoun, flowers symbolised the cycles of life and death both in nature and in our lives, but also symbolised creativity and fertility, and the spellbinding power of the natural world.The format of the present lot is typical of her flower paintings of this period: each species she chooses fills the picture plane, dominating the space. The composition and framing of each plant imbues them with a sense of irrepressible growth, as though their natural power is only just contained by the edges of the canvas; shortly, their growth will outstrip their current confines. In the present lot, the petals of the sunflower seem particularly unruly, rippling like golden ribbons, while the expansive and curling leaves luxuriate in the fresh air that flutters round them. While Colquhoun's later work becomes more overtly Surreal, there is nevertheless in the paintings from this period an anthropomorphic quality, a suggestion that these plants and flowers embody magical and metaphorical characteristics.Colquhoun was attracted by the symbolism of different plant species, and the meaning traditionally held by the sunflower is no exception. Helianthus annus, to give it its Latin name, has long had a particular status in modern art and literature as a symbol of desire. For the Surrealists, the sunflower represented alchemical desire, while for William Blake, in his illustrated poem Ah! Sun-flower, it represents his notions on free love, as the flower reaches for the sunlight. In Double Coconut, also painted in 1936, Colquhoun was clearly drawn to the suggestive and erotic possibilities of the plant, which suggest both male and female sexual organs, with a double meaning that preceded her more overtly Surrealist later work.Created at a pivotal time for Colquhoun and included in her first solo show, Sunflower is an important painting which is testament to her artistic development both technically and in terms of commercial and critical reception. As reappraisal of her work continues – which saw a new world record created with the sale of Anthurium (sold in these rooms for £258,600, 23 November 2022) - the appearance of Sunflower at auction is a particularly exciting event, and a rare opportunity to acquire a work of museum quality.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
John Constable RA (English, 1776-1837) View of the back of Willy Lott’s House with Log-cutter, 1814. Inscribed upper left with the brush ‘June 1814’; and, on verso (in a later hand), ‘J. Constable [R.A.]’ Oil on canvas laid on canvas, 11 ½ x 9 5/8in. (29.2 x 24.4 cm.). English, early 19th century, swept gilded frame inscribed on the slip “Willy Lott’s House Flatford”. The frame bearing a plaque inscribed with the artist’s name “J. Constable” and dates “born 1776 died 1837”. *Provenance: by descent from the artist to his grandson Hugh Golding Constable (1868-1949); Leggatts by 1899 (probably no. 14, ‘Willy Lott’s House, Flatford’ in Catalogue of Pictures & Watercolour Drawings by John Constable R.A., Leggatt’s, Nov 1899); Caroline M.G. Williams (1933-2018), probably inherited from her grandparents Frederick and Ann Williams; and from 2018, by inheritance. **Literature: C. Peacock, John Constable; The Man and his Work, 1965, revised edition 1971, plate 26 and p.142; R. Hoozee, L’Opera Completa di Constable, 1979, no. 194; see also under G. Reynolds, The Early Paintings and Drawings of John Constable, 1996, p.194 (where discussed in connection with related drawing, no 14.25, in collection of Royal Albert Memorial Museum, Exeter). Note: We are grateful to Anne Lyles for confirming the authenticity of this work based on first hand inspection and for providing the following catalogue essay. ***“This fascinating oil sketch, dated by Constable ‘June 1814’ on the upper left, was last recorded in the scholarly literature on the artist in 1979, when it was catalogued by Robert Hoozee in a catalogue raisonné of the artist’s work published by Rizzoli. It thus now reappears here, on the market, after a gap of over forty years. The sketch has a firm provenance reaching as far back as the nineteenth century when it was owned by Constable’s grandson, Hugh Golding Constable (1868-1949), who subsequently sold it to distinguished Fine Art dealers Leggatt Brothers. It almost certainly featured (as number 14, ‘Willy Lott’s House’) in Leggatt’s historic exhibition mounted in their Cornhill Gallery in November 1899, the first to be devoted solely to Constable’s work. When painting in Suffolk in the early part of his career, it was Constable’s regular practice to make oil sketches in the open air. It seems more than likely that this sketch was made by him directly from nature, a conclusion which his inscription on the upper left, with the date ‘June 1814’, tends to support. It relates closely to a pencil sketch in the Royal Albert Memorial Museum, Exeter (fig.1) which was catalogued by Graham Reynolds as ‘ A house amid trees’ (G. Reynolds, Early Paintings and Drawings, no. 14.25). Both Reynolds (op.cit) and Constable scholar Ian Fleming-Williams described the farmhouse in the drawing (and thus by implication the same building in this related oil sketch, which they knew only through reproduction) as an unidentified Suffolk farmhouse (Constable: a Master Draughtsman, Dulwich Picture Gallery, 1994, see under cat. 25 and pp 136-8). However it is now clear that both drawing and oil sketch actually show Willy Lott’s House, the building at Flatford which appears in two of Constable’s most famous paintings, The Hay Wain, 1821 (National Gallery) and The Valley Farm, 1835 ( Tate Britain), but from an unusual angle at the back. This sketch’s original title, as first recorded in the nineteenth century when owned by Hugh Golding Constable and then sold by Leggatt’s, can therefore now be reinstated. When this sketch was first reproduced in the Constable literature by Carlos Peacock (John Constable: the Man and his Work, 1965; revised edition 1971), the author described it as apparently showing a man using a pole to manoeuvre a floating branch. Peacock was presumably basing his interpretation of this figure on his reading of another oil sketch by Constable, Willy Lott’s House from the Stour, c.1812-13, showing the house from the opposite side where a man adopting a similar strenuous posture is polling a ferry boat on the water through the shortcut to the mill stream, Victoria & Albert Museum (fig. 2). As Peacock himself recognised, the latter sketch closely relates to Constable’s painting of The Valley Farm in Tate Britain. However, it would seem that the figure in this oil sketch is actually standing on dry land, and apparently cutting logs, perhaps from a recently felled tree”. Anne Lyles. ****The tiny hamlet of Flatford situated on the north bank of the river Stour in Suffolk is at the centre of the area now known as “Constable Country” where the great painter grew up and which provided the inspiration for much of his work. Willy Lott was a tenant farmer who lived in the house in Flatford attached to the land that he farmed. He lived there for over eighty years and spent only four nights away from the house in his whole life. For Constable the house became emblematic of the rural way of life that was so precious to him. In Edwardian times the house became known as Willy Lott’s Cottage, but John Constable knew it as Willy Lott’s House, as it has been renamed today. *****The English Romantic painter John Constable RA (1776-1837) was best known for his views of the English countryside particularly the area surrounding the river Stour that is known today as “Constable Country”. Born in the Suffolk village of East Bergholt, he entered the Royal Academy schools in 1799 and later exhibited at the Royal Academy and Paris Salon. He made many open-air sketches and used these as the basis for his large exhibition paintings which were completed in the studio. Like many other artists, Constable was influenced by the work of Dutch 17th century painters however he moved away from the idealism expected of the period and experimented with a much freer style of representation, particularly in his studies and sketches. Along with J.M.W. Turner, Constable revolutionised landscape painting in the 19th century and had a profound effect on European artists, particularly in France. As such, Constable is regarded as a precursor of the Impressionists. ******With regard to the attribution, we are pleased to have received the endorsement of Sarah Cove ACR, FIIC, FBAPCR, accredited conservator of paintings and an acknowledged authority on the work of John Constable. Sarah has seen the work and is fully in agreement that this is a work by John Constable. She also anticipates that there would be a significant improvement to the appearance of the painting if it was cleaned. ** CONDITION: The painting has been wax lined and given a thick coat of varnish within the last fifty years and is in stable condition. The conservator and founder of the Constable Research Project, Sarah Cove ACR, FIIC, FBAPCR, has seen the oil sketch and anticipates that there would be a significant improvement to its appearance if it was cleaned. Her approach would be to clean the painting, removing much of the wax that it visible around the edges and on the back and potentially on the surface and remove any old retouchings. If required she would remove the painting from its lining canvas and return the oil sketch to its original structure. Sarah can be contacted at sarahcove101@gmail.com for further information about the conservation of the painting.
Attributed to John Le Capelain (Jersey, 1812-1848) Vraic cart on the shore, watercolour heightened with bodycolour, framed, 11 ¾ x 17 3/8in. (29.8 x 44.2cm.) *Some foxing to left side of sky and light foxing to foreground. Some mould residue to underside of glass and spots of light mould across surface of painting around the centre. Two spots of retouching centre left margin.
Ellis Shaw (British, 20th century) three watercolours (unframed) Old Ruin Cobo (Le Guet), signed lower left, inscribed and dated verso, 2/6/49, 12¾ x 18½in. (32.4 x 47cm.); Icart Point from Jerbourg, and reverse with watercolour of Gentleman, inscribed and dated verso 21/5/49, and a further painting of Icart. (3)
John Keeley (1849-1930) North Wales Landscape, a figure and horse crossing a stone bridge, signed lower left, 38 x 48.5 cm, frame 63 x 72.5 cmCondition:The painting is a watercolour, framed under glazing - not examined external to the frame. The sheet appears in good condition, no obvious evidence for any losses, creasing or deterioration. The paint condition appears stable and generally well preserved, some potential minor fade- colours are generally good. No obvious paint loss or deterioration. The frame has some general wear and tear, the joints are solid.
PETER J. RODGERS (BRITISH CONTEMPORARY) 'LET'S SIT HERE', figures on a beach in the rain, signed bottom right, watercolour on paper, approximate size 29cm x 29cm frame 50cm x 50cm, Condition Report: painting is not flat in the frame, knocks and scratches to the frame (artist resale rights apply)
Frederick John WIDGERY (1861-1942) Two graphite studies Each initialled One dated 1930 27cm x 18cm and 25cm x 14.5cm Together with two other unsigned graphite works of local scenes, 'From Miner's Field near Herniss' and 'A Field Near Ponsonooth' by a different hand. Frederick John Widgery, a renowned watercolourist and mountaineer, was an acclaimed exponent of atmospheric painting. He was born in Devon in 1861 and his work showcases the Devonshire and Cornish countryside. His landscapes perfectly captured the mood, tone, and color of the areas he painted. Known for his ability to create authentic depictions of nature, he received high honours in his lifetime, including the Royal Academy and the Royal Watercolour Society. Widgery passed away in 1942, leaving behind a legacy of exceptional artwork. Lay's Auctioneers are able to offer in-house postage on this lot from £32.50. For more information contact postage@davidlay.co.uk
‡ THOMAS PRYTHERCH (1864-1926) watercolour - entitled 'Pontsarn Station' unsigned, 28 x 40cmsProvenance: private collection, consigned via our Cardiff officeAuctioneer's Note: Pontsarn Station which was closed by the Beeching axe, was a small but busy station offering a destination for thousands of passengers escaping the grime and smoke of industry in such towns as Merthyr. Comments: framed and glazed, ready to hang. Painting has been cropped.
John Shapland (British, 1865-1929) – Coastal seascape scene with cliffsides and flying birds watercolour. Signed lower right, framed and glazed. John Shapland was a seascape artist from the South West of England, Many of his coastal scenes depict his beloved West country landscape, including views of Exmouth and Salcombe. Painting mainly in watercolours, Shapland was a successful painter, exhibiting at the Royal Academy, the Paris Salon, and across America. The Unicorn Gallery, Wilmslow Cheshire sticker to reverse. 45.5cm x 28cm.
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