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Lot 47
Willy Sluiter (Dutch,1873-1949) Dutch fishwives bringing in the catch, signed, watercolour, 47 x 63 cm, framed and glazed, frame 59 x 75 cmPrivate collection, Dealer's label for Ryman & Co., Ltd., 23 High Street, Oxford, versoNot inspected out of the frame. Some red splashes of paint in the sky near the sails. Retouching is evident to the centre of the painting in the sky.
Lot 370A
Pictures and prints - Italian School, Lago de Lugano, indistinctly signed, watercolour, 17cm x 25cm; another two, similar; Indian school, painting on silk, Indian Elephant; David Shepherd, Farmyard friends, signed print; 19th century ‘Sailor’s art’, tall ship, watercolour and applied butterfly wing sections; 20th century embroidery on silk, Mark Hamblin, Kingfisher, colour photograph, signed verso, etc , qty.
Lot 173
Hercules Brabazon Brabazon, NEAC (1821-1906) Campo San Michele, Venicesigned with initials 'HBB' (lower left)watercolour on paper15.5 x 23cmProvenance:With Walker's Galleries, London, 1958Exhibited:London, Beaux Arts Gallery, Exhibition of Watercolours and Pastels by the late Hercules Brabazon Brabazon, 1928, no. F35Brabazon was born in Paris, the younger son of Hercules Sharpe and Anne Mary, daughter of Sir Anthony Brabazon, 1st Bt. In 1832, the family moved to Oaklands, an estate near Sedlescombe, East Sussex. He studied mathematics at Trinity College, Cambridge. While his father envisaged a career in law for him, Brabazon chose a different path and ventured to Rome to pursue his studies in music and art. He enrolled at the prestigious Accademia di Santa Cecilia and Accademia di San Luca. Despite his father's attempts to coax him back by reducing his allowance, Brabazon gained financial independence in 1847 when he inherited family estates in Connaught, under the condition that he would assume the Brabazon surname. This newfound freedom allowed him to embark on a life filled with exploration, artistic study and painting, finding inspiration in the works of artists such as Velázquez and J. M. W. Turner. In 1858, Brabazon inherited the Oaklands estate, but entrusted its management to his brother-in-law as he continued his ventures abroad. His travels took him primarily across Europe, with occasional trips to Africa and India. Preferring to describe himself as a 'gentleman amateur' living 'for Art and Sunshine', he refrained from exhibiting or selling his work until the later years of his life. Encouraged by artist friends, most notably John Singer Sargent, Brabazon finally embraced the idea of exhibiting his work publicly. He made his debut at the New English Art Club and subsequently held successful one-man exhibitions at the Goupil Gallery.Framed 33.5 x 43cm
Lot 235
Frederick Goodall, RA (1822-1904) Queen Henrietta Maria and her children on the riversigned 'F. Goodall' (lower left)oil on panel33.5 x 42cmProvenance:Vicars Brothers Ltd, London;Haynes Fine Art, from whom acquired by the present owner in the 1990sThe present subject is a reduced version of some of the principal figures but excluding King Charles, from Goodall's large-scale painting, The Happier Days of Charles I, which was exhibited at the Royal Academy in 1853 and which is now at the Bury Art Gallery. Goodall painted at least two other known oil versions of this composition - the present painting and one, considerably larger, 58.5 x 68.5cm, that was dated to 1852 and sold at Christie's New York on 1st November 2012 for 62,500 USD (incl. premium). Another version, but in watercolour, which is nearly identical in size to the present oil, 32.5 x 41.5cm, was lot 294 in a Dorotheum sale on 27th March 2018. 'In 1852 Goodall spent several months of the summer in a houseboat on the Thames making studies for The Happier Days of Charles I . . . the houseboat was brought down from Oxford to where he wanted to work - between Streatley and the village of Stoke - by a painter friend, Samuel Evans, the son of William Evans, the drawing master at Eton . . . the setting taken care of, Goodall then obtained permission from the Queen to make studies of the Van Dyck painting of Charles, Henrietta Maria and the children in Windsor Castle where he spent some weeks' (see N G Slarke, Frederick Goodall, R.A., 1981, p. 23). The painting is executed in oil on a wooden panel. The panel and paint layers are in an excellent condition overall. There are a few finely applied areas of overpaint, some of which have slightly darkened. The overpaint covered small scuffs in the surface as well as reinforcing the outlines of the composition. The varnish layer is clear, even and glossy.
Lot 332
Gervase Spencer (c.1715-1763) Portrait miniature of a gentleman, wearing blue coat with gold frogging, white figured waistcoat, chemise, stock and lace cravat, his powdered wig worn en queue and tied with black ribbonsigned and dated 'GS/ 1753' (lower right)watercolour on ivory, oval, in a gold frame4.5cmProvenance:Bonhams, London, 8th April 2010, lot 26;Bonhams, London, 21st November 2013, lot 24, when acquired by the late Barry Lock (1934-2021)Gervase Spencer was originally a gentleman's servant who was said to have taught himself the art of miniature painting. His work caught the eye of the writer George Vertue who described him in 1749 as "young man...who not long a few years ago was in the capacity of a footman to Dr. W [follows a flourish imaginable as 'ill'] - and now professes liming with some succes. which demonstrates a Genius pratizing by degrees of himself – and really is in a curious neat manner & masterly" (see George Vertue, 'Vertue's Note Book B. 4 [British Museum. Add. MS. 23,074]', in The Volume of the Walpole Society, 1933-4, vol. 22, pp. 143-62, p. 151).This item is offered for sale in accordance with the Ivory Act 2018 and has been assigned an exemption certificate, Ref. No. HWRTV9J1.Not examined out of frame. Good condition overall. Some light surface dirt under glass particularly to the sitter's coat. Small paint loss visible along the bottom centre edge. There is a small area in the sitter's right shoulder which appears to show either some fading or possible small losses.
Lot 20
A portrait miniature of William Bellew wearing a naval uniform, watercolour on ivory, in a gilt mount with woven hair and seed pearl initials verso, c.1790. In a red leather hinged case. IMPORTANT NOTEThis lot contains elephant ivory material. Please be advised that several countries, including those in the EU and the USA, now prohibit the importation of ivory items unless under specific conditions. Accordingly, prospective buyers should familiarise themselves with the relevant customs regulations of their country and ensure they are able to import this item prior to bidding.This item has been registered as exempt from the UK Ivory Act 2018. Ivory declaration submission reference: 79KSNQWL.Condition ReportUnopened.Portrait surface below the chin and to the cravat showing white mould residue. This does not appear to be active.The portrait does not appear to be showing any damage to the surface. With a few flecks of dirt or dust.Soft solder present to edges of portrait, joining the painting bezel to the pendant frame. Sections of soft solder are visible all along the join, and with some tarnish.Wear to the portrait bezel edge, with some small losses. Some areas of the bezel edge are slightly out of shape. A few sections have folded into gaps between the glass and the bezel, visible by 10x magnification. Seed pearl monogram to the reverse appears to be missing one small seed pearl to the top of the T. Underside of glass and surface of woven hair showing some flecks of dust and dirt, mostly under 10x magnification with some visible by eye.Solder join visible to one side of the frame.Spots of tarnish to metal surfaces.Minor dents, marks and scratches.Included papers read: 'Considered by Mr Lowe of the Victoria and Albert Museum to be an early work of Thomas Hazelhurst circa 1790'. The reverse of this paper (not shown in the photo) reads 'Portrait of William Bellew of Stockleigh Court'. The lower paper reads ' This portrait came to me from my Aunt Louisa Bellew. It was the portrait of her grand father. On the death of Reginald Crundall Punnett it is to go to Froude Trollope-Bellew'.
Lot 271
Coplestone Warre Bampfylde (1720-1791)/Three Extensive Thames Valley Landscapes including Views of Fawley Court and Temple Island, from Temple Island Meadows, Henley/pen, ink and watercolour drawings, 44.5cm x 25cm/Note: Fawley Court, designed originally by Sir Christopher Wren in 1684, was remodelled for Sambrooke Freeman (1721-1782) by James Wyatt in the 1770s in the Neoclassical style. Extensive landscaping and garden re-design was executed by Capability Brown in the 1760s. Freeman also commissioned Wyatt to design and build a temple for the island in the Thames in view of the house, now eponymously named 'Temple Island'. The inspiration for Toad Hall in The Wind in the Willows, Fawley was requisitioned (along with Bletchley Park) as a decoding centre during the Second World War. In 1953 it was bought by the Marian Fathers, a Polish clerical congregation, to be used as a boarding school, and became a hub for the local Polish community. It is now privately owned. The Island's temple folly was designed as a fishing lodge and summerhouse for excursions from the house, as well as an eyecatching feature of the view from the house. The temple is also known as a starting point for the Henley Regatta. Fawley Court passed to Sambrooke's nephew, Strickland Freeman in 1782. The presence of the temple dates the works in this lot to after 1771 when the improvements to the house and grounds were made. Bampfylde was both a garden designer and artist and is known for capriccio landscape painting and portraits. His work was regularly exhibited at the Royal Academy and the Society of Artists. Bampfylde was well known for this design, sketches and paintings of his family's Hestercombe estate and also painted several views of the Stourhead estate and gardens/Provenance: Strickland Freeman and thence by descent to the Strickland family of Apperley Court to the current owner. The inspiration for Toad Hall in The Wind in the Willows, Fawley was requisitioned (along with Bletchley Park) as a decoding centre during the Second World War. In 1953 it was bought by the Marian Fathers, a Polish clerical congregation, to be used as a boarding school, and became a hub for the local Polish community. CONDITION REPORT: Temple Island & Fawley Court- Faded, overall brown tone. Extensive water stains to sky to right side. Fawley Court- Faded, some staining to sky, brown stain lower left corner. Boat by loch- overall fading, silver fish behind glass, slight brown staining to lower half right hand edge, mottling to sky on left.
Lot 144
Eight Chinese and Japanese prints and plaques, comprising: a 19th century Chinese pith paper painting, depicting an indoor scene of ladies, framed and glazed, 17cm x 27cm excluding mount; four Japanese hand-coloured prints, depicting various birds, framed and glazed, each 21cm x 32cm excluding mount; K. Lu, 24th June 1970, a watercolour on paper depicting a bouquet of flowers, signed and dated, framed and glazed, 20cm x 29cm; and two Japanese lacquer wood panels, 38cm x 54cm (8)日本及中国版畫、挂屏一组八件 Condition Report: Chinese pith paper painting: Some staining and marks to the surface. Small tears to paper, with heavy creasing causing some cracking. Japanese lacquer wood panels: Loss of lacquer. Discolouration, dents and surface ware throughout.
Lot 131A
Ten Miniature Paintings and Drawings to Include: Rosemary Kimney - Two watercolour paintings of birds titled 'Kestrel' and 'Great Spottled Woodpecker', framed as a pair; After Rembrandt van Rijn - 'Agatha Bas', oil on board; Chris Wheeler - 'Still Life with Grapes' (1991), oil on board; Igory Skvortcov - 'St. Petersburg, Russia', watercolour on paper, 'Going home to Tea' (1992) ink and pencil miniature with silhouettes; Dorys Marks - 'Mermaid Inn, Rye, Sussex', watercolour on paper; Mal Philips - watercolour landscape together with 'The Red Hat (1989) watercolour and one other landscape painting, oil on board, all framed (10)
Lot 150
Collection of artworks, art materials and reference books on drawing and painting techniques, colour theory, etc. to include: Female nude charcoal study, 29 x 39 cm; a pastel and a watercolour study of flowers; acrylic painting of a family in the woods; a box of watercolour materials including brushes, paints, pencils and others; together with a quantity of frames and mounts, table-top easel and an artist's display case with sleeves
Lot 329
A 19TH CENTURY BATTLE OF WATERLOO LANDSCAPE 'LA BELLE ALLIANCE', landscape depicts open country with two buildings and trees, unsigned but attached text reads 'La Belle Alliance 1815 from a sketch by Colonel the Honourable Henry Percy, ADC to the Duke of Wellington', watercolour on paper, approximate size 7.5cm x 19.5cm, Condition Report: the painting is attached to a piece of card which has the text, the card is torn to the top edge (Provenance: The Arnold Fellows Collection)
Lot 335
CIRCLE OF JAMES DUFFIELD HARDING (1797-1893) 'BOLTON, YORKSHIRE', thatched cottages in a rural setting, unsigned, titled and dated August 31 1857? lower right, ink with watercolour wash, approximate size 24cm x 34cm, Condition Report: foxing visible across the whole painting (Provenance: The Arnold Fellows Collection)
Lot 339
CHARLES SIDNEY CHESTON (1882-1960) 'MUIDS', a French river landscape with a tree lined river bank, signed lower left titled lower right, Gilbert Davis Collection stamp to bottom right margin, watercolour on paper, approximate size 27cm x 39cm, together with an unsigned pencil sketch depicting Dinan in France verso, Condition Report: dirty marks to the edge of the painting, mount damaged (Provenance: The Arnold Fellows Collection - previously in the collection of Gilbert Davis)
Lot 521
A SMALL QUANTITY OF PAINTINGS AND PRINTS ETC, to include a Trevor Boult watercolour depicting a Warbler bird in a Hawthorn tree, Trevor Boult signed wildlife prints, Janet Whitaker watercolours depicting a Little Owl and a Nuthatch, Basil Ede bird prints, an unsigned oil on board painting of a landscape etc (some of the Trevor Boult pictures have personal inscriptions verso)
Lot 454
Original 1938 WATERCOLOUR PAINTING 'Underground - the cosy & warm way to the theatres' by M Palmer Smith. Marie Palmer Smith(1899 - 1977) was a graphic artist in the 1930s and no doubt produced this in an effort to obtain a commission from London Transport but was presumably unsuccessful. Painted in strong colours on thick paper and measures 12" x 20" (30cm x 51cm). Generally in good condition with edge nicks and scuffs and small corner-losses. [1]
Lot 16
Jonathan Walker (British 1966-) "Mr Tim Whisky" Signed, dated '97 and titled, watercolour and ink.13 x 13cm (framed 24 x 24cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with strong colours and no obvious faults to report. The painting is ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Lot 31
Jonathan Walker (British 1966-) "The Feathered Thespian" Signed and titled, watercolour and ink.12 x 16.5cm (framed 30 x 34cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with strong colours and no obvious faults to report. The painting is ornately framed and glazed.
Lot 4
Jonathan Walker (British 1966-) "Raucous George" Signed and titled, watercolour and ink.24 x 16.5cm (framed 42 x 34cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with strong colours and no obvious faults to report. The painting is ornately framed and glazed.
Lot 25
Jonathan Walker (British 1966-) "Crash Harris" Signed and titled, watercolour and ink.10.5 x 15cm (framed 27.5 x 31cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with strong colours and no obvious faults to report. The painting is ornately framed and glazed.
Lot 6
Mark Richard Myers (American 1945-) "Shipping on the Upper Severn" Signed, titled on verso, watercolour.26.5 x 36cm (framed 44.5 x 54cm)The painting is in very good, original condition with strong colours and no obvious faults to report. The painting is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Lot 64
HENRI LE SIDANER (1862-1939)Déjeuner au jardin signé « LE SIDANER » (en bas au centre)mine de plomb, crayon de couleur et aquarelle sur papierexécuté en 1921signed 'LE SIDANER' (lower center)pencil, colour pencils and watercolour on paperexecuted in 192127 x 34 cm (10 5/8 x 13 3/8 in)Footnotes:亨利·勒·斯丹纳(1862-1939)花园里的午餐白垩粉，彩色粉笔，水彩，纸上，画于1921年ProvenanceCollection Louis Le Sidaner, Paris.Hammer Galleries, New-York.Vente, Londres, Sotheby's, 28 novembre 1995, lot 321.Exposition Beauvais, Musée Départemental de l'Oise, Douai, Musée de la Chartreuse, Henri Le Sidaner en son jardin de Gerberoy, mai 2001-janvier 2002, no 17.BibliographieYann Farinaux- Le Sidaner, Le Sidaner L'oeuvre peint et gravé, France 1989, n°1125, ill. p. 159. Alain Delon, Alain Delon : mon musée secret, in Le Figaro Magazine, 6 octobre 2007, ill. p. 62.À la Belle époque, la réputation de Le Sidaner n'était pas encore liée au nom de Gerberoy, mais aux évocations de ses voyages lointains qu'il offrait chaque année au public. La Grande guerre lui ayant peu laissé l'occasion de peindre son jardin, il se rattrapa autour des années 20 avec une soudaineté et une frénésie que favorisaient les progrès accomplis. Il revint pour cela au thème familier des tables desservies en ne craignant pas d'affronter le plein soleil d'été gerboréen. On le vit composer une suite des plus diverses et d'une fraîcheur inattendue. « J'ai bûché à en être malade ! », écrivit-il à ses amis. Sans aucun doute, Le Sidaner fut le « grand triomphateur » de la réouverture des Salons, où ses vues de Gerberoy obtinrent un énorme succès. De 1917 à 1921, au long des étés passés à Gerberoy, l'artiste allait peindre presque exclusivement une impressionnante série de tables familiales dans le décor qu'il avait créé : « Je puis vous vanter sans mentir », écrivait-il à ses amis, « la fraîcheur du jardin où nous déjeunerons. » Exécuté à l'été 1921, dans la petite cour de Gerberoy, Le Déjeuner a servi d'étude à une toile homonyme qui restera parmi les plus parfaites que l'artiste a dédié aux tables que les convives viennent à peine de quitter. Ces œuvres extraordinaires, qu'il prit un évident plaisir à composer en virtuose, restent aujourd'hui les pièces les plus convoitées des amateurs.During the Belle Epoque, Le Sidaner's reputation was not yet linked to the name of Gerberoy, but to the evocations of his distant travels that he presented to the public each year. The Great War having left him little opportunity to paint his garden, he made up for it in the 1920s with a sudden frenzy encouraged by his progress. Undeterred by the full summer sun of Gerberoy, he returned to painting the familiar theme of tables in the aftermath of company. He composed a most diverse series of unexpected freshness. 'I worked so hard that I fell ill,' he wrote to his friends. Without a doubt, Le Sidaner was the 'great triumph' of the reopening of the Salons, where his views of Gerberoy were an enormous success. From 1917 to 1921, throughout the summers spent in Gerberoy, the artist painted almost exclusively an impressive series of family tables in the setting he had created: 'I can boast to you without lying,' he wrote to his friends, 'about the coolness of the garden where we shall lunch.' Executed in the summer of 1921, in the small courtyard of Gerberoy, Le Déjeuner served as a study for a painting bearing the same title that will remain among the most perfect that the artist has dedicated to the tables left behind by his guests. These extraordinary works, which he took obvious pleasure in composing as a virtuoso, remain today the pieces most coveted by art lovers.For further information on this lot please visit Bonhams.com
Lot 32
John Haydn Jones (British 1923-1997), "The Black Lion, Nantwich" Signed and titled, watercolour and pencil.16.5 x 21.5cm (framed 37.5 x 41.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in good, original condition. The colours are slightly down across the painting and there is some light time staining and browning around the edges of the paper near the mount board. There are one or two minor spots of foxing across the paper. The painting is framed and glazed. There are some minor spots of foxing and staining across the mount. The original frame has some minor scuffs and knocks commensurate with age.
Lot 165
Harold Riley (British 1934-2023) Portrait of a standing man Signed and dated 1959, ink, watercolour and pastel.26.5 x 14cm (framed 44 x 31.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The drawing is in very good, original condition. The ink used for the signature and date has faded. The painting is ornately framed and glazed. The original frame has some minor scuffs and knocks commensurate with age.
Lot 48
Pat Cooke (British 1935-2000) "Good Friday, Dingle" Signed, titled and dated 1976, watercolour and ink.18 x 23cm (framed 35.5 x 38cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Lot 177
William Turner F.R.S.A., R.Cam.A. (British 1920-2013) "St. Luke's off Oxford Road, Manchester" Signed and dated 1952, titled on verso, watercolour and charcoal.29 x 39.5cm (mounted 41 x 51cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is mounted but not framed. The mount board has some minor scuffs commensurate with age.
Lot 80
Harold Riley (British 1934-2023) Rural landscape Signed and dated '62, watercolour and pencil.23.5 x 32.5cm (framed 38 x 47cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Lot 47
Tom Dack (British 1933-) "Dawn Breaking" Signed, titled on label verso, watercolour and ink.31.5 x 21.5cm (framed 48 x 38cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is framed and glazed. The frame has some scuffs and knocks.
Lot 94
William Heaton Cooper R.A. (British 1903-1995) "Burnmoor Tarn" 1959, signed, titled on gallery label - 'The Heaton Cooper Studio' verso, watercolour and pencil.25.5 x 39cm (framed 46.5 x 58.5cm)The Heaton Cooper Studio, Grasmere, October 1986.Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition. There are one or two minor spots of foxing across the paper. The painting is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Lot 75
Shaykh Muhammad Amir of Karraya or studio (fl. c. 1830-50) The Balfour album 26 watercolours on wove paper, each approx. 27 x 21cm (all portrait format except numbers 9, 12 and 25, landscape; numbers 8, 10, 18 and 24 with J. Whatman Turkey Mills watermarks visible), corner-mounted to varicoloured paper leaves in contemporary green half morocco album, contemporary manuscript titles in ink to foot, many additionally with contemporary English translations of the title in pencil to lower left (given below in round brackets where applicable; supplied titles in square brackets), all annotated lower right 'Shekh Mahomed Ameer, Calcutta at Karyah', 'S. Mohammed Ameer Painter, situated at Kurrya' or similar (except 'A teacher of Hindostanee', in the same style but not annotated). Contents comprise:1. Assabardar (Mace bearer)2. Sotaburdar (Mace bearer)3. Hooka burdar4. Serkar (Native clerk)5. Dewan (A landed proprietor)6. (A teacher of Hindostanee)7. Barber8. Chouruburdar [Fly-whisk wallah]9. Palankeen10. Matoy walla (Sweet meat seller)11. Burkundaz (Watchman)12. Hindoostany Carriage13. Dorcah (Dog keeper)14. Maytur[?] (House sweeper)15. B. Woman [Bengali water carrier]16. Estruwallah [Iron wallah]17. Dancing girl18. Grass cutter19. Abdawr (Wine cooler & table servant)20. Coachman21. Ayah (Ladies attendant)22. Serdawr Bearer (Body attendant & house servant)23. Hurkarah (Letter carrier or message bearer)24. Khansamah (Head table attendant)25. Karachee (Native carriage)26. Bheshtee (Water carrier).With a similar watercolour bound between numbers 22 and 23, titled Hindoostanee Lady, signed 'Zayn al-Abidin musawwir [painter]', 19 x 15.5cm, Qajar-style, heightened with gum arabicNote: Note: A major collection of watercolours by one of the leading practitioners of ‘Company School’ painting for European patrons in 19th-century India. The only sets of any comparable extent which we can identify are a group in the British Library comprising 17 pictures of servants, castes, and tradesmen (Add. Or. 171-187), and the famous Holroyd album, produced for Calcutta merchant Thomas Holroyd, given by him to the Oriental Club in 1839, sold by them in 1961 and now dispersed.Acknowledged as 'by far the most talented and original' of all Calcutta painters specialising in work for the British (Archer, 1972), Shaykh Muhammad enjoyed an enthusiastic following among the city's colonial elite in the second quarter of the 19th century. In 1844 the traveller Fanny Parkes purchased a set of paintings evidently similar to the present album, publishing versions of the serkar, burkundaz and the Bengali water carrier in her 1850 travel memoir, Wanderings of a Pilgrim in Search of the Picturesque.In 2019-20 Shaykh Muhammad's work featured in the Forgotten Masters exhibition of Company School paintings at the Wallace Collection, London, at which six of his paintings were shown. William Dalrymple, historian of British India and curator of the exhibition, paid tribute to his inimitable fusion of European and Indian techniques:‘The Shaykh was equally at home painting a Palladian house or thoroughbred horse, a group of dhobis or a pair of dogs. His single figures are sometimes shown in the Mughal tradition, in profile … but when he wished to, the Shaykh could paint in a more European style than any of his rivals, with low horizons and expanses of blank white space that no Mughal artist would have allowed. He had completely mastered perspective, foreshortening and shading, giving his work a realism and naturalism unique among Indian artists of his generation. Yet while in anatomical accuracy his horse portraits can stand comparison even with Stubbs, there is still an indefinable Indian warmth about his work, a Mughal application of the heart as well as the head'.Unlike his contemporary in Vellore, Yellapah, Shaykh Muhammad is not known to have produced a self-portrait, and little is known of his life or background. His paintings, however, have provoked speculation on his potentially ambivalent attitude towards to his patrons, who are either omitted entirely or, if they are present, are shown with their faces artfully concealed. One such painting, his depiction of a palanquin with a partially visible British passenger, is found in the present album (item 9). If this figure is indeed Thomas Holroyd, as stated in the Forgotten Masters catalogue, Shaykh Muhammad apparently had no reservations about reproducing the likeness for other customers.Provenance: By family repute acquired by Edward Green Balfour (1813-1889), surgeon and naturalist in India; thence by descent. Balfour travelled to India in 1834 as an assistant surgeon in the Madras medical service, and ended his career as surgeon-general in the presidency. An acknowledged polymath, he wrote on subjects including Indian languages and literature and forestry in addition to medicine. His most influential work in his own day was his Enyclopaedia of India and Southern Asia, published at Madras in 1857. Today he is also remembered for his pioneering ecological writings, which explored what he believed to be the 'direct relationship between deforestation, climatic change, and environmental degradation' (ODNB).Literature:Mildred Archer, Company Drawings in the India Office Library (1972), p. 76, cf. catalogue numbers 59-61.idem, Company Paintings: Indian Paintings of the British Period (1992), cat. nos. 80-82.William Dalrymple, ed., Forgotten Masters: Indian Painting for the East India Company (2019), pp. 17 and 122-131, cat. nos. 66-71.
Lot 54
South Africa Two travel albums, early 20th century Album 1: beginning on a cruise onboard the Union Castle Line, SS "Gaul", December 1903 - February 1904, sailing to South Africa past Capo Verde, the album containing manuscript menus, 2 laid-in watercolours of Capo Verde, 6 watercolours of the South African coast including Table Bay, several South African ink sketches, various laid-in South African postcards, several watercolours of South African landscapes including three watercolours of plantations in the Drakenburg Mountains, many pressed botanical specimens, several photographs mostly depicting tourists but also with three showing a Zulu wedding with the wedding party, bridesmaids and the bride and groom, several botanical watercolours, documentation from travel on to Lourenço Marques (Maputo), Mozambique, and Tanganyika with several watercolours, botanical illustrations and photographs, some documentation from the return cruise on the RPD "Herzog" of the Deutsche Ost-Afrika-Linie, with a watercolour painting of Bab-el-Mandeb, album 26.5 x 36.5cm, disboundAlbum 2: beginning on a cruise onboard the Deutsche Ost-Afrika-Linie, RPD "Tabora", December 1913-April 1914, sailing to South Africa from Marseille via Corsica, Naples and Port Said, Aden and Somaliland (Somalia), with many watercolours of views seen on the journey, alongside paintings of life onboard ship (such as the Christmas ball), the ship arriving in Kenya on Christmas Eve 1914 and including four watercolours of Mombasa, the journey continues to Tanganyika with watercolours of a local house and a baobab tree, with several botanical specimens before moving onto Zanzibar and Mozambique, before arriving in South Africa in February 1914. The South African section of the album comprises 30 watercolours (including Drakensberg Mountains, Mooi River Falls, views in Kamberg, Karkloof Falls, a local hut, scenes in Johannesburg and Pretoria and Table Mountain), several original photographs (mainly of tourists but some images of horsemanship), and a collection of pressed botanical specimens. The return journey leads through Namibia (five watercolours) and the Canary Islands. A typed travelogue of the journey to South Africa is loosely inserted.Provenance:Provenance: A cabin ticket for Miss Smythe and Miss M. Boyle is pasted to the initial leaf of the second album. One or two watercolours are signed 'Boyle', while a loosely inserted letter is signed Effay Smythe.
Lot 280
John Varley OWS (British 1778 – 1842) Wooded Landscape with Village Beyond, signed lower right, watercolour, 24 x 32 cm, frame 40 x 50 cmProvenance: Collection of Peter RobertsFootnote: Peter Roberts was born in Shropshire and brought up in the market town of Shrewsbury. He attended the Priory Grammar School before leaving for Cambridge University where he studied Classics and English. He qualified as a teacher, working first at Rydal School in North Wales before being appointed Head of English at Oundle School in 1982 where he remained until his retirement in 2007. Later in life he returned to his roots in Shropshire and spent his time pursuing his love of the arts, and built up a very carefully curated collection of antique furniture, antiquarian books and in particular, 19th Century English Watercolours. Roberts had a keen eye and focused on some of Britain’s best loved landscape painters such as David Cox, John Varley, Paul Sandby, Peter de Wint and William Leighton Leitch. Provenance:The painting is a watercolour, framed under glazing - not examined external to the frame. The sheet is in generally good condition, no obvious faults or losses. There is some general ageing (browning) to the paper. Paint surface appears stable, some colour fade. Frame has solid joints, general wear and tear
Lot 272
David I Cox (British 1783 - 1859) Eglwyseg Cliffs from Offa’s Dyke Path, signed and dated 1848 lower left, watercolour, 24 x 37 cm, frame 48 x 62 cmProvenance: Collection of Peter RobertsFootnote:Peter Roberts was born in Shropshire and brought up in the market town of Shrewsbury. He attended the Priory Grammar School before leaving for Cambridge University where he studied Classics and English. He qualified as a teacher, working first at Rydal School in North Wales before being appointed Head of English at Oundle School in 1982 where he remained until his retirement in 2007. Later in life he returned to his roots in Shropshire and spent his time pursuing his love of the arts, and built up a very carefully curated collection of antique furniture, antiquarian books and in particular, 19th Century English Watercolours. Roberts had a keen eye and focused on some of Britain’s best loved landscape painters such as David Cox, John Varley, Paul Sandby, Peter de Wint and William Leighton Leitch.Condition:The painting is a watercolour, framed under glazing, not examined external to the frame. Sheet in good condition, no obvious losses or damage. Paint surface well preserved, colours good, stable. one isolated red spot to the top left. frame has solid joints, general wear and tear
Lot 293
Paul Sandby R.A. (1725 – 1809) Capriccio Landscape with a horse and rider ascending a hillside track towards rural buildings, initialled P.S. lower right, watercolour, 23 x 29.5 cm, frame 43 x 48 cmProvenance: collection of Peter Roberts, purchased from Abbott and Holder, handwritten inscription verso with provenance to J Poole Esq 1814Footnote: Peter Roberts was born in Shropshire and brought up in the market town of Shrewsbury. He attended the Priory Grammar School before leaving for Cambridge University where he studied Classics and English. He qualified as a teacher, working first at Rydal School in North Wales before being appointed Head of English at Oundle School in 1982 where he remained until his retirement in 2007. Later in life he returned to his roots in Shropshire and spent his time pursuing his love of the arts, and built up a very carefully curated collection of antique furniture, antiquarian books and in particular, 19th Century English Watercolours. Roberts had a keen eye and focused on some of Britain’s best loved landscape painters such as David Cox, John Varley, Paul Sandby, Peter de Wint and William Leighton Leitch.Condition:The painting is a watercolour, framed under glazing, not examined external to the frame. The sheet is well preserved, no obvious faults, good condition. Some minor ageing. Paint surface and condition is good, some minor fade, no obvious issues. Frame has some general wear and tear.
Lot 261
Peter de Wint OWS (1784 - 1849) Still Life Study with Earthenware Jugs and a Wicker Basket, 1837, watercolour, 24.5 x 21.5 cm, frame 49 x 45 cmProvenance: collection of Peter Roberts, purchased from Phoenix Fine Art, label verso for The Fine Art Society dated May 1966Footnote: Peter Roberts was born in Shropshire and brought up in the market town of Shrewsbury. He attended the Priory Grammar School before leaving for Cambridge University where he studied Classics and English. He qualified as a teacher, working first at Rydal School in North Wales before being appointed Head of English at Oundle School in 1982 where he remained until his retirement in 2007. Later in life he returned to his roots in Shropshire and spent his time pursuing his love of the arts, and built up a very carefully curated collection of antique furniture, antiquarian books and in particular, 19th Century English Watercolours. Roberts had a keen eye and focused on some of Britain’s best loved landscape painters such as David Cox, John Varley, Paul Sandby, Peter de Wint and William Leighton Leitch.Condition:The painting is a watercolour, framed under glazing - not examined external to the frame. The sheet is in good condition, no obvious evidence for losses or damage, surface appears stable. Paint surface stable, colours good. Frame general wear and tear
Lot 290
William Leighton Leitch (1804 - 1883) Postiano, Bay of Naples, signed and dated 1880 lower left, watercolour, 14 x 23.5 cm, frame 39 x 49 cmProvenance: Handwritten letter from the artist gifting the watercolour to Andrew MacGeorge dated 27th April 1880 verso, gallery label for Gladwell & Co. Victoria Street, collection of Peter RobertsFootnote: Peter Roberts was born in Shropshire and brought up in the market town of Shrewsbury. He attended the Priory Grammar School before leaving for Cambridge University where he studied Classics and English. He qualified as a teacher, working first at Rydal School in North Wales before being appointed Head of English at Oundle School in 1982 where he remained until his retirement in 2007. Later in life he returned to his roots in Shropshire and spent his time pursuing his love of the arts, and built up a very carefully curated collection of antique furniture, antiquarian books and in particular, 19th Century English Watercolours. Roberts had a keen eye and focused on some of Britain’s best loved landscape painters such as David Cox, John Varley, Paul Sandby, Peter de Wint and William Leighton Leitch.Provenance: purchased from Stephen Welbourne Fine ArtCondition:The painting is a watercolour, framed under glazing, not examined external to the frame. There are two wormholes visible to the sky area (see photographs), two holes in the corners of the mounth, holes and debris visible on the verso (see images). Otherwise the sheet appears in good condition, the paint surface is well preserved and colours bright, paint appears stable. Wear and tear to the frame.
Lot 278
John Varley (1778 - 1842) Snowdon from Harlech, signed and dated lower left, watercolour, 13.5 x 18 cm, frame 30 x 35 cmProvenance: Collection of Peter Roberts, purchased from The Swan Gallery, DorsetFootnote: Peter Roberts was born in Shropshire and brought up in the market town of Shrewsbury. He attended the Priory Grammar School before leaving for Cambridge University where he studied Classics and English. He qualified as a teacher, working first at Rydal School in North Wales before being appointed Head of English at Oundle School in 1982 where he remained until his retirement in 2007. Later in life he returned to his roots in Shropshire and spent his time pursuing his love of the arts, and built up a very carefully curated collection of antique furniture, antiquarian books and in particular, 19th Century English Watercolours. Roberts had a keen eye and focused on some of Britain’s best loved landscape painters such as David Cox, John Varley, Paul Sandby, Peter de Wint and William Leighton Leitch.Condition:The painting is a watercolour, framed under glazing- not examined external to the frame. The sheet is in good condition, no obvious faults or damage. The painting is in good condition, well preserved, colours nice. A piece of fluff/dirt between the sheet and the glass which is loose. Frame has solid joints, minor wear and tear.
Lot 289
Thomas Hearne (1744 - 1817) Elvet Bridge, Durham, signed lower left, watercolour, 18.5 x 24 cm, frame 38 x 44 cmProvenance: Collection of Peter RobertsFootnote: Peter Roberts was born in Shropshire and brought up in the market town of Shrewsbury. He attended the Priory Grammar School before leaving for Cambridge University where he studied Classics and English. He qualified as a teacher, working first at Rydal School in North Wales before being appointed Head of English at Oundle School in 1982 where he remained until his retirement in 2007. Later in life he returned to his roots in Shropshire and spent his time pursuing his love of the arts, and built up a very carefully curated collection of antique furniture, antiquarian books and in particular, 19th Century English Watercolours. Roberts had a keen eye and focused on some of Britain’s best loved landscape painters such as David Cox, John Varley, Paul Sandby, Peter de Wint and William Leighton Leitch.Condition:The painting is a watercolour, framed under glazing, not examined external to the frame. The sheet is in good condition, minor signs of ageing (yellowing) of the paper, appears stable, no obvious losses or deterioration. The paint condition is good and appears stable. Frame joints are stable, minor wear and tear
Lot 285
John Varley OWS (British 1778 – 1842) Capriccio Landscape, with a shepherd resting at sunset near Classical ruins by a riverside, a castle and fortified town beyond, watercolour, 11 x 18.5 cm, frame 36 x 43 cmProvenance: collection of Peter Roberts, Footnote: Peter Roberts was born in Shropshire and brought up in the market town of Shrewsbury. He attended the Priory Grammar School before leaving for Cambridge University where he studied Classics and English. He qualified as a teacher, working first at Rydal School in North Wales before being appointed Head of English at Oundle School in 1982 where he remained until his retirement in 2007. Later in life he returned to his roots in Shropshire and spent his time pursuing his love of the arts, and built up a very carefully curated collection of antique furniture, antiquarian books and in particular, 19th Century English Watercolours. Roberts had a keen eye and focused on some of Britain’s best loved landscape painters such as David Cox, John Varley, Paul Sandby, Peter de Wint and William Leighton Leitch.Condition:The painting is a watercolour, framed under glazing, not examined external to the frame. The sheet appears in good condition, no obvious faults or losses, well preserved. The paint condition is very good, colours well preserved, surface stable. Frame minor wear and tear, joints solid.
Lot 265
Attributed to Sir David Wilkie R.A. (1785 - 1841) The Schoolroom, pencil and watercolour, 24 x 30 cm, frame 48 x 54 cmProvenance: collection of Peter Roberts, purchased Phoenix Fine ArtFootnote: Peter Roberts was born in Shropshire and brought up in the market town of Shrewsbury. He attended the Priory Grammar School before leaving for Cambridge University where he studied Classics and English. He qualified as a teacher, working first at Rydal School in North Wales before being appointed Head of English at Oundle School in 1982 where he remained until his retirement in 2007. Later in life he returned to his roots in Shropshire and spent his time pursuing his love of the arts, and built up a very carefully curated collection of antique furniture, antiquarian books and in particular, 19th Century English Watercolours. Roberts had a keen eye and focused on some of Britain’s best loved landscape painters such as David Cox, John Varley, Paul Sandby, Peter de Wint and William Leighton Leitch.Condition:The painting is a watercolour, framed under glazing, not examined external to the frame. The sheet is in good condition, no obvious signs of deterioration or damage. The paint surface is well preserved and stable, the colours good. Frame good condition, solid joints, general wear and tear.
Lot 294
David I Cox (British 1783 - 1859) Harvesters, Wye Valley, signed and dated 1824 lower left, watercolour, 22.5 x 28 cm, frame 44 x 49 cmProvenance: Collection of Paul Roberts, purchased from Abbott and Holder - label attached verso, label for Colnaghi & Co, London, ex collection of Viscount Eccles.Footnote:Paul Roberts was born in Shropshire and brought up in the market town of Shrewsbury. He attended the Priory Grammar School before leaving for Cambridge University where he studied Classics and English. He qualified as a teacher, working first at Rydal School in North Wales before being appointed Head of English at Oundle School in 1982 where he remained until his retirement in 2007. Later in life he returned to his roots in Shropshire and spent his time pursuing his love of the arts, and built up a very carefully curated collection of antique furniture, antiquarian books and in particular, 19th Century English Watercolours. Roberts had a keen eye and focused on some of Britain’s best loved landscape painters such as David Cox, John Varley, Paul Sandby, Peter de Wint and William Leighton Leitch.Condition:Watercolour painting, framed under glazing - not examined external to the frame. Very good condition. Sheet is well preserved, no obvious faults or damage. Paint surface is well preserved, colours are good, no obvious paint loss or deterioration. Some minor ageing to the sky. Frame has solid joints, general wear and tear.
Lot 267
John Varley OWS (British 1778 – 1842) Warwick Castle, watercolour, 12.5 x 18 cm, frame 30 x 35 cmProvenance: Collection of Peter Roberts, labels verso for Spink Gallery and ChristiesFootnote: Peter Roberts was born in Shropshire and brought up in the market town of Shrewsbury. He attended the Priory Grammar School before leaving for Cambridge University where he studied Classics and English. He qualified as a teacher, working first at Rydal School in North Wales before being appointed Head of English at Oundle School in 1982 where he remained until his retirement in 2007. Later in life he returned to his roots in Shropshire and spent his time pursuing his love of the arts, and built up a very carefully curated collection of antique furniture, antiquarian books and in particular, 19th Century English Watercolours. Roberts had a keen eye and focused on some of Britain’s best loved landscape painters such as David Cox, John Varley, Paul Sandby, Peter de Wint and William Leighton Leitch.Condition:the painting is a watercolour, framed under glazing, not examined external to the frame. The sheet has some minor cockling in the skyline. Sheet otherwise no obvious losses or damage. Paint surface appears in good condition, well preserved and colours stable. Frame general wear and tear, joints solid
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