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Click here to subscribeFRANCIS EDWARD JAMES ( 1849- 1920) STUDY OF TREES, a landscape with trees beside a small stream, signed and dated May 1897 bottom left, watercolour on paper, approximate size 24cm x 34cm, Condition Report: the painting is in good overall condition, frame marked in places (PROVENANCE: The Arnold Fellows Collection)
H. S. Tuke, 1908, (Henry Scott Tuke), a framed, remarkably atmospheric Newlyn School Watercolour entitled "A Fair Wind" of most uncommon composition looking along the deck of a ship under full sail amidst the waves of a turquoise sea. The picture is recorded in Tuke's list of works, the ship being the Grace Harwar, which was a steel hulled full rigged vessel built in 1889. Labels verso mention the person who commissioned the painting: "E. Penton, Esq., 1, Mortimer Street, W". A second label is written in ink "A Fair Wind", H.S. Tuke, Lyndon Lodge, Hanwell". The visible painting, which is signed and dated to the lower right is 6 3/4" x 9 3/4" in size and has a little foxing and mold growth.
From The Estate Of Bob Baker - Artwork - 'Spanish Scene' - a watercolour painting of a Spanish resort scene by Baker. Watercolour on paper. Unsigned. Framed and glazed, total size; 30cm x 37cm. Robert ‘Bob’ Baker (1939 to 2021) was a British television and film writer. He was best known for working on the original series of Doctor Who – during which he co-created the now iconic character of K9, and for being a co-writer of the Wallace and Gromit films The Wrong Trousers, A Close Shave, Wallace & Gromit: The Curse of the Were-Rabbit and A Matter of Loaf and Death (in which the character Baker Bob is named after him). Baker’s work with Aardman Animations earned him a share of two Academy Awards, and two BAFTAs. Baker was born in St George, Bristol. Each lot from his estate is accompanied by a specially made certificate of authenticity confirming it to have come from his own personal collection.
From The Estate Of Bob Baker - Artwork - 'Wheat Fields - Sardinia ' - a watercolour painting of an Italian country scene by Baker. On paper. Unsigned. Framed and glazed, total size; 31cm x 39cm. Robert ‘Bob’ Baker (1939 to 2021) was a British television and film writer. He was best known for working on the original series of Doctor Who – during which he co-created the now iconic character of K9, and for being a co-writer of the Wallace and Gromit films The Wrong Trousers, A Close Shave, Wallace & Gromit: The Curse of the Were-Rabbit and A Matter of Loaf and Death (in which the character Baker Bob is named after him). Baker’s work with Aardman Animations earned him a share of two Academy Awards, and two BAFTAs. Baker was born in St George, Bristol. Each lot from his estate is accompanied by a specially made certificate of authenticity confirming it to have come from his own personal collection.
From The Estate Of Bob Baker - Wallace & Gromit - Nick Park (creator) - a unique watercolour and ink painting celebrating Bob Baker's 80th Birthday, created by Nick Park. The comical study depicts Baker within The Wrong Trousers, surrounded by Gromit, Feathers McGraw and Shaun The Sheep. The piece is titled 'Crackin' Big Birthday Bob!' and carries a further message in Park's hand to the lower edge 'Congratulations Bob from Wallace and Gromit and all your pals at Aardman ', Park has signed the piece to the corner. Conservation framed and glazed. Total size; 48cm x 37cm. A unique piece of Aardman Animations related memorabilia. Robert ‘Bob’ Baker (1939 to 2021) was a British television and film writer. He was best known for working on the original series of Doctor Who – during which he co-created the now iconic character of K9, and for being a co-writer of the Wallace and Gromit films The Wrong Trousers, A Close Shave, Wallace & Gromit: The Curse of the Were-Rabbit and A Matter of Loaf and Death (in which the character Baker Bob is named after him). Baker’s work with Aardman Animations earned him a share of two Academy Awards, and two BAFTAs. Baker was born in St George, Bristol. Each lot from his estate is accompanied by a specially made certificate of authenticity confirming it to have come from his own personal collection.
From The Estate Of Bob Baker - Artwork - 'Portishead Cricket Match' - a watercolour painting of a Somerset cricket match by Baker. Watercolour on paper. Framed and glazed, total size; 30cm x 38cm.Robert ‘Bob’ Baker (1939 to 2021) was a British television and film writer. He was best known for working on the original series of Doctor Who – during which he co-created the now iconic character of K9, and for being a co-writer of the Wallace and Gromit films The Wrong Trousers, A Close Shave, Wallace & Gromit: The Curse of the Were-Rabbit and A Matter of Loaf and Death (in which the character Baker Bob is named after him). Baker’s work with Aardman Animations earned him a share of two Academy Awards, and two BAFTAs. Baker was born in St George, Bristol. Each lot from his estate is accompanied by a specially made certificate of authenticity confirming it to have come from his own personal collection.
From The Estate Of Bob Baker - Artwork - 'The Long & Winding Road' - a watercolour painting of a winding country road. Titled in in Baker's hand. Unsigned. Framed and glazed. Total size; 36cm x 31cm. Robert ‘Bob’ Baker (1939 to 2021) was a British television and film writer. He was best known for working on the original series of Doctor Who – during which he co-created the now iconic character of K9, and for being a co-writer of the Wallace and Gromit films The Wrong Trousers, A Close Shave, Wallace & Gromit: The Curse of the Were-Rabbit and A Matter of Loaf and Death (in which the character Baker Bob is named after him). Baker’s work with Aardman Animations earned him a share of two Academy Awards, and two BAFTAs. Baker was born in St George, Bristol. Each lot from his estate is accompanied by a specially made certificate of authenticity confirming it to have come from his own personal collection.
Clare WHITE (1903-1997) Church of holy apostles, agora, Athens c 1960s Watercolour, 38 x 51cm.The historic 10th century Church of Holy Apostles on the Ancient Agora of Athens is the main attraction in this absorbing painting by St Ives watercolourist Clare White. Clare White always painted from life, en plain air, and viewed the world from her own perspective – and from where ever she was sitting at her easel. The intricate detail of a beautiful, ruined column dominates the foreground in front of Clare here, and, figures, which she always found appealing in a scene, dot the landscape to animate the scene.From the collection of art historian and curator Andrew Pollard, the proprietor of the Clare White Gallery, who studied and exhibited Clare’s work 2002-2013. Andrew knew White and has been a passionate advocate for restoring the artist to her rightful place in Cornish art history. The works were purchased directly from the artist’s god daughter.
Clare WHITE (1903-1997) The Colosseum, Rome Watercolour, 37 x 50cm.St Ives artist Clare White’s watercolour captures the magnificence of the famous amphitheatre, dwarfing the tourist traffic in horse-drawn carriages below. The iconic circular shape of the massive structure is emphasised by bold black line and generous warm colour. St Ives artist Clare White loved to travel and paint some of Europe’s most beautiful landmarks. In this painting, as always, she captures the grandeur of the historic architecture as well the simple interaction of people surrounding the Colosseum.From the collection of art historian and curator Andrew Pollard, the proprietor of the Clare White Gallery, who studied and exhibited Clare’s work 2002-2013. Andrew knew White and has been a passionate advocate for restoring the artist to her rightful place in Cornish art history. The works were purchased directly from the artist’s god daughter.
Clare WHITE (1903-1997) Ancient bridge, Toledo Watercolour, signed, 38 x 50.5cm.Clare White travelled the world with her watercolours, but there are very few paintings by the artistin Spain so this depiction of the ancient bridge in Toledo is a rare one. The painting is also a good example of her confident use of bold lines to define natural and built features. White said she was influenced in this aspect of her style, by her father’s favourite artist Sir Frank Brangwyn (1867 –1956), whose own decorative style used strong, dark outlines, often giving his paintings a stained glass effect.From the collection of art historian and curator Andrew Pollard, the proprietor of the Clare White Gallery, who studied and exhibited Clare’s work 2002-2013. Andrew knew White and has been a passionate advocate for restoring the artist to her rightful place in Cornish art history. The works were purchased directly from the artist’s god daughter.
Clare WHITE (1903-1997) Three works of Barbados scenes. Watercolour, two of which are signed, 38 x 51cm.This simple scene of life in Barbados includes every element of what made Clare White’s paintings so popular: vibrant colours, bold outlines, lovely characterisation and illustrative story-telling. White was a regular visitor to Barbados where her sister worked and the island’s vivacity and brightness resonated with her own character and had a huge influence on her painting style which she carried with her around the world. From the collection of art historian and curator Andrew Pollard, the proprietor of the Clare White Gallery, who studied and exhibited Clare’s work 2002-2013. Andrew knew White and has been a passionate advocate for restoring the artist to her rightful place in Cornish art history. The works were purchased directly from the artist’s god daughter.
Clare WHITE (1903-1997) A row of gondolas, Venice Watercolour, 38 x 51cm.St Ives artist Clare White loved to travel and to paint. Across Europe and beyond, she would set up her easel in a hidden spot, take out her watercolours and paint in some of Europe’s most beautiful places,. This quiet painting focuses on a row of gondolas on the canals of Venice, waiting for customers to arrive.From the collection of art historian and curator Andrew Pollard, the proprietor of the Clare White Gallery, who studied and exhibited Clare’s work 2002-2013. Andrew knew White and has been a passionate advocate for restoring the artist to her rightful place in Cornish art history. The works were purchased directly from the artist’s god daughter.
Clare WHITE (1903-1997) Sunshine in Grindelwald Watercolour, 36 x 47.5cm.St Ives artist Clare White travelled the world with her watercolours and often visited Switzerland where she had studied as a young woman in Lucerne. Clare loved the visual distinctiveness of the Swiss mountain landscape and its chalet architecture, as well as the traditional rural lifestyle of its people. This painting captures the light and life of a moment in time as villagers enjoy the sunshine while a bearded man returns home from his work. From the collection of art historian and curator Andrew Pollard, the proprietor of the Clare White Gallery, who studied and exhibited Clare’s work 2002-2013. Andrew knew White and has been a passionate advocate for restoring the artist to her rightful place in Cornish art history. The works were purchased directly from the artist’s god daughter.
Clare WHITE (1903-1997) Le Corbusier's Notre Dame de la haute Watercolour, initialled, inscribed to verso, 37.5 x 51cm.The huge curving roof of Le Corbuiser’s modern masterpiece is the focus of St Ives artist Clare White’s watercolour painted in Ronchamp in the 1960s. Clare had a lifelong fascination with capturing architectural forms, both ancient and modern, during her many travels. This painting very much combines Clare White’s distinctive and engaging illustrative style with the architect’s visionary structure.From the collection of art historian and curator Andrew Pollard, the proprietor of the Clare White Gallery, who studied and exhibited Clare’s work 2002-2013. Andrew knew White and has been a passionate advocate for restoring the artist to her rightful place in Cornish art history. The works were purchased directly from the artist’s god daughter.
Clare WHITE (1903-1997) Walking out, Grindelwald Switzerland Watercolour, signed, 35 x 42.5cm.St Ives artist and dedicated traveller Clare White loved to paint the colourful houses of Grindelwald, and loved it all the more if a young couple walked out in front of her in traditional lederhosen and a crisp white apron. This painting is a good example of Clare’s illustrative style which combines strong line, bright colour and an eye for architectural detail. Each painting captures a sense of place and time and many, like this one, invite the viewer to see a narrative too.From the collection of art historian and curator Andrew Pollard, the proprietor of the Clare White Gallery, who studied and exhibited Clare’s work 2002-2013. Andrew knew White and has been a passionate advocate for restoring the artist to her rightful place in Cornish art history. The works were purchased directly from the artist’s god daughter.
Clare WHITE (1903-1997) Low cloud, Grindelwald Watercolour, initialled, 37.5 x 47cm.Clare White never tired of painting the Swiss Alps and visited several times during the late 1950s and 1960s. The shifting low cloud shrouding a glacier behind Grindelwald draws the eye in this beautiful watercolour which epitomises the artist’s accomplished yet deceptively simple style. Chalets dot the hillside which is painted in swathes of flat colour, the forest and treelines confidently picked out in bold lines.From the collection of art historian and curator Andrew Pollard, the proprietor of the Clare White Gallery, who studied and exhibited Clare’s work 2002-2013. Andrew knew White and has been a passionate advocate for restoring the artist to her rightful place in Cornish art history. The works were purchased directly from the artist’s god daughter.
Clare WHITE (1903-1997) Colourful luzzu boats and artist Watercolour, initialled, 38 x 45cm.How could these brightly-painted traditional fishing boats not catch the eye of St Ives watercolourist Clare White. Featuring the eye of Horus to protect from evil, and laden with goods, perhaps to ferry to larger ships, it looks like one boatman is also painting his boat’s sails. Clare White travelled the world to paint scenes like this and loved to depict others at work. These boats are thought to be traditional Luzzu boats of Malta. From the collection of art historian and curator Andrew Pollard, the proprietor of the Clare White Gallery, who studied and exhibited Clare’s work 2002-2013. Andrew knew White and has been a passionate advocate for restoring the artist to her rightful place in Cornish art history. The works were purchased directly from the artist’s god daughter.
Clare WHITE (1903-1997) Card players in a Swiss Inn Watercolour, signed, 35 x 48cm.St Ives artist Clare White visited Switzerland often to paint. She always painted from life and here she captures the quiet concentration of three card players in a Swiss inn. Clare’s use of flat colour and bold lines as well as her ability to capture human expression with minimal brush strokes are embodied in this scene. Her immersive style takes you inside the painting so that you can almost hear the sound of the cuckoo clock pendulum swinging.From the collection of art historian and curator Andrew Pollard, the proprietor of the Clare White Gallery, who studied and exhibited Clare’s work 2002-2013. Andrew knew White and has been a passionate advocate for restoring the artist to her rightful place in Cornish art history. The works were purchased directly from the artist’s god daughter.
Clare WHITE (1903-1997) Chapel Bridge, Lucerne Watercolour, 38 x 47.5cm.St Ives artist Clare White visited Switzerland regularly in the 1950s and 1960s and painted several views of the 14th century Chapel Bridge in Lucerne. Her pictures act as faithful records of the original wooden structure which was badly damaged in a fire in 1993, and, although rebuilt, was never quite the same again. This painting encapsulates every aspect of what makes Clare’s watercolours sing: the effortlessly drawn architectural features, the bold outline, the contrast between sunlight and shade and the animated swirl of rushing water.From the collection of art historian and curator Andrew Pollard, the proprietor of the Clare White Gallery, who studied and exhibited Clare’s work 2002-2013. Andrew knew White and has been a passionate advocate for restoring the artist to her rightful place in Cornish art history. The works were purchased directly from the artist’s god daughter.
Clare WHITE (1903-1997) Holbein’s ‘Dance of Death’, Chapel Bridge, Lucerne. Watercolour, signed, 36 x 44.The 14th century Chapel Bridge in Lucerne contained a series of traingular paintings known as the ‘Dance of Death’ commissioned by an alderman of the town to remind people of their own mortaltity. Inspired by Holbein the Younger’s haunting biblical allegories, most of the frescoes were destroyed in a fire which engulfed the wooden bridge in 1993, so this painting created sometime in the 1950s/60s stands as a faithful record of how the celebrated structure used to look. Locals in traditional dress bustling past Clare as she paints, add to the authenticity of the scene.From the collection of art historian and curator Andrew Pollard, the proprietor of the Clare White Gallery, who studied and exhibited Clare’s work 2002-2013. Andrew knew White and has been a passionate advocate for restoring the artist to her rightful place in Cornish art history. The works were purchased directly from the artist’s god daughter.
Clare WHITE (1903-1997) Delphi Theatre, Greece Watercolour, 38 x 51.5cm.The Delphi Theatre was built in the 4th Century BCE and gave audiences a spectacular view of the performance area, sanctuary below and valley beyond. St Ives watercolourist Clare White’s painting uses bold colour and dark outline to convey the quiet grandeur of this ancient amphitheatre and the vastness of the landscape. As always with Clare, the seated figures add a little intimacy to the scene.From the collection of art historian and curator Andrew Pollard, the proprietor of the Clare White Gallery, who studied and exhibited Clare’s work 2002-2013. Andrew knew White and has been a passionate advocate for restoring the artist to her rightful place in Cornish art history. The works were purchased directly from the artist’s god daughter.
Clare WHITE (1903-1997) Statue gazing heavenward, Venice Watercolour, 37.5 x 39.5cm.This painting of a classical statue on a red terrace with gondoliers in the distance was painted by St Ives artist Clare White in the 1960s on one of her annual pilgrimages to Venice. It shows off all of Clare’s skills: the bold outline, confident use of colour and an illustrative approach to the composition.From the collection of art historian and curator Andrew Pollard, the proprietor of the Clare White Gallery, who studied and exhibited Clare’s work 2002-2013. Andrew knew White and has been a passionate advocate for restoring the artist to her rightful place in Cornish art history. The works were purchased directly from the artist’s god daughter.
Clare WHITE (1903-1997) Ruins on rugged cliff Greece Watercolour, 38.5 x 50.5cm.It is the curves of the foliage that lead the viewer’s eye to the temple ruin on top of the cliff in this painting of ruins in Greece. In her regular illustrated talks at St Ives Arts Club, watercolourist Clare White would regale fellow artists with tales of her travels to Athens and other ancient sites. Clare was incredibly adventurous independent traveller and would set up her easel and paint whatever took her fancy.From the collection of art historian and curator Andrew Pollard, the proprietor of the Clare White Gallery, who studied and exhibited Clare’s work 2002-2013. Andrew knew White and has been a passionate advocate for restoring the artist to her rightful place in Cornish art history. The works were purchased directly from the artist’s god daughter.
Clare WHITE (1903-1997) Old bridge suitable for donkeys, Mostar, Bosnia Watercolour, initialled, inscribed to verso, 38 x 51cm.This landmark bridge over the river Neretva in Mostar is only wide enough for donkeys – we know this because Clare White wrote it on the back of this painting – and she included a couple of the beasts with their burdens in her picture. As always, in Clare’s paintings they look happy at their work. The St Ives artist and fiercely independent traveller visited the Balkans in the 1950s/1960s and was inspired to paint the beautiful medieval architecture of Mostar in the mountains.From the collection of art historian and curator Andrew Pollard, the proprietor of the Clare White Gallery, who studied and exhibited Clare’s work 2002-2013. Andrew knew White and has been a passionate advocate for restoring the artist to her rightful place in Cornish art history. The works were purchased directly from the artist’s god daughter.
Clare WHITE (1903-1997) Chatting in the cathedral entrance, Trogir, Croatia Watercolour, initialled, inscribed to verso, 38 x 50cm.Sitting at the entrance of San Lorenzo cathedral looking out onto the medieval town of Trogir in Croatia, Clare White captures every nuance of this market day scene - the nonchalance of the women chatting beneath the grandeur of Trogir’s much-admired stone lions; and the town’s iconic clock tower in the sunshine standing over the busy cobbled town square. Confident draughtsmanship, a clear eye and White’s ability to capture the subtlety of expression in her figures animates the painting with the artist’s own unique style.From the collection of art historian and curator Andrew Pollard, the proprietor of the Clare White Gallery, who studied and exhibited Clare’s work 2002-2013. Andrew knew White and has been a passionate advocate for restoring the artist to her rightful place in Cornish art history. The works were purchased directly from the artist’s god daughter.
Clare WHITE (1903-1997) Notre Dame de la haut by Le Corbusier Watercolour, initialled, inscribed to verso, 38.5 x 51cm.The incredible modernist structure of Notre Dame de la haut by Le Corbusier fascinated Clare White who painted a series of portraits of it in the 1960s. A devotee of architecture, Clare has written on the reverse of this watercolour, ‘all concrete mould made of wooden planks, air space between walls and ceiling.' White’s painting, in her own unique style, pays homage to the dramatic curves, shade, sunlight on the building.From the collection of art historian and curator Andrew Pollard, the proprietor of the Clare White Gallery, who studied and exhibited Clare’s work 2002-2013. Andrew knew White and has been a passionate advocate for restoring the artist to her rightful place in Cornish art history. The works were purchased directly from the artist’s god daughter.
Clare WHITE (1903-1997) Sea Fortress Dubrovnik, Croatia Watercolour, signed, 38 x 50cm.St Ives artist and independent traveller Clare White visited the Balkans with her watercolours in the 1950s / 1960s and found much to inspire her along the Adriatic coast where its largely untouched medieval architecture contrasts beautifully with sea and sky. This painting of the sea fortress near Dubrovnik in Croatia is a fine example of her work, characterised by strong lines, a distinctive watercolour palette and a totally engaging style which has led many critics to say that, had she sought a professional career in children’s illustration or poster art, she would have achieved huge success. But Clare just loved to travel and paint.From the collection of art historian and curator Andrew Pollard, the proprietor of the Clare White Gallery, who studied and exhibited Clare’s work 2002-2013. Andrew knew White and has been a passionate advocate for restoring the artist to her rightful place in Cornish art history. The works were purchased directly from the artist’s god daughter.
Clare WHITE (1903-1997) Pipe and swans, Lucerne bridge Watercolour, 37.5 x 48cm.St Ives watercolourist Clare White visited Switzerland regularly in the 1950s and 1960s and painted several views of the 14th century Chapel Bridge in Lucerne. The pictures act as faithful records of the original wooden structure which was badly damaged in a fire in 1993 and, although rebuilt, was never quite the same. There is so much going on in this lively painting, but it’s the characterful figures in the foreground which draw the viewer’s eye. Clare was fluent in French and German, so no doubt chatted to the old man with his pipe as he watched the children and the swans.From the collection of art historian and curator Andrew Pollard, the proprietor of the Clare White Gallery, who studied and exhibited Clare’s work 2002-2013. Andrew knew White and has been a passionate advocate for restoring the artist to her rightful place in Cornish art history. The works were purchased directly from the artist’s god daughter.
Clare WHITE (1903-1997) Floods on the Schiavoni, Venice Watercolour, initialled, 37.5 x 39.5cm.Inscribed on the reverse of this painting is 'Floods on the Schiavoni, gondoliers eating', which helps to explain this beautiful yet somehow dream-like and disorientating watercolour by St Ives artist Clare White. Waters flow around the streetlights as gondoliers lift their feet out of the deluge on a bench and tuck into their lunch. The great domes of the Basilica di Santa Maria della Salute and a crowd of curious tourists provide the backdrop.From the collection of art historian and curator Andrew Pollard, the proprietor of the Clare White Gallery, who studied and exhibited Clare’s work 2002-2013. Andrew knew White and has been a passionate advocate for restoring the artist to her rightful place in Cornish art history. The works were purchased directly from the artist’s god daughter.
Clare WHITE (1903-1997) Goatherd before the Wetterhorn Watercolour, initialled, 35 x 39cm.St Ives artist Clare White loved to travel to Switzerland and paint scenes of village life in Grindelwald nestled beneath the imposing face of the Wetterhorn. This painting embodies her 'fresh air', ‘feelgood’ approach to her work with her distinctive watercolour palette and masterful draughtsmanship which captures both the essence of the place and defining detail of the landscape. The figure of the goatherd is a typical Clare White character, and he probably posed nonchalantly for her with his prize goat as she sketched out the scene. Fluent in French and German, Claire probably shouted to him and prompted this happy co-operation in her work.From the collection of art historian and curator Andrew Pollard, the proprietor of the Clare White Gallery, who studied and exhibited Clare’s work 2002-2013. Andrew knew White and has been a passionate advocate for restoring the artist to her rightful place in Cornish art history. The works were purchased directly from the artist’s god daughter.
Clare WHITE (1903-1997) Le Corbusier’s Chapel of convent Sainte Marie de la Tourette, close to Lyon Watercolour, initialled, 38 x 51.5cm.St Ives artist Clare White wrote on the reverse of this painting. ‘A priest poses outside the modernist, concrete structure as clouds float by overhead.’ Clare was fascinated by Le Corbusier’s architecture and painted several aspects during her visits to France.From the collection of art historian and curator Andrew Pollard, the proprietor of the Clare White Gallery, who studied and exhibited Clare’s work 2002-2013. Andrew knew White and has been a passionate advocate for restoring the artist to her rightful place in Cornish art history. The works were purchased directly from the artist’s god daughter.
Clare WHITE (1903-1997) Two works Storm over Marksburg Castle, BraubachWatercolour, signed, 38 x 51cmThis dramatic Rhine view shows the medieval Marksburg Castle towering above the town of Braubach with the river drawing the eye into the distance. St Ives artist Clare White was adept at painting architectural form and she managed to squeeze three churches into this watercolour. It is an illustration full of depth and character. A curator of White’s work once asserted in his exhibition catalogue that had she chosen commercial illustration as a career, he had no doubt she would have become a household name.andClare WHITE (1903-1997)The three spires, MarksburgWatercolour, 38 x 51cmRich purple and blue hues combine in this stormy scene on the Rhine. St Ives watercolourist Clare White’s atmospheric composition takes in three church spires surrounding the Gothic Marksburg Castle which looks down on the town of Braubach. In this painting in particular, the artist seeks to draw out the scene’s abstract colour and ambience as the day darkens around the constant flow of the river.From the collection of art historian and curator Andrew Pollard, the proprietor of the Clare White Gallery, who studied and exhibited Clare’s work 2002-2013. Andrew knew White and has been a passionate advocate for restoring the artist to her rightful place in Cornish art history. The works were purchased directly from the artist’s god daughter.
Clare WHITE (1903-1997) Wedding at Le Corbusier's Chapel Watercolour, 38 x 51cm.Clare’s admiration for architect Le Corbusier’s modernist chapel is evident in all her paintings of this iconic building, The bride and groom in this painting are here to celebrate the joy of this remarkable concrete structure in Roncamp. St Ives artist Clare White watercolour captures their big day in her own inimitable style, with her bold watercolour palette and strong lines, evocation of light and shadow, movement and time which lifts all her paintings above simple illustration.From the collection of art historian and curator Andrew Pollard, the proprietor of the Clare White Gallery, who studied and exhibited Clare’s work 2002-2013. Andrew knew White and has been a passionate advocate for restoring the artist to her rightful place in Cornish art history. The works were purchased directly from the artist’s god daughter.
Clare WHITE (1903-1997) Venetian Glass, shop window Watercolour, initialled, 53 x 37.5cm.As described by artist Clare White on its reverse, this painting shows children admiring colourful and exquisitely made Venetian glass in a shop window not far from St Mark’s. Everyday scenes such as this which caught Clare’s attention and provided her with as much pleasure as painting the grand façade of the Basilica nearby. Compositions which presented ordinary people’s interaction with a thing of beauty were common sources of inspiration for the artist.From the collection of art historian and curator Andrew Pollard, the proprietor of the Clare White Gallery, who studied and exhibited Clare’s work 2002-2013. Andrew knew White and has been a passionate advocate for restoring the artist to her rightful place in Cornish art history. The works were purchased directly from the artist’s god daughter.
Clare WHITE (1903-1997) Colourful windows, Le Corbusier Chapel Watercolour, signed, inscriptions to verso, 38 x 51.5cm.St Ives artist Clare White turns her illustrative eye to the architectural detail at the back of Le Corbusier’s Chapel of Sainte Marie de la Tourette in this watercolour. Clare wrote the following on the back of the painting which gives an insight into her forensic eye as an artist and lover of structure and form: ‘holes to let light into small chapel below, curtains drawn across windows of uneven width, mathematical progression with refectory etc. behind.'From the collection of art historian and curator Andrew Pollard, the proprietor of the Clare White Gallery, who studied and exhibited Clare’s work 2002-2013. Andrew knew White and has been a passionate advocate for restoring the artist to her rightful place in Cornish art history. The works were purchased directly from the artist’s god daughter.
Clare WHITE (1903-1997) Calvary Sculpture, Pleyben Church, Brittany Watercolour, signed, 33 x 25.5cm.A couple in close conversation walk past the sun-drenched Calvary monument outside Pleyben Church, Brittany in this painting by St Ives artist Clare White. Clare was an independent traveller and painted en plain air wherever she went. She pays tribute to the stone monument and church in this decorative piece which probably dates back to the 1930s/40s, before the artist developed her bolder illustrative style with strong colour. The figures begin to show those techniques, with simple outlines and just a few stokes she manages to capture their mood and their movement.From the collection of art historian and curator Andrew Pollard, the proprietor of the Clare White Gallery, who studied and exhibited Clare’s work 2002-2013. Andrew knew White and has been a passionate advocate for restoring the artist to her rightful place in Cornish art history. The works were purchased directly from the artist’s god daughter.
Clare WHITE (1903-1997) Reflections, Doge's Palace, Venice Watercolour, signed, inscribed to verso, 36 x 40cm.Light from the windows reflecting in the highly polished floor vies for attention with the ornate ceiling in this painting of the Great Hall in the Doge’s Palace, Venice. St Ives artist Clare White was also an art critic who drew inspiration from the wonderful paintings and sculptures she saw on her travels. Her highly decorative style was particularly suited to conveying complex designs in simple terms.From the collection of art historian and curator Andrew Pollard, the proprietor of the Clare White Gallery, who studied and exhibited Clare’s work 2002-2013. Andrew knew White and has been a passionate advocate for restoring the artist to her rightful place in Cornish art history. The works were purchased directly from the artist’s god daughter.
Ken Howard OBE R.A. (1932-2022) British, 'Valerie', depicting a girl reclining nude in a chair, signed and dated lower right 88', watercolour and mixed media on paper, 26 cm x 17 cm, framed and glazed.Private collection. Exhibited at 'RWS Centenary Exhibition, The Arts Club, Dover Street'.Sealed in frame and glazed. Glass needs cleaning, but the painting looks to be in good condition. Partial label on the reverse for Royal Society of Painters in Watercolours Bankside Gallery.
Walter Herbert Allcott (1880-1951)'Untitled landscape', watercolour, signed and dated 1919 in pencil lower right, 26cm x 36.5cmProvenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Wear, scuffs and some damages to the frame. Foxing to the watercolour and mount. Some discolouration to the mount edges.
Wilfrid Rene Wood (1888-1976)'Chipping Campden high street', watercolour, signed and dated '34 lower right, 27cm x 39cmProvenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Overall display wear and some minor scuffs to the frame. Minimal marks to the mount in places, otherwise seems ok.
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