Charles March Gere (1869-1957) 'Haresfield Beacon, Painswick', watercolour, unsigned, 20cm x 34cmProvenance: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.Minimal display wear and scuffs to the frame as expected. Minimal foxing in places, otherwise seems ok.
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After Fra Filippo Lippi (1406-1469)'The Annunciation study', watercolour with gilded detail, unsigned, 26cm x 36cmProvenance: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.With overall wear and some losses to the frame. The painting is slightly loose in the frame. The picture itself seems ok.
WILLIAM CHRISTIAN SYMONS (BRITISH, 1845-1911)Under the Rose Bower, Telham Court, Battlesigned 'W.Xtn Symons' watercolour and gouache25 x 34.5cmProvenanceProperty of the Artist;Thence by family descentExhibitedBath, Victoria Art Gallery, 30th April - 25th June 1994, no.55;Hastings Museum and Art Gallery, 2nd July - 14th August 1994, no.55;Newcastle-under-Lyme, Borough Museum and Art Gallery, 27th August - 9th October 1994, no.55;Rye Art Gallery, 30th January 1999 - 28th March 1999, no.55FootnoteThe present work hasbeen requested for potential inclusion in a forthcoming exhibition; pleasecontactBellmans painting department for further detailshttps://www.bellmans.co.uk/story/william-christian-symons-1845-1911
Thomas Sidney/Near Dordrecht, Holland/signed and inscribed/watercolour, 23cm x 68cm and/a watercolour by John Harrington Glass and an oil painting (3) CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot if the hammer price is the equivalent of 1000 Euros or more, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
A 20th century Chinese scroll painting, watercolour on silk 'Flower and Bird' by Yee Yat (Hong Kong) with brocade mount 102 cm x 26 cm o/a to/w two other watercolour on silk scroll painting landscapes with elegant ladies, calligraphic inscriptions and red seal marks, 130 cm x 33 cm o/a and three smaller Chinese watercolours of idyllic mountainous landscapes with brocade mounts (6) lot also includes a quantity of brass picture frame mounts
Sue Howells R.W.S. (British 1948-) "We'll Weather the Weather" Signed, watercolour.34cm x 21cm (13.25in x 8.25in)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 ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Sue Howells R.W.S. (British 1948-) Lake scene Signed, watercolour.25cm x 34cm (9.75in x 13.5in)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 ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Gerard Mitchell (British 20th/21st century) A panoramic rural landscape Signed, watercolour.11.5cm x 72.5cm (4.5in x 28.5in)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.
George Hooper (British 1910-1994) "The Artist's Garden" Signed and dated '69, acrylic on paper.75cm x 53.5cm (29.5in x 21in)Born in India, Hooper studied at the Royal College of Art where he won a Rome scholarship in painting. During the war he was an air raid warden and recorded his experiences. He was also employed as an artist in the "Recording Britain" campaign mounted to paint all the country`s important buildings, as it was feared many would be destroyed in the Blitz. After the war George`s work moved towards Fauvism with bright oils and distorted views. Elected a member of the Royal Watercolour Society, he was nevertheless largely unrecognised outside artistic circles in his lifetime. However, since his death, there has been a reappraisal of his work combined with a number of exhibitions leading to a much larger audience of admirers and collectors. His work is in the British Museum, the V&A, and in several galleries in Sussex and Hull.Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition. There is some minor creasing to the paper and some undulations across the sheet. The painting is framed but not glazed.
Cecil Howard Lay (1885-1956) "Benacre Races" Unsigned, titled on gallery label - 'Thompson's Gallery, Suffolk' verso, watercolour and ink.12cm x 22.5cm (4.75in x 8.75in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in good, original condition. The colours are down across the painting and the ink has faded slightly. There are some areas of browning across the sheet. The painting is ornately framed and glazed. The frame has some minor scuffs and scratches commensurate with age.
Reginald G. Haggar R.I., A.R.C.A., F.R.S.A. (British 1905-1988) "Queen Mary's Bridge, Minnigaff, Scotland" Signed and dated 11 August '47, titled on exhibition label - 'Royal Institute of Painters in Water Colours' verso, watercolour and ink.28cm x 38cm (11in x 15in)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 framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Charles Frederick Tunnicliffe (British 1901-1979) Elephants at the zoo Produced for a Brooke Bond Advert, signed, watercolour and pencil.image size 20.5cm x 27.5cm (8in x 10.75in)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.
Reginald G. Haggar R.I., A.R.C.A., F.R.S.A. (British 1905-1988) "The Trent Valley" Unsigned, titled on artist's label verso, watercolour.36cm x 53.5cm (14.25in x 21in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with strong colours. There are three pin holes along the top edge of the paper where the artist has pinned the sheet down. The painting is framed and glazed. The original frame has some minor scuffs and knocks commensurate with age.
Jim Mitchell (British 20th/21st century) "A Potteries Street Scene circa 1950's No. 5" Signed, titled on label verso, watercolour.18.5cm x 24.5cm (7.25in x 9.5in)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 framed and glazed.
Jim Mitchell (British 20th/21st century) "A Potteries Street Scene circa 1950's No. 6" Signed, titled on label verso, watercolour.15cm x 23cm (6in x 9in)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 framed and glazed.
Tom Dack (British 1933-) "Dawn Breaking" Signed, titled on label verso, watercolour and ink.31.5cm x 21.5cm (12.5in x 8.5in)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.
William Heaton Cooper R.A. (British 1903-1995) "Morning on Crummock Shore" Signed, titled on label verso, watercolour and pencil.37.5cm x 56cm (14.75in x 22in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in good, original condition. The paper has browned slightly across the sheet and there are one or two minor surface marks. The painting is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Don McKinlay (British 1929-2017) Seated nude female playing the recorder Signed and dated '79, watercolour and pencil.74.5cm x 54.5cm (29.25in x 21.5in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition. There is some cockling across the sheet and one or two small spots of foxing. There are pinholes in the upper left and lower right corners of the paper. The painting is ornately framed and glazed.
George Thompson (British 1934-2019) "Eastgate Street, Chester" Signed, watercolour and pencil.34cm x 51.5cm (13.25in x 20.25in)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 framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Nancy Jane Burton R.S.W. (Scottish 1891-1972) Study of a pony Unsigned, watercolour and pencil.23.5cm x 27.5cm (9.25in x 10.75in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition. There are some minor spots of foxing across the sheet. The painting is ornately framed and glazed. The frame has some knocks and losses.
Philip Wilson Steer OM (1860-1942) - 'Dover Harbour, Kent, signed and dated 1918, signed again and inscribed Dover Harbour together with the artist's name on the artist's label attached to the backing board, pencil and watercolour, 9.75" x 13.5" ** Provenance with Martyn Gregory, 34 Bury St. St. James's, London, SW1 6AU, also with Christie's, The Martyn Gregory Collection of British Art 'Dramas of Light and Land', 10th March 2022, (lot 101) the original estimate being £600-£800 **Exhibited at The National Gallery, London in 1929 and loaned by Mr Vernon Wethered **Reference D.S. MacColl (1946) Life Work and Setting of Philip Wilson Steer, London, Faber & Faber Ltd. p. 125, no. 43 (a) an oil painting with similar view of this watercolour measuring 4"2 x 60" was catalogued in The Imperial War Museum as part of The War Paintings, RA Winter Exhibition 1919-1920
Herbert Menzies Marshall VPRWS, RE, ROI (1841-1913) - Fleet Street looking towards St Paul's Cathedral, signed and dated 1900, pencil and watercolour, 10.25" x 7" **The artist was a London topographical painter, watercolourist and architect, he was a member of The Royal Watercolour Society and The Royal Society of Painters and Etchers, he's a pupil of the French architect Questel and was professor of landscape painting at Queen's College, London, he exhibited from 1871 to 1893 and produced a series of topographical watercolours for 'The Scenery of London' also 'The Cathedral Cities of France'. An exhibition of his work was held at The Fine Art Society in 1886 and the Abbey Gallery in 1935
Claude Henry Buckle RI, RSMA (1905-1973) - the Bell Foundry with men working on large bells, light streaming in from a window nearby, signed, watercolour, 19.5" x 24.5" **He worked for J.S. Fry & Sons, chocolate manufacturers in Bristol as an assistant architect. During this time with Fry's, he was involved in the building of a new factory at Keynsham, Somerdale and was supported by Fry's to study architecture at Bristol University. In 1926, at the age of twenty-one, Buckle moved to London and joined Wallis, Gilbert and Partners and became responsible for building the Ford factories at Dagenham. He became one of the youngest amateur members of the British Savages Art Group based in Bristol. He travelled to France, Spain and North Africa and later became responsible for designing railway posters, he was a close friend of Terence Cuneo, both artists have surviving artwork in The National Railway Museum in York. From 1958 onwards, he became a member at The Royal Institute of Painters and Watercolours and a member of the Federation of British Artists as well as a member of the Marine Society and exhibited works at the London Boat Show Full-scale lithographic reproductions were distributed to high street retailers including Fenwick in London, he also held exhibitions of his work in Marlborough, Wiltshire, and London in his studio at Vernham Dean, it is said that the artist produced an estimated three hundred watercolour paintings. In appreciation of Claude Buckle's career, Terence Cuneo, paid tribute to Buckle's style of painting. His work can be seen at National Railway Museum, Kirkcaldy Museum and Art Gallery, Birmingham Museums Trust *The work is contained within a gold leaf plaster and wooden frame
Herbert Menzies Marshall VPRWS, RE, ROI (1841-1913) - "A view of Whitehall, London", inscribed on an exhibition label verso with the artist's name and the title of the work, pencil and watercolour, 4.75" x 8" - ** Provenance with Heather Newman (Quality Early English Watercolours), Cranham, Painswick, Gloucestershire, GL6 6TX ** The artist was a London based topographical painter watercolourist and architect and a member of the Royal Watercolour Society, as well as a the Royal Society of Painters and Etchers. Marshall became a pupil of the French architect Questel and was Professor of Landscape Painting at Queen's College, London and exhibited a total of 277 works between 1871 and 1893 at the Old Watercolour Society, The Royal Academy, Suffolk Street, and elsewhere. An exhibition of the artist's work was held at The Fine Art Society in 1886 from the Abbey Gallery in 1935
Mary Fedden OBE., RA (1915-2012) - 'Three Pink Lilies', signed Fedden and dated 1996, watercolour and gouache, 9" x 13" ** The artist was born in Bristol and studied at The Slade School of Fine Art (1932-1936), she was a pupil of the theatre designer Valdimir Polunin. She created stage designs for Sadler's Wells Theatre and returned to Bristol painting and teaching until the outbreak of WW11. She was influenced by the French artist Matisse and Braque, she also found the work of Ben Nicholson and Winifred Nicholson a great inspiration as well as admiring the Scottish artist Anne Redpath and French painter Henri Hayden. She had one-person shows in the UK every year from 1947 until her death in 2012, these included showing at The Mansard Gallery, The Redfern Gallery, The Arnolfini Gallery in Bristol and various other locations. A major exhibition of her work was held at The Royal West of England Academy in 1996.
Edward Wesson RI, RSMA, RBA, RI (1910-1983) - 'Tower Bridge on The Thames, London', signed, pen ink and watercolour, 9.5" x 13.5" **The artist was born in Blackheath, South London and has a very distinctive style of watercolour painting, mostly self-taught, he perfected his style before exhibiting becoming a member of The Royal Society of Marine Artists as well as The Royal Society of British Artist and The Royal Institute of British Artists. He exhibited at many locations in the UK and his work remains greatly admired and highly collectable today.
Benedict Chukwukadibia Enwonwu M.B.E (Nigerian, 1917-1994)Moonlight Masquerade, 1943 signed and dated 'BEN CHAS ENWONWU/1943'(lower right); inscribed 'Masquerade (Wkwai...Ukon...)' (partially illegible) (verso) watercolour on paper 35.7 x 52.5cm (14 1/16 x 20 11/16in).(framed)Footnotes:ProvenanceThe collection of Prof. Anthony Kirk-Greene CMG MBE (1925 – 2018);Private collection.ExhibitedLagos, Exhibition Centre, Dec 1943-Jan 1944.Originally owned by Professor Anthony Kirk-Greene CMG MBE who held the position of president of the African Studies Association of the United Kingdom (ASAUK) from 1998 to 1990, the present lot can be held in high regard not only due to it's beautiful rendering, but also it's significant provenance. With an extensive body of written work on Nigerian history, politics, colonisation and post-independence Africa, Kirk-Greene had also served as a senior lecturer at Ahmadu Bello University in Zaria, Kaduna State from 1961 to 1965.The watercolour painting Moonlight Masquerade (1943) is by Ben Enwonwu, from his Benin period (1941 to 1944), and in the conceptual and formalistic style of his other early genre artworks such as Coconut Palms(watercolour, 1935). All these works have a consistent image orientation, often including figures in a landscape of dense trees who are mostly engaged in forms of indigenous cultural ritual or quotidian practices. This one is distinguished by its focus on a plethora of masquerades and for being the first recorded instance of representational use of Uli art in Nigerian painting: the path in the middle of the painting leads to a shrine whose wall is decorated with Uli symbols, a decade and half before Uche Okeke began his experiments with Uli art. This fact alone makes this watercolour painting extraordinary and unique. The indistinct inscription (W.Kwa.i..Ukon) might refer to the Akwa Ibom region hinting at the area where these masquerades are often performed, it is the border region between the Eastern Igbo and Ibibio territories.The painting substantiates the fact that Enwonwu's art explored the numinous aspects of masquerades quite early in his career. It also shows his improved handling of human anatomy and compositional techniques both of which reveal an improvement in Enwonwu's capabilities as an artist. His signature in this painting is also unique: it is signed Ben Chu.. Enwonwu and the letters are sandwiched between two horizontal bars, one of a very small number of artworks he signed in this manner (see Ogbechie, Ben Enwonwu 2008: 67-68 for description and meaning of Enwonwu's changing signatures). He dropped the horizontal bars but retained 'Ben Chuka Enwonwu' as a signature through his first year at the Slade School of Fine Arts, London.All in all, Moonlight Masquerade is a key painting in Enwonwu'ss oeuvre for its inclusion of Uli imagery and representational format showing significant advances in the formal and conceptual ranges of the artist. He sailed for London the next year to begin his education at the Slade. His career can be divided neatly into before and after this artwork, the 'before' showing his skill level resulting from his education under K.C. Murray and the 'after' documenting the post-Slade education and artistic capabilities that belong to his professional career proper.We are grateful to Professor Sylvester Okwunodu Ogbechie for the completion of the above footnote. For further information on this lot please visit Bonhams.com
Ephemera, an interesting selection of foreign ephemera to include Indian watercolour on mica, LNER Travel Notes and Information leather wallet, 1901 Madras Volunteer Guards Rifle Meeting prize envelope, hotel luggage labels, Freyone Views of Gibraltar, Album de Suez fold out, Album of Indian Views, Niagara Falls 1890 fold out views, tea label, 1871 tiger painting, book Sketches of Indian Life (gen gd)
Natural History: Two Late 19th Century Armorial Green Sea Turtle Shells (Chelonia Mydas), two very large adult Green Sea turtle shells, each paintedTyerman example 72.5cm by 91cm Warrenne example 75.5cm by 92cmWith CITES A10 (non-transferable) licence nos. 627004/01 and 627033/02Of the two, one is marked with the coat of arms of the Tyerman family and the other the assumed coat of arms of the Warren family. It is a possibility that the shells relate to husband and wife, Albert Henry Warren of Chelsea (1830-1911), and Augusta Warren née Tyerman (1831-1909). Albert Henry Warren was described in the census as an “Artist and Ornamental Designer” and wrote A Guide to Beginners on the Art of Illuminating (1860) which advises students on “heraldic methods of expressing colours”. Warren was the son of Henry Warren (1794–1879), one-time President of the Royal Institute of Painters in Watercolour and a painter specialising in oriental subjects inspired by David Roberts RA RBA who was famous for his works depicting Tangiers, Egypt, Nubia, the Sinai, Jordan, and Lebanon.It is a possibility that Albert Henry Warren painted on these Green Sea Turtle shells possibly to homage his father’s presidency of the Royal Institute of Painters in Watercolour and his father’s celebrated picture, The Return of the Pilgrims from Mecca, c. 1847-1848 which was praised for its “Eastern and Egyptian character” (Literary Gazette and Journal of Belles Lettres, Arts, Sciences, &c., 1848). See Christie’s, London, 29 April 2019, Orientalist Art, lot 1. The Loggerhead Sea Turtle is native to the Mediterranean Sea which borders the northern coast of Egypt and the eastern shore of Lebanon – places Warren’s father made a successful career painting. By doing so, Warren may well be aligning himself closer to his father’s oriental art career, and therefore position in the echelons of London’s art society, while insinuating his family’s name as that of an ancient family. Warren after all was fascinated in heraldry reflecting wider middle-and upper-class Victorian fascinations of heraldic symbols and meanings.In Fairbairn's Book of Crests, 1905 ed, p. 37., it records a coat of arms for a ‘Warren-Warren, John Rosier, Esquire’ formed from the Warren coat of arms and Tyerman coat of arms. John Rosier Warren was born in 1862 and was the son of Albert and Augusta Warren.
Darren Rees (British 1961-): Seagull, watercolour signed 13cm x 19cm Notes: Rees studied Mathematics at Southampton University, teaching the subject for a short time before pursuing painting full-time. His work has attracted many awards including the Natural World and RSPB Fine Art Awards, winning the Swarovski/Birdwatch and BBC Wildlife Artist of the Year competitions, and more recently he was crowned David Shepherd Wildlife Foundation Artist of the Year 2021. His first solo book Bird Impressions was runner up in the Natural History Book of the Year. Most recently, Darren was appointed Artist in Residence by Friends of the Scott Polar Research Institute, traveling to Antarctica with the Royal Navy.Condition Report:Excellent condition - ready to hang
* JOHN MACLAUCHLAN MILNE RSA (SCOTTISH 1885 - 1957) A WEST COAST HARBOUR A WEST COAST HARBOUR - REVISED TO GOURDON HARBOUR (see notes)oil on board, signed, titled label versoframedimage size 39cm x 46cm, overall size 51.5cm x 58.5cmProvenance: Private Scottish collection.Label verso: Ewan Mundy Fine Art, Glasgow. Although titled on gallery label verso, it's very evident that the scene is Gourdon Harbour (Aberdeenshire) and it's likely that "West Coast Harbour" was a "gallery title". Milne painted at Gourdon, Aberdeenshire in the summer of 1935 on holiday with the Gauldie family. Two of his Gourdon paintings (one oil – no. 36; and one watercolour – no. 35) were part of the John Maclauchlan Milne Loan Exhibition at The Roseangle Gallery in Dundee June/July 2022.Note: Seeing Cezanne's work for the first time was a eureka moment for Milne who until then had painted much like his father in a sedate and traditional style. He discovered a completely new freedom and walked the streets and sights of Paris painting what he saw, en plein air and with rapid, bold brush strokes. Above all, he discovered ''colour''. By 1922/3 he had moved to the French village of Lavardin and by 1924 he was in Cassis with Peploe, Cadell and Duncan Grant. Milne is often referred to as ''the fifth Scottish Colourist'' and yet his quality is at least the equal of much of the output of the other four. As well as enjoying the company of the Scottish Colourists and exhibiting alongside them, Milne shared many of their patrons. William Boyd, the Managing Director of Keiller’s marmalade firm, became one of his most important patrons. In Boyd’s home at Claremont, several works by William McTaggart, Peploe, Hunter and Milne were displayed. His collection of French paintings included Monet, Sisley, Van Gogh, Matisse, Bonnard, Vuillard and de Segonzac. Alexander Keiller, head of the marmalade firm, was another important patron. He paid Milne a stipend – so that he could spend the summers in France – in return for paintings. The collector, Matthew Justice, was a close friend of George Leslie Hunter as well as being his agent during the 1920s. Justice owned around a dozen of Milne’s paintings; his sitting-room was hung exclusively with works by Peploe and Milne and his drawing-room contained eleven Peploes, three Marchands, one Hunter and five Milne’s. The Justice collection also included works by Vuillard, de Segonzac, Moreau and Matisse. Justice was friends with William Boyd and James Tattersall, another important patron of Milne. Even though Milne's paintings were widely exhibited in his lifetime at the very best venues to great success, it's probably because he never established a long term relationship with any one gallery or dealer that his paintings have been undervalued for many years. It took until 1987 before the first Milne painting reached the £20,000 mark at auction when ''Busy Paris Street Scene with Figures (1922)'' was sold by Christie's, Glasgow (lot 664, 28th April 1987 £20,000 hammer). The John Maclauchlan Milne Estate is now represented by Tom Hewlett's Portland Gallery (London) and unsurprisingly, his profile and values have been growing. A major exhibition ''Milne And The Colourist Connection'' was staged at Portland Gallery (London) 21st September -13th October 2017. On 30th August 2017 we sold "A Paris Scene (a 35cm x 26.5cm oil on panel) for £25,000 (hammer) and in The Scottish Pictures Auction of 24th September 2021 lot 2005 (Green Pool, Iona) sold for £29,000 (hammer). On 17th April 2022, lot 213 "Cafe Paris" (a 25.5 x 34cm oil on board) sold in The Scottish Pictures Auction for £30,000 (hammer).
EDWARD ARTHUR WALTON RSA PRSW (SCOTTISH 1860 - 1922) RURAL PATH WITH SHEEPoil on canvas, signed and dated '79framedimage size 26cm x 31cm, overall size 45cm x 50cmNote: Edward was one of twelve children of Jackson Walton, a Manchester commission agent and a competent painter and photographer. Some of Edward's siblings were well known in their time - his brother George Henry Walton (1867-1933) was a noted architect, furniture designer and stained glass designer, Constance Walton was an acclaimed botanical painter, while Helen Walton, born 1850, was a decorative artist who studied at the Glasgow Government School of Design and was artistic mentor to the family. Walton enjoyed his art training at the Kunstakademie Düsseldorf and then at the Glasgow School of Art. He was a close friend of Joseph Crawhall - Walton's brother Richard having married Judith Crawhall in 1878 - George Henry and James Guthrie and lived in Glasgow until 1894 where he became part of the Glasgow School or Glasgow Boys, all of whom were great admirers of Whistler. Their favourite painting haunts were in the Trossachs and at Crowland in Lincolnshire. In 1883 Walton joined Guthrie, who had taken a house in the Berwickshire village of Cockburnspath. He also produced a remarkable set of watercolours in Helensburgh in 1883, showing the affluent suburb and its decorous people. These images are regarded as some of the finest of the Glasgow School and praised for their clarity, colour and strong decorative sense. Carrying out portrait commissions became Walton's main source of income. In the 1880s and 1890s he painted murals in the main building of the Glasgow International Exhibition of 1888 and other buildings in the city. Walton also attended painting classes at the Glasgow studio of W. Y. Macgregor, one of the central figures of the Glasgow School. Walton exhibited from 1880 in both Glasgow, at the Royal Glasgow Institute of Fine Arts, and Edinburgh, at the Royal Scottish Academy, being elected an associate of the Academy in 1889 and a full member in 1905. He was in London from 1894 until 1904, living in Cheyne Walk in Chelsea, and a neighbour of Whistler and John Lavery. While in London, Walton often painted in Suffolk, spending summers at the Old Vicarage in Wenhaston. Here he painted pastoral scenes in oil and watercolour, the latter often on buff paper with creative interplay between paper and paint. He used extensive underpainting in his oils, thereby creating subtle effects. In 1907 he accompanied Guthrie on a painting trip to Algiers and Spain and in 1913 worked in Belgium. The World War I years led to his discovering Galloway and he became a frequent visitor to the area. From 1915 he served as President of the Royal Scottish Water Colour Society. Walton's use of oil was reserved largely for important portraits in the Whistlerian manner. Walton married the artist Helen Law (née Henderson) after becoming engaged on 29 November 1889. Helen gave up her painting career in order to tend to their family. Their son John (1895-1971), became Regius Professor of Botany at the University of Glasgow. Their daughter Cecile (1891-1956), was a successful painter, sculptor and illustrator in Edinburgh. Their youngest daughter Margery married William Oliphant Hutchison in 1918. Sixty-eight of his paintings are held in UK public collections including at Glasgow Museums & Galleries.
Angus Rands 1922- 1985 - village scene with horse and rider and bystander, watercolour signed lower left, 36 x 50, mounted in a glazed frame, along with K Burtonshaw, a landscape painting after Gainsborough depicting horses and a cart with figures on a country road, oil on board, signed 37 x 48, framed and an unframed oil on canvas portrait of a gentleman, 36 x 28.5cm
RAY MAN: (1890-1976)American visual artist, a significant contributor to the Dada and Surrealist movements and a renowned pioneering fashion and portrait photographer. T.L.S., Man Ray, one page, 4to, Paris, 31st January 1962, to Jean. Ray writes in a business-like manner regarding the sales of his works, apologising for writing in English ('in which language I can express myself more shortly') and referring to an agreement he had entered into with his correspondent in 1959, which had led him 'to believe that I would be freed from all matters of keeping accounts and from endless discussions', continuing to rectify several points raised in his correspondent's recent letters, in part, 'Our contract gives you control of world sales, and the exhibitions in New York were arranged with the approval of the Galerie Rive Droite….To date no accounts have been given me of transactions….Among other activities in New York I was responsible for selling a watercolour for $400, as well as some drawings at a good price….In your second letter you say you haven't taken paintings to cover the contract. I have receipts for all the works you have taken which exceed what you have paid me. You admit you haven't paid me the four millions due in 1961. The contract stipulates three millions to be paid over the period…..I cannot go into details here, since you promised to keep accounts for me. Anyhow, your small investment in me has paid off already, I'm sure. And will continue to pay. I have done much more than you in the way of publicity: interviews, radio and television in France and abroad, as well as participating in non-commercial official exhibitions. In 59, before our contract I consigned only the Orateur to Loeb, asking him only 300.00 francs for it. He did not sell it because he probably asked a couple of thousand dollars for it, and I took it back. I sold it to you for 200.00 frs. as an object, although I have always considered it as important as any painting. But I wasn't going to argue with you - I counted on the future. So, the contract is void as from today.' A couple of very light, extremely minor corner creases, VG
Walter Richard Sickert ARA, British 1860-1942 - The Church of the Barefoot Friars, Venice, 1895-96; ink and watercolour on paper, 38 x 31 cmProvenance: Sir Augustus Daniel; The Leicester Galleries, London (according to the label attached to the reverse of the frame); The Lord Cottesloe, purchased from the above in 1951 and thence by descent Exhibited: National Gallery, London, 'British Painting Since Whistler', 1940, reg. no.548; The Leicester Galleries, London, 'The Collection of Sir Augustus Daniel', June 1951, no.25; Royal Scottish Academy, Edinburgh, Scottish Committee of the Arts Council, An exhibition of Paintings and Drawings by Walter Sickert, January 1953, lent by the Hon John Fremantle (his name until 1956 when he inherited the title 4th Baron Cottesloe on the death of his father), cat.89; The Arts Council of Great Britain, 'Sickert: Paintings and Drawings' touring exhibition: The Tate Gallery, London, 18th May - 19th June 1960, Southampton Art Gallery, 2nd - 24th July 1960 and Bradford City Art Gallery, 30th July - 20th August 1960, cat. no.92; Wildenstein & Co. Ltd., 'Venice Rediscovered', 8th November - 15th December 1972, cat. no.43 Literature: Wendy Baron, Sickert, Phaidon, 1973, p.314 cat.91 Wendy Baron, 'Sickert: Paintings and Drawings, Yale University Press, 2006, p.222 cat.108.1 (wrongly listed as 'squared') Note:this work has an extraordinary provenance and exhibition history, being owned previously by Sir Augustus Daniel KBE (1866-1950), the curator of the National Gallery, London, from 1929-1933. Daniel worked closely with Roger Fry and was responsible for the purchase of the 'Wilton Diptych'. The later owner, The Lord Cottesloe (1900-1994), was also highly involved with the arts, acting as Chairman of the Arts Council of Great Britain from 1960-65. The Cottesloe theatre at the National Theatre in London is named in his honour. This work was painted in Venice, where the artist visited on several occasions between 1895 and 1904. His Venice church scenes are amongst the most popular and celebrated of his career. There is a related oil by the artist of the same interior, which is illustrated in Wendy Baron 'Sickert: paintings and drawings, Yale University Press, 2006, p.223 along with another study of the church. One of the two other studies of the church is now in the collection of Bristol Museum & Art Gallery.With thanks to Dr. Wendy Baron for her assistance in the cataloguing of this work.
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