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Lot 583
PAINTING WATERCOLOUR? - CHALET IN MOUNTAINS BY BRENDA MEREDITH SEYMOUR FRAMED, PAINTING WATERCOLOUR - HOUSE WITH TREE BY BRENDA MEREDITH SEYMOUR 1957 FRAMED, PENCIL & WASH - COTTAGE & CHURCH, LUCCOMBE, NORTH SOMERSET BY BRENDA MEREDITH SEYMOUR 1960 FRAMED, PENCIL & WASH - CHURCH & CHALETS. FORSCHACH, SWITZERLAND BY BRENDA MEREDITH SEYMOUR 1957 39"H X 38"W FRAMED, PAINTING WATERCOLOUR - FARMHOUSE WITH BARN & HAYRICKS, BLATCHES FARM, EASTWOOD, ESSEX BY BRENDA MEREDITH SEYMOUR 1962 FRAMED
Lot 392
Unknown School, 20th centuryVanitasinscribed with illegible artist's signature l.l., watercolour on paper53 x 48.5cmA typical vanitas painting with skull, rosary beads, bible, and an hourglass that has run out of time...Condition ReportFramed: 57.6 x 52.9cm. Losses to paper, with tears and discolouration throughout, losses to gilt, glazed frame. See photographs for further details.
Lot 540
A QUANTITY OF ARTIST MATERIALS AND EQUIPMENT ETC, to include packs of drawing / painting paper, sketching pads, blank canvases, wooden Windsor and Newton easel, unbranded metal easel and tin of Derwent watercolour pencils, together with a number of prints mounted to wooden boards and a silhouette depicting a couple watching a paddle steamer set sail, etc (2 boxes & loose)
Lot 595
ATTRIBUTED TO DAVID COX SENIOR (1787-1859) LANDSCAPE WITH MALE FIGURE, a figure is standing on a stone bridge with a rocky outcrop and distant hills beyond, bears a signature D Cox and indistinct date 18?1 to lower edge, watercolour on paper, approximate size 16cm x 20cm, Condition Report: dirty marks and discolouration to the paper, painting is mounted to card and attached to a card mount both of which are in poor condition
Lot 305
* HAMISH CONSTABLE PATERSON (SCOTTISH 1890 - 1955), CRUMPLED MAN AT LE PONT ROYALE, PARIS watercolour on paper, signed and dated 1926 image size 21cm x 31cm, overall size 46cm x 56cm Mounted, framed and under glass. Note: The third son of the artist James Paterson, cousin of Viola Paterson and thus a member of the distinguished Scottish painting family. He was actually named James Constable Paterson but was always known as Hamish. In 1910 he began studying at Edinburgh College of Art and his talent was obvious to all. He became an officer in The Black Watch during Army service in World War I and was severely wounded. Although he eventually recovered physically, his experiences left a lasting mental mark and he suffered from "depressions" for the rest of his life. His uncle William Bell Paterson gave him a show in Bond Street (London) in 1922 which included portraits of the former Prime Minister David Lloyd George and many titled people. Hamish's talent as a portraitist was widely admired but instead of accepting lucrative commissions he chose to live in France painting landscapes. It's possible that he sought a life away from the people he knew, perhaps embarrassed by his issues. The vendor believes the crumpled figure in the foreground to be Hamish Paterson. If he's right, Paterson depicts himself as a lonely and forlorn figure with his back turned to the spectacular view and the nearby Louvre. Although his work continued to be exhibited at the RSA regularly until 1949, many of these pictures were loaned by friends, fellow artists or collectors. His pictures were also shown at the RSW, RA, Royal Glasgow Institute and was included in "The Paterson Family" at Belgrave Gallery (London) in 1977. He retained lifelong friendships with some of the Kirkcudbright group including W.O. Hutchison, Robert Sivell and Mac Fleming. It seems Hamish Paterson largely financed his life in France with the sales of his pictures there and he only returned to the family home at Moniaive (Dumfriesshire) a couple of years before his death. Hamish Paterson's war experiences had a dramatic impact on the rest of his life but his watercolours show the influences and qualities which brought his father such success and had Hamish felt able to remain in Scotland, it's likely that his reputation in his own country would have better matched his abilities and talent.
Lot 317
* JEKA KEMP (SCOTTISH 1876 - 1967),BELLAGIOwatercolour on paper, signed, titled and dated 1908image size 16cm x 23cm, overall size 31cm x 37cm Mounted, framed and under glass.Note: Jeka Kemp was born in Bellahouston, Glasgow where she began her artistic training before continuing in London and later at the Academie Julian in Paris between the years 1903-4. Kemp had her first solo exhibition in Scotland around the year 1907 and is known to have exhibited at the Macindoe’s Gallery in Glasgow regularly between 1910 to 1914. Kemp lived in Paris at 49 Boulevard Montparnasse and in 1922 her "La Liseuse" was catalogued as painting number 1 in Le Salon D'Automne and for a prolonged period, she was regularly exhibiting and socialising with many of the titans of European 20th-century art. La Liseuse was sold again at John Nicholson's (Surrey) lot 422 31.10.2018 for £1600 and in 2006 "French Harbour Scene" a small watercolour was sold at Lyon & Turnbull (Edinburgh) for £1900 (lot 1, 26.05.2006) Kemp's reputation was recognised internationally, and her work was bought by the French Government on several occasions and this interest encouraged the artist to exhibit at the Marcel Bernheim in Paris and the Galerie de la Librairie de la Press in Nantes. Kemp also continued to exhibit in her native Scotland throughout her career. Her work is held in a number of eminent private collections across Europe.
Lot 4
Nicholas Barnham (1939-2021) watercolour of fishing boats in Lerwick Harbour, Shetland titled "Freedom, Day Dawn,& Snowdrop, Lerwick Harbour signed lower left Nicholas Barnham. Nicholas Barnham, whose work is characterised by its strong sense of line, studied painting and stone carving at Norwich School of Art and taught for several years at Cambridge School of Art. His subjects are typically boats, trees and the landscapes of East Anglia and the Shetlands. Born in 1939, he died on February 2nd 2021.60x77cm
Lot 726
FOLLOWER OF CLARKSON STANFIELD (1793-1867); watercolour, stormy shipping scene, bears signature and date lower right, 24.5 x 35cm, framed and glazed. We are grateful to Pieter van der Merwe (Curator Emeritus, NMM, Greenwich) for adding further information - "This is more 'circle/follower of Stanfield' in the sense that it is following the subject of his early large BI exhibited oil painting 'Wreckers off Fort Rouge, Calais' engraved by J.P Quilley in (from memory) 1829. The boats are however much simpler than that. Its a competent hand but not convincingly by CS: if his name is on it (Ir) I doubt its a genuine signature.Fort Rouge was the Napoleonic defence fort on the west side of the harbour entrance at Calais. It seems to hava lasted into the 1830s at least."Condition Report: Three small spots of foxing centre of image, some light colour fading and some very light staining to the sky, presented in a modern gilt frame. Frame size 43cm x 54.5cm.
Lot 1127
A Chinese watercolour painting on paper, late Qing dynasty, depicting a Boxer Rebellion scene of four Chinese soldiers carrying arms and banner, standing before an angry snake, the upper left corner painted with lines of black text and inscribed 'Charles Yee Quing Chong', 68.5cm x 43.5cm, unframed (some tears and losses to edges).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1190
A Chinese watercolour painting on paper, early 20th century, depicting a flower spray and rocky outcrop, line of black text and two red seals to right margin, 25.5cm x 26.5cm, framed and glazed, together with two other Chinese watercolour paintings, one depicting butterflies above rocks, 16cm x 40cm, framed and glazed, the other depicting flowers and leaves, 17cm x 25cm, unframed.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1166
An Indian Mughal style watercolour and gouache painting, probably late 19th century, depicting a royal procession of maharajah, elephant, horses and footmen before a riverside palace complex, 28.5cm x 40.5cm, framed and glazed, together with an Indian watercolour painting depicting a botanical study, 22cm x 14.5cm, framed and glazed.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1173
A Chinese hanging scroll painting, 20th century, depicting a pavilion complex in a coastal landscape, two lines of black text and red seal to upper left corner, 48cm x 39cm, beneath a panel of black calligraphic text and red seal, together with a watercolour depicting a mountainous landscape, 35.5cm x 26cm, framed and glazed, and a botanical study, framed and glazed.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1120
A Chinese watercolour painting on silk, 20th century, depicting figures on horseback in a winter landscape, 151cm x 52cm, unframed, together with a Chinese hardwood and porcelain two-fold screen, height 30cm (panels cracked), and a small group of other paintings and prints.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 170
Clare WHITE (1903-1997) Family and Friends gathering, Barbados Watercolour, signed, 36.5 x 49cm.St Ives artist Clare White visited her sister who worked in Barbados as a governess several times in the 1960s and, captivated by the island's landscape and its people, she painted some of her most celebrated works here. Barbados played an important part in her development as an artist, as her watercolour palette noticeably lifted following her visits, as the natural brightness of the Caribbean seemed to remove any remaining inhibitions she may have had in her joyous use of colour. This painting portrays a group of friends chatting in the dappled shade of palm trees on the beach, with the sugar refinery, which no doubt brought many of them to the island for work, on the horizon.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.
Lot 251
Clare WHITE (1903-1997) Feluccas on the Nile, Egypt Watercolour, signed, 37 x 48.5cm.This particulary fine watercolour by St Ives artist Clare White was painted during a visit to Egypt in the 1960s. Clare was an independent and spirited traveller and set up her easel wherever she liked, painting everyday scenes which piqued her interest. This painting captures the colour, light and very essence of the Nile with men in languid conversation taking a break on its banks, while others strain to carry heavy loads to the felucca boats on the river. White's paintings are distinctive for their bold watercolour palette and strong lines around figures, evocation of light, movement and time which lifts them 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.
Lot 62
Clare WHITE (1903-1997) Moorish Fountain in the Monreale Cathedral cloisters, Sicily Watercolour, signed, 37 x 49cm.St Ives artist Clare White had a passion for both painting and travel. 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, always capturing the grandeur of the architecture or landscape as well as the intimacy of people’s interactions within that place. Her excellent draughtsmanship and ability to portray human expression with a few simple stokes, give an absorbing quality and real depth to her illustrative paintings. This piece features young boys exploring a Moorish fountain amidst the mosaic-decorated columns of the cloisters at Monreale’s beautiful multi-cultural-style cathedral in Sicily, while nuns walk quietly by. The piece embodies White’s talent for capturing a real moment in time and place.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.
Lot 90
Clare WHITE (1903-1997) Inside Monreale Cathedral, Sicily Watercolour, signed, 38 x 49cm.St Ives artist Clare White had a passion for both painting and travel. She would set up her easel in some of Europe's most beautiful places, such as the stunning medieval cathedral of Monreale in Sicily, and take out her watercolours. As always with White's work, she unmistakably captures the grandeur of the architecture and the glory of the cathedral's unique Byzantine mosaics, but she creates a painting which very much presents her own perspective on them. Her joyous uncomplicated style, distinctive watercolour palette and artistic ability to fully immerse in the moment mean that the biblical figures in the mosaics respond to White in their facial expressions, and we can sense the quiet nuns walking in hushed reverence through the holy place.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.
Lot 100
LUCIEN GENIN (Rouen, 1894 - Paris 1953)."Moulin de la Galette.Watercolour and charcoal on paper.Signed in the lower right corner.Size: 16 x 16 cm; 32 x 32 cm (frame).Lucien Genin studied at the Ecole des Beaux-Arts in Rouen, where his teachers were Alphonse and Albert Guilloux, and later enrolled in Decorative Arts at l'École-de-Médecine. He took evening classes in sculpture, architectural composition and mathematics. He arrived in Montmartre in 1912, after a series of small trades, Maclet finally earned his living with his painting. Lucien Genin settled permanently in Montmartre at the age of twenty-five. More than a painter of Paris, Genin is a painter of Parisians, of the devouring passion that stirs all his characters in the big city. He paints them in the alleys of Montmartre, dining at night in the Place du Tertre, singing in the Lapin Agile, cars on the boulevards, spectators and street singers; he follows them on the banks of the Marne at the first rays of the sun and in the south of France in summer. In turn, he is in Nogent-sur-Marne, Marseille and Cassis, Cannes and Villefranche-sur-Mer. He was in Douarnenez in 1929 with Pierre Colle, Giovanni Leonardi and Max Jacob. He painted the port of Rosmeur at the feast of the blue nets and exhibited his painting at the Salon d'Automne in 1930. In November 1929, André Warnod wrote about his painting: "Lucien Genin depicts Paris with a sometimes hasty ardour but with a pleasant flavour of vivid colours". During these ten years, he practised a painting that was composed, colourful, sensitive, skilful, delicate, humorous and comic. A painting by Lucien Genin won the Art Institute of Chicago prize in 1932. In 1940, he took refuge in Marseilles for a few months. In 1941, the Paris City Council bought him a gouache and in 1944 René Fauchois presented his exhibition at the Bernard gallery. In 1947 he left for Cassis for the last time and exhibited at the Bernard gallery on his return. In his last years he devoted himself to painting landscapes in his room, with his easel under the window, where Robert Doisneau visited him a few weeks before his death. Lucien Genin was immortalised in 1953 in Le Vin des rue by Robert Giraud and Robert Doisneau. A retrospective exhibition was organised for him at the Galerie Seine in 1954.
Lot 6
RICARDO OPISSO I SALA (Tarragona, 1880 - Barcelona, 1966)."Carnival".Ink and watercolour on paper.Signed in the lower right corner.Frame in bad condition.Measurements: 29 x 26 cm; 40,5 x 37,5 cm (frame).The street overflows with festive activity and devotion for the dance, the mask and the disguise in this composition of Ricardo Opisso, of overflowing imagination. Opisso was a painter, cartoonist and comic artist. In his youth he took part in Barcelona's modernist milieu, and in 1894 he began to work as an apprentice with Antoni Gaudí on the Sagrada Família. Two years later, backed by the architect, he became a member of the Círculo Artístico de Sant Lluc, with whom he would later exhibit at the Sala Parés. He was linked to the group Els Quatre Gats, together with Ramon Casas, Manuel Hugué, Isidre Nonell and Pablo Picasso, among others. In 1901 he made a trip to Paris, where Picasso and Hugué were already there. He worked as an illustrator in publications such as "Cu-cut!" and "L'Esquella de la Torratxa", signing drawings aimed at political satire, in a style close to art nouveau. In 1907 he took part in the Fine Arts Exhibition in Barcelona and was awarded a third-class medal. Due to the dictatorship of Miguel Primo de Rivera, Opisso abandoned political satire and his drawings moved towards genre themes, specialising in popular scenes. His works from this period are characterised by the presentation of motley crowds of people in popular Barcelona settings. After exhibiting several times in succession at the Sala Parés, he held his first solo exhibition in 1935 at the Syra galleries in Barcelona. During the post-war period he continued to exhibit in various galleries in Barcelona, and reaped considerable success with both critics and the public. In 1953 he received recognition from his native city at the 4th Tarragona Art Fair. During his early years, in addition to his surname, Opisso also used to sign his work with an "O" for Opisso, which contains the "R" of his name. Most of his work is kept in the Opisso Museum in Barcelona, but it is also present in the National Art Museum of Catalonia and the Museum of Modern and Contemporary Art in Strasbourg. In terms of exhibitions, the one held at the Thyssen-Bornemisza Museum in 2004, entitled "Pintura catalana, del naturalisme al noucentisme" (Catalan Painting, from Naturalism to Noucentisme), was particularly noteworthy, in which his work "Carnaval" (Carnival) was exhibited. He has also had anthological exhibitions at the Saló del Tinell (1979), the Palau de la Virreina (1980), the Barcelona International Boat Show (1973), the Fundació La Caixa (1988, 2004, 2008) and the Caixa Tarragona (2003).
Lot 107
§ JOHN WADSWORTH (BRITISH 1879-1955) EXTENSIVE ARCHIVE OF ORIGINAL DESIGNS AND SKETCHES mixed media (pencil; pen and ink; watercolour; bodycolour) some 150 items in total, on various paper and card stocks, various dimensions, including 10 items signed by Wadsworth, the remaining material unsigned but most attributable either to Wadsworth or an associate on external evidence or stylistic grounds: 1) Signed items: a) Design for a Sun-Dial to be executed in Irish-Green Marble with Brass Fitting (watercolour; with caption); b) Design for an embroidered doyley (watercolour; with caption); c) Design for Wadsworth's personal bookplate (black and gold ink with lilac watercolour; mounted); d) Designs for decorative friezes (on a single sheet, red and black ink heightened with gold, possibly gold leaf); e) Repeating foliate design (sepia ink with pencil); f) Calligraphic Christmas card design ('With best wishes from Mr and Mrs J. W. Wadsworth, Xmas 1910' in black ink, with 'Draycott Le Moors, Stoke on Trent' in pencil); g) Cover design for an edition of Dante (black ink and pencil, annotations verso; together with another design, unsigned but near-identical); h-j) Three watercolour views (a country church; a view in the Colosseum; a crooked tree with cottages; the latter with heavy outlining and shading in black ink);2) Views (watercolours, 13 in total, including wooded landscapes, beach scenes, architectural studies, and boats moored in a harbour);3) Bookplate designs, including two for Leon V. Solon (on 20 sheets, a few containing multiple designs, together with a few printed specimens);4) Lettering specimens and copies of illuminated initials from medieval manuscripts (28 sheets, most with multiple designs);5) Pattern designs after historical fabrics (watercolours, 6 in total, annotated on verso '17th century Italian', 'Italian damask, 17th century', 'Linen, Italian, 16 century', '15 or 16th-century oriental', '16th century Renaissance', 'Velvet, Persian, 17th century');6) Exhibition catalogue or poster designs for the North Staffordshire Art Society (5 in total), together with 3 similar designs for the Catalogue of the Malvern Art Club Exhibition,1928, woodblocks differentially hand-coloured;7) Large collection of assorted designs and sketches, including various floral patterns and motifs, a vase, book illustrations and embellishments (including 4 designs for publisher's devices or colophons: 'FINIS' written within scrolling foliate cartouche; two satyrs embracing beneath text 'THE END'; large sketch of an angel and supplicant with the text 'Carl Hentschel & Co. Photo-engravers' at the head; an allegorical female figure with robe and shield beneath text 'Bemrose & Sons Ltd. Printers, Derby & London'), and numerous female figures, several sketches evidently preparatory (approx. 50 in total);8) 3 engraved Christmas cards from Leon V. Solon addressed in pencil to John Wadsworth (for 1903, 1905 and 1909, spotted); 2 photographs of works by Leon V. Solon (one of Elizabeth I, the other captioned verso 'Le bain des nymphes'), both signed in the negative, mounted and inscribed by Solon to Wadsworth in pencil on mount, heavily spotted; and 1 further engraving inscribed by Solon to Wadsworth in pencil (device for a menu at 'Uplands'?);9) Other items including: a copy of Wadsworth's Designing from Plant Forms, 1910, first edition, original cloth; 1901-2 syllabus for Macclesfield Techincal and Science School and School of Art (8vo, original decorative wrappers, front cover design signed J. W. Wadsworth); dust jackets possibly designed by Wadsworth, etc. This lot includes a typed letter to Phillips auctioneers from C. J. Hancock requesting a catalogue for the sale.Provenance:Provenance: 'The Ceramic Art and Paintings of John and Philip Wadsworth', the auction of their estate, Phillips, Knowle, 8th April 1992, various lots including 55, 89 etc.Note: Note: John William Wadsworth is best remembered as a designer of ceramics, but this extensive collection of material is an engrossing record of his interest in other fields including book decoration, bookplate design and landscape painting, and promises to reward further study. Born in Macclesfield, Wadsworth studied at Stockport School of Art and the Royal College of Art. In 1901 he was appointed assistant art director to L. V. Solon at Mintons, designing Secessionist ware, and became full art director soon after in 1905. He was art director at Royal Worcester from 1915 until returning to Mintons in 1935, where he remained until his death.
Lot 117
K. M. (20th century), 'Figure seated upon a donkey and a figure leading another in a landscape', initialled watercolour and three others, 10 x 16cm, two framed as one, two unframed, a watercolour/gouache 'Heron' by Muriel McShane, a framed oil painting on canvas 'Exterior of a building', two small photograph albums with mother-of-pearl-decorated covers and a silver-banded walking stick with carved bird handle.
Lot 610
ARTHUR BERESFORD GREEN (BRITISH 1913-?) A COASTAL LANDSCAPE, depicting a wave breaking on the shore with open seas beyond, signed bottom right, oil on board, approximate size 58cm x 62cm, together with an early 20th century water landscape signed Bonson? with red oriental? chop mark and six botanical study prints, Condition Report: the oil painting has dirty marks and frame damage, the watercolour has paper discolouration and appears faded, some frame damage, prints have some discolouration
Lot 2133
Corrine Rillstone Watercolour drawing Coastal scene, signed and dated 1990 lower right T Evans Watercolour drawing Coastal scene, signed and dated 98 lower right St John Rosse Colour print Siesta, signed lower right on the mount J Whitehand Oil painting on slate Stormy sea with galleon and various prints (7)
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